MUSEUM OF MODERN ART LIBRARY Scanned from the collection of The Museum of Modern Art Library Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by a donation from David Sorochty Digitized by the Internet Archive in 2014 https://archive.org/details/filmbulletin195220film 25c per Copy BULLETIN JANUARY 14, 1952 IS THERE A 'SQUEEZE PLAY' ON AGAINST THE LITTLE FELLOWS? hire PrMentA Smaller CxkibiicrA Editorial by MO WAX Page Five HP 1 f ** *> 1 m 1 •-sssr 10 H. „RtW\»t ^ GROSS ^^^jfe* XOU TO„ vfltS M® 6000»M> Of COURSE Of „£ 1R0V1 GW* ^ W HERBERT J.YATES presents THE WILD BLUE YONDER (STORY OF THE B-29 SUPERFORTRESS) "9 WENDELL COREY VERA RALSTON with FORREST TUCKER - PHIL HARRIS WALTER 6RENNAN • william ching • ruth donnelly • harry carey, penny ed wards """■k • ' mm utt - m"" c"w" • - "" • * PFPI"" lp pinT"PF Screen P/^^^^; -G-M LEAPS THE INDUSTRY The First Reports Are In! Variety, Showmen's Trade Review, M. P. Herald, M. P. Daily, announce "Top Hits of 1951" as voted by exhibitors. M-G-M leads with not just one top hit, but with more top money hits than any other company. Watch for more trade paper annual reports. Prediction: a landslide for M-G-M, as usual! *In Variety, M-G-M has 8 out of the first 20; next company 2. In Showmen's Trade Review Annual, M-G-M has the 2 top pictures and 4 out of first 10, which is twice any other company. In M.P. Herald. M-G-M has 4 out of the 7 top-grossing pictures, nearest company 1. In M.P. Daily, out of the 7 listed M-G-M has 4, nearest company 1. FORECAST: M-G-M AGAIN IN '52! The M-G-M Studio has never in its history had a more powerful array of product than right now. To mention just a few: "THE WILD NORTH" (Ansco color), "LONE STAR", and the following in Technicolor "IVANHOE", "SINGIN' IN THE RAIN", "THE MERRY WIDOW", "SCARAMOUCHE", "SKIRTS AHOY!", "LOVELY TO LOOK AT" and many more. And of course, The Great "QUO VADIS", the box- office giant of all time ! First M-G-M Trade Shows of the New Year! FEB. 12th pBttf) I! THE BELLE OF NEW YORK" Gay TECHNICOLOR Musical in the M-G-M manner JAN. 21st INVITATION The Story of A Borrowed Love BULLETIN EDITOR Vol. 20, No. 1 January 14, 1952 Pace Five DEPRECIATION "There was one who thought he w.is above me, and he was above me until he had that thought." — ELBERT HUBBARD REVIEWS in This Issue The Greatest Show On Earth 7 The African Queen 8 Another Man's Poison 8 Scandel Sheet 8 Room For One More 11 The Las Vecas Story 11 A Girl In Every Port 11 Boots Malone • 12 Finders Keepers 12 Desert Of Lost Men 12 IS IT A SQUEEZE PLAY? In increasing volume, complaints have been reaching tliis desk in recent months which indicate a growing suspicion among independent exhibitors that certain of th<- major distributors have adopted policies designed to free/.e out the smaller theatres. The general tenor of what we hear is that the offending distributor* are withholding their product from the small houses, either b\ not soliciting these accounts, or setting terms that make it virtually impossible For the theatres to operate profitably in the present depression. One exhibitor puts it this ua\ : "It seems that some of the him companies, feast- ing so avariciously on the profits accruing to them from the new -found gimmick of competitive bidding, seem to have lo>l all interest in the smaller theatres which, oddly enough, in the better days of our industry, gave them their margin of profit, today, with medium-sized neighborhood houses cutting each other's throats in the com- petitive bidding market by paying high percentage terms and giving extended playing time, the distributors appear to have come to the conclusion that they profit more by confining their pictures solely to the houses that bid. In other words, they are eating high on the hog and are passing up the scraps." Other operators of small theatres arc complaining that salesmen of some of the film companies are keeping their product from the smaller theatres simply by refusing to negotiate. They set arbitrary terms and remain adamant in their refusal to com- promise. A number of instances have been cited in which picture after picture has passed availability and has been unsold because no attempt \\a> made to solicit the accounts. These charges do not implicate all of the major companies; the principal com- plaints that have come to the attention of FILM BULLETIN arc directed against three of them. Fortunately, most of the other distributors appear to have a health) interest in the fate and the welfare of the great mass of exhibitors and are striving, within reasonable bounds, to help them meet the current situation. If any company is deliberately following a "squeeze play'" policy against the small independents it is playing with fire. Refusal to sell to theatres, by whatever device, is skirting the letter and the intent of the law. The executives responsible for such tactics are heading their companies for the shoals of new litigation which may again involve the United States Government. If branch office management is to blame, it is high time the home offices called them to order. MO WAX FILM BULLETIN — An Inde- pendent Motion Picture Trade Paper published every other Monday by Film Bulletin Com- pany. Mo Wax, Editor and Pub- lisher. BUSINESS OFFICE; 35 West 53rd St., New York, 19; Circle 6-9159. David A. Bader, Business Manager; Leonard Coulter, Editorial Representative. PUBLICATION — EDITORIAL OFFICES: 1239 Vine St., Phila- delphia 7, Pa., RIttenhouse 6- 7424; Barney Stein, Managing Editor: Robert Heath, Circu- lation Manager. HOLLYWOOD. OFFICE: 659 Haverford Ave., Pacific Palisades, Calif., Hillside 8183; Jay Allen, Hollywood Editor. Subscription Rate: ONE YEAR, $3.00 in the United States; Canda, $4.00; Europe, $5.00. TWO YEARS, $5.00 in the United States; Canada, $7.50; Europe, $9.00 HAIL, THE NEW UA There is cause for rejoicing by exhibitors in the announcement made last week that the present United Artists management has already fulfilled its initial commitment to Charles Chaplin and Mary Pickford. thereby acquiring 50 per cent of the stock and —more important— complete control of the company's operations for at least the next nine years. This means that this important film organization, so long beset by the ills of divided control, is now squared away for a drive to regain its former illustrious position in the industry. •Heartiest congratulations are due the Messrs. Krim. Benjamin. Fox. Heineman. Youngstein and Picker for their great accomplishment in a brief ten months. They provided the type of dynamic leadership our industry needs so much. That leadership, we are confident, will now manifest its ultimate destiny— bringing to theatres a flow of motion pictures truly worthy of the high traditions once associated with the name United Artists. vmm\i CALL FROM A STRANGER" A great motion picture in the tradition of "A LETTER TO THREE WIVES" and 'ALL ABOUT EVE.' starring si nuiv i iiifatf.i 1 1; ; I MICHAEL RENNIE • *&e BETTE DAVIS with KEENAN WYNN- EVELYN VARDEN Written for the Screen and Produced by Directed by NUNNALLY JOHNSON • JEAN NEGULESCO Based on a story by I.A.R.WYLIE 's THE GREATEST SHOW ON EARTH' DE MILLE'S MAMMOTH CIRCUS SPECTACLE Rates • • • • in all situations It is difliciilt to conceive of a happier, more compatible wedding of any two seg- ments of show business than Cecil I!. DeMille and the circus. The perennial pro- ducer of movie extravaganzas lias, with the cooperation of Ringling Bros. — Barn urn & Bailey, fashioned a three-ring. Techni- colored hippidromc that provides a feast of entertainment for young and old. "The Greatest Show On Earth" is a gaudy, glittering spectacle in the best DeMille tradition: sock mass amusement that will serve to convince millions once again that there is nothing in the show world to com- pare to a big motion picture. Previous boxoffice records will be tested by TGSOE and in the hinterlands this might well be the top grosser of all time. The only situ- ations in which it will be received with less than high enthusiasm are the class houses. Betty Hutton, Cornel Wilde. James Stewart. Charlton Heston. Dorothy Lamour provide stellar fuel for theatre marquees, and there ran be added, for avid circus fans, the names of such famous big top acts as the clowns, Emmett Kelly and Lou Jacobs, and the premiere aerialist, Anto- inette Concello. There have been better DeMille pictures, albeit probably none that contained such universal!) appealing elements. This re- viewer found loo much circus footage, but who can argue with the uninterrupted success of the Big Top shows, and TGSOE has captured all the color and excitement and heart-stopping thrills that enthrall millions of circus-goers annually. A con- siderable portion of the two-and-a-half hours running time is pure circus. Every act of the current Ringling Bros. — B & B show — the animals, the parades, the clowns, the wire walkers, the tumblers, the aerial- ists — all have their moment in the camera's center ring. Since most of the picture was filmed, documentary-style, while the circus was at winter headquarters in Sarasota. Florida, and on tour, it bears the stamp of authenticity most impressively. It has at- mosphere with a capital A. DeMille has adroitly interspersed the circus acts throughout an engrossing central plot enacted by a topflight Holly- wood cast, who behave like real people of the sawdust trail. Seldom has the master hand of the veteran director been seen to better advantage than in his skillful blend- ing of the fictional and the actual in this film. The screenplay bv Frederic M. Frank. Bane Lyndon and Theodore St. John casts Betty Hutton and Cornel Wilde as dare- devil aerialists, and their exploits at the heights of the big top arc something to behold! Even the trained professional eye will find it difficult to detect the doubling as this pair By and twirl and twist high above the gaping crowd. The scene in which V\ :'de misses and plunges to the ground i^ a real shocker. 151 minutes Betty Hutton, Cornel Wilde. Charlton Heston, Dorothy Lamour, Gloria Grahame, James Stewart, Henry Wilcoxon, Lyle Bettger, Lawrence Tierney, Emmett Kelly, Cucciola, Antoinette Concello, John Ring- ling North, John Kellogg, John Ridgely, Frank Wilcox, Bob Carson, Lillian Albert- son, Julia Faye, and cast of the Ringling Bros. — Barnum & Bailey Circus. Directed by Cecil B. DeMille. There are several other memorable se- quences, one of the most effective being the raising of the big tent before a show. With DeMille's own resonant voice pro- viding the descriptive background, the cameras pick up the panorama of hustle and bustle as the circus crew starts in early morning to drive the first stakes into the ground, until, finally, the huge canvas rises to the top of the pole. This is an outstand- ing piece of "theatre." More spectacular is the climactic wreck of the circus train which gets the full DeMille treatment, a display of pyro- technics in Technicolor that will rock 'em and sock 'cm out of their seats. I nfortunately, the denouement that follows, in which the shattered troupe put on a show in an open field is the weakest part of the entire picture. It's pure "corn" and pallid by comparison with all that had gone before. Betty Hutton is wonderful, a real trouper who makes her role of the girl on the flying trapeze thoroughly convincing. \\ ilde was never better than as the dashing, daring, continental "Great Sebastian." As the circus manager. Charlton Heston is rugged • POOR • • FAIR • • • GOOD • • • • TOPS and just a little too determined. James Stewart manages to convey a sympathetic personality through the clown make-up he never discards, being a fugitive from the law for a mercy killing. Dorothy Lamour and Gloria Grahame are a couple of >harp- tongued gals. Lyle Bettger. an elephant trainer, is overdrawn as a baddic \ iews of the circus audience occasional- ly pick up members of the Paramount star roster. In one shot. Bing Crosby and Bob Hope are seen gazing in awe while they munch peanuts. SIOR^ : Charlton Heston. manager of the Mingling Bros. — Barnum & Bailey Circus, faced with the curtailment of the Big Show s itinerary, convinces the owners to play a complete season, principally on the basis of his signing of Cornel W ilde, a spectacular Continental aerialist. Wilde takes over the center ring, a spot promised by Heston to Betty Hutton. the show's top female trapeze performer. Heston's action, made doubly difficult by the fact that he is in love with Hutton. spurs Betty into in- creasingly daring feats in the side ring as she attempts to regain the spotlight. Gloria Grahame. flip, acid-tongued elephant girl, harboring a futile yen for Heston. renews an old romance with W ilde. infuriating her persistent admirer, elephant trainer Lvle Bettger. The rivalrv between Hutton and Wilde causes both performers to attempt dangerous stunts, ultimately resulting in a fall that cripples Wilde's arm and forces him to quit, making Betty the top aerialist. Stung by the feeling that she was respon- sible for W ilde's plight, Hutton offers to marry the maimed aerialist. Although he is deeply in love with her. Wilde refuses, believing that her proposal is motivated by pity. Betty, however, persists in pursuing Wilde, giving Grahame a chance to make a play for Heston. The jealous Bettger makes an attempt on Gloria's life during the elephant act and is fired by Heston. He teams up with a con man who had been barred from the circus grounds in a plot to rob the money car of the circus train. During the attempted robbery, the speeding second section of the train crashes into the halted first section, causing a spectacular wreck. Heston is seriously injured, and, to save his life. Hutton prevails upon a clown, James Stewart, whom she knows to be a famous surgeon hiding from the law. to perform an operation on Heston. Although he knows he will be apprehended by de- tective Henry Wilcoxon. Stewart sacrifices his freedom to save his friend's life. Aware now that she loves only Heston. Betty takes command of the disorganized troupe and starts feverish preparations to have the show go on the next day as scheduled. Wilde, given hope by Stewart that his withered arm will return to normal, finds Gloria as his true mate: Stewart is given hope of freedom: Heston will live. With the I overs properlv paired and the equip- ment partially repaired, the circus rolls into town to the cheering throng. BARTON JANUARY 14, 1952 7 THE AFRICAN QUEEN' WILL BE UA'S BIG BOXOFFICE SUCCESS Rates • • • + generally United Artists (Horizon) 104 minutes Humphrey Bogart, Katharine Hepburn, Robert Morley, Peter Bull, Theodore Bikel, Walter Gotell, Gerald Onn, Peter Swanwick, Richard Marner. Directed by John Huston. In "The African Queen," an African-filmed Technicolor production, C. E. Forester's memorable novel is given a memorable screen transcription, emerging as an excit- ing, action adventure, sparked by superlative performances from Katharine Hepburn and Humphrey Bogart and enchanting produc- tion backgrounds. The script is warm and witty, filled with delight and theatrical en- chantment as it unfolds its story of a straight-laced missionary's sister who em- barks on a fantastic journey down uncharted Congo rivers in the company of a genial ne'er do well. The development of a genuine love betwaen them as each begins to see the fine qualities of the other is the basic premise of the story. Played against an intriguing panorama and an undertone of high adventure, it becomes a breathtaking entertainment experience. The battle of the two against the forces of nature is dynami- cally projected, and John Huston's direction breathes amazing vitality into sequence after sequence in which just the two stars figure. The absence of other characters is barely noticed as Huston whams across the terrific action material in vigorous style. This UA release should be a walloping boxoffice success. Word-of-mouth advertising and critical applause will heighten interest. And, of course, the teaming of Bogart and Hep- burn is a showmanly tour de force that comes off beautifully. Hepburn is simply wonderful as the prim and proper maiden who discovers the thrill of adventure and recognizes a man's gal- lantry as possessing more meaning than social graces. Bogart turns in the perform- ance of his career, sensitive, intelligent, like- able, artfully restrained. He's delightful, a genial scamp, a loveable, courageous man. Supporting players, including Robert Morley are on for little more than bits — each done to perfection. STORY: After the death of her brother, missionary Robert Morley, Katharine Hep- burn is left alone in a Congo outpost. World War I has just started and the Germans have fired the village and been responsible for the collapse of Morley. Humphrey Bo- gart, a Canadian who owns a river steamer, plans to sit out the war. Hepburn, however, convinces him that they can get the boat down the river to a lake where the Germans command authority with the Congo's lone gun boat. Hepburn believes they can destroy the enemy craft. The rest of "The African Queen" is their almost incredible display of bravery as they set out down rivers never before navigated. Their mission is accom- plished through a last minute fluke and their own love is climaxed by their strange marriage aboard the German gun boat. HANNA (Hollywood) 'ANOTHER MAN S POISON' LURID BETTE DAVIS VEHICLE Rates • • + generally United Artists (Douglas Fairbanks - Daniel M. Angel) 88 minutes Bette Davis, Gary Merrill, Emlyn Williams, Anthony Steel, Barbara Murray, Reginald Beckwith, Edna Morris. Directed by Irving Rapper. Filmed in England by Douglas Fairbanks and Daniel M. Angel for United Artists re- lease, "Another Man's Poison" is important to the average exhibitor in direct ratio to the degree that Bette Davis is a boxoffice attraction in his individual location. While neither the film nor Miss Davis* perform- ance is on a par with "Payment On I H mand" and "All About Eve," the two pic- tures which skyrocketed the actress' stock after her unhappy closing year at Warners, it does contain those somewhat lurid ele- ments that intrigue her legion of fans. With a highly exploitable title and the boxoffice backwash of Miss Davis' recent triumphs, this should enjoy fair success. The story is an old-fashioned melodrama about a mystery writer given to poisoning those who stand in the way of her romantic yen for a tall good-looking young man who happens to be engaged to her secretary. The script lacks coherent continuity, is written on a level of sustained hysteria that takes the form of strenuous verbal encounters among the various protaganists. Irving Rapper's di- rection gives full rein to Miss Davis' heavier histrionics, so you have a performance that is strictly for her faithful following. Gary Merrill keeps a poker face during the grim proceedings. Best of the company is Emlyn Williams as the snoop. His is the nearest thing to a likeable character and a creditable performance. STORY: Miss Davis, having just disposed of her husband by poisoning the fellow, finds herself with an unexpected visitor, Gery Merrill, who has been her late husband's partner in a series of robberies. As a matter of fact he is fleeing from a job at the moment he enters Bette's life. Since no one in the immediate neighborhood has met Bette's husband, Merrill decides to palm him- self off as the spouse. With the aplomb of a Borgia, Bette forgets her poisoning and persists in her suit of Anthony Steel. Sec- retary Barbara Murray begins to understand the situation more clearly. Merrill, seized with uncontrollable affection for Bette, makes a few lunges at her. And Emlyn Williams, a neighbor, busies himself with figuring out the strange doings in the house- hold. It ends tragically for all with corpses for the fade-out and poison flowing in the manor house as freely as ale in the village pub. JAMES MCANDAL SHEET' FAMILIAR, BUT ENGROSSING, MELODRAMA Rates • • + for action and ballyhoo houses; dualler elsewhere Columbia 82 minutes B.oderick Crawford, Donna Reed, John Derek, Rosemary DeCamp, Henry O'Neill, Henry Morgan, James Millicam, Cliff Bar- nett, Jonathan Hale. Directed by Phil Karlson. There have been enough tabloid news- paper melodramas over the years to squeeze the theme dry, so hardly anyone will expect ■ • mrlliing novel in this latest Columbia offering. "Scandal Sheet" covers familiar ground--. ill about the ruthless editor who sensationalizes other people's lives and. resorts to murder when exposure of his own lurid past is threatened — but it moves with good speed anil creates more than a modi- cum of suspense as it goes. Edward Small's production helps, too, almost achieving a "big picture" quality — but not quite. The di- rection by Phil Karlson is effective and Broderick Crawford turns in a topflight per- formance that transcends the material. W here heavily exploited, and especially in action houses, "Scandal Sheet" should have no difficulty garnering above average grosses. It will be just a so-so attraction for better class situations. Crawford is strong, tough, crisp as the hard-bitten editor. John Derek is once again too much the "pretty boy" lo be convincing a^ a crime reporter. Donna Reed is attractive and competent as a newspaper, gal and the object of Derek's heart. STORY: Editor Broderick Crawford sky- rockets the circulation of the decaying New York Express through sensational, yellow journalism. At the peak of his fame, he is confronted by the wife he deserted, who threatens to expose him. He kills her and tries to make the murder look like accidential drowning in a bathtub. Assigned to the case is Express reporter John Derek, Crawford's protege, who is helped, and loved, by Donna Reed, feature writer. Derek suspects murder and eventually finds the path leads to his editor and idol, who has, meanwhile, com- mitted another murder to ward off suspicion. In a melodramatic climax, police bullets cut down Crawford and it falls to Derek sorrow- fully to write the banner-line for the next edition of the Express. LEON B FILM BULL E T I N PRODUCED AND DIRECTED BY CECIL B. DeMILLE Produced with the cooperation of Ringling Bros.-Barnum & Bailey Circus Screenplay by FREDRIC M. FRANK, BARRE LYNDON and THEODORE ST. JOHN Story by FREDRIC M. FRANK, THEODORE ST. JOHN and FRANK CAVETT "If It's a Paramount Picture, It's The Best Show in Town" — and this Paramount Picture is THE GREATEST BOXOFFICE SHOW ON EARTH! ROOM FOR ONE MORE* CHARMING DOMESTIC COMEDY Rates • • • except for action houses Warner Brothers Cary Grant, Betsy Drake, Lurene Tuttle, Randy Stuart, John Ridgely, Irving Bacon, Mary Lou Treen, Iris Mann, George Win- slow, Clifford Tatum, Jr., Gay Gordon, Malcolm Cassell. Larry Olsen. Directed by Norman Taurog. "Room Kor One More" is a slickly pro- duced comedy neatly designed to beguile the family trade, women audiences particu- larly. The story is loaded with charm, and Henry Blanke's production sees to it that this is the quality emphasized — in screen- play, performances, and direction. An en- chanting story of a young wife who can't resist stray dogs and children, the script follows a merry, entertaining course as it unfolds her vicissitudes in the handling of a pair of problem youngsters. In depicting the amusing dilemma, the narrative gets down to situations recognizable to everyone. Norman Taurog's direction is bright 'throughout, decked witli >ock touches of business and , as usual, notable for his marvellous handling of the child players. Under Taurog's sympathetic supervision they come across as real youngsters, not child actors. "Room For One More" is the kind of picture audiences will talk about and do as much to sell to their next door neighbor as the exploitation campaign. Presence of Cary Grant and his pretty real- life spouse, Betsy Drake, as the Mr. and Mrs. of the piece adds excellent marquee lure to an excellent movie, which will enjoy topflight grosses everywhere except in action houses. Cary Grant is delightful as the husband, and Betsy Drake is equally so as the wife. Lurene Tuttle's social worker is first rate. Randy Stuart and John Ridgely score as two of the children, and Mary Lou Treen, in her standard role of maid, is a howl. STORY: On a tour of an orphanage with other young matrons, Betsy Drake learns of the problems in getting homes for older children. Lurene Tuttle blandly talks her into taking one of the youngsters on a trial basis. The girl turns out to be a real monster, but gradually the wholesome family environment and Betsy's persuasive ways change her into a normal, happy child. Next comes a boy suffering from paralysis. He's even more difficult, but the formula works again. Behind in his education he learns to read under her patient tutelage and eventu- ally wins the highest honors given by the Boy Scou's. Meantime Grant has himself a time asserting his husband's privileges but because he recognizes Betsy as a rare and wonderful woman and the kids as people needing help he accepts the responsibilities and what might appear as pretty rough treatment on the home front. 'The show is all tongue in cheek, played for humor, but because it is so genuine it emerges as some- thing more — clean, heartwarming entertain- ment. H ANNA (Hollywood) THE LAS VEGAS STORY' PLENTY OF SEX AND ACTION Rates • • • for action and exploitation houses; less in better class spots lacks strength, and the characters are pre- RKO-Radio 88 minutes Jane Russell, Victor Mature, Vincent Price, Hoagy Carmichael, Brad Dexter, Gordon Oliver, Jay C. Flippen, Will Wright, Bill Welsh, Ray Montgomery, Colleen Miller, Robert Wilke. Directed by Robert Stevenson. "The Las Vegas Story" is all sex and action, and it deals, in the main, and un- savory people up to unsavory conduct. Set against the internationally known gambling center of Las Vegas, the bizarre and garish atmosphere of the Nevada town is employed effectively, and the fights, fisticuffs and chases occur with considerable frequency. Aside from these concessions to those who seek the sordid in entertainment, "The Las Vegas Story" is just average fare. The story sented as types rather than people you readily understand. However, the closing chase is a humdinger and the proceedings are brought to a snappier conclusion than expected. Bolstered by the Russell-Mature names, this shapes up as an above-average grosser in the action and exploitation houses. Better class audiences may find it distasteful. Jane Russell sings, displays her pulchritude in a shower, and generally disports herself as a lady with past. Victor Mature is ok as the constable, and Vincent Price makes the most of his sides as the smooth, glib crook. Hoagy Carmichael is on hand for his standard characterization of the philosophi- cal piano player who tells the story. Brad Dexter, Gordon Oliver, and Jay C. Flippen stand out in support. Robert Stevenson's direction plugs hard at the action and sex elements and just forgets about the story, which is just as well under the circum- stances. STORY: Jane Russell, returning to Las Vegas as the wife of weathly Vincent Price, resumes her romance with Victor Mature, a fellow she had jilted during the war. As it turns out Price is on a shaky financial leg and has come to Las Vegas hoping to recoup the large sum he embezzled in Boston. The tables are against him and he is forced to pawn a necklace belonging to Jane. A murder is committed over the neck- lace and although Price is arrested another fellow turns out to be the culprit. Mature learns the truth in time to save Jane from being kidnapped by the killer. And he also produces the charges that keep Price in the cooler to await extradition to Massachusetts. Mature and Jane are reunited. ANGEL A GIRL IN EVERY PORT' WOEFULLY WEAK FOR GROUCHO Rates • • as supporting dualler RKO-Radio 86 minutes Groucho Marx, Marie Wilson, William Bendix, Don DeFore, Gene Lockhart, Dee Hartford, Hanley Stafford, Teddy Hart, Percy Helton, George E. Stone. Directed by Chester Erskine. "A Girl In Every Port" unhappily fails to generate any of the sustained hysteria ex- pected of a comedy headlining Groucho Marx, and it will serve only as a supporting dualler. It will serve when paired with an attraction of greater strength. The story is terribly slight and only slightly amusing. Marx is handicapped by the lack of punchy lines and strong comedy sequences. He pads the material at hand with his familiar mannerisms and as much silly business as the footage permits, but that ridiculous scripts just bears down on him. Curiously, the best laughs are those registered by two supporting players. Gene Lockhart and Hanley Stafford. As a wily old race track tout, Gene Lockhart wraps up a pair of se- quences for a solid personal success and Stafford has fun with his spot of a harassed Naval officer. Chester Erskines' direction fails to do anything to help the hapless pro- ceedings. If 20 minutes or so were cut out, this would be less of a problem to exhibitors. Marie Wilson displays her more pleasing pulchritude and plays the girl in typical "Irma" style. W illiam Bendix just fails to click.' Don DeFore handles the romantics agreeably. Dee Hartford is okeh as the society deb. Teddy Hart is on deck for a few bright moments as a professional gambler. STORY: Groucho Marx and William Bendix are spotted as a pair of sailors whose escapades during 20 years of service fill the files of their commanding officer. Bendix inherits a sum of money from an aunt, promptly invests it in a race horse. The animal is a dud but happens to have a twin owned by drive-in waitress Marie Wilson. All sorts of complications follow when Marx conceives the idea of selling it back to Don DeFore, young sportsman who has promised to give up racing at the insistence of his fiance Dee Hartford. On the eve of the big race, Marx and Bendix are between the devil and the deep. Their shipmates have put all their money on the horse, gangsters who've entered the picture want the race thrown, and Dee Stafford is anxious for DeFore to get a good lesson. Needless to say, things straighten themselves out at the finale. And somehow Marx and Bendix find themselves being honored for their unwitting valor in apprehending a pair of saboteurs. JAMES JANUARY 14, 1952 11 BOOTS MALONE' ENTERTAINING RACETRACK DRAMA Rates • • + generally, more in action Columbia 103 minutes William Holden, Johnny Stewart, Stanley Clements, Basil Ruysdael, Carl Benton Reid, Ralph Dumke, Ed Begley, Hugh Sanders, Henry Morgan, Ann Lee, Anthony Caruso, Billy Pearson, John W. Frye, Harry Hines, Toni Gerry, Hurley Breen, Whit Bissell, Earl Unkraut, Harry Shannon, John Call. Directed by Willian Dieterle. With il^ interesting picturization of the behind the scenes of race track life, "Boots M alone" is a different type of sport story, a drama with more emphasis on emotional angles and bright comedy than the usual. The script is developed with an eye toward bringing out these values so the result is a strong attraction of its type. The yarn makes a well-written entertaining movie, cleverly plotted, filled with punchy dialogue. houses The production projects the racing world in realistic fashion in both its physical elements and character types. William Dieterle's di- rection plucks adroitly at heart strings, but smartly doesn't lose sight of the urgency for pace .tnd action. Despite its rather long running time "Boots Malone'' unfolds at a brisk, entertaining pace; the racing se- quences pack excitement, and there's plenty of suspense. The title isn't the best for a drama of this type but where the exhibitor exploits the film as the punchy sports piece it is, the boxofnce results should be gratify- ing, particularly in action houses. William Holden plays the title role with warm sincerity, making "Boots" likeable and understandable despite his rough, tough ex- terior. Johnny Stewart displays a sensitive acting talent as the juvenile and Stanley Clements is at home in the spot of a jockey wise in the ways of his job. Basil Ruysdael, Carl Benton Reid, Ralph Dumke, Ed Begley and Hugh Sanders are splendid as various FINDERS KEEPERS' WEAK COMEDY EFFORT Rates • • — as supporting dualler Universal-International 75 minutes Tom Ewell, Julia Adams, Evelyn Varden, "Dusty" Henley, Harold Vermilyea, Doug- las Fowley, Richard Reeves, Jack Elam, Herbert Anderson. Directed by Frederick de Cordova. "Finders Keepers" belabors a fairly cute comedy situation to the point of tedium and then tosses in the sadly worn adage that honesty is the best policy for a melodra- matic finish. Practically all of it misses fire. About the only source of entertainment in this Universal offering are the antics of a 3-year-old baby who serves as a foil for a criminally toughened grandma. The pre- cocious youngster, who carts home thousand dollar bills in his little wagon, and the hardened old lady may provide some with amusement, but the script fails to elaborate on the potential and the comedy lines and situations fall flat. Add to this the melo- dramatic struggle to keep the boy's father from falling back to his former crooked ways, and the film often falls from the comedy level into a confused and dismal hodge-podge. Frederick de Cordova's direction milks each situation to the limit but his touch is more often heavy handed where lightness should prevail. The Leonard Goldstein pro- duction is poorly mounted and fails to add the quality setting that might elevate the story. The film's star is young "Dusty" Henley, a clever youngster who is a cinch to draw- coos of delight from the women. Evelyn Yarden makes a noble attempt in the part of the grandmother, but the weak script gives her little opportunity to capitalize on DESERT OF LOST MEN' ABOVE-PAR ROCKY LANE WESTERN Rates • • + for western houses Republic 54 minutes Rocky Lane, Irving Bacon, Mary Ellen Kay, Roy Barcroft, Ross Elliott, Cliff Clark, Boyd Morgan, Leo Cleary, Kenneth Mac- Donald, Steve Pendleton, "Black Jack". Directed by Harry Keller. "Desert of Lost Men" is moulded in the same pattern as the rest of the Rocky Lane series and is one of the best in the series. The emphasis on gunplay, indoor fights with plenty of breakable furniture and stagecoach holdups should give western devotees a big time. Lane fans will find their hero show- cased to good advantage in a script that he carries all the way. I'roducer-Director Harry Keller caters to the action taste with a sure-fire Western formula for the secondary slot. Lane adds to his stature in a performance that he handles smoothly and confidently. Top support is turned in by Irving Bacon, a veteran of many a cow trail, who, in his role of the sheriff, adds the light touches. Ross Elliott, as a doctor who serves as a decoy to lure the villains, also fills in the romantic lead with a capable performance. Cliff Clark, another veteran of the series, and Roy Bar- croft cut op a few touches as the heavies, Good camera work and music add to the film's credit and editing keeps the plot down to essential action. STORY: Rocky Lane, as. a deputy marshal, comes into Bear Creek to trap a of the racing characters. The parts have a Runyon-like flavor to them is well brought out in the playing, making for added interest in the picture. STORY: William Holden is an agent's jockey come upon hard times. Johnny Stewart, a youngster, wanders into his life, reveals that he has quite a bit of money. Holden and his buddies begin to take the kid down the line on the promise of training him to be a jockey. The boys have all pitched in to buy a horse, and Johnny, after displaying natural riding ability, is allowed to ride him. They enter the horse in the big race. A professional gambler to whom Holden is indebted catches up with him and insists that the race be thrown. Meantime Johnny's mother has caught up with the youngster and taken him away. He makes his way back to the track and plans to ride the race. Holden hasn't the heart to make him throw it, successfully risks his life for the kid's victory. ANGEL a nicely drawn character. Tom Ewell, as the father, seems rather confused as to whether he is a sympathetic or comic character. Julia Adams, the mother, is just adequate in an uninspiring part. STORY: The young son of an ex-con finds a chest of money which was planted in a vacant lot by a gang. He loads his wagon with bills and carts it home to his grandmother, a former gang moll, who tries to hide the money from her son, going straight, his wife and his parole officer. The father tries to return the money to the police, but the youngster carts home another load the next day. The gang gets on to his pilfering and kidnaps the boy with the grandmother joining forces with the gang. When the father leads the police in a raid on the thugs, the grandmother plays it for a hero and the boy goes back to filling his wagon with mudpiles. WEBBER gang of outlaws known as the Lost Men. He foils an attempt to rob the funds that are to be used to build a hospital in the town. The money disappears, however, and Lane lets it be known that one of the town's doctors, entrusted with the funds, is wanted for murder under another name. This is a ruse to decoy the outlaws, but it falls through when one of the gang gets wind of it and the doc is captured to sweat out the whereabouts of the cache. Several other in- genious schemes fail until Rocky allows himself to be captured in order to discover the hideout where the doc is being held. Then follows an escape with Rocky shooting it out with the whole gang and eventually knocking oft the leaders in hand-to-hand combat. WEBBER 12 FILM" BULLETIN COME HERE THE NELSONS The BATTLE h". k APACHE PASS J Lo celebrate Nate Blumberg's 4o years in show business in a manner which will long be happily remembered by our thousands of exhibitor friends, we have carefully assembled a schedule of releases that, we are confident, will bring extra profits to theatres during the period of the Nate Blumberg Drive. Our releases from January through April are big in every sense — particularly in the sense that. . . The CIMARRON KID Color by FINDERS KEEPERS 20th-Fox Sets Full Year's Schedule, Realigns Top Sales For the first time in its history, 20th Century- Fox was in a position to announce a full year's releases in advance. With more than three-quarters of its production schedule for 1952 completed or before the cameras, distribution vice-president Al Licht man detailed a complete vear's release schedule at the company's sales convention in New York last week. More than one-third of the 36-feature schedule will be in color, Lichtman declared, with films to be delivered months in advance in order to provide long-range advertising, publicity and exploitation campaigns for mass audience penetration. Lichtman also unfolded a three-pronged program of company operations as follows: "1. The ability of the production organi- zation to produce the highest quality pic- tures at costs commensurate with the current market. "2. A top-notch distribution effort by every member of the sales force to ensure widest circulation of the company's films, via a sales policy calling for fair dealing on all sides. "3. An equal advertising, publicity and exploitation effort aiding exhibitors to reach a maximum audience for every picture with the highest returns." "It must be understood," Lichtman told the assembled sales chiefs, "that no second- class effort will accomplish this result, just as no second-class effort was able to produce the kind of pictures that you will have the privilege to distribute this coming year." As for the studio, it performed the "most outstanding accomplishment in that they produced the maximum number of pictures that is possible to produce at our studio based upon its capacity. They actually pro- duced 36 pictures during the calendar year." Lichtman also announced a new setup in the sales organization under which W. C. Geh ring will become executive assistant general sales manager and division heads Edwin W. Aaron and Arthur Silverstone, who have been functioning as Western and Eastern sales managers, respectively, were designated as assistant general sales man- agers. Aaron will be responsible for the detail operation of all sales throughout the United States, while Silverstone will super- vise all circuit and key city sales as well as the Canadian branches. In a special address before the convention, president Spyros P. Skouras advocated an approach to the coming year "with optimism and enthusiasm because in our business it is fundamentally inherent that a dejected and depressed attitude is ruinous, while a buoyant and fighting optimistic spirit will bring success." He called the forthcoming product the "best" ever produced by the studio, adding, "we will back this with un- usual plans in promotion, exploitation and advertising as we have ever done before." Some +5 "field generals" of the 20th-Fox distribution force, on hand for the annual confab, which lasted through the week, also JANUARY 14, 1952 BULLETIN Vol. 20, No. 1 January 14, 1952 News mnd Opiniait heard addresses by Gehring, Silverstone, Aaron, ad-publicity vice-president Charles Finfcld, Donald Henderson, W. C. Mitchel and \Y. J. Eadie. UA's Return Into Black Assures New Regime Control United Artists' new management has sur- prised even itself. Given three years in which to bring the company out of the red in which it had weltered since 1946, in order to preserve their option on stock and management, the group headed by Arthur Krim startled both the industry and them- selves by accomplishing the job in ten months, thus assuring their 100 per cent manageme.it and 50 per cent ownership of the company for the next nine years. Associated with president Krim in the management and stock participation are Robert Henjamin, Matthew Fox, distribution vice-president William J. Heineman, v. p. and ad-publicity director Max Youngstein, and foreign distribution v. p. Arnold Picker. In one of the most dramatic business re- coveries in motion picture history, the present group finished 1951 in the black (subject to audit), thus entitling them to ownership of half of UA's 16,000 shares of common stock. The balance is held by Mary Pickford and Charles Chaplin. Krim, in a "progress report" to the trade press, admitted that the present achievement has been aimed at 1953, though he and his colleagues thought there might be an outside chance of success in 1952. He recalled the discouraging outlook when they assumed control last February and saw the first nine week- of h.ssis reaching mountainous pro- portions. Thin, in June, the profits began rolling in and have since continued to a point where the red inkwells were covered up. Wholehearted exhibitor support was a prime factor in the company's resurgence, it was stressed by both Krim and Heineman. The sales topper cited cases where the thea- tremen had even offered cash advances "which, of course, we couldn't accept." Heineman also commended the exhibitors for their forcsightednc-s in realizing that the demise of United Artists would eventu- ally hurt the theatres since it would elimi- nate an important source of product. Krim also heaped praise on his associates for their unflagging efforts to effect the present happy situation. Financially the company starts 1952 well breeched. Of the $2,000,000 revolving credit granted by the Heller interests, some $700,000 still remains; banking support for independent production is also available. The product outlook was described as "healthy," both as to quantity and quality. It was noted, also, that half of the films acquired from Eagle Lion Classics are still to be liquidated. As to television release, Krim said UA will continue its policy of TV restriction on films less than five years old, the company's normal period for licensing to theatres. COMPO PR Plan For '52 Puts Spotlight On Theatres COMPO's public relations plan for 1952 places stress on the motion picture theatre as the source of the public's best and cheapest entertainment. The plan, submitted to the presidents of the major companies last week, was made public by COMPO executive vice-president Arthur L. Mayer. In addition to the heightened publicity effort aimed to focus the public's attention on the movie theatres, the plan calls for a cooperative advertising campaign, a renewal of the Movietime star tours, and a speakers' bureau. The film company toppers had, in an earlier meeting, appropriated $150,000 for a new series of star tours, but had split on the manner in which the companies should participate in the ad campaign, although the I Continued on .Ye.tr Page) UA'S MIRACLE MEN From left. Messrs. Picker. Heineman. Benjamin. Krim. Fox, Youngstein 15 Xvii-s find Opinion (Continued from Preceding Page) institutional message won unanimous ap- proval. The MPAA advertising committee, made up of the advertising heads of all the major companies, and headed by Universal's Charles Simonelli, was due to meet last weekend to resolve the differences. "Instead of glorifying Hollywood as the source of the best entertainment" and making claims for the entire industry, it was recommended, "our public relations program should point to the local movie theatre as the possessor of these vast entertainment resources. For it is not Hollywood that is in competition with television. Nor is it the industry. The competition is between the local movie theatre and the living room tele- vision set." Stressing the need to show that the movie theatres offer enough "to outweight the comfort and convenience of staying home and watching a show in the living room," COM PC) urged the plugging of "the un- paralleled entertainment resources at the command of the motion picture theatre. Companies cooperating in the ad program, according to the plan, would use one of two space schedules. One calls for 600 lines in 220 daily papers in 103 cities over 100,000 population, at a cost of $54,000; the other would use 1000 lines in the same papers at a $90,000 cost. It was also suggested that the new campaign be conducted over a period of several months, rather than one big ad with pictures from the ten companies listed, as in the October campaign. It was also suggested that participating companies would use the minimum space schedule and would agree to the same approximate space division between the industry message and a display of their top product. In recommending another series of Holly- wood Star Tours, the Committee urged in- clusion of "better known personalities" to lend strength to the tours themselves and supply "living proof of the claims . . . that the movie theatre commands the best of the world's talents." Kramer Strikes Back With Libel Suit, Gets Big Backing Stanley Kramer, whose unbroken series of quality films has earned him one of the top spots among Hollywood's production moguls, victim to the usual attacks upon success when a Los Angeles outfit named "The Wage Earners Committee" picketed ^his Columbia film as it attacked Kramer "for his Red-slanted, Red-starred films." The producer promptly slapped a million-dollar libel suit on the group and found a host of backers in the industry to help him fight the slander. Kramer's action and the prompt support by responsible industry elements served notice that movie people were no longer fair game for publicity hounds or pressure groups. I"irM of the group was the Producers As- 5TANLEY KRAMER No More Open Season sociation, which blasted the "Wage Earners" group action as "vicious, unfounded attacks on the motion picture industry," and promised support for Kramer's suit. Immediately thereafter, the Council of Motion Picture Organizations went on record in a wire to Kramer as indorsing his "courageous action against Los Angeles pressure group" and pledging "whole- hearted" support in the legal battle. "Com- batting false accusations against patriotism of motion picture industry is one of COMPO's major activities notwithstanding partial reports of COMPO's public relations program which may have given contrary impression," the wire said. The reference was to COMPO's anti-Red program in its p. r. proposals. Warner Net Hacked by Taxes But Still Healthy $9,427,000 A whopping boost in taxes brought Warner Bros. 1951 fiscal year's profit below the previous year's net, but still gave the company a healthy $9,427,000 or the year ending Aug. 31, 1951. The current year's tax bite, $9,100,000, plus $700,000 for con- tingent liabilities, was almost $3 million above the 1950 figure despite a $10 million drop in grosses for '51. The figures, as disclosed in the annual report, showed the following for 1951: Cash, up $123,000 to $20,556,000; U. S. Gov't Securities, down $9,674,000 to holdings of $9,238,000; current assets less current liabili- ties, down $14,560,000 to $30,248,000; funded debt maturing after one year, down $3,041,- 000 to $8,061,000. Net worth (book value), down $13,885,000 to $116,277,000. Film rentals and theatre admissions went down from $126,944,000 in 1950 to $116,909,- 000; net on sales of capital assets dropped $272,000, from $1,461,000 to $1,189,000, and — here's the rub — provision for federal taxes increased from $6,300,000 in 1950 to $9,100,- 000 in 1951. Common stock book value, however, moved up to $20.69 per share on 5,619,785 shares in 1951, compared with $18.60 on 6,997,300 shares. The report also disclosed that 24 theatres were sold during the year, including eight required to be divested under the Consent Judgment. Since August 31, eight more have been sold, two of which were ordered divested. Aggregate sales price for these theatres and other properties sold during the year was $7,106,000, representing a net profit of $2,208,000 before federal taxes. The report also said that the management is considering appropriation of approximate- ly $15,000,000 to purchase about a million shares pursuant to invitations to tender stock to be mailed to stockholders shortly after the annual meeting next month. Because of changes in the industry since the Decree, a new Plan of Reorganization will be necessary, it was said, and will be recommended to the stockholders. Under the "spin-off" provisions of the Revenue Act of 1951, the report declared, benefits may be secured "which would not require the dissolution of this Company." The rate of decline in Warner theatre receipts during the last three months of 1951 has lessened since the same period the year before, although receipts were still below the 1950 final quarter. It was expected that the profit before taxes and capital gains will be "slightly larger" than the correspond- ing profit of $3,846,000 for the same quarter last year. A six-month extension from the Jan. 4 deadline set by the Department of Justice for Warner Bros, to divest themselves of 27 theatres in the divorcement order was granted the company. The consent agree- ment provided for the disposal of the 27 houses within the .first year after entry of the decree, but the Department of Justice, pursuant to its policy of "practical consider- ation," declared its willingness to permit the company an additional six months to meet the requirements of divestiture. Lippert Doubles Budget Sets Minimum of 22 For '52 At least 22 and possibly as many as 30 features will be on Lippert Pictures 1952 production schedule at a cost of more than $4,000,000 doubling the company's 1951 budget. The minimum of 22 was revealed by Robert L. Lippert, president, at the first national sales meeting in Chicago. The balance of the program will depend on negotiations currently in progress with in- dependent producers. Among the top pictures to be released, as listed by ad-publicity director Marty Weiser, are: "The Tall Texan," "Massacre," "Galves- ton," "Dorothy in the Land of Oz," "City of Sin," "Pirates Gold," "Flanagan's Boy," and two George Raft pictures, as well as a Carl Foreman untitled story and "Loan Shark," currently before the cameras. FILM BULLETIN THE BOOKING OF THE WEEK { ...DESIGNED TO HIGHLIGHT CURRENT AND CHOICE PRODUCT IINGS YOU'LL ANT TO KNOW OF STORY: iture-Romance perCinecolor JNING TIME: for re thriller! Flor- n the Everglades Ider than the resold by the ■lil led best selling y Theodore Pratt. . eroeodile! Rag- ricanes! Hitherto* story of Miami's era! Thrill to tug- e between Cum. and Courtland for Moore. "Plenty potential." (Film "Entertainment e entire family." ) BAREFOOT WMWW SENSATIONAL ADVENTURE ON AMERICA'S t LAST FRONTIER -from the sensational best-seller that thrilled millions! RIBUTOR: Short Subjects BY BARN TH ERE ARE at least two indisputable facts ' about Cecil B. DeMille — his pictures in- evitably are boxoffice, and he lias a un- common ability of making sense during an interview. In New York, last week, the veteran showman, meeting the press as part of his agenda for the opening of his latest spectacle, "The Greatest Show On Earth," placed his ringer right on the pulse of today's movie situation with: "No one goes to the movie theatre now for a place to sit down, or because they have time to kill, or want to eat popcorn. People today attend a film theatre for the same reason that they attend a legitimate theatre. They come to see the attraction." As for double features "(they) always have impressed me as like eating two meals on top of each other. They give you indi- gestion." And on "Greatest Show," DeMille thinks it will outgross "Samson and Delilah." 0()TH-F< >VS CHARLES EINFELD, who has been responsible for several innova- tions in the film promotion field, has another — "point-of contract showmanship." The Fox veep was enabled to present the idea to the company's annual sales convention by 20th's unprecedented unveiling of its entire 1952 program, thus giving the hucksters ample time for long-range planning on each picture. Outlining the idea, F.infeld told the sales heads: "Your job doesn't end when the contract is signed or the booking is made. Through our planning you will be ready to go further in your policy of sound customer relations to offer an exploitation foundation upon which to build a campaign that can grow with ample time for its penetration." To supplement the sales force showmanship efforts, Einfeld has assigned a group of "project officers" who will be paving the ballyhoo way on their individual pictures. With the company's field exploiteers pro- viding on-the-spot air in each territory, each film will get three-fold showmanship back- ing by the distributor. Till. DISTRIBUTORS' sales meeting schedules are running hot and heavy. 20th- Fox had its annual conclave in New Vnrk last week; Columbia knocked off the second of a series of divisional confabs in Washington, with all the home office execu- tive- on hand; Republic began a series of lour regional meets last week (9th & 10th) at the North Hollywood studios, to be followed by conferences in Chicago (14-15), New York (16-17) and New Orleans (21- 22), with prexy Herbert J. Yates addressing each regional; Paramount was due for its first '52 meeting of divisional sales managers in New York with a three-day conclave beginning Jan. 14, and Monogram will have its (op brass together this week, with presi- dent Si< .'• I.roidy, Harold Mirisch, G. Ralph Bran ton, Morey Goldstein, Edward Morey and Lloyd l.ind due to set the sales policies for '52. LEO'S DEITZ Green Grows the Showmanship METRO'S HOWARD DIETZ has come up with another solid idea for promoting the Lion's showmanship efforts by exhibi- tors. Leo's ad-publicity chief has set a $1000 in prizes each month for next six months for exhibitors creating the best campaigns for the designated attraction of the month. The competition begins with February's "In- vitation," but, to make certain the subse- quent runs have their opportunity for the cash, exhibitors will have about four months in which to complete campaigns and submit them. First prize each month will be $500, second, $250, and five additional prizes of $50. Judges for the contest have been selected from editors of the trade press. Says Dietz: "We want to make this a truly world- wide competition and we have thereby made it possible for any type of theatre operation to be considered — any theatre in any size town; it's open to one and all. All we are seeking is an enlarged interest in showman- ship and promotion." There is little doubt that the green stuff is one of the most potent ways to get it. THEATRE OWNERS can save up to 40 per cent in film transportation charges by eliminating the heavy film cans, whose use is now obsolete with the changeover to ace- tate safety film, according to Henry Reeve, president of I exas Theatre Owners. Noting that film containers are the same as those used 30 years ago, when the heavy metal was necessary as a fire safeguard, Reeve feels that a "transportation saving of 33-1/3 in 10 per cent is possible to theatre owners mi sin^k- and two-reel subjects — and a con- siderable saving on larger shipments — not at all a small item to small town theatres which are today paying $100 and upward a month on 200-mile hauls — and more and more as exchange distance increases.'" In his home theatre, he says, the 10-pound metal can used tor shipping the twice- weekly newsreel costs 52 cents each way, or $1.04 for each issue. For the occasional shipment in a cardboard container, the round-trip cost is 60 cents. This saving on each of the subjects, coupled with the Government's concern over the metal situ- ation, should merit a look-see toward effect- ing a change both in the interests of eco- nomy and in conserving metal. TOMPO'S OFFER of press facilities in its headquarters for all out-of-town news- papermen visiting New York is a smart move — and why didn't YOU think of it before? The proposal, sent to all Movietime U. S. A. publicity chairmen, urges that newspaper writers contemplating a visit to the Big Town be advised that they will be welcome at the COMPO offices, wdiere working facilities will be provided them. Consequently, when a visiting newspaper man files a story from the comfortable sanctum of COMPO's offices, there is every likelihood that movies won't suffer in the process but will certainly be in a postion to get plugs. UARIETY CLUBS International chief barker Marc J. Wolf has a helluva schedule lined up: Jan. 5, installation of officers for the Chicago tent; Jan. 7, dedi- cation ceremonies of the Variety Children's Cancer Research Clinic in Boston; Jan. 11, Chick Lewis Testimonial dinner in New York; Jan. 14, installation of new officers and crew at Indianapolis; Jan. 19, installation of same at Buffalo, and Jan. 20, speaker at the Pittsburgh Tent's annual banquet. Whew! THE SECOND ANNUAL Monogram Week, Feb. 10-16, certainly won't lack for quantity of product. President Steve Broidy has set 87 features, including re- issues, in both black-and-white and in color, as well as the Little Rascals shorts program, to help the 37 company-owned and franchise- operated exchanges in the U. S. and Canada fulfill the slogan of "A Monogram subject on every screen in the nation during Mono- gram W eek." AF MEN AND THINGS: United Artists foreign distribution chief Arnold M. Picker had a busy week with switches in his department. Sidney Lieb was named foreign service manager, while the Caribbean area w'as realigned with Alfred Katz as area supervisor; Albert V. Steinhardt succeeds Katz as Puerto Rico manager and Leonard Pearlman fills Steinhardts' former post as Trinidad head . . . Bob Goodried has joined Paramount Studio's publicity dept., after two years as ad-publicity director for L. A.'s Metropolitan Theatres . . . Robert Wile was formally inducted as executive secretary of I TO of Ohio, succeeding the late and great Pete Wood . . . William Freedman, 20th-Fox purchasing agent, died suddenly, January 3, in his 54th year. LI FILM BULLETIN UHSUM ON 5 lL FOX AD-TACHS ON FOUR Display ads and teasers on each oj the four complete campaigns are pictured above: At top. left, the action ads; center, the story telling ads; right, the G-2 ads. At bottom, the large city ads as used by the New York Rivoli. ^ I \IOl E PICTI RE has been given a unique advertising scheme by 20th Century- Fox in its "Decision Before Dawn." Confident of the film's universal entertainment values as suspenseful, emotional drama. 20th's ad-publicity-exploitation chief Charles Finfeld and his staff, mindful that the prime condition was to get 'em into the theatre — and the picture would take care of the rest — have evolved a four-pronged ad cam- paign aimed at every type of moviegoer. Four individual groupings of ads, each a complete campaign right down to the teasers, have been set up: one group is aimed at the action fans; another at the growing mass of discriminating, selective patrons, describing the unusual story; a third to tie in with the timely and heretofore unsung theme; the last aimed at the big-city patronage, patterned on the New York campaign, featuring quotes from the syndicated columnists, literati, national magazines and other important opinion-makers. The multiple campaign, pictured in part above — and elaborately outlined in the superlative press hook -offers no less than 65 different mats from which the showman may selecl a- best suited to his patronage. The action series uses a cloak-and-dagger theme illustrated by dramatic chase sequences; the story-telling campaign profiles the protagonists, telling how their lives clash in the spy drama; The counter-intelligence (G-2) pel focuses reader attention on Oskar Werner, a brilliant young German actor, whose C-2 file card describes his top secret mission behind German lines: the big town -roup is highlighted by a series of teaser ads featuring quotes by WinchelF. Parsons. Hopper. Hennet Cerf. Life Magazine, etc. Despite the concentration on the ad campaigns, boxofficers have not. neglected the exploitation and publicity facets thai are so important in a successful showmanship effort. George Howes Christopher Award novel, "Call It Treason," on which the film i- based, baa been reprinted in a special 35-cenl Pocket Hook edition, with the initial print ordei at 100,000. Some engrossing Bpecial layouts, based on the on-the-spot film- ing m Germany are offered foi feature layouts. Two teaser trailers, in addition to the regular production trailer, ire available. Three special 28-sheets. in addition to the 24-sheets and other accessories have been concocted to excellent effect. And all this is only a sample of the Hiperb showmanship campaign lavished by the 2()th-Fo\ on "Decision Before Dawn." The rest is in the press book for the showman to use and to profit w ith. His identity discovered, the spy several times escapes capture, once by dodging behind a moving train. Stymied by the treachery of another "spy" (Hans Christopher Blcch), Basehart and Werner make plans for return, the latter forfeiting his life to permit the American's escape. A pair of lost souls in dying days of Nazi Germany, Hildegarde Neff and Oskar Werner find brief comfort of companionship in the pitifully sordid dance hall DECISION BEFORE DAWN Anatole Litvak, producer-director of "The Snake Pit", has in "Decision Before Dawn" enlarged his study of ailing indi- viduals to encompass a whole nation — Germany in the last days of World War II, devastated by bombings, peopled with a variety of automatons, some still fired by the fanatic fervor for Nazism, others seeking desperately for the shreds of normalism. Based on George Howe's Christopher Award-winning novel, "Call It Treason," this film, for which 20th-Fox brought a complete crew- over to Germany, utilizes only two American actors, the rest of the cast composed of German players and types recruited from the populace, -r In the tuwp ok what were once proud and beautiful cities. Litvak has mol'detjl.a spy thriller that goes far beyond the usual screen melodrama. He follows the mixed emotions of a young German soldier. Oskar Werner, captured by the Allied armies in the rush to Berlin, who is convinced by his captors that he can do his doomed country and its people the most good by de- feating those that would prolong the war. Paradoxically dubbed "Happy" by the Americans because of his mournful expression, the German embarks on an espionage mission, accompanied by an American officer and another of his compatriots chosen by the American Intelligence Unit. The three are dropped by para- chute behind German lines. Werner proceeding alone to Munich. He gets the information assigned, has several narrow squeezes as he eludes SS operatives, strikes up a brief, abortive romance with a pretty, young German camp follower (Hildegarde Neff), rejoins the other pair only to iind themselves trapped on the eve of return. In a final glorious gesture. Werner sacrifices his life so that the American can escape with the vital information. That, simply, is the story. But it doesn't come close to describing the excitement, suspense, pathos and insight into a nation of lost souls that "Decision Before Dawn" unearths in its two-hour running time. EXHIBITORS FORUm Opinions Culled from Organization Bulletins STAY ABOVE SUSPICION North Central Allied For years, this unit of Allied has been in the front ranks of the fight against com- pulsory percentage, particularly in the smaller situations. In season and out of season we have warned exhibitors that play- ing any pictures on percentage simply gave them an unwelcome partner for that engage- ment and boosted subsequent flat rentals. That advice still goes, but to it must be added a word of warning which, as of now, is of the utmost importance: If you do play percentage, make an honest, accurate re- port. The new system of checking by Wil- mark for all companies, lends itself to the gravest .lbuses. Wilmark checks on both percentage and flat pictures. Further, when the distributor claims a discrepancy, he no longer tells the exhibitor what the exact claim is, he merely states that the report submitted by the exhibitor was incorrect and asks him to submit a new boxoffice state- ment. This, of course, is an effort to put the exhibitor on the defensive. In any event, if you just cannot keep your- self from signing percentage contracts stay honest. An audit by Sargoy & Stein, who represent all the film companies, is not a pleasant experience. Our first advice was the best advice: Buy flat rental! SIGNPOSTS TO UNITY Gulf States Allied The elbow-rubbing of distributors and theatre operators at any exhibitor-show is a virutal indication that perhaps some day in some way right will reign supreme over night. Certainly, each year as we approach the time alloted to our business sessions when our distributor friends kindly juggle their top heavy schedules and trek across country in our behalf, undergoing on many occasions all types of inconvenience, we anxi- ously seat ourselves in anticipation of the fullfillment of hope that the delivered dis- tributor addresses will impart the news of a higher aim of fairness to and less pressure on the overburdened exhibitor. While in general substance this policy seems to be infiltrating itself from one film company to another, it was Eddie Aaron (20th Century-Fox) who specifically stated that: "No distributor has any right to a profit on a picture unless the exhibitor makes one." "Simple fairness and simple equities should govern the industry and the most important thing is for us all to make a living from it" were statements encourag- ing to every listening ear. Mr. Aaron's talk was direct and meaningful. SILVER LINING DEPT. North Central Allied In his annual pastoral letter concerning renewal of the Legion of Decency pledge, the Right Reverend John Gregory Murray, Archbishop of St. Paul, had little to say about the movies, but made the following comment on television: "The penetration of television into the home is having disastrous results especially on children who are giving evidence of great nervousness and inability to concentrate in the class-room as a result of limited sleep and brain fatigue not to mention the priva- tion of normal physical activities outdoors so essential to the healthful growth of the child. Douglas Fairbanks, jr. proudly announce BETTE DA ...the sensational lovers of 'All About Eve tn no7Her Man's Poison ;la» Fairbanks, Jr. and Daniel M Angel cescnt Bette DSVIS 7 Merrill • Emlyn Williams m "Another Man's Poison" • also starring Anthony steely o»,m,sS,on „< " i ftan't Productions. Lid.)- with Barbara Murray ■ Reginald Beciinith • Edna Morris • Screenplay by Val Guest ' 'ni play, "Deadlock." by Leslie Sands ■ Produced by Daniel M. Angel • Directed by Irving Rapper 32 FILM BULLE T I N 'RODUCTIOn \ R€L€fiS€ R6CORD COLUMBIA In the Release Chart, "Rel." is the National Release Date. "No." is the release Number. "Rev." is the issue in which the Review appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1950-51 programs unless otherwise noted. IT) immedi- ately following title and running time denotes Technicolor, (C) Cincolor, (SO Supercinecolor, (TR) Trucolor, (A) Anscolor. 1951-52 Features Completed (51) In Production I 1 ) Serials Westerns Completed ( 3) Completed (16) In Production (0) In Production ( 1 ) 1 METRO- COLDWYN -MAYER RELEASE CHART 1951-52 Features Completed (75) In Production (2) IN PRODUCTION — 1951-52 — RELEASE CHART TITLE — Running Time Cast Barbed Wire Autry-Buttram Rainbow Round My Shoulder (C) Laine-Daniels Sabre and the Arrow, The IT) Crawtord-Hale COMPLETED Barefoot Mailmen, The (SO 183) Biq Gusher. The 168) Boots Malone 1 103) Brave Warrior Rel. No. Rev. Brigand. The (T) Captain Blood, Fugitive Clouded Yellow, The 196) R. Cummings-T. Moore 11-51 Morris-Foster 7-5 1 Holden-Clements 1-52 Jon Hall _ Dexter-Lawrence Louis Hayward _ Simmons- Howard 7-30 Corky of Gasoline Alley (70) S. Beckett-J. Lydon 9-51 Congo Bill McGuire-Moore Chain of Circumstance (68) M. Feld-R. Grayson 8-51 Criminal Lawyer (73) O'Brien-Wyatt 10-51 Cripple Creek Montgomery-Booth Cyclone Fury (54) Starrett-Burnette 8-51 Death Of A Salesman 1115) March-Dunnock __ European Edition Glen Ford 10-8 8-27 . 9-10 Derek-Cobb 12-51 Williams-Reynolds Family Secret, The (85) Firefighters, The First Time, The Cummings-Hale Five (93) _ S. Douglas-W. Phipps 10-51 Four Poster, The Harrison-Palmer Golden Hawk Fleminq-Hayden Harem Girl, The _ Davis-Castle Harlem Globetrotters. The Hawk of Wild River. The _ . Her Wonderful Lie Hurricane Island (C) Hills of Utah 169) Jungle Jim in the Forbidden Land Jungle Manhunt (66) _ Jungle Safari ..Gomez- Da nd ridge Starrett-Burnett Kiepura-Eggerth .Hall-Windsor 11-51 7-51 Autry-Buttram 9-51 356 ... . Weissmuller-Ryan 9-24 ...Weissmuller-Ryan 10-51 Weissmuller-Greene 11-5 Kid From Amarillo (56) Starrett-Burnette Lady and the Bandit, The 178) Hayward-Medina Laramie Moutains Starrett-Burnett Magic Carpet (C) (84) Ball-Agar Magic Face, The (89) ... Adler-Knight Man In the Saddle (Tl (87) Scott-Leslie Marrying Kind, The _ Holliday-Harrison Mask of the Avenger IT) (83) Derek-Quinn 10-51 9-51 9-10 10-SI 10-8 9-51 12-51 _ Mob, The 187) . B. Crawford-Buehler My Six Convicts Beel-Mitchell Never Trust A Gambler (79) Clark-O'Donnell ... Night Stage to Galveston ._ _ Autry-Buttram Old West, The Autry-Davis 1-52 Paula Pecos River (54) Pickup 180) Purple Heart Diary 7-51 359 10-51 . .8-51 326 7-16 9-24 7-16 Young-Smith Starrett-Burnette 12-51 12-17 Haas-Michaels 8-51 7-30 F. Langford-T. Romano .. 12-51 _ Autry-White 9-51 318 _ 8-27 12-31 1-52 Riders of the Whistling Pipes Rough, Tough West Starrett-Burnett Saturday's Hero (III) Derek-Reed Scandal Sheet Crawford-Derek Smoky Canyon Starrett-Burnette Sniper, The Menjou-Franz Son of Dr. Jekyll (78) Hayward-Knox 11-51 10-22 Sound Off Mickey Rooney Sunny Side of the Street 171) Lane-Daniels 9-51 Ten Tall Men (T) (97) Lancaster-Lawrence 12-51 Thief of Damascus, The Henreid-Sutton Valley of Fire (C) (62) Autry-Barnett War Cry (C) _ Montgomery-Long Whistle at Eaton Falls, The (90) Bridges-Gish 11-51 11-19 . 8-5 1 8-13 1951-52 LIPPERT Completed (30) In Production (0) RELEASE CHART — 1951-52 — COMPLETED TITLE — Running Time As You Were landit Queen FBI Girl For Men Only G. I. Jane 162) Great Adventure, The 175) Highly Dangerous 181) Leave It To The Marines (66) Lost Continent Man Bait Outlaw Women Stolen Face, The Sky High (60) S. Melton-M. Lynn Superman and The Mole Men (58) Reeves-Coates Tales of Robin Hood Clarke-Hatcher Unknown World 163) Kellogg-Nash . Varieties On Parade Rose-Carroll ._ fes Sir. Mr. Bones (54) F. Miller JANUARY 14, 1952 Cast Tracy-Sawyer Britton-Parker Romero-Totter — P. Henreid Porter-Neal • Price-Hawkins ... Clark-Lockwood S. Melton-M. Lynn Romero-Brooke Brent-Chapman Windsor-Rober Henreid-Scott S. Rel. 10-5 12-15. 10-26 .1-52 ... 7-6 .11-2 .10-12. _ 9-2 8-27 1-52 No. .5023... _50I0 . 5002 Rev. 10-19 5012 .5021 . .5029. , 5005 .5004 ... 9-24 9-10 5105 10-19 I 1-23 1 2—2 I . 10-26 . _.7-20.. 7-13.. .5024. 5030 5008 .5101.. .5020. 5019 9-24 IN PRODUCTION TITLE — Running Time Carbine Williams Because You're Mine (T) COMPLETED Across the Wide Missouri IT) 178) American in Paris IT) 1113) _ Angels in the Outfield 1 1 02) Because Your Mine Belle of New York IT) — _ Bannerline 188) Callaway Went Thataway 181) _ Calling Bulldog Drummond 180) _ County Line Excuse My Dust IT) 182) Girl In White, The _ - Glory Alley Great Caruso. The ITI 1 109) Hour of Thirteen, The _ Invitation The ... ...... It's A Big Country 189) Ivanhoe IT) Just This Once Kind Lady 1781 — 1951-52 — Cast Stewart Hagen Lama-Morrow Rel. No. Rev. Law and the Lady. The 1104) Light Fantastic, The 181) Light Touch, The 193) Lone Star 194) Love Is Better Than Ever Lovely To Look At IT) - Man With A Cloak 188) - Merry Widow, The IT) _ Mr. Imperium (T) (87) Pandora and the Flying Dutchman IT) (123) People Against O'Hara (102) Quo Vadis IT) 1171) I Was a Stranger Red Badge of Courage 169) Rich, Young and Pretty IT) (95) Scaramouch* - Sellout, The 183) Shadow in the Sky 178) Show Boat IT) 1.108) Singin' In The Rain IT) Skirts Ahoy Strictly Dishonorable (95) Strip, The 185) — Talk About a Stranger Tall Target, The (78) Teresa 11051 Texas Carnival (T) (77) ... _ Too Younq To Kiss 191) Unknown Man, The 186) Westward the Women 1116) When In Rome . — — - Wild North Country, The (A) Young Man in a Hurry Gable-Hodiak Oct 208 10-22 Kelly-Caron Nov 9-24 Douglas-Leigh Sep 202 8-27 ..Lanza- Whit more - Astaire-Vera-Ellen 3-52 Forrest-Braselle Oct 206 9-24 MacMurray-McGuire Dec 12-3 Pidgeon-Leighton Dec Pidgeon-Hodiak ...SkeHon-Forrest <•«"»• " Allyson-Kennedy Caron-Meeker Lania-Blyth Apr 127 4-2J . Lawford-Addams McGuire- Johnson 2-52 All Star 1-52 12-17 R. Taylor-E. Taylor ___ — Leigh Lawford 3-52 Barrymore-Evans July . 134 7-2 Garson-Wilding - . July 136 7-16 Taylor-Parks Grainger-Angeli Dec I 1-5 Gable-Gardner 2-52 E. Taylor-L. Parks 4-52 Grayson-Skelton Cotten-Stanwyck Oct 207 10-22 Turner-Lamas — - — Turner-Pima Sep 203 6-4 Mason-Gardner 1-52 10-22 Tracy-O'Brien . .. Sep 201 8-27 Taylor-Kerr "-19 Whitmore-Davis Murphy-Mauldin Sep 204 8-27 " Powell-Damone _ Aug 138 _ 7-16 S. Granger-E. Parker Pidgeon-Totter 2-52 12-3 Meeker-Davis-Whitmore 2-52 12-31 Gardner-Keel July _ 135 _ 7-2 ...Kelly-O'Connor 4-52 Williams-Blaine Pinia-Ceaih _ July Rooney-Forrest Aug 140 Murphy-Davis 4-52 Powell-Raymond _ Aug 139 8-13 Angeli-Erickson July . 137. 3-12 Williams-Skelton Oct 205 9-24 Ailyson-Johnson Nov 1 1-5 . Pidgeon-Harding July 10-22 Taylor-Darcel 1-52 12-3 Johnson-Douglas 4-52 Granger-Corey 3-52 . Roman-Nype — MONOGRAM - ALLIED ARTISTS 1951-52 Features Westerns Completed (39) In Completed (15) In Production Production ( I ) (0) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Runninq Time Cast Wild-Stallion IC) Johnson-Hyer COMPLETED Aladdin and His Lamp IC) (67) Medina-Sands Casa Manana 173 _ Forbes-Herlihy Counterfeit _ . . DeFoe-Kmg Crazy Over Horses 165) Gorcey-Hall Desert Pursuit Morris-Caruso Elephant Stampede Sheffield Father Takes The Air Walburn-Gray Rel. No. Rev. 1-52 6-10 Chapman-Mitchell Cameron-Nigh Gorcey-Hall Flight to Mars IC) 172) Fort Osage (C) Hold That Line _ Joe Palooka in Triple Cross Kirkwood-Downs Lawless Cowboys 158) Wilson-Knight Longhorn The 170) _ Elliott-Coates Man from Black Hills Brown-Ellison Mexican Silver Wilson-Clyde Night Raiders Wilson-Knight Northwest Territory 161) Grant-Chinook Oklahoma Justice Brown-Ellison Rodeo IC) Jan* Nigh Stage to Blue River (56) - Wilson-Knight 23 Stagecoach Driver ._ _. Steel Fist. The 173) Texas City Texas Lawmen (54) Trail Dust Vengeance Trail Vicious Years. The (7?) Waco Wagons West ICI Wanted: Dead or Alive (5?) Whistling Hills Witness, The Yellow Fin Yukon Manhunt Wilson-Knight 7-1 S 5153.. McDowall-Miller 1-52 5217 Brown-Ellison 1-52 5241 Brown-Ellison 12-2 Albright-Winters 12-31 5107 ... Elliott- Stewart 4-52. 5225 Cook-Moore —.2—1 8 — Elliott 2-52 ..Cameron _ _ Wilson-Clyde - 9-9 Brown-Ellison Kirkwood-Gleason Morris-O'Flynn 10-14 5108 Grant-Davis 7-12 5123 5224 5154 ALLIED ARTISTS Babe Ruth Story. The Disc Jockey Highwayman, The IC) (83) _ Let's Go Navy 1681 It Happened On Fifth Avenue Bendix-Trevor May Simms-O'Shea 8-23 .... Hendrix-Coburn 9-8 .... H. Hall-G. Gorcey 7-29 . DeFore-Storm _ May 21 6-18 20 8-27 .5113 8-27 PARAMOUNT Rev. 1951-52 Features Completed (58) In Production (2) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. No. Jumping Jacks Martin-Lewis 8otany Bay IT) Ladd-Mason COMPLETED Aaron Slick from Punkin Creek (T) Shore-Younq Anything Can Happen _ Ferrer-Hunter _ Big Carnival, The 1 1 121 - Douglas-Sterling 7-51 5023 Rev. under title: Ace in the Hole Big Timber IT) Payne-Moorhead Carrie - — — - Olivier-Jones Crosswinds IT) (93) Payne-Fleming Darling. How Could You (95) Fontaine-Lund Detective Story 1103) Douglas-Parker Famous IT) Crosby-Wyman Flaming Feather ITI 177) S. Hayden-G. Russell Greatest Show On Earth IT) Stewart-Hutton Green Gold of Nevada (T) Payne-Morrow Here Comes the Groom (114) Crosby-Wyman 9-51 . 5101 Hong Kong IT) 192) Reagan-Fleming 1-52 5109 Los Alamos Barry-Carke My Favorite Spy (93) Hope-Lamarr 12-51 5110 My Son John Hayes-Heflin Passage West (T) 180) _ Payne-O' Keefe 7-51 5022 Peking Express (85) Cotten-Calvet 8-51 5024 Place in The Sun, A (122) Clift-Winters 9-51 5102 Rage of the Vulture, The Ladd-Kerr Red Mountain (T) Ladd-Kennedy 1-52 5M3 Rhubarb 195) Milland-Sterling 9-51 5103.. Sailor Beware (102) Martin-Lewis 2-52 10-51 11-51 I 1-51 5104 5108 ... 5111 7-2 8-13 10-8 1 2-31 1 1-19 10-22 Z.~4-4 7-2 7-30 Samson and Delilah (T) [128) Shane IT) Silver City (T) (90) Somebody Loves Me Something To Live For Son of Paleface (T) Stooge, The Submarine Command (89) That's My Boy (98) The Denver & Rio Grande (T) This Is Dynamite Trio (91) _ Warbonnet (T) Warpath (951 (T) When Worlds Collide (82) (T) 3-51 5010. 12-51 5112 Lamarr-Mature Ladd-Arthur DeCarlo-O'Brien Hutton-Meeker Fontaine- Mil land Hope-Russell Martin-Lewis Holden-Olson 10-51 5107 Martin-Lewis 8-51 .5024. O'Brien-Hayden Holden-Smith 8-13 12-17 11-21 10- 9-24 _7-2 ...Simmons-Rennie 6-51.. Heston-Hanson 5030 O'Brien-Jagger Derr-Rush 8-5 1 5025 I 1-51 5106.. I 1-6 .6-18 9-24 Lost Planet Airmen IReedited from "Kinq of the Rocket Men" Oklahoma Annie (C) Coffin-Clarke 7-25 503 1 Canova-Russell — Pals of the Golden West _ Quiet Man, The (T) Robinson-Vs. Turpin (53) Rogers-Evans 12-15 5152 Wayne-O'Hara Fight Pictures 7-20 5061 — Rodeo Kind & The Senorita (67) Saddlemates Allen-Kay 7-15 5053 Allen-Kay - Sea Hornet. The 184) Cameron-Booth 11-6 10- 22 Secrets of Monte Carlo Douglas-Hall 6-20 5030 ... South of Caliente 67) Rogers-Evans 10-15 5151 — ■ 1 1 — 1 0 1 7 Stormbound ....... 5032 Street Bandits 154) IS rde. The ITI Has Anybody Seen My Gal IT) Hear No Evil Here Come The Nelsons Iron Man 182) Udy from Texas (Tl 178) Lady Pavs Off. The Lavender Hill Mob The Little Egypt ITI 1821 Ma and Pa Kettle at the Fair Ma and Pa Kettle Go To Paris Mark of the Renegade IT) 1811 Meet Danny Wilson Pool of London Raginq Tide. The 1921 Red Ball Express Reunion In Reno 179) Son of Ali Baba IT) Steel Town IT) Strange Door. The 1801 Thunder On the Hill (851 Treasure of Lost Canyon, The IT) Week-End With Father 183) World In His Arms. The (T) You Never Can Tell Blythe-Farrer Colburn Laurie Curtii-Sterlinq Ozzie and Harriet Keyes-Chandler Hull-Duff Darnell-McNally Guinness- Hoi loway Fleming-Stevens Main- Kilbride Main-Kilbride Montalban-Charisse Sinatra Winters Colleano-Shaw Winters Conte Chandler-Cabot Stevens-Dow Curtis- Laurie Sheridan-Lund Lauqnton Karloff Colbert-Blyth W Powell-J. Adams Neal-Heflin Peck-Blvth Powell-Dow Oct I 34 Auq Oct Nov Oct Sept Aug Aug Nov Oct 130 136 202 280 131 128 183 203 135 7 16 10-8 8-27 8-13 10-22 10-8 Dec 204 1 l-S Sept 133 8 13 Dec 206 1 J-3 Sept 132 9 10 WARNER BROTHERS 1951-52 Features C ompleted (39) In Production (2) RELEASE CHART — 1951-52 — Cast Day-Reagan B. Lancaster Scott-Wymore Flynn-Roman IN PRODUCTION TITLE — Running Time Cast Rel Alexander, The Big Leaguer Crimson Pirate, The IT) Man With A Gun IT) Mara Maru She's Workinq Her Way Throuqh Colleqe IT) Mayo-Reaqan This Woman Is Dangerous . Crawford-Morgan You Can't Stop the Marines Loveioy-Carlson COMPLETED About Face IT) Big Trees, The IT) No. Rev MacRae-Bracken Cooper-Alden Bugles in the Afternoon IT) R. Milland-H. Carter 12-29 III Captain Blood (Reissue) 198) Carson City Close To My Heart 190) Come Fill the Cup 1113) Captain Horatio Hornblower (T) Distant Drums (T) I 101 ) Force of Arms 1 1001 I'll See You In My Dreams (110) Day-Thomas Jack and The Beanstalk Abbott-Costello Lion and the Horse, The Cochran-Teal Jim Thorpe, All-American (105) Lancaster-Bickford North of the Rio Grande _ McCrea-Mayo Only The Valiant 1105) MacRae-Day Painting Clouds with S'hine IT) 187) Mayo-Morgan Room For One More _ Grant-Drake San Francisco Story McCrea-DeCarlo 12-5 Flynn-DeHaviland Scott-Massey . Milland-Tierney I 1-3 J. Caqney-P. Thaxter 10-20 1 1 7 Peck-Mayo 8-11 Cooper-Alden 12-29 Holden-Olson 9-IS 1-12 I 10 107 106 030 I I I 102 112 12-17 10-22 9-24 7-2 12-17 9-1 7-28 7-28 10-6 101 029 029 105 6-18 9-24 Starlift 1103) Streetcar Named Desire, A Tank Are Coming. The 190) Tomorrow Is Another Day 190) Where's Charlie? IT) Cagney-Mayo 1122) Brando-Leigh S. Cochran-P. Carey Roman-Cochran Bolger-McLerie 12-1 9-29 1 1-17 9-22 109 104 108 103 11-19 I 1-5 8-27 Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St., Phila. 3 —1239 Vine St., Phila. 7 LOcust 4-0100 Member National Film Carriers 25 §J^^ Launched to terrific f business BEFORE RKO TOOK ^T1 w it r\ki c. I V Launched to terrific >usiness BEFORE RKO TOOK IT ON by Exhibitor R. J. O'Donnell, of the Interstate Circuit, with outstand- ing engagements in Dallas (two weeks), Houston, Ft. Worth, El Paso, Albuquerque, etc.! . . . Now yours for a thriller on your screen, a circus in your advertising, and a sweeping scramble to your boxoffice! ■ World's Champion V Archer, pitted against the jungle's deadliest denizens with bow and arrow! PHOTOGRAPHED IN ANSCO COLOR PRODUCED^M i Mi: RY GREATEST OF AU M<> $3 per Year 25c per Copy BULLETIN JANUARY 28, 1952 ZOth-JcxJ Hflerckand'tity Meeting,* Ate Cxample cj[ Weu Stifle ^houmahjhi^ THE INDUSTRY'S SHOWMEN ARE COMING INTO THEIR OWN Editorial by MO WAX, Page 7 40 1fearJ A iRcfieman BLUMBERG ANNIVERSABY Ml DALE ROBERTSON Follows up successes in "TAKE CARE OF MY LIT- TLE GIRL" and "GOLDEN GIRL" in the soon to be released "RETURN OF THE TEXAN" and the Techni- color production "LYDIA BAILEY" MARILYN Bundle of Blonde Fire! Immediate hit in "ALL ABOUT EVE"! Real sizzler in "DON'T BOTHER TO^ KNOCK", to be released soon. DEB RA % \ PAGET Veteran actress at eight- een.. . Equals her past successes in "BELLES ON THEIR TOES" to be re- leased soon. Color by Technicolor. 1 Sensational young star of "DECISION BEFORE DAWN". Soon to be seen in "THE MAN WHO FOOLED HITLER" CRAIG HILL Fluttered feminine hearts in "CHEAPER BY THE DOZEN" and "ALL ABOUT EVE". Really emotes in Bret Harte's "OUTCASTS OF POKER FLAT" CONSTANCE SMITH Blue-eyed Irish star fol- lows her success in "THE MUDLARK" with striking performance in the Technicolor release, "RED SKIES OF MONTANA" A mitzi GAYNOR Her triumph in "MY BLUE HEAVEN" won her star- dom in "GOLDEN GIRL". Soon to be seen as o pulsating Polynesian in Technicolor production 'DOWN AMONG THE SHELTERING PALMS" CENTURY-FOX Versatile star of Broad- way ("FINIAN'S RAIN- BOW") and Hollywood ("MY BLUE HEAVEN"). Tops them all in the Tech- nicolor productions "WITH A SONG IN MY HEART" and "WAIT TILL THE SUN SHINES NELLIE" fi GARY MERRILL Won immediate success in "TWELVE O'CLOCK HIGH' and "ALL ABOUT EVE" ...currently scoring in "DECISION BEFORE DAWN"... soon to be seen in dramatic hit "PHONE CALL FROM A STRANGER" WITH JEA PETERS Starred in "TAKE CARE OF MY LITTLE GIRL"... Gets acting plum of year opposite Marlon Brando in "VIVA ZAPATA!"... also triumphs in Techni- color hit "WAIT TILL THE SUN SHINES NELLIE" JEFFREY TUlTTiT Repeats his success in "TAKE CARE OF MY LIT- TLE GIRL and "THE FROG- MEN" in the Technicolor releases "RED SKIES OF MONTANA" and "CRY OF THE SWAMP" NEW JOANNE DRU Leaped from her first big success ("MR. BELVEDERE RINGS THE BELL") into starring roles in the soon to be seen "RETURN OF THE TEXAN" and "PRIDE OF ST. LOUIS" HILDEGARDE NEFF Instant hit in her first American picture, "DE- CISION BEFORE DAWN "i Plays opposite Tyrone Power in the tingling "DIPLOMATIC COURIER" NOW BUILD THEM! A . . SELL THEM! THE COURAGE OF COCHfSEf THE VENGEANCI CONNICTICUT These are some of the leading theatres playing "THE BATTLE AT APACHE PASS" during the month of April I THE AT E NAME . . . YOUR CITY THE ATR E NAME , THE AT E NAME . YOUt CITY THEATR E NAME THEAT E NAME . . YOUt CITY THEATt £ NAME THEAT E NAME . . YOU* CITY THEATR £ NAME THEAT E NAME . . 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YOUt CITV JLpUt CITY LCITV THEATtE * THEATtE t THEATtE h THEATtE t- THEATtE h THEATRE ■' THEATRE f- THEATRE *■ THEATtE f THEATtE ► THEATRE ► THEATtE f THEATtE I THEATtE t THEATtE » THEATtE t THEATIC t THEATtE - ^THEATtE r £ ATIE t JRE t THEATtE 1 THEATtE I THEATtE I THEATtE I THEATtE I THEATtE I THEATtE r ARIZONA ARKANSAS All key-city playdates in April will be listed in this powerful double-truck ad - appearing in the SAT. EVE. POST- MARCH 26th and LOOK -MARCH 25th THEATtE r THEATtE r THEATtE ' THEATtE I THEATtE I . YOUR* . VOUt CI. . YOUt CITY , VOUt CITV . YOUt CITV A combined readership of over 20,000,000 THt^ THEATRl" THEATRE HAM THEATtE NAME THEATRE NAME THEATtE NAME THEATtE NAME THEATRE NAME THEATRE NAME THEATR^ THEA . VOUt CITY . VOUt CITY . YOUR CITY THEATtE THEATtE THE AT IE THE ATI £ : NA NAME . NAME . NAME . NAME . MAIMI . YOUt CITY . VOUt CITY . VOUt CITV . YOUt CITV The, THEATtE THEATtE NAM THEATtE THEATtE NAMI THEATtE THEATtE NAMI R C-. ■ E YOUt CITY E VOUt CITY E VOUt CITY I VOUt CITY E VOUt CITY E YOUt CITY THt A i THEATRE NAME . THEATRE. THEATRE NAME . TlTY Z* CITY -OUt CITV YOUt CITY T-iRE NAME YOUR CITY NORTH DAKOTA THEATtE NAME YOUt CITY THEATRE NAME . JE NA THEATtE NAME . THEATtE I THEATRE I THEATRE I THEATtE I THEATtE I THEATtE I THEATtE I THEATtE I THEATtE * THEATtE t THEATtE I THEATtE I THEATtE I THEATtE I THEATtE WTO*l>| NAME ... V1» Starring with JOHN LUND • JEI SUSAN CABOT-bruce cowling -beverlyt GERONfMO/ THE GLORY OF THE 0. S. CAVALRY! The story of the blood-feud that turned the greatest of Indian nations into a land of fury! HANDLER again as "COCHISE"— the role in broken Arrow" that won him an Academy Award nomination! by GEORGE SHERMAN • Story and Screenplay by GERALD DRAYSON ADAMS - Produced by LEONARD GOLDSTEIN • A THE TRADE IS TALKING ABOUT Robert Taylor Deborah Kerr Robert Taylor Denise Darcel Clark Gable Ava Gardner James Mason Ava Gardner Janet Leigh Peter Lawford The new nation - wide "QUO VADIS" openings that top "GWTW" and the extended engagements that roll merrily along. The "WESTWARD THE WOMEN' ' openings, nation- ally, that are doing 124% of "Go For Broke !" business. The unprecedented cam- paign to launch "LONE STAR" in a state-wide Texas celebration that will echo through the nation, a new high in high-powered showmanship. The fine reception for "PANDORA AND THE FLYING DUTCHMAN" (Technicolor) in its first openings, duplicating its success in New York where it is in its 2nd month. The comedy, "JUST THIS ONCE", that Walter Winchell hails as "a click sleeper", which is convuls- ing preview audiences on both coasts. The most exciting ne^ since "QUO VADIS", tt first reports of "IVANHOf \(Tecbnicolor) the new ii dustry Giant, secretly pri viewed in California an| Robert Taylor et . . , — , Elizabeth Taylor coming in the Fall to to them all." Joan Fontaine Stewart Granger Cyd Charisse The sock ad campaign color reaching 160 millic readership for "THE WIL NORTH" (Ansco Color "The King Solomon Mines of 1952." Paris" The way M-G-M keeps i , its reputation for music a'"^5hX!lJ»S^T/^ leadc«sl»ij> with such cor • American in ing Technicolor tun toppers as "Singin' In Tl Rain", "The Belle of Ne M-G-M's Prize York""The Merry Widov Musicals 'Skirts Ahoy !", "Lovely 1 Look At" and others. • The way Leo keeps there punching, with 1 studio activities full bli and his national showma ship at its hardest -hitti high! Please ! In all newspaper ads: V M ( V«..~ R/m/l G BULLETIN EDITOR Vol. 20. No. 2 January 28, 1952 Pace SEVEN LEADERSHIP IN SHQWMANSHII it PREPAREDNESS "Whether happiness may come or not. one should try and prepare one s self to do without it." — GEORGE ELIOT REVIEWS in This Issue rU m> of The River Decision Before Dawn Meet Danny Wilson Invitation _ For Men Only Lavender Hill Mob Red Skies of Montana Japanese War Bride _ Here Come The Nelsons _ Phone Call From A Stranger The Medium Harem Girl Just This Once Woman In The Dark Fort Osage The Old West 10 10 10 11 „ 11 11 14 14 14 15 15 15 16 16 16 _ 16 FILM BULLETIN — An Inde- pendent Motion Picture Trade Paper published every other Monday by Film Bulletin Com- pany. Mo Wax, Editor and Pub- lisher. BUSINESS OFFICE; 35 West 53rd St., New York, 19; Circle 6-9159. David A. Bader, Business Manager; Leonard Coulter, Editorial Representative. PUBLICATION — EDITORIAL OFFICES: 1239 Vine St., Phila- delphia 7, Pa., RIttenhouse 6- 7424; Barney Stein, Managing Editor: Robert Heath, Circu- lation Manager. HOLLYWOOD OFFICE: 659 Haverford Ave., Pacific Palisades, Calif., Hillside 8183; Jay Allen, Hollywood Editor. Subscription Rate: ONE YEAR, $3.00 in the United States; Canda, $4.00; Europe, $5.00. TWO YEARS, S5.00 in the United States; Canada, $7.50; Europe, $9.00 A logical development of recent years lia> been tlx- enhanced recognition accorded film advertising, publicity and exploitation aa a most salient facet <>f our business. It is highly encouraging that the managements of the film companies have come to realize what a vital and immeasurably valuable contribution their advertising depart- ments make to the success of their organizations and to the welfare of the industry as a W hole. Two principal factors, it should be noted, account for this high esteem in which the movie exploiteers are held today. First, the elimination of block booking by court decree threw upon the producers and distributors the huge task of merchandising each and every picture to the exhibitors. Second, while it alwavs seemed incumbent upon the film companies to provide the leadership in exploiting their pictures, only the decline in boxoffice grosses these past two years forcefully impressed the policy makers of distribution with the urgent need to carry out \\u> function. Now at least some of the film companies are furnishing dynamic leadership in showmanship that i> sparking the industry with new hope. How effectively the aggressive and far-seeing film advertising executives are coping with the boxoffice slump was dramatically demonstrated to a group of some 125 theatre circuit operators and their advertising men at the Merchandising Meeting conducted by 20th Century-Fox in New York last week, Anyone in attendance at that session could not help but be immensely impressed by the vast amount of thought, planning and hard labor that is poured into the campaign on every motion picture before it? plays its first engagement. 20th Century's executive chief of advertising, Charles Einfeld. and his entire >talT put on a demonstration of thorough and practical showmanship that was eve-opening. Any exhibitor who imagines that he knows pretty much all about exploitation from the press books would have been surprised by the broad new vistas in showman- ship that were spread before the theatremen at that Merchandising Meeting. Naturally, every movie cannot be a success, hut those who left the Fox meeting were convinced that every possible ounce of success is being achieved by the men who plan the methods for exploiting and merchandising the pictures. The work that goes into pre- release penetration and saturation of the public consciousness on each film is enormous. Quickly responding to the enthusiasm of the group who attended the New ork session. 20th Century-Fox officials announced late la.-t week that similar Merchandising Meetings will be held in a number of exchange centers throughout the country. The first local session will be held in Philadelphia on Thursday, to be followed by Atlanta. Dallas. Chicago. Denver and Los Angeles. Other cities may be added to the list. In opening the New York session. 20th-Fox distribution head A I Lichtman declared: "We are determined to render the best possible service to our customers and everything we are trying to do is all pointed toward profits for the theatres and ourselves. . . . This meeting can be very fruitful to both of us if you will tie in and make use of the plans and ideas that will be presented here." We urge everv exhibitor w ithin the range of any one of the local Merchandising Meetings to attend, and. bevond. to capitalize the huge fund of effective showmanship information that will be made available to you. Make the most of this leadership in show manship. MO W AN NATE BLUMBERG. MDVIEMAN There is a small, select group of motion picture figures w hose sue ( ess in and con- tribution to the industry over the years has made their names synonymous with the term, "movie business." High in this elite assemblage stands Nate J. Blumberg. Hi> 40th anniversary in the business is worthy of note. When Nate Blumberg assumed leadership of the new Universal company in 1938. following the Laemmle interests* sale of the depression-battered organization, he faced an Herculean task. His shrewd guidance of the company in the succeeding years has manifested itself in a product notable for exploitation values and mass audience enter- tainment, and has led Universal into the bright situation in which it now basks. The company's financial report at the end of 1951. detailed on page 24. is ample proof. Mr. Blumberg is a prime example of the movieman whose grounding in exhibition has made him an invaluable distribution executive. FILM BULLETIN looks forward to the celebration of his Golden Anniversary. BIG EXCITEMENT! YOUNG BARRYMORE, IN A TURBULENT, DEMAND- ING ROLE, CONVINC- INGLY EARNS HIS RIGHT TO HIS FAMOUS NAME. Crams an uncommon amount of character insight, original- ity and intense feeling, as well as the seedy realism of cheap, big city backgrounds in the small hours."— Time "A mature, touching story skill- fully directed. Barrymore turns in a youthfully ingratiating performance. The shocking opening scene finds him pre- cipitated into a bewildered, drunken man hunt."-Nev/swee/c ~ ;:^3^ 1 V starring Philip A Waxman presents JOHN BARRYMORE, JR. in"THE BIG NIGH with Preston Foster • Joan Lorring Howard St John • Dorothy Comingore • Philip Bourneuf Directed by Joseph Losey • Produced by Philip A Waxman Screenplay by Stanley Ellin and Joseph Losey Director of Photography Hal Mohr • Released thru United Artis E.xhibiior imtbiiiiy To Op<>ra1<> Prvfilubly. AIIU><1 Test for Arbiiruiiny I Hut It<>n1uls Fully recognizing the utter impractica- bility of tossing all film rental differences into the arbitration hopper, Allied's pro- posed plan for arbitrating exhibitor-distri- butor conflicts will place strict limitations on the theatreman's right to submit film rental disputes to the arbitrators. The test of an exhibitor's standing before the arbi- tration board on this issue will depend en- tirely on his ability to prove that he cannot operate profitably under the terms demanded by the distributor. This much was learned by FILM BULLETIN of the Allied pro- posals, although the details of the organiza- tion's overall plan are being kept secret pending the Board meeting in Washington on February 5-6. Allied's basic arbitration program was drafted by general counsel A. F. Myers in outline form, with arguments, pro and con, on the various proposals. This draft has been submitted to the members of the arbi- tration committee appointed by president Theatremen Hail 20th Fox Long-Range Merchandising Some 200 important theatre circuit heads, trade press representatives and home office executives gave enthusiastic response to 20th Century-Fox vice president Charles Einfeld's detailing of advertising, publicity and ex- ploitation plans for a full six months' schedule of the company's 1952 product. The ad-publicity chief's outline of merchandising plans for the first half of '52 followed a listing of the entire year's schedule by dis- tribution director Al Lichtman to open the special exhibition merchandising meeting called by the company last week in New York. In urging greater showmanship efforts, Einfeld pointed to television's "serious" plight today in the cry for "better shows" as much the same faced by the movies when the industry's need was for better pictures. "I think that we have solved this problem," he said, "because pictures are better. But our job is to inform the public in new and more effective ways of the finer product coming from the studios." Lichtman, declared that two-thirds of the company's 1952 releases have been com- pleted, and that "many of them will be de- livered to us six months in advance of re- lease, thus giving us more time than ever before to exploit them to the hilt." Coming in for particular attention at the meeting were the company's two big pic- tures of the six-month period, Darryl F. Zanuck's "Viva Zapata," directed by Elia Kazan, and "With A Song In My Heart," the Jane Froman biographical musical. The latter was cited by Lichtman as an example JANUARY. 28, 1952 Trueman Rembusch at the recent convention. The Myers plan and the recommendations of the committee will then be considered by the Board and a final program drafted. While some Allied leaders are known to favor all-out arbitration of film rentals, Myers is known to take the view that only LICHTMAN, EINFELD & GUESTS Enthusiastic Response a reasonable and feasible proposal, based on exhibitor good faith, has any chance of being accepted by the distributors. Without a clearly defined limitation on the circum- stances under which an exhibitor can seek relief from alleged unreasonable film terms, the arbitration machinery would quickly bog down. Since any arbitration plan must win wide- industry support, the desire of the extremists in Allied ranks to include any and all film rental complaints on the arbitration agenda must, of necessity, be defeated. Ultimately, there will have to be a degree of agreement and cooperation between Allied and the TOA on this issue, and it is a good bet that the leadership of the latter group will not accept any extreme idea for arbitrating film rentals. However, the TOA will go for Myers' modi- fied plan. Conceivably, the distributors, seeking some way out of the maze of costly litiga- tion besetting them, might also go for it. of the long-range planning. The film, he said, "is all ready for you to see and work on for Easter release." Einfeld's staff was also prominent in the presentation of the ad-publicity-exploitation long-range planning for the first six months. Among those who addressed the meeting were Alec Moss, Sterling Silliphant, Martin Michel, Ira Tulipan and other department box-officers. They supplied the theatremen with kits of ads, publicity breaks, feature stories and other merchandising items. TOA Board Will Heed Gripes of Grass-Rooters The grass-roots gripes that galvanized Theatre Owners of America leaders into action on trade practices were expected to play an important role in the organization's executive board meeting in Los Angeles, Jan. 28-31. The regional "grievance" meet- ings, particularly last week's Atlanta session, will furnish plenty of fodder for the board. Problems with which the TOA heads will grapple include forcing of advanced ad- missions, competitive bidding and its bloat- ing of film rentals, arbitration, theatre tele- vision, enlargement of the regional grievance committees, the battle against state and local taxes, bid to the FCC for TV channels, and plans for a round-table discussion with studio officials. Distribution heads have been invited to attend the final session on Jan. 31 for a general discussion of results of the board meetings. Keynoter of the mid-winter conclave will be board chairman Charles P. Skouras. (Continued on Page 24) 9 BEND OF THE RIVER' FIRST CLASS, EXCITING WESTERN IN TECHNICOLOR Rates • • • + for action houses; slightly less elsewhere Universal-Interna'.ional 92 minutes James Stewart, Arthur Kennedy, Julia Adams, Rock Hudson, Lori Nelson, Jay C. Flippen, Stepin' Fetchit, Henry Morgan, Chubby Johnson, Howard Petrie, Frances Bavier, Jack Lambert, Royal Dano, Frank Chase, Cliff Lyon, Frank Ferguson. Directed by Anthony Mann. "Bend Of the River" is a class and a first- class Western, stunningly produced by Uni- versal-International at the locale of the story, Portland, Mount Shasta, and along the swirling rivers of Oregon. The highly effective camera work captures in exciting Technicolor the beauties of the landscape and such breathtaking action sequences as that in which the men virtually carry the wagon train across the water. The script, like other recent deluxe Westerns, centers around an incident rather than a panoramic story. The result is a compact, interesting tale with more incisive characters and human interest. Anthony Mann directs the narrative with full regards for its sweep and vigor, making the action scenes brittle and effective, the characters, typical of the pioneers of the day. With James Stewart and Arthur Ken- nedy paired in rugged he-man roles, "Bend Of the River" has more than the average appeal to women. Of course, it's a natural for the action spots, but this U-I release should hit high grosses in all situations. It is worth the exhibitor's best exploitation efforts. Jimmy Stewart handles the heroics quiet- ly, effectively, and Arthur Kennedy makes a strong adversary. Julia Adams pleases in a feminine lead that has little bearing on the drama. Handsome Rock Hudson is good and Lori Nelson makes the most of her fev scenes as an ingenue. Jay C. Flippen, por traying a Mississippi river boat pilot, con trihutes a sterling character performance Stepin Fetchit, back in pictures after a Ion; absence, draws quite a few laughs with hi standard characterization of a lazy goon. STORY: Jimmy Stewart, subsequentl; disclosed to be a Missouri outlaw, arrives i: Portland at a time when the gold rush is a its height. Profiteers have taken over th supply of food and are selling it at exorbii taut rates in the city, keeping it from thJ pioneers in the backwoods. Perishable corr modities are being hoarded in anticipation c still higher prices. Stewart leads a wago train of food to the people in the hills dhnson, Margaret Field, Kathleen Hughes, era Miles, James Dobson, Douglas Ken- :dy, Robert Carson, Virginia Mullen, even Clark, Chris Drake, Bob Chapman, L Z. Whitehead, Arthur Marshall, Frank athias. irected by Paul Henreid. For Men Only" is an exploitation drama ith strong selling angles for the enter- ising exhibitor, plenty of sock entertain- ent values, and class in production, di- ction and acting that seldom is en- untered in the independent field. Film icks up as a slick three-way credit for lul Henreid, as star, producer, and director, insiderable research went into preparation this story about the evils of hazing in extent of the pre-production effort in its sensible, logical, absorbing story. The di- alogue is strong and punchy, the characters interesting. Paul Henreid's direction shows taste and imagination while his production is craftsmanlike right down the line. Casting the piece almost completely with fresh players pays off in added interest and in striking performances from many of the new comers. Properly handled, this release of Lippert Pictures can count its grosses on a par with many more pretentious from the majors. Henreid's playing of the teacher is charm- ing and gracious. Robert Sherman brings quiet poise to his part of the ill-fated frat member, and Russell Johnson's restraint makes his heavy the more convincing. Mar- garet Field displays bouncy animation as Henreid's wife, and Kathleen scores as the vixen. Supporting palyers are tip top. STORY: Paul Henreid, a science pro- fessor, becomes interested in the charges made by Robert Sherman that a dog was killed during an initiation ceremony. His anger becomes aroused when Sherman, taunted by his fraternity brothers, flees the house and is seriously injured in an accident Later the boy dies. Henreid tries to line up support among the family for a mov< to abolish hazing. Failing this, he enlists the aid of the student body. Kathleen Hughes, a comely coed, makes a play for the teacher. Rebuffed by Henreid, and prodded by Russell Johnson, president of the suspect fraternity, she accuses the professor of at- tack. Henreid is dismissed, but achieves vin- dication when a combination of luck and his own scientific research produces the true sordid story. Johnson is disgraced. HAXNA (Hollvwood) .AVENDER HILL MOB' HIGHLY AMUSING COMEDY FROM ENGLAND ates • • • for class and art houses; good dualler elsewhere job of spoofing the movie chase; audiences niversal-International (Rank) minutes lec Guinness, Stanley Holloway, Sidney mes, Alfie Bass, Marjorie Fielding, Eddie artin, John Salew, Ronald Adam, Arthur ambling, Gibb McLaughlin, rected by Charles Crichton. at The Lavender Hill Mob" is a delightful lglish comedy, a cherry farce about a :ek employee of the mint who pulls off the Insist gigantic gold robbery in history with aplomb of the Ancient Mariner navigat- pjl; Central Park lake. The script is bright, ni morous, and original. And the English Dduction does it full justice both in set- lfon gs and in casting. Charles Crichton's di- tion is leisurely paced, so the action con- it, when it does occur, comes off stunning- These wild sequences do a wonderful JANUARY 28, 1952 will relish them. The dialogue is packed with laughs, all of it readily understandable to American audiences. This U-I release has a bigger potential than just art theatre patrons. Properly sold, it should prove a good grosser in better class neighborhood spots, specialized theatres and the like. And it will serve as a very useful dualler in any location. Alec Guinness, remembered from "Kind Hearts and Coronets," is superb as the boss of the gang, and Stanley Holloway makes the most of the spot of his side-kick. Their two professional cronies are beautifully played by Sidney James and Alfie Bass. STORY: Alec Guinness is the mild- mannered mint employee whose job is to supervise the moving of gold shipments from the refinery to the vaults of the bank. Through the years he has built up a reputa- tion for meticulousness and unimpeachable honesty. This is in preparation for the day when he expects to make his big haul. The problem is to device the means of getting the gold out of the country in disguised form. A meeting with Stanley Holloway, manufacturer of 'cad novelties, provides the inspiration. The two plot to steal the gold, melt it into reproductions of the Eiffel Tower, ship them to France for sale on the continent. The working out of the theft and the unexpected intrusions that lake place make up the rest of the story. ANGEL 11 puo When they get fogeth er Romance goes wild and Rhythm runs riot! m Raymond BURR Story and Screenplay by DON McGUH • Orated by JOSEPH PEVNEY - Produced by LEONARD GOLDSTEIN RED SKIES OF MONTANA' EXCITING MELLER ABOUT SMOKE JUMPERS' Rates • • • — for action houses; strong dualler elsewhere 20th Century-Fox 99 minutes Richard Widmark, Constance Smith, Jeffrey Hunter, Richard Boone, Warren Stevens, James Griffith, Joe Sawyer, Gregory Wol- cott, Richard Crenna, Robert Adler, Charles Buchinsky, Bob Nichols, Ralph Reed, William Murphy, Mike Mahoney, Larry Dobkin, John Close, Grady Calloway, Henry Kulky, Harry Carter, Charles Tannen. Directed by Joseph M. Newman. Having introduced the "Frogmen" to film audiences, 20th Century-Fox now tells the story of the spectacular "Smoke Junipers" — parachuting forest fire fighters. Fire- fighters having been all but neglected by the movie plotters, "Red Skies Of Montana" is welcome on two counts: to show the terrific improvement in fire-fighting techniques and to give moviegoers one of the better action dramas to reach the screen in recent months. Showmanship is written all over the top- grade Samuel G. Engel production in Tech- nicolor. The story of a son out to pin re- sponsibility for his father's death on an- other's alleged shirking of duty is hokey stuff, but Engel palms it off in believable fashion. The characters are toughly interest- ing and the cast plays them to the hilt. Nar- rative is spiked with sensational action scenes that literally tumble over one another, most effectively handled by director Joseph M. Newman. The finale in which the men bury themselves in trenches while the fire burns itself out over them is particularly exciting, the kind of sequence that sends audiences out talking. The title, unfortunate- ly has more of a Western connotation than an accurate description of the picture. The smart exhibitor will see that his patrons are told just what the show is about, for, while in the action area, this 20th Century attrac- tion will be a big grosser, it will require plenty of selling in other situations. Let them know it's something "different." Richard Widmark handles the hero spot in his usual workmanlike fashion. As his Irish wife, Constance Smith performs like- ably. Jeffrey Hunter, a newcomer, is splendid as the boy. Richard Boone, Warrer Stevens and James Griffith stand out in th« rather large cast composed mainly of new young players on 20th's contract roster. STORY: Richard Widmark and his crew are out fighting a blaze. Some of his met are lost, among them the father of Jeffre} Hunter, also in the forestry service. Hunte determines to prove Widmark responsibL even when a board of inquiry fails to blac> the blame. Eventually, he realizes he's beei blowing off steam, for Widmark's integrit; and leadership in crisis are beyond question Story gains its impact not so much from th I personal narrative as from the fascinating details of present day fire-fighting, the usj of planes, helicopters, special chemicals, etcj HANNA (Hollywood) JAPANESE WAR BRIDE' EXPLOITABLE DRAMA WITH RACIAL ANCLE Rates • • + where exploited 20th Century-Fox (Bernhard) 90 minutes Shirley Yamaguchi, Don Taylor, Cameron Mitchell, Marie Windsor, James Bell, Louise Lorimer, Philip Ahn, Sybil Merritt, Lane Nakano, Kathleen Mulqueen, Orley Lind- gren, George Wallace, May Takasugi, William Yokota, Susie Matsumoto, Weaver Levy, Jerry Fujikawa, Chieko, Sato, Tetsu Komai, Hisa Chiba, David March. Directed by King Vidor. On the basis of exploitation possibilities contained in its title, "Japanese War Bride" will prove of value in ballyhoo and transient locations, but the fact is that this 20th Cen- tury-Fox release fails to live up to its prom- ise. There's nothing sensational in the handl- ing of this story of a marriage between an American soldier and a Japanese girl. Rather than stressing the racial angle, the script HERE COMES THE NELSONS' Rates • • + for family houses Universal-International 75 minutes Ozzie Nelson, Harriet Nelson, David Nelson, Ricky Nelson, Rock Hudson, Barbara Law- rence, Sheldon Leonard, Jim Backus, Ann Doran, Gale Gordon, Paul Harvey, Ed Max, Chubby Johnson. Directed by Frederick de Cordova. For family audiences who know Ozzie and and Harriet Nelson from radio and listen to their weekly domestic series, "Here Comes the Nelson" shapes up as pleasing, easy-to- take entertainment. In its category as a family comedy, this is typical, following closely the formula of having hubby the fall guy for a scries of misunderstandings, while wifcy pretends righteous indignation. and the youngsters wander around through a suc- cession of juvenile escapades. The script falls into routine domestic developments, complete to mother-in-law trouble, inter- ference by others in the family, and the threat of an old flame. It is unfortunate that the story lacks imagination, for in some aspects it is well-done and engrossing. Grosses will be good where the racial angle can be sold sensationally; elsewhere it will have to serve only as a supporting dualler. King Vidor's direction is frequently effective, particularly in its perception of the strained relatonships between the varous characters. Japanese actress Shirley Yamaguchi, beau- tiful and talented, acquits herself with great distinction in the difficult part of the Oriental wife. Don Taylor is competent as the young American husband. Cameron Mitchell is splendid as the brother. Although Marie Windsor overdoes the jealous home town girl a bit, she is still effective. James Bell and Louise Lorimer are first rate as the parents. Philip Ahn, Sybil Merritt and Lane AMUSING DOMESTIC COMEDY takes these requisites into account as it constructs a fast, bright narrative involving "another woman," a threat to Ozzie's job at the office, and a slam-bang, really funny finale chase in which all the vicissitudes are settled before you can say Universal-Inter- national. Frederick de Cordova, an experi- enced hand al domestic comedy, weaves this one adroitly enough, smartly doesn't push the Nelsons too hard for performance; rather, allows them to be their pleasant, un- pretentious selves. In its bracket "Here Comes the Nelson" will do ok. It will be weak for action houses. Ozzie and Harriet Nelson perforin delight- fully and their own youngsters, David and Ricky Nelson, get across the natural re- lationship of young brothers. Rock Hudson is fine in the romantic lead and pretty Bar- bara Lawrence has no trouble at all in con- Nakano stand out in lesser parts. STORY: Don Taylor, wounded during t Korean fighting, is nursed back to health b Shirley Yamaguchi, Japanese Red Cro nurse. Their relationship quickly blosson into romance and Don asks her grandfathc if they may marry. Consent reluctantly wo he and the girl sail for America to mal their home on the Northern California ranc if his family. His mother and father try i understand. But his sister-in-law, Mar Windsor, who appears to have married Don brother out of spite, causes trouble and ( several occasions flaunts herself in Don face. The crowning blow comes with tl receipt of an anonymous letter intimatii that Don is not the father of his own chil When guilt for the poison pen letter traced to Marie, there's a family showdow Meanwhile Shirley has sought comfc among her "own people". Don finds her a a happy fadeout is achieved. JAMES vincing as a femme fatale. Sheldon LeonarJ thug is performed with his customaj toughness. STORY: The Nelsons, like others in th town, are preparing for the big anniversa celebration marked by week-long festiviti When Ozzie invites Barbara Lawrence, sis of an old school buddy to stay as their hoi guest, Harriet begins to see green, meantime, has asked Rock Hudson to j the household, not knowing that Rock there for the precise purpose of pressing suit with Barbara. To prove his devotion I larriet, Ozzie enters a bronco busting eve Ml the while, his job hangs in the balai because he has failed to come up with a p motion stunt for a new corset line. 1 chase finale settles everything and domes tranquility is restored. HANNA (Ho) wood ) 14 FILM BULLET:i 20th Century-Fox 96 minutes Shelley Winters, Gary Merill, Michael Rennie, Keenan Wynn, Evelyn Varden, Warren Stevens, Beatrice Straight, Ted Donaldson, Craig Stevens, Helen Westcott, Sydney Perkins, Hugh Beaumont, Thomas Jackson. Harry Cheshire, Tom Powers, Free- , man Lusk, George Eldredge, Nestora Paiva, Perdita Chandler, Genevieve Bell, and also starring Bette Davis. .-Directed by Jean Negulesco. ]V 1 "Phone Call From A Stranger," like "A etter To Three Wives" is an episode drair.a 'md, like that outstanding success, it is dis- inctive for its taste, originality and striking ntertainment values. It is destined to be a C'iighly popular and widely talked-about film, 'roduced and written by Xunnally Johnson roan an I. A. K. Wylie story, "Phone Call •nun A Stranger" records the adventures of quartette of travellers aboard a plane and low the death of three of them touches the ife of the last. Written with warm humor nd understanding of human foibles, Jolin- on's narrative is attention getting at the >utset, compelling in its development, and tartling in its final exciting moments. Jean segulesco's direction breathes vitality into THE MEDIUM' FINE OPERATIC DRAMA ;.!ates • • • • for art and class houses; ok for better naborhood spots exciting and provocative than it was in it- J PHONE CALL FROM A STRANGER' A FINE FILM— A BIG SUCCESS! Rates • • • + except for action houses the interpretation of the screenplay and weaves in and out of the time lapse-, flash backs etc. with the ease and smoothness of a goldfish circling a bowl. And the acting of the all-star cast is, indeed, something to rave about, particularly the playing o Bette Davis who comes on last and in a brief appearance proves anew that hers is one of the most vivid and satisfying talents on the screen today. She is superb in a performance that keynotes the whole story and adds the final distinguished touch to a distinguished motion picture. This is a natural for the feminine trade, but ts appeal certainly is not limited to the distaff side. There i igsvor and satire to satisfy the male contingent to say nothing of the satisfaction that comes in seeing a fine movie. The 20th Century-Fox produc- tion will do best in the metropolitan centers and better grade houses. Even the action spots should do well if its gimmick of a plane load of passengers lost in a storm is played up. Shelley W inters, a perfect choice for the show girl part, plays it flawlessly. Gary Merrill's unmistakable sincerity distinguishes his playing of the stranger; Michael Kennie's doctor is effective; Keenan Wynn, is out- standing as the salesman. Beatrice Straight, Warren Stevens, Evelyn Varden, Ted -opert Films 2 minutes 4arie Powers, Anna Maria Alberghetti, Leo Pieman, Belva Kibler, Beverly Dame, " )onald Morgan. directed by Gian-Carlo Menotti. As an attraction on the art class theatre ircuit, "The Medium" should be one of the uxoffice winners of the year. A variety of icJactors contribute to this impression — the r success of the work on the stage, the wide ublicity it has received and, by no means i>t. the excellence of the film-opera itself, hese factors should make the film also a ood attraction for better class neighborhood ouses. In transcribing his opera to the creen with Marie Powers and other mem- bers of the original cast, Gian-Carol Menot- renders a music dream onlv a shade less original performance. The most frequent and most noticeable flaw is the fact that the orchestra drowns out the voices, making the high dramatic passages unintelligible. Aside from this, "The Medium" is a faithful re- production of the original, enlarged in set- tings but still the same brooding, tragic masterpiece about people living on the out- skirts of respectable society. Menotti adds a carnival sequence to round out his pictorial values and it turns out to be a highlight. The production filmed in Italy is modest but always effective. Menotti's direction shows materly comprehension of the urgency for movement on the screen. He breathes vital- ity and fluidity into "The Medium" to make this first screen opera in English notable, even triumphant. In the title role, Marie Powers sings and plays the same powerful performance that HAREM GIRL' JOAN DAVIS SLAPSTICK vates • • as dualler generally; more in Columbia 1 minutes loan Davis, Peggie Castle, Arthur Blake, Donald Randolph, Henry Brandon, Minerva Jrecal, Peter Mamakos, John Dehner, Peter Brocco, Rus Conklin, Wilson Millar, Ric *oman, Nick Thompson, Alan Foster, Robert Tafur, Shepard Menken. Directed by Edward Bernds. This is a silly and hokey comedy, but it •d iffers plenty of laughs for those who find JJIoan Davis a funny gal. Loaded with slap- tick and a lot of tired old gags, "Harm ifljANUARY 28. 1952 rural areas Girl" is definitely not for the class houses, although most folks will find it hard to avoid laughing at Joan, if only for the tremendous, frantic energy she pours into her work. On the other hand, less discriminating family audiences will probably get many a belly laugh out of her antics. The plot is just one mad chase and it moves fast enough for anyone's taste. The weakness is in the lack of imagination that went into the script and the direction. Rural situations will probably garner good grosses; elsewhere it will serve best if coupled with a heavy drama. The kids are going to love it. Donoldson, Craig Stevens, Helen Westcott all give performances that add lu>ter to the picture. STORY: Shelley Winters, a show girl; (iary Merrill, a lawyer; Michael Rennie, a doctor; and Keenan Wynn, loud-mouthed salesman, meet on a plane which, after several forced landings, finally cracks up in a storm. Of the quartette, only Merrill sur- vives. Having arrived in I.os Angeles, he picks up slips of paper with his friends' names and addresses, patiently calls the nearest to each of them. The point of "Phone Call" is how the accident affects the lives of those who live on. In the case of Rennie, Merrill is instrumental in solving the problem of the doctor's son, Ted Donaldson who, not knowing the truth about his father, idolizes him to the point that he hates his mother. Merrill convinces the estranged husband of Shelley Winters that Shelley really loved him and brings some needed shame into mother-in-law Evelyn Varden, an old trouper living on past glories. And from Bette Davis, a helpless cripple, he learns something of human nobility in her story of her relationship with Keenan Wynn, crude, vulgar, loquacious, but a man gallant enough to forgive her infidelity ami willing to devote his whole life to their love. HAN'NA (Holly- wood) won her acclaim on the stage. Anna Marie Alberghetti has a lovely young soprano which she uses expertly. Leo Coleman's pantomine as the Negro mute is superb. As the visitors, Belva Kibler, Beverly Dame and Donald Morgan play and sing with gratifying sight into Menotti's meaning. STORY: Simplicity itself keynotes the dramatic motivation of "The Medium, a story of a phoney fortune teller who be- comes the victim of her own dishonesty. Having for years eked out a precarious living on the hopes of others by pretending to bring them face to face with their de- ceased loved ones, she herself begins to hear voices, to feel presences. She gives up her business, tries to find if the two young people who live with her are not up to trickery. In her frenzy she shoots and kills Leo Coleman, the mute gypsy. HAXN'A (Hollywood) STORY: Joan Davis is cast as companion to Peggy Castle, princess of a desert kind- dom, whose life and throne are in danger of being taken by her enemies. Ordered to marry a sheik she does not love, Peggy leaves Joan disguised in her princess' costume and goes off to rally her loyal followers. From that point on, the story is a wild chase with Joan being pursued by the amorous sheik and by the princess' enemies. When Peggy is captured and threatened with torture. Joan organizes the Harem dancers in a sit-down strike and thus brings the defeat of the princess' enemies. JAMES 15 JUST THIS ONCE' BRASH, FROTHY ROMANTIC COMEDY Rates • • + as dualler; weak for action houses The thin plot tends to wear Metro-Gold wyn-Mayer 91 minutes Janet Leigh, Peter Lawford, Lewis Stone, Marilyn Erskine, Richard Anderson, Doug- las Fowley, Hanley Stafford, Henry Slate, Jerry Hausner, Benny Rubin, Charles Watts. Directed by Don Weis. Bright and frothy, "Just This Once," is decidedly pleasant fare for the younger set who may be expected to be interested in the co-starring appearance of Janet Leigh and Peter Lawford. For others, it's comedy entertainment, easy to look at, amusing in its lightweight story and put together with taste and verve by the smooth MGM pro- duction machinery. Director Don Weis reads pep into the action, charm into the performances, in the final reel and some judicious editing can still tighten the comic impact. The show is not quite strong enough to stand on its own boxoffice feet, but as a companion piece it will offer a hearty attraction for the family trade and younger element. N. G. for action houses. Janet Leigh plays the lady barrister with pert charm, and Peter Lawford is likeable as the dillitante. Lewis Stone's old judge is done with his usual expertness. Marilyn Erskine is a joy as a telephone operator. Good supporting work is offered by Richard Anderson, Douglas Fowley, Hanley Stafford, and oldtimer Benny Rubin. STORY: Peter Lawford is cast as a play- boy who is busy dissipating the inheritance WOMAN IN THE DARK' QUICKIE FOR THE LOWER HALF Rates • + as bottom dualler in action houses third is a "no-good" mixing with crooks and Republic 60 minutes Penny Edwards, Ross Elliott, Rick Vallin, Richard Benedict, Argentina Brunetti, Martin Garralaga, Edit Angold, Peter Brocco, Barbara Billingsley, John Doucette, Richard Irving, Luther Crockett, Carl Thompson, Charles Sullivan. Directed by George Blair. "W oman In the Dark" is a minor league dualler. The original screenplay is a formula affair about an immigrant family with three sons, two of whom are successful while the the like. Dialogue consists largely of old world platitudes and much discussion about spaghetti, strudel and other foods. There are few action sequences in the show, and those that do materialize are not particularly interesting. George Blair's direction is as in- different as the performances of the players. Penny Edwards, Ross Elliott, Rick Vallin, and Richard Benedict are competent enough under average circumstances. Peter Brocco, however, overacts outrageously as a gangster, and the other performances offered in "Woman In the Dark," are so far below left him by his family. Lewis Stone, the executor of the estate, invokes the spend- thrift clause, invites struggling young lawyer Janet Leigh to administer it. She calls all Lawford's creditors and closes his accounts. Lawford, furious, flies to Europe in his private plane. Her instructions cross the ocean. He is forced home and discovers his antique furnishings have been sold to settle debts. By now Lawford and Miss Leigh are more than casually interested in each other although unwilling to admit it. Lawford pretends to have a job, gives her a forbidding example of what it's like to have a working man around the house. She realizes she likes him better as a playboy and comes to see that the rich have their point of view too. ANGEL average that their portrayals are more ludi- crous than convincing. STORY: Ross Elliott is the black sheep of an Italian-American family, incapable of keeping a job, always on the lookout for the quick money. He falls in with a gang that is planning to pull off a big jewel haul. He plays his part but the payoff is delayed. Meantime his brother, Rick Vallin, convinces Ross that he's on the wrong side of the road, urges him to break with the hoodlums and help in their exposure. Elliott finally agrees even though it means the sacrifice of his life. JAMES FORT OSAGE' ACTIONFUL CINECOLOR ROD CAMERON WESTERN Rates • ® + in action houses Monogram 72 minutes Rod Cameron, Jane Nigh, Morris Ankrum, Douglas Kennedy, John Ridgely, William Phipps, Stan Jolly, Dorothy Adams, Francis McDonald, Myron Healey, Lane Bradford, Iron Eyes Cody, Barbara Woodell. Directed by Lesley Selander. "Fort Osage" is an actionful, well-turned- out Western in Cinecolor, not as strong as it might be in the story department, but otherwise effective entertainment for the ad- venture and western fans. The screenplay THE OLD WEST' BELOW-PAR Rates • • for western houses Columbia 60 minutes Gene Autry, Pat Buttram, Gail Davis, Lyle Talbot, Louis Jean Heydt, House Peters, Sr., House Peters, Jr., Dick Jones, Kathy Johnson, Don Harvey, Dee Pollock, Ray- mond L. Morgan, James Craven, Tom London, Frank Marvin. Directed by George Archainbaud. This is the third Gene Autry western in a row in which stories below acceptable out- door standards have been used, a point that is particularly disturbing since all the other elements of top sagebrush composition are present, Autry, an excellent physical pro- is on the pat side, telegraphing most of its complications in advance and not always making the best of them when they do arrive. However, Lesley Selander's direction boasts plenty of pace and puts zip into the physical encounters. Performances are above the average, and Rod Cameron is a man- sized hero with the acting talent and physi- cal stamina to be convincing. In its bracket, the Monogram release should be on a par with Cameron's previous outdoor adventures for the company, a satisfying entry for the action houses. Jane Nigh is attractive in the feminine lead. Morris Ankrum is a superior heavy, and Douglas Kennedy acquits himself well AUTRY WESTERN duction, tnd first rate supporting players. This little narrative contains more psalm singing than action, and while no one wisnes to minimize the importance of the former, successive scenes of religious services hardly constitute action entertainment. Moreover, the story is a tangled yarn in which the complications are never quite clear and the relationship of the principals to one another, obscure. Director George Archainbaud, in the absence, of clear-cut characterizations, walks the players through their roles. There's little on which the onlooker can fasten his attention in "The Old West." Gene Autry's performance is not up to par which is understandable in view of the list- as the other conspirator. John Ridgely, William Phipps and Stan Jolley do well in support. STORY: Cameron refuses to fulfill his job as guide for a wagon train headed West with settlers who have paid well for their transportation. He insists that Indians are on the warpath because the white men hav not kept their part of a bargain to make certain payments in return for peace. Morris Ankrum and Douglas Kennedy, the pro moters of the wagon train, appear to hav turned the money to their own purposes Cameron puts an end to the double-dealing and eventually gets the pioneers on their way. JAMES less role and haphazard situations. Pat But tram's comedy is weak. Gail Davis plays her feminine lead pleasantly enough. Lyle Tal bot, Louis Jean Heydt and House Peters Sr. are prominent in supporting spots. ST< >RY: Autry earns his livlihood by cap turing wild horses, training them for the stagecoach company. Lyle Talbot, behind much of the lawlessness in the area, tries to get in on the deal, offers his thoroughbread for sale. He suggests a race between the two kinds of horses to prove which is the better for the stagecoach job. Naturally he tries t fix the race. But neither he nor Autry wins It decs, however, disclose him as a heavy and end corruption. ANGEL 10 FILM BULLETIN I I.ITORS THE BOOKING OF THE WEEK Jen Tail men ...DESIGNED TO HIGHLIGHT CURRENT AND CHOICE PRODUCT IGS YOU'LL IT TO KNO reign Legion aok over the male lead previously slated for ldo Ray. Marta Torem has the fern lead, hil Karlson will direct and Jerry Bresler the producer. Stars Toren and Andrews e now en route to Paris, preparatory to e actual start of filming on February 4. his is supposed to get the A treatment. On February 12, producer Sam Katzman id director Sidney Salkow will roll a new technicolor swashbuckler, "Prince of Pi- stes" (Paul Henreid). Stanley Kramer has t February 25 for the start of another echnicolor feature, "The 5000 Fingers of r. T" (Tommy Rettig - Peter Lind Hayes 'Mary Healy). Roy Rowland directs the tter for Kramer, working on a budget in cess of a half million dollars. Early arch starters are: "Last Traim From Bom- iy," in a lower budget class — to be pro- iced by Sam Katzman, and a new Gene utry entry, "Wagon Team." No cast or rector assignments have been made on -ast Train from Bombay." Armand Scha- Cxc(u4/w ^BULLETIN Jeatun By Jay Ai.i.en efer and George Archainban will again serve as producer and director, respectively, on the Autry picture. Two pictures which were in production at the time of the last Size-ups report, have now gone to the edition department. They are: "The Sabre and the Arrow" (Broderick Crawford-Barbara Hale), and "Rainbow 'Round My Shoulders" (Frankie Laine-Billy Daniels) a musical produced by Jonie Taps and directed by Richard Quine. ROBERT L. LIPPERT Production Books Are Closed LIPPERT PRODUCTIONS Lippert Out of Production, Sets Sights On Distribution Accountants for Lippert Productions started closing the books, this month, as boss Robert L. Lippert announced complete with- drawal from all future motion picture financ- ing to concentrate exclusively on distribu- tion. All of Lippert's future film activities will be devoted to Lippert Pictures, Inc., the distributing organization which he formed in 1948, after buying out most of the franchise ANUARY, 28, 195 2' holders in the old Screen Guild company. Lippert previously had announced that lie would continue the financing of a limited number of motion pictures, without taking an acting part in their production. The new decision springs from his prolonged con- troversy with the Screen Actors Guild. Lip- pert is of the opinion that the Guilds would look upon his financing of pictures as nothing more than a blind to cover up his production activities and, for that reason, he has decided to withdraw completely from the field. The unprecedented amount of activity in lining up new product during the past month, however, indicates that his company is in no danger of a product shortage. By and large, the biggest deal in the works is one whereby Lippert would acquire some 20 pic- tures held by the Bank of America through foreclosures. Included in the list of fore- closures are some of the old Enterprise pic- tures, including "Arch of Triumph, I'he Other Love" (Barbara Stanwyck - David Niven), "Ramrod" (Joel McCrea-Veronica Lake), "Body and Soul" (John Garfield-Lili Palmer), "Four Faces West" (Joel McCrea- Frances Dee), and "So This is New York" (Henry Morgan - Rudy Vallee). Lippert hopes to acquire full theatre and television rights to the films. Exclusive Films of London, headed by James Carreras, has an- nounced a 1952 slate of six features to be made in England for Lippert release. The first production to start on the new slate is "Lady In the Fog," rolling in March, to be followed by "Night Boat To Paris" and "Flanagan's Boy." A deal also has been closed for the re- lease of three films to be made by Philip Yordan's Security Pictures in 1952. The fiis; of the trio will roll in about a month and is to be based on a theme of underworld goings-on. "Rio Colorado," an original by Charles Marquis Warren and John C. Champion, has been added to Tower Productions' schedule for 1952, to give Lippert still another new feature for his releasing organization. "Rio" will follow "Hellgate Prison," set to roll in February. The only picture now in production, which is definitely set for Lippert release, is "Loan Shark" (George Raft-Gail Russell) a Ber nie Luber Production. Seymour Fr«:id- man directs the thriller, having placed it before the cameras on January 22. (Continued on Page 20) 19 STUDIO SIZ€-UPS (Continued from Page 19) METRO-COLDWYN- MAYER Expensive Story Buys Bode Upped Budgets for '52 There are indications that Metro will ex- pand its budget for story properties in 1952, with special emphasis on best-selling novels and New York stage plays. In recent weeks, the company has purchased film rights to five published properties, whereas original story buys have been practically nil. Topping the list of new properties is the Howard Lindsay-Russell Crouse play, "Re- mains To Be Seen," one of the costliest story deals closed in Hollywood this winter. Another top property corralled by the Culver City studio this month was "Sobbing Woman," popular novelette by the late Stephen. Vincent Benet. On the production front, the company continues to operate at full tilt, with five features rolling simultaneously throughout most of the month, and a trio of new starters lined up tcrmove on the sound stages as fast as the ones now filming are completed. Cur- rently before the cameras are: "Because You're Mine" (Mario Lanza), Technicolor musical filming since December 8, with Alex- ander Hall directing for Producer Joe Pas- ternak; "Mr. Congressman" (Van Johnson- Patricia Neal), political satire which has been filming on location in Washington D. C, since December 28, Robert Pirosch di- recting for Producer Dore Schary; "Days Before Lent" (Gig Young-Janice Rule), a dramatic piece, shooting since December 31, Gerald Mayer directing and John Houseman producing; "Pat and Mike" (Spencer Tracy- Katharine Hepburn), a comedy which pro- ducer Lawrence Weingarten and director George Cukor launched on January 2, and "One Piece Bathing Suit" (Esther Williams -Victory Mature) in Technicolor, directed by Mervyn LeRoy and produced by Arthur Hornblow, Jr., in work since January 15. The schedule for the final week in January called for 'Three Love Stories" (Pier Angeli -Ricardo Montalban-Leslie C'aron), produced by Sidney Franklin and directed by Gottfreid Reinhardt, and "The Devil Makes Three" (Gene Kelly-Pier Angeli), but the latter, to be shot in Paris, was delayed when Kelly was required to undergo an appendectomy. On February 1, director Stanley Donen and producer Edwin Knopf, are slated to give the green light to "Fearless Pagan" (Debbie Reynolds-Carlton Carpenter), a comedy. Director Richard Thorpe wound up shoot- ing on "Carbine Williams," (Jimmy Stewart- Jean Hagen), which was produced by Ar- mand Deutsch on a 23-day shooting schedule. Also completed since the last Size-ups report was "Glory Alky" (Ralph Meeker - Leslie Caron), a Nicholas Nayfack production, di- rected bv Rauol Walsh. MONOGRAM— AA New Bank Loan Hypoes Monogram— AA Production Monogram and Allied Artists got a shot in the arm financially this month with the signing of a new one year revolving loan and credit agreement with the Security First National Bank of Los Angeles. The agree- ment calls for additional credit to the extent of $500,000 to be issued in the form of guar- antees to producers releasing through Mono- gram— A A. February figures to be a big month for this company, since the week of the 10th to 16th is highlighted by the National Mono- gram Week sales drive. Heading the list of films to be pushed during the big sales drive are: "Aladdin and His Lamp" (Patricia Medina-John Sands); "Fort Osage" (Rod Cameron); "Flight To Mars" (Marguerite Chapman - Cameron Mitchell) a Walter Mirisch production, and "The Highwayman" (Charles Coburn - Wanda Hendrix - Philip Friend). All four are in color. On the basis of advance bookings from the company's 37 exchanges, president Steve Broidy reports that his company is already 20 per cent ahead of last year, when the first National Monogram Sales week was insti- tuted. Last year, the week proved the most profitable sales period in the company's more than 20 year history. January accounted for three new pictures to be released under the Monogram aegis. "Jet Job" (Stanley Clements-Elena Verdu- «o) was filmed between January 3 and Janu- ary 11. William Beaudine directed for pro- ducer Ben Schwalk. "Dead Man's Trail" a Johnny Mack Brown western wound on January 15. The same week, producer Vincent Fennelly and director Lewis Collins turned out a new Whip Wilson sagebrusher, "Texas Marshall." And on January 17, pro- ducer Jerry Thomas and director William Beaudine, put "Bowery Leathernecks" (Leo Gorcey-Huntz Hall) before the cameras. Another important item in the news at Monogram during January, was the appoint- ment of Eugene Arnstein, veteran film in- dustry executive, as studio manager and di- rector of personnel. Arnstein recently re- signed from Pathe Industries, where he was administration head under William C. Mac- Millen, Jr. PARAMOUNT Hartman Launches Drive To Develop Fresh Talent With the turn of the New Year, Para mount has launched a big campaign to de^ velop creative talent from within the rank: of the personnel now under contract. Don Hartman, the production chief, has notified the heads of all departments on the lot that every effort is to be exerted in developing fresh talent for the screen, as well as afford ing new incentives to all other gifted em- ployees in making the fullest use o their pic ture-making abilities. He has further pointed out that special emphasis is to be placed on the origination of fresh, interesting stor ideas for the screen. Among the new stellar talent for who: the studio is planning big things are Audrey Hepburn, star of the Broadway hit, "Gigi'l Yul Brynner, star of "The King and I," thtf current Rogers and Hammerstein Broadway success; Rosemary Clooney, popular recorm ing artist; Gene Barry, another new Broad way luminary, and Anna Maria Alberghetta the 15-year-old Italian soprano who mad( her film debut in "Here Comes the Grooml As another means of developing contracl talent, the studio has notified its producer! that players in Paramount's Golden Circh of newcomers will be selected for screet roles on a competitive basis. The studio'; talent coaching staff will be handed script: of upcoming pictures, with which to trail the young players for prospective roles When the producers and directors are read; to start casting their pictures, they will thei try out the Golden Circle players for im portant roles. Paramount continues among the leader in the number of films before the camera during January. There are five pictures shool ing at the present time, with four mor slated to go during the first two weeks c February. Of those now filming, "Jumpin Jacks," Hal Wallis' new Dean Martin-Jerr Lewis comedy, is the only one about to b turned over to the editing department. D rector Norman Taurog started shooting o the picture on location in Georgia, Decen ber 4, and returned to the home lot early i January. "Botany Bay" (Alan Ladd-Jame Mason - Patricia Medina) a Technicolc feature, has been on the sound stages sine (Continued on Page 2\ GOLDEN CIRCLE AROUND HARTMAN Which of These Are Tomorrow's Stars? 20 FILM, BULLETI COLUMBIA PICTURES STANLEY ,1 KRAMERS i J grcductica of THE GREATEST DRAMA OF OUR TIME JIEDRIC MARCH .i, "My son still loves me ! Isn't that remarkable!" ; STUDIO SIZ6-UPS (Continued from Page 20) December 17, with John Farrow directing for producer Joseph Sistrom. "Military Policeman" (Bob Hope-Marilyn Maxwell- Mickey Rooney) was launched on December 27 by director George Marshall, and pro- ducer Harry Tugend. Pine-Thomas began rolling their Technicolor cameras on "Carib- bean Gold" (John Payne-Arlene Dahl) Janu- ary 7 with Edward Ludwig handling the megging chore. "War of the Worlds" (Gene Harry-Ann Robinson), also in Technicolor, was the final January starter, getting away on the seventeenth. Byron Haskin directs for producer George Pal. February starts are scheduled on the following: "Stalag 17" (William Holden - Don Taylor), Billy Wilder producing and directing; "Tropic Zone" (Rhonda Fleming- Estelita), Pine-Thomas Technicolor feature to be directed by Lewis R. Foster; "Hurri- cane Smith" (Yvonne De Carlo - Forrest Tucker), Nat Holt Technicolor western to be directed by Jerry Hopper; and Hal Wallis' production of "Come Back Little Sheba" (Shirley Booth), directed by Daniel Mann. Ginger Rogers will co-star with Betty Hutton in "Topsy and Eva", based on the life story of the Duncan Sisters. Harry Tugend will produce. RKO New Wald-Krasna Deal Grants Right to Sell Interest Under the terms of the deal whereby Jerry Wald and Norman Krasna agreed to remain at RKO for at least another year, the production duo will be permitted to sell their 50 per cent interest in all pictures they produce during the year. The revised con- tract also stipulates that there will be no continuing commitment to Hughes after December 31, 1952. Under the new arrangement, which sup- plants their original contract, Wald will as- sume complete production responsibility of the W-K unit and will function as executive producer. Krasna will write and direct at least two features during the year. It :s believed that only four pictures will be forthcoming from the W-K stable during the year. AH of them are set for immediate casting. They are: "High Heels," "Size 12," "Strike A Match" and "I Married A Woman." At present, the unit is shooting one film and editing another. Aside from the one Wald-Krasna film, "This Man Is Mine" (Susan Hayward - Robert Mitchum-Arthur Kennedy), which has been shooting since December 27, pro- duction activity on the RKO lot has been at a virutal standstill since the first of the year. At the turn of February, however, boss- man Hughes will signal the start of "A Song Forever," new Tony Martin musical, for which Kathryn Grayson has been bor- rowed from Metro. James V. Kern will di- ( EDMUND GRAINGER SIGNS Ten in Five Years rect for producer Nat Perrin. Although it is not being filmed on the RKO lot, one other important feature now before the cameras, will be included in the company's release schedule. This is the million dollar Samuel Goldwyn feature, "Hans Chirstian Andersen," (Danny Kaye- Farley Granger-Renee Jeanmarie). DirectX- Charles Vidor green-lighted this production on January 21. Joan Crawford's first inde production, "Sudden Fear," which RKO will release, is slated to start before the end of January. Walter Jack Palance, who scored in "Panic In the Streets," has been signed by producer Joseph Kaufman to appear in the melodrama. David Miller will direct. Milton Pickman, veteran Hollywood agent, has joined the Wald-Krasna organi- zation in the capacity of vice-president and general manager. Other contract developments on the RKO lot include the cancellation, by mutual con- sent, of Nicholas Ray's term director pact and the release of Jane Greer from her the- pact. Edmund Grainger's new five-year con- tract with RKO calls for a minimum of ten features to be made by the young producer. His latest, "The Korean Story" (Robert Mitchum-Ann Blyth), is being readied for release. REPUBLIC Seiter Pacting Bolsters Republic's Big-Time Bid Republic is again making a strong bid to enter the forward ranks of major Holly- wood studios, with the signing of new top- flight talent in several departments. Of pri- mary interest is the term pact just inked with William Seiter, one of the most re- spected directors in the business. This is the second topnotch megger placed under contract by Republic boss Herbert Yates within the past year and a half. John Ford joined the studio late in 1950. Strong emphasis is also being placed ot building up a formidable roster of musica stars — indicating that Yates is contemplai ting an expansion in the tunefilm type 01 production. With the signing of Ray Middle ton, Muriel Lawrence and William Chingjl (, in recent weeks, the company now has j| total of fourteen singers under contract Others on the list are: Bill hSirley, Eileer Christy, Vaughn Monroe, Estelita, Michae Barton, George Bamby, Bud Dooley, Slim Duncan, Darol Rice, Judy Canova and Rex Allen. A trio of new important properties have just been purchased by the valley studio, also. These are: "Storm Out of China," ani original screenplay dealing with the Korean way, written by George Waggner; "City j That Never Sleeps," dealing with the Chi-ij cago police department, and Bob Considine's | "The Great A Bomb Mystery." John Wayne is up for the lead in "Storm," and Joseph Kane has been assigned the producer-di- rector chore on "City." "A Bomb Mystery," which was recently published in the Hearst papers, probably will be the first of the new properties to go into production. Two pictures have been shooting during most of January. "Minnesota" (Rod Cameron - Ruth Hussey - Gale Storm - John Agar), which went before the cameras in early December, wound up on January 12, having been both directed and produced by Joseph Kane. "Song Of Youth" (Bill Shirley - Eileen Christy - Ray Middleton - Muriel Lawrence), the Stephen Foster musi- cal biography, which also went into pro- duction in December, will not be completed until early in February. Allan Dwan is pro- ducing and directing. On January 24, Pro- ducer-Director Harry Keller rolled "Black Hills Ambush," an Allan "Rocky" Lane western. 20TH CENTURY-FOX Zanuck Using Big Budget For Name Stars, Top Stories With a $45,000,000 budget on which to turn out his 1952 product, 20th-Fox pro- duction chief Darryl F. Zanuck is investing his new features with name casts, even to the smaller supporting roles — and is loosen- ing the purse strings in buying up top drawer story properties. Full-scale production for the year appears to be his keynote, with six pictures currently before the cameras, four more slated to roll in early February, and a half dozen more in the final stages of preparation for late winter and spring shooting. As of the end of Janu- ary, more than three-fourths of the year's total output was either completed or in actual production — probably something of a record for a Hollywood studio. All told, a minimum of 31 features, pro- duced at a reputed average cost of $1,250,000 each, plus five additional independent films to he handled by the company, will be re- leased by Fox in 1952. Twelve of the films will be in Technicolor and one will be in Super Cinecolor. (Continued on Page 23) 22 FILM BULLETIN 3TUDIO SIZ6-UPS I Continued from Page 22) Of the six pictures now shooting, four ere launched in December and two in Janu- ry. The December starters were: "We're ot Married" (David Wayne-Marilyn Mon- e-Ginger Rogers-Fred Allen-Paul Douglas an Sterling), produced by Nunnally John- n, directed by Edmund Goulding; "What rice Glory" (Dan Dailey-James Cagney- orinnc Calvet), John Ford director, Sol C. eigel, producers; "Les Miscrables" (Michael ennie-Debra Paget), Lewis Milestone, di- ctor, Fred Kohlman, producer; "Dream oat" (Clifton Webb-Ann Francis), Claude inyon, director, Sol C. Seigal, producer. "The Condor's Xest" (Cornel Wilde-Con- ance Smith), in Technicolor, being pro- uced by Jules Buck, and directed by Del- ar Daves, rolled on Jan. 14th. Also shoot- g is one of the episodes in the collection of 'Henry stories to be titled "The Full ouse." Part 3 stars Richard Widmark and ale Robertson. This is being produced by ndre Hakim production, directed by Henry athaway. On February 4, Parts 4 and 5 of the 'Henry tales will go before the cameras on ffcrent sound stages. Andre Hakim will roduce both sequences, but the director had ot been designated at this writing. On the ame day, producer Sol C. Seigel and di- ector Howard Hawks will roll "Darling I m Growing Younger" (Cary Grant). Feb- uary 11 is the date set for the start of anuck's big personal production, "The nows of Kilamanjaro," a big Technicolor eature starring Gregory Peck and Susan ayward. UNITED ARTISTS lew Management's Success ►rings Producers Flocking These are bright days for United Artists! Not only is the company operating in the )lack under the new ownership, but the >acklog of strong product continues to grow >y leaps and bounds. During January, a half dozen releasing lacts were signed, and at least that many nore are nearing that stage. King Brothers iave just okayed a UA release on two of heir features for 1952, "Mutiny" (Mark >tevens-Angela Lansbury), in Technicolor, md "The Ring" (Lalo Rois-Rita Moreno). The latter, which started shooting on the )ld Samuel Goldwyn lot on January 17, is leing directed by Kurt Neuman. "Mutiny" s slated for spring release. Sid Kuller and Ben Hecht have delivered he final print on "Actors and Sin," another lew UA release. Alex Gottleib's production }f Jack London's "The Fighter" (Richard Jeen set for UA release. And Samuel Fuller's "Park Row," touted as one of the op inde productions of the year, is added o the UA release slate, in an unusual deal vhereby Fuller will handle his own pro- 20TH'S ZANUCK Bib Budget, Big Xames motional campaign on the newspaper yarn. The latter goes into production during the final week of January, with Fuller doubling on the producer-director chores and Gene Evans set for the starring role. Although Charles Chaplin has indicated that his affiliation with United Artists may not necessarily mean that the company will handle the distribution of his new picture, "Limelight," the chances are 99 to 1 that it will. The picture has been brought in ap- proximately 12 days over its original schedule of 36 days, but under the 50 days Chaplin set after the film went into pro- duction. This 48-day schedule, incidentally, constitutes a speed record for any feature Chaplin has ever made. The only other picture scheduled for a UA release which has been given a definite starting date is "Invasion, U.S.A.," an American Pictures Production. Robert Smith and Albert Zugsmith will produce, with Peter Miller serving as associate producer. Filming is slated to start on March 10, with a cast headed by Don Randall, Dan O'Her- lihy and William Schallert. UNIVERSAL-INTERNATIONAL Production Increased By Two New Starters at Month's End Production has tapered off considerably from the high level of four to six pictures shooting simultaneously during most of the final months of 1951. Through most of January, only three pictures were shooting, and one of them was "The Untamed" (Joseph Cotten - Shelley Winters - Scott Brady), which has been on and off the sound stages a half dozen times in its ill- fated run. "Against All Flags" (Errol Flynn - Maureen O'Hara) Technicolor swashbuckler rolled on January 7, with George Sherman directing for producer Howard Christie. On January 12, "Almost Married" (Tony Curtis -Piper Laurie) went before the cameras — IANUARY, 28, 1952 Dpuglas Sir k directing, Ted Richmond pro- ducing. The final week of January witnesses a slight pick-up in production, with the start of "The Secret of Sally O'Malley" (Ann Blyth-Francis Bavier), and "Girl Across the Street" (Ann Sheridan-John Lund). Ru- dolph Mate is directing "Secret" for pro- ducer Leonard Goldstein, and Joseph Pevney directs "Girl," for the same producer. U-I has borrowed Robert Ryan from RKO for the starring role in "Texas Man," upcoming Albert J. Cohen production. RK'» is sending Ryan to the valley studio in re- turn for the use of U-I contractce Shelley Winters in "Behave Yourself." Jeff Chandler has been assigned the top spot in "Yankee Buccaneer," Technicolor adventure set in the West Indies about 1820, which is scheduled to start shooting around March I. WARNER BROTHERS Studio Picks Up Pace With 4 Shooting, 4 Readying There was a pick up in momentum at this studio during January. Four productions have been in front of the cameras since the middle of the month, and pre-production planning on an equal number of up-coming pix has kept the entire lot buzzing. Topping the list of pictures now filming is "The Will Rogers Story," Technicolor biopic of the late philosopher and comedian — which has been on the studio's active list for almost four years. Will Rogers, Jr., portrays his famous father in the movie, with Jane Wyman playing Mrs. Rogers. Michael Murtiz is directing for producer Robert Arthur. In line with the studio's current emphasis on biographies, "Alexander, The Big Leaguer," life story of baseball immortal Grover Cleveland Alexander is also being filmed, with Bryan Foy at the helm. Lewis Weilcr directs, the cast headed by Doris Day, Ronald Reagan and Frank Lovejoy. This one has been production since Decem- ber 12. The Technicolor western, "Man With A Gun" (Randolph Scott), which went before the cameras on December 17, is still shoot- ing. Felix Feist is director, Robert Sisk, the producer. The most recent starter is "The Miricle Of Our Lady of Fatima," a religious picture, starring Gilbert Roland. Director John Brahni and producer Bryan Foy teed off on the production on January 17. There have been no pictures completed since the last Size-ups report, nor has the company disclosed any starting dates on the four pictures now in the pre-production planning stage. However, it is quite likely that "Springfield Rifle" (Gary Cooper), will get away during the closing days o Febru- ary. Louis F. Edelman will produce the pic- ture which relates the story of the birth of Army intelligence. This will be done in color. 23 Xvbvs it ml Opinion (Continued from Page 9) Metro Profits Up for First Quarter of New Fiscal Year After holding its net profit for the 1951 fiscal year at approximately the level reached in the preceding year, Loew's first quarter earnings, $2,932,987, jumped almost a million dollars, hefore Federal taxes, past the pre- ceding year's comparable quarter. Total for the year ended August 31, 1951, was $7,804,370, compared with $7,854,454 in the previous fiscal year. For the 12 weeks ended November 22, 1951, the company netted, before the taxes, $2,932,987 compared with $2,090,127 a year earlier. After taxes and adjustments, net profit was $2,089,339, compared with $1,994,954 in the correspond- ing period of the preceding year. Although gross receipts from film rentals, theatres, accessories and M-G-M Records, dropped about $2,000,000 to $165,858,000 from fiscal 1950, expenses were reduced almost twice that amount to put the com- pany ahead for the more recent year, before taxes, and other deductions. Increased Federal levies, however, evened out the final figure. For the' 12-week period ended Nov. 22, 1951, gross revenues increased from $39,792,- 000 (estimated) to $40,572,000. Federal taxes also rose from $786,000 to $1,316,000. Despite Huge Tax Bite U-l Profits Soar Handsomely Universal's profit statement for the 1951 fiscal year, ended Nov. 3, offered good news to the company and its stockholders. Not only did the net profit show a substantial increase — to $2,092,000, compared with $1,355,000 in the preceding year — but the company presented a brighter financial pic- ture on all fronts. Gross sales totaled $64,783,000, compared with $55,121,000; the company reduced its indebtedness under the 1950 bank credit by $1,741,000 to $3,312,000; it acquired $1,190,- 000 principal amount of its 3^4 per cent de- bentures, reducing the outstanding amount to $3,205,000; it increased its cash balance by more than a million dollars to $6,750,000 and acquired $2,200,000 in U. S. tax notes during the period. And all this with a tax bite that increased in 1951 from $950,000 to $3,300,000. Disney Gross Dips Million But 'Alice' Take Still Due Walt Disney Productions dipped a $1,000,- 000 in uross and $288,000 in net during the year ended Sept. 29, 1951, according to the annual report presented by president Roy ( ). Disney. Gross receipts for the 1951 fiscal year came to $6,287,000, compared with $7,293,000 the year before. Net for the yast period was $429,000, compared with the '50 figure of $717,000. Disney noted that the '51 gross reflects only slightly the returns on "Alice in Wonderland", whereas the '50 take included the bulk of that year's big picture, "Cinder- ella." 'Special Handling' of All Films A Must Now — Schwalberg "The bromide that there is nothing wrong with the motion picture industry that good films cannot cure is fallacious," A. W. Schwalberg, Paramount Film Distributing Corp. president told his divisional sales managers, during a three-day meeting at New York's Hotel Plaza. "Intelligent selling and merchandising are what make the differences in grosses," Schw'alberg declared, emphasizing that all pictures must be given "special handling" to get proper grosses in today's market. The "conventional selling pattern" is out, the distribution chief said. "The problems involved in selling a picture like 'Flaming Feather' are different from those attendant upon 'Silver City.' Both are westerns, but we mustn't make the mistake of treating them alike." Also addressing the division heads were Paramount Pictures president Barney Bala- ban, board chairman Adolph Zukor, vice- presidents Y. Frank Freeman, Jerry Pick- man and E. K. O'Shea, and Short Subjects chief Oscar Morgan. Wage Hike For Musicians Gives Studios Added Costs Labor costs at the studios were due for a boost if the Wage Stabilization Board ap- proves the two-year contract negotiated last week between the American Federation of Musicians and the major producers. The new pact calls for an increase of 15 per cent in wages for the 600 to 800 regularly-em- ployed musicians at the studios, as well as several hundred more part-time employees. It is retroactive to January 15th. Sweetness and light flowed from the meet- ings in Miami Beach, where the negotiations had been in progress between the Union's \ executive board, headed by James C. Petij lo, and the film company representative Nicholas M. Schcnck, Loew's president, aj spokesman for the movie people, called iti "very equitable agreement" and felt it w( "accomplished with harmony and gO< taste." Court Sets New Formula For Divestiture by Schine In an attempt to sidestep the "reasonat offer" hurdle that has held up divestiture seven Schine theatres since last June, a: promised more of the same for the 18 adc tional houses due to go this June, the Buffj Federal District Court amended the decrj and gave Schine an additional year for ft filling the terms. Of the 25 theatres, o third are to be divested by June 24, 195 another third by Dec. 24, and the rest June 24, 1953. In offering the theatres, Schine agrees notify prospective buyers that no "reaso able offer" will be refused. The amend decree defines this as the price bid plus t profits of that theatre since June, 1951. C tensibly, the Court will rule on the reasq ableness of final bid. If sale is still stymied at deadline, Schi may lease up to half the houses, but cam share in profits and must sell before le expires. Industry Groups Ask NPA Lift Ban on Color Theatre TV Pointing to the relatively minor amoui of critical materials used in large sere color television equipment for theatres, thi industry groups jointly asked that t Government clarify its order banning co TV. In a letter to the National Product! Authority requesting .a ruling to permit tin tre color TV, the Motion Picture Asso ation of America, Theatre Owners America, and the National Exhibitors Th< tre Television Committee claimed that t| Government's M-90 order prohibits "m;1 production" of color TV, "but no menti was made of color theatre television." PARAMOUNT'S SALES CABINET The Formula Is On! F 1 L M BULL E T V. hart Subjects BY BARN TH E AFRICAN QUEEN", UA's biggie, already having received a raft of pre- lease publicity breaks in the journals, and i Academy Award nominee favorite, lias L'cn set for the company's biggest advertis- ig-publicity-exploitation budget in five ars. Max E. Youngstein, who, since his lining L A as vice-president and ad-publi- tv director, lias helped make enough un- iectacular product pay off to put the com- - mv into the black, is revelling in this one, Snper-duper hunk of entertainment that ill live up to all those superlatives. Some S M)(),(HI0 ha> been set for the promotion in \k lvance of the Xew York premiere at the ili apitol in February and the nationwide re- aM1 around Easter. Latest of the honors r the film was Parents' Magazine Award Special Merit, issued only twice a year. X I V FRSAL'S DAVE LIPTON will match the glowing pre-release notices 1 "Mend ot t lie River" and that lulu of a rc3' orld premiere in Portland, Ore., with the hi GOVERNOR McKAY SIGNS ost extensive national advertising cam- ngn given any U-I film since "The Egg id I." Full color ads break next month in ie national mags, Sunday supplements and n magazines with some 75,000,000 reader- iip. That Portland preem, incidentally, was prime example of cooperation between the ovies and civic authorities to highlight a ate function. Governor Douglas McKay d the dignitary contingent, that included ate and local bigwigs galore, in conjunc- 'ii with the launching of Oregon's "Covered agon Centennial." UDY HOLLIDAY, whose talent for play- ing dumb blondes on the screen put her i the list of Oscar winners, was just named another select list — "The 12 Smartest omen of the Year," chosen by the editors the Mook of Knowledge. The only repre- ntative of the entertainment world on the ;t, Judy is in such company as Eleanor oosevelt, Anna Rosenberg, Senator Marga- t Chase Smith, and physicist Lise Meitner, ANUARY 28, 1 952 YOUNGSTEIN ACCEPTS ANOTHER among others. Which goes to prove the dumb blonde of "Born Yesterday" ain't really no dumb blonde. Double negative, RIGHT?!!! UI1THOUT WAITING for the public to shout "author! author!" John Steinbeck is taking a well-deserved bow for "Viva Zapata!" In a wire to producer Zanuck, the eminent author said: "'Viva Zapata!' is one of the most exciting films I ever saw . . . I am pleased and proud to be associated with this film." Steinbeck wrote the screen- play. iS THE FIRST step in initiating a long range publicity campaign on behalf of Goldwyn's "Hans Christian Andersen", David Golding is moving out of the studio tov work at first hand with Al Vaughan, studio publicity head. In making the an- nouncement, Goldwyn Productions president James R. Mulvey said: "We are very much aware that specialized selling and promotion is more necessary than ever before. By THIS IS A DUMB BLONDE? synchronizing our forces, we expect to bridge the hiatus that envelopes publicity and promotion from the end of promotion to the pre-release period." A shrewd move, say we. UORTH CENTRAL ALLIED has come up with an interesting gimmick as a feature of its 1952 convention next Spring — a big Newspaper Forum and Advertising Clinic in which every exhibitor attending the convention is asked to bring the editor, pub- lisher and/or other key newspaper men in his town with him to the meeting. Says executive counsel Stanley Kane: "He will go home with a better knowledge of the movies and movie theatre — and that means of you and your theatre and your problems. And you will go home with a better friend down the street at the newspaper office and with the knowledge that you have pulled a master stroke in public relations down at the grass roots level." PARAMOUNT'S KANE AF MEN AND THINGS: A. M. Kane, on March 1, takes over as Paramount's South-Central division head, succeeding M. R. "Duke" Clark, whose resignation takes effect Feb. 29. Kane, with Paramount since 1925, has been assistant East-South division manager . . . Harry Martin, U-I Philadelphia branch manager, died of a heart attack on the 19th while vacationing in New York . . . Loew's vice-president and general sales manager Charles M. Reagan heads the home office contingent in Chicago today (28th) for a two-day divisional sales conference . . . Alec Moss, Fox advertising manager, is leaving for a month's vacation at the end of February . . . L'A's Bill Heineman switched around his exchange personnel, winding up with Manny Cooper as Cleveland branch head, Sid Cooper as New Haven manager and Joe Callahan in Boston as West . Massachusetts head . . . Archie Mayers, president of Unity Television was named board chairman of the National Television Film Council. 25 EXPLOITATION PICTURE 'Another Man's Poison' Bette's Mea Star Shines Again As Evil Woman Jjj^ BETTE DAVIS GARY MERRILL 4notherMan'srbis MR. & MRS. MERRILL Reel Life and Real Life It is doubtful that any reel-life actress has made as successful a career out of wickedness on the screen — or garnered such a following of fans — as has Bette Davis. Her name alone is enough to set the ladies on their husbands' ears to lake them to see her latesl picture. In "Another Man's Poison"', the same Bette who "is best when she is bad" is a composite of her long chain of screen vixens, and. if possible, more evil than any of her predecessors. Co-starred with her real-life husband. Gary Merrill. Bette is seen as a ruthless, self-centered, writer, who is forced into killing her fortune-hunting husband, then commits another murder to prevent exposure of the first. "Another Man's Poison." is the "typical" Bette Davis vehicle, with the star play- ing the woman you love to hate. Which means that her legion of fans will be flocking to the boxoflice if this angle is emphasized. Another selling point is the reunion of the stars of "All \boul Eve," Mi>^ Davis and spouse Merrill. And. of course, the pull exerted by (he "world's first lady of the screen," whose eight Academy Award nomi- nations and two Oscars place her far above any other movie actress in prestige and solid draw ing power. CAMPAIGN PLAN Bette Davis, whose fan following is probably most numerous and faithful in motion pictu today, is set to encompass an entirely new fi with a radio show, "Woman of the Year," oj the 550-station Mutual Network on Mondays tween 8 and 8:30 p.m. (E. S.T.). Mutual's promotion guns were trained on the natio premiere program, which culminated in a nati wide celebration on January 14th as "Bette Df Day." All the Mutual stations are prepared to | operate fully in the dual exploitation of N Davis on the air and on the screen. Co-op for the radio show and "Another Man's Poist should be arranged: reciprocal arrangements be made with teasers and spots on the air, slides and teasers on the screen. Another co-op can be arranged to name local "Woman of the Year," with cross-plugs the air and in the theatre. A good teaser stunt, which sells the fil startling climax, is the post card pictured alx This can be ordered in mat form at your Natio Screen Service branch. Since Miss Davis and Gary Merrill are real- husband and wife, you can work up any on a number of "Mr. and Mrs." stunts. The pressbook recommends, among others, rangements for a local human relations counse to present an award to Bette and Gary for tl example of teamwork in a difficult profession. 1 should be rewarded with a newspaper story. EXPLOITATION PICTURE rfttoi™ Virtually a perennial nominee for the Academy Award. Bette Davis has made "the wicked woman" a paying proposi- tion. Beginning with "Of Human Bondage."' Miss Davis has delivered a series of sinister portrayals, which, except for some isolated "sympathetic" roles, garnered her eight Oscar nominations and gave her the coveted gold trophy twice. On this page, are scenes from the eight films. Clockwise, beginning at one o'clock: "Dangerous"' 1 1935) and "Jezebel"' (1938) Oscar-winners; "Dark Victory" (1939); "The Letter" (1910) ; "The Little Foxes" (1911) : "\ow. Vovager" (1912 ) : "Mr. Skefhngton" (1944) : "All About Eve"' (1950). In center, as she appears in "Another Man's Poison."' EXHIBITORS fORUm Opinions Culled from Organization Bulletins PINPOINT TV OWNERS Allied Theatre Owners of Indiana Talk to eight different exhibitors and you might get eight different reasons why thea- tre business is off. Maybe most people try and oversimplify the problem and actually there is no one factor that is the main cause of bad business. Without any formal survey, it is our impression from the visitors to this office that 4 out 5 exhibitors feel convinced that TV at the least is a common factor that aggravates the results attributable to any other cause. The bad weather, the high cost of living or the parking problem may make a person ask "should we go out to a movie tonight?" but the TV set in the parlor is enough to make them decide "let's stay home". Now there is just nothing than can be done about a lot of the causes to which bad business is attributed. And there has been a lot of punching at air to lick the reason given by most exhibitors for bad business — TV. That is why we think you will be in- terested in hearing about a program that A. T. O. I. member Kenneth Law is starting on. He is preparing a series of sales letters and mailing pieces about his Cozy Theatre in Argos. The facilities the theatre has to offer, the great attractions that are on his screen, the greatest entertainment talent in the world that is available in Argos, and why only the motion picture has the re- sources to provide this entertainment. I he people who receive this advertising won't realize that they are on a selected mailing list — but the material will only go to those that the exhibitor knows are stay- ing away from his theatre, the television set owners. Getting the mailing list will be easy for Mr. Law because he is in the TV repair business. We think this also gives authority to his ideas because he gets right into all the homes in his area that have television and has an opportunity to talk with the owner and learn how ownership has affected his entertainment buying. But maybe other exhibitors could buy such mailing lists from their local TV ser- vicemen. Maybe in larger cities exhibitors could prorate the cost of a mailing list and a co-op letter to cover the entire area. Exhibitors who believe that TV is a major factor in the box office decline, if they believe they should try and do something about it, and if they believe it is best to plow in the most fertile fields, then they will like Ken Law's plan. QUICK FIGURING Allied of Indiana If every dollar spent last year by the sponsors of television programs was turned would still fall far short of the return the over to the producers of motion pictures it producers receive from the theatres. Last year the sponsors of television programs spent about 480 million dollars — the only revenue source for TV. We don't know how much of this was for network costs, line charges and station costs, but even if the major part went to program costs it would still fall far short of the 500 million dollar estimate of Motion Picture Almanac for the making of movies in 1951. But even if all the TV advertisers could bid the product of Hollywood away from the theatres it would still only provide them with one day of programming in each week. If we were looking for entertainment we'd guess that the movies had the wherewithall to give us the best. If we were a producer with theatre cus- tomers we wouldn't jeopardize their welfare by playing footsie with TV. THEY ASK THE 'CORPSE' ITO of Ohio The March of Time produced by the editors of TIME and LIFE ("the movie business is dying") announces the reissue of 205 two reel subjects which it has made in the last fifteen years. When you are solicited to buy these subjects it would be well to bear in mind the fact that they are produced by the \indertaker who buried you last spring. PICKLES SHOULD PAY ITO of Ohio Universal is now releasing HERE COME THE NELSONS starring Ozzie and Harriet Nelson and their sons. The Nelsons are sponsored on the radio every Friday night by the H. J. Heinz Company of Pittsburgh. In exchange for a tie up with Heinz, Uni- versal has used a line "57 Varieties of fun" in all its ads. We suggest that irrespective of whether your theatre is big town, small town, first run, neighborhood or last run, that you write the H. J. Heinz Company in Pittsburgh anl see how they will help you, if and when yoj play this picture. If you don't get a satis actory reply change the figure in the ads f| 54 to 62 or what have you. TV COMPETITION ATO of New Jersey Jack Kirsch of Chicago addressed a lettej to the major film companies, asking them t state their position on films to be sold \ TV. As you all know, Jersey Allied hs been battling this problem since its incej tion. By our trade papers you find there wi be less releases for our theatres this comin year and, at the same time, we are advisa of new sales of pictures to television in terests. I believe distributors must fish a cut bait. At the same time that Monogram is I leasing East Side Kid pictures to exhibitoij all over the country, the same casts of Ea| Side Kids and Bowery Boys are being show! on TV. We repeat— we cannot sell wh;J others have given away for nothing. Til distributor says he has no control over theJ pictures; however, Republic has announcil the sale of 39 Republic pictures to televisiol A great percentage of television time ] taken up by films. This is direct oppositicf to your theatre — just as though a theati was planted next to yours. It is our since belief that this problem must be resolve Why the large circuits haven't protested tl use of films on television is beyond m Perhaps they are waiting until they a against the wall before they move or perha the organization strength of Allied will necessary to stop the greedy dollar bo from selling two ways against the middle W. PA. ALLIED MEETING The Allied Motion Picture Theatre Owners of Western Pennsylvania has scheduled a meeting for all exhibitors in Western Pennsylvania at the Allied headquarters on film row for Wednes- day, February 13th. The meeting will start at 12:30 noon when a buffet- lunch will be served. Every exhibitor or theatre manager, regardless of the fact that he is a member or not, is welcome. One of the principal speakers will be Martin Bennett, Manager of Thea- tre Equipment Sales for RCA, who will talk of theatre television as it is today and the prospects for the future. Bennett is in charge of all RCA thea- tre TV sales and installations. Morris Finkel, National Director, will report on the National Allied Board Meeting which is scheduled for February 5-6. Another feature of the meeting will be an open discussion by. exhibitors of their current problems in theatre operation and possible means to increase grosses. FILM BULLETI :}ODUCTIOn S R€L€flS€ R6CORD COLUMBIA 51-52 Features Serials Westerns Completed Completed Completed 53) 3) 17) In Production ( I ) In Production (0) In Production (0) RELEASE CHART Cast Boyer-Driscoll Autry-Buttram R. Cummings-T. Moore Morris-Foster Rel. No. Rev I 1-51 7-5 1 — 1951-52 — I PRODUCTION TITLE — Running Time tippy Time, The - OMPIETED f bed Wire fefoot Mailmen, The ISC) 183) B Gusher. The 168) Morris-Foster _ 7-51 7-30 B ts Malone 1103) Holden-Clements 1-52 1-14 Ave Warrior „.Jon Hall _ _ B)end. The IT) Dexter-Lawrence Cbtain Blood, Fugitive Louis Hayward ... _ C uded Yellow, The (94) Simmons-Howard 10-8 Cky of Gasoline Alley 170) . S. Beckett-J. Lydon _ 9-51 _ Cigo Bill _ McGyire-Meore Clin of Circumstance (48) M. Feld-R. Grayson 8-51 8-27 Cminal Lawyer (73) O'Brien-Wyatt 10-51 . 9-10 Csple Creek Montgomery-Booth C lone Fury [541 Starrett-Burnette 8-51 pith Of A Salesman 1 1 151 March-Dunnock Eopean Edition Glen Ford .. j .Derek-Cobb 12- . Williams-Reynolds 51 Fiily Secret. The I8S) Fifighters, The Ft Time, The Cummings-Hale R» 193) S. Douglas-W. Phipps 10-51 Fr Poster, The Harrison-Palmer 8den Hawk Fleminq-Hayden _ (em Girl, The Davis-Castle •lem Globetrotters, vk of Wild River. Wonderful Lie -ricant Island |C) of Utah (49) _Gomei-Dand ridge The The _ Starrett-Burnett Kiepura-Eggerth Hell-Windsor Autry-Buttram I 1-51 ! 7-51 9-5 1 Weissmuller-Ryen Weissmuller-Ryan .10-51 Weijirmiller-Greene 354 10-51 9-5 1 I gle Jim in the Forbidden Land Jgle Manhunt 144) _ /gle Safari Ki From Amarillo (54) Starrett-Burnette Dy and the Bandit, The (78) Hayward-Medina Lsmie Moutains Starrett-Burnett M!c Carpet IC) 184) Ball-Agar ^jic Face, The (89) Adler-Knight M\ In the Saddle (T) (87) _Scott-Leslie 12-51 rying Kind, The Holliday-Harrison Nik of the Avenger (T) (83) Derek-Ouinn 7—5 1 359 fc>. The (87) B. Crawford-Buehler 10-51 9-24 11-5 9-10 10-51 10-8 9-51 *> Six Convicts brer Trust A Gambler (79) Mht Stage to Galveston C West, The III Pos River 154) . 180) > ale Heart Diary 7-14 9-24 Beel-Mitchell Clark-O'Donnell 8-51 324 _ 7-14 Autry-Buttram _ _ Autry-Davis 1-52 ...... Young-Smith _ Starrett-Burnette 12-51 12-17 Haas-Michaels 8-51 7-30 F. Langford-T. Romano 12-51 Iibow Round My Shoulder (C) Laine-Daniels Hers of the Whistling Pines Autry-White Ugh, Tough West . Starrett-Burnett ire and the Arrow. The IT) ...... Crawford-Hale Sjrday's Hero (III) Derek-Reed Sndal Sheet (82) Crawford-Derek ■kv Canyon .. _. Starrett-Burnette 1-52 i >er. The _. Meniou-Franz of Dr. Jekyll (78) Hayward-Knox 1 1— SI > nd Off _ . _ .. Mickey Rooney .9-51 318- 8-27 1-14 10-22 >ny Side of the Street (71) Lane-Daniels 9-51 ' Tall Men (T) (97) ._ Lancaster-Lawrence 12-51 f I ol Damascus. The Henreid-Sutton _ rjey of Fire IC) (42) . Autry-Barnett 11-51. vy Cry IC) Montgomery-Long v^'Stle at Eaton Falls, The (90) Bridges-Gish _ _ ...8-51. 11-19 8-13 151-52 LIPPERT Completed (30) In Production (I PRODUCTION TITLE — Running Time Shark RELEASE CHART — 1951-52 — : MPLETED NYou Were _ Hit Oueen ; Girl • Men Only litti . Jane (42) lat Adventure, The (75) HHly Dangerous 181) ... "e It To The Marines 144) .. Continent : 4 Bait ' aw Women ■ 'jen Face, The . • High 140) Cast Raft-Russell Rel. No. Rev. Ell _ w. mciiuii-m. I ; srman and The Mole Men (58) Reeves-Coates s of Robin Hood Clarke-Hatcher lown World 143) Kellogg-Nash . eties On Parade Rose-Carroll _ Sir. Mr. Bones (54) F. Miller ...Tracy-Sawyer Britton-Parker — Romero-Totter — P. Henreid Porter-Neal Price-Hawkins Clark-Lockwood _ S. Melton-M. Lynn Romero-Brooke ..Brent-Chapman _ . ...Windsor-Rober Henreid-Scott S. Melton-M. Lynn . 10-5 5023 .12-15 5810. 10-26 ... 5002 . 1-52 ... 7-4 5012 .11-2 5021.. .10—12 . 5029 . _ 9-2 5005. 8-27 5004 ... 1-52 5105. 10-19 9-24 .9-10 10- 19 .5024.... 11- 23 5030 12- 21 5008 10-26 5101 _ 7-20 5020— 7-13.5019 NTJARY 2 8, 1952 In the Release Chart, "Rel." is the National Release Date. "No." is the release Number. "Rev." is the issue in which the Re view appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1950-51 programs unless otherwise noted. (T) immedi- ately following title and running time denotes Technicolor, (C) Cincolor, (SO Supercinecolor, (TR) Trucolor, (A) Anscolor. 1 METRO- COLDWYN-M A YER 1951-52 Features Completed (76) In Production (5) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Because You're Mine ITI Mr. Congressman Days Before Lent Pat and Mike One Piece Bathing Suit IT| COMPLETED Across the Wide Missouri IT) (78) American in Paris (T| (113) Angels in the Outfield (102) Because Your Mine Belle of New York 182) Bannerline 188) Callaway Went Thataway 181) Calling Bulldog Drummond 180) Carbine Williams County Line Cast Ld nid Morrow Johnson- Ned I Young-Rule Tracy-Hepburn Williams-Mature Rel Rev Oct Nov Sep Dec Girl In White, The Glory Alley Hour of Thirteen. The Invitation, The (85) It's A Big Country (89) Ivanhoe IT) ..... Just This Once (90) Law and the Lady. The (104) . Light Touch, The 193) Lone Star 1941 Love Is Better Than Ever 181) Lovely To Look At IT) _ _ Man With A Cloak 188) Merry Widow, The IT) Mr. Imperium IT) 187) Gable-Hodiak . Kelly-Caron Douglas-Leigh Lania-Whitmore Astaire-Vera-Ellen 3-52 Forrest-Braselle Oct . Mac Murray-McGuire Dec Pidgeon- Leigh ton Stewart Hagen Pidgeon-Hodiak Allyson-Kennedy Caron-Meeker Lawford-Addams McGuire-Johnson All Star R. Taylor-E. Taylor Leigh-Lawford Garson-Wilding Grainger-Angeli Gable-Gardner E. Taylor-L. Parks Grayson-Skelton Cotten-Stanwyck Turner-Lamas Turner-Pinia 208 202 10-22 9-24 8-27 204 214 213 9-24 12-3 2-52 1-52 220 2IS 12-17 3- 52 July Dec 2-52 4- 52 Oct 136 212 222 7-14 1 1-5 Pandora and the Flying Dutchman (T) (123) Sep People Against O'Hara 1102) Ouo Vadis IT) (171) I Was a Stranger Red Badge of Courage 149) Rich, Young and Pretty (T) (95) Scaramouche Sellout, The (72) Shadow in the Sky 178) Show Boat IT) (.108) . Singin' In The Rain (T) Skirts Ahoy Strictly Dishonorable 195) Strip, The (85) Talk About a Stranger Tall Target, The (78) Teresa 1105) Texas Carnival (T) (77) Too Young To Kiss 191) Unknown Man, The (84) Westward the Women 1114) When In Rome ... Wild North Country. The 197) Young Man in a Hurry Mason-Gardner Tracy-O'Brien Taylor-Kerr Whitmore-Davis . Murphy-Mauldin Powell-Damone S. Granger-E. Parker Pidgeon-Totter Meeker-Davis-Whitmore Gardner-Keel ..Kelly-O'Connor Williams-Blaine Pima-Cegih Rooney-Forrest Murphy-Davis Powell-Raymond Angeli-Erickson ______ Williams-Skelton Ailyson-Johnson Pidgeon-Harding Taylor-Darcel Johnson-Douglas Granger-Corey Roman-Nype 1-52 Sep Sep Aug 1- 52 2- 52 July 4-52 207 10-22 203 4-4 10-22 201 8-27 1 1-19 204 I 8-27 138 . . 7-14 219 12-3 1 221 12-31 135 7-2 July Aug 4-52 Aug July Oct Nov July 1-52 4-52 3-52 140 139 137 205 214 8- 13 3-12 9- 24 1 1- 5 10- 22 12- 3 ? _E_. MONOGRAM - ALLIED ARTISTS 1951-52 Features Westerns Completed (40) In Completed (16) In Production ( I ) Production (0) IN PRODUCTION TITLE — Running Time Bowery Leathernecks COMPLETED Aladdin and His Lamp (C) (47) Counterfeit Crazy Over Horses 145) Dead Man's Trail Desert Pursuit Elephant Stampede Father Takes The Air RELEASE CHART — 1951-52 — Flight to Mars IC) (72) _ _ Fort Osage (C) Hold That Line Jet Job Joe Palooka in Triple Cross Lawless Cowboys 1581 Longhorn. The 170) Man from Black Hills Mexican Silver Night Raiders Northwest Territory (41) Oklahoma Justice Rodeo IC) 9-24 Stage to Blue River 154) Cast Gorcey-Hall Medina-Sands DeFoe-King Gorcey-Hall Brown-Ellison _ Morris-Caruso .. Sheffield Walburn-Gray Chapman-Mitchell .Cameron-Nigh Gorcey-Hall Clemen ts-Verdugo Kirkwood-Downs Wilson-Knight Elliott-Coates Brown-Ellison .Wilson-Clyde ... Wilson-Knight Grant-Chinook -Brown-Eflison -Jane Nigh Wilson-Knight Rel. No. Rev. 1-52 5299 11-18 5114 5-52 10- 29 4-17 I l-l I 2- 52 3- 52 9-14 1 1-7 11- 25 3-52 5209 .5110 . 5126 5103 11-19 -5102 . 5211 5118 .10-8 5155 5223 5242 . 2-52 12-9 8-19. 3-9 12-30 5251 .5I44_ .5104. 29 Stagecoach Driver Steel Fist. The 173) . Texas City Texas Lawmen 154) Texas Marshall Trail Dust Vengeance Trail Vicious Years. The (79) Waco Wagons West (C) Wanted: Dead or Alive (59) Whistling Hills Wild-Stallion (C) Witness. The . Yellow Fin .. __ Yukon Manhunt Wilson-Knight 7-15 5153 Lost Planet Airmen I R« edit act from McDowall-Miller 1-52 5217 ' King of the Rocket Men Brown-Ellison 1-52 5241 Oklahoma AlWIO (C ) - - - ■g-TiffiS. ,2'2 - rA°UX. fhe'm w__zzz= ; WSfiffiLi ■ 2-3 1 =5 i W — Jobin,on-Vs Turpin IS3I ..Elliott-Stewart 4-52 5225 1*a9'"h?Ja X fh. Senorit ? (47) . Cook-Moore . 2-18 _ *°del and The Marriage Brokerl 103) J. Crain-T. Ritter ■ Highway In The Sky 197) itcasts of Poker Flat, The opla Will Talk 1 1 10) one Call From A Stranger ide of St. Louis d Skies of Montana IT) . turn of the Texan se of Cimarron Stewart-Dietrich Baiter-Robertson Grant-Crain 10-SI 9-51 2-52 4-52 .Widmark-Smith 2-52 Merrill-Winters Dailey-Dru Robertson-Boone Buetel-Powers Ford-Tierney cret of Convict Lake 183) ke Care of My Little Girl IT) 193) Crain-Peters it Zapata M. Brando-J Peters ait Till The Sun Shines Nellie (T) Peters-Wayne Fy of a Gaucho IT) Tierny-Calhoun — »h A Song In My Heart IT) Hayward-Calhoun 2- 52 4-52 8-51 7-51 3- 52 I 1-5 10-22 125 8-13 127 8-13 124 8-13 201 12-17 .121 126 204 9-10 123 119 206 4-52 UNITED ARTISTS Golden H.vde The IT) Has Anybody Seen My Gal IT) Here Come The Nelsons Iron Man 182) Lady from Teias IT) 178) Lady Pays Off. The Lavender Hill Mob. The little Egypt IT) 182) Lost in Alaska Ma and Pa Kettle at the Fair Ma and Pa Kettle Go To Paris Mark of the Renegade IT) 181) Meet Danny Wilson Pool of London Raging Tide. The 192) Red Ball Express Reunion In Reno 179) Scarlet Angel IT) Son of Ali Baba IT) Steel Town IT) Strange Door. The 1801 Thunder On the Hill 185) Treasure of Lost Canyon, The IT) Week-End With Father 1831 World In His Arms, The IT) You Never Can Tell Bly'he Ferrer Colburn- Laurie Onle and Harriet Keyes-Chendler Hull-Duff Dernell-McNally Guinness- Hoi loway Fleming-Stevens Abbott-Costello -Meln-Kllbride Main-Kilbride Montelben-Cherisse Sinatra-Winters Colleano-Shew Winters-Conte Chandler-Cabot Stevens-Dow DeCario-Hudson Curtis-Laurie Sheridan-Lund Laugnton-Karloff Colbert-Blyth W. Powell-J. Adams . Neal-Heflin P»ck-Blvth Powell-Dow Oct Feb Aug Oct Nov Oct Sept 134 210 130 136 202 280 131 Aug Feb Aug Nov Oct Dec Sept 135 204 133 Dec 204 Sept 132 7 14 10-8 8-27 128 8-13 205 183 203 I0-2J 10-8 I l-S 8 13 12-3 9-10 951-52 Features Completed (55) In Production (2 RELEASE CHART — 1951-52 — PRODUCTION TITLE — Running Time inter s Wife ig, The DMPLETED Christmas Carol 184) . .tors and Sin 194) . rican Queen IT) ( 104) other Man's Poison 189) I Night. The I7S) - .Halo Bill in Tomahawk Territory . • icago Calling (74) >udburst 183) Cast Claudette Colbert iRos-Moreno Rel. No. Rev. .... Alyastair Sim _ Robinson-Hunt Bogart-Hepburn I 1-30 I 1-19 biola 194) st Legion 184) ■t Definance 181) jr In A Jeep (97) .Id Raiders IS4) _ een Glove. The .Davis-Merrill 1-52 J. Barrymore-P. Foster 12-7 Moore-Andrews 2-52 . Duryea-Anderson l-ll Preston-Sellars H-R 1-14 1-14 I 1-19 Michele Morgan _ Boyer-Bettger D. Clark-B. Johnson . Lindfors-Meeker O'Brien-Ryan I- 52 .4-1 .5-11 II- 9. 8- 24 9- 14 12-17 Lev ... . Sirk .. Ran All the Way 177) Ihh Noon •odium. The 141) itel Sahara 187) jiv Says No, The (80) Might in From Planet X 170) . in With My Face (75) ... racle from Mars ster Drake's Duck 181) •. Peek-A-Boo (74) _ ughty Arlette 184) w Mexico (A) (7l 'seised (77) _ 'lette DOS) Ford-Brooks 2-52 Garfield-Winters 7-13 Cooper-Kelly I 1-5 Tierney-Roberts DeCarlo-Ustinov Caulfield-Niven Chaplin-Bloom Clark-Field Nelson-Matthews Graves Fair banks-Don Ian 7-27 4-18 10-15 Jar 11-19 1-52 12-17 4-27 _ 4-8 Cor 4-4 9-2 1 174) - le Big Affair (80) _ 'don My French (81) - >wler The 192) - een For A Day 1107) j-er. The (T) (102) rurdey Island (T) »rf. The 184) Greenwood-Bourvil 10-21 _ Sach Zetterling-Williams 3-9 . Ayres-Marshall 8-24 AIn. Farrar-Fitigerald 9-7 -Neagle-Howard 5-15 O'Keefe-Keyes 2-52 Oberon-Henreid 8-10 . -Heflin-Keyei . 5-25. . Avery-McGavin 7-7 Swinburne-Shields _ . 2-52 Linda Darnell 10-8 9-24 4-18 9-24 Eag. Ren 9-10 4-9 I Ireland-McCambridge Simmons-Bogarde Long at the Fair (15) 1 ••""V. D'P HO) Foch-Haymes le of F,v. Women, A (84) Bonar Colleano >ee Steps North (IS) Iridges-Padavon Ihtrope. The Forsythe-Hall .3-29 8-24 Dan .3-24 .1-21 7-14 ■n Brown's Schooldays (93) o Gals and a Guy (70) derworld Story (90) II, The 185) en Gt>/w Up (90) Davies-Newton Paige- A da Dsryea-Storm . Rober-Kelly _ Preston-Scott ... -4-15 Wil. 1 1-2 .1-31. . 7-2 1 . 9-14 -4-20 C-E. Pop 9-10 UNIVERSAL- INTERNATIONAL '51-52 Features Completed (59) In Production (3) RELEASE CHART — 1951-52 — PRODUCTION TITLE — Running Time ainst All Flags IT) ■nost Married tamed, The IT) OHPLETED rtle at Apache Pass IT) id of the River (T) _ •ght Victory (97) >nco luster IT) •ttle Drive (T) (77) Cast Flynn-O'Hara Curtis-Laurie Cotten-Winters Rel. No. Rev. Chandler-Lund . Stewart-Kennedy Dow-Kennedy . Lund-Brady Feb Jan 212 208 7-30 ve of Outlaws, The IT) (74) . narron Kid, The ITI 184) miV Round the Mountain (77) el at Silver Creek. The (T) _ . ders Keepers 175) me of Araby (T) (77) sh and Fury McCrea-Stockwell Smith-Carey A. Murphy-Y. Duqay Aug . Nov. Jan 128 mcis, Racket luster •eels G«>«s to the Races III) mcis Goes to West Point , ANUARY 28, 1952 Abbott & Coitelfo-Shay - July. . Murphy-Domergue Ewell-Adams Jan. -Chandler-O'Hara Jan. - Curtis-Sterling Donald O'Connor .O'Connor-Laurie . O'Connor-Nelson .7-30 _ 1 1—5 2 1 3 - 12-31 127 7-2 .July 125- WARNER BROTHERS 1951-52 Features Completed (39; In Production (2) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Alexander, The Big Leaguer Cast Day-Reagan Scott-Wymore Rel. No. Rev. Man With A Gun IT) Miracle of Our Lady of Fatima, The Gilbert Rowland Story Of Will Rogers, The (T) Rogers-Wyman COMPLETED About Face 1T1 Big Trees, The IT) Bugles in the Afternoon (T) Captain Blood Reissue) 1981 Carson City _ Close To My Heart 190) Come Fill the Cup 1113) MacRae-Brac ken Cooper-Alden _ R. Milland-H. Carter Flynn-DaHaviland Scott-Massey . Milland-Tierney J. Caqney-P. Thaxter 1 17 Peek-Mayo ._ B. Lancaster Cooper-Alden Holden-Olson I'll See You In My Dreams 1 1 10) Day-Thomas 12-29 III Captain Horatio Hornblower IT) Crimson Pirate, The IT) Distant Drums IT) 1 1 0 1 } Force of Arms 1 100) 12-5 I 1-3 10-20 8-11 110 107 104 030 10-22 9-24 7-2 Jack and The Beanstalk Lion and the Horse. The Jim Thorpe. All-American (105) Mara Maru North of the Rio Grande Only The Valiant 1 105) Abbott-Costello _ Cochran-Teal Lancaster-Bickford Flynn-Roman McCrea-Mayo MacRae-Day 12-29 9-15 1-12 III 102 112 12-17 12-17 Grant-Drake McCrea-DeCarlo Painting Clouds with S'hine IT) 187) Mayo-Morgan Room For One More (98) San Francisco Story _______ She's Workinq Her Way Throuqh College (Tj Starlift (103) Streetcar Named Desire, A (122) Tank Are Coming. The 190) This Woman Is Dangerous Tomorrow Is Another Day (90) — Where's Charlie? (T) _ You Can't Stop the Marines ... .... 9-1 7-28 7-28 10-4 1-24 101 029 029 105 113 4-18 9-24 1-14 Mayo-Reaqan Cagney-Mayo Brando-Leigh S. Cochran-P. Carey _ Crawford-Morgan Roman- Cochran Bolger-McLerie Loveioy-Carlson 11-19 9-22 Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last shew. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St.. Phil*. 3 —1239 Vine St.. Phile. 7 LOcust 4-0 1 00 Member National Film Carriers 31 m £ o 2 o = ~ -d 2 3> J. " ^ £ o' n ft> _ 00 GO CO GO CD S3 per Year 25c per Copy BULLETIN FEBRUARY 11, 1952 •1 . F. Rodger s May Be Asked To Draft Arbitration Plan W ith Exhibitors NEWS & OPINION, Page 3 MYERS ASKS BAN OR LIMIT ON BIDDING Highlight* etf £epwt tc Allied Rcard M-G-M FIRST! Wins 2 out of 3 Top Honors! (Just like last year!) THE VOICE OF THE FANS! The Photoplay Magazine Annual Poll of its readers is considered the most accurat barometer of public taste. Year after year M-G-M tops the field. We predict ths foremost among the challengers for '52 honors will be: "QUO VADIS"* "BELLE O NEW YORK" • "SINGIN' IN THE RAIN" • "SKIRTS AHOY!" • "LOVELY T< LOOK AT" • "SCARAMOUCHE" • "IVANHOE" • "THE MERRY WIDOW "BECAUSE YOU'RE MINE" (all the foregoing Technicolor)', "THE WILD NORTH tttpttfjers Log tea i Choice To Negotiate Arbitration Plan With I \ In It G roups If and when the major distributors take up the proposal by Allied States Association for an industry arbitration system, it is regarded as a good bet that Metro's vice-president William F. Rodgers will be asked to under- take the negotiations on behalf of the film companies. While Rodgers' name has not entered into any of the discussions, as far as FILM BULLETIN could learn, his past record in the field of exhibitor relations and his leader- ship in "unity" movements makes him a logical choice to coordinate and harmonize the arbitration programs of the two big ex- hibitor organizations, Allied and TOA. Rodgers, who recently stepped down from his general sales managership to act solely Allied Arbitration Plan To Distribs, "Others" Invited Wisely leaving the door open for modi- fications of its all-inclusive arbitration pro- posals, the Allied States Association board of directors voted to present the detailed I conciliation plan offered by its board chair- man and general counsel, A. F. Myers, to the distributors and to invite them and "other industry elements" to participate in negotiations toward establishment of an in- dustry-wide arbitration system. Wilbur Snaper, New Jersey Allied head, was named by the Board to succeed True- man T. Renibusch, as president of National Allied. The directorate heard Myers, in his annual report (highlights of Mr. Myers Report on Page 7), blast sales malpractices that had followed the COMPO campaign and had resulted in "jacking up film prices, spread competitive bidding and control admission prices." Put on the pan also were theatre- man Charles P. Skouras, producer Cecil B. DeMille and the Motion Picture Ass'n of America. Skouras and DeMille were charged with aiding the industry's detractors, while the MPAA was criticized for jeopardizing exhibitors' chances for exclusive TV chan- nels by intervening in the FCC hearings. The arbitration proposals were by far the most intensive and all-inclusive ever presen- ted by an exhibitor organization. Myers called for a simple and inexpensive organi- zation, with an arbitration tribunal, to be administered by a local committee, to be established in each film exchange center, to serve without compensation. Myers also felt that any board that contained industry repre- sentatives, should include a "neutral" arbi- trator. An appeals board would also be es- tablished. Myers noted that where several distribu- tors are involved and are represented by in an advisory capacity might find such a project an intriguing challenge worthy of his talents as a mediator. He occupies a pre- eminent position in the regard of exhibitors of every stripe, as well as among distribution executives. In view of the complex nature of the vari- ous arbitration proposals that will have to BULLETIN Vol. 20, No. 3 February 11. 1952 NEWS anil OPINION v WILBUR SNAPER New Allied Prexy counsel, a single attorney should handle their joint case since past experience has shown that an exhibitor's counsel is often overpowered by the battery of high-powered lawyers brought in by the film companies. Film rentals was included in the "contro- versies proposed for arbitration." Another proposal suggested that cash damages be awarded for claims that arbitration tribunals find are warranted. This would eliminate much costly litigation, it was said, in an (Continued on Page 12) be considered, the machinery for sifting and correlating the ideas will, of necessity, have to be undertaken by a small group of men — perhaps one or two from each of the exhibi- tor groups and one who can speak, at least preliminarily, for the distributors. A ma- chinery with too many cogs would probably lead to wreckage of the whole idea. Rodgers is currently sojourning in Florida. He suffers from an asthmatic condition which was principally responsible for his decision to take a less active role in Metro's affairs. However, he is in good physical shape other- wise and might consider the accomplishment of a practical, all-inclusive industry arbitra- tion system the crowning achievement of an outstanding career in the industry. TOA Board Takes Action On Beefs, Arbitration, Taxes Characterized by executive director Gael Sullivan as its most successful meeting since inception, Theatre Owners of America's mid-winter board sessions were undoubtedly one of the most all-inclusive in the organi- zation's history. It probed more deeply than ever into trade malpractices, tossed around the arbitration hot potato, called for a re- newed drive against discriminatory taxes, proposed an institution to develop new ideas for production, distribution and exhibition, covered theatre television and the campaign for industry TV channels. Taking its most mliitant attitude yet on grievances, the board directed president Mit- chell Wolfson to appoint a committee to ex- amine all trade practice beefs by members and to bring their findings to the attention of the distributors. If no satisfaction can be obtained from the latter, the complaints will be presented to the Department of Justice. On arbitration, the board reaffirmed its previous stand on the dire need for such a system, but deliberately refrained from spe- cific mention of what should be included, ap- parently to forestall any conflict that might endanger the likelihood of a joint arbitration meeting with the distributors and the other exhibitor organization leaders. The condition placed by the film companies on the approval of any successful arbitration system requires all of exhibition to be represented. As rec- ommended by the TOA board, the arbitra- tion proposals are in general form and are open to suggestion by any other groups in the industry. Noting that because of the discriminatory taxes, many of the smaller theatres were paying taxes on losses, Sullivan called for a renewed campaign against the burdensome Federal, state and local levies on movie (Continued on Page 12) FEBRUARY, 11, 1952 i OVER Str GRAB WAT "PHONE"... CALL QUICK! IT MEANS AN IMPORTANT DATE FOR YOU! The atres asqn Car durifiS Th " fi9ores h. SHELLEY WINTERS as a honky tonk strip tease whose warmth and wit bring the strangers together. GARY MERRILL as the stranger whose phone call helps him straighten out his own life MICHAEL RENNIE as a doctor who made a mistake and whose conscience won't let him forget it. KEENAN WYNN as a traveling salesman whose good natured vulgarity will mislead you. BETTE DAVIS as the woman who teaches him the difference between adolescent and adult love. > There's No Business Like 2q Century-Fox Busines Is The Movie Code Too Rigid? William Wifler fak* CaMny c{ Production Code £c Jkat ttlcrieA Can declaim Ike lost' Audience CxcluMHe % BULLETIN ?eatut>e By Leonard Coulter William Wyler makes sense. He is one of those producers who has been trying to make so-called "adult" films, as witness "Place in the Sun" and "Detective Story". And he intends going on that way: at least, as long as such a policy gets results at the boxoffice. But if he, and his Hollywood colleagues, are successfully to use their skill in luring the "lost audience" back to your theatres, they need every ounce of encouragement they can get from the exhibitor for their efforts to secure a revision of the Production Code. A producer's job, Wyler says, does not end when the picture has been cut and edited. He has a responsibility to assist in its promotion, and to help carry it forward until the point at which it reaches the public. In other words, he argues, with costs con- stantly rising, and revenues declining, the producer must join with everyone else in squeezing the last drop from the potential. Balaban Approves More 'Down-Beat' Films These ideas, and many others, he outlined in New York recently, whither he had come to arouse interest in "Carrie", his latest pic- ture, which is based on Theodore Dreiser's "Sister Carrie" and which will be released through Paramount, who staked him to the tune of more than $2,000,000 for the job. Wyler said that when he last discussed future prdouct with Paramount's President, Barney Balaban, the latter told him that the company was not as strongly opposed as it used to be to what are known as "downbeat" pictures. Both "Detective Story" and "Place in the Sun" fall in that category. Said Wyler: "When I was making 'Detective WYLER He Makes Sense Story' someone said to me that I ought to change the ending, and let the husband and wife go off together to live happily ever after. This person wanted me to make the ending what he called 'entertaining'. If I had altered the ending the result would, in my judgment, have been just the opposite of entertaining." Movie business today, in Wyler's judg- ment, is about in the same position as the legitimate theatre 30 years ago. Poorness of product at a time when movies were develop- ing rapidly, closed many of the theatres, but the good plays survived and the "legit" lived on to prosper. With the right quality pro- duct the motion picture industry — producer and exhibitor — will flourish likewise, but freedom to make the right kind of product, and to show it, is vital. And that is what the industry lacks at present. Says linen Office Adopts Mme Liberal I ieu There was no censorship trouble with "Carrie". One of the reasons is that, ac- cording to William Wyler, the Breen Office, which administers the Production Code, is becoming more liberal in its viewpoint In other words, it is interpreting the Code more generously, and paying regard to a pro- ducer's intent. This is a move in the right direction, for rigitl application of the Code would be disastrous for the industry. Pic- tures need interpretation, in the same way as a law needs it in the courts. (Continued on I'age 14) BREEN OFFICE TO WYLER In what might be construed as a direct reply to William Wyler's com- ments anent the Production Code, the office of Code Administrator Joseph I. Breen last week issued a warning that it would be dangerous to lower radically the industry's voluntary moral standards. Speaking for the Breen office, public relations officer Jack Yissard declared: "It was exactly such thinking in the face of declining boxoffice during the depression that brought the need for self-regulation on the industry in the first place." Those who heard Mr. Wyler discuss the subject did not receive the impres- sion that he was suggesting a general lowering of moral standards. He was asking only the opportunity to deal intelligently with mature subjects on an adult level. FILM BULLETIN— An Independent Motion Picture Trade Paper published every other Monday by Film Bulletin Company. Mo Wax. Editor and Publisher. BUSINESS OFFICE: 35 West 53rd St.. New York, 19; Circle 4-9159. David A. Bader, Business Manager; Leonard Coulter. Editorial Representative. PUBLI- CATION—EDITORIAL OFFICES: 1239 Vine St., Philadelphia 7. Pa.. Rlttenhojse 6-7424; Barney Stein, Managing Editor; Dick Newton. Publication Manager; Robert Heath, Circulation Manager. HOLLYWOOD OFFICE: 459 Haverford Ave., Pacific Palisades, Calif., Hillside 8183; Jay Allen, Hollywood Editor. Subscription Rate: ONE YEAR, $3.00 in the United States; Canada, $4.00; Europe, $5.00. TWO YEARS. $5.00 in the U. S.; Canada. $7.50; Europe. $9.00. FEBRUARY 11, 1952 5 1 SOMETHING TO LIVE FOR' GOOD WOMEN'S PICTURE Rates • • • - in metropolitan areas; less in rurals Paramount 90 minutes Joan Fontaine, Ray Milland, Teresa Wright, Richard Derr, Douglas Dick, Herbert Heyes. Directed by George Stevens "Something To Live For" is an interesting woman's picture, a compelling love and problem drama projected with good taste and artistry in the production and direction of George Stevens. It is an adult film, which, if properly and strongly exploited, should enjoy substantial, if not great, boxoffice success. The story is disarmingly frank in its depiction of the love affair between an actress and a married man; their common bond of an alcoholic problem imbues it with strength and validity. The situations possess authenticity, qualities that are enhanced by Stevens' fluid direction and the superb per- formances of the principal players. Joan Fontaine is especially gratifying as the promising young actress whose career is threatened by her inability to cope with alcohol. She makes the character one of her most appealing performances. This Para- mount offering will do best in the metro- politan first runs and upper division family situations. It may pose a problem in the rural areas, but intelligent selling should put it over. Ray Milland, as you may expect, performs his role of an advertising executive admir- ably. Teresa Wright is lovely and properly subdued as his wife. Richard Derr does splendidly by the part of a producer who cuts a wide swathe in social circles. Young Douglas Dick is a standout as one of the bright new boys in the advertising business. STORY: Ray Milland, answering a cat for an Alcoholics Anonymous worker frofl a hotel in the Broadway area, discovers thai the patient is Joan Fontaine, an actress. H pulls her together, gets her into condition tl make rehearsal the following morning. Shd loses the part, however. At the same tin Milland has a problem at the office that ■ about to send him off on a bender. By chanfl the two meet. In fighting their problem thej also fall in love. But Milland is married ■ Teresa Wright, the father of two youd children. On the eve of Miss Fontainej debut in New York she goes off the wago Milland rushes to her in time to help heP make the performance. The lovers realize their affection is something apart from the ordinary, that it will persist and flourish even though their lives take them down separate paths. HANNA (Hollywood) I THIS WOMAN IS DANGEROUS' TYPICAL JOAN CRAWFORD VEHICLE Rates • • • generally Warner Brothers 98 minutes Joan Crawford, Dennis Morgan, David Brian, Richard Webb, Mari Aldon, Philip Carey, Ian MacDonald, Ketharine Warren. Directed by Felix Feist. " This Woman Is Dangerous'' is a typical Crawford melodrama, slickly produced drama about a fascinating woman who leads a double life. It's really cheap melodrama of the soap opera variety, but it can be rated as first-rate commercial fare. The screenplay is all for Crawford, written so the character dominates even when the fabulous star is off screen. The complications are many and vivid; the dialogue, tersely effective. Felix Feist directs with a vigorous hand, moving the narrative along with forceful impact, It adds up to good Crawford fare — the kind of film her fans expect and generally pay to see. The star is in top form, svelte and ele- gant in a handsome wardrobe and playing the part of a woman determined to rise above her environs by fair means or foul with confidence and aplomb. Dennis Morgan is better than usual as the doctor, and David Brian plays the criminal in his authortative manner. THE FIRST TIME' AMUSING DOMESTIC PROGRAMMER Rates as dualler; more in small towns, family houses Columbia (Norma) 90 minutes Robert Cummings, Barbara Hale, Bill Good- win, Jeff Donnell, Carl Benton Reid. Directed by Frank Tashlin "The First Time" is an amusing pro- grammer for the family trade, an unpretenti- ous comedy that records the viccisitudes of a young couple with their first born. Script is broadly exaggerated but possesses plenty of points that strike home to parents. Frank Tashlin's direction handles the narrative brightly, decking it out with as much hoke as the traffic will bear. Cute angle of the presentation is the trick of having the baby serve as narrator. Devices adds plenty of yoks to a piece that carries a fair quota. This Norma production for Columbia release should serve adequately as a dualler in most situations, while it can do above-average in small town and family houses. Robert Cummings and Barbara Hale team attractively as the couple. Bill Goodwin and Jeff Donnell are first rate as next door neighbors. Good support is offered by Carl Benton Reid, Mona Barrie, Cora Wither- spoon and Kathleen Comegys. STORY: Robert Cummings and Barbara Hale arc the couple who carefully budget THE GREAT ADVENTURE' LISTLESS BRITISH MELLER Rates • + as supporting dualler Lippert (British Lion) 75 minutes Jack Hawkins, Peter Hammond, Dennis Price, Gregoire Alsam, Charles Patson, Siobhan McKenna. Bernard Lee, Ronald Adam, Martin Boddey, Phillip Ray, Walter Horsbrugh, Cyril Chamberlain. Directed by David MacDonald. Filmed against colorless South African backgrounds, "The Great Adventure" is a tedious melodrama of the diamond fields, too -lowly paced to interest American audiences. Moreover the script of this British import is a confused hodge podge about a man dis- appointed in love but desperate enough to join his more successful rival in a business venture. The characters lack strong defini- tion, and it is actually impossible to de- termine their relationship to one another. The direction of David MacDonald is as listless as the material. The film is not likely to rate any but low grade bookings. STORY: Joan Crawford is spotted as brains behind a criminal gang, one of whe David Brian, is her lover. After pulling job in New Orleans she heads for the mid W est to have an operation that is expectec to restore her rapidly failing sight. In thi hospital she meets Dennis Morgan, tin doctor, and quickly falls in love with him Brian, insanely jealous, engages a privat detective to trail her. Complications com thick and fast in the final reel when Bria! shoots it out with the police, Morgan di; covers Crawford's real identity, and th woman herself experiences a regeneratiol JAMES their first born only to learn that babies CO) more than expected. As the bills mount u| Cummings is forced to forget his career an architect in order to take work as | travelling salesman. The in-laws descend the already harassed household, each si| loaded with conflicting advice on how rear children. Cora Witherspoon, a nuri adds to the confusion. Inevitably all tj pressure strains the relationship of the hil band and wife. But the prospect of a sej| ration is ended when Barbara discloses is about to have her second youngster. TH figure that if the first one hasn't licked tliej another just can't. ANGEL Jack Hawkins brings some convict ionj the part of the spurned lover. The ot| players, unknown in this country, strut to make sense of the vapid roles and in| dialogue and come off the losers. STORY: Jack Hawkins finds a fortl in diamonds on the body of a dead prosd tor. He buries the loot, plans to come t| at a later date. On returning home he covers that his girl friends has married) other. He asks the rival's help in finanij the expedition to the diamond fields, two journey off in the search for fori and of course murderous skulduggery br| loose. ANGEL 8 FILM BULL El SMASHES AIL EXISTING RECORDS IN ENTIRE NORTHWEST TERRITORY ! In town after town, bucking winter's worst weather, BtlMU Ut lift KlVfcK is boxoffice records topping even the fabulous 1947 grosses JAMES STEWART- ARTHUR KENNEDY JULIA ADAMS ROCK HUDSON END \ RIVER COLOR BV CRAZY OVER HORSES' PAR FOR BOWERY BOYS Rales • • as dualler Monogram 65 minutes Leo Gorcey, Huntz Hall, Gloria Saunders, William Benedict, Bernard Gorcey, David Gorcey, Bennie Bartlett, Tim Ryan, Allen Jenkins, Mike Ross, Ted De Corsia. Directed by William Beaudine This latest entry in the Bowery Boys series leans heavily on farce situation for its comedy. Broader than usual in its usage of slapstick, "Crazy Over Horses" is obvi- ously destined to delight young audiences with its zany antics, which is par for these films. The boys resort to eye poking and pie throwing for laughs and throw in their fa- miliar language mangling for good measure. Racing stables serve as the locale this time and the situation is based on a switching horses routine that is reworked so often that they should have installed a revolving door on the paddock. It moves fast enough to keep even adult audiences amused. Leo Gorcey heads up the gang, as usual, and his language fracturing is better than ever. Stooge Huntz Hall, provides the big- gest laughs with his imbecilic clowning. Gloria Saunders fills the distaff side attrac- tively and Allen Jenkins and Ted De Corsia are good in the heavy roles. William Beau- dine's direction keeps the story well paced, providing good business for the boys and making the most of the screwball idea. STORY: When the owner of a candy PALS OF THE GOLDEN WEST' Rates • • • for western houses Republic 68 minutes Roy Rogers, Dale Evans, Estelita Rodriguez, Pinky Lee, Edwardo Jiminez, Anthony Ca- ruso, Roy Barcroft, Ken Terrell, Emmet Vogan, Maurice Jara, Roy Rogers Riders, Trigger. Directed by William Witney The American Patrol along the Mexican Border are the "Pals of the Golden West" and are fearlessly, romantically and hartnon- ously led by chief troubleshooter Roy Rogers. The picture is Rogers' last on the Republic lot and one of the best in the series. A fairly sophisticated plot line lends itself to ROGERS LAST FOR REPUBLIC good action within a modern day framework and William Witney's direction wrings some pathos and not too inappropriate songfests out of the story. Comedy touches are strained, but the slapstick will probably sit well with matinee audiences. Rogers delivers three songs, one with Dale Evans, while Pinky Lee and Estelita Rodriguez team up for another. Rogers, as the patrol leader, and Dale Evans, as a badgering reporter, handle them- selves in the style their fans have long ap- plauded. Edwardo Jiminez jerks some tears as the orphaned youngster. Comedy slap- stick is mauled somewhat by Lee and Miss Rodriguez. Excellent heavy characterizations shop sends the boys to collect a debt owed him by a stable proprietor, the boys collect a horse instead. The animal was being boarded by some racketeers who were hiding it to run in a big race. When they discover their horse has been appropriated, they try to buy it from the boys but are turned down. They then switch the horse with another of identical markings. The boys get wise to the plot and plan to make a switch back, but mistakenly get the second horse again. So they switch again, but the gang switches once again and, at this point, the plot looks like a nightmare of musical chairs. The day of the big race finds each group believini; they have the right horse. WEBBER (Hollywood) A GOOD ONE by Anthony Caruso and Roy Barcroft lend interest to the mellerdramatics. STORY: Rogers is assigned the task of preventing smuggling of cattle across the border where they have been spreading hoof- and-mouth disease. One of their patrol is killed when he runs across the smuggler and his young son is entrusted to Rogers care. When the patrol captures one of the gang, they kidnap the boy and offer to trad prisoners. The released gang member lead them to the hideout and the patrol discover the spot where the cattle are being brough into the U. S. A fast gunfight takes plact and Rogers pursues the leader in an actior finish. WEBBER (Hollywood) and improper usage of the film, which cut down on the rich potential of the cole medium, can be noted but is seldom dii turbing. The narration, though sometimt affected, offers excellent background m< terial on tribal customs and adds a note < suspense and drama to the activities. Although not family fare, the novelty < the film offers excellent exploitation poss bilities. The first film of its kind or authei ticity in the heart of Africa with a sour track of wild animals never before recordt and the unaffected naturalness of the tribe men should entice many adventure lovei WEBBER (Hollywood) are paired as guides who lead a wagon tra oi homesteaders into a settlement area or to discover that opposition to the newcom* is heated. The leader of the homesteaders shot and nibbed of his lease. The only d to the bandits is the gun dropped by one them. Holt and Martin set out to trace t robbers and recover the money. Their Si picions fasten on a bamhling house run Frank Wilcox. The boys get to the bott< of the matter and trick the heavies into vealing themselves. JAMES LATUKO' UNUSUAL AND EXPLOITABLE DOCUMENTARY Rates • • • for art houses and as added attraction subject is tastefully handled and on criticism Jarville Studios 50 minutes Produced by Edgar M. Queeny "Latuko" is a stark, sometimes horrifying, documentation of primitive life in an African tribe oblivious to the ways of Western cul- tures. The film was made as the hobby of industrialist Edgar M. Queeny, sponsored by the American Museum of Natural His- tory, and offers a novel and quite profession- al bit of exhibition. Although it has been objected to by some groups, since the natives are in their natural state of nakedness, the on grounds of vulgarity, at least, should be raised. Cultural habits of the tribe will un- doubtedly make some audiences shudder. In one instance, for example, we view the prac- tice of prying out the lower teeth of young boys and, in another, the boy approaching manhood must sever the jugular vein of an ox and drink a gourd full of the blood. When the warriors hunt wild game, their felled victims are attacked by dogs and torn apart. Filmed in Technicolor, the technical credits are excellent though not quite professional. An occasional erratic handling of the camera TRAIL GUIDE' BRISK TIM HOLT WESTERN Rates • • + for western houses RKO-Radio 60 minutes Tim Holt, Richard Martin, Linda Douglas, Robert Sherwood, Frank Wilcox, John Pick- ard, Kenneth MacDonald, Wendy Waldron, Patricia Wright, Tom London. Directed by Lesley Selander "Trail Guide" is one of the last Tim Holt western* for RKO release It is a brisk. business-like sagebrush offering with plenty of action, gunplay, and comedy. Production is first rate, and the direction of Lesley Selander is brisk throughout. Holt plays his hero in convincing fashion, and Richard Martin is amusing with his comedy byplay. Linda Douglas pleases in the feminine lead and Robert Sherwood shows himself an excellent juvenile in the part of her brother led down crooked roads by bad company. STORY: Tim Holt and Richard Martin 10 F I L M B U L L E T MEN of STEEL! in a brawny, brawling story of a love as dangerous I as the molten fury of the blast furnace ! sceenpia, GERALD DRAYSON ADAMS * LOU BRESLOW • i «u :. GEORGE SHERMAN • u LEONARD GOLDSTEIN Xvivs and Opinion (Continued from Page 3) effort to secure reparations. Myers discounted the "spectre spokesman" against arbitrating film rentals, noting that its proponents have been "encouraged by the chief executive of one of the major film com- panies to believe that arbitration of film rentals is feasible." He felt that the number of such cases have been greatly overesti- mated, but that in any event, as a safeguard against a flood of film rental disputes, the condition might be applied only in distress cases, where the exhibitor can prove that he has been refused a license except on terms which will not cover his expenses plus a fair profit, will film rental cases come under the system. In addition to Snaper, Ben Marcus, Wis- consin Allied, was named treasurer and John Wolfberg, Rocky Mountain Allied, secretary. Re-elected were Myers as general counsel and board chairman; and Stanley Kane, as recording secretary. Charles Niles was chosen to succeed Col. H. A. Cole as chair- man of the Caravan Committee, with other members of the committee, Rembusch, Rubin Shor and Leo Jones. A new unit member, Allied Theatre Owners of Oklahoma, was approved by the board, bringing the total of individual or- ganizations in Allied to 20, without Eastern Pa. Allied, which is currently on suspension. No action was taken on reinstatement of the Philadelphia territory unit, and it was seen likely that the cleavage will remain until Sidney E. Samuelson, head of the unit, ac- cepts the national board's terms for return to the fold. TOA Board Takes Action On Beefs, Arbitration, Taxes (Continued from Page 3) tickets. A 65-page manual, "Fighting Un- fair Taxes", will be sent to theatremen for their individual efforts, based on the experi- ence gained in the previous tax battles. T< ).\'-; lone-wolf approach, however, was seen as a questionable one. Many observers, including Allied toppers, believe that a successful tax fight can be waged only by a united front of all factions of the industry under COMPO's auspices. S. H. Fabian, extolling the prospects of theatre television, foresaw a theatre hookup that could involve between 500 and 1000 thea- tres within 12 months if the FCC acts favor- able at the hearings on industry channels next month. He warned that there would be considerable opposition to industry alloca- tions, principally from the American Tele- phone & Telegraph Co. and the broadcasting stations, and that theatremen should back the National Fxhibitors Theatre Television Committee to the hilt, both morally and financially. As a basis for contribution, Fabian suggested 25 cents per seat for over 1000-scat theatres and 17}4 cents per scat for the smaller houses. HOFF AND KIRSCH Make ( invention History Allied To Hold Joint Convention With TESMA— TEDA The importance of equipment develop- ments to the theatreman was pointed up with the announcement that National Allied's convention will be combined with that of the Theatre Equipment and Supply Manufac- turers' Association and Theatre Equipment Dealers' Association in a giant joint trade show in Chicago next November. The oc- casion will mark the first joint meeting of a national exhibitor association and TESMA and TEDA in industry history. Two entire floors of the Morrison Hotel will be required to house the proceedings. Arrangements were concluded between Jack Kirsch, 1952 convention chairman for Allied and J. Robert Hoff, president of TESMA. Kirsch expected a new mark for attendance at a convention, noting that while each organization will hold separate business sessions, the trade show will be a joint ven- ture. "It is expected that many others, in- cluding the motion picture producers, will enter exhibits, thus adding color and interest to the show." He said Allied proposed to make it a "veritable Motion Picture Ex- position, furnishing inspiration to the in- dustry and demonstrating publicly that the movie business is very much alive." REVISED U NET UP A revised consolidated earnings for the fiscal year ended November 3, 1951, brought the already solid $2,092,000 net up to $2,267,000. Difference came from the overestimation on Federal taxes, originally $3,300,000, but revised to $3,125,000. Hut the stockholders don't mind. Earnings amount to $2.10 per share of common stock, compared with $1.14 per share for the preceding fiscal year. Supreme Court Finally To Rule On Film Censorship The long-deferred ruling on city and state censorship of motion pictures came a couple of steps nearer with two decisions in the I past fortnight. One was the U. S. Supreme I Court's agreement to hear the appeal on | "The Miracle", which was refused a New j York State Regents license on the grounds it was sacreligious; the other, on the surface a defeat for the movie industry's battle against local censorship, brought the fame! "Pinky" case in Austin, Texas, closer to the high court's decision when the State's Court j of Criminal Appeals upheld the fine against I a Marshall theatre manager for defying I city censorship board order against the I showing. The Texas court's ruling refused to accept I the movie industry's request for equal rights I with the press and radio under the First and i Fourteenth Amendments. "We cannot con- I cede that the motion picture industry has I emerged from the business of amusement I and become the propaganders of ideas en- | titling it to freedom of speech," Judge Tom j L. Beauchamp declared in his decision. The Supreme Court's decision to hear I "The Miracle" case came as a surprise, since , it had turned down several previous requests J for film censorship hearings. Joseph Bur- styn, Inc., film distributor, appealed on the grounds that it was not sacreligious and that the N. Y. State Board had violated the Con- stitution in banning the picture. No date was set for the hearing, but it was expected y that the Supreme Court would not take J action before late Spring. Court OK's Loew's Decree; At Least 24 To Be Divested I The New York Statutory Court put tin- period in the industry anti-trust action as it! approved the consent decree between then Government and Loew's, the last of thel majors to succumb to divorcement and di-f vestiture. Previous agreements had sepa- rated RKO, Paramount, 20th Century-FoxB and Warner Bros, from their theatre hold-B ings, and required divestiture of all theatresB held to be conducive to monopoly by t lit j affiliated exhibition chains. In the case of Loew's, the decree was, b\K and large, similar to the others, with onhi the number and locations of theatres to b(l divested varying. In an agreement workecB out between the Department of Justice ancM Loew's, the exhibition division will be re jl quired to rid itself of at least 24 theatres, l(ff. of these in New York, within two yearsH Divorcement of the production-distributioi J company from the theatre company is aIsing to be an easy matter, hearings before e Federal Communications Commissions dicated. One of the principal sources of opposition is expected from the American Telephone Telegraph Co., according to S. H. ibian, prominent theatre circuit head and pioneer in the development of theatre tele- ion. Fabian, at the TOA board meeting Hollywood, specifically named the A. T. F. as an opponent of industry channels, ting that the company has "one of the Dst powerful lobbies in Washington and DSt certainly will oppose us at the FCC arings because they want to keep this very rative business for themselves." Addition- barriers were expected from the broad- ting companies and ad agencies handling msored TV shows. The FCC, however, made it clear that they re going to give film interests every op- rtunity to present their case as they en- ged the issues and granted petitions for irings to seven more parties. It also >ved back the date for the hearings from bruary 25 to March 10, in order to fore- 11 any pleas by attorneys that they may be prepared to handle the issues. The Commission, which last week had a g series of sessions with Paramount sident Barney Balaban on his company's ht to hold broadcast licenses (ABC net- rk), served notice that it would dig deeply o the background of all applicants in line h its previous policy of withholding ■nses from those with monopoly histories. 1 Questioned by the FCC about Paramount's 'r" Jlingness to offer pictures t oTV interests, fa"'jlaban declared that his company's films )C rtU be released to TV if and when it is "in amount's interest" to do so. Presently, rta'Tvever, he felt that the cost of the films butio |-e prohibitive to the free video broad- !• -'Iters. Salaban also expressed the belief that U°! atre television was still "a long way in future", but that in any case, it did not iflict with free TV. -BRUARY H. 1952 Loe* WARNERS' BLUMENSTOCK From East to II r.sf WB's Blumenstock Sets Up Ad-Publicity Hub At Studio W arner Bros, became the first of the "Big Five" to transfer its promotion headquarters to Hollywood when Mort Blumenstock, vice- president in charge of advertising-publicity, announced his emigration to the studio to set up his office on the Burbank lot on February IS. Each of the department heads, however — ad manager Gil Golden and Eastern publicity director Larry Golob — will remain at the New York home office. They will continue under Blumenstock's supervision and future contact between New York and Hollywood will be maintained by Blumenstock's "frequent trips from Bur- bank," it was stated. The move, according to the company, was designed to "speed up promotional service distribution and exhibition" and reflects the requirements that demand "more and more concentration on early individual film cam- paigning. The rest of the ad-publicity department will not be affected, at least at this time, with Alex Evelove continuing in his position as studio publicity director. Hughes May Hold Theatres Stock— Until "Proper Hearing" Unless and until the New York District Court can hold an "adequate hearing" and hand down a decision which would require Howard Hughes to sell his RKO Theatres stock, the RKO Pictures chieftain may re- tain his holdings in trust for as long as he desires. This ruling was decreed by the highest tribunal in the land, the U. S. Su- preme Court, as .it handed down a unanimous decision reversing the District Court's de- cree under which Hughes was ordered to durst himself Of his RKO theatre holdings by Feb. 20, 1953. The high Court held that the District Court had no right to alter the original Con- sent Decree, under which Hughes was given no deadline lor disposal of his stock in « . 1 1<- or the other of the divorced companies. It also ruled that Hughes was deprived oi "his express!) granted alternatives" by the lower court's order, "Hughes would have no choice if the first 'alternative' was to sell the stock and the second 'alternative' was to sell the stock." Justice Hugo Black wrote. The door, however, was left open for fur- ther proceedings by the Justice Department. "We entertain no doubt concerning the Dis trict Court's power" to force Hughes to step out of one of the two companies "after a proper hearing," the Supreme Court de- clared, and pointed to its divorcement opinion in the Paramount case. Justice Black also indicated with the government's argument that continuance of the trust would defeat the purpose of the decree, but it did not empower the court to change the decree without Hughes' consent or proper evidence at a new hearing. Fox Merchandising Meets Asked In More Territories The popularity of the 20th Century-Fox merchandising meetings, corroborated in Philadelphia where close to a thousand thea- tremen gave the showmanship sessions the same rousing reception accorded the initial meeting in New York, seemed destined to spread over the country. Several regional exhibitor organization leaders have requested 20th-Fox president Spyros P. Skouras and vice-president Charles Einfeld to hold the meetings in their territories and have promised to have a sizeable turnout from the entire area on hand for the occasion. Already scheduled, although no dates have been set, are Atlanta, Dallas, Chicago, Denver, and Los Angeles. Requests have been received from Independent Theatre Owners of Ohio, asking for a meeting in Columbus where the Cleveland and Cin- cinnati areas could be combined; also from Boston, San Francisco and Indiana. Dates for these will probably be set upon the re- turn of distribution chief Al Lichtman to the home office next week. The Philadelphia meeting was highlighted by a dramatic contrast between television shows and the theatre presentations. With Einfeld directing the proceedings (he can- celled a projected trip to Hollywood in order to be on hand) kinescope examples of current television programs were demon- strated to illustrate some of the long-range merchandising plans now in work for pic- tures to be released during the first six months of 1952. Then the last reel of 20th'> Eas»er special, "With A Song in My Heart", was shown and the TV programs looked like a shanty stacked up against the Empire State building. 13 Wyler Urges Changes In Code (Continued from Page 5) standards it is a mild story, but it is not a happy one, and has the same basic theme as "Place in the Sun." When Dreiser's "Carrie" was first pub- lished, the publisher's wife read it and, in horror, urged her husband not to have it put DREISER'S 'CARRIE' Is It "Popular" Entertainment? on sale. He bowed to her wishes, and put all the copies in his cellar for years. By today's In a sense, Wyler has challenged the purity code by undertaking the production of such stories. He is proving — although the code still restricts his artistry — that people of real talent and taste can handle delicate subjects in a manner that will be offensive to no one. In the case of "Carrie", he gives his ex- pert treatment to the poignant story of a middle-aged man's consuming and illicit love fur a young girl, a love so overpowering that he turns his back on his family and his \\\\ih position in society and sinks into the depths of degradation. Uitdobutedly there arc some among us who will rise to proclaim that this is not "popular" movie fare. Hut isn't that an anti- quated viewpoint. Look about, and you dis- cover that the strangest kind of films are enjoying amazing success today! "I think there is a demand by the public", Wyler said, "for films of this sort, rather than for pictures which appear to have been 14 made for children. Because we have not been able to satisfy that demand we have what we call the 'lost audience'. I am con- vinced that that audience is an adult one." How to get it back? Urges Wyler: "I believe the Code is due for revision." Mr. Wyler doesn't want the Code abol- ished. It has, he recognizes, a great value in checking Federal censorship, which might otherwise be enforced, and which would be repugnant to any American grounded in the principles of democracy. But the responsi- bility of guarding and protecting the morals of children and young people belongs, thanks Wyler, to their parents, and not to anyone else. "My own kids want to see 'Detective Story' and I'm not going to let them do so. That is my affair, and my responsibility. But it would be easier to enforce if we adopted the British method of giving an exhibition seal." Why should the motion picture industry take to itself the job of regulating the morals of America's young people? The cigarette industry does not see that it is part of its job to prevent youngsters buying cigarettes. The publishing industry does not prescribe which books shall be bought (or even read) by children and 'teen-agers. Certainly rigid application of the Code would be incongruous. Even tody, with more liberal application a producer isn't allowed to use the expression "Damn!" in a script. An unmarried woman is permitted to be- come pregnant, but no motion picture may deal realistically with adultery. Retribution A Strict Requirement In The Code " The Code", Wyler says, "presumes that everything in life can be mirrored as right or wrong, that the good people always get their just rewards, and the evil ones are punished. Well, life just isn't as simple as that. We producers actually deal with conflict in what- ever we do, whether it is in a musical film or a melodrama: there is conflict somewhere. One of the greatest causes of conflict is sex, and one of the greatest causes of sex con- flict is adultery. But we mustn't touch it." In the case of "Streetcar Named Desire" the reference to rape was glossed over. It had to be. For the Code says that no married man may consort irregularly with another woman, and then go back to his wife and be happy. He must suffer retribution. It is up to the heads of the major produc ing companies — the Executive Committee o the MPAA — to consider this whole question in William Wyler's opinion. He believes hi: ideas are shared by most other leading pro ducers. Basically the Code is a good thin ami necessary in principle in order to re strain those few unscrupulous people whi| would be quick to abuse complete freedor form industry-wide regulation. But it doeii unhappily, tend to encourage self-appointe censor groups. "I hate them," admitte Wyler. "They are a bore and a nuisana believe me. Because of their activities thj producer has to try to satisfy the most ridj culous demands. He succeeds in pleasin nobody, for the entertainment value of th picture inevitably suffers." He does not see why the motion pictuil industry should not have the same — (I perhaps a little less — freedom than the legl timate theatre. "Children do not go to til theatre; they do go to the movie theatrl And because they do the law protects therj and by so doing it unwittingly denies to til I 'DETECTIVE STORY' The Ending II asn't Changed adult the kind of entertainment he desi and w hich, at present, he finds in the 'leg|T ^^r. Wyler seems to have a point, doeB he? And isn't his view being supported^ the public — judging by the boxoffice sucife adult films are enjoying these days? FILM BULLET THAT GIRL. ..with her a man always runs a risk ...but he never runs far! HELICOPTER attack on a fleeing auto. ..the most terrifying duel ever waged! THE LOSER wins the jackpot. ..of bullets. ..when these two boys fight it out! GAMBLING palaces lure thrill-seekers to a world of wild gaiety and revelry! 2 HOWARD HUGHES presents JANE RUSSELL-VICTOR MATURE nil co-starring VINCENT PRICE ^ hoagy carmichael Produced by ROBERT SPARKS • Directed by ROBERT STEVENSON Screenplay by EARL FELTON and HARRY ESSEX jjJLg }-fleat> JANE and H0AGY^^//V \OUNT THl • FOR YOUR BOXOFFICE Typical RKO National ad- vertising campaign .. .with full pages in Life, Look. Saturday Evening Post. Time, Newsweek . . . Amer- ican Weekly (22 cities) and fan magazines totaling 27,875,799 circulation EXPLOITATION PICTURE of the issue Bend of the River All of llif scope, sweep, excitement and color of Bill Gulick's best-selling novel, "Bend of the Snake." has been captured by producer Aaron Rosenberg for his 1-1 production. "Bend of the River." Rosenberg sent his cast on lo- cation to the actual sites in Oregon to give his backgrounds added authenticity and beauty that the Technicolor camer- as have caught in all their grandeur. James Stewart, whose "Broken Ar- row" role in frontier garb, was another boxoffice lulu, heads the cast in this tale of the pioneers of Oregon. With Stewart are such dependables as Arthur Ken- nedy in a heavy role; Jay C. Flippen, Henry Morgan, and three young new- comers who bear great promise in the new star sweepstakes: Julia Adams, Rock Hudson, and Lori Nelson. The film also marks the return to the screen after 16 years, of Stepin Fetchit. whose lan- guid comedy was a highlight of yester- year's films. Universal's still department has come up with a batch of tremendously effec- tive action shots to grace the front and lobby, both in regular size and in blow- ups. Only a small sample of the fine selection is shown on this page. There is also a set of eight full color 8 x 10's to emphasize the Technicolor. Another topnotch showmanship ac- cessory is a full five-minute exploitation film in Technicolor available gratis to exhibitors booking the picture. U-I as- signed a special production crew to cover the location company while scenes were being shot, so that the film features both offstage shots and finished scenes. This can be followed by a teaser trailer — also free— and then the regular trailer, thus delivering a one-two-three selling punch that will cover virtually your theatre's entire patronage. EXPLOITATION PICTURE Western With Universal Appeal Something for All in U-I's "Bend 99 The term "western." as ap- plied to a type of motion pic- ture, has come to mean certain things to certain moviegoers. To some it is an automatic red light that makes them shy away from any theatre showing such fare. To others, it is just their dish, and they'll keep coming as long as there is shootin" and ridin" and slug- gin". Separating these two. however, is a \ast audience that tries to evaluate a pic- lure for its pure entertain- ment value, regardless of its locale, theme or "'type'. When a picture comes along that will appeal to all of these, the "westernpile", the 'westernphobe" and every one in between, that's news to showmen — and "Bend of the River" is news. This I niversal - International release offers practically evervthing to everyone. There is excitement enough for the most rabid action fan: not one. but two roman- tic affairs: comedy, both wry and broad: breathtaking Technicolor photo- graphy in the majestic Oregon landscapes and epic scenes that are classic for their sweep and vigor. And with all this, two of the top cast names in the business — Jimmy Stewart, whose 16 years as a star has built up a vast fan following, and still growing on the basis of his recent films, and Arthur Kennedv. whose role in "Brisht Victory" has put him into Academy Award prospect and has set him up for top stardom. The STEWART No S ClOSt boxoffice successes of him career in another so- called "western."' last years "Broken Arrow."" plaving the same type of role. Idling the dramatic for- tunes— and misfortunes — of a wagon train going to Ore- gon during the gold rush of the middle 180()"s director Anthony Mann has extracted the most out of the thrilling series of episodes. In one ' scene, the pioneers virtually carry the wagon train across the swirling Columbia River: the others are equally palpi- tating to make a happy piece of entertainment for both the class and the mass movie- goer. I -I has gone u hole-hog on the national advertising campaign to assist the exhibitor. The company has evolved the most extensive ad blast since its mem- orable "The Egg and I." with some 75.000.- 000 readers due to be inundated with the film's attractions this month. The big world premiere in Portland served to kick off the release in grand style and garnered a raft of publicity for the film. David Lipton and his ad-publicity-exploi- talion staff have done an excellent job with the press book, affording showmen plenty of fodder for plugging the picture on all fronts. The advertising material is parti- cularly effective with mats available from one-column to a full page, as well as a most effective utility mat combining the action elements in exciting line illus- GETS MAD ssv. He former, incidentally, had one of the fore- tration. • PIONEER" ANCLES I In- rugged men and women who settled the great American Northwest an- the dimes and heroines of "Bend of the |{i\er". Wound this "pioneer" angle are a host of |ironiotion i ppei tunities that involve little cost, hut plenty of showmanship elbow grease. It Mill pa> off. how- ever, in added patronage, both now and in the future. Campaign can he built around the FIRM people in your community, as the press hoi k points out If this is not feasible, then pay tribute to loeal pioneers in industry, education, construc- tion, politics, etc. Newspapers, libraries and Historical Societies will help you locate the local pioneers, if they still exist. The oldsters, or their descendants, can he interviewed by press, radio and TV. and they ran be invited as guests of honor on opening night. The local department store can be tied in with an exhibit of "then" and '"now", comparing lin- early apparel, utensils, machines, etc.. with those currently being merchandised. Cooperative ads can play a major role in selling the film. The theatreman can also bring in the merchants in town who like to call attention to the number of years they have been in business. \ coopera- tive ad taken by each of these merchants to form a full page or double track, featuring in photos and copy their beginnings and development, their years ol service to the community, their depend- ability, etc.. should be of mutual aid to all parties. They can use their windows for old photos and samples of early merchandise as part of the "pioneer" display, adding stills and accessories from the film for the tie-in. to enhance the dis- play. And. of course, the schools are a natural for the pioneer angle. It could be the basis for a Composition contest, with the pioneer merchants offering prizes for the best compositions on the beginnings of your community, as well as tickets to the film for the winners. EXHIBITORS FORUm Opinions Culled from Organization Bulletins NEW SALES SETUP? Allied of New Jersey Is there a different method and procedure for selling pictures and pricing them than is being used and has been used during almost the entire history of our industry? It has often been said by both the distri- butor and exhibitor that there will always be a battle between these two factors in our business. Perhaps there might be a different theory of sales or philosophy of buying than is presently being employed. Exhibitors, from time to time, have gone to the distributors and requested an incentive sales plan, i.e., at a certain point exhibitors will retain more of the gross and that, by this method, will strive to increase the gross on all pictures. Exhibitors have accused dis- tributors of not using showmanship. Ex- hibitors have accused distributors of goug- ing tactics. Distributors have filed many law suits against exhibitors for fraudulent per- centage reports. Exhibitors have requested that pictures be sold flat. Distributors have refused, claiming they don't know any other way to sell except on a percentage basis. Distributors want a look at the grosses of their pictures. From a few percentage pic- tures a year, distributors now allocate so many percentage terms that there aren't enough week-ends in the year to play them off. There has not been a progressive step in sales formulas except for trick deals in many many years. Perhaps much of the bickering, friction and dog-eat-dog attitudes can be eliminated by a formula other than used at the present time. Just what it might be, I don't know but certainly there must be some straighten- ing out of this constant battle which takes up so many hours on both sides — hours that might be devoted to constructive work in building up our business. The distributor has gotten to the point where he believes the panacea for selling is just to allocate a picture percentage and when this department hears of distributors claiming 35% of grosses of less than $100.00, it is time for a shuffle and also the cracking of heads together and the showing of common sense in sales of these outmoded ideas of preferred playing time, units, etc. that have been used so many years in our industry and which should be examined care- fully. Saturdays or Sundays are not neces- sarily the best days of the week nor just because the picture is percentage, should it lend itself to these days. Perhaps if branches were given more freedom in dealing with their customers, everyone would be happier. There must be a better way of conducting our business than the way we arc doing it. FLOW THAT COUNTS Allied ITO of Iowa-Nebraska ( ceil B, DeMillc remarks "the attraction's the thing'' that brings the people in to thea- tres, not theatre color, comfort or popcorn. 18 He was no doubt referring to his latest opus "The Greatest Show On Earth" which we hear will be roadshown and thereby kept from the small exhibitors indefinitely. Well, C. B., you're probably half right, but if we had to wait for your infrequent "attractions" (at 40% and upwards!) we could stay open about 2 days a year, and I doubt there would be many theatres left for your next epic. The smart ex«hibitor sells his theatre 365 days a year. ROAD-SHOW RESOLUTION Allied of Mid-South Whereas, Distribution is falling into a practice of taking certain pictures out of regular release, and offering them under the names of 'road shows' or 'pre-releases', or other terms devised to cover this particular type of picture, and Whereas, Exhibitors, now as never before, need the opportunity to play all the good pictures they can get, and Whereas, we believe the with-holding from certain Exhibitors of 'road shows' or 'pre- release' pictures, which pictures they most urgently need, violates paragraph II (I) of the Decree dated February 8th, 1950 against fixing admission prices and paragraph II (8) against discrimination in the offering of pictures, and is otherwise in restraint of trade — ■ Therefore, be it here resolved by the Board of Directors of Allied Mid-South, in session in Memphis this 8th day of January, 1952, that — We strongly urge all Distributors offer all the pictures they release, in sequence of re- lease, including the said 'road-shows, pre- releases', etc., to all Exhibitors and to all Theatres — Furthermore, that demands for rentals be- yond the capacity of the individual theatres to pay for this type of picture, be stopped — Furthermore, that these pictures be re- leased and made available to Exhibitors and Theatres on the same basis of availability, as other product — Furthermore, that Copies of this Reslou- tion be sent to all National Allied Officers, all other Allied RegionalUnits, to each Dis- tributor of Motion pictures and to the Trade Press. SHOWMANSHIP BOGIE Iowa-Nebraska Allied If you want to scare hell out of the average exhibitor, many of whom are fairly new to this business, just use the word "Showmanship" to him or her. They visu- alize showmanship or even merchandising of their shows as being 500 window cards, 25 twenty-four sheets, huge space in news- papers, time on the radio, etc., things utterly impossible for the multiple change theatre. Actually, showmanship in the smaller towns, anyway, is not that at all. Rather, it is what we may very well call the "gimmicks", at- tenion-catching comment-creating stunts; for the most part easy to do and inexpensive, but very effective, like the gray tom-cat in the lobby for RHUBARB; the 3 bales of hay or small pile of ear corn for corny comedies like HONEYCHILE; toy air- planes flying from light poles and canopy for air pictures — oh, there a thousand stunts; many of them in the press books, most of them in the fertile minds of real showmen. Business isn't good, either in TV or non- TV areas. And it's very apt to stay poor unless the exhibitor decides to do, and does, something about it. TV FILMS Allied of Indiana A list of films on television, including only features broadcast in the years of 1949 and 1950, contains approximately 1400 titles. About 260 of these pictures were originally released by Monogram — a far greater number than from any other source. Twenty- four films not previously listed were shown over the TV networks in New York during the month of December, 1951, and out of this number 14 were original Monogram re- leases. The most recent original release dates given are in 1947 so apparently Mono- gram withholds this product from free home exhibition for four or five years. Included in the December exhibitions are the Johnny Mack Brown Western: GUN SMOKE, NA-. VAJO TRAIL, RAIDERS OF THF j SOUTH, UNDER ARIZONA SKIES, and VALLEY OF FEAR. We wonder how many exhibitors will be™ willing to compete with these free home shows with such forthcoming Johnny Mad Brown Westerns as DEAD MAN'S TRAIL MAN FROM THE BLACK HILLS, OK LAHOMA JUSTICE, TEXAS CITY TEXAS LAWMEN and WHISTLING HILLS. PLUG BIG B. O. ITO of Ohio While it nothing to compare with the lusl days of old, nevertheless in the past tw< weeks business has been good in several spots that the undersigned has visited. As soon as the public learns that a thea; tre is crowded they'll bust the doors dowl trying to get in. On these occasions howl ever few they may be, when business is goocj let's crow about it. Our newspaper friencli will doubtlessly cooperate with us on a Mor: day roundup story to the effect that busineJ| was good over the week end and there well great attractions playing in all theatres. Of course, there are certain "calculate risks". If there is action pending to eliminjj tax or to resist labor's demands for an ii crease you'll have to convince those patfl that these stories are simply put out for tl purpose intended — to stimulate more bun ncss. But the operators can see what til attendance is and the city knows how muii they are collecting in taxes. It's the peopl we're after. Let's get 'em. FILM B U L L E T 1 1 Fza&Gama Bias Their story hit the headlines in red-white and blue. It had to be a motion picture. And it had to be this wonderful! m v A bunch of boys in [ battle-green who showed the world you cant stop a Marine! , uFrank Lovejoy Richard Carlson • Rusty Tamblyn Anita Louise »i.hNed Young • Lament Johnson • Robert Ellis • Paul Smith • Peter Ortiz • Dorothy Patrick ay by Milton Sperling and led Sherdeman 'Story and Produced by Milton Sperling -Directed by Joseph H.Lewis . Ilnilnrl Ctntno Din + nrnP „ . „■ , . lA/omOr RfflO tf\T<) Short Subjects BY BARN' CLAUDE TERRAIL, handsome young Parisian restauranteur, is visiting in the U. S. His famed Tour d'Argent is a mecca for filmites in Paris and Mons. Terrail is over to sec some of his friends. The Darryl Zanucks, the Tyrone Powers, the L. E. Davids among others, have entertained him. COLUMBIA'S CURRENT "Round-The- World" sales, dating and billing drive is the first international campaign of this sort. The drive, which started Feb. 1 and runs through June 26, will bring trips abroad as prizes to the winning division and branch managers and their wives. The foreign managers will come to the good old U.S.A. as Columbia's expense. UBIQUITOUS Spyros P. Skouras recently participated in a symposium on the sub- ject. "The Mass Media and Community Edu- cation", before the U. S. National Com- mission for UNESCO at Hunter College, and took the opportunity to speak of the contributions the movies make toward world freedom. He also got in a plug for the future possibilities in theatre television. NEW YORK Variety Tent 35 will honor Bill German and Fred Schwartz, incom- ing and retiring Chief Barkers, respectively, at a luncheon on Feb. 19, Astor Hotel. Also to be inducted with German are Ira Mein- hardt, 1st assistant Chief Barker; Charles Skouras, second assistant; Edward Lach- man, Property Master; Saul Trauner, Dough Guv. JONAS ROSENFIELD, JR. YOU'LL P.E hearing some loud brum-beat- ing for Italian films now. Jonas Rosen- field. Jr. has taken over as Director of Public Relations for Italian Film Export. The wide- ly experienced former 2()th-Fox ad executive plans an intensive campaign to push the popularity of Italian pictures. MAX YOUNGSTEIN's UA boxofficers are working up a walloping big campaign to kic k off "The African Queen" premiere at New York's Capitol this month. Mori Krushen. Line Brien and Ed Dowden will have the Big Town's window shoppers gap- ing at some striking displays, and floats of animals and cuties will tour the busy thoroughfares, and 10,000 diamonds (yes, my friends, diamonds!) will be distributed to lucky people. Give Youngstein a picture to get his teeth into and — oh boy! 20 LEADERS IN BROTHERHOOD These industry leaders met to organize the industry's participation in NCCJ's 1952 fund-raising campaign. Seated: George P. Skouras, J. Robert Rubin. Henry A. Linet, Ned Depinet, William P. Gehring. Standing: Walton C. Ament, Maj. Leslie E. Thompson. Frank X. Carroll, Max E. Young- stein, Silas F. Seadler. ONE OF the industry's pet projects, Brotherhood Week, will be observed Feb. 17-24, with the annual fund-raising cam- paign of the National Conference of Chris- tians and Jews aimed at a $150,000 goal — little enough for so worthy a cause. Henry A. Linet, chairman of the publicity com- mittee, and assistant Milt Livingston are tub- thumping the drive, which will be climaxed with an industry-wide dinner on the 28th. The campaign bigwigs are: Eric Johnston, chairman of World Brotherhood Week; J. Robert Rubin, general chairman of the Amusements Division; Charles P. Skouras, Amusements Division chairman. C ARM EL MYERS (Mrs. A. W. Schwal- berg) has written a philosophical book, "Don't Think About It", which Doubleday has published. Termed "a book for the lonely," it offers a philosophy for those who seek relief from personal tragedy. UNIVERSALE LEON Joseph Gordon Leon, veteran of more than 20 years with Universal, has been named manager of the Phila- delphia branch, succeeding (he late I [arrison J. Martin. • OF MEN AND THINGS: Adolph Zukoi was guest of honor on Ken Murray': television tribute to the movie industry': 50th anniversary . . . Republic has namec James V. O'Gara as supervisor of thei Canadian distribution . . . Sentry Lodge o B'nai B'rith in Boston pinned a citation ot A. W. Schwalberg "for service rendered t< America, B'nai B'rith and to the Jewisl COLUMBIA'S JOSEPHS community." . . . Ray Moon, central divisic sales manager for 20th Century-Fox, al nounced his resignation effective April 1 ! 1952 . . . Veteran exhibitor Walter Reade, f| died in New York's Mount Sinai Hospitjl following .i lonp illness . . . George JosepHI a veteran of 24 years with Columbia and f j the past five years assistant to A. Montagi was promoted to a home office sales execjj live post . . . Janus Glaser is the new afl sistant to Henry A. Linet in the Univer:|j sales promotion department . . . Unit!! Artists' new branch manager in Pittsbur is lames Hendel . . . That company also a J nounced the appointment of Joe Ende as ; II sistant controller, supervising the domes|| and foreign accounting departments Herbert J. Yates, his assistant, William Sa and Trans Globe's Dr. Richard Hagen sailed for Kurope on the S.S. America . Mate I'.lumberg left for Hollywood fo lengthy visit. FILM B U L L E T If PRODUCTIOn & R€L€AS€ R€CORD COLUMBIA 1951-52 Features Completed (53) In Production ( 1 ) Serials Completed ( 3) In Production (0) Westerns Completed (17) In Production (0) RELEASE CHART 1951-52 — IN PRODUCTION TITLE — Running Time Happy Time, The - COMPLETED Barbed Wire Barefoot Mailmen, The ISC) 183) Big Gusher. The 168) Boots Malone 1103) Brave Warrior Brigand. The IT) Captain Blood, Fugitive Clouded Yellow, The 196) Corky of Gasoline Alley (70) Congo Bill Chain of Circumstance 168) . Criminal Lawyer 173) Cripple Creek Cyclone Fury 154) _ Death Of A Salesman (115) European Edition Family Secret. The (85) Firefighters, The First Time, The (8?) Five (93) Four Poster, The Golden Hawk _ Harem Girl, The 170) Cast Boyer-Driscoll Rel. No. Rev. Autry-Buttram _R. Cummings-T. Moore _ Morris-Foster Holden-Clements Jon Hall Dexter-Lawrence I 1-51 7-51 ......... 1-52 7-30 1-14 Louis Hayward Simmons-Howard 10-8 S. Beckett-J. Lydon 9-51 McGuire-Meore M. Feld-R. Grayson 8-51 . 8-27 O'Brien-Wyatt 10-51. ..Montgomery-Booth Starrett-Burnette 8-51 March-Dunnock _ 2-52 ..Glen Ford .Derek-Cobb 12-51 .Williams-Reynolds 9-10 Harlem Globetrotters, The Hawk of Wild River, The (54) . Her Wonderful Lie Hurricane Island (C) Hills of Utah (69) Indian Uprising (SO (75) Jungle Jim in the Forbidden Land Jungle Manhunt (66) Jungle Safari Cummings-Hale 2-52 ..S. Douglas-W. Phipps 10-51. .Harrison-Palmer ..Fleming-Hayden Davis-Castle _Gomez-Dand ridge Starrett-Burnett Kiepura-Eggerth . .Hall-Windsor Autry-Buttram 2-52 I 1-51 2-52 7-5 1 . _ 9-5 1 Montgomery-Long 1—52.. 356 9-24 Kid From Amarillo (56) _ Lady and the Bandit, The (78) _ Laramie Moutains Magic Carpet IC) (84) Magic Face, The (89) Man In the Saddle (T) (87) _ Marrying Kind, The Mask of the Avenger (TJ 183) Mob, The 187) My Six Convicts _ Never Trust A Gambler (79) _ Night Stage to Galveston Old West, The Paula Pecos River (54) Pickup 180) Purple Heart Diary Wtitsmuller-Ry an _Weissmuller-Ryan _WeissrrHiller-Green« Starrett-Burnette _Hayward-Medina "Starrett-Burnett Ball-Agar .Adler-Knight _Scott-Leslie _Holliday-Harrison ..Derek-Ouinn B. Crawford-Buehler Beel-Mitchell .... ICIark-O'Donnell _Autry-Buttram _Autry-Davis Young-Smith 10-51 1 1-5 10-51 .... 9-5 1 J 10-51" _ 9-51 _ 12-51 .9-10 10-8 7-51 1 0—5 1 . 359 7-16 9-24 .8-51 326. 7-16 1-52 Starrett-Burnette Haas-Michaels F. Langford-T. Romano Laine-Danlels Autry-White Rainbow Round My Shoulder |C) Riders of the Whistling Pines Rough, Tough West Starrett-Burnett Sabre and the Arrow, The (T) Crawford-Hale Saturday's Hero (III) Derek-Reed Scandal Sheet (82) .... Crawford-Derek 12-51 8-51 ..... 12-51 ..... 12-17 7-30 .9-51 .318.. Smoky Canyon .. Sniper, The Son of Dr. Jekyll (78) . . _ Sound Off Sunny Side of the Street [71 ) Ten Tall Men (T) (97) _ _ Thief of Damascus. The Valley of Fire (C) (62) War Cry |C) Whistle at Eaton Falls, The (90) Starrett-Burnette 1-52 - Menjou-Franz _ Hayward-Knox 1 1—51 — Mickey Rooney Lane-Daniels 9-51 _ Lancaster-Lawrence 12-51 Henreid-Sutton Autry-Barnett 11-51 Montgomery-Long Bridges-Gish 8-SI — 8-27 1-14 10-22 11-19 8-13 1951-52 LIPPERT Completed (30) In Production (I) IN PRODUCTION TITLE — Running Time Loan Shark COMPLETED As You Were •andit Queen Fil Girl For Men Only . _ |G. I. Jane (62) _ _ Great Adventure, The (75) Highly Dangerous 181) Leave It To The Marines Lost Continent Man Bait Navajo RELEASE CHART — 1951-52 — Cast Raft-Russell Rel. No. Rev. (66) Outlaw Women iStolen Face, The IStronghold Sky High (60) Z..." Superman and The Mole Men Tales of Robin Hood Unknown World 163) 158) —Tracy-Sawyer -Britton-Parker ..Romero-Totter —P. Henreid -Porter-Neal Price-Hawkins . Clark-Lockwood ... S. Melton-M. Lynn _Romero-Brook'e ..Brent-Chapman Indian Cast ..Windsor-Rober . Henreid-Scott Lake-Scott S. Melton-M. Lynn .. Reeves-Coates Xlarke-Hatcher Kellogg-Nash 10-19 .... 10-5 5023. 1 2— 1 5 5610. .10-26 . 5002 . 1-52 5102 ... 7-6 -.5012 9-24 .... 1 1-2 5021 .10-12 5029 _ 9-2 ..... 5005 8-27 5004 1- 52 5103 2- 52 5104 4-52 .5105 4-52 5109 2-52 5107 10- 19 5024 11- 23 .5030. .12-2 I 5008 10-26 5101.. .9-10 FEBRUARY 11, 1952 In the Release Chart. "Rel." is the National Release Date. "No." is the release Number. "Rev." is the issue in which the Review appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1950-51 programs unless otherwise noted. (T) immedi- ately following title and running time denotes Technicolor, (C) Cincolor, (SO Supercinecolor, (TR) Trucolor, (A) Anscolor. Varieties On Parade Wings of Danger Yes Sir. Mr. Bones 154) .Rosa-Carroll Z. Scott _F. Millar 7-20 3-52 7-13 5020 5106 5019 9-24 METRO-COLDWYN-MAYER 1951-52 Features Completed (76) In Production (5) IN PRODUCTION TITLE — Running Time Because You're Mine (T) Mr. Congressman Days Before Lent Pat and Mike RELEASE CHART — 1951-52 — One Piece Bathing Suit IT) COMPLETED Across the Wide Missouri (T) (78) American in Paris IT) (113) Angels in the Outfield 1102) Because Your Mine Belle of New York 182) Bannerline 188) Cast Lanza-Morrow Johnson-Neal Young-Rule Tracy-Hepburn Williams-Mature Rel. No. Rev Oct 208 10-22 Nov 9-24 Sep 202 8-27 Callaway Went Thataway (81) Calling Bulldog Drummond (80) Carbine Williams _ — County Line Girl In White, The _ Glory Alley Hour of Thirteen. The Invitation, The 185) It's A Big Country 189) Ivanhoe |T) ..... Just This Once 190) Law and the Lady. The (104) Light Touch, The (93) Lone Star (94) Love Is Better Than Ever (81) Lovely To Look At (T) Man With A Cloak (88) Merry Widow, The (T) Mr. Imperium (T) (87) Gable-Hodiak .Kelly-Caron Douglas-Leigh _Lama-Whitmore Astaire-Vera-Ellen 3-52 Forrest-Braselle Oct 206 . MacMurray-McGuire Dec 214 Pidgeon-Leighton Dec 213 Stewart Hagen — — _Pidgeon-Ho 214 170 1- 5*5 ™ ...201 . 209 ! 266 7- 10- Andrews-McGuire Wayne-Leigh Travel 165) Travel ...Mitchum-Tallman I Want You (101) Jet Pilot IT) (118) Jungle of Chang (47) Jungle Headhunted IT) Korean Story, The Las Vegas Story, The (88) Russell-Mature Lilli Marlene (72) McDermott-Daniely On Dangerous Ground (82) Ryan-Lupino On The Loose (74) _ ...Evans-Earl Overland Telegraph (40) Holt-Martin ... Pistol Harvest (40) Holt-Martin Racket, The (89) —..Mitchum-Scott Ragged Edge. The Lupino-Ryan Roadblock (73) McGraw-Dixon Saddle Legion 140) _._ Holt-Martin .. Slaughter Train (C) (78) Donlevy-Grey Snow White and the Seven Dwarfs (T) 183) Target 1-51 101 II- 11-51 208 4-51 ........ 177 2-52 217 7-5 1 .... 203 ... 1-51 . 2 1 5... I- 9- 12-51 214 _. 7-51 205 ... 11-51 210 10 7-SI "I204Z .117 10-51 207 10 292 Tarzan's Savage Fury Tembo 180) Two Tickets to Broadway (T) (104) Whip Hand. The 182) Disney Feature Reissue McGraw-White I Barker-Hart - — .-j Documentary 1—52 245 Leigh-Martin 1 1-51 244 lU JUid-Tuttle 10-51 212 20th CENTURY-FOX 1951-52 Features Serials Westerns REPUBLIC Completed (17) Completed ( 0) Completed ( 8) In Production ( I ) In Production (0) In Production (0) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Song of Youth COMPLETED Adventures of Captain Fabian (100) Arizona Manhunt (60) Bal Tabarin Border Saddlemates Captive of Billy the Kid Colorado Sundown _ Dakota Kid. The 160) Desert of Lost Men 154) Don Daredevil Rides Aqain _ . Fabulous Senorita. Tha Flight from Fury Fort Dodge Stampede (40) Fugitive Lady (78) ... Girl From Panama Gobt and Gals Guntltngar Honaychile (Tr) (891 Hoodlum Empire Lady Possessed Last Musketeer. The .. _. Minnesota 23 Cast Shirley-Christy Rel. No. Rev. E. Flynn-M. Prelle Chapin-Janssen Lawrence-Ching Allen-Kay Lane-Edwards Rex Allen Chapin-Janssen ... Lane Curtis-Towne _ . Estelita-Clarke Edwards-Clark Lane-Kay Parge-Barnes Estrelita-Clarke ... Downs-Hutton Lane-Riley Canova-Foy 10-4 9-15 5101 5048 10-8 1-52 7-1 I 1-19 4-1 5067 5043 5084 1-14 8-24 7-15 5042 5011 4-18 7-30 10-51 Donlevy-Trevor Mason-Havoc 1-52 Allan-Kay Cameron-Hussey 5121 .12-3 1951-52 Features Completed (47) In Production ( RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Condor's Nest IT) Dream Boat Full House, The Les Miserables We're Not Married What Price Glory COMPLETED Anne of the Indes IT) (82) As Young As You Fael (77) Bells On Their Toes Cast Wilde-Smith Webb-Francis Crain-Granger Rennie-Paget Wayne-Rogers Cagney-Dailey Rel. No. . Jordan-Paget .Woolley-Ritter Crain-Loy .11-81. 4-51 .134 .120 .11 ...;o Cry of the Swamp (T) Peters-Hunter David and Bethsheba IT) (123) __ Peck-Hayward Day The Earth Stood Still. The (92).. Rennie-Neal Deadline U. S. A. Bogart-Barrymore Decision Before Dawn (119) Merrill-Basehart ... Desert Fox, The (91) Mason-Young Diplomatic Courier Power-Neal Don't Bother To Knock __ Widmark-Monroe Down Among the Sheltering Palms(T) Lundigan-Greer _ Elopement (82) Webb-Francis 5 Fingers Mason-Rennie 2-52 9-51 . 1-52 10-51. 129 205 .130. Fixed Bayonets! (92) Frogmen (94) 12-51 3-52 Basehart-O'Shea 12-51 Widmark-Andrews 7-tl. Girl Next Door. The (T) Haver-Dailey Girl on the Bridge, The 177) Haas-Michaels 12-51 Golden Girl IT) 1108) Day-Gaynor 11-51. Guy Who Cam. Back. Tha (911 Douglas-Darnell 7-11- I Don't Care Girl, Tha (T) Gaynor-Wayna I'll Never Forget You IT) (90) Power-Blyth _ 12-51 Japanese War Bride (91) _________ Yamaguchi-P. Taylor _ 1-52. Journey Into Light 187) Hayden-Lindfon 10-51- 208 ._ 140 1 127 TC " "l 136 — _l .1 18. .142 202 .132. -31 _ l« FILM BULLET* (tagirM IT) O'Hare-Lawford , let's Make II L.aal 177) Colbert-Carey 11-51 133 11-5 Love Nest 1841 .Haver-Lundigan 10-51 131 10-22 lydla Barley (T) Robertson-Francis _ bleet Me After The Show IT) (84) — Grable-Carey 8-51 125 8-13 Millionaire for Christy If I) MacMurray-Parker — _ f-51 . 127 8—13 Mr lelvedere Rings The Bell 188) _ Webb-Dru 8-51 . 124 8-13 s4odel and The Marriage Irokerl 103) J. Crain-T. Ritter 1-52 201 12-17 So Kghway In The Sky H7) „ - Stewart-Dietrich 10-51 121 Outcasts of Poker Flat. The _ Baiter-Robertson »eople Will Talk II 10) Grant-Crain f-51 124 f-10 'hone Call From A Stranger — _ Merrill-Winters 2-52 204 'ride of St. Louis . Dailey-Dru 4-52 led Skies of Montana (T) Widmark-Smith 2-52 teturn of the Teian Robertson-Boone .2—52 lose of Cimarron Buetel-Powers 4-52 secret of Convict Lake 183) _ . Ford-Tierney 8-51 . 123 . tit Care of My Little Girl IT) If3) Crain-Peters . 7-51 1 1 9 /iva Zapata M. Brando-J. Peters 3-52 204 HP a)H Till The Sun Shines Nellie (T) —Peters-Wayne Way of a Gaucho (T) -Tierny-Calhoun ____________________ yvith A Song In My Heart (T) Hayward-Calhoun 4-52 UNITED ARTISTS Golden Horde. The IT) Has Anvbody Seen My Gal IT) Here Come The Nelsons Iron Men 112) Lady from Teias IT) 171) _ _ Lady Pays Off. The Lavender Hill Mob. The Little Egypt IT) (121 Lost in Alaska Ma and Pa Kettle at the Fair Ma and Pa Kettle Go To Paris Mark of the Renegade ITI III) Meet Danny Wilson Pool of London Raging Tide. The 92 Red Ball Express Reunion In Reno 1791 Scarlet Angel ITI Son of Ali Baba IT) Steel Town IT) Strange Door. The 180) Thunder On the Hill 1851 Treasure of Lost Canyon, The IT) Week-End With Father 1831 World In His Arms. The ITI Peck-Blvth You Never Can Tell Powell-Dow _ Blythe-Ferrer _____ _ Colburn-Leurle Onle and Harriet Kt yes-Chandler _ Hull-Duff Darnell-McNelly Guinness-Holloway Fleming-Stevens Abbott-Costello Male- Kilbride ______ Main-Kilbride Montalban-Cherisse Sinatra-Winters Colleano-Shaw Winters-Conte Chandler-Cabot _____ Stevens-Dow DeCarlo-Hudson Curtis-Laurie Sheridan-Lund Laugnton-Karlotf _ Colbert-Blyth W. Powell-J. Adams Neel-Heflin Oct. Feb Aug Oct. Nov Oct Sept 134 210 130 134 202 210 131 7-14 1-27 Aug Feb Aug Nov Oct 128 205 183 203 135 8-13 10-22 Dec Sept 204 133 11-5 8 13 Dec Sept 204 132 12-3 f-10 1951-52 Features Completed (55) In Production (2) RELEASE CHART — 1951-52 — N PRODUCTION TITLE — Running Time lanter's Wife ing, Ttie COMPLETED Christmas Carol 184) ctors and Sin 194) Irieen Queen IT) 1 104) bother Man's Poison 1 89 ) •g Night. The 175) iffale Bill in Tomahawk Territory hicago Calling (74) loudburst (83) ibiola If4) Cast Claudette Colbert iRos-Moreno Rel. No. Rev. I 1-30 rst Legion 184) brt Definance (81) >or In A Jeep H7) lold Raiders 154) reen Glove. The le Ran All the Way 177) igh Noon oodlum, The 141) lOtel Sahara 187) 3-52 H-R 1-52 12-7 2-52 .1-1 1 1-52 . 4-1 _ Lev . 5—1 1 Sirk- Bdy Says No, The (80) _ me light _ •lan From Planet X (70) . Ian With My Face 175) liracle from Mars lister Drake's Duck 181) Ir. Peek-A-Boo 174) lutiny IT) aughfy Arlette 184) lew Mexico (A) (74) _ bsessed 177) 'derte 1105) Alyastair Sim Robinson-Hunt Bogart-Hepburn . Davis-Merrill J. Barrymore-P. Foster Moore-Andrews Duryea-Anderson Preston-Sellars . Michele Morgan . Boyer-Bettger . D. Clark-B. Johnson _ 11-9 . Lindfors-Meeker 8-24 . O'Brien-Ryan 9-14 Ford-Brooks . 2-52 . Garfield-Winters Cooper-Kelly Tierney-Roberts DeCarlo-Ustinov . Caulfield-Niven Chaplin-Bloom _ .Clark-Field . Nelson-Matthews ll-lt 1-14 1-14 11-19 12-17 11-5 7-13 7-27 10-15 ... 1-52 _Reb 7-14 _ Kr . 4-18 Jar 11-19 12-17 Graves — -Fairbanks-Donlan . — Greenwood-Bourvil 4-27 _ 4-8 Cor I'ne Big Affair (80) ....... ardon My French (81) rowler. The (92) rueen For A Dav ( 107) iver. The (T) 1112) loyal Journey _ aturday Island (T) _. _ learf, The 184) . 9-21 -10-21 Stevens-Lansbury 3-52 -Zetterling-Williams 3-9 Ayres-Marshall 8-24 - Farrar-Fitzgerald 9-7 ■ Neagle-Howard 5-15 -O'Keefe-Keyes _ 2-52 Oberon-Henreid 8-10. -Heflin-Keyes .5-25 - Avery-McGavin 7-7_ Sach KB Ain 10-8 9-24 4-18 9-24 Eag. .9-10 4-9 Swinburne- Shi elds Documentary -Linda Darnell 2- 52 3- 52 Ren lo Long at the Fair (85) H. Benny, the Dip (80) frange World ale ef Five Wemee, A 184) hree Steps North (85) lightrope. The om Brown's Schooldays (93) wo Gals and a Guy (70) ►nderwerld Stery 190) Veil. The 185) ... _ "_ Vhen I Gt„w Up 190) -Ireland-McCambridge 4— i ..Simmons-Bogarde 3—29 -Fech-Haymes 8-24 Hauff-Schneider Bonar Colleano - Bridges-Padavoni -Forsythe-Hall ... Davies-Newton ... Paige-Alda JJuryea-Storm , Rober-Kelly ...Preston-Scott 3-52 3- 52 4- 15 11-2 8- 31 7-2 I 9- 14 4-20 G-C. Dan Gehn _3-26 1-29 7-14 Wil C-E... Pop _ 9-10 UNIVERSAL-INTERNATIONAL 1951-52 Features Completed (59) In Production (3) N PRODUCTION TITLE — Running Time \gainst All Flags (T) Mmost Married Jntamed, The (T) COMPLETED •Battle at Apache Pass IT) lend of the River IT) Iright Victory 197) Jronco Buster (T) battle Drive (T) 177) RELEASE CHART — 1951-52 — Cast Flynn-O' Hara Curtis-Laurie Cotten-Winters Rel. No. Rev. Chandler-Lund Stewart-Kennedy Dew-Kennedy - ... Lund-Brady McCrea-Stockwell Smith-Carey Feb Jan 212 208 7-30 Aug Nev Jan 128 213 .127. Pave of Outlaws, The IT) (74) E>n*rree Kid. The IT) 184) A. Merphy-V. Dugay _ -omm Reund the Meuntain (77) Abbott & Costello-Shay _July Peel at Silver Creek. The IT) Merphy-Demergue - finders Keepers (75) Ewell-Adai_s Jan 211 Ha me of Araby IT) 177) Chandler-O' Hara Jan |Nesh and Fury . Curtis-Sterling .7-30 I 1-5 12-31 _7-2 207 1-14 12-3 Francis, Racket Baster ;rancis Gees te the Races (88) -rancis Goes te West Point Denald O'Connor .O'Connor-Laurie _ O'Cenner-Nelse* .July 125 FEBRUARY 11, 1952 WARNER BROTHERS 1951-52 Features Completed (39) In Production (2 RELEASE CHART — 1951-52 — Cast Day-Reagan Scott-Wymore The Gilbert Rowland Rogers-Wyman Rel. IN PRODUCTION TITLE — Running Time Alexander. The Big Leaguer Man With A Gun IT) Miracle of Our Lady of Fatima, Story Of Will Rogers, The (T) COMPLETED About Face (T) MacRae-C.acken Big Trees. The IT) Cooper-Alden 12-29 Bugles in the Afternoon ITI 185) R. Milland-H Carter 3-8 Captain Blood (Reissue) 198) Flynn-DeHaviland 12—5— Carson City Scott-Massey Close To My Heart 190) Milland-Tierney 11-3 Come Fill the Cup 1113) J. Cagnev-P. Thaiter 10-20 Captain Horatio Hornblower (T) I 17 Peck-Mayo 8-11 No. Rev. I I I 114 110 Crimson Pirate, The IT) Distant Drums IT) 1 101) Force of Arms 1 100) — B. Lancaster 107 104 030 10-22 9-24 7-2 I'll See You In My Dreams 1110) Jack and The Beanstalk Lion and the Horse, The Jim Thorpe, Ail-American (105) Mara Maru North of the Rio Grande Only The Valiant 1105) Painting Clouds with S'hine IT) (87) Mayo-Morgan Retreat, Hell! Lovejoy-Carlson Room For One More (98) Grant-Drake San Francisco Story McCrea-DeCarlo Cooper-Alden Holden-Olson Day-Thomas Abbott-Costello _ Cochran-Teal Lancaster-Bickford Flynn-Roman McCrea-Mayo MacRae-Day 12-29 9-15 1-12 III 102 112 12-17 12-17 She's Working Her Way Throuqh College (Tj Starlift (103) Mayo-Reagan Cagney-Mayo Streetcar Named Desire, A (122) .. Brando-Leigh Tank Are Coming, The (90) S. Cochran-P. Carey This Woman Is Dangerous 197) Crawford-Morgan Tomorrow Is Another Day (90) Roman-Cochran Where's Charlie? IT) Bolger-McLerie 12-1 9-29 I 1-17 2-f f-22 109 11-19 .104 108 I l-S I 14 103 1-27 Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St., Phila. 3 — 1239 Vine St., Phila. 7 LOcust 4-0100 Member National Film Carriers 23 LOUISIANA TUDOR MAJESTIC HART PARAMOUNT JEFFERSON PARAMOUNT ACADIA FOX AMITE BURAJ opera house towJr STRAND POIK OEITA BAILEY BAILEY BAILEY BAILEY VENUS DIXIE COLUMBIA DIXIE NEW ORLEANS SHREVEPORT BATON ROUGE LAKE CHARLES LAFAYETTE ALEXANDRIA CROWLEY HOUMA AMITE BURAS FRANKLIN MINDEN JENNINGS LEESVILLE OPELOUSAS VILLE PLATTE BUNKIE MARKSVILLf TALLUIAH WINNFIELD ABBEVILLE HAMMOND RUSTON GEORGIA PARAMOUNT ATLANTA WEI5 ALBANY BRADLEY PARK R1« ROXY FIRST AVENUE EMILY TOS GRAND ML T LA GRANGE BACON PARK MELBA CENTURY CHARLES RITZ JASPER TIGER WILBY RITZ ROBERTSDALE SAVANNAH ALBANY COLUMBUS TRION TOCCOA BAXLEY ROME HARTWELL REIDSVILLE CORNELIA HAWKINSVILLE LA GRANGE ALMA PELHAM ALABAMA BIRMINGHAM MOBILE MONTGOMERY TUSCALOOSA JASPER AUBURN SELMA ANNISTON ROBERTSDALE MISSISSIPPI SAENGER PARAMOUNT PARAMOUNT TUPELO VARSITY TEMPLE SAENGER PARAMOUNT GLOBE PRINCESS MART HONEY GLOBE DIXIE AMORY STATE RITZ ROYAL SAENGER NEPTUNE SWAN HELENDAIE LAUDERDALE CAPITOL STATE RIALTO PALACE GLORY B SOONER CHIEF YALE RIAITO SEMINOLE CAMERA BLAINE GRAND KEY PLAZA MELBA STOVAll STATE MOORE KAY ALAMO DEL RIO CENTRE BILOXI GULFPORT JACKSON TUPELO COLUMBUS MERIDIAN HATTIESBURG GREENVILLE DREW BOONEVILLE CALHOUN CITY INDIANOLA SHAW FULTON AMORY FLORIDA TAMPA JACKSONVILLE ST. PETERSBURG PENSACOLA DAYTONA BEACH MADISON HELENDAIE FT. LAUDERDALE PLANT CITY OKLAHOMA OKLAHOMA CITY TULSA BLACKWELL MIAMI NORMAN ENID OKMULGEE CHICKASHA SEMINOLE STILLWATER HENRYETTA HOIDENVIUE WEWOKA RICHER GUTHRIE SAYRE PAWHUSKA DUNCAN PONCA CITY MARLOW CUNTON El RENO *' " I SATURATION PREMIERI BldW^ing the South and Southwest with 325 Openings Starting This Week! TEXAS BALI lee: CO! REX AYI' PAL EN< CO' PAR STA BAL DILI) CHB CEN CEN ROl STA GA STA HO LAI DE LYR STRj MIA HO CM PRIIj BRC CHf CEf- GEA. vicl CEh PRII MA AV> AN DUII RAM RO<| CAI WA Wl KEN BAL STA) pal! iiS( CAB LIBB GR. CA PLA CEI STE IMF MA API JO' LES RO GE RIT CA PA CA JUS RIVI PIX GRC HAA CEN BAIL fox' CHICK RITZ CRITERION NUSHO PRINCESS CASTLE DELTA BRONCHO NUSHO RIAITO RITZ REX WOODWARD WIGWAM TECH GRANT YALE DUNKIN ERIE HORNBECK CENTER TOWER H & S CORF PO RIALTO CENTER RITA SABINE KIRBY WORTH GRANDE LIBERTY STAR REX LA VISTA RITZ PALACE WAGON WHEEL ROGUE ROYAL NORTH CAR BROADWAY UPTOWN CAPITOL PLAZA " STATE WAYNE STATE VICTORY LOEW S STATE El WIN: I KING WATTS PARK CAROLINA CAROLINA BUDDY CAROLINA RICHMOND CAROLINA STAR JOY BOONE TENNES MALCO RITZ ACE BIJOU CAPITOL CHl RED BANK Ch| PARAMOUNT CENTER BONNIE KATE ROXY GEM RICE RITZ MUNFORD SOUTH CA GARDEN CAROLINA PALMETTO CAROLINA CAPITOL STAR GRAND CAROLINA OPERA HOUSE ARKAh| CENTER PARAMOUNT PARAMOUNT MALCO MALCO OZARK GEM JOINER COTTON BOIL IAWTON SAPULPA BROKEN ARROW BRISTOV. PRYO ALTU EDMON CARNEG At MAD KONO WOODW COALG WEATHERF POND C CLAREM CUSH h| drumright chandler i ION PASTIME [ REE SAENGER " 3RO MALCO 1 MANNING CAPITOL LORIS MALCO ^tonway °\ AGE % high ':: m CAMERON Bj fjjffVrf 1 1 1. Oft $3 per Year 25c per Copy BULLETIN FEBRUARY 25. 1952 IN LIRE, YEN OR $ 'QUO VADIS' IS PAYING OFF! Editorial by MO WAX Page Five Four Big *Ifs9 Should JVot Balk Move To Bra ft Bodgers As Arbitration Negotiator AO* ALL THE FUN OF THE FACTS OF LIFE EVERY FAMILY HAS TO FACE! SCREEN IT AND LOVE IT- PLAY IT AND PLEASE EVERY FAMILY IN TOWN! The heir-raising adventure of a newly married couple • j starting the day Mom gets \h j bootees for baby and Po gets the boot at the bffia COLUMBIA PICTURES presents HALE Time Bill Jeff Carl Benton Mona GOODWIN DONNELL REID BARRIE f lean Rouverol and Hugo Butler, Frank Tashlin and Oane [ussier RANK TASHLIN - a NORMA production • i, HAROLD HECHT TOP MUSICAL FOR A TOP HOLIDAY! What could be sweeter! IT WILL RAIN GOLD AT EASTER! Be ready with open dates to catch the shower of profits! We make the unqualified statement that "Singin' In The Rain" is the greatest box office musical M-G-M ever made! The Previews in California were unprecedented if Coast annals. It is the talk of the film colony. The public has never seen anything like it! We urge you as we have never urged before: Save your Easter dates for thi: M-G-Musical Goldmine! M-G-M presents "SINGIN" IN THE RAIN" starring Gene Kelly • Donald O'Connor • Debbie Reynolds • with Jean Hagen| Millard Mitchell • and Cyd Charisse. Color by Technicolor- Story and Screen Play by Adolph Green and Betty Comdex Lyrics by Arthur Freed • Music by Nacio Herb Brown • Directed by Gene Kelly and Stanley Donen • Produced by Arthur Freed] BULLETIN to i >L 20. No. 4 February 25. 1952 Pane Five COUNT YOUR BLESSINGS [ never complained of my condition it once, said an old man — -when my t were bare and I had no money to ly shoes — but I met a man without :et. and became contented.'' — EL K. WHITE REVIEWS in This Issue ■llf. of New York 8 fjEAsiRE of Lost Canyon 8 ij e Bic Trees _ -.. 8 rl-A Zapata _ 10 Nth A Sonc In My Heart 10 ■treat. Hell.' 10 FILM BULLETIN — An Inde- pendent Motion Picture Trade Paper published every other Monday by Film Bulletin Com- pany. Mo Wax, Editor and Pub- lisher. BUSINESS OFFICE; 35 West 53rd St., New York, 19; Circle 6-9159. David A. Bader, Business Manager; Leonard Coulter, Editorial Representative. PUBLICATION — EDITORIAL OFFICES: 1239 Vine St., Phila- delphia 7, Pa., RIttenhouse 6- 7424: Barney Stein, Managing Editor: Dick Newton. Publica- tion Manager: Robert Heath. Cir- culation Manager. HOLLYWOOD OFFICE: 659 Haverford Ave., Pacific Palisades, Calif., Hillside 8183; Jay Allen, Hollywood Editor. Subscription Rate: ONE YEAR, $3.00 in the United States; Canda, $4.00; Europe, $5.00. TWO YEARS, $5.00 in the United States; Canada, $7.50; Europe, $9.00 LIRE FHH 'QUO VAIII.'i' In a remit bulletin, Bob Wile, secretary of the Independent Theatre Owners of Ohio, suggested that exhibitors pay M-G-M in Italian lire, instead of American dollar-, for 'Quo Vadis." Attached to the bulletin was a five lire note and Wile advised [TO members that, since Metro had produced the spectacle in Italy with Frozen funds, ex- hibitors are justified in paying their rentals in Italian money. '"This five lire note." the bulletin stated, "can be used by you in negotiating with M-G-M for 'Quo \ adis." You may offer to pa\ M-G-M whatever i- due them in lire ... If M-G-M says t oyou. ou are collecting dollars, you can't pay us in lire.' a verj Dbvious answer to that is. "You made the picture for lire, why should vou collect dollars?'" I ndouhtedly. our good friend Wile had tongue in cheek, but we just don't relish his little gag. Metro risked a fortune of close to S7.000.000 to make "Quo Vadis," invested the time of some of its valuable topflight talent for many months, shipped a great deal of equipment overseas to guarantee the best technical results, and expended another sizeable sum in building up a vast, thoroughly penerating publicity-exploi- tation campaign to insure its boxoffice success. Fortunately. "Quo Vadis" turned out to be a mighty spectacle, a motion picture that offers the strongest kind of answer for the movies to all competitive forms of entertainment. Certainly, it dwarfs into insignificance anything that television can possibly offer. There is hardly a theatreman in the land who would not fervently say: "Give me a dozen films like this every year!" If Dob W ile disapproves of Metro's terms on the picture, that's one thing. He is entitled, perhaps obligated, to advise his membership if he feels their best interests would not be served by playing it on the terms the distributor is asking. But, whether it was made for lire, yen or dollars. "Quo Vadis" is a great motion picture. The ITO secretary is far off base in deprecating a production of such importance to the entire industry. MO WAX A GDVERNDR SALUTES MOVIES Not alone for the fact that his State substantially reduced the tax on movie admi>- sions. but for the eloquent tribute he paid to our industry, let us all salute Governor Hugh L. White of the State of Mississippi. Hailing the movie business as one that "should be encouraged and not emascu- lated by destructive and discriminatory taxation." the Governor signed a bill reducing the present 10 to 13 percent admissions tax down to 2 percent on individual and small circuit theatres, and 5 percent on circuits of more than 10 theatres. Governor White had this to say : "In passing this bill to reduce the unusual heavy tax burden now being carried by the motion picture theatres, the State of Mississippi recognized the fact that the thea- tre has long ceased to be solely a place of entertainment. It has become a communitv institution of first rank and has assumed its community responsibilities, and it is an industry that should not be unduly taxed. "'During the war no industry built a prouder record in its support of Government and community in the bond drives. Bed Cross, scrap drives, and various other war activities. '"The movie today is not a luxury: it is a necessity. It is not a vice, minor or major, and should not be bracketed with commodities or pursuits that mav be. "We want the theatres to continue to provide that visual education for the nation which has made the screen the greatest medium of mass communication in the past." The In Industry MA Vim Viva viVA MARLON BRANDO • DARRYL F. ZANUCK • EUA KAZAN • JOH^STEINBEl THE STAR THE PRODUCER THE DIRECTOR CENTURY-FOX Rodgers Believed M illing To Accept Arbitration Job If Obstacles Cleared The reaction of both theatremen and dis- :ributors is generally favorable to the sug- gestion that William F. Rodgers be named jy the film companies as their representative n negotiations with heads of the exhibitor jrganizations fcr formulation of an arbitra- ion system. However, there are four big "ifs" confront- ng the proposal, which was put forward by FILM BULLETIN in the February 11 issue. They are: (1) Will all of the distributors be agree- ble to have any one man speak for them in he negotiations? (2) Will Rodgers' company, Loew's Inc., ipprove of his involvement in a project that igures to consume the bulk of his time for t least several months? (3) Will Rodgers, himself, be willing to mdertake the extremely difficult and delicate ask of harmonizing the arbitration plans of he two big exhibitor units, Allied and TOA, nd then coordinating a unified exhibitor rogram with the views of the distributors? (4) Would Rodgers be acceptable to Allied tates Association, in the light of his previ- us expressions against inclusion of film tntals as part of any arbitration plan? None of these contingencies, apparently, re insurmountable. Each can be answered 5! :0MP0 Tackles Score If Topics At Board Meet While it was hardly likely that COMPO's oard of directors and executive committee ould hope to do full justice to the score of pics it was due to tackle at its annual teeting last week, the all industry organi- ation's toppers were sure to stress the lovietiine campaign, cooperation with the overnment and the revival of a drive against ie discriminatory federal admission tax. The last named was added to the copious genda after the two principle national ex- ibitor organizations each featured the sub- ct in their respective board meetings. ction on the House Un-American Activities ttack on the industry's Red policy was alco hot topic for COMPO to work on. An ad-publicity director's committee of M MPAA has already agreed that the lay- uts of COMPO's pending national ne\v>- aper advertising campaign will aim to sell ie public on theatres and the industry by dressing outstanding pictures. COMPO, owever, wary of the danger involved • in sting pictures in proportion to the number f companies, rather than to the value of the roduct to be featured, delegated Charles E. IcCarthy COMPO information director to ather and present data bearing on the lection of the films. EBRUARY 25, i952 satisfactorily, barring the intervention of some unpredictable personal factor that could stymie the idea. The answers to these four "ifs" might be: (1) Since machinery involving spokesmen for each of the distributors would be too un- wieldy, it would be logical to have one man represent all the companies — in the direct negotiations with the theatre groups, that is. No legal obstacle appears on the surface, in view of the Statutory Court's urging that the industry work out an arbitration system. While not all of the film companies have been heard from, expressions like "splendid" and "Rodgers is the logical man" indicate that many of the top echelon distribution executives regard the suggestion favorably. BULLETIN NEWS 41 Ml 4 i OJPMJVIOJV WB Expects 2nd Quarter Dip After $792,000 1st H Gain Despite the million-and-a-half dollar jump in grosses for the quarter ended Dec. 1, 1951, and a $792,000 net profit boost over the corresponding quarter the year before, Warner Bros, wasn't too optimistic over the outlook for the following quarter. Based on operations for December and January, the company estimated that, the second quarter net will be "substantially less" than the $2,014,000 earned during the preceding year's corresponding quarter. In the Dec. 1, 1951 quarter, however, the company showed a wholesome jump to $2,605,000 net after provision of $2,500,000 for federal income taxes. In the correspond- ing '50 quarter, the net was $1,813,000 after provision of $2,000,000 for federal taxes and provision of $200,000 for contingent liabili- ties. Included in the operating profits for the Dec. 1, '51,' quarter was a profit of $935,000 from sales of capital assets, before federal taxes, which compares with a corresponding profit of $167,000 for ihe same period the year before. (2) The management of Loew's Inc., has always been goodwill-minded and gave Rodgers free rein when he was fully active as general sales manager. There is no reason to believe that he would not be granted per- mission to handle as important an assign- ment as the creation of an arbitration sys- tem that would remove the causes of much of the litigation that plagues all the film companies. (3) Yes, Bill Rodgers would undertake the job. Unity in the industry has long been so close to his heart that we are convinced he would not turn down the call, if it comes with any reasonable degree of unanimity. (4) Rodgers has been on record against the inclusion of film rentals as a subject for arbitration. Allied leaders, while expressing the highest regard for him in other regards, would oppose Rodgers as sole negotiator on this score alone. However, despite his previ- ous avowals, FILM BULLETIN can say with certainty that Rodgers would approach the problem with a wide open mind. Being a realist, he is never averse to changing his stand to meet new conditions. And no one in the industry knows better than Bill Rodgers that the motion picture industry faces circumstances today that require a fresh and unbiased approach. Industry Burns At House Committee Red Laxity Charge The House Un-American Activities Com- mittee's charge that the industry had failed to take measures to rid itself of red influence stirred up a storm of indignation among in- dustry leaders. Motion Picture Ass'n head Eric Johnston fairly bristled at the "misleading and unfair" Committee report on Hollywood. He chose the two principal points in the report: (1) That the industry has failed to take "positive and determined steps against communism and communists" and (2) that efforts were made by communists to influence the con- tent of motion pictures. "The committee knows that leaders of the industry voluntarily agreed in a statement of policy in 1947 that they would not know- ingly employ communists," Johnston said in reply to the first point. "This policy has been adhered to unswervingly. Many have been discharged. The policy has resulted in our members being sued in courts for large sums, and suits are still in progress. This has not deterred us, and it will not." Any efforts by communists to influence films have failed, Johnston said, and "no- where in the report is there a shred of evi- dence" that a single film has been so tinged. He cited the MPAA's repeated efforts to have the committee name any picture that (Continued on Page 20) BELLE OF NEW YORK1 LIGHT, Rates • • • generally, except in action Metro-Goldwyn-Mayer 89 minutes Fred Astaire, Marjorie Main, Vera-Ellen, Keenan Wynn, Alice Pearce, Henry Slate, Lisa Ferraday, Gale Robbins, Clinton Sund- berg. Directed by Charles Walters. This is a frivolous little musical, presented with tongue-in-cheek to be viewed with ab- solutely no thought whatever. The story is merely a slim thread about which is woven eye-catching and ear-pleasing patterns of music, dancing, beautiful color and settings. Designed for pure entertainment — and who would want more? "Belle of New York" should strike the fancy of all except the action fans. Pleasant, enjoyable entertain- ment is the word for "Belle of New York". ENTERTAINING TECHNICOLOR MUSICAL houses And it's good word for boxoffkes generally. Fred Astaire combines his usual matchless dance routines with bizarre settings, high- lighted by a dancing-on-air sequence. Un- fortunately, Astaire's vocals, as usual, aren't up to par with his fast-stepping, but this probably won't be too much of a drawback to most audiences. Vera-Ellen is as decorative as the rest of the piece and makes an ex- cellent partner for the master terpsichorean. Marjorie Alain and Keenan Wynn add their special brands of comedy to the already frothy levity. The Currier and Ives sequence, which presents quaint prints that materialize into picturesque backgrounds for Astaire- Ellcn dance routines, is another high point of this "it's-all-in-fun" frolic. The tunes are catchy and hummable. STORY: Astaire is a playboy who de- lights in spending his aunt's (Marjorie Mai money and becoming engaged to every gi who happens to strike his fancy. He is a lergic to matrimony, however, and nev makes it to the altar. Wynn is Astaire lawyer who, for his own selfish interest tries to keep Astaire single. Vera-Ellen the director of a welfare house in tl Bowery, dedicated to saving the lost sou who come to her for help although her a pearance militates against such unglamoroi tasks. Astaire, out on one of his escapadt runs into Vera-Ellen and her group in tl process of saving souls. He immediately se out to convince her that he is in great ne of being saved. After an off-again-on-aga courtship, complete with lyrics and dan routines, they are united as Astaire win up beating the missionaries drum. NEW TREASURE OF LOST CANYON' PLEASANT FAMILY FABLE IN TECHNICOLOR Rates + as dualler in family houses Universal-International 81 minutes William Powell, Julia Adams, Charles Drake, Henry Hull, Rosemary De Camp, Tommy Ivo, Chubby Johnson, John Doucette, Marv- in Press, Frank Wilcox. Directed by Ted Tetzlaff. The old Robert Louis Stevenson tale, " Treasure of Franchard," has been made by producer Leonard Goldstein into a pleasant little fable that should carry appeal to family audiences and those not too discriminating in their movie fare. The long arm of coinci- dence and some far-fetched proceedings are the principal factors that detract from the film's value as credible entertainment and lessen the impact of suspense and dramatics director Ted Tetzlaff has attempted to inject. Credit factors are the performance of William Powell as an easy-going country loafer who has philosophically repudiated a get-rich attitude and the fine Technicolor photography. How Powell is threatened by the money bug after an orphan he has taken into his home discovers a treasure chest and the youngster's deliberate dumping of the treasure to prevent Powell's succumbing to the filthy lucre form the basis of the tale. Kids will get a thrill from the boy's attempt to recover the treasure beneath a raging waterfall; many of their elders will find Powell's philosophical utterances entertain- ing as delineated in the Brainerd Duffield- Emerson Crocker screenplay. But the over- all impression will find the film lacking genuine heartthrobs of excitement. "Trea- sure of Lost Canyon," should make a satis- factory dualler in family houses. As unusual role for William Powell, the actor does a fine job, aided by a competent cast — Rosemary De Camp as his wife, Tommy Ivo as the boy, Henry Hull in a villainous role, Chubby Johnson as a boozy medicine showman. Ted Tetzlaff's direction, routine for the most part, points lip several scenes with distinction. Leonard Goldstein's production is more than adequate foi a film of this type. STORY: A wealthy widower travelling to THE BIG TREES' OLD-TIME LOGGING MELLER Rates • • + in action houses; satisfactory dualler elsewhere is a definite help to "Trees", atlhough he has Warner Bros. 89 minutea Kirk Douglas, Eve Miller, Patrice Wymore, Edgar Buchanan, John Archer, Alan Hale, Jr., Roy Roberts, Charles Meredith, Harry Cording, Ellen Corby. Directed by Felix Feist. "The Big Trees" is a re-hash of all the situations that furnished the meat for the old fashioned melodrama in the heydays of Pearl White, Filmed in Technicolor among the giant sequoia redwoods of California, there is a decided similarity to an earlier Warner film, "Valley of the Giants", but today, with a shopping public, its lack of originality — to say the least — will be a drawhack for dis- criminating patrons. The film should be well received in action houses, however, and should make a satisfactory dualler in family spots. Kirk Douglas' name on the marquee a tough time taking some of the cliches with a straight face. The rest of the cast works hard, but the task of making the film appear more than just another "mcller" is too dif- ficult. The main fault with this show is thai it's all been done before and this time around it hasn't gotten any better. Such scenes as Douglas saving the woman lie loves from the caboose of a runaway log train, and the dynamiting of a dam to assure the triumph of good over evil may bring hack a nostalgic feeling for the good old days for some audiences; others may be satisfied with their action rough and tough, California by stage-coach with his baby sc Tommy Ivo, has a heart attack and dies. T infant is taken by a drunken showm; i hubby Johnson to Sacramento where delivers the child to an unscrupulous lawy as directed by the dead man's papers. T lawyer, Henry Hull, disregards the instn tions to lodge the baby with its unc William Powell, and pays Chubby to take off his hands. After travelling with t troupe for some years the boy runs aw and is adopted by Powell and his wife Ro mary de Camp. Powell and the lad discos hidden treasure, but the boy sadly reali? that it will drive his foster-father back drink. So he tosses the treasure chest it a foaming pool. A philosopher, Powell tat the loss lightly, but when their home burned to the ground. Tommy dives for i treasure, and risks his life to recover] Hull, who had been plundering Powd estate, is revealed in his treachery and p nuses to make restitution. His comfort I sured, Powell promises Tommy that he tl turn the treasure over to the iocal minis] LEON. if nut original. But the more discriminate may wonder "why did they go to I trouble?" STORY: Tale involves a group of hoir steaders in Northern California who H faced with the prospect of losing their lp| to an unscrupulous logging operator (¥f Douglas), due to a new land law. In swill- ing the settlers, Douglas meets Eve Mip who is determined to save the big trees fib the ax. Douglas had first posed as a friH to the homesteaders, but is eventually forW out into the open. The battle is on with It settlers trying to cut enough small tink to buy the land before Douglas can legff take over. Douglas blocks them by oblr ing control of a key dam. I )ouble-croi JO by his partners and in love with Millerie finally conies to his senses, helps the settl defeat the logging operators, and marries! woman lie hncs. NEWT 9 FILM UULLET CORNEL WILDE * MAUREEN O'HARA VIVA ZAPATA' COLORFUL MEXICAN DRAMA FOR THE CLASSES Rates • • • — in metropolitan first-runs, less generally 20th Century-Fox 110 minutes Marlon Brando, Jean Peters, Anthony Quinn, Joseph Wiseman, Arnold Moss, Alan Reed, Margo, Harold Gordon, Lou Gilbert, Mildred Dunnock, Frank Silvera. Directed by Elia Kaban. Although "Viva Zapata" contains some vivid action material and is, in essence, a broad, sweeping outdoor drama, it unfortu- nately does not contain the elements that make for generally popular entertainment. It is a bit overlong and has several draggy spots. Its best grosses will be in metropoli- tan first runs and houses catering to more sophisticated audiences. However it can be sold strongly to action houses. Written by John Steinbeck and recording the story of Zapata, the famed Mexican revolutionist, the script is a sympathetic study of the patriot. The dialogue is tersely effective — the charac- ters, real. Elia Kazan directs the stunning Darryl F. Zanuck production in the style of semi-documentary. The film, however, is not a high point in Kazan's career, of whom we can expect the best. As a study of the Mexican scene it is superb. As drama it is most effective in its consluding sequences, notably that in which Zapata is shot and left to die in the square of his village. "Zapata" is a conscientious motion pictures display, meticulously worked out in respect to story and performances, hugely effective in its atmospheric content. It will need strong selling., Marlon Brando gives a most convincing performance of the untutored revolutionist, and Jean Peters charms as his wife. Anthony Quinn is splendid as Zapata's brother. STORY: The title role is played by Mar Brando, a peasant who, seeing the corr tion of the Diaz regime, takes to the h and begins a program of raids. With Pan Villa working in the North, Zapata, in south, Diaz is subject to such harassrr that he flees the country. Another presic takes over the government, but Zapata s recognizes him as the ineffectual stoogt the same forces that produced Diaz. Aj the people raly around him and fight. V their victory, Zapata becomes president, finds himself making the mistakes of predecessors, resigns his office and aj becomes a symbol and a leader. The ! ceeding government believes it must Zapata to destroy his hold of the people. Zapata's death they destroy a body create a myth that is vastly more effeci JAMES WITH A SONG IN MY HEART' A WONDERFUL MUSICAL— WITH A HEART Rates • • • except in action houses 20th Century-Fox 117 minutes Susan Hayward, Rory Calhoun, David Wayne, Thelma Ritter, Robert Wagner, Helen Westcott, Una Merkel, Richard Allan, Max Showalter, Lyle Talbot, Leif Erickson. Directed by Walter Lang. "With A Song In My Heart" is a wonder- ful musical, a big, gorgeous, tuneful Techni- color show with that rarest of commodities, a story to match its production excellence. Because they are colored so extravagantly, theatrical biographies are movies a critic ap- proaches with dread even if many of them are slam-bang popular entertainment. "With A Song In My Heart," spun from the life story of the heroic singer Jane Froman, makes no undue demands on the audience's credibility. It presents her enormous human drama accurately and effectively, spotlight- ing her rise to fame in a series of effective musical clips and then moving into the ac- count of the plane crash at Lisbon and her gallant efforts to resume her career. A heart- throbbing treatment, excellent songs, a good spicing of comedy and a thrilling finale makes "With A Song In My Heart" a film eveyone will love and talk about. Susan Hayward, getting the breaks at 20th that she deserves, plays Miss Froman with warmth and sincerity. Her mastery of the musical nuances is astonishing, showing meticulous prepartion on her part and splendid technical resources on the part of the studio. Like the Jolson pictures, the bi- ography is accomplished by having the sub- ject sing her own soundtrack. The musical numbers resemble an All Time Hit Parade as Jame Froman sings the songs that made her famous plus many others — all climaxed in a superb salute to famous American cities by means of the songs identified with them. Miss Froman is indeed the star of her own picture. Her story is an inspiration to every- one, and her misfortunes seem to have brought added persuasiveness to her con- siderable vocal powers. STORY: The narrative records Miss Fro- man's rise to fame from a singer of com- mercial jingles on her home-town radio show RETREAT, HELL!' FAMILIAR, BUT ACTIONFUL WAR FILM ^ates • • + with exploitation, more in action houses Warner Bros. lhe scared kid who makes good 95 minutes Frank Lovejoy, Richard Carlson, Rusty Tamblyn, Anita Louise, Ned Young, La- mont Johnson, Robert Ellis, Paul Smith. Directed by Joseph H. Lewis. A hard-hitting, realistic film that should Hive the action fans plenty for their money, "Retreat, Hell!" unfortunately has too many stereotyped situations and characters to latiify those who are looking for quality pictures. The action revolves around a Ma- rine battalion battling its way through North Korea just as the Chinese Reds enter the war. Most of the characters are familiar typei: the tough World War II sergeant, the reierve captain with a family at home, an! the scared kid who makes good. The fact that in "Retreat, Hell!" the cardboard cut- outs assume a semblance of credibility is a tribute to Joseph H. Lewis' direction. The film sporadically drives home the suffering and hardship experienced by the fighting men who are attacked by the Chinese when U.N. troops approached the Manchurian border. Lewis, with the aid of actual battle clips, has also managed to reproduce the savagery of Red attacks and the gallantry of the marines in fighting a numerically superior foe without going too deeply into familiar heroics. "Retreat, Hell!" should make satisfactory fare for the action spots unless even those blood-and-lliunder addicts are surfeited with war film. Elsewhere, grosses will depend on exploitation to reach to that of featured performer on the stal From this she steps into personal app ance work, eventually makes the grad< Broadway, in Hollywood and as a netv star. Her mentor is David Wayne, a s time performer who readily sacrifices own career to aid hers. But after marriage he begins to resent standing i background. There are several misun standings between them. At the begin of the war in Europe the star is invited seas by the U.S.O. Off Lisbon, the f crashes and she is one of the rescued | sengers. Another is Rory Calhoun, a [1 Thrown together in the hospital an affe* « grows naturally and easily. Froman t ri< o resist its force but eventually concedes^ it exists. All the time she is fighting^ battle back to health, going from doct doctor, hospital to hospital in a grim < to save her leg from amputation. Bet operations, she tries to work. Finally s well enough to go overseas and completfl tour. During it, both her physical and I tional problems are straightened out. I"l XA (Hollywood) better than fair returns. STORY: A Marine group is activatt the outbreak of the Korean War. Th< undergo extensive training in Califorr they ship out to Korea where they 1 pate in an amphibious attack that eve secures South Korea from the Reds outfit is ordered into North Korea wh the edge of the Manchurian border, tli encircled by hordes of Chinese 1 Though they slaughter the Chinese ', thousands, the Marines are forced to draw southward to an evacuation porl end finds the survivors of the retreat, by their colonel the "attack-in-the-ot rection," successfully fighting theii through Red ambush and vowing to someday to finish the job. NEW! : 10 FILM BULLE Behind the £ceneA c{ Jiltn Prcducticn STUDIO SIZ6-UPS COLUMBIA [rmer Six To Bolster ion, Musical Production ffashbucklcrs and tuncfilms will com- ■I a sizeable proportion of Columbia's H production program, w ith the Stanley ■tier Company providing a half dozen ■jjht dramatic films, to round out the Hany's release slate. ■cording to present indications, the pro- n as a whole, will be on a considerably mnr plane than it has been in recent years, "fey Harry Colin ha^ once again become ffjmidablc bidder on the Grade A story ■let, with several deals now pending on Urtant best seller and Broadway show Acrties. •l-rchandising of the product, both to the He and to exhibitors, is also due for a (bin the arm. The advertising budget for ■text six months will be one of the heavi- I i company history. Trade paper adver- si>, in particular, will be hypoed. Ac- ting to well-informed sources, Columbia P spend $1^8,000 during this six-month ■Id on trade advertising alone — a figure ■ n is more than twice the amount spent §r g any full year in the past. ~>rge Lait, one of the best-liked and competent publicity men in the busi- takes over the task of coordinating the advertising and publicity push. Lait amed director of publicity this month, >cing Lou Smith, who resigned after .•ears with the company. Lait is well ided in the journalistic field, having d in an important post with INS, prior ining Columbia as head planter, some back. iduction, during the past month, has a steady pace, with three to four pic- shooting at all times. Currently before ameras are: "Affair in Trinidad," Rita 'orth's high-budgeted comeback pic- "Assignment -Paris", a Dana Andrews a Toren starrer, being made partly in and partly on the home lot; "Prince irates," a Technicolor swashbuckler ing John Derek and Barbara Rush; and ?y Kramer's "The Happy Time." inidad," which has been rolling since " ry 22, is directed by Vincent Sherman. | recording to unbiased reports, is shap- p as one of Rita Hayworth's best. "As- sent," is a Jerry Bresler production , directed by Phil Karlson. In addition e two stars, it boasts an unusually g supporting cast, headed by George EiRUARY 25, 1 952 CxcluMe BULLETIN Jeature By Jay Allen Sanders and Audrey Totter. Sidney Salkow and Sam Katzman serve as director and pro- ducer, respectively, on "Prince," which is an Esskay Production, in work since February 14. Richard Fleischer serves as director for Stanley Kramer on "The Happy Time," which stars Charles Boyer, Bobby Driscoll, Linda Christian and Louis Jourdan. It is now in the fifth week of production. Slates to roll within the next 30 days are: "The 5000 Fingers of Dr. T," another Kramer production, starring Tommy Rettig, Peter Lind Hayes and Mary Healy, with Roy Rowland directing; "Last Train From Bombay," a Sam Katzman production as- signment, due to roll on March 11, and "Kid From Broken Gun," a Charles Starrett- Smilcy Burnettc sagebrusher. J. ARTHUR RANK LIPPERT PRODUCTIONS Two 'A' Pics Shooting, Rank Import Set For Release Production of pictures definitely slated for Lippert release, has been slightly on the up- beat during the past month, with two Class A features shooting simultaneously, and two other companies preparing to start the cameras rolling on an additional pair. In addition, Lippert has signed another im- portant J. Arthur Rank picture for American release. The new Rank is "Valley of the Eagles, " which was made partly in Lapland and part- ly in Sweden, late last fall Lippert plans to give the picture a special road-show treat- ment, beginning the latter part of March. This marks the final Rank commitment to Lippert, under terms of their three-picture deal signed last summer. The previous two films were "Highly Dangerous" (Dane Clark- Margaret Lockwood) and "The Great Ad- venture," an African adventure film. Of the two pictures which have been in production this month, one was filmed in Hollywood, and the other in India. "Loan Shark" (George Raft-Dorothy Hart), has been shooting at RKO-Pathe studio, with Seymour Friedman directing for producer Bcrnic Lubcr. The picture is an Fncorc Production, and has been in work since Janu- ary 25. "The Jungle" (Rod Cameron-Cesar Romero-Marie Windsor), is a Voltaire Pro- duction, and has been filming on location in India since January 22, William Bcrke di- recting and producing. Coming up in the near future is Tower Productions' "Hellgate," tentatively set for a March 5 start, Charles Marquis Warren di- rects for producer John C. Champion. The cast had not been selected at this writing. Also coming up is "Lady In the Fog" (C esar Romero), to be made in England, after Romero finishes his chore in "The Jungle." "Lady" will be a James Carreras production, and is included in the multi-picture deal which Lippert signed with the British pro- ducer several months ago. METRO-COLDWYN-MAYER Schary Revives Youth Production Setup At M-G-M In keeping with Dore Schary's policy of developing new talent for all departments, MGM has organized a new production unit to be patterned along the lines of the famous Arthur Freed unit which has accounted for so many of the studio's successful pictures in the past. Writer Charles Schnee has been assigned to the executive post, in charge of the new unit. It is hoped that out of this new group will emerge the important MGM writers, direc- tors, actors and producers of future years. Thus far, Schary and Schnee have assigned Henry Herman, Matthew Rapt, Arthur Loew, Jr., Hayes Goetz, Sol Fielding and Sidney Franklin, Jr., as producers to operate the new group. Schary tells FILM BULLE- (Continued on Page 12) 11 !T STUDIO SIZ6-UPS ( Continued from Page 11) TIN that all six of these young men are well founded in writing and production ex- perience, and were hand-picked for the unit on the basis of proven capabilities. The new unit will turn out upwards of 15 features annually, and special emphasis will be placed on diversification of subjects, in- cluding musical production, a significant factor since Freed is now the top tunetilm producer on the lot, if not in all of Movie- town. Uninterrupted production continues to be the keynote of MGM's present operating policy. For the past five months, at no time has the number of pictures filming simul- taneously, dipped below six and has gone as high as eight. At this writing, there are an even half-dozen productions at work on the lot. However, three more are slated to roll almost any day — replacing a pair that will wind this week. Shooting now are: "Because You're Mine" (Mario Lanza-Doretta Mor- row), Technicolor musical directed by Alex- ander Hall and produced by Joseph Paster- nak; "'Sir. Congressman" (Van Johnson- Patricia Neal), a Dore Schary production, tlirected by Robert Pirosch; "Pat and Alike" (Spencer Tracy-Katharine Hepburn), George Cukor directing for producer Laurence Weingarteh; "One Piece Bathing Suit" (Esther Williams-Victor Mature), Mervyn LeRoy directing for producer Arthur Horn- blow, Jr.; the "Mademoiselle" sequence of "Story of Three Loves" (Leslie Caron- Farley Granger-Ethel Barrymore), directed by Vincent Minnelli and produced by Sidney Franklin; and "Eagle On His Cap" (Robert Taylor - Eleanor Parker - James Whitmore), Norma Panama and Melvin Franklin doubl- ing on producer and director chores. The prospective trio is: "Fearless Fagan" (Janet Leigh-Carlton Carpenter), with Stan- ley Donen directing for producer Edwin H. Knopf; "Everything I Have Is Yours" ( Marge & Gower Champion-Monica Lewis). Technicolor musical to be directed by Charles Walters and produced by George Wells; and "The Devil Makes Three" (Gene Kelly-Pier Angelli). "Plymouth Adventure" (Spencer Tracy- Van Johnson-Peter Lawford-Dawn Addams), is set to roll in mid-March, and will be MGM's most ambitious film for 1952. The production will be slanted along the lines of "Captain Courageous" and "Mutiny On the Bounty," and is reportedly budgeted at up- wards of $3,000,000. It is a Dore Schary personal production to be filmed in Techni- color, with Clarence Brown directing. MONOGRAM — AA Eleven Pics— 2 Cinecolor To Boost Slow Shooting Sched February has been an unusually slow month lor Monogram and Allied Artists, in- sofar as production is concerned. Only one picture has been shooting at a time for Monogram, and Allied Artists lias nothing in production. The pace is due to be stepped up considerably, however, and by late spring a total of 11 pictures, two of them in Cine- color, will be before the cameras, according to executive producer Walter Mirisch. The two Cinecolor films are the Mirisch production of "The Rose Bowl Story," which Mirisch will produce personally from a script by Charles R. Marion, and "Wild Catters," to be Grant Whytock's first pro- duction under his recently signed contract with the studio. The others are William F. Broidy's "Sea Tiger," which has a March 17 starting date; "Army Bound," a Stanley Clements starrer set to go April 21, and "Roaring Steel," each of which Ben Schwalb will produce; "Timber Wolf," a Parsons production starring Kirby Grant and scheduled to start in late April; "Stranglehold," a Bowery Boys comedy starring Leo Gorcey with Huntz Hall which Jerry Thomas will produce; two Wild Bill Elliott starrers, tentatively titled "Martial Law" and "Barbed Wire," to be produced by Vincent M. Fennelly, and a Johnny Mack Brown starrer, "Guns Across The Border," which Fennelly also will produce. There has been considerable behind-the- scenes activity in the executive offices, as WALTER MIRISCH Mono officials have been negotiating for an agreement with the Screen Actors Guild which would permit the company to release its backlog of pictures to television. The principal item of discussion has been a mutually acceptable plan for paying actors appearing in the films an additional remun- eration for the television screenings. "African Treasure" (Johnny Sheffield-La- urette Luez-Bruce Cabot) is the sole picture completed during February. Director Ford Heebe and producer Walter Mirisch brought it in on a seven-day shooting scheduh — despite the fact that they encountered con- siderable difficulties with wind storms which buffeted the outdoor location sets. Following the completion of "'Pleasure," there was a ten-day production hiatus, prior to the start of "Artie Flight" (Wayne Morris-Lola All- bright), a Lindslay Parsons production, di- rected by Ewing Scott. "Flight" is set up for a two-week shooting schedule, which will carry it into the second week of March. On March 17, producer William F. Broidj is slated to get production underway on "Se Tiger," one of the company's more impres< sive entries for 1952. Cast and director as signments have not been completed. The company's TV subsidiary, Interstate Television Corp., has started production o; a series of "Buffalo Bill" westerns, wit1 Jimmy Ellison starred. The films, tailore for half-hour programs, will be produced b Vincent Fennelly, boss of Monogram' western film production. PARAMOUNT Studio Schedules 1 1 Top Productions In 5-Month Perio With the start of three top-budget pi< tures this month, Paramount teed off schedule of 11 'A' features to go before thi cameras during the next five months. C that number, eight will be in Technicolo which bolsters earlier statements that Para mount will spare no expense for its 195 product. Every single one of the six features i production during the closing days of Febw uary, is budgeted at well over a millioj dollars, and are endowed with casts, storl properties and directorial talent worthy <] such an outlay. A visit to any of the south stages on the Paramount lot, these days, a real morale builder for any one intereste] in the future of the motion picture mediun First to roll during February was "Stala 17" (William Holden - Don Taylor - Otl Preminger), which Billy Wilder both pr duces and directs. Next in line was N Holt's Technicolor production of "Hurr cane Smith" (Yvonne De Carlo-John Ir land), which Jerry Hopper directs. All following on February 18 was Hal Wallt "Come Back Little Sheba" (Burt Lancaste Shirley Booth-Terry Moore-Richard Jaecl el). Carry-over from December and Januai — all shooting on prolonged schedules art "Botany Bay" (Alan Ladd-James Masol Patricia Medina), another Technicolor fet ture, with John Farrow directing for pn ducer Joseph Sistrom; "Military Policemai (Bob Hope-Mickey Rooney-Marilyn Ma well), directed by George Marshall and pr duced by Harry Tugend; and "War Of Tl Worlds" (Gene Barry-Ann Robinson), Tea nicolor science-fiction yarn which Byri Haskins directs for producer George Pal. Next to roll will be the Pine-Thom| Technicolor feature, "Tropic Zone" (Rona Reagan-Rhonda Fleming-Estelita). Direct William Foster expects to start the earner turning on March 5. In line with the company's new policy greater emphasis on musical comedy pd duction, scripters have been assigned to tl top tune-films for spring and summer shoe ing. First will he "The Stars Are Singini (Lauritz Melchior-Anna Marie Alberghet Rosemary Clooney-Tom Morton), w hi Jerry Ashe will porduce. Following thij Bob Hope will make his debut in a straigl musical comedy, to be titled "Girls Are H To Stay." (Continued on I' age 1 12 FILM 11ULLETI The Producer-Director of A Place In The Sun" has made another outstanding Paramount grosser JOAN RAY ONTAINE • MILLAND TERESA WRIGHT George Stevens' first picture since his profit- winning prize-winner, "A Place In The Sun," is ready for you! Again, Boxoffice-Expert Stevens has filmed a love story with the widest possible popular appeal— an attraction which Motion Picture Daily reports is "AN OFF-THE-BEATEN -TRACK DRAMA FOR HIGHLY FAVORABLE BOXOFFICE RESULTS.' in George Stevens Production Something To Live For with RICHARD DERR DOUGLAS DICK Produced and Directed by GEORGE STEVENS Written by DWIGHT TAYLOR STUDIO 51Z6-UP5 ( Continued from Page 12 J REPUBLIC Top Price Paid For Story As Rep. Enters Quality Market Bigger and better story properties is the order of the day at Republic, as Prexy Herbert Yates prepares to compete with the majors on the open story market. As the first move in that direction, Yates has just authorized the purchase of "The Lady Wants' Mink," an original by Leonard Neu- bauer and Lou Schor, at a cost of $25,000. That figure represents the top price which originals are drawing down in Hollywood these days, and is probably one of only a half dozen to be bought at such a figure by any studio in recent weeks. Three other properties in a comparable price range are now in the dickering stage, it was said. Prior to sailing for Europe, the Republic president also gave the green light to an- other top-budget production for the 1952 slate — a story of the U. S. Coast Guard Academy at New London, Connecticut. Relly Raine wrote the screenplay, and Joseph Kane will produce. Yates tells FILM BULLETIN that six more screenplays have been okayed for pro- duction within the next four months. One of them is an untitled top budget musical to be filmed by Allan Dwan. Another, "Storm Over China," is one of Yate's own personal productions, dealing with Red infiltration into Korea. Others are: "Toughest Man in Tombstone," a Vaughn Monroe starrer which rolls next month; "Wac From Walla Walla" (Judy Canova), set for an April start; "The Golden Herd," "Desperadoes' Outpost," and "The Hot Heiress," also ear- marked for Judy Canova. Only one Republic picture, "Black Hills Ambush" (Rocky Lane-Eddy Waller), was filmed during February. Harry Keller served as associate producer-director. RKO Studio's Roster Expanded As Hughes OK's Term Pacts For the first time since Howard Hughes took over RKO, the studio is beginning to build up its talent roster, by signing new players to term contracts. Previously, only those actors and actresses placed under personal contract to Hughes were signed to other than part-time deals. Although Hughes was unavailable for comment, sources close to him interpreted this new interest in building up the studio's roster as an indication that production is due for a considerable expansion. Janifl Carter and Arthur Hunnicutt both were handed term pacts this month, and an- other has been offered to Tony Martin. Miss Carter previously was under part-time con- tract to RKO, whereas Hunnicutt and Martin have worked on a picture-by-picturc basis. HOWARD HUGHES Production-wise, February has not been a very heavy month for the studio, albeit three independent companies have been working on picture each for RKO release. Heading the list is Samuel Goldwyn's "Hans Christian Andersen" (Danny Kaye-Farley Granger-Jeanmarie), $4,000,000 Technicolor feature, which Charles Vidor is directing. "Andersen" has been before the cameras since January 21, and will not be completed for at least three more weeks. Another in- dependent production of interest is Joseph Kaufman's "Sudden Fear" (Joan Crawford- Jack Palance-Gloria Grahame), which has been shooting on the Republic lot, under the direction of David Miller. Wald-Krasna's "This Man Is Mine" (Susan Hayward- Robert Mitchum-Arthur Kennedy), com- pletes the February trio. Nicholas Ray di- rects the latter, and Tom Gries gets the as- osciate-producer credit. By March 15, three other independents will get underway: two from Wald-Krasna, and one from American Pictures Produc- tions. W-K's starters will be "Size 12" and "High Heels," both to be produced by Harriet Parsons. American Pictures will launch "Port Sinister" on March 4, with Aubrey Wisberg and Jack Pollexfen pro- ducers, and Albert Zugsmith, associate pro- ducer. Casts have not been announced on any of the March starters. 20th CENTURY FOX Foreign Locale Films Planned To Utilize Frozen Coins Fox will continue to go in heavily for foreign location filming during 1952, in an effort to stimulate interest in its product through introducing authentic and unfamiliar backgrounds — while at the same time, utili- zing frozen coin abroad. As a first step in that direction, production chief Darryl F, Zanuck has handed Frank McCarthy three more producer assignments — all to be made abroad this year. McCarthy, you'll remember, served as co-producer with Anatole Litvak on Fox's "Decision Before Dawn," which has just won an Academy Award nomination for the best picture of | the year. His new assignments are: "Single- handed," an original by C. S. Forester, to be filmed in London and on the Mediterranean; "Assignment in Stockholm," story of the diplomatic service, to be lensed in Sweden, and "India Project," to be made in that country. The currently filming, "Snows of 1 Kilimanjaro" (Gregory Peck-Susan Hay- ward), also has a foreign background, utili- zing shots made by Charles Clark on his recent six-month junket through Europe and Africa. With the exception of "Snows," which Henry King directs for Zanuck, no new pic-; tures started during February. Nevertheless, the soundstages have been busy with new scenes being added to a trio of completed pictures, as well as the winding up of fea-i tures which carried over from January. "The Girl Next Door," which was interrupted in December, when Dan Dailey was switched to "What Price Glory," was moved back onto the soundstages for the filming of four more dance sequences. "The I Don't Care Girl," biopic of Eva Tanguay, was also sent back for 13 days more of shooting, in order to change the picture from a study of Miss Tanguay, into a big-scale musical produc- tion. And "Way Of A Gaucho" (Gene Tierney-Rory Calhoun) was put back before the cameras for an additional week's shoot- ing, after Zanuck viewed the finished film as it was shot in Argentina. Clifton Webb will portray John Philip Sousa in "Stars and Stripes Forever," thej Twentieth Century-Fox Technicolor musical based on the career of the noted "March King." Henry Koster has been chosen ti direct the film, slated to be the studio';! biggest musical production of the year. Jean Negulesco will direct Twentieth | Century-Fox's life-story of impresario So j Hurok, "Tonight We Sing," previously as signed to Henry Koster. Among those signei for important roles are Ezio Pinza, JarJ Peerce and Artur Rubenstein. Negulesco'.' latest film, "Phone Call From a Stranger, is now at the Roxy Theatre. Pictures before the cameras at the presen time, in addition to "Kilamanjaro," are "Condor's Nest" (Cornel Wilde-Constano' Smith), Technicolor feature, directed b; Delmar Daves and produced by Jules Buck and "Dream Boat" (Clifton Webb-Ginge Rogers), produced by Sol C. Seigel and di rected by Claude Binyon. Completed during February were: "\\ ha Price Glory?" (James Cagney-Dan Dailey)) which John Ford directed tor Producer Si C. Seigel, and "Les Miserables" (Michael Rcnnie-Debra Paget-Robert Newton), di rected by Lewis Milestone and produced bj Fred Kohlmar. Starting during the closing days of Februji ary will be: "Darling I Am Growing Voting! er" (Cary Grant-Charles Coburn), Howarl Hawks directing for Producer Sol C. Seigell episode No. 4 of " The hull House," five] pari O. Hem > stories feature, Andre Hakii producing, and Part 5 of " The Full House.b under the production guidance of Seigel. (Continued on Page lb\ FILM BULLETI STUDIO SIZ6-UPS ontinued (rem Page 14) UNITED ARTISTS A Seen Going Into roduction As Krim Buys Story Hollywood is convinced that it's only a later of time until United Artists will turn ; production in order to fill the demands of \ releasing schedule. Speculation along pse lines received an added impetus this Inth with the disclosure that UA prcxy tthur Krim lias purchased "The Story of Rthcr," by Frank and Doris Hurslcy. I'his marks the first time that the new Inagement of UA has invested in a proper- ty Furthermore, Krim has lost no time in iVotiatitiK for stellar talent to cast the 5 ry, which probably will be shot in Europe. A the present time, Glenn Ford and Hedy marr appear the most likely choices to e over the starring roles. \natole Litvak's first independent pro- tion, "The Girl on the Via Flaminia" will released through Litvak, who will pro- e and direct the picturization of the best- ing Alfred Hayes novel in association w^li Benagoss Productions, has scheduled duction for the early Fall of this year, 1 release to follow on United Artists' 53 program. Georges Maurer will be >ciate producer, he Girl on the Via Flaminia" will be ed in Italy and in France, marking Lit- first production in that country since when he made his now classic "Mayer- Since his arrival in this country in Litvak has been associated with the studios, such as RKO, Warner thers. Paramount and most recently 2()th tury Fox. He has won enduring recog- -l^jn for his screen achievements in the ent "Decision Beore Dawn," in "Sorry, i A >ng Number," "The Snake Pit" and many t,»t :r quality films. nother important deal that is near the ng stage will bring Albert Zugsmith's V crican pictures productions into the UA ising fold. The deal calls for the release f hree pictures, starting with "Invasion — I V* which is scheduled to roll in mid- •flch. It would be delivered to UA no than the end of June. Second on the is "Crosstown," or which Sterling den and Paul Douglas may possibly The third is "One Woman's Story," will likely star Gloria Swanson. be Nassour Brothers also are ready to &mch a slate of nine pictures, which proba- Ijwill end up with a UA release. First of e to go before the cameras will be ad," set or an April 20 start, in England. Price will direct his wife, Maureen ara, in the lead role. though there no pictures now in pro- fUjjon definitely tagged for a UA release, MKing Brothers have just completed film- >(bn "The Ring" (Lalo Rios-Rita Marino), 1 h is to be turned over to the Krim corn- el after final editing. Kurt Neuman di- •d the feature for the Kings. BRUARY 25, 1 952 EH is i l«7 n B UNIVERSAL- INTERNATIONAL U-l Takes Lead In TV Film Output, 13 Set For Cameras New York executives of Universal-Inter- national, along with their new partners in Decca Records, converged on the studio this month to get U-I's television subsidiary, United World Films, into full-scale produc- tion. It is understood that the new vidpix company, with James Franey at the helm, has a total of eleven 30-minute scripts com- pleted and ready for filming, which puts U-I far out in front in the Hollywood race to convert a part of the motion picture in- dustry into television production. No starting date has been set for the camera work, but sources close to the heads JAMES FRANEY of the parent organization believe it is only a matter of weeks until production is launched. After a temporary slowdown in U-I's own movie production early this month the pace has steadily been picking up, to a point where it is now levelling off at the rate of five to six pictures shooting simultaneously. February starters are: "The Texas Man" (Robert Ryan-Julia Adams), a Technicolor action feature, directed by Budd Boetticher and produced by Leonard Goldstein; "Yan- kee Buccaneer" (Jeff Chandler-Scott Brady- Suzan Ball), also in Technicolor, and di- rected by Frederick De Cordova for pro- ducer Howard Christie; "Ma And Pa Kettle At Waikiki" (Marjorie Main-Percy Kilbride) Lee Scholem directing for producer Leonard Goldstein, and "It Grows On Trees" (Irene Dunne-Dean Jagger-Joan Evans). In addition to the four pictures just mentioned, "Just Across The Street" and "Sally and St. Anne," both of which started in January, are still before the cameras. "Street" (Ann Sheridan-John Lund) is di- rected by Joseph Pevney and produced by Leonard Goldstein, and "Sally" (Ann Blyth- Edmund Gwenn) is another Goldstein pro- duction assignment, directed by Rudolph Mate. WARNER BROTHERS 'Streetcar' Team Reunited In New One-Picture Deal Elia Kazan has just been given an inde- pendent producer-director status under » one-picture deal with Warner Brothers, which will reunite Kazan and TetlMMec W illiams ("Streetcar Named Desire") in the making of "Mississippi Woman", due to roll in April. Warners will completely finance the inde- pendent venture in return for the releasing rights. The film figures to be one of the com- pany's biggest projects of the year. Special emphasis will put on Kazan's and Williams' teaming for "Streetcar" in exploiting the finished product. The studio is also veering heavily toward musical production, as the result of the suc- cess of another recent release, "I'll See You In My Dreams." Present returns indicate that the Doris Day-Danny Thomas starrer may be the company's binncst grosser of the year — toping even "Streetcar." Among the musicals thus far tabbed for 1952 pro- duction arc a remake of "The Desert Song" (Gordon MacRac) and "Rainbow," the granddaddy of all western stage musicals. The latter has a score by Yinccnt Youmans and Oscar Hammerstein II, and was pur- chased by Warners in 1928. Another big project on tap for 1952 is "The Miracle," Max Reinhardt's religious sta^c spectacle which the studio acquired almost a decade ago. The project has been given a preferential rating and will go into pre-production planning immediately, as one of the year's top projects at the Burbank lot. Two Warner productions and one inde- pendent, slated for WB release, are currently in front of the cameras. The two home pro- ductions are: "The Miracle Of Our Lady Of Fatima" (Gilbert Roland-Susan Whitney), directed by John I'rahm for Bryan Foy, and " The Story Of Will Rogers" (Jane Wyman- W ill Rogers; Jr.). produced by Robert Arthur and directed by Michael Curtiz. The independent picture is "Abbott and Costello Meet Captain Kid," with Charles Laughton in the co-starring spot. Actual filming of the latter starts this week, with Charles Lamont directing for Alex Gottlieb. One other picture, in production during most of February, was turned over to the editing department last week. It was "Man With A Gun" (Randolph Scott-Patrice Wmore), directed by Felix Feist and pro- duced by Robert Sisk. Next to go will be: "April In Paris" (Doris Day-Ray Bolger), Technicolor musi- cal to be directed by David Butler and pro- duced by William Jacobs. Filming is slated to start during the second week of March "The Last Train West," saga of the early west, has been placed on the schedule of producer Bryan Foy. From an original story by Jack DeWitt and the late Horace Jack- son, the film centers around the fracas that developed when the railroad companies sent settlers out west to develop the country. Jack DeWitt is writing the screenplay. 15 Short Subjects BY B A R r UACY'S APPARANTLY is showing no ' I favoritism. Having given the motion pic- ture industry a considerable boost with its movie-of-the-month spreads in the X. Y. dailies in which they told people why they -hould go to the movies, the store did a turnabout and told them why they should stay home, with a three-quarter page spread running across four consecutive pages in the X. Y. Times. The department store plugged the television shows and arranged for a bevy of top stars to appear at its "TV and music festival." It cannot be doubted that Macy's management is fully aware of the boost in sales it will enjoy from people going out. We have a sneaking suspicion, however, that the bulging inventory of TY sets that are gathering dust on their floors is the prime cause for this advertising splurge to boost TV sales. HIGHLIGHTING THE participation of the Amusement Division in Xational Brother- hood Week observance. Simon H. Fabian, head of Fabian Theatres; Richard E. W alsh. President of the IATSE and actress Celeste Holm will receive the Annual Brotherhood SI H. FABIAN Brotherhood ff inner \\\ards of the Xational Conference of Christians and Jews at a dinner at the Wal- dorf Astoria on Feb. 28. So enthused were the exhibitors in the Greater Xew York area, that they pledged to double the con- tributions they will raise for the fund drive. IN LINE with eacli Yariety Club's tradition I of selecting a pet charily, the Xew York- Tent adopted the Police Athletic League as it- baby for the coming year. The decision was announced by Harry Brandt at the in- duction luncheon for incoming Chief Barker William J. German and retiring Chief Barker Fred J. Schwartz. CHICK LEWIS, Yariety Clubs' publicity director, is arranging for special trains to carry conventioneers in real style to the Variety Clubs' 16th Annual Convention to be held in Las Yegas in April. Private Pull- man car- will leave from the eastern sea- board, picking up conventionbound Barkers along the way. In most tent cities, the local Clnb will have two to five private cars that will originate in tho>.e cities. 16 SKOURAS & DSC WINNER Films Alone Mot Enough SPYROS SKOCRAS. whose aid to phil- anthropic and charitable efforts has set some sort of record, and who is now heading the motion picture activities of the forth- coming 1952 Greater Xew York Red Cross Fund apoeal, capsuled his motivation very simply: "We of the motion picture industry are keenlv aware of what our fellow Ameri- cans are thinking and doing. W e endeavor to provide them with the type of entertainment thev want. But as leaders in the entertain- ment field, this alone is not enough. W'e must also act as leaders in the field of public ser- vice. Ti e annual Red Cross Fund appeal gives all of us a splendid opportunity to con- tribute to the welfare of our community and our country." SECOND OF HGM's selections for "Pro- motion Prize of the Month." Howard Dietz's $1,000 per month exploitation cam- paign, is "Just This Once." It goes into re- lease March 7. but exhibitors will have until June 30 to enter their campaigns, thus giving the subsequent runs ample chance to join the competition. THE REV. Bill Alexander, Oklahoma City minister, whose provocative talks at exhi- bitor meetings and Movietime gatherings scored so heavily with theatremen, has been snapped as a featured speaker at the banquet climaxing the third annual Xational Drive- in Theatre Owners Convention in Kansas City, Mo., March 4-6. I ARTHUR RANK films are being tailored *. in the editing rooms to suit American tastes . . . and the pattern is drawn up after our preview audience evidence their prefer- ences. At least so says Michael Truman who has made many such trips here in recent years for the purposes of final editing of pic- tures. JACK BRAUNAGEL, probably the nation's number one drive-in theatre enthusiast, is punching away again. After sparking last year's 24-sheet advertising campaign with 500 poster's in 17 states, Braunagel is in- viting other operators to join in this year's campaign to spread the drive-in bug via 24- shects throughout the nation. SCANNING OF the 20th- Fox press bod on "Viva Zapata" well in advance is must for those theatres playing the pictur Packed with an extensive assortment of a vertising mats, publicity stories, and explc tation and accessories extras, the speci press book is angled for campaigns in eve^ situation. Theatremen would do well to gra it now and utilize the long-range promote that are sure to pay off. Incidentally, tl company has completed its press books (| "Kangaroo" a full five months in advance | the picture's release, which gives an idea the thoroughness with which Charles EinfeJ & Co. is effecting his promise of long rand plan ning. UXIYERSAL - IXTERXATIOXAL hi stacked $2,000 on top of the five Henry cars going to exhibitors from Coast to Coaj for the best promotional campaigns on U-I "Steel Town." The country's Kaiser- Fraz| dealers are being urged to join local exn bitors in developing stunts, with an all-ej penses-paid trip to Hollywood as special i centive. l^^K-Sm X JAMES R. GRAINGER Paul Rerere if ilh Films OF MEX AXD THIXGS: Republic sa chief Jimmy Grainger is touring South and Southwest with prints of "Hoi lum F'inpire" and John Ford's "The Qtl Man" . . . Mrs. Gordon Douglas. 34, wife the Warner Bros, director, died at Cedars of Lebanon Hospital following! short illness . . . Louis Goldstein has resigj his post as managing director for Colundj Pictures International in Germany to erl the television film distribution field . I Arthur Anderson, Warner Bros, brafl manager in Minneapolis, i- sitting ml district manager for the company's Pal District during Hall Walsh's illness . . . M \ oungstein is back from the coast after cl tabs with President Arthur Krim, sales I Bill Heineman and producers on the rehB of forthcoming UA product . . HeineiB recently announced that T. E. Laird rcjr meetings \l Howard Hughes, production director, I C. J. Tevlin, studio operation- VP. DepB i- -lated to view RKO product. FILM BULLE tB EXPLOITATION PICTURE HOT B. 0. TEAM IN GOB GAGS M. & L. Get Assist from Paramount Every so often a film comes along that ap- parently requires no selling, "Just put the names on the marquee, open the doors and get out of the way. may have been an accurate axim during the lush years, but the sadder and wiser theatreman today knows that even the hottest hoxoffice names require top-drawer merchandising to make money. And the exhibitor who is laxly content to play a picture on its own. without grasping the opportunity to plug it to its full potential is tossing away his contingency fund for the leaner days. Without doubt, the comedy team of Dean Martin and Jerry Lewis is one of the most magnetic marquee attractions today. There is little doubt that the hoxoffice w ill have a busy time when they are on the screen, and "Sailor Beware" is an ideal vehicle for their talents LEWIS LOOKS Corinne Calvet, LEWIS LOVES In addition, there is the luscious Marion Marshall and a bevy of Paramount beauties to add to the attraction. But to make the most of a good thing. Paramunt chief box- officer Jerry Pickman and his staff have set up a topflight ad-publicity-exploitation campaign. How strongly this is paying off can be easily ascertained by a look at the grosses in the early releases, where house records are being broken. In all of these situations, full use was made of the exploitation possibilities. Navy co-operation was solicited, and a poster — available to all — featured Martin and Lewis as part of the Navy recruiting pitch. It made the public aware of the film and kicked off the "want-to-see" factor. Blowups pegged the gag recruiting sign, used as a lobby teaser, and the Navy was lavish in its cooperation. In some areas, a group of Navy men were invited to a special screening and their reactions were worked up into an intriguing lobby board with photos and quotes. Staffs were outfitted with sailor hats — cashier, ticket man, ushers. Scenes from the film were used to excellent ad\antage. In one, Lewis, who is as- signed to a submarine, is finally lashed to the peri- scope to keep him from getting into the works be- low. Around this, the exploiteers have built a gag for the lobby which plugs the playdate and excites plenty of curiosity as a teaser. This is the kind of showmanship thai builds a satisfactory attraction into a smash since every viewing patron is a walk- ing advertisement for the film. The company has also made available four rib LEWIS LANGUISHES LEWIS LEERS tickling, ticket-selling trailers available for TV plug- ging. Two run for a minute each, the others are 20- second spots and are available in one package from National Screen Service. The regular trailer, also from NSS, gives titillating samples of the hilarity thai characterizes the film, with emphasis on Martin, Lewis, the beautiful girls and songs. A bevy of four new numbers, two of which are nearing hit parade prominence "Never Before" and "Sailor s Polka" -offer more sales ammunition. The tunes can be combined with a "See and Hear" Board in the lobby, carrying copy like: "See!!! Jerr\ Lewis as a punchy fighter, a hula girl and a goof\ gob! . . . Hear!!! Dean Martin sing, etc . . ." w ith a recording of the songs as background. STUNTS Several good stunts and gags are suggested in the press book. Some were mentioned at left, such as the outfitting the staff with sailor hats, and the periscope gag. The former can also he tied in with men's and women's hat stores, featuring the sailor hats with picture stills and a tie-in line. The periscope idea gets across the sea angle with a dummy 'scope in the lobby (set up quite simply with two mirrors). A still of Martin and Lewis is visible at the other end as you look into the periscope, along with copy: "Martin and Lewis in 'Sailor Beware' starts next Thursday." The view- ing end is highlighted by a sign reading: "Take a peek at the hilarity heading your way." A good way to post the title around town is to make up a large number of circles to look like life preservers, possibly with a still of the stars in the center, captioned "Martin and Lewis are in the Navy now in 'Sailor Beware', coming to the Blank Theatre (date)." Thick rope, similar to tow lines, can he used cleverly for display purposes to spell out the titV, and can be hung from the marquee or in I lie lobby. Another idea is a blow-up of Lewis with a caption, "Wait until you see the boo-boos I make in the Navy in 'Sailor Beware'." NEWSPAPER ADS Below, several of the display newspaper ads available in various sizes, and a pair of the teaser-. 18 j3 SAlK* EXPLOITATION a PICTURE f of the issue V Sailor Beware It is doubtful that any comedy team since Abbott and Costello in their hey-day have captured the fancy of the mass of entertain- ment-seekers as have Dean Martin and Jerry Lewis. In their compa- ratively brief career in the movies I bolstered by a hugely successful television series), the comedians have built up a following that should rate them as the No. 1 at- traction of the entertainment world. The boxoflice success of their previous films will probably pale into insignificance with "Sailor Beware." that old war-horse of a plot that serves as a thread on which to hang the hilarious inani- ties that are served up in "Sailor Beware." Jerry Lewis' genius for omedy may reach its high point — thus far — in his depiction of a jug fighter, scared to death, but -till boasting of his prowess in the ring. According to FB reviewer Karma, the "classic" fight se- [uence is "a howl — but then, near- y everything about 'Sailor Be- ware' is a howl." Another wonderful crowd-pleas- i is the scene in which the fumbl- ng Lewis, fouling up the works of [he submarine to which he is as- Nigned. is finally lashed to the peri- scope by the distraught captain. There are many other scenes hat will have the theatre in an up- oar — the induction where tbe lypodermic needle can extract only vater from Jerry's veins; Jerry, dlergic to cosmetics, mobbed by he girls: his impersonation of a nila dancer. These, and a score nore. should keep patrons howling md the booffice happy, wherever 'Sailor Beware" makes its appear- mce. At right, Jerry Lewis discovers his opponent is a professional pug in the hilarious boxing scene. Below. Corinne Calvet gives Martin and Lewis something to think about as they prepare for shore leave. News and Opinion (Continued from Page 7) contained subversive propaganda and ttie in- dustry's eagerness to screen any film the committee wanted to see. The committee in 1947 and since has not named a single pic- ture, he added, and "as there is no un-Ameri- canism in our pictures, the committee should do the fair and honorable thing and stop this accusation.'' Allen Rivkin, president of the .Motion Pic- lure Industry Council, pointed out that tl e Committee's condemnation came on "virtual- ly the very day" a Los Angeles Federal fury ruled that a producer cannot lire an employee for unpopular political activity. He referred to the verdict in favor of two ol Hollywood's "unfriendly ten". Ring Lardner, lr. and Adrian Scott, against RK< » and 20th Century-Fox, which cancelled their contracts after their appearance in 1947 before the House Committee. Rivkin said it was "doubly ironical in view of the fact that the Hollywood pro- ducers appear to be the only management group in America that risked legal conse- quences as far back as 1947 by discharging men regarded by the House Committee as C( immunists." Further contradiction to the Committee's findings was noted in recalling Chairman lohn S. Wood's insertion into the record on May 17, 1951, in which he stated that he had "gone to some considerable pains personally to advise myself as to the attitude of re- sponsible producers in the motion picture industry, and I know at this time they are spending literally thousands and thousands of dollars undertaking; to screen the back- grounds of all persons now employed in es- sential positions in the industry, and they are exercising a great deal of diligence in that respect. 1 think it is only fair that that be placed in the record at this time." UA-TV Expands Operations To Cover Nat'l Video Field United Artists television department snap- ped back into revived activity last week as UA-TV director John H. Mitchell left on a cross-country survey of television markets. The UA subsidiary, distributor of non-thea- trical films, expects to have sales representa- tives, on a city-by-city basis, in 30 top tele- vision markets by March 1. Within the next two months, according to Mitchell, the com- pany will complete its plan for sales repre- sentation through company-controlled em- ployees in every key TV market in the country. Six new sales representatives have already signed contracts with the company. The ex- tensive expansion program, Mitchell said, will necessitate a reorganization of the com- pany's sales operations. The program also calls for the addition of a few "selected pro- gram series" for release through UA-TV. Mitchell expectfl to be in Hollywood about March 10 to conclude producer-distributor pacts with top TV producers. FRANCIS M. WINIKUS Winikus Named Ad-Pub Head As UA Launches Int'l Setup United Artists vice-president Max E. Youngstein underlined the new expansion and reorganization of the company's pro- motion-merchandising service with the ap- pointment of Francis M. Winikus as nation- al director of advertising, publicity and ex- ploitation, Roger H. Lewis as advertising manager, and a series of promotions in the department. Winikus, with UA since 1946, moved up from copywriter to copy chief, ad manager and was named assistant ad-publicity di- rector in 1951. Before joining LTA, he was with Warner Brothers and was a top writer with all four national radio networks. Other promotions saw Al Tamarin named as assistant ad-publicity director; Mort Nathanson as publicity manager, and Leon Roth as assistant publicity head. ROGER H. LEWIS 870 Sold, UPT Asks Two More Years For 198 Theatres Having rid itself of some 870 theatres in the three years stipulated by Paramount's consent decree with the Government requir- ing divestiture of 1072 theatres, United Para- mount Theatres asked the New York Federal District Court for an additional two years to complete the sale of 198 theatres. Deadline tor the sale is March 3, 1952. Pleading that unforeseen circumstances had delayed the sale of the remaining thea- tres, Leonard Goldenson, UPT president, declared that negotiations were constantly in progress, but that there was no chance for consummation of the deals by deadline. UPT's request, filed in a show-cause order directing the Government to give sufficient reasons why the delay should not be granted, was expected to be fought by the Depart- ment of Justice during the hearing, probably early next month. TNT Planning Extended Program For Theatre TV Net The first reasonably concrete program- ming schedule for a theatre television net- work to begin next month was worked up, at least tentatively, by Theatre Network Television Corp. The setup includes a Broad- way show, an opera, boxing and basketball. It also includes a lot of "if's" before it can be finalized. Clearances with a multitude of unions, ability to use the transcontinental cable, and the number of theatres ready, willing and able to meet the costs were just a few. TNT head Nathan Halpern said that some of1 these obstacles have been hurdled, others an currently being tackled. Due for the exclusive telecasts — if the "if's" can be ironed out — were "Two on the Aisle" from the stage of the Hellinger Thea- tre on Broadway; the opera, "Carmen", fromi the Metropolitan Opera House; the middle- weight championship fight between Sugar1 Ray Robinson and Bobo Olsen; a pending! deal with Madison Square Garden for the] National Invitational Tournament final games and the National Golden Gloves finals | FCC Hearings To Stretch Into Fall As List Grows The FCC-Paramount hearings have enter! cd a new phase, the scope of which will in| volve past trade practices with independen, exhibitors. Meanwhile, a further expansion of the already crowded witness list for pendj ing theatre TV hearings indicate these pro cecdings will drag on for months. It wil probably be late fall before there is even ; decision in the Paramount bid, where th anti-trust issue is a prime factor. (Continued on Page 21 20 FILM BULLETIN V#'#rs it MBit Opinion Continued from Page 20) FCC examiner Leo Resnick said he wanted cts pertaining to Paramount's trade prac- L-cs with independent exhibitors prior to •48. When this information is in, Resnick lid the Commission "can judge what might Ippen it the same trade practices are ;rried over to television." Resnick wanted formation in addition to that offered by the pastry and the high court's decision of '48. |Y. Frank Freeman, Paramount production ief. echoed president Harney Balaban's ularation that Paramount would sell films TV if the film company received the pric- ked. Freeman stated that he "would vote I- sale of any picture we have made to any Dividual or corporation, with unrestricted tht to use that negative in any medium he (sires — if the price is in the best interests i Paramount." Freeman felt, however, t.re was little chance that pictures made 1) year could reach free TV viewers before [Hie FCC theatre TV hearings assumed ijw proportions when the Motion Picture Isociation of America and the National .hibitors Theatre Television Committee Jve the commission names of 18 more key Itnesses. This expands a list of 40 names Id earlier. Witnesses who will testify on the struc- tral set up of the film industry arc: Gael ^llivan, TOA and Arthur Mayer, COMPO Ecutive. Company theatre plans and pro- Kals will be covered by J. Robert Rubin, llews and John O'Connor, Universal. Testi- ilmy on programming for theatre television \ 1 be given by remaining new witnesses Ucil B. DeMille, and Y. Frank Freeman llramount; William Goetz, L'niversal; llrryl Zanuck, Ray Klune and Peter Lava- t[s, 20th Century-Fo.x; Bryan Foy and 1 vid Butler, Warners; Walton Anient, \jirner Pathe News; Ronald Reagan and (orge Murphy, Screen Actors Guild; Mary } Call, Screen Writers Guild, and Larry \iodin, Wellsboro, Pa., exhibitor. Jhnston Lashes Out At 'lelf -Appointed Vigilantes" mrrender to the state "or to self appoint- e vigilante groups" of the right to deter- pie what pictures the public shall see is t road to complete thought control, Eric .1 mston told an enthusiastic representation 0 the National Film Preview Committees, le NFPC represents motion picture chair- nn of 13 leading national organizations that a >raise and rate movies for more than 40 nlion Americans. he occasion was a "triple honor" citation tjthe industry, presented to Johnston as P sident of the Motion Picture Association "America, for the record number (43) of " tstanding" films in 1951; for its mcreas- » emphasis on films for the general family a lence, and for its "constructive presen- ts on of those principles and ideals which h e made this a great democratic nation." 1 BRUARY 25, 1 9 5 2 MPAA'S JOHNSTON The MPAA head, in turn, praised the work of the preview committees, lauding their organizations for "setting an example which gives the lie to censors and would-be censors in America."' Last year the combined national organi- zations reviewed a total of 350 pictures and classified 275, or 78 per cent, for family audi- ences. Goldwyn Merges East-West Ad-Publicity; Golding At Helm Samuel Goldwyn, pointing up the long- range pre-selling plans for his forthcoming "Hans Christian Andersen", gave notice that he was going to shoot the ballyhoo works on the Danny Kaye starrer as he announced the consolidation of his studio and Fast Coast publicity-advertising departments. David Golding takes over as chief of the combined departments and will remain at the studio until completion of the film's production, then commute for the film's promotion. GOLDWYN'S GOLDING "Place' & 'Streetcar' Get Oscar Nominees In Big Four " A I 'lace in the Sun" and "A Streetcar Named Desire" I ned as the favorites in the Oscar Derby, as nominations for the 24th annual Academy of Motion Pictures Arts & Sciences Awards were announced in Hollywood. The coveted gold trophy win- mi- will be revealed at the Academy's dinner on March 20th. The two favorites wire also tlx Ofll) pro- ductions to place candidates in each of the big four groups — best picture, actor, actress and director. In addition to Paramount's "Place" and WB's "Streetcar." 20th Fox's "Decision Be- fore Dawn," M-G-M's "An American in I'aris" aiid the same company's "Quo Vadis" rounded out the candidates for best picture. Performance awards in both male and fc- male categories were destined to reach a photo-finish. In the actor division two old timers Humphrey Hogart ("African Queen" — UA) and Fredric March ("Death of a Salesman" — WB), were pitted against three comparative newcomers, Marlon Brando ("Streetcar"), Montgomery Clift ("Place in Sun") Arthur Kennedy ("Bright Victory" — Universal). The distaff side featured Katha- rine Hepburn ("African Queen"), Vivien Leigh ("Streetcar"), Fleanor Parker ("Dc- tective Story"), Shelley Winters ("Place") and Jane Wyman ("Blue Veil" — RKO). n the director category, the nominations were: John Huston, "Queen"; Yinccntc Min- nelli, "American"; William Wyler, •"Detec- tive Story"; George Stevens, "Place" and Elia Kazan. "Streetcar." Record $1,125,000 Damages Awarded In K. C. Trust Suit Eight major film distributors were nicked for $1,125,000 plus interest and attorney fees of $100,000. when the U. S. 8th Circuit Court of Appeals upheld a lower court's verdict in favor of the Brookside Theatre Corporation of Kansas City, Mo. This judgment, for ('amages sustained in 1936 and 1937. was the largest ever awarded in a motion picture anti-trust suit. Another important aspect of the case was that the Court approved use of the industry anti-trust suit as evidence which will estab- lish the fact to be proved. The Circuit Court also ruled for the first time against the con- tention of the distributors that the Cali- fornia three-year statute of limitations on these suits was an effective defense against recovery. The court's reasoning was based on the pendency of the L*. S. vs. Paramount ap- peal, which was not decided until 1950. If the eight defendants take an appeal to the U. S. Supreme Court, which is virtually certain, the issue will probably hinge on the appeal Court's decision in regard to the statute of limitations. 21 Critics Find Groucho Marx Comedy Downed By Poor Script Not even Groucho Marx' current wave of popularity was able to keep this RKO pro- duction afloat in the opinion of most New Vork newspaper critics when it opened at the Paramount. With one exception, they tagged "A Girl in Every Port" as a film which suffered because a promising cast just didn't have the material. In the Herald- Tribune, Otis L. Guernsey says this is "one of the flimsiest comedies on the record/' He finds that "there is no humor worth mentioning in the situations and hardly any pep in its sight gags." It is a film which "has an impossible script which wai staged without flair or invention." "An involved melange of obvious antics and gags, only one or two of which are likely to generate chuckles," writes Abe Weiler in the Times. He feels that while "Erskine has kept his story moving briskly ... he has come up with uninspired situations and labored lines." Alton Cook, in the World-Telegram, gives the cast E for effort "but their author-di- rector, Chester Erskine, did not do right by them." So does Archer Winsten of the Post. "La- bored and wordy conversations betray the mighty effort to beat a froth of laughter out of some spare parts." He caustically remarks that "if this is a big or even a small success at the Paramount, the cause of good, adult movies will have been set back fifty years." Sole proponent of the film's entertainment value was the Journal- American's Rose Pels- wick, who found it "A completely wacky farce, the piece keeps the pair clowning through a succession of nonsensical gags." THE BIG TREES' WARNER BROTHERS "Obviously there still must be reasons for making films such as 'The Big Trees' or else they wouldn't . . . opus not only antiquated but dull ... as movie fare, certainly doesn't anywhere nearly reach the height of the big trees." — Thirer, N. Y. Post. "Giants of a California redwood forest make an impressive setting . . . story that sends actors scurrying among them is not in proportion . . . Lumbers along without pro- ducing much sound timber." — Cook, N. Y. Telegram and Sun. "What with psychiatric dramas, under- world yarns and assorted other problem plays, it's been quite a time since Hollywood has come up with such forthright melodra- matics." — Pelswick, N. Y. Journal-American. ". . . Welter of cliches, in action as well as in words . . . almost a caricature of the average early American roughhouse . . . Achingly routine stuff, presented without imagination or enthusiasm." — Guernsey, N. Y. Herald Tribune. "Muscular adventure . . . the plot and emoting seem to be as old as the giant red- wood I with which they are concerned . . . Not terribly far removed from the Warners' "Valley of the Giants," circulated hereabouts in 1038" - Weiler, N. Y. Times. "QUOT6S" OBSESSED' UNITED ARTISTS What the Newspaper Critics Say About New Filil WESTWARD THE WOMEN' METRO-GOLDWYN-MAYER "Spooky, plodding murder mystery ... it may fail to raise the anticipated quota of shudders but it certainly cannot be charged with any lack of zealous endeavor . . . Scen- ario did not come provided with a sufficient number of exciting entanglements to keep a movie in high speed." — Cook, N. Y. Tele- gram and Sun. "Fairly routine prescription, compounded largely from the contents of the old arsenic bottle . . . Another in a long line of such items as 'Angel Street,' 'An Inspector Calls' and similar Victorian and Edwardian melo- dramas."— Allison, N. Y. Herald Tribune. "Fair plus (Movie Meter rating) . . . weak- ness is that it pursues its plot theory so dili- gently that you have the impression of char- acters being pushed this way and that to make another structural curlicue come out right ... A clever little murder mystery, nothing more" — Winsten, N. Y. Post. "With only three suspects to choose from, chances are that the arm-chair sleuths won't have much difficulty beating Scotland Yard to a solution of the case . . . Largely con- versational but sustains affair measure of suspense." — X. Y. Journal-American. SAILOR BEWARE' PARAMOUNT "This is Martin and Lewis in pure form, with the volume turned up high, calculated to tickle the funnybone or set the teeth on edge, according to where it strikes the in- dividual . . . There is no questioning the ap- peal of this sort of thing; it packs audiences in as though they hadn't heard a good joke in years." — Guernsey, N. Y. Herald Tribune. "Makes people howl with laughter and toss with rocking frenzy in their chairs . . . Knockabout clowning is in the classic tra- dition of good buffoons." — Crowther, N. Y. Times. "Zany, hilarious show ... If you thought Jerry Lewis was funny in the previous Dean Martin-Jerry Lewis films, wait till you see him in 'Sailor Beware' . . . He romps his zany way through one gag after another and practically stops the show whenever he's within camera range." — Pelswick, N. Y. Journal- American. "Designed strictly as a slapstick romp for the tireless Jerry with an occasional song in Dean's husky baritone . . . Appeal depends entirely on how much and how long you relish the antics of Jerry Lewis." — Cook, N. Y. Telegram and Sun. " The easy laughters roar, and the rest follow along . . . There's not one sequence that has strong comic appeal for the dis- criminating, just as there's nothing weak enough to disillusion the Martin-Lewis fans." — Winsten, N. Y. Post. "Coy Western with women performing tl tasks usually reserved for Hollywood brawny actors . . . Cowgirls instead of co\ boys, but in this case, the bare idea doesr seem quite enough to add up to very goc movie entertainment." — Cook, N. Y. Tel gram and Sun. "Large-scale outdoor drama comes up wi a new idea for covered-wagon plots . . Striking outdoor settings and vigorious cl rection by William Wellman make it an i | teresting departure from the convention1 Westerner." — Pelswick, N. Y. Journal American. "Fair plus (Movie Meter rating) . . . Wea ling epic . . . Reaches embarrassing heigh of Hollywood fancy . . . this reviewer mu! report that in his estimation only the scene stood the stern test." — Winsten, N. Y. Po'| SCANDEL SHEET' COLUMBIA "Ruthlessness of tabloid journalism, j seen through the coolly searching eyes Hollywood scriptwriters ... is given other demonstration in ... a run-of-the-prc melodrama . . . Apart from a bit of toup discussion of the public's avid taste fl thrills and chills and a few dubious hints tabloid techniques, there is nothing vej shocking in this film." — Crowther, N. Times. "If you check all your little thinking ca at the door, there may be some suspense the rushing events of this picture . . . laughter does not interfere with your spi of excitement too much." — Cook, N. Y. Tp gram and Sun. "Hollywood has always taken a sort ; fairyland view of the newspaper business 'Scandal Sheet' doesn't change this opini . . . Lay public should be warned agaii taking the Paramount screen offering s< ously." — Pihodna, N. Y. Herald Tribune. MY FAVORITE SPY' PARAMOUNT "Paramount's energetic buffon is in danger of losing his license . . . latest es:i pade is designed for that comic's talents Story is likely to be lost in the frar goings-on ... It doesn't matter much .it liecause of its harried hero's breezy delivl it docs generate a generous portion I laughs." — Weiler, N. Y. Times. "Good (Movie Meter rating) . . . ordin Bob Hope entry, permitting the corned', to run not only a facial gamut but als ' double characterization with a Jeckyll-H : on top . . . Your reviewer was not able) find anything really new in the picture.-! Winsten, N. Y. Post. "Loaded with laughs . . . prize packagtM entertainment . . . All done up in slick gW and slapstick." — Pelswick, N. Y. Jourr} American. 22 FILM BULLETra 6XHIBITORS FORUm Opinions Culled from Organization Bulletins NEWSPAPERS VS. TV ITO of Ohio The New York Times recently published Seven-column ad "all advertising media are good . . . but the Newspaper is by far the best advertising medium. Published in the interest of Newspapers and Advertisers by Moloney, Regan & Schmidt, Newspaper rep- resentatives since 1900." This ad had a car- toon showing a couple bringing two tele- vision sets into a room where there was al- ready a third one. Caption of the cartoon reads "Excuse us a moment — three of our favorite programs come on at the same time!" Ralance of this ad reads as follows: 'CHALLENGING THOUGHTS EOR 1952's MILLION-DOLLAR ADVERTIS- ERS! A minion dollars these days no longer buys a big TV campaign BUT ... a million dollars spent in Newspaper advertising will buy a big Newspaper campaign of 1000-line advertisements every other week for a full year in 79 Newspapers in the 63 TV cities and will deliver a net paid ABC circulation I of 20,000,000 families per insertion — in con- trast to approximately 14,500,000 TV sets in the entire U.S." This is interesting fodder in 1 the fight against TV. LENTEN ABSTINENCE Allied Theatres of Michigan Mr. Joe Denniston of Monroe reports his (attention has been directed to the distribu- tion to members of the Methodist Church in Monroe, Ann Arbor and Flint of small paper I boxes to be used as depositories for money Isaved during the Lenten season by persons jstaying away from the movies. Mr. Denniston is a substantial and faithful (member of this religious group in Monroe and upon learning of this program of col- lection assisted in changing the printing on the boxes distributed in Monroe to read in substance — please deposit in this box moneys which could be spend for your personal Ipleasures during the Lenten season. The ac- cumulated funds to represent part of your Easter contribution. These boxes are reported as being printed ind distributed by the Floral City Speciality (Company, Syracuse, New York. We have no (knowledge of any other religious group idopting this program of collection. We re- spectfully request that you exhaust every reasonable effort to determine whether this >rogram is in effect in your community and (if so you may influence the church to be lore charitable towards the movies in the presentation of their financial program. PRODUCTION WASTE Gulf States Allied Hedda Hopper in her syndicated column if February 19th, says: "Jean Arthur has collected nearly $500,000 from Paramount since 1947, yet has made only one picture for that company. Now, by mutual consent, her contract has been cancelled with a large chunk of cash going to Miss Arthur." As every exhibitor should know, it is he that pays for these ridiculous, needless, and squandered expenditures in increased film- costs, not the producer nor the distributor. UNBALANCE ATO of Gulf States From the trade-journals, the headline glared forth at the army of loss-taking thea- tre owners during the past week: 6 majors' gross take up 11% in last quarterly report. With the majors' gross-take climbing up- hill and the exhibitors' gross-take sliding downhill, we once again have further proof of the unbalance of relative economy be- tween exhibition and distribution. As exhi- bitors pay more for film because of wild bidding and the inability to "crack through the line" of the ruthless demands of the dis- tributors, exhibition economy becomes weak- er while the economy of the distributors be- comes stronger. Doesn't it seem that we are being "gobbled up" by the dictatorial agency of distribution? BLANK CONTRACTS ITO of Ohio A number of exhibitors report that they are being asked to sign blank contracts on the ground that a salesman does not have time to fill out the many forms required. This practice is dangerous. If the exigencies of the situation require that you sign con- tracts without their being completely filled out, be sure you obtain a copy of the work sheet signed by the salesman and dated so that you may carefully compare this with the contract when the latter is returned to you, approved. In any case where the signed con- tract does not agree with the work sheet, if you will send both to this office the matter will be immediately straightened out. USE PR SHORTS Allied Theatre Owners of Indiana Your Association has purchased 16mm copies of the twelve shorts that were in- cluded in the MOVIES AND YOU series that played in most theatres. The purpose in buying these 16mm prints was to enable our members to schedule local showings in their schools, churches, clubs, etc. Each film runs approximately- 10 minutes and are titled as follows: LET'S GO TO THE MOVIES, THE ART DIRECTOR, THE SOUND- MAN, THIS THEATRE AND YOU, HISTORY BROUGHT TO LIFE, SCREEN ACTORS, MOVIES ARE AD- VENTURE, THE COSTUME DESIGN- ER, THE SCREEN WRITER, MO- MENTS IN MUSIC, THE CINEMATO- GRAPHER and THE SCREEN DIREC- TOR. Why not arrange a ten, twenty or thirty minute program for your high school or Rotary Club. We will book these shorts to you singly or in any group combination you desire. CUT EXPRESS COSTS North Central Allied Exhibitors located far from their exchange center know what an important item of ex- pense transportation costs can be. The fact that prints are now almost 100% acetate non- inflammable stock, points the way to a great savings in these costs. It is now possible to send prints in extremely light-weight plastic, veneer, or light-weight metal containers in- stead of the heavy metal containers now in use. Here is an example: In one theatre, the twice-weekly newsreel usually comes out in a metal can with total shipping weight being about ten pounds and shipping costs 52c each way. A recent shipment in a cardboard contained weighed 5 or 6 pounds and the round trip cost 60c. All shorts are now on acetate and a proportional saving at least is possible for features. In any event, the ap- plication of this plan to short subjects would make for a great savings. Exhibitors to whom shipping costs are an important factor, should use every means to urge the distributors to adopt lighter con- tainers. With the metal shortage what it is, patriotism alone should incline the distribu- tors to go along. SAFETY FILM North Central Allied After January 1, safety film will be in ap- proximately 100% use throughout the in- dustry. This changeover has important im- plications, particularly with reference to building codes, insurance ratings, fire and licensing laws and organized labor. It should mean a reduction in insurance rates for theatres and a liberalization of building and fire laws, and most definitely is one more argument against the silly requirement of two men in a booth in certain situations. Your organization is studying and working on all of these matters and will report to you on them from time to time, go to the wall. GOOD WILL A MUST Allied of N. J. Good will for many years was an im- portant ingredient in the make-up of our business and a factor, in the formula of sell- ing, was the good will that existed between buyer and seller. Today, in the convulsive thrashing about by the distributor, while at- tempting to extract the last penny from the small exhibitor, good will has been thrown aside and has become a thing of no value. No matter what business you may be in, unless it is a business carried on with a gun in hand, good will has always played an important part. Perhaps it would be wise for the distri- butor to again build up this forgotten factor so that his customers would be glad to do business with him. Then, perhaps the give and take attitude will be restored to the business on both sides. i-RRUARY 2 5, 1 95 2 23 Wkkk kas ike most wiiU utdqtettdeut PRODUCTIOn & R€L€flS€ R€CORD COLUMBIA In the Release Chart, "Rel." is the National Release Date. "No." is the release Number. "Rev." is the issue in which the Review appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1950-51 programs unless otherwise noted. (T) immedi- ately following title and running time denotes Technicolor, (C) Cincolor, (SO Supercinecolor, (TR) Trucolor, (A) Anscolor. 1951-52 Features Completed (53) In Production (I) Serials Completed ( 3) In Production (0) 1951-52 Features Completed (53) In Production (4) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Affair In Trinidad Assignment — Paris Happy Time, The Prince of Pirafes IT] COMPLETED Barbed Wire Barefoot Mailmen. The Boots Malone (1031 ... Brave Warrior Brigand. The (T) Captain Blood, Fugitive Cast Hay worth-Ford Andrews-Toren . Boyer-Driscoll Derek-Rush Rel. No. Rev. ISC) 404 41? ITI Chain of Circumstance (481 Clouded Yellow, The l?6) Corky of Gasoline Alley (70) _ Conqo Bill Criminal Lawyer 173) Autry-Buttram (83) _ R. Cummings-T. Moore 11-51 „ Holden-Clements 1-52 Ion Hall . Dexter-Lawrence Louis Hayward .M. Feld-R. Grayson 8-51 309 1-14 Simmons- Howard S. Beckett-J. Lydon 9-SI . McGuire-Meore 302 8-27 10-8 Cripple Creek IT) Montgomery-Booth Cyclone Fury (54) _ Starrett-Burnette Death Of A Salesman (III) March-Dunnock European Edition Glen Ford Family Secret. The 185) Derek-Cobb Firefighters, The First Time, The 18?) Five l?3) Four Poster, The _ Golden Hawk, (T) Harem Girl, The (70) Harlem Globetrotters, The Hawk of Wild River, The 154) Her Wonderful Lie Hills of Utah (4?) _ Indian Uprising ISC) 175) O'Brien-Wyatt 10-51 412 ?-IO 8-51 2-52 423 1 2—5 1 2-52 10-51 Williams-Reynolds , Cummings-Hale ..S. Douglas-W. Phipps Harrison-Palmer Fleming-Hayden Davis-Castle 2-52 Gomez-Dandridge 11-51 Starrett-Burnett 2-52 _Kiepura-Eggerth Autry-Buttram _ 9-51 414 424 371 2-1 I 422 345 354 _ 417 . 9-24 Jingle Jim in the Forbidden Land Jungle Manhunt (44) _______ Jangle Safari Montgomery-Long 1-52 Weissmuller-Ryan IWeissmuller-Ryan 10-51 411 1 1-5 Weissmuller- Greene Kid From Amarillo (54) Lady and the Bandit, The (78) Laramie Moutains _ Magic Carpet (C) (84) Magic Face, The (8?) _ _ Man In the Saddle (T) (87) Marrying Kind, The . Mob, The (87) My Six Convicts Never Trust A Gambler (7?) . Night Stage to Galveston _ Old West, The (41) Paula Pecos River (54) "ickup 180) Starrett-Burnette 10-51 488 Hayward-Medina ?-5l 337 _ Starrett-Burnett Ball-Agar 10-51 410 _ Adler-Knight ?-5 1 402 Scott-Leslie 12-51 420 ?-IO 10-8 Holliday-Harrison B. Crawford-Buehler 10-51 407 Beel-Mitchell .Clark-O'Donnell 8-51 324 Autry-Buttram _ Autry-Davis 1-52 473 ?-24 ___ Purple Heart Diary _ Rainbow Round My Shoulder (C) Laine-Daniels Riders »f the Whistling Pinas Autry-White Rough, Tough West Starrett-Burnett Young-Smith Starrett-Burnette 12-51 404 Haas-Michaels 8-51 357 F. Langford-T. Romano 12-51 421 Sabre and the Arrow. The (T) Saturday's Hero (III) _ Scandal Sheet (82) Smoky Canyon .. . _ . _. _ Sniper. The Son of Dr. Jekyll (78) Sound Off _ Sunny Side of the Street 171) Ten Tall Men (T) |?7) ....... Thief of Damascus, The (T) ... Valley of Fire (C) (42) . War Cry (C) _ ... Whistle at Eaton Falls, The (?0) _ Crawford-Hale Derek-Reed Crawford-Derek Starrett-Burnette .. Meniou-Franz .. Hayward-Knox Mickey Rooney Lane-Daniels Lane aster- Lawrence Henreid-Sutton Autry-Barnett Montgomery-Long -Bridges-Gish .9-5 1 _ .318.. 8-27 1-14 1-52 483 11-51 40? 10-22 9-51 12-51 408 413 11-51 353 ll-l? 8-51 322 8-13 LIPPERT '951-52 Completed (31) In Production (2) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. No. Rev. Jungle, The Cameron-Romero Loan Shark ...Raft-Russell COMPLETED As You Were __ Tracy-Sawyer 10-5 5023 Bandit Queen Britton-Parker 12—15 5010 c £'r] ~ Romero-Totter 10-24 .. 5002 10-1? ►or Men Only p Henreid ...1-52 -5102 . fareat Adventure, The (75) ....... - Price-Hawkins 11-2 5021 2-11 Highly Dangerous (81) Clark-Lockwood 10-12 502? Leave It To The Marines 144) _ S. Melton-M. Lynn 9-2 5005 Lost Continent Romero-Brook* .._ 8-27 -.5004 _..._?-IO — ...Brent-Chapman 1-52 5103 Navaio ..Indian Cast 2-52 5104 Outlaw Women ...Windsor-Rober 4-52 5105 Stolen Face, The Henreid-Scott ... 4-52 510? Stronghold ..... Lake-Scott ... 2-52 5107 Sky High (40) . _. S. Melton-M. Lynn 10-19 5024 Superman and The Mole Men (58) Reeves-Coates I 1-23 5030-.... Tales of Robin Hood Clarke-Hatcher 1 2-2 1 ...... 5008.- Unknown World (43) Kellogg-Nash 10-24 5101 FEBRUARY 25, 1952 Tiqer Man Varieties On Parade Wings of Danger Yas Sir. Mr. Bones 1541 . Rose-Carroll Z. Scott _ F. Miller . 3-52 5108 7-20 . 5020 3-52 5104 7-13 501? ?-24 METRO-GOLDWYN-MAYER 1951-52 Features Completed (77) In Production (6) RELEASE CHART IN PRODUCTION TITLE — Running Time Mr. Congressman Devil Makes Three, The Eagle On His Cap Fearless Fagan Pat and Mike One Piece Bathing Suit IT) COMPLETED Across the Wide Missouri IT) 178) American in Paris (T) (113) Angels in the Outfield (102) Because Your Mine ___________ Belle of New York 182) Bannerline (88) Callaway Went Thataway 181) Calling Bulldog Drummond 180) — Carbine Williams County Line Days Before Lent _ Girl In White, The Glory Alley Hour of Thirteen. The _ Invitation, The 185) — It's A Big Country (8?) Ivanhoe |T) ..... ... Just This Once 190) . Law and the Ladv. The 1104) Light Touch, The (93) Lone Star l?4) Love Is Better Than Ever (81) Lovely To Look At IT) Man With A Cloak 188) Merry Widow, The IT) Mr. Imperium IT) (87) Pandora and the Flying Dutchman (T) (123) People Against O'Hara (102) Ouo Vadis (T) (171) I Was a Stranger Red Badge of Courage 14?) Rich, Young and Pretty (T) (?5) . Scaramouche IT) .. Sellout, The (72) ■ Shadow in the Sky 178) Show Boat (T) 1.108) Singin' In The Rain IT) Skirts Ahoy — Strictly Dishonorable (?5) Strip. The (85) Talk About a Stranger Tall Target. The 178) Teresa 11051 ... — Texas Carnival IT) 177) Too Young To Kiss l?l) Unknown Man. The 184) . Westward the Women ( 1 16) When In Rome Wild North Country, The l?7) Young Man in a Hurry — 1951-52 — Rel. Oct Nov Sep Cast Johnson-Neal Kelly-Angell Taylor-Parker Leigh-Carpenter Tracy-Hepburn Williams-Mature Gable-Hodiak ..Kelly-Caron . Douglas-Leigh Lanza-Whitmore Astaire-Vera-Ellen 3-52 .. Forrest-Braselle Oct .. MacMurray-McGuire Dec Pidgeon-Leighton Dec Stewart Hagen Pidgeon-Hodiak _ — Young-Rule Allyson-Kennedy Caron-Meeker ... Lawford-Addams _ . McGuire-Johnson All Star R. Taylor-E. Taylor Leigh-Lawford Garson-Wilding Grainger-Angeli Gable-Gardner E. Taylor-L. Parks Grayson-Skelton .Cotten- Stan wye k Turner-Lamas _ .. Turner-Pinza No. Rev. 208 202 10-22 ?-24 8-27 206 214 213 ?-24 12-3 2-52 1- 52 "3-52 _ July Dec 2- 52 4-52 220 215 12-17 134 212 222 .7-14 11-5 Oct Mason-Gardner Tracy-O'Brien . _ Taylor-Kerr Whitmore-Davis Murphy-Mauldin _ Powell-Damone S. Granger-E. Parker _ Pidgeon-Totter Meeker-Da vis-Whitmore Gardner-Keel .Kelly-O'Connor Williams-Blaine Pinza-Legih Rooney-Forrest Murphy-Davis Powell-Raymond Angeli-Erickson Williams-Skelton Ailyson-Johnson Pidgeon-Harding Taylor-Darcel Johnson-Douglas Granger-Corey -Roman-Nype Sep 1-52 Sep 207 203 201 10-22 10- 22 8-27 11- l? Sep Aug _ 1- 52" 2- 52 _ July 4-52 204 138. 21? 221 135 8-27 . 7-14 12-31 12-31 — 7-2 MONOGRAM - ALLIED ARTISTS 1951-52 Features Westerns Completed Completed (41 ) (16) In Production Production ( I ) (0) IN PRODUCTION TITLE — Running Time African Treasure COMPLETED Aladdin and His Lamp (C) (67) Bowery Leathernecks Counterfeit RELEASE CHART — 1951-52 — Cast Sheffield-Luez Rel. Crazy Over Horses (65) Dead Man's Trail Desert Pursuit _____ Elephant Stampede Father Takes The Air Flight to Mars Id 172) Fort Osage (C) Hold That Line Jet Job Joe Palooka in Triple Cross Lawless Cowboys 158) . Longhorn. The 170) Man from Black Hills _ _ Mexican Silver Night Raiders Medina-Sands Gorcey-Hall DeFoe-King Gorcey-Hall Brown-Ellison Morris-Caruso _ — Sheffield Walburn-Gray Chapman-Mitchell . Cameron-Nigh .... Gorcey-HaM Clements-Verdugo Kirkwood-Downs _ Wilson-Knight . Elliott-Coates Brown-Ellison . .Wilson-Clyde Wilson-Knight 1-52 1 1-18 No. 52?? 51 14 Rev. 2-1 I 11-18 5114 5- 52 10- 2? 6- 17 11- 11 2- 52 3- 52 520? 5110.. . 5126 5103 _ 5102 _ 52 1 1 I l-l? 9-16 11-7 I 1-25 3-52 51 18. 5155 5223 5242 . .10-8 2-52 5251 25 154) Northwest Territory (61) Oklahoma Justice Rodeo (C) _ Stage to Blue River (56) Stagecoach Driver Steel Fist, The (731 Texas City Texas Lawmen Texas Marshall Trail Dust Vengeance Trail Vicious Years. The (79) _ Waco Wagons West (C) Wanted: Dead or Alive (5?) Whistling Hills Wild-Stallion (C) Witness. The _ Yellow Fin ... ... ..... Yukon Manhunt _ 12-9 .8-19 .5144- 3-9 5104 12-30 7-15 1-52 1-52 12-2 5153 5217 5241 Grant-Chinook .Brown-Ellison .Jane Nigh Wilson-Knight Wilson-Knight . .... McDowall-Miller ... Brown-Ellison Brown-Ellison Wilson-Knight — — - — Albright-Winters 12-31 5107 .Elliott-Stewart 4-52 5225 Cook-Moore — 2-18 Elliott 2-52 5224 Cameron .... _ Wilson-Clyde 9-9 5154 Brown-Ellison Johnson-Hyer - - — Kirkwood-Gleason ._ ... Morris-O'Flynn 10-14 5108 Grant-Davis 7-12 5123 . Disc Jockev Highwayman, The (C) Let's Go Navy (68) (83) ALLIED ARTISTS Simms-O' Shea Hendrix-Coburn H. Hall-G. Gorcey 8-23 9-8 7-29 21 20 . 5113 .6-18 8-27 .8-27 Gobs and Gals Honeychile (Tr) (89) Hoodlum Empire Lady Possessed Last Musketeer. The . Leadville Gunslinger Minnesota Lost Planet Airmen IReedited from "Kinq of the Rocket Men" Oklahoma Annie IC1 Pals of the Golden West 168) Quiet Man, The (T) Robinson-Vs. Turpin 153) Rangers of the Golden Sage Rodeo Kind & The Senorita (67) Sea Hornet, The (84) Secrets of Monte Carlo - South of Caliente 67) Stormbound Street Bandits (54) This Is Korea (50) Downs-Hutton . Canova-Foy . Donlevy-Trevor — Mason-Havoc 1-52. . Allen-Kay 3-52 Lane-Riley .10-51 5 K2I 12-3 5104 5142 Cameron-Hussey Coffin-Clarke 7-25 5031 Canova-Russell Rogers-Evans Wayne-O'Hara Fight Pictures 7-20 Chapin-Janssen Allen-Kay 7-15. 12-15 5152 2-1 ► 5061 5053 Utah Wagon Trail (67) Wild Blue Yonder 198) Woman In The Dark Wyoming Saddle Pals - Douglas-Hall ... Rogers-Evans ... ..Dowling-Checchi Edwards-Clarke Documentary Allen-Edwards Corey-Ralston ... Edwards-Elliott ..Chapin-Janssen 1 1-6 10-22 6-20 5030 10-15 .5151 11-19 12-15 5032 11-15 .... 5130 12-17 .8-10 .5127 9-10 10-15 5054 ...... 1 1-5 1 2—7 5130 12-17 1-52 5131 PARAMOUNT 1951-52 Features Completed (60) In Production (6) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Botany Bay (T) Come Back Little Sheba Hurricane Smith (T) Military Policeman Stalag 17 War of the Worlds IT) COMPLETED Aaron Slick from Punkin Creek (T) Anything Can Happen Big Timber IT) _ Caribbean Gold (T) Carrie Crosswinds IT) (93) Darling, How Could You (95) . Detective Story (103) ... Famous (T) Flaming Feather (Tl (77) Greatest Show On Earth IT) (151) Green Gold of Nevada (T) Here Comes the Groom (114) Hong Kong (Tl (921 Jumping Jacks Los Alamos My Favorite Spy (93) My Son John ... Passage West (T) 180) Peking Express (85) Place in The Sun, A (122) Rage of the Vulture, The Red Mountain (T) . Rhubarb 195) Sailor Beware 1 1021 Samson and Delilah (T) (128) Shane IT) Silver City (T) (90) Somebody Loves Me IT) Something T0 Live For 190) Son of Paleface (T) Stooge. The Rel. Cast Ladd-Mason Lancaster-Booth DeCarlo-lreland Hope-Maxwell ... Holden-Taylor Barry-Robinson Shore-Young Ferrer-Hunter Payne-Moorhead Payne-Dahl Olivier-Jones Payne-Fleming _ Fontaine-Lund .... Douglas-Parker . Crosby-Wyman S. Hayden-G. Russell 2-52 Stewart-Hutton Payne-Morrow Crosby-Wyman Reagan-Fleming Martin-Lewis Barry-Carke Hope-Lamarr Hayes-Heflin No. Rev. _ 10-51 5104 ... 11-51 . 5108 ..... 11-51. 5111 8—13 10-8 5118 12-31 1-14 9-51 1-52 .5101.. 5109 11-19 12-51 5110 10-22 Payne-O'Keefe ... Cotten-Calvet .Clift-Winters __ Ladd-Kerr Ladd-Kennedy .7-51 _ _ 8-51. 9-51 _. 5022 ...5024 5102 ..7-2 7-30 Submarine Command (89) That's My Boy (98) Milland-Sterling Martin-Lewis Lamarr-Mature Ladd-Arthur DeCarlo-O'Brien ..... Hutton-Meeker _ Fontaine-Milland 3-52 Hope-Russell Martin-Lewis 5113 9-51 5103 . 2-52 SI 14 3-51 5010 12-51 .5112 5105 8-1 3 12-17 .11-21 I 10-8 2-iT The Denver & Rio Grande (T) This Is Dynamite Warbonnet (T) Warpath (95) (T) ... ... When Worlds Collide (821 IT) Holden-Olson 11-51 Martin-Lewis 8-51 O'Brien-Hayden Holden-Smith Heston-Hanson O'Brien-Jagger 8-51 5025. Derr-Rush ...... 11-51 5106. .6—18 9-24 RKO RADIO 1951-52 Features Completed (65) In Production (3) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE— Running Time Cast Rel. No. Rev. Hans Christian Andersen IT) Kaye-Granger - Sudden Fear Crawford-Palance - This Man Is Mine Hayward-Mitchum - - - COMPLETED At Sword's Point IT) Alice In Wonderland (T) (75) Androcles and The Lion Behave Yourself (81) Big Sky. The Blue Veil, The (I 14) Cat People (73) Clash Wilde-O'Hara 2-52 ..Disney Cartoon 7-51. Simmons-Young . Winters-Granger Douglas-Martin ...Wyman-Carlson 220 . 292 7-16 9-51 .206 10-51 Simone-Smith Reissue By Night Douglas-Stanwyck 263 ...267.. 9-24 9-24 (102) (86) Double Dynamite (80) Flying Leathernecks IT) Girl in Every Port, A Gun Play (60) - Gypsy Blood (T) ... Happy Go Lovely IT) (87) Half-Breed, The (T) His Kind of Woman (120) Hot Lead (60) Sinatra-Russell 12-51 Wayne-Ryan 8-51 Marx-Wilson 1-52 . Holt-Martin - 8-51 Jennifer Jones D. Niven-Vera Ellen 7-51 Young-Carter Russell-Mitchum 8-51 Holt- Martin 10-51 Hunchback of Notre Dame 1117) Laughton-O' Hara Reissue I Want You (101) - Andrews-McGuire 1-51 Jet Pilot (T) (118) Wayne-Leigh 214 . _ ■ .261 8-13 214 . 1-14 .120 _ >l . 262ZZZZ- I .201 7-30 .209 10-22 266 _. ...101 11-19 Jungle of Chang (67) Jungle Headhunted (T) (65) Korean Story, The Las Vegas Story, The (88) Lilli Marlene (72) _ On Dangerous Ground 182) On The Loose (74) Overland Telegraph (60) Pistol Harvest (60) Pace That Thrills. The Racket, The (89) ...Travel 1 1—51 Travel 6-51 Mitchum-Tallman _ Russell-Mature 2-52 McDermott-Daniely 7-51 Ryan-Lupino 1-51 Evans-Earl 10-51 Holt-Martin 12-51 —Holt-Martin 7-51 Williams-Balenda ■ Mitchum-Scott 11-51 .208 ... 177 11-19 217 1-14 .203 9-24 . 215 . 202 8-13 ' 216 _| ...205 210 10-22 Ragged Edge, The ..... Lupino-Ryan Rancho Notorious (89) Dietrich-Kennedy 3-52 Roadblock (73) McGraw-Dixon _ 7-51 Saddle Legion 160) Holt-Martin Slaughter Train (C) 178) _ Donlevy-Grey 10-51 Snow White and the Seven Dwarfs IT) (83) Disney Feature .. Reissue Target McGraw-White Tarzan's Savage Fury Tembo 180) Trail Guide 160) 292 Two Tickets to Broadway (T) Whip Hand, The (82) Barker-Hart 3-52 Documentary 1-52 Holt-Martin 2-52 ( l06)...Leigh-Martin 11-51 ...Reid-Tuttle 10-51 265 ....... 219 2-1 II 264 IUJ2. 212 REPUBLIC 20th CENTURY-FOX 1951-52 Features Serials Westerns Completed Completed Completed 17) 0) 9) In In Production ( I ) Production (0) Production (0) IN PRODUCTION TITLE — Running Time Jeannie COMPLETED Adventures of Captain Fabian (100) Arizona Manhunt (60) Sal Tabarin ■• Black Hills Ambush Border Saddlematei • Captlva of Billy the Kid Colorado Sundown Dakota Kid. The 160) Desert of Lost Man 1541 Don Daredevil Rides Aqain .. Fabulous Senorita, Tha _______ Flight from Fury Fort Dodge Stampede (60) Fugitive Lady (78) 26 RELEASE CHART — 1951-52 — Cast Shirley-Christy . . E. Flynn-M. Prelle Chapin-Janssen ... Lawrence-Ching Lane-Waller Allan-Kay Lane-Edwards Rex Allen Chapin-Janssen . Lane Curtis-Towne . . Estolita-Clerke Edwards-Clark Lane-Kay Paige-Barnes - Rel. No. Rev 10-6 5101 10-8 9-IS 5068 1- 52 2- 32 7-1 I 1-19 6 I 5064 5141 5067 5063 . 5084 1-14 8-24 7-15 5062 5011 6 18 1951-52 Features Completed (51) In Production (2) IN PRODUCTION TITLE — Running Time Condor's Nest (T) Dream Boat COMPLETED Anne of the Indes (T) (82) .. As Young As You Feel (77) _ Bells On Their Toes (T) Cry of the Swamp (T) RELEASE CHART — 1951-52 — Cast Wilde-Smith Webb-Francis Rel. No. Rev. 1 0-2 7-3 David and Bethsheba IT) ( 116) Day The Earth Stood Still, The (92).. Deadline U. S. A. _ Decision Before Dawn (119) Desert Fox. The (91) Diplomatic Courier Don't Bother To Knock Down Among the Sheltering Palms(T) Elopement 182) Full House, The _ _ . 5 Fingers I 108) Fixed Bayonetsl (92) Frogmen 1961 . Jordan-Paget .....11-51 134 .Woolley-Ritter 6-51 .... 120 Crain-Loy 5-52 H Peters-Hunter — -M Peck-Hayward 2-52 203 8-2 . Rennie-Neal ... 9-51 129 9-2 Bogart-Barrymore 5-52 -IS Merrill-Basehart 1-52 . 205 Mason-Young 10-51 130 10- Power-Neal Wid mark- Monroe Lundigan-Greer 6-52 Webb-Francis 12-51 .....141 .... I l-l Crain-Granger __. Mason-Rennie 3-52 . 208 . Basehart-OShea 12-51 140 12- 7 30 Girl Next Door, The (T) Widmark- Andrews Haver-Dailey .7-51 .122- FILM B U L L E T I |Sirl on »he Bridge, The (77) Golden Girl IT) 1108) Haas-Michaels .Day-Gaynor .Douglas-Darnell 12-51 _ 13? 12-17 I 1-51 134 I l-l? -7-5I III Suy Who Came Back. The 191) Don't Care Girl, The (T) Gaynor-Wayne I'll Never Forget You IT) (90) Power-Blyth 12-51 142 12-31 lapanese War Bride (91) Yamaguchi-P. Taylor 1-52 202 Journey Into Light (87) Hayden-Lindfort 10-51 132 9-10 (angareo (Tl . _ O'Hara-Lawford 6-52 -es Miserables _ _ _ Rennie-Paget Let's Make It Legal (77) Colbert-Carey 11-51 133 11-5 Love Nest 184) Haver-Lundigan 10-51 .131 10-22 .ydia Bailey IT) (891 Robertson-Francis Meet Me After The Show (T) (84) — Grable-Carey 8-51 Millionaire for Christy (91) Mac Murray- Pa rker Mr. Belvedere Rings The Bell IBS) Webb-Dru 9-51 .8-51 Model and The Marriage Broker! 103) J. Crain-T. Ritter No H'ghway In The Sky (97) Stewart-Dietrich Outcasts of Poker Flat, The Baxter-Robertson People Will Talk (110) Grant-Crain .Phone Call From A Stranger (94) Merrill-Winters Pride of St. Louis 193) Dailey-Dru 'Red Skies of Montana IT] 198) Widmark-Smith Return of the Texan 187) Robertson-Boone Rose of Cimarron (72) Buetel-Powers Secret of Convict Lake (83) _ Ford-Tiernev Take Care of My Little Girl (T) (93) Crain-Peters v\va Zapata 1113) M.Brando-J.Peters 3-52 Wait Till The Sun Shines Nellie (T) Peters-Wayne Way of a Gaucho IT) Tierny-Calhoun We're Not Married Wayne-Rogers What Price Glory Cagney-Dailey 125 127 124 201 121 1- 52 . 10-51 5-52 .9-51 . 124 2- 52 8-13 .8-13 8-13 12-17 9-10 4-52 2-52 2-52 4-52 ... 8-51. 7-51 204 207 209 123 I 1 9 204 ,With A Song In My Heart (T) (iie) Hayward-Calhoun 4-52 Francis Goes to Mae Races 188) _ Fraacis Goes to West Point Golden H:>rde, The (T) Has Anybody Seen My Gal IT) Here Come The Nelsons _ Iron Man 182) _ Lady from Texas IT) (78) . Lady Pays Off. The Lavender HIM Mob. The Little Egypt IT) IS2) Lost in Alaska Ma and Pa Kettle at the Fair Ma and Pa Kettle Go To Paris Mark of the Renegade IT) 181) Moat Danny Wilson Pool of London Raging Tide, The 192) Red Ball Express Reunion In Reno 179) Scarlet Angel IT) Son of Ali Baba IT) Steel Town IT) Strange Door. The 180) Thunder On the Hill 185) Treasure of Lost Canyon, The IT) Untamed, The (T) Week-End With Father 1831 World In His Arms. The IT) You Never Can Tell _ ... O'Connor-Laurie O'Connor-Nelsoa llythe- Ferrer Colburn-Laurie Onie and Harriet Keyes-Chandler Hull-Duff Darnell-McNally _ Guinness-Holloway Fleming-Stevens Abbott-Costello Main-Kilbride Main-Kilbride _— Montalban-Charisse Sinatra-Winters Colleano-Shaw Winters-Conte Chandler-Cabot Stevens-Dow DeCarlo-Hudson Curtis-Laurie Sheridan-Lund . Laugnton-Karloff Colbert-Blyth W Powell-J. Adams Cotten-Winters Neal-Heflin Peck-Blyth Powell-Dow July 125 Oct. Feb Auq Oct. Nov Oct Sept 134 210 130 134 202 280 131 7-14 10-8 131 8-27 Aug Feb Aug Nov Oct 128 205 183 203 I3S 8-13 10-22 10-8 Dec Sept Mar Dec Sept 204 133 209 204 132 WARNER BROTHERS I 1-5 8-13 12-3 9-10 UNITED ARTISTS 1951-52 Features Completed (56) In Production (I) IN PRODUCTION TITLE — Running Time Planter's Wife ... COMPLETED A Christmas Carol 184) Actors and Sin (94) ._ _ African Oueen (T) (104) .. Another Man's Poison (89) Big Night, The (75) RELEASE CHART — 1951-52 — Cast Claudette Colbert Rel. No. Rev. ..Alyastair Sim Robinson-Hunt Bogart-Hepburn Davis-Merrill ... J. Barrymore-P. Foster 11-30 3-21 1-14 12-7 _.. 2-52 H-R Buffalo Bill in Tomahawk Territory (44) Moore-Andrews Captive City Forsythe-Hall Chicago Calling (74) Duryea-Anderson I— 1 1 Cloudburst (83) Preston-Sellars 1-31 Fort Definance (81) _ D. Clark-B. Johnson 11-9 . .. Four In A Jeep (97) Lindfors-Meeker 8-24 .... Gold Raiders (54) O'Brien-Ryan 9-14 ..... Green Glove, The 188) . Ford-Bdooks 2-28 1 1-19 1-14 1-14 I 1-19 12-17 1 1—5 He Ran All the Way (77) High Noon Hoodlum, The 141) Hotel Sahara (87) Lady Says No, The (80) .Limelight _ 1 Miracle from Mars Mister Drake's Duck (81) Mr. Peek-A-Boo (74) (Mutiny (T) (77) Obsessed (77) . Odette 1105) One Big Affair (80) Pardon My French 181) Queen For A Dav (107) Ring, Hie . River, The (T) (102) _ Royal Journey (47) Saturday Island IT) St. lenny, the Dip (80) . Garfield-Winters Cooper-Kelly _ Tierney-Roberts ____DeCarlo- Ustinov Caulfield-Niven Chaplin-Bloom Graves _ . ... Fairbanks-Don Ian Greenwood-Bourvil 10-21 Stevens-Lansbury Fa rrar- Fitzgerald Neagle- Howard 7-13 Reb .... .7-14 Kr . 7-27 _ 4-18 1 0—1 5 ...Jar 11-19 1-4 12-17 9-21.. Sach .10-8 9-24 Oberon-Henreid Avery-McGavin iRos-Moreno ..... — Swinburne-Shields 2-15 Documentary 3- 1 5 Linda Darnell Foch-Haymes . 8-24 9-7 9-24 5-15 7-77 -8-10... . 9-10 ..7-7 _ . 4-9 Ren - • r — ■ — ■ — i i vv. iii i o y • i i c j Strange World _ Hauff-Schneider Tale of Five Women, A (84) Bonar Colleano Tom Brown's Schooldays (93) Davies-Newton .... Two Gals and a Guy (70) Paige-Alda Underworld Story (90! Duryea-Storm Well, The (85) _ — Rober-Kelly When I Gru* Up (90) Preston-Scott Dan 3-28 Gehn ... 3-7 1 1-2 _.8-3l. ... 7-2 1 .. 9-14 ...4-20 7-14 C-E_ Pop 9-10 UNIVERSAL-INTERNATIONAL 1951-52 Features Completed (62) In Production (3) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Just Across the Street Sally and St. Ann Texas Man, The IT) Yankee Buccaneer (T) COMPLETED Against All Flags (T) Almost Married Battle at Apache Pass IT) Bend of the River (T) Bright Victory 197) Bronco Buster (T) Cattle Drive (T) 177) Cave of Outlaws, The IT) 174) Cimarron Kid. The (T) (84) Comin" Round the Mountain (77) Duel at Silver Creek, The (T) Finders Keepers (75) Flame of Araby (T) (77) Flesh and Fury Francis Cvers the Big Town Cast Sheridan-Lund Blyth-Gwenn Ryan-Adams Chandler-Brady Rel. No. Rev. Flynn-O'Hara Curtis-Laurie — Chandler-Lund .Stewart-Kennedy _ Feb Dow-Kennedy Jan.... Lund-Brady McCrea-Stockwell Aug.. Smith-Carey Nov A. Murohy-Y. Dugay _ Jan . Abbott & Costello-Shay _ July. Murohy-Domergue — Ewell-Adams .. Jan ..Chandler-O'Hara Jan Curtis-Sterling ... Mar Donald O'Connor 212 208 7-30 128 213 127. ZJiiZ 207... 214 .7-30 I 1-5 12-31 .7-2 1-14 12-3 FEBRUARY 2 5, 1 1951-52 Features Completed (41) In Production (2) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Miracle of Our Lady of Fatima, The Gilbert Rowland Story Of Will Rogers, The IT) Rogers-Wyman COMPLETED About Face IT) MacRae-Bracken Alexander, The Big Leaguer Day-Reagan Big Trees, The IT) 1891 Douglas-Miller Bugles in the Afternoon IT) 1851 Captain Blood Reissue) 198) ... Carson City Close To My Heart 190) Come Fill the Cup 1113) Captain Horatio Hornblower IT) Crimson Pirate, The (T) Distant Drums IT) 1 101) _ Force of Arms 1 100) Rel. No. Rev. 3-29 3-8 12-5 117 I 14 I 10 I'll See You In My Dreams (110) Jack and The Beanstalk Lion and the Horse, The .... Jim Thorpe, All-American (105) Manila Man With A Gun IT) North of the Rio Grande R. Milland-H. Carter Fly nn-De Ha viland Scott-Massey . Milland-Tierney 1 1-3 107 J Caqney-P. Thaxter 10-20 104 I 17 Peck-Mayo - 8-11- 030 ._ B. Lancaster Cooper-Alden 12-29 III Holden-Olson . 9-15 102 Day-Thomas 1-12 112 12-17 12-17 Abbott-Costello ... Cochran-Teal Lancaster-Bickford Flynn-Roman Scott-Wymore McCrea-Mayo 9-1 101 4-18 Only The Valiant 1 105) MacRae-Day Painting Clouds with S'hine (T) (87) Mayo-Morgan Retread Hell! 195) Room For One More 195) San Francisco Story ... ,. She's Working Her Way Through College IT) Starlift (103) __ _ Streetcar Named Desire, A (122) Lovejoy-Carlson Grant-Drake McCrea-DeCarlo Mayo-Reagan Cagney-Mayo Brando-Leigh 7-28 . 029 7-28 029. 10-4 105 . 2-23 115 1-24 113. 9-24 1-14 Tank Are Coming, The 190) S Cochran-P. Carey This Woman Is Dangerous (97) Tomorrow Is Another Day (90) Where's Charlie? IT) Crawford-Morgan Roman-Cochran Bolger-McLerie Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St., Phila. 3 — 1239 Vine St., Phila. 7 LOcust 4-0100 Member National Film Carriers 27 i FRAMED Pbp6oi|cuocu , Away-from-theatre SHOWMANSHIP NOW SHOWING |tMFM0M«MI MARLON BRANDO JEAN PETERS The new patron-pulling service . . . that provides colorful, eye-appealing advertising for placement in • MERCHANTS' WINDOWS • STORE COUNTERS • HOTELS • TERMINALS. Handsomely mounted in footed, silver-colored frames to tell and sell the big story about your attractions! Single 11 X 1' Double 11 x 14 22 x 28 , See your NSS Salesman or write your nearest NSS Exchange jpJ 14 x 22 Window Card 14 x 36 wiffiiem sehvic pni/r Boer or we wo us mr BULLETIN MARCH Wduli" or Family Films — WHAT KIND OF PICTURES DO WE WANT? A £mall Tci^H Tkeatteman tflakeA A Cate Again At tcuerinq IfltiJie Ce4e £tan4ar4A 0 *S HITS ON "5 FINGERS" IThe Slory of (he Highest Paid Spy in Hitiory) starring JAMES MASON, DANIELLE DARRIEUX, MICHAEL RENNIE with Walter Hampden, Oscar Karlweis. Produced by OTTO LANG. Directed by JOSEPH L. MANKIEWICZ. Screen play by MICHAEL WILSON. THERE'S NC BUSINESS Ll| IY HAND! llCENTURY-FOX BUSINESS HE general release of Cecil B. DeMille's "THE GREATEST SHOW ON EARTH", originally planned for the late fall of 1952, will be moved up to July, 1952, in response to demands from exhibitors and public. Its sensational record-breaking boxoffice performance in its initial engagements and its over- whelming acclaim in the nation's press have determined Paramount's releasing policy— which will be welcome to show- men everywhere who have emphasized their need for big, big attractions during the summer months. We want this picture to reach your theatre red hot and presold so that every- one in your city, town or neighborhood, from 6 to 86, will be talking about it and clamoring to see it. CECIL B. DEMILLE S "THE GREATEST SHOW ON E Cecil B. De Mille's "THE GREATEST SHOW ON EARTH" starring Betty Hutton - Corna i Emmett Kelly • Cucciola • Antoinette Concello • and James Stewart • Produced and Directe 1 Screenplay by Fredric M. Frank, Barre Lyndon and Theo y 3^ i tierefore, we are making | Weather-Vonseious Exhibitors Ask Utnul t*rotiuvt Eor Spring-Summer Drives Exhibitors in TV-infested areas are grow- ir increasingly conscious of the weather as 1 oxoffice factor. They have been slow to rtlize, as have the distributors, that when it B^et or cold outside the poorest kind of asrtainment in the living room suffices to f.p people away from the theatres. Now iy are beginning to ask, "Shouldn't the fciier films be reserved for release in the ij ng and summer months?" he past two years have convinced many uple in the industry that a switch in movie itsons is taking place. In both 1950 and '51 h warm months brought an encouraging it wing in business, only to have boxoffice ijres skid off the upward trail when the Associate Producers Edna and Edward Anhalt • Directed by Hugo Fregonese ^\r€>$vs and Opinion (Continued from Page 11) Memphis and New Haven territories are set. The schedule came simultaneously with the assumption of Lou Smith as executive sec- retary of COMPO'S MOVIETIME USA, offices in Hollywood. The Theatre Equipment Dealers Associ- ation (TEDA) accepted the invitation is- sued at the meeting to become a member. The Theatre Equipment and Supplies Deal- ers Ass'n (TESMA), which also received a bid at the confab, is expected to follow suit. The financing formula was set up in this manner: For conventional theatres, 500 seats or less, $10 per year; up to 750 seats, $15 a year; 1000-seaters, $25; to 2500 seats, $50; above 2500, $100. For drive-ins: up to 300- car capacity, $10; up to 500-car, $15; 600-car, $25; over 600, $50. Since distribution is to match the exhibi- tion payments, some $400,000 was expected to be raised in dues. Headed by Trueman T. Kembusch, the financing committee recom- mended that a local committee of exhibitors be named in each area to prod the collections. Any hardship cases or "inequitable" pay- ments would be adjusted, it was assured. Named as co-chairmen of the Admissions Tax committee were Texas' Bob O'Donnell and Col. H. A. Cole, who will spearhead the exploratory discussions into the advisability of an industry campaign against the 20 per cent levy. The national committee will in- clude several regional chairmen as well as six members each from Allied and TOA, and two each from ITOA and MMPTA of New York. Allied's A. F. Myers and TOA's Herman Levy will act as committee counsel. The meeting also voted that the new COMPO executive vice-president be dele- gated to represent the all-industry organi- zations during the forthcoming FCC hear- ings on theatre television channels. House Committee Divided On Hollywood Red Charges As a united industry front massed behind the strongly worded resolution by the Council of Motion Picture Organizations against the House Un-American Committee charges of Hollywood's laxity in dealing with movies' Communists, repercussions were heard within the Committee itself. At least two members, Rep. Francis Walter (D., Pa.) and Rep. Morgan M. Moulder (D., Mo.), revealed that they had disputed the fairness of the committee's charges against Hollywood. Chairman John S. Wood (D., Ga.), too, evidenced that he had not ( hanged his mind since he issued a Itatement for the record last Spring that Hollywood was going to "great expense" to rid itself of Red influence. Although Wood refused comment on the COMPO resolution, he indicated his belief that the matter would be reconsidered and a revised report may be issued. SPYROS P. SKOURAS His Decision Was Awaited Disney Disdains Video, To Produce For Theatres Only Roy Disney's hands were encased in the velvet gloves he extended to theatremen as he renounced the "piddling" income from television in favor of theatre exhibition. Just the hint of hard knuckles underneath was apparent when he chided the exhibitors for their reluctance to pay enough for quality pictures to keep producers happy, and for dissipation of good product in an attempt to maintain high grosses. Aside from these little swipes, the presi- dent of Walt Disney Productions, Inc. had some happy tidings for theatremen who fear the inroads TV may make into the flow of product theatres will receive. An acknowledged plum for video show- ings, the Disney films will remain off the TV channels, except for clips to exploit theatre exhibition, The decision, Disney said, was taken after an intensive survey to examine possible revenue from TV showings. The findings were that the TV market offered a mere trickle of revenue compared with what the nation's theatres has to offer. "Theatrical distribution is the only answer," Disney concluded. FCC HEARINGS NOW IN MAY Federal Communications Commission hearings on theatre television and al- location of channels was again post- poned from March 10 to May 5. The long list of industry witnesses due to testify, now topping three score, weren't exactly happy about the delay. Many of them, including the top execu- tives in distribution and exhibition, had specifically made arrangements to be on hand for the hearings twice. Now they'll have to clear the May 5 — and thereafter — time. U-l, Decca Deal Hinges On Stockholders, Rank Actions Although Universal Pictures advised Securities & Exchange Commission last w that Decca Records, Inc., was the cl stockholder in Universal with a 27 per c interest, the problem of actual control : remained largely in the rumor mill. It i previously known that Decca's acquisitioi Universal stock gave the former the larf. individual bloc, but two big questions mained: (1) would the stockholder's m> ing, yet to be held since the Decca purch, approve the merger plan, (2) could J. Art Rank marshal enough shares, along with 14 per cent, to either squash the merge should he so desire — or still maintain a c trolling interest in the corporation. The merger plan itself has not been cided upon, although the SEC was infor by Universal that "the desirability of bining the business of the two compai through the acquisition of Decca's asset being studied." "Pinky" Case Given MPAA Backing In High Court Appea The U. S. Supreme Court test of censorship assumed new proportions w the Motion Picture Association of Ante decided to lend legal aid to East Texas Tl tres, owner of the Paramount in Marsl Tex., where the "Pinky" case origina MPAA attorney Phillip O'Brien was scl uled to join Robert L. Park, attorney for chain, in presenting an order to the 1 Court of Appeals. The "Pinky" case bolsters the indu position taken for "The Miracle." Legal feel that between the two, the argum necessary for a clear-cut Supreme C ruling on the constitutionality of film ce ship can be amply presented. Paramount KTLA-TV Has 500-Film Pact, FCC Hears The curtain went up on the third a the FCC-Paramount hearings last week the question of Paramount Pictures' q fication to be a television licensee segu the examining of United Paramount 1 ires' qualifications to hold a TV license, initial premise in the hearings revolve ar whether or not Paramount controls the Mont TV Laboratories. Klaus Landsberg, general manage Paramount's TV outlet KTLA, testified week that the station had a contract ( Dec. 29) for 500 to 600 features and shor a cost of approximately a half million do or an average of less than $1,000 per filr (Continued on Pag 14 FILM, BULLE1 \etvs and Opinion {(Continued from Page 14) Anti-Trust Probe Faces Radio-TV Set Manufacturers I As though they weren't plagued enough by 'ugh inventories and bulging warehouses full •if unsold merchandise, radio and television licit the heavy hand of the anti-trust division \ Federal grand jury will be impaneled and subpoenas are now being served on leading Electronics manufacturers to probe into pos- sible anti-trust violations in the radio and ;]'V manufacturing field, with emphasis on | he color television setup. The system of i-adio and TV licenses and patents is also [slated for inquiry. It was specified that broadcast and entertainment phases are not 'nvolved in the probe. Industry sources revealed that the major |nanufacturers subpoenaed included DuMont, [Admiral, RCA, Philco and CBS in addition lo the Radio-Television Manufacturers As- sociation of Washington which represents 'some 300 set and part manfuacturers. Pro- ducers generally believe that every major manufacturer in the radio-TV industry re- ceived one of the court orders. 1 U.S. Balks UPT Divestiture Extension; Asks Trusteeship | United Paramount Theatres' effort to ob- ain a two year extension, on the April 7 [leadline to complete divestiture of 198 thea- res, ran into the expected snag last week — rovernment Opposition. The Justice De- j hartment opposed the request on grounds hat UPT has not acted in good faith — ROBERT LIPPERT Big Plans — and Percentages specifically, "Defendant has not shown due diligence in disposing of its interest in thea- tres or in dissolving joint interests . . ." The Government also charged that the chain had attempted to skirt the intent of the decree by manipulating clearances and runs in its theatres, thus distorting the value of the houses and precluding sale. An affidavit was filed by Texas chain oper- ator I. B. Adelman which charged that com- petition was never realized, in the Interstate Theatre area, after the UPT divestiture order. The Government asked that a trusteeship be set up for those theatres not sold by the deadline. Lippert Eyes % Deals, Retains Levin To Check Confirming the intent announced by Robert H. Lippert, president of l ippert Pic- tures, Inc., of elevating its product quality, the company revealed that Jack H. I.evin Associates has been retained as its checking agency on percentage product. Obviously Lippert, whose films have always been sold flat, intend to market the product on percent- age terms. Whether such an apparently drastic policy change will be warranted, only the new product that will be forth coming in the higher budgeted schedules can de- termine. Among those new films Lippert has an- nounced for release in the future are a group of George Raft starrers; "Valley of Eagles," a British made production; and "( Outlaw Women," in color. Currently in release are "For Men Only" (Paul Hcnreid); "Man Bait" (George Brent); "Navajo" (All-Indian cast) and "Stronghold" (Veronica Lakc- Zachary Scott. Columbia 26-Week Net Dips Quarter-Million To $437,000 Columbia's net for the 26 weeks ended De- cember 29, 1951 dipped to $437,000 after a comparative half the year before of $660,000. The drop was emphasized by the figures before provision for Federal taxes. Last year the tax bite was $500,000; for the current period it came to $135,000. TEXT OF COMPO RESOLUTION ON HOUSE 'RED' REPORT WHEREAS the Council of Motion Pic- ure Organizations, representing all branches |.nd phases of the motion picture industry, tteplores the unfair and unjust report of the House Committee on Un-American Activi- iies, on Communism in Hollywood, and re- ents the report's indictment of an entire in- t |lustry for the past activities of a misguided |>r vicious few; , BE IT RESOLVED I That the Council give the widest possible publicity to the following facts: The statement in the Committee's report hat Hollywood has not attempted to rid it- •elf of Communist influence by "positive Lnd determined steps" is contrary of a state- ment made on May 17 last by the Com- mittee's Chairman, Representative John S. LV'ood of Georgia. Addressing a Committee tearing, Chairman Wood said: "I would like p make a statement that I have gone to ome considerable pains personally to advise nyself as to the attitude of responsible pro- ducers in the motion picture industry, and I Know at this time they are spending literally jhousands and thousands of dollars under- taking to screen the backgrounds of all persons now employed in essential positions 1 MARCH 10, 1952 in the industry, and they are exercising a great deal of diligence in that respect." The Motion Picture Industry in 1947 dis- charged those who refused to testify before the Committee and announced its policy that it would not employ known Communists. Multiple damage suits were brought against the industry as a consequence. The motion picture producers comprise the only manage- ment group in America that suffered legal consequences as far back as 1947 to rid itself of Communist elements. Virtually on the very day on which the Committee's report was issued, a Federal jury in Los Angeles found for the plaintiffs in a suit brought by former employees discharged for their con- tempt of the Congress. Indeed, as far back as 1946, certain labor and talent groups, conscious of the Com- munist effort to infiltrate them, took success- ful democratic action to eleminate small but vocal Communist minorities in these groups. This was but a small part of the role in the fight against our country's enemies. Since the beginning, through war and peace, all segments of our industry have consistently supported America's democratic cause at home and abroad. Our facilities, our man- power and our resources have always been made available to the people of this nation. Our films have always been the chief source of this nation's entertainment. And we have always been conscious of the tre- mendous responsibility that goes with this public trust. It is all the more extraordinary, then, that the Committee report should in- sinuate that subversive propaganda has crept into our films. The facts are that not a single scene, not a single word of Com- munist propaganda has ever been shown or spoken in our pictures. Anybody who has followed the American screen should know that. Had the Committee not consistently rejected our repeated invitations to screen our product, it would know that the insinu- ations in its report are baseless. The Council of Motion Picture Organi- zations, speaking for the owners and em- ployees of the thousands of theatres all over America, for the producers and distributors, for the artists and craftsmen of Hollywood, reiterates its determination to opose Com- munism at all times, and demands that the Committee, in all fairness, correct at once the injustice its report has done to the good name of these thousands of Americans. 15 Die Miracle Picture Prove Snow White1 Snowballirtq NEW YORK o utgrossed evei picture in Criterion's 14 -year history! BOSTON — Biggest gross*ji sational "Cinderella" in February 1950! ^ - PROVIDENCE-Top-grossin T^^J attraction in the last three years! Again At The Boxoffice ! Iord Grosses in Early Dates [ Elsewhere in NEW ENGLAND beating "Cinderella" in: IAWRENCE Ma«. MANCHESTER N H IALL RIVER Mass. NEW LONDON Conn. PSWICH Mass. _ PITTSFIELD Mass, IROCKTONmoss PORTSMOUTH n h IIEWBURYPORT 3* Mass. Big town or small town, it's the MIRACLE box- office picture! f the Seven Dwarfs w V •25.455,000 new children between the ages of 5 and 13 have never seen "Snow White"according to 1950 census figures. And an EVER-NEW AUDIENCE OF 25,000,000* is waiting to duplicate these figures in your town! RETURN OF THE TEXAN' HUMAN INTEREST WESTERN Rates • • • in small towns, rurals; good dualler in big cities 20th Century-Fox 88 minutes Dale Robertson, Joanne Dru, Walter Bren- nan, Richard Boone, Tom Tully, Robert Horton Helen Westcott, Lonnie Thomas, Dennis Ross, Robert Adler, Kathryn Shel- don, Aileen Carlyle, Linda Green, Brad Mora. Directed by Delmer Daves Let's call this a human interest western. Sentiment, pathos, and drama, rather than rough-and-tumble action, arc the elements in "Return of the Texan," which might be best compared to films like "Flicka", etc., sans the horse heroes. It is an absorbing ac- count of a young, widowed father's adven- tures when he returns to the old homestead and starts life over again after the death of his wife. It is peopled with interesting and appealing characters. Delmer Daves' di- rection maintains a lively tempo throughout and there arc enough action elements to satisfy all but the blood-and-thunder addicts. The romantic scenes are done in the sort of light style t hat is even acceptable to the juvenile audience. Frank Rosenberg's pro- duction is first-rate. Grosses will be strong outside of metropolitan areas. In the big cities, it will serve as a better-than-average feature. Dale Robertson is quietly convincing as the outdoor man, and Joanne Dru plays her feminine lead with great appeal. Walter ANYTHING CAN HAPPEN' FINE HUMAN-INTEREST COMEDY Rates • • + or better in class spots; weak for action houses ~ ' ment. Director George Seaton has effective- Paramount 107 minutes Jose Ferrer, Kim Hunter, Kurt Kaszner, Alex Danaroff, Oscar Beregi, Nick Dennis, Eugenia Leontovitch, Natasha Lytess. Directed by George Seaton "Anything Can Happen" is an unpretenti- ous, heart-warming comedy about the tribul- lations of a humble, unaffected young man after immigrating from Russia to the U. S. The tone of the film throughout is notable for its depth of feeling and deft touches of humor that produces good adult entertain- ly reduced each scene and situation to a common denominator of pathos, humor and dramatic appeal. Adapted from a novel by George and Helen Papashvily, the story has a basis in fact and moves spritely with little lost motion — which belies its long running- time. This is top film fare for the discrimi- nating moviegoer and should click well in all but action situations. Jose Ferrer, one of the finest actors extant today, turns in a sympathetic portrayal that is a tribute to hisl dramatic ability. Kim Hunter, as the American girl who helps this young man find himself in his new home, Brennan is splendid as an old-timer, whi| another veteran, Tom Tully, makes much his several appearances as a good friend. STORY: Dale Robertson, acting on tl| wishes of his late wife, returns to their far in Texas, accompanied by his grandfathc Walter Brennan and his youngsters. Til place has become run down, while the ragj of his neighbor has grown and prosperei Robertson works the land and takes oil jobs to make ends meet. He attracts tl romantic interest of Joanne Dru, who d:> covers she must break down the barrier ii posed by Dale's memory of his wife. Wi- this done, other complications follow, not t least of which is the personality problem I tween Richard Boone, the neighbori i wealthy rancher and Robertson. JAMES I comes up with a note-worthy performan. Kurt Kaszner's role of a fellow immigrant I well handled, especially his comic touches a "know-it-all." STORY: Jose Ferrer and Kurt Kaszi are immigrants from the Russian province i Georgia who want to make America thi home. They take a variety of jobs in N York, and Ferrer meets and falls in love wl Kim Hunter. When she goes to her ho:] in California, Ferrer goes after her. Afteij series of heart-warming and hilarious col plications, Ferrer ends up as an orarj rancher and their romance ends happi] NEWT BUGLES IN THE AFTERNOON' TECHNICOLOR WESTERN LACKS CONVINCING PLOT Rates • • + for action houses; good di Warner Brothers 81 minute^ Ray Milland, Helena Carter, Hugh Marlowe, Forrest Tucker, Barton MacLane, George Reeves, James Millican, Gertrude Michael, Stuart Randall, William "Bill" Phillips, Sheb Wooley, John Packard. Directed by Roy Rowland "Bugles In the Afternoon" is a typically handsome Technicolor Western, but its screenplay is quite another story. The yarn is the old hat narrative of the disgraced soldier who reenlists in the army at a distant place, ultimately gets the better of his enemies with one hand tied behind him, and lualler generally woos a pretty lady with his free hand. Neither the performances of the rather good cast nor the direction of Roy Rowland make the piece anything more than it is — a hokey, old-fashioned, outdoor melodrama. Fortu- nately, it does contain some excellent action scenes. The Indian encounters are faithfully projected, the scenes having a ring of au- thenticity about them that you seldom find. Considering its superiority in this direction, "Bugles In the Afternoon" should garner better than average grosses in spots where the outdoor saga spells boxoffice. Ray Milland plays the soldier convincingly enough, but Helena Carter is artificial as the girl. Hugh Marlowe is splendid as the ad- THE STEEL FIST' MELODRAMA HOLDS INTEREST Rates • • as supporting daul' ler Monogram 73 minutes Roddy McDowall, Kristine Miller, Harry Lauter, Rand Brooks, Bryon Fougler, Mur- ray Alper, Marc Krah, Kate Drain Lawson, Michael Vallon, Effie Laird, Glen Vernon, Fred Kohler, Jr. Directed by Wesley Barry While this Monogram programmer lacks marquee values and ^ives evidence of its modest budget, it manages to hold interest. The story, dealing with dictatorship in an unnamed country, has been directed with care and at a snappy pace. Within its limits, the production is craftsmanlike, the per- formances, good. Additionally there are action and suspense values that go a long way toward sustaining the spectator's in- terest. It should serve adequately as a sup- porting feature. Roddy MacDowall plays the youth with strength and conviction. Kristine Miller is satisfactory in the feminine leads. Harry Lauter, Rand Brooks, Byron Fougler, Mur- ray Alper, and Kate Drain Lawson have in- versary, and Forrest Tucker offers an ' mirable portrait of a genial Irishman. Bar MacLane, George Reeves and James M: can are good in support. STORY: Ray Milland is the disgraj officer. He travels west, joins a Cavalry r<| ment and discovers that Hugh Marlowe, fellow responsible for his discharge, is of the officers. Marlowe never loses an portunity to harass Milland, but soldier- j he bears the humiliations and does his w< On comeuppance day, during an encoiui with the Indians, Milland emerges as ] boy, is given back his rank and wins hand of Helena Carter, pretty daughteij the local storekeeper. JAMES teresting character bits which they play mirably. STORY: Roddy McDowall, a studenl the instigator of a riot against the gov] ment. Bryon Fougler helps him flee country., Roddy being unaware that Fou| is a member of the underground. In course of his adventures and flight to border, McDowall falls in love with Kri: Miller. He wants to stay behind to m;J her. She convinces him that it is best h< into the free world where he can beconl more effective instrument for ending to| tarianism in his homeland. ANGEL 18 FILM B U L L E THE GREEN CLOVE' MILDLY Rates • • as dualler generally; more United Artists (Benagoss) Glenn Ford, Geraldine Brooks, Sir Cedric Harwicke, George Macready, Gabe Andre, Jany Holt, Roger Treville. Directed by Rudolph Mate "The Green Glove," a mildly engrossing [pursuit melodrama, is geared for acceptance ||by the action and mystery fans. It should IdO' fairly well on dual bills in the general [run of houses. The story of a missing art [lobject stolen during the war from a church [high in the French Alps holds interest 'throughout, thanks to convincing perform- ances by the cast and the suspenscful and ENGROSSING CHASE MELLER in action houses actionful direction of Rudolph Mate. Filmed in France, it flows along briskly, unfolding a tale of intrigue and double-crossing against the fascinating panorama between I'aris and Nice. The picture's scenic values arc ex- ceptionally well realized. Glenn Ford and Geraldine I 'rooks perform their adventurous and romantic chores com- petently. Sir Cedric Uardwicke brings dignity and warmth to his few scenes as the parish priest and narrator of the story. George Macready's heavy is accomplished with usual aplomb. STORY: Glenn Ford, a paratrooper, re- turns to France alter the war in order to track down a gauntlet studded with precious stones, which be had taken from a German officer, George Macready, during the war. In the years between, Macready, a crooked art dealer, has taken careful note of Ford's activities with the express purpose of one day retrieving the relic. He frames a murder charge against Ford. The American, ac- companied by Geraldine Brooks, leaves Paris for Monte Carlo in order to track down the conspirators. It is all settled in an exciting dawn to dusk chase across the mountains. The relic is returned to the church where it belongs and Macready is killed. HANN'A (Hollywood) ALADDIN AND HIS LAMP ACTION & FUN FOR ADVENTURE FANS Rates • • + as supporting dualler Monogram 67 minutes Patricia Medina, John Sands, Richard Erd- man, John Dehner, Billy House, Ned Young, Noreen Nash, Rick Vallin, Charles Horvath, Sajuta. Directed by Lew Landers For what it is, hokey Arabian Nights fantasy, "Aladdin and His Lamp" stacks up is entertaining fare for adventure fans, ertainly OK for the juvenile trade. The tory is not its strong point, the plot being simply a succession of scenes involving the principals and the wonders the magic lamp is capable of working. Walter Wanger's Cinecolor production looks attractive, how- ever; the performers are adequate and there is plenty of good action material to sustain interest. Lew Landers' direction is brisk and possesses enough humor to play the situations as they should be, in the spirit of fun. This Monogram offering is good dual bill fare. Patricia Medina is exceedingly pretty as the princess, and John Sands convinces as Aladdin. Richard Erdman supplies some comedy. John Dehner, Bill House, Ned Young and Rick Vallin do good work in featured roles. STORY': Patricia Medina is the princess whose household is filled with conspirators anxious to seize power. John Sands, a pick- pocket, conies upon the magic lamp and im- mediately uses its powers to gain great wealth. The catch to the situation lies in the fact that the Genie in the lamp is capable of assuming various human forms. To escape from his life as a Genie he must kill his master. Sands' life is in constant danger, but he succeeds in overpowering the princess' enemies and ultimately in claiming her as his own. ANGEL ALL OVER AMERICA Exhibitors in the biggest cities and in the smallest towns .... buy and book by FILM BULLETIN REVIEWS Accurate . . Kh biased . . Straight - frm. - the - Awtfe? vIARCH 10, 1952 19 THE BIGGEST PRE CITY AFTER CITY Fl with WALTER BRENNAN WILLIAM CHING ■ RUTH Dl Screen Play By RICHARD TREGASKIS • StM RESIN YEARS IN 1 COAST TO COAST [IRREST TUCKER -PHIL HARRIS JRRY CAREY, JR. • PENNY EDWARDS A REPUBLIC PICTURE ' Rand CHARLES GRAYSON # Directed By ALLAN DWAN ^public Pictures Corporation -Herbert J. Yates, Pres. EXPLOITATION PICTURE 'JUST THIS ONCE' JUST FOR FUNI Situation Offers Bally Fodder JANET LEIGH AND PETER LAWFORD A Millionaire Learns About the Automat Metro-Goldwyn-Mayer's second entry in its "Promotion Prize of the Month" plan, "Just This Once" provides showmen with plenty of ammunition for a crowd-gathering campaign, as well as an added incentive in cash prizes for the best ballyhoo barrage. Co-starring two of the brighter young stars on the stellar M-G-M lot, Janet Leigh and Peter Lawford, it offers a large variety of provocative situations (brought out piquant- ly in the imaginative ads — see below — and a wealth of exploitation suggestions in the pressbook. There is little doubt that people today want to laugh. This "brash, frothy romantic comedy", as it is described in the FILM BULLETIN review, supplies plenty of that. The complications that ensue when a millionaire playboy, whose lush living has him in financial difficulties with the — if you'll excuse the expression — Department of Internal Revenue — and is assigned a tight-fisted but lovely young female lawyer to handle his finances, make for some hilarious predicaments. And it is around this situation comedy that the campaign should be based. In this direction, the ads below are ideal for catch lines for the marquee and lobby. In addition, however, Metro's boxofficers have con- cocted a lulu of an exploitation campaign that ties in beautifully with the gay romantic theme. Some of the ideas are detailed at right. TITLE PROMOTION The title has a bonanza of possibilities. It suggests a unique experience, a novel chance to try something! new, or a number of other openings for stunts t(J draw interest. "Just This Once" You Can Be the Most Envied] Girl in (name of city), is a good lead into a typ« of Queen-For-A-Day promotion. Since it is Leap! Year, the best marriage proposal by a girl might bej the basis; or a choice of the best-dressed girl (stimu-l late department store sales and arrange tie-ins) : or a competition based on "What Was Your Stingiest! Date?" or the converse, "Your Most Lavish Date?'! The latter would be in connection with star PeteiJ Lawford's free spending and co-star Janet Leigh'.'l tight hold on the pursestrings. To tie the title in with commercial stores, res-J taurants and other establishments where the film andi playdate can be plugged by display, a batch of stills! are available that would be ideal for the purpose.] "Come in 'Just This Once' and try our deliciou.'J specialties" could be used for a restaurant or cafe-1 teria — the latter, particularly, since in the film therel are several amusing scenes in an automat. Another good angle, timely and pointed, is thel Federal Income Tax filings. An amusing scene inl which Lawford, delinquent in his tax returns, is con-l fronted by Internal Revenue representatives. Thfl local branch of the Federal office and post office majl cooperate by allowing you to use amusing signs irl their offices. Cards can be tacked on poles, as well! reading "Just This Once — Pay Your Income Taxes! and Laugh at the Other Fellow." The line could Ixl tied in with banks and loan offices, with a follow-up;l "See what happens to millionaire Peter Lawford irl M-G-M's 'Just This Once' when he tries to squarfl himself with Uncle Sam's Bureau of Internal Revel nue ..." I STUNTS Since the theme is how a millionaire is forced t(l get along on a $50-a-week allowance, a newspapel feature or a quiz based on "How to Live on a Lovl Income". As a feature quiz in newspapers or oil radio or television, it will excite plenty of interest! The editor of a woman's page might be asked til sponsor a contest on the topic, and budget shop I could be tied in with "How to dress well on a low income," as well as a number of other establishments! You might also work in with newspapers a stunl to have a couple go out on their "most economical'! date, accompanied by a photographer, who takes pro| eressive shots, to be worked into a feature. t Peter Lawford grimly, but sedately, passes the incredulous fiancee (Richard Anderson) of the girl who has just dumped a liotvl of spaghetti on his head. JUST THIS DNCE Situation comedy is the basis for humor — the unex- pected, the bizarre, the switch from the normal is what makes people laugh. In Metro's "Just This Once", director Don Weis has made the most of a rich boy-poor girl story with some wonderful twists. Here's the set-up: Peter Lawford. plavboy w ith an income of 81. 000. 000 a year, is constantly in hot water with the Treasury Department and various collec- tion agencies. He is assigned a young lawyer, pretty but penurious Janet Leigh, to take complete charge of his ex- penditures. When he is put on a 850-a-week allowance, has his charge accounts cancelled, is stripped of his furniture and other belongings, he promptly moves in with his finan- cial guardian, who is required to see that he gets food and lodging. The complications pile up thick and fast: Janets fiance Richard Anderson, gets his dander up: Lawford. who owns the company Anderson works for. raises his salary to $500 weekly so that he can marry the girl, but Leigh makes Anderson refuse it; Lawford takes a phony job in a chemis- try laboratorv. talks endlessly about molecules and drives Leigh to do another turnabout in which she goes on her own spending spree. It's all worked out finally when Lawford is taken into the Navy — as head of Naval Expenditures. Short Subjects BY BARII HATS OFF to Dallas exhibitor Bob O'Don- nell who was named exhibitor of the year in the 11th Look Magazine film achievement awards. O'Donnell was cited for "his un- selfish services as national campaign director and good will ambassador of 'Movietime, U.S.A.', carrying a message of optimism and faith in motion pictures throughout the country." Other awards went to Vivien Leigh, actress of the year ("Streetcar"); MONOGRAM'S MOREY GOLDSTEIN is priming for a special sales drive aimed at the nation's Drive-In theatres. The goal is a Monogram subject on each of the country's 3,500 drive-in screens during a National Monogram Drive-In Week (May 29-June 4). Goldstein said the special week is being held because many drive-in opera- tors weren't able to take part in the recent Monogram promotion due to the seasonal blackout. THE STARTLING difference showmanship I makes was pointed up by the results a special small-town campaign produced in promoting "Cyrano de Bergerac" in its cur- rent release. UA's tub-thumpers racked up more than 100% increase in played and earned billings during the week following the ad plan, formulated by UA vice-president Max E. Youngstein. EXHIBITOR-OF-YEAR O'DONNELL Fredric March, actor of the year ("Death of a Salesman"); George Stevens, best director ("A Place in the Sun"), and Arthur Freed, best producer ("An American in Paris"). Kim Hunter and Eddie Mayehoff received awards for best supporting players, and Danny Thomas and Mitzi Gaynor, were tagged as the most promising newcomers. Gene Kelly received a special award as the all-around star of the year, and Samuel Goldwyn was cited for "his many fine con- tributions to the screen, his courage, his leadership and his optimism representing the Hollywood of taste and discrimination." NATIONAL SCREEN SERVICE is so proud of the ad accessory material it has for M-G-M's "Quo Vadis" that its throwing a big shindig at Toots Shor's today (10th) to "preview" the ad displays . . . The Protest- ant 1 95 1 Motion Picture Award goes to 20th- Fox for "David and Bathsheba." MGM'S CALENDAR AD M-G-M IS launching a new national maga- zine ad campaign starting with the March issues of five leading monthly publications. Each important Technicolor production will have a minimum of three months advertising to millions of magazine readers. Full page color ads in the form of "Movie of the Month Calendars" will post readers on releases for designated months. Beginning with May issues, additional black-and-white versions of the ad will be placed in fan magazines each month. M< >RE I'll \X liKK) people from the enter- ' ' tainment industry attended the National Conference of Christians and Jews dinner at the Waldorf Astoria at which the organi- zation's annual Brotherhood awards were made to Simon H. Fabian, Richard Walsh, and Celeste Holm. Edward L. Fabian ac- 24 cepted the award on behalf of his father who could not attent. Seen in picture (r to 1) are: Major Leslie K. Thompson; John J. O'Con- nor; Alfred E. Daff; William Gehring; Henry A. Linet, and Robert Mochrie. On upper dais (r to 1) are: I. Robert Rubin; Fannie Hurst; Louis Nizer; Celeste Holm; Herbert Bayard Swope, and Richard Walsh. PORTRAIT OF A SNOWBALL: In the January 28th issue of FILM ' BULLETIN, there appeared a 20th Century-Fox ad on the "new faces" the company is selling as the stars of the future. Theatre circuit operator I. H. Harris felt it was such a fine idea that he reproduced the ad and sold it big to his patrons. Telling us about it, he suggested, "If you could get the other major companies to run similar ads on their new personalities I am sure that would be a big help to the exhibitors who are probably willing to try to popularize the new personali- ties but due to lack of pictures of them, listing their new pictures, sufficient material is not available." Which prompted us to question the distribu- tors. Almost without exception, each of them felt it was an excellent idea and promised to do something about it. ZOth-Fox's Charles Einfeld notes that the circuit's use of the ad ' inspires us to make the ad available in mat form suitable for reproduction in news- papers or upon news stock heralds." OF MEN AND THINGS: Ray Moon, e Central Div. Mgr. for 20th-Fox, will jo| Universal on April 14 in an executive sal post, according to Charles J. Feldman, D mestic Sales Manager . . . Mrs. Mo| Youngstein, mother of Max E. Youngstei UA's vice-president, died Feb. 27 at t Lebanon Hospital in the Bronx, N. Y. . Leroy Kendis, Cleveland Associated The tres rep, will head the committee in charo of arrangements for the annual meeting the association to be held in Cleveland late May . . . James A. Mulvey, Goldw; prexey, and Martin Davis, Asst. Ad-Pii head, met in L. A. with studio officials UNIVERSALE MOON distribution plans for "Hans Christi Andersen," now in production . . . Adol Zukor, Paramount's board chairman, is Hollywood on his annual visit to the stud for production conferences and to view t company's new product ... A series of ij ternal changes and promotions in the bran manager set-up of U-I, effective March has resulted in the following promotioi Abraham Swerdlow, San Francisco to L. i Theodore Reisch, asst. mgr. in Chicago mgr. in San Francisco; Lawrence W. M« riott will become sales mgr. in L. A., a Richard Graff, Chicago salesman to as mgr. in Chicago. FILM B U LL ETI -and every showman's fancy turns +o thoughts of that that grows and grows with tHs great Springtime event/ w p K background for 1 Ma and Pa / I They're at the Fair/ I Theg're at their BEST/ NELSON • JAMK BEST how+fie <£rr do if /. ^ ' ' ' l0u or+ha+ Spring4ime -from A?, of, r 'African Queen' Earns Salvo Of Kudos From N. Y. Critics Except for one dissenting voice, the New York critics emitted crys of "a rattling good adventure film," "picture making at its very best" and other plaudits when "The African Queen" tied up at the Capitol Theatre. It was their consensus that this film will be one of the top adventure hits of the year. In the X. Y. Times. Bosley Crowther com- mented. "Mr. Huston merits credit for put- ting this fantastic tale on a level of sly, polite kidding and generally keeping it there, while going about the happy business of engineering excitement and visual thrills." This critic compared it to the "Beach- comber" because not since that picture "have the incongruities of social station and manners been so pointedly and humorously portrayed." Otis L. Guernsey, in the Herald-Tribune, noted that. "Huston disposed to make a cinema plaything . . . has made an excellent one ..." although Guernsey felt that the picture was "slightly marred by a spurious ending which comes along too late to do any real harm." "A rattling good adventure film," said Alton Cook in the World-Telegram & Sun. "Size of the crowds that greeted the start of 'The African Queen' at the Capitol made it obvious that this is to be one of the popular hits of the year." The Journal-American's Rose Pelswick found this "delightful entertainment — roman- tic, adventurous, colorful, amusing, and chiefly, adult." In her opinion "Bogart is better than he's ever been on the screen, and Miss Hepburn's eloquent, finely shaded, per- formance is nothing short of superb." The film left the X. Y. Post's Archer Winsten cold. He felt that the "picture's early brilliancy steadily fades to the burnt- out tattered aspect of a Tarzan adventure." RETURN OF THE TEXAN' 20th CENTURY-FOX "Adventure which ought to appeal to a great many city families . . . Film is fine promotion for Texas." — Pihodna, X. Y. Herald-Tribune. "Part farmyard and part ranch-house ro- mance . . . told with considerable consistency of humor and rural charm, thanks to a neat script, good direction and pleasant perform- ances all around." — Crowther, X. Y. Times. "Western without any cowboys, Indians or rustlers . . . Sharp departure from the Western mold . . . The picture has enlisted good talents . . . They simply must have struck an off day, which can happen to the best of us."— Cook, X. Y. Telegram & Sun. "Indeed we're for 'Return of the Texan' . . Unpretentious and ingratiating . . . Superior Western fare." — Thirer, N. Y. Post. "An outdoor film far removed from the conventional Western, it's a warm, absorbing study of family life. Sensitively written, acted and handled." — Pelswick, X. Y. Journal- American. 26 •QUOT€S" ROOM FOR ONE MORE1 WARXER BROS. "Film about a young mother who was de- termined to be the kindest person in the whole world. There is a grimness about her determination that is contagious and is likely to send you out of the Warner Theatre in an equally grim mood after a session with this." — Cook, X. Y. Telegram & Sun. "Gently whimsical comedy." — Pelswick, X". Y. Journal-American. "Must be what they call "schmaltz" if they don't call it something much worse. It is practically solid sugar and sentiment on one hand and on the other we meet two of the most embittered kids this side of Al- catraz. Will doubtless please many, but those among us who are not pleased will be not pleased in spades, doubled." — Winsten, X. Y. Post. "Generally appealing . . . has genuine gaiety and domestic charm . . . but the climax becomes a maudlin set-to with the Boy Scout Oath and the American flag." — Crowther, X. Y. Times. RETREAT, HELL!" WARXER BROTHERS "Immensely affecting war drama, a stir- ring salute to the U. S. Marines in Korea . . . Staged with realism and vigor, the pic- ture offers sharp combat reporting and be- lievable, human characterizations." — Pels- wick. X. Y. Journal-American. "Movies about the Korean war are still in the stage where lots of furious action and headlong heroics are the only objective . . . 'Retreat. Hell!" is about the best we have had on the subject so far." — Cook, X. Y. Tele- gram & Sun. "Staged with considerable verisimilitude, verve and combat action . . . It's not what you would call a bad picture, but it's strictly for the wish-fancy juveniles of all ages." — Winsten, X. Y. Post. "Heroic and sentimental war melodrama . The Marine Corps could ask for no stronger dramatic praise of its ability, bravery, group loyalty and accomplishments . . . The fact remains that the movie ... is more a decoration than an expeirence." — Guernsey, X. Y. Herald-Tribune. "Pitched and played in the idiom and the spirit of the hot heroic style . . . The pieces fit right into the grooves of conventional war-film dramatics that have been standard since World War I." — Crowther, X. Y. Times. ON DANGEROUS GROUND' RKO "Story is a shallow, uneven affair . . . For all the sincere and shrewd direction and the striking outdoor photography, this RKO melodrama fails to traverse its chosen ground." — Crowther, X. Y. Times. "Curious mixture of clever film work and What the Newspaper Critics Sag About New Fil static generalities, of pointed action aj sordid overtones . . . Sometimes comman the attention although it has nothing M vital to say." — Guernsey, X. Y. Hera- Tribune. "Story is familiar one . . . but you will 1 often see it launched so well . . . Off almost an hour of vigorous excitement though it does bog down so badly in its fij preoccupation." — Cook, X. Y. Telegram Sun. "Incoherent pictures like this do deve a sort of inner strength for awhile. But- the thing doesn't quite come off, then you got to say that the target was missed.' Winsten, X. Y. Post. 'LIGHT TOUCH' METRO-GOLDWYX-MAYER "Smooth, little comedy with no mes Xot an ounce of deep thought is require sit back and enjoy it . . . Sort of Rafi affair . . . reminiscent of the typical gen man-crook thriller . . . rides on its oJ merits so pleasantly that it is gay, cli definitely diverting." — Thirer, X. Y. Post. "Since they had the good taste to adh to their title. Brooks . . . and his cast doing a service to the viewer . . . For melodrama . . . blithely relates the story a seemingly unregenerate art thief v mends his ways because of his artist-wi unselfish love, without resorting to too cliches . . . May not be art, but it is en' taining." — X. Y. Times. "One of those brittle comedy melodrai about crooks which Metro-Goldwyn-Ma has for a year found so enchanting . . . I| to depend on charm for its entertainm value." — Creelman, X. Y. Telegram and Sj. "Angled for amusement rather than i pense, with crime used merely as a conv< ent hook on which to hang the love story An occasional chuckle and a few small s< ings of romance." — Guernsey. X. Y. He: i Tribune. "NAVAJO BOY' LIPPERT PRODUCTIOXS "Feature-length dramatization, which I servedly could be termed a fine documnetJT . . . from its simple but poetic narratiorj» its panoramic vistas of the ruggest Soi west ... an unusual . . . convincing \oo\ the Red Man." — Weiler, X. Y. Times. "Good (Movie Meter Rating) . . . ap ing little semi-documentary drama . . , an affirmative for its natural beauty of ground." — Thirer, X. Y. Post. "Visually exciting film . . . not encum with a plot . . . The exposition of Xa customs and beliefs should appeal to | audiences as well as to anthropologis Pihodna, X. Y. Herald-Tribune. "Wistful and touching film with an a folk-story quality . . . Primitive and un ... it is a tender and fascinating experie — Cook, X. Y. Telegram & Sun. FILM BULLETf /$000 t/mes/ I want to express the sincere appreciation of our entire organization to the 14,000 exhibitors whose friendly support helped us top all records during Monogram Week. Your cooperation is the greatest encouragement we could have in our efforts to supply you with an ever better product. Monogram Week saw the beginning of the strongest releasing schedule in our company history. We feel that the completed pictures now on their way to you will enable both of us to share in many weeks of profitable business. EXHIBITORS fORUm Opinions Culled from Organization Bulletins MOVIES VS. REDS ATO of Indiana The entire motion picture industry was surprised and chagrined at the unreasonable attack made upon it by the recent annual re- port of the House Un-American Activities Committee. This unjustified assault com- plains that Hollywood was uncooperative in ridding itself of the Communist influence and comments that the country would be in a bad way if there were as many Communists in other fields as there are in motion pic- tures. It ignores completely the facts in the case. On Wednesday, February 20, a resolution was passed by COMPO refuting the irre- sponsible attack. A copy of that resolution is a part of this bulletin and we urge you to give it the widest possible publicity. Please forward it to your local newspaper editor and ask him to use it to advantage so that the public may know what positive things this industry has clone to stamp out any taint of Communism. Allied's General Counsel, A. F. Myers, termed the report grossly unfair but added the observation that perhaps our industry should have been more forceful in publicizing" its actions in ridding Hollywood of Communism. As a member of the in- dustry, please do your part now in giving the lie to these "Red" charges. ATO of the Gulf States The House of Un-American Activities Committee in a report to the House of Rep- resentatives has made a solemn charge against the Motion Picture Industry. This report says in effect that Hollywood has not moved with sufficient effort to oust all Com- munist employees and further adds that we (as an industry) have not been fully co- operative in stamping out the Red Menace which they claim is evidenced in certain of our films. Accordingly, it makes an all-out charge of Communistic leavings without any basis whatsoever against certain leaders of our industry. In defense of this unjust charge, COMPO called a meeting, and passed the following resolution which our National President- Elcct, Wilbur Snaper, urges each and every member of Allied to read, digest, and indi- vidually assume the responsibility of passing on the said resolution (or a copy thereof) to his local newspaper and editorial writer for use. AIR-WAVE BALLY ATO of Indiana Some time ago we thought it might be a good idea to start a sort of clearing house on exploitation ideas and business pro- motions that some of our members had used and found successful. A. J. Kalberer in Washington, Indiana, writes that lie has pro- moted an eight weeks quiz contest over his local radio Station. The radio station liked it well enough to go out and get sponsors so 28 that the deal costs the theatre nothing. Each weekday five people are selected from the telephone directory at random and asked a question pertaining to the program that is currently playing at the theatre. A free theatre ticket is given to each person called and those that answer the question get a cash prize — starting at $5.00 with $1.00 added each day. Questions may pertain to the feature, short, cartoon or newsreel. P. A.'S FOR PR ATO of Indiana Our hats are off to the Indianapolis dis- tributors who have been doing such a fine job of public relations by appearing before various civic clubs and similar groups in towns throughout the state. We have heard in person and by letter what a good job was done. As one exhibitor wrote: "Mr. 's program for the Lion's Club made a deep impression. Perhaps it was because he reached a group who had not attended the movie for months. They set up a round table discussion and as a final touch screened their new picture. I wish you could hear the comments on Main Street. Especi- ally— 'You don't see anything like that on television'. They did a beautiful job and I shall be eternally grateful." Another letter reads: "Following Mr. 's talk to our Rotary Club I saw people at the movies who I know have not been to the theatre in ages. Quite a few people stopped me on the street to tell me what an excellent talk Mr. gave and that they had a new appreciation of the movies." We only left out the names above because we can't print all the comments we re- ceived and credit should go to many. NEW AD APPROACH Allied Caravan of la., Neb. & Mid-Central While most industries seems to have turned their advertising over to specialists in that game the movie industry stands pat with the same old adjectives, superlatives, lithographs, repeated and repeated and re- peated mats, same old standard "grind-'em- out-like-sausage" press releases and always toss in a little sex — even on "JOHN FELL OFF THE PLOW." Advertising, how much and what kind has always been a bug-a-boo of the small exhibitor. That is each theatre's individual problem. A fresh approach is badly needed in this industry both on a na- tional and local level. The different, the novel, bhe thing that's out of the ordinary is worth twice as much as twice its cost in standard ads. Notice how QUO VADIS was handled in the state papers. Just like every other picture. (We're talking about advertising — not selling policy). There was nothing in the ads other than a blown up size to make it look different than any other biggee, And the public has just about been told enough that all pictures are biggees. Look at Kellogg's Corn Flakes ad in the latest issue of LIFE (or is that word taboo) if you want to see a different ad. It's fresl different and we'll bet a buck you'll look it for a full minute. This industry, whic was the originator of clever advertising, ha better sharpen its pencil and get out of th rut. OPS FOOD RULES North Central Allied So many exhibitors have inquired abou the application of prices ceilings to theatre that we are outlining the required OPS pre cedures. The regulations apply only to th food and drink which you may sell in you( theatre, and not to admissions. Under the OPS Ceiling Price Regulatio 11 — if you operate an eating or drinkin place (and the Office of Price Stabilizatio has seen fit to put theatres in this category you must compute your food cost on th basis of per dollar of sales. To do this, yo must keep two records: 1. Your total food sales per month 2. Your total food costs per month If you kept separate records during tl base period showing your total sales of foe and your total sales of beverages plus sep; rate records of cost of each, you must coi tinue to compute your "food cost per doll; of sales" separately. The following outlii covers food only, but you may handle beve ages the same way. To establish your "food cost per dollar sales," first take an opening inventory. Ne: add the food you buy during the currei month, ;>nd then take a closing inventor From these records, you can easily determii how much food you used. For example, during the month you bought five cases candy and used only two cases, you shou charge into your "food cost per dollar sales" only that which you used. The on way to be sure of this figure is by taking i ventory. Folowing are the steps you tak Step 1. An inventory means an act count of every bit of food you have on ha at the beginning of the first day of t month. The best way to do this is to get inexpensive ledger and count or weigh all the food you have on hand, then extend out to dollars and cents and add it up. Tl will give you your opening inventory. Ta your cost from your latest bills. Step 2. After you have completed yc opening inventory, keep right on in the sai ledger and enter each day each bill whetH cash or charge and extend ou the total. Th total each day and carry forward each da total. Step 3. At the end of the month you have a total in dollars and cents of what started with (opening inventory) to wh you add total of what you bought. Now, order to find out what you used, you tak closing inventory. This is done in the sa manner as your opening inventory, closing inventory will be your opening ventory for the new month. Thereafter, repeat the same process each month. FILM BULLETI 'RODUCTIOn i R€L€flS€ R6CORD COLUMBIA In the Release Chart, "Rel." is the National Release Date. "No." is the release Number. "Rev." is the issue in which the Review appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1950-51 programs unless otherwise noted. (T) immedi- ately following title and running time denotes Technicolor, (C) Cincolor, (SO Supercinecolor, (TR) Trucolor, (A) Anscolor. 951-52 Features Serials 951-52 Features Completed (53) In Completed (3) In Completed (53) In Production ( I ) Production (0) Production (4) RELEASE CHART — 1951-52 — N PRODUCTION TITLE — Running Time affair In Trinidad .ssignment — Paris fappy Time. The rince of Pirates (T) COMPLETED arbed Wire Cast Hayworth-Ford Andrews-Toren . Boyer-Driscoll Derek-Rush _Autry-Buttram Rel. No. Rev. arefoot Mailmen. The ISC) (83) _ R. Cummings-T. Moore ll-SI 404 oots Malone (103) Holden-Clements 12-51 41? 1-14 rave Warrior . Jon Hall ._ rigand. The (T) Dexter-Lawrence ... aptain Blood. Fugitive (T) Louis Hayward ■ hain of Circumstance (481 louded Yellow, The 196) orky of Gasoline Alley (70) -ongo Bill riminal Lawyer (74) ... ripple Creek (T) _ yclone Fury 154) eath Of A Salesman (III) uropean Edition smily Secret The 185) refighters, The rst Time, The 189) ve (93) jur Poster, The ■ olden Hawk, (T) arem Girl, The 170) iarlem Globetrotters, The 180) awk of Wild River, The (54) . er Wonderful Lie •ills of Utah 170) M. Feld-R. Grayson Simmons-Howard . .....S. Beckett-J. Lydon McGuire-Moore O'Brien-Wyatt Montgomery-Booth _ Starrett-Burnette March-Dunnock Glen Ford _Derek-Cobb Williams-Reynolds Cummings-Hale S. Douglas-W. Phipps _. .Harrison-Palmer ... _ Fleming-Hayden Davis-Castle Gomei-Dandridge 8-51 309 9-51 302 8-27 10-8 10-51 412 9-10 _ 8-51 2-52 423 12-51 414 2-52 10-51 424 2- 371 2-52 422 11-51 345 Starrett-Burnett 2-52 -Kiepura-Eggerth Autry-Buttram _ 9-51 356 1-52 10-51 10-51 9-51 dian Uprlsinq ISC) (75) Montgomery-Long ingle Jim in the Forbidden Land Weissmuller-Ryan _ .ingle Manhunt (66) Weissmuller-Ryan ingle Safari . Weissmuller-Greena d From Amarillo (56) Starrett-Burnette idy and the Bandit, The 178) Hayward-Medina iramie Moutains Starrett-Burnett agic Carpet IC) 184) Ball-Agar 10-51 agic Face, The (89) ... Adler-Knight 9-51 lan In the Saddle (T) (87) Scott-Leslie 12-51 a frying Kind. The Holliday-Harrison ob. The (871 B. Crawford-Buehler 10-51 V Six Convicts _ Beel-Mitchell _ . ever Trust A Gambler 179) Clark-O'Donnell 8-51 ght Stage to Galveston Autry-Buttram _ _ _ _ d West, The 161) Autry-Davis .1-52 ula Young-Smith 417 . 9-24 411 11-5 488 337 410 402 420 9- 10 10- 8 407 9-24 326. . 7-16 cos River (54) ckup 178) rple Heart Diary (73) linbow Round My Shoulder (C) ders of the Whistling Piaat High. Tough West .... bre and the Arrow. The (T) iturday's Hero (III) andal Sheet (82) -loky Canyon (55) iper. The . n of Dr. Jekyll (78) und Off ..... Starrett-Burnette 12-51 Haas-Michaels 8-5 1 F. Langford-T. Romano 12-51 ._ Laine-Daniels _Agfry-Whita Starrett-Burnett _ ... Crawford-Hale ... _. Derek-Reed 9-5 L .Crawford-Derek . Starrett-Burnette _ Menjou-Frani 473 ~404 357 421 12-17 7-30 1-52 -318 8-27 .1-14 483 Hayward-Knox ....... 11-51 409 10-22 .Mickey Rooney nny Side of the Street (71) Lane-Daniels 9-51 n Tall Men (T) (97) Lancaster-Lawrence 12-51. ief of Damascus, The IT) „ Wenreid-Sufton • Mey of Fire IC) (62) Autry-Barnett .11-51 ar Cry (C) .Montgomery-Long 408 413 353 11-19 histle at Eaton Falls, The (96) Bridges-Gish 8-51 322 8-13 ?5 1 -52 LIPPERT Completed (31) In Production (2) I PRODUCTION TITLE — Running Time figle. The 3MPLETED You Were indit Queen " Girl r Men Only (93) eat Adventure, The (75) . ghly Dangerous (81) 3ve It To The Marines (66) an Shark .. st Continent ' ■ n Bait (78) vajo (70) flaw Women >len Face. The _. onghold 173) High (60) RELEASE CHART — 1951-52 — Cast Cameron -Romero Rel. No. Rev. ..Tracy-Sawyer .Britton-Parker Romero-Totter P. Henreid .., 10-5 .12-15 .10-26 1-52 .5023. Price-Hawkins 11-2 Clark-Lockwood 10-12 S. Melton-M. Raft-Hart Romero-Brooke Lynn 9-2 4-52 8-27 1- 52 2- 52 4-52 4-52 Brent-Chapman Indian Cast ____ Windsor-Rober Henreid-Scott Lake-Scott 2-52 __S. Melton-M. Lynn 10-19 merman and The Mole Men (58) Reeves-Coates 1 1—23 es of Robin Hood Clarke-Hatcher .12-21 known World (63) Kellogg-Nash 10-26 Tiger Man Valiey of Eagles Varieties On Parade Wings of Danger Yes Sir. Mr. Bones (54) Warner-Gray _ Rose-Carroll Z Scott . F. Miller _ 4-52 3-52 7-20 3-52 7-13 5108 5114 5020 5106 5019 9-24 METRO-COLDWYN-MAYER 1951-52 Features Completed (77) In Production (6) RELEASE CHART — 1951-52 — Cast Johnson-Neal Kelly-Angeli Taylor-Parker Leigh-Carpenter Tracy-Hepburn Williams-Mature IN PRODUCTION TITLE — Running Time Mr. Congressman . Devil Makes Three, The Eagle On His Cap Fearless Fagan Pat and Mike One Piece Bathing Suit (T) ._ COMPLETED Across the Wide Missouri IT) (78) - Gable-Hodiak American in Paris (T) (113) Kally-Caron Angels in the Outfield (102) Douglat-Laigh Because Your Mine Lania-Whitmora Belle of New York 181) Astaire-Vera-Ellen Bannerline 1881 Forrest-Braselle Callaway Went Thataway (81) _ MacMurray-McGuire Calling Bulldog Drummond (80) Pidgeon-Leighton Carbine Williams Stewart Hagen Days Before Lent Young-Rula Girl In White, The Allyson-Kennedy Glory Alley Caron-Meeker Rel. No. Rev. Oct Nov Sep 208 202 10-22 9-24 8-27 3-52 Oct Dec Dec 223 206 214 213 2-25 9-24 12-3 Hour of Thirteen. The Invitation (85) It's A Big Country 189) Ivanhoe |T) Just This Once 1901 Law and the Ladv. The (104) Light Touch, The 193) Lone Star 1941 Love Is Better Than Ever 181) Lovely To Look At IT) Man With A Cloak 188) Merry Widow, The (T) Mr. Imperium (T) (871 Lawford-Addams McGuire-Johnson .All Star R. Taylor-E. Taylor Leigh-Lawford Garson-Wilding _ .Grainger- Angeli Gable-Gardner E. Taylor-L. Parks . Grayson-Skelton 2-52 1-52 220 215 12-17 3- 52 July Dec 2-52 4- 52 224 136 212 222 225 7-16 11-5 _ Cotten-Stanwyck Turner-Lamas Turner-Pinza Oct 207 10-22 Pandora and the Flying Dutchman IT) (123) People Against O'Hara 1102) Quo Vadis IT) 1171) Red Badqe of Courage (69) Rich, Young and Pretty IT) (95) _ Scaramouche (T) - Sellout, The (72) Shadow in the Sky 178) Show Boat ITI (108) Singin' In The Rain (T) Skirts Ahoy .Mason-Gardner Tracy-O'Brien Taylor-Kerr Murphy-Mauldin Powell-Damone Sep 1-52 Sep 203 Sep Aug S. Granger-E. Parker Pidgeon-Totter _ 1-52 Meeker-Davis-Whitmore 2-52 Gardner-Keel July- Kelly-O'Connor 4-52 201 204 138 21? 221 .135 10- 22 8-27 1 1- 1 9 8-27 . 7-14 12- '3I 12-31 . 7-2 Strictly Dishonorable (?5) _ Strip, The 185) Talk About a Stranger Tall Target, The (78) Teresa (105) Teias Carnival IT) (77) Too Younq To Kiss (91) Unknown Man, The (86) _ Westward the Women 1116) When In Rome Wild North, The 1971 Young Man in a Hurry Williams-Blaine Pinza-Cegih Rooney-Forrest . Murphy-Davis Powell- Raymond Angeli-Erickson _ Williams-Skelton Ailyson-Johnson . Pidgeon-Hardinq Taylor-Darcel Johnson-Douglas Granger-Corey -Roman-Nype July Aug 4-52 Aug July Oct Nov July 1-52 4-52 3-52 140 139 1 37_. 205 216 226 8- 13 3-12 9- 24 I 1-5 10- 22 12-3 MONOGRAM - ALLIED ARTISTS 1951-52 Features Westerns Completed (42) In Completed (16) In Production (0) Production (0) 145) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast COMPLETED African Treasure Sheffield-Luei Aladdin and His Lamp (C) (47) . Medina-Sands Bowery Leathernecks Gorcey-Hall Counterfeit Crazy Over Horses Dead Man's TraiJ . Desert Pursuit . Elephant Stampede Father Takes The Air Flight to Mars (C) 172) Fort Osage (C) Hold That Line Jet Job Joe Palooka in Triple Cross Lawless Cowboys 158) Let's Go Navy (48) Longhorn. The (70) Man from Black Hills Mexican Silver Night Raiders Rei. DeFoe-King Gorcey-Hall Brown-Ellison Morris-Caruso _ Sheffield Walburn-Gray Chapman-Mitchell Cameron-Nigh .. Gorcey-Hall Clements-Verdugo Kirkwood-Downs ' .-.Wilson-Knight _H. Hall-G. Gorcey Elliott-Coates Brown-Ellison ■ -.Wilson-Clyde —Wilson-Knight 1-52 11-18 No. 529? 5114 Rev. 11-18 5114 5-52 10- 2? 4-17 I l-l I 2- 52 3- 52 .9-16 I 1-7 7-2? . 1 1- 25 3-52 _520? . 51 10 -5126 5103 . 1 1-19 .5102 . S2II L -5118-1 10-8 5155 . J -5113 8-27 5223 -5242 2-52 5251 ARCH 10, 195 2 29 Northwest Territory [ill Oklahoma Justice Rodeo (C) - - Stage to Blue River (Si) Stagecoach Driver Steel Fist. The 173) Texas City Texas Lawmen 154) Texas Marshall Trail Dust Vengeance Trail Grant-Chinook ...Brown-Ellison ._ lane Nigh 12-9 .8-1* ... 3-? .5144. Vicious Years. The (79) Waco Wagons West (C) Wanted: Dead or Alive (59) Whistling Hills Wild-Stallion (C) Witness. The Yellow Fin Yukon Manhunt 5104. Wilson-Knight 12-30 Wilson-Knight 7-1 5 .... 51 53- McDowall-Miller 1-52 5217. Brown-Ellison 1-52 5241... Brown-Ellison 12-2 - Wilson-Knight — - ... Albright-Winters 12-31 5I07_ _ Elliott- Stewart 4-52 5225.. Cook-Moore 2-18 2-52 5224 Elliott ..Cameron Wilson-Clyde Brown-Ellison _Johnson-Hyer 9-9 ...5154.. Kirkwood-Gleason Morris-O'Flynn Grant-Davis .10-14 5108... 7-12 5123 Disc Jockev Highwayman, The (C) (83) ALLIED ARTISTS Simms-O'Shea Hendrix-Coburn ... 8-23 _ 9-8 . .21 _ ...20..._ 6-18 .8-27 Gobi and Gals Downs-Hutton Honeychile (Tr) (89) __ Canova-Foy _ 10-51 ..5r2l Hoodlum Empire Donlevy-Trevor Lady Possessed _ Mason-Havoc 1-52 5104 1 Last Musketeer. The Allen-Kay 3-52 5142.. Leadville Gunslinger Lane-Riley 3-52 Minnesota Cameron-Hussey ._ Lost Planet Airmen IReedited trom "King of the Rocket Men" Coffin-Clarke 7-25 5031 Oklahoma Annie (C) Canova-Russell ._ Pals of the Golden West (68) Rogers-Evans 12-15 5152 2- Quiet Man, The (T) Wayne-O'Hara Robinson-Vs. Turpin (53) Fight Pictures _ _ 7-20 5061 Rangers of the Golden Sage ..Chapin-Janssen Rodeo Kind & The Senorita (67) ... Allen-Kay 7-15 . 5053 Sea Hornet, The (84) _ _ Cameron-Booth 11-6 Secrets of Monte Carlo Douglas-Hall 6-20 5030 _ South of Caliente 67) Rogers-Evans 10-15 .5151 II Stormbound Dowling-Checchi 12-15 5032.. Street Bandits (54) ... Edwards-Clarke 11-15 5130 I] This Is Korea (50) Documentary — _ .8-10 ...5127 1 Utah Wagon Trail (67) Allen-Edwards 10-15 ...5054 I Wild Blue Yonder 198) Corey-Ralston 1 2—7 5130 12 Woman In The Dark Edwards-Elliott 1-52 5131 ....... 10 Wyoming Saddle Pals Chapin-Janssen PARAMOUNT RKO RADIO 1951-52 Features Completed (60) In Production (6) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Botany Bay (T) Come Back Little Sheba Hurricane Smith (T) Military Policeman Stalag 17 War of the Warlds (T) Cast Ladd-Mason Lancaster-8ooth DeCarlo-lreland Hope-Maxwell ... Holden-Taylor Barry-Robinson Rel. No. Rev. COMPLETED Aaron Slick from Punkin Creek (Tl Shore-Young Anything Can Happen _. Big Timber (T) Caribbean Gold (T) . Carrie _ _ _ Crosswinds (T) 193) Darling, How Could You (95) Detective Story 1103) Famous (T) Flaming Feather IT) (77) Ferrer-Hunter Payne-Moorhead Payne-Dahl Olivier-Jones Payne-Fleming _ Fontaine-Lund .... Douglas-Parker . Crosby-Wyman S. Hayden-G. Russell Stewart-Hutton Payne-Morrow Crosby-Wyman 10-51 5 1 04 11-51 5108 8-13 1 1— 51 SI 1 1 10-8 Greatest Show On Earth (T) (151) Green Gold of Nevada (T) Here Comes the Groom (114) Hong Kong (Tl (92) Reagan-Fleming Jumping Jacks Martin-Lewis Los Alamos _ Barry-Carke ... My Favorite Spy 193) Hope-Lamarr . My Son John ... . Hayes-Heflin 2-52 5118 12-31 _ 1-14 9-51 5101. -52 5109 I 1-19 12-51 5110 10-22 Passage West (T) 188) Peking Express (85) Place in The Sun, A (122) Rage of the Vulture, The Red Mountain (T) Rhubarb (95) Sailor Beware 1102) Samson and Delilah (T) (128) Shane IT) Silver City (T) (90) Somebody Loves Me (T) Something To Live For (90) Son of Paleface (T) Staoge, The Payne-O'Keefa _ _ ...Cotten-Calvet _ ...Cliff-Winters Ladd-Kerr Ladd-Kennedy Milland-Sterling Martin-Lewis Lamarr-Matura . _. Ladd-Arthur _ DeCarlo-O'Brien .—7-5 1 8-51. 9-51 5022 _ _5024. 5102 _7-2 7-30 9—5 1 2-52 ._ 3-51. 51 13._ .5103 _ .5114 —5810. _B-I3 12-17 .11-21 12-51 5112 10-8 Submarine Command (89) That's My Boy 198) The Denver i Rio Grand* (f) This Is Dynamite Warbonnet (T) Warpath (95) (T) When Worlds Collide (82) (T) Fontaine-Milland 3-52 5105 ..... 2-11 Hope-Russell Martin-Lewie Holden-Olson II-SI . 5107 . 9-24 Martin-Lewie 8-51 S026_ 7-2 O'Brien-Havden Holden-Smith Heston-Hanson O'Brien-Jagger Derr-Rush 8-51 _ 1 1-51. -502S 6-18 -5106 9-24 1951-52 Features Completed (65) In Production ( RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. No. Hans Christian Andersen (T) Kaye-Granger Sudden Fear Crawford-Palance This Man Is Mine Hayward-Mitchum COMPLETED At Sword's Point (T) Wilde-O'Hara 2-52. Alice In Wonderland (T) (75) Disney Cartoon 7-51.. Androcles and The Lion Simmons-Young Behave Yourself (81) Winters-Granger _ 9-51. Big Sky The Douglas-Martin Blue Veil, The (114) Wyman-Carlson 10-51. Cat People 173) Clash By Night Double Dynamite (80) Flying Leathernecks (T) (102) Girl in Every Port, A (86) Gun Play 160) Gypsy Blood (T) Jennifer Jones Happy Go Lovely IT) (87) D. Niven-Vera Ellen Half-Breed. The IT) Young-Carter His Kind of Woman (120) Russell-Mitchum Hot Lead 160) Holt-Martin Simone-Smith Reissue Douglas-Stanwyck Sinatra-Russell 12-51 Wayne-Ryan 8—5 1 ... Marx-Wilson 1-52. Holt-Martin 8-51... .220 292 .206 263 . .267 ... 214" 261. 214 ... .120 7 ....'1 <> 7-5 1 .262 8-5 1 201 10-51 209. Hunchback of Notre Dame (117) Laughton-O' Hara Reissue 266 I Want You (101) Andrews-McGuire 1-51 101. Jet Pilot IT) (118) ._ _ Wayne-Leigh Jungle of Chang (67) _ Travel 1 1-51 208 . Jungle Headhunted (T) (65) Travel _ 6-51 177. Korean Story, The Mitchum-Tallman ._ _ Las Vegas Story, The (88) . Lilli Marlene (721 On Dangerous Ground (82) On The Loose (74) Overland Telegraph (60) _ Pistol Harvest (68) Pace That Thrills, The Racket, The (89) _. Ragged Edge, The Rancho Notorious (89) „ Dietrich-Kennedy 3-52 Roadblock (73) McGraw-Dixon 7-51.. Saddle Legion 160) _ Holt-Martin Russell-Mature 2-52 . McDermott-Daniely 7—5 1 ._ ..Ryan-Lupino 1—51.. ..Evans-Earl 10—51. ■ Holt-Martin 12-51 -Holt-Martin 7-51. Williams-Balenda 3-52. -Mitchum-Scott II-SI Lupino-Ryan 217 . 203 . .215. 202 . .216 ... _205_ .... 1 210 I Slaughter Train (C) (78) Snow White and the Seven Dwarfs (T) (83) Target ..Donlevy-Grey 10-51 Tarzan's Savage Fury Tembo 180) Disney Feature Reissue .McGraw-White 221 .204. -M7_ 207. 292 . Barker-Hart 3-52 Documentary 1-52.. Trail Guide 160) Holt-Martin 2-52 Two Tickets to Broadway (T) ( l86)_Leigh-Martin _ 11-51. Whip Hand. The (82) Reid-Tuttle 10-51... 265 ... 219 264.. .212.. REPUBLIC 20th CENTURY-FOX 1951-52 Features Serials Westerns Completed (17) In Production (I) Completed ( 0) In Production (0) Completed ( 9) In Production (0) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Tim* Jeannie COMPLETED Adventures of Captain Fabian (100) Arizona Manhunt (60) Bal Tabarin __ _. _ Slack Hills Ambush Border Saddlemates Captive of Billy the Kid Colorado Sundown Dakota Kid. The (60) Cast Shirley-Lawrence E. Flynn-M. Prell* Chapin-Janssen Lawrence-Ching Lane-Waller Allan-Kay ... Lane-Edwards Rex Allen Rel. No. 10-6 ..... . 9-15 5101 . 5068 Rav. 10-8 Desert of Lost Men 154) Don Daredevil Rides Again _. Fabulous Senorita. The _ Flight from Fury Fort Dodge Stampede 160) _ Fugitive Lady 178) 30 1- 52 2- 32 7-1 11-19 6-1 Chapin-Janssan Lane Curtis-Towne _ .Estelita-Clark* Edwards-Clark _ Lane-Kay . 8-24 Paige-Barnes 7—1 5 5064 5141 5067 5063 . 5084 -14 5062 SOI I 6- 18 7- 30 1951-52 Features Completed (51) In Production RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Condor's Nest (T) Dream Boat COMPLETED Anna of the Indas (T) (82) _ As Young As You Feel (77) _ Bells On Their Toes (T) Cry of the Swamp (T) Cast ..Wilde-Smith _ Webb-Francis Rel. No. -Jordan-Paget .Woolley-Ritter II-SI 6-51 Crain-Loy 5-52 Peters-Hunter _ David and Bethsheba (T) (116) Peck-Hayward 2-52 Day The Earth Stood Still. The |92)_Renni*-N*al 9-SI Deadline U. S. A. Bogart-Barrymore 5-52 .Merrill-Basehart 1-52 .Mason-Young 10—51. . Power-Neal Decision Before Dawn (119) Desert Fox, The (91) Diplomatic Courier Don't Bother To Knock -.Widmark-Monroe Down Among the Sheltering Palms (T) Lundigan-Greer ..... 6-52 Elopement (82) Webb-Francis 12-51. Full House, The Crain-Granger 5 Fingers (108) Mason-Rannie 3-52 141. Fixed Bayonetsl (92) Frogmen (96) Girl Next Door, The IT) . Basehart-O'Shea . Widmark-Andrews -Haver-Dailey FILM BULLET * I ? irl on the Bridge. Th* (77) olden Girl (T) (108) jy Who Cam* lack. Th* (91) Don't Car* Girl, Th* (T) I N*v*r Forget You IT) (90) panes* War Bride If I) . •urney Into Light (87) _ .agar** IT) |l Miserablas t'l Make It Legal (77) va Nest 184) _ dia Bailey IT) 189) I PH mi ivy i ■ i i *» » » Ml Me After The Show (T) 1861 _ llionaire for Christy (91) -. Belvedere Rings The Bell 188) idel and The Marriage Broker 103 . H'ghway In The Sky 197) itcasts of Poker Flat, The ople Will Talk II 10) >ne Call From A Stranger 194) de of St. Louis 1931 d Skies of Montana IT) 198) _ turn of the Texan 1871 •$e of Cimarron !NCI 172) cret of Convict Lake 183) it Care of My Little Girl (T) 193) a Zapata 1113) it Till The Sun Shines Nellie (T) _ y of a Gaucho (T) Vre Not Married 'iat Price Glory Haas-Michaels 12-51 . 139 12-17 Day-Gaynor . II-SI . 1 34 11-19 Douglei-Darnell 7-SI I IB Gay nor- Wayne Power-Blyth . . 1 2—5 1 142 12-31 .Yamaguehi-P. Taylor . I — S 202 Hayden-Lindfors 10—5 1 132 9-10 OHara-Lawford 4-52 Rennie-Paget .Colbert-Carey 11-51 133 .Haver-Lundigan 10-51 131 Robertson-Francis Grable-Carev _ 8-51 125 MacMurray-Parker 9-51 . 127 Webb-Dru 8—51 .... 124 J. Crain-T Ritter 1-52 201 Stewart-Dietrich 10-51 121- Baxter-Robertson 5-52 Grant-Crain 9-51 . 124 Merrill-Winters 2-52 204 Dailey-Dru 4-52 Widmark-Smith 2-52 207 Robertson-Boone 2-52 209 Buetel-Powers 4-52 Ford-Tiernev 8-51 . 123 Crain-Peters 7-51 1 19 . M. Brando-J. Peters 3-52 204 Peters-Wayne Tierny-Calhoun Wayne-Rogers Cagney-Dailev I 1-5 10-22 "8-13 . 8-13 8-13 12-17 9-10 2-25 Fraecu »• t*. Races IM) Francis Goes t* West Poiat frotd** Hard*. The IT) Has Anybody Seen My Gal IT) H*r« Com* The Nations Iron Man 112) Lady from Texas IT) 1781 _ _ Lady Pays Off. Th* . Lavender Hill Mob The Little Egypt IT) 1821 Lost in Alaska _ 0'Co*__r-_*_rl* _____ Jely OCoe«*rN*lsoe *Uyth*-F*rr*r Oct. Colburn-Lauri* Oixi* and Harriet Feb Keyes-Chandler Auq Hull-Duff Oct Dernell-McNelly Nov Guinness-Hollowey Oct . Flemino- Stevens, t Sept - Abbott-Costello Ma and Pa Kettle at the Fair Mein-Kllbride Ma and Pa Kettle Go To Paris Main-Kilbride Mark of the Renegade IT) 181) Montelban-Cherisse Meet Danny Wilson Sinatra-Winters Pool of London Collaano-Shaw Raging Tid*. Th* 192) Wint*rs-Cont* Red Ball Express Chandler-Cabot Reunion In Reno 179) Stevens-Dow Scarlet Angel IT) DeCario-Hudson Son of Ali Baba IT) . Curtis-Laurie Steel Town IT) Sheridan-Lund Strange Door. The 1801 Laugnton Karloff Thunder On the Hill 185) Colbert-Blyth Treasure of Lost Canyon. The ITI 181 IW. PoweM-J Adams Untamed, Th* (T) . Cotten-Wintert _ Week-End With Father (83) Neal-Heflin World In His Arms Th* IT) Peck-Blvth You Never Can Tell Powell-Dow Mar Dec Sept Mar Dec Sept 125 134 210 1 30 134 202 280 131 Aug 128 Feb 205 Aug 183 No. 203 Oct 135 215 204 133 209 204 132 4 4 7 14 10-8 8-27 8-13 10-22 10-8 1 1- 5 8 13 2-25 12- 3 9-10 A Song In My Heart IT) (1171 Hayward-Calhoun 4-52 210 2-25 WARNER BROTHERS UNITED ARTISTS 51-52 Features Completed (56) In Production (I) RELEASE CHART — 1951-52 — I PRODUCTION TITLE — Running Time Piter's Wife .... OMPLETED Cast Claudette Colbert Rel. No. Rev. A^hristmas Carol 186) _ Aors and Sin 194) *4can Queen (T) 1 104) A'.ther Man's Poison 189) m Night. The 175) alo Alastair Sim 11-30 _ Robinson-Hunt ___ Bogart-Hepburn 3—21 Davis-Merrill 1-14 J. Barrymore-P. Foster 12-7 n Tomahawk Territory 146) Moore-Andrews 2-8 H-R I 1-19 1-14 1-14 I 1-19 ■ Ctive City C:ago Calling 174) ... ... Cidburst 183) ; f - Definance (81) Hr In A Jeep 197) €d Raiders 154) Gen Glove. The 188! . r- Ran All the Way (77) . , r-|h Noon - H.dlum. The 141) . Hel Sahara (87) . Ly Says No, The (80) ... '.--blight . ... ; Wler Drake's Duck 181) ». Peek-A-Boo (74) ' Winy IT) 177) :- Cessed 177) ... Qtt* 11051 __ Big Affair 180) Forsythe-Hall Hon My French 181) '-« i R en For A Day 1107) Planet Mars Hie The IT) 1102) i Journey 1471 .Duryea-Anderson l-l I Preston-Sellars 1-3 I D. Clark-B. Johnson 11-9 Lindfors-Meeker 8-17 — O'Brien-Ryan . . 9-14 Ford-Brooks 2-28 — Garfield-Winters 7-13 -Cooper-Kelly Tierney-Roberts DeCarlo-Ustinov — Caulfield-Niven — Chaplin-Bloom _ — -Fairbanks-Donlan — Green wood-Bourvil Stevens-Lansbury — Farrar-Fitigerald — Neagle-Howard — O' Keef e-Keyes — Oberon-Henreid - — Avery-McGavin Graves - iRos-Moreno — Swinburne-Shields Color Feature — Linda Darnell , — Foch-Haymes 12-17 I 1-5 7-14 Reb Kr. 7-27 _ 6-18 10-15 Jar 11-19 1-4 12-17 14 : Sirday Island IT) S fenny th* Dip (80) Fach-Haymes . 8-24 Dan Stnge World Hauff-Schneider 3-28 Gehn I- *f Five W*-en, A (86) Bonar Colleano 3-7 ' U Brown's Schooldays 193) Davies-Newton 11-2 _ _ :; T Gals and a Guy (70) Paige-Alda 8-3) ' _.erS?r,d S,orv 1,01 Duryea-Storm __ 7-21 C-E. t_|. The 185) _ Rober-Kelly 9-14 Pop _ 9-10 n I Gi.w Up 190) Preston-Scott 4-20 ■ UNIVERSAL- INTERNATIONAL 5 1 -52 Features Completed (62) In Production (3) RELEASE CHART — 1951-52 — Cast Sheridan-Lund Blyth-Gwenn Ryan-Adams Chandler-Brady Rel. II PRODUCTION TITLE— Run ning Time Across the Street and St. Ann is Man. The IT) 8uccaneer IT) .. C MPLETED A inst All Flags IT) :'-Aost Married . • le at Apache Pass of the River IT) il-Blht Victory (97) _ _^»ico Buster (T) -OH. I Drive IT) 177) McCrea-Stockw.ll _ Ce of Outlaws, The (T) 176) Smith-Carey '-cJ?" "id The IT) (84) .... A. Mur.hy-Y. Duqay ,'q? » t*und the Mo""*«i'> 177) — Abbott & Costello-Shay _July • Si I er Creek. The (T) Murphy-Domergue _ - Mers Keepers 175) Ewell-Adams Jan ! Fh _Ar.raby 1T) 1771 - -Chandler-O'Hara Jan .^«n and Fury _ Curtis-Sterling Mar [1CIS Cvers t"e Big Town Donald O'Connor No. Rev. [T] Flynn-O'Hara _ Curtis-Laurie Chandler-Lund ... Stewart-Kennedy Dow-Kennedy . Lund-Brady . Feb Jan 212 208 7-30 Aug _ Nov _ Jan 128 213 _I27_ 211 207 _ 214 . 7-30 11-5 12-31 _7-2 1-14 _ 12-3 1 ARCH 10, 1952 1951-52 Features Completed (41) In Production (2 RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Miracle of Our Lady of Fatima, The Gilbert Rowland Story Of Will Rogers, Th* IT) Rogers-Wyman _ COMPLETED Rel. No. Rev. About Faca IT) Big Trees. The IT) 189) Bugles in the Afternoon IT) 185) Captain Blood Reissue! 198) _ Carson City Close To My Heart 190) Come Fill the Cup 1 113) MacRae-Bracken Douglas-Miller R. Milland-H. Carter Flynn-DeHaviland Scott-Massey . Milland-Tlerney J Caqnev-P. Thaxter Captain Horatio Hornblower IT) 1 17 Peck-Mayo Crimson Pirate, The IT) B. Lancaster _ Distant Drums IT) 1 101) Cooper-Aldcn _ Force of Arms 1 1001 Holden-Olson II 10) I'll See You In My Dreams Jack and The Beanstalk _____ Lion and the Horse. The Jim Thorpe. All-American 1105) Man With A Gun ITI Mara Maru North of the Rio Grande Only The Valiant I 105) Day-1 nomas Abbott-Costello Cochran-Teal Lancaster-Bic kford Scott- Wymore Flynn-Roman McCrea-Mayo MacRae-Day 12-29 9- IS 1-12 1 1 1 102 112 12-17 12-17 Painting Clouds with S'hine IT) 187) Mayo-Morgan 9-1 7-28 7-28 Retreat. Hell! 195) Room For One More 195) San Francisco Story _________ She's Working Her Way Throuqh College IT) Starlift 1103) _ Streetcar Named Desire, A (122) _ Tank Are Coming, The 190) _ This Woman Is Dangerous 197) Tomorrow Is Another Day 190) Where's Charlie? (T) Winning Team. The Loveioy-Carlson Grant-Drake . McCrea-DeCarlo 2-23 1-26 101 029 029 105 115 113 6-18 9-24 2-25 1-14 Mayo-Reagan Cagney-Mayo Brando-Leigh S. Cochran-P. Carey Crawford-Morgan Roman-Cochran Bolger-McLerie Day-Reagan 11-19 Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St., Phila. 3 — 1239 Vine St.. Phila. 7 LOcust 4-0100 Member National Film Carriers 31 TOP-GROSSING Film Productions of 1951 The First 4 and From VARIETY ANNUAL, Jan. 3, 1952 1. "David and Bathsheba" . . . technicolor . 20th-Fox 2. "Show Boat" technicolor . . MGM 3. "An American in Paris" . . . technicolor . . MGM 4. "The Great Caruso" technicolor . . MGM From SHOWMEN'S TRADE REVIEW, Dec. 22, 1951 1. "King Solomon's Mines" . . . technicolor. . MGM 2. "Show Boat" TECHNICOLOR. • MGM 3. "Samson and Delilah" .... technicolor Paramount 4. "I'd Climb the Highest Mounta ^'technicolor 20th-Fox 5 out of First 7 From MOTION PICTURE DAILY and MOTION PICTURE HERALD, Jan. 4, 1952 "An American in Paris" "David and Bathsheba" "The Great Caruso" . . "King Solomon's Mines" "Show Boat" technicolor technicolor technicolor technicolor technicolor . MGM 20th-Fox . MGM . MGM . MGM with... TECHNICOLOR IS THE TRADE MARK OF TECHNICOLOR MOTION PICTURE CORPORATION HERBERT T. KALMUS, PRESIDENT AND GENERAL MANAGER presents v 3 HITS ■J* IN A ROW1. THE BELLE OF NEW YORK " THE WILD NORTH" SINGIN' IN THE RAIN'1|| Technicolor '<* \ i*7S' NEWANSCO COLOR Technicolor ONE! TWO! THREE! WHE Amazing Novelty ! Fred taps and teeters on New York's C- skyscrapers ! Thrills ! Savage Wolf Pack Attack! The Avalanche! Ordeal of the Rapids! The Indian Princess ! M-G-M's Dancing-On-Air Musical Springtime TECHNICOLOR Joy THE BELLE OF NEW YORK0 M-G-M's "King Solomon's Mines of 1952." NEW ANSCO COLOR THE WILD NORTH" w„,„ M-G-M's "HAPPY EASTER" GOLDMINI TECHNICOLOR Holiday Treasure SINGIN' IN Glorious Feeling when those holiday crowds pour in ! THE RAIN rr BULLETIN EDITOR , ol. 20. No. 6 March 24. 1952 Page Three ft COURAGE It is not our "wron£ actions which it uires courage to confess, so much s those which are ridiculous and oolish. "— ROUSSEAU REVIEWS in This Issue incin' In The Rain _ .......15 he Sniper _.....15 Ka and Pa At The Fair 15 lUTINY _ _ 16 Iabzan's Savage Fury .„ 16 ■ irl In Wnrrr _ 16 FILM BULLETIN — An Inde- pendent Motion Picture Trade Paper published every other Monday by Film Bulletin Com- pany. Mo Wax, Editor and Pub- lisher. BUSINESS OFFICE; 35 West 53rd St., New York, 19; Circle 6-9159. David A. Bader, Business Manager; Leonard Coulter, Editorial Representative. PUBLICATION — EDITORIAL OFFICES: 1239 Vine St., Phila- delphia 7, Pa., RIttenhouse 6- 7424; Barney Stein, Managing Editor; Dick Newton, Publica- tion Manager; Robert Heath, Cir- culation Manager. HOLLYWOOD OFFICE: 659 Haverford Ave., Pacific Palisades, Calif., Hillside 8183; Jay Allen, Hollywood Editor. Subscription Rate: ONE YEAR, 83.00 in the United States; Canda, $4.00; Europe, $5.00. TWO YEARS, $5.00 in the United States; Canada, $7.50; Europe, $9.00 CAPITALIZE THE WEATHER The coming of Spring, season of singing birds, sunshine and daylight saving time, was never regarded as a harbinger of glad tidings for our industry — never, that is, before everyone's living room started to furnish free entertainment. In former days, when Mother Nature smiled her brightest, thr.it n-men did not smile with her. for Spring is the season of the verdant parks, the full streams, of young men's fancies, and many man-made enticements like the automobile and baseball. But two years of tussling with the competition of miniature movie entertainment in the living room — an intriguing novelty — has convinced manv exhibitor- in tele- vision territories that Winter's cold blasts and snows are far deadlier than Spring's sun- shine and longer days. As a matter of fact, the emergence of television has brought about a switch in the movie seasons. If you recall last year's trends, you remember that optimism was flowing high through the warm weather seasons and into the early Fall. Movie business appeared to have hit the comeback trail and prospects for the Winter seemed glowing. But with the arrival of the northwinds. grosses started to fall as fast as the thermometer. This has happened two years in a row. It's time we learned a lesson. Until the novelty of video wears off I of w hich there already are ample indi- cations), let's make the most of nature's bounties. Wa> the time when Spring and Summer weaned people away from their movie-going desires; today, we should think of these seasons as our ally in beckoning them out of their homes to roam — yes, perhaps to a movie. Fullv cognizant of this new trend, certain of the distributors are making many topflight films available to theatres from April thru August. M-C-M will provide "The Wild North."' "Singm' in the Rain" la great musical). "Scaramouche." "Mr. Congress- man" and "Lovely to Look At". 20th Century-Fox will give exhibitors its outstanding musical. "With A Song in My Heart". "Pride of St. Louis"' and "Bells on Their Toes". Columbia can boast an imposing array of warm weather releases topped by "The Marrying Kind". "My Six Convicts". "Walk East on Beacon". "The Sniper". "The Happy Time" and. possibly. "Affair in Trinindad'". the first Rita Hayworth starrer in three vears. And from Paramount, exhibitors can anticipate "Greatest Show on Earth". "Red Mountain"* and William Wyler's "Carrie", successor to his "Detective Storv". Republic has two good ones on "Hoodlum Empire" and the John Ford-John Wavne production. "The Quiet Man", about which, incidentally, we hear glowing reports. There will be no dearth of outstanding pictures to offer the public. This is the time of year, when people are out on the streets, to exploit films and movie-going to the limit. Let's capitalize the weather as a business asset. Let's circularize and billpost and ballyhoo from the housetops that Springtime and Summertime are Movietime. MO WAN YOOIL BE THE PROUDEST SHOWMAN with Your PARADE THERE'S NO BUSINESS LIKE 2&*C E NTU RY- FOX BUSINESS ! Snaper Demands Speed In Selling Up Arbitration Plan Charges of stalling on arbitration, coupled with warning that a fresh rash of lawsuits is about to break out unless the distributors set up the arbitration talks, were hurled by National Allied president Wilbur Snaper in New York last week. Allied's arbitration proposals have been in the distributors' hands some six weeks. The TOA plans were submitted shortly there- after. Snaper feels that the companies have had ample time to study the proposals and arrange a meeting with exhibitor representa- tives to discuss the setting up of an arbitra- tion system. The delay has inflamed exhibitors with complaints, many of whom have held off in- stituting court action in view of the arbitra- tion prospects. But their patience is being sorely tried, Snaper claimed. High among the gripes, the Allied head said, was the "pre-release" policy where a film is shown in selected first-runs at a higher admission, taken out of circulation ALLIED'S SNAPER Quit Stalling or Else . . . then replayed in the first-runs at regular ad- missions. The result is that the film is milked virtually dry by the bigger houses, leaving the smaller subsequent-runs with only "crumbs," Snaper charged. 1951 Tax Receipts Shows B.O. Off Only 3% From '50 On the basis of general admission tax re- ceipt figures for 1951, recently released by the Internal Revenue Bureau, box-office re- ceipts for last year were down only slightly over 3 per cent from 1950. In the latter half of 1951, July and September showed in- creases over the corresponding months in 1950, while August and November were ap- proximately on par. Only October and De- cember were substantially below. Total tax collections on all general admis- sions for 1951 was $340,632,153; for 1950, $360,677,149. It is approximated that movie theatres represent 75 per cent of these totals. MARCH 24, 1 952 BULLETIN JVEWS unit OJPIJVIOJV Bogart, 'American In Paris' Surprise In Academy Awards There were some startling surprises when the Academy Awards were announced last Thursday (March 20) night. Hardly anyone outside of Hollywood expected Humphrey Bogart to receive top spot for his role in "African Queen," and "An American in Paris" was accorded only an outside chance for picture-of-the-year honors in advance predictions. The Metro musical waltzed off with seven other awards. Choice of Vivian Leigh as best actress, for "Streetcar Named Desire," followed expec- tions, however. "Streetcar" also came in for two other acting awards, Kim Hunter and Karl Maiden, for supporting roles, marking the first time in Academy history that a film has won more than two awards in the acting division. The "oscar" for direction went to George Stevens for "A Place In the Sun", also ac- corded plaques for screenplay, score, photo- graphy, costume design and editing. Reissues Too Restricted, N. J. Allied Head Charges Reissues, for many theatres the transfusion needed to keep them alive, are being deliber- ately restricted. This charge was levelled at distributors by Wilbur Snaper, president of Allied Theatre Owners of New Jersey, and recently elected National Allied president, at a meeting of the regional unit in Newark. In the New Jersey territory, Snaper said, it is virtually impossible to book a film more than two years old, aside from those the distributors make available occasionally on a regular release. "Exhibitors can no longer book good re- leases" in his territory, Snaper charged. The older films with star names that draw in various theatres are unobtainable, he said, despite the fact that they could prove lucra- tive to both the theatreman and to the dis- tributor. The entire meeting recorded a strong pro- test against the reissue situation. COMPO Backs Tax Battle Despite Treasury's Coolness The Treasury Department's "low priority" rating for elimination of the Federal Admis- sions tax spurred the industry into renewed vinor toward an "educational campaign" di- rected at Congress and the Treasury. Arthur I.. Mayer, executive vice-president of the Council of Motion Picture Organizations, an- nounced the all-industry organization's de- termination to press the battle to eliminate the levy following the Treasury's Tax Study report on "Fedcral-Statc-Local Coordina- tion." "We who are close to the business are con- vinced that this type of taxation is inequi- table for two reasons: It bears most heavily on that part of the public least able to pay, and it threatens the well-being of our in- dustry," Mayer declared. "Not only do we hope to convince Congress of this fact, but we hope to make representations to the U. S. Treasury as well. We have found Treasury officials open-minded and we know them to be constantly evaluating taxes in the light of 4 t COMPO'S MAYER 'We Hope to Convince . . . their effect on the economy — not only the national economy but of the economy of the industries involved and the population sec- tors immediately affected. The Congress naturally is the agency that can grant relief. No effort will be spared, however, to make an ally of Treasury Department, whose rec- ommendations properly have great weight with 'he Congress." Copies of the Treasury's study are being forwarded to the COMPO Tax Committee, Mayer declared. Meanwhile, Theatre Owners of America started a "pre-release" campaign against the admissions tax with the appointment by president Mitchell Wolfson of a special 30- nian tax committee "for the purpose of co- operating and co-ordinating our efforts with the Compo Committee on Taxation." Each of the members of the TOA tax committee "has had a thoroughgoing experience in handling tax matters at the Federal, State (Continued on Page 24) America's most produced stage play which the* Saturday Evening Post says "Had 50,000 performances . . . is a bigger hit than 'Oklahoma V or life With Father'!" \n a Store Port' faP1 K PRODUCTION a 'Perlberq-Seaton PrKluced W WU1W and QtOUGE S&W Virecfion and Screenplay by OAtypE gut/on ' Based on the play by loiter Benjamin r"< €xkibiUrA Could Well Emulate A lHaMet £/tctotttah ZS tfearA Aye We Need Roxy's Magic Touch ! BULLETIN 9eatute By Leonard Coulter We sat around munching roast beef sand- wiches, or nibbling at turkey legs, and eyeing the two big birthday cakes. Xo one cut the cakes. So after a while, we gave up hope and fell to gentle reminiscence. Someone next to me asked, "Didn't Roxy die tragically, or mysteriously, or some- thing?" That started it. Out came the story of that fabulous showman Samuel L. "Roxy" Rothafel. With $9,000,000 he put up a Moorish palace on a Seventh Avenue lot in New York City which had been used as a car barn. It was a mammoth monstrosity, with seats for 5,883 people — the largest thea- tre in the world in those days. It had everything. Remember, this was 1927 — a quarter of a century ago. But the house-that-Roxy-built was air-conditioned, had five huge organ consoles, a broadcasting studio and a rear projection machine which could throw animated scenic effects on the stage backdrop. There was a symphony orchestra of a hundred musicians, a ballet corps, a glee club, a line of precision dancers — the famous Rockettes of those days — and those ushers drilled with strict military discipline. Re- member when they talked about :'drafting the Roxy ushers to fight the next war"? And his Roxy Theatre boasted the fanciest lighting outfit this side of the Great Galaxy. The boy in charge of the giant switchboard on that eventful opening day in March, 1927 was an apple-cheeked Irish scion named Vanderbilt Smith. "Jeff" Smith's there to this day, still the Roxy's chief electrician. Herman Ottersen, electrician, has been there a quarter-century, too. And so have John Janitz and Frank Nealy, projectionists. Some Sad Memories Not all the memories they can draw on are pleasant ones. The time, for instance, w-hen comedian Joe Jackson suffered a heart attack after his performance and dropped dead in the wings while the crowd was still applauding. Or that grim period in 1932 when the theatre closed down completely. When it reopened eight weeks later the com- pany was in receivership, with Howard S. Cullman as trustee. And then, in the Great Depression's doldrum days when for two MARCH 24. 1 952 ROXY A Spirit of Adventure weeks beginning February 2, 1933, anyone who presented a Kolynos boxtop at the box- office was admitted free. The Roxy manage- ment sold the boxtops back to the Kolynos company for ten cents apiece — for a total of $10,587. By then, however, Roxy had left his garish, gold-domed cathedral. His fame as a showman had girdled the world. The Rockefellers beckoned him. They gave him the job of creating the Radio City Music Hall— an even costlier and bigger project than the Roxy. It was in ill-timed venture. No one had money to burn. The Music Hall's opening show caused no furores. Rothafel did all he knew— and he knew plenty. But none of the touches of genius availed Roxy at the Music Hall in those ugly, menacing years. Business continued to ebb. Roxy refused to believe that his magic touch had gone. He was right, of course. There was nothing wrong with him. It was the world's economy which was lopsided. He thought he could fight the financial blitz, and win. He felt positive the formula which had previously worked for him would work a^ain. So this time he ventured farther afield — into Philadelphia. It proved a dismal, costly experiment. Roxy never recovered from that blow. No matter what the doctors said when he passed on to his reward, the i;rcat showman died of a broken heart. Theatre Holds Records A sad story? Maybe; but if Roxy were alive today he'd be a happy man. In its 25 years the theatre that still bears his name has played 749 pictures, to 107.067,319 ad- missions and has grossed more than $78,876,- 000. No other house in the world has ever beaten the Roxy's total of 779,351 admissions for a four-week run, as in 1928 when "The Cock-Eyed World" was the attraction. Two other films hold the long-run records — "Wilson" and "The Razor's Edge." The biggest gross in one week was scored by "Forever Amber", which drew $180,589 in 1947. That's Show Business — high ups and low downs. David T. Katz, for 18 years identified with the Roxy and now its Executive Di- rector, a topflight showman in his own right, recalls how the great showhouse was about to close down for the second time in 1934 when a Shirley Temple picture called "Baby Take a Bow" came along and saved the situation. Since then the Roxy's affairs have run more smoothly. It was taken over by the Fox Film Corporation in 1937 and that marked its turning point as a moneymaker. All these pinpoints of motion picture in- dustry came between bites at our roast beef sandwiches at the Roxy's birthday party. According to personality we were moved to nostalgia, sadness or optimism — but mostly to nostagia. For — think of this — in the Roxy's golden days of 1928, which saw "In Old Arizona ", the first outdoor talkie, the theatre's top price was $1.50 plus 10 percent admission tax — a total of $1.65. Today's admission price is $1.80, the entire difference being the 20 percent Federal tax. Who dare say, in this era of zooming costs, that motion pic- ture entertainment is not the best value for money' What other service or commodity 'Continued on Sext Page) 7 Roxy's Magic Touch ( Continued from Preceding Page) still remain? at the base price of 1928" True, the moviegoer is getting a stupen- dous bargain, but it's too much of a bargain in relation to other things in this financially ruinous world. The industry, especially on the exhibition side, has taken less than a fair share of the nation's increased spending power in the last two and a-half decades. Sages from here to Hollywood have prof- fered a score of reasons for the film in- dustry's ii, ability to climb back to the palmy days which Roxy Rothafel knew when he began his great adventure on Seventh Ave- nue: television, taxes, autos, indifferent films, declining showmanship, increased sophisti- cation of audiences dearth of star material — and so on. We have certainly spent a lot of time feeling sorry for ourselves, searching for alibis. Stop Moaning It seems to me, however, that instead of bemoaning the bad times which have be- fallen the exhibitor, we might take a peep through the other end of the business tele- scope, and ask ourselves not why we aren't netting as much as we should be, but why Roxy and his confreres did so well. The Roxy Theatre's opening picture was a corny little melodrama called "The Loves of Sunya", a United Artists release, starring Gloria Swanson and a handsome young ro- mantic actor named John Boles, whose ascent to fame came much later when some- one in Hollywood discovered he could sing. How would "Sunya" measure up today? As part of its birthday celebrations, the Roxy screened it privately the other day to an audience which greeted it with titters. The story-line was about an Egyptian princess who is reincarnated in the being of a young American girl. The opening cap- tions in this silent epic were packed with cliches. The players' gestures were exag- gerated to absurdity. Their facial expressions were more extreme than a Communist mani- festo. And in the Roxy's preview theatre they'd .igged up a piano at which an accom- plished musician completed the illusion of moviegoing a quarter-century ago. And then, as we sat watching this echo from a bygone era, something very strange occurred. The titters ceased. The pianist's pretty touch on the ivories slipped from our consciousness. The captions seemed almost unnoticeable and we lost our awareness of the absence of a sound-track on the film. It was a weird experience, and a rather en- lightening one. In that old, flickering film was demonstrated, for one spectator, at least, the tremendous power of the motion picture as a medium of entertainment. Nothing much in a physical way has changed about the Roxy in these 25 years. Oh yes, the facade had had its face lifted here and there, some neon has been added and the silhouette attraction signs on the marquee offers a "modern" touch. But the theatre's basic asset — the motion pictures on the screen — have undergone some remark- able changes for the better since the days 8 mv.amj i-uk stKVlOE lO MOVIE-GOERS Executive Director Katz receives a scroll from the Broadway Association honoring the Roxy's Theatre's 25 years of service to movie-goers. In attendance: Charles Skouras. Otto Koegal, Sam Rauch. JT. C. Michel. Mr. Katz. Spyros Skouras. Joseph Schenck. Charles Einfeld. of "The Loves of Sunya." Color and sound and many technical improvements have come along to make the movies greater than before; ahead lies the exciting prospect of the third dimension. In story content and in treatment the movies have come of age since the days of the fabulous Roxy. Do we in the business realize how much progress has been made? And do we capitalize our gains." Yes, today there is more and tougher com- petition, but NOTHING has arrived t< match the quality entertainment of th< motion picture. That is as true today as i was in the year the Roxy Theatre was buil< All we need now is to recapture the spiri of adventure which motivated Roxy Rothal fel, to emulate the courage he possessed, an< to practice the art and craft of that show manship symbolized by the theatre namec after him. II THIS YEAR 1952 COLUMBIA HAS THIS TO SAY M TERMS OF PRODUCT ^ / HOMDAY matching her Academy Award "Born Yesterday" performance ! STANLEY KRAMER COMPANY production From the Book of the Month sensation ! introducing ALDO RAY GoSbk starring Rhonda Sterling FLEMING* HAYDEN Based on Frank Yerby's novel. In golden color by NO WHITE MAN DARED FOLLOW HIM! starring JON HALL \0Z JT f iWAVHi EAST 0JV BEACON • GEORGE MURPHY Rita Glenn YWORTH FORD A Bcrkwoilh Produclign 4 HAYWORTH A Beckworth Ptaduclion Vamatcus PAUL HEMREID Mickey BOONEY SOlND^Offj^ * A Doy to luf in Violm SRDPPILE GEORGE MONTGOMERY production r Rex lilli HARRISON ■ PALMER a. I A STANLEY KRAMER COMPANY production THE CAINE A STANLEY KRAMER COM || 1 production ~Th&. 5000 FINGEIi of VR.T. shooting 'SINClN' IN THE RAIN' TOPFLIGHT METRO MUSICAL WILL BE SOCK HIT Rates • • • + generally M-G-M 103 minutes Gene Kelly, Donald O'Connor, Debbie Rey- nolds, Jean Hagen, Millard Mitchell, Cyd Charisse, Rita Moreno, Douglas Fowley, Madge Blake. Directed by Gene Kelly and Stanley Donen. Based on the same Technicolor musical Formula that producer Arthur Freed has found so successful in the past, "Singin" in the Rain" combines elements of delightful music, lavish sets and costumes, top-drawer song and dance routines and laugh-provok- ing comedy to fabricate a bright entertain- ment gem. This definitely . ranks with the best musicals to come off the M-G-M lot, or any other, and it will create a noisy jingle at boxoffices in all situations The problems faced by a film studio during the conversion from silent movies to talkies, forms the background for rollicking musical numbers — staged by Gene Kelly and Stanley Donen, and fired by the tunes of Nacio Herb Brown and Arthur Freed. The story is flavored with humorous satire on Hollywood life in the twenties, which is sure to delight audiences who remember the "silent" days. Kelly maintains his fast-steeping pace, reach- ing a breathtaking climax in the "Broadway Ballet" sequence. Debbie Reynolds turns in a neat performance opposite Kelly, and Donald O'Connor and Jean Hagen more than hold up their end in the comic depart- ment. O'Connor literally knocks himself out in the "Make 'em Laugh" bit, and his terp efforts are outstanding, too. STORY: Gene Kelly and Jean Hagen arc the top stars of Monumental Pictures during the silent era.' When talkies come along, they are faced with the problem of converting their latest silent film into sound, and the result is devastating. Miss llauen's diction is strictly from Brooklyn, and sound makes the silent epic little short of farcial. They solve the problem by turning it into a musi- cal and dubbing in Debbie Reynolds' voice for Hagen's nasal twang, but another im- passe is reached when Hagen demands that Reynolds' part in the picture be covered jp. Since Kelly has developed a romantic in- terest in Debbie, he finds a solution to Hagen's temperamental outburst and all ends well. NEWT THE SNIPER' TENSE PSYCHO YARN WITH STANLEY KRAMER HALLMARK Rates • • • in metropolitan areas; less in small towns s Columbia I 87 minutes I Adolphe Menjou, Arthur Franz, Gerald Mohr, Marie Windsor, Frank Faylen, Rich- ard Kiley, Mabel Paige, Mario Dwyer, I Geraldine Carr, Jay Novello, Ralph Peters, Max Palmer, Sidney Miller, Hurb Latimer, Dani Sue Nolan, Harry Cheshire, Cliff Clark. I Directed by Edward Dmytryk. Here's a big league suspense thriller. A laundry messenger, young, handsome, but insane, terrorizes a city. He has a carbine with a telescopic lens and an irresistible penchant for shooting beautiful girls. Two killings send the city into a frenzy and set the police on his trail. Before the net closes in on him, the deranged, frightened killer has claimed two more victims. That's the guts of the story by Edna and Edward Anhalt. Between them, producer Stanley Kramer and director Edward Dmytryk have wrapped it up in gold leaf. There's no over- whelming production values here, no top- flight marque names — just crisp, exciting entertainment. Yes, it's on the grim side, sinister, chilling, gripping; but a splcndi'l change of pace from the comedies and musi- cals. It's action and suspense all the way. "The Sniper" offers further evidence thit Mr. Stanley Kramer has the master touclv and that Columbia pulled a scoop in acquir- ing him. This film will get good grosses in the metropolitan houses, especially the deluxe first-runs, transients and acti >n houses. It probably will encounter resistance in the small town family situations. Arthur Franz is outstanding as the help- less, mentally sick killer. He makes the role an intensely sympathetic one. Minus mus- tache, Adolphe Menjou makes the police lieutenant a real, understandable character. Marie Windsor and Mario Dwyer add the necessary feminine angles. Mabel Paige's landlady is a high point of the playing. S.TORY: Realizing he is mentally de- ranged, Arthur Franz tries to get help to keep him from exercising his urge to kill women. He deliberately burns his hand BO that he will be treated in a hospital and he hopes, be forcibly restrained from his insane desire to kill. But the hospital is too busy and he is sent back home. His first victim is a curvaceous nite club singer. He shoots her from a rooftop. Next, he destroys a woman who offends him in a bar. With the city in an uproar and the politicians hounding the police, lieutenant Adolphe Menjou and sergeant Gerald Mohr find a clue, Franz's bandage. Meanwhile, he kills two more women. Inevitably, the inexorable police hunt tracks him down and the terrified killer almost gratefully submits. COULTER. MA AND PA AT THE FAIR' A TYPICAL KETTLE POT-BOILER Rates • • • for small towns, rurals; supporting dualler in metropoitan areas Universal 78 minutes Marjorie Main, Percy Kilbride, James Best, Lori Nelson, Esther Dale, Emory Parnell, Oliver Blake, Zachary Charles, Russeil Simpson, Rex Lease. Directed by Charles Barton. It's a cinch that Universal's evergreen Ma and Pa Kettle series will never win any Academy Awards. But this reviewer is not inclined to sniff aloofly at them. Perhaps (who can tell?) twenty years from now they may get a showing at the Museum of Modern Art as jolly satires on typical American rural life. Right now, however, the latest in this seemingly endless series, "Ma and Pa at the Fair", looks like just an- other example of the corny, slapstick come- dy we have come to expect of the Kettles. It has to do with bread and :am-making con- tests at the county fair, a broken down trot- ting horse and a mess of coincidences. For them that likes 'em, this entry is as good as the others. It should be a whiz-bang box- office success in the small town and rural areas. In the big cities, the lower half of duals, perhaps. Not for action houses. Percy (Pa) Kilbride gets the better break from scriptists Richard Morris and Jo n Grant, but Marjorie (Ma) Main works ;••< diligently as ever in her dour way. Lori Nelson and James Best are an agreeabh romantic couple. Leonard Goldstein's pro- duction gets the most out of obviously eco- nomital trappings. Charles Barton's direction moves things along briskly, thank goodness. STORY: The Kettles want to send daughter Lori to college, but they're broke. They see a chance of Ma winning the jam and bread contests at the county fair. Pa, however, sells a half interest in Ma's po- tential winnings in return for an old trotting nag. Ma wins the jam contest, but 'he judges disqualify her because she had n- advertently entered the trotting race. The bread contest winnings go for the horse. Pa drives the sulky in the race and is almost the winner when Ma, realizing that everyone in the town has bet on the favorite, makes a slingshot of her garter and forces Pa's horse to break stride. Both Ma and Pa are tossed in jail on the charge of having poisoned the other horses. With an angry mob threaten- ing them, the truth of Ma's sacrifice is re- vealed and they are acclaimed heroes. Esther Dale. Ma's rival, gives them the winning purse to send their daughter to school. COULTER. MARCH 2 4, 1952 15 MUTINY' ROUTINE PERIOD ACTION FILM IN TECHNICOLOR Rates • • action houses United Artists 77 minutes Mark Stevens, Angela Lansbury, Patric Knowles, Gene Evans, Rhys Williams, Robert Osterloh, Peter Brocco, Norman Leavitt, Gene Roth, Walter Sande, Clayton Moore, Morris Ankrum, Todd Karnes, Louis Jean Heydt, Robin Hughes, Crane Whitley, Emerson Treacy, Harry Antrim. Directed by Edward Dmytryk. Hampered by a thin plot, sketchy story, and overworked material, "Mutiny" is just another melodrama of the swashbuckling, sea-saga era. There are a few good battle scenes, circa War of 1812, but they don't come fast enough or often enough to keep the action moving. "Mutiny" is further weakened because it lacks both substantiality or sympathy in the romantic department. This is confined to a hike warm love affair between a villanous wench and the weak- willed leader of the mutineers. There is little in this Technicolor epic to keep it from being anything more than an action spot dualler. Mark Stevens, in the role of an American ship captain, tries hard to turn in a believ- able performance, but he is hindered by lack of material. Angela Lansbury does well as a gold-digger who lures Patric Knowles into leading a mutiny. Stevens and Knowles manage to end up in fine style in an interest- ing though improbable, scene in which they use a small submarine to torpedo a British Man-O'-War— during the War of 1812! STORY: When the War of 1812 breaks out, Mark Stevens is assigned the task of TARZAN'S SAVAGE FURY' PAR FOR POPULAR SERIES Rates • • + in action houses and small towns lingers nearby to provide what love-interest RKO Pictures (Lesser Productions) 80 minutes Lex Barker, Dorothy Hart, Tommy Carlton, Charles Korvin, Patric Knowles. Directed by Cyril Endfield. Following the tried and true formula of all the Tarzan films that preceded it "Tar- zan's Savage Fury" contains the same elements that have made the indestructible series dependable boxoffice wherever the Ape Man's followers abound. The story is con- trived, as always, to allow free display of Tarzan's supremacy over his jungle domain. The lightweight monkeyshines are again ably handled by the chimp Cheeta, and Jane is called for. In this one, Tarzan adopts a new son (Tommy Carlton), wihch is just one more element to appeal to juvenile audi- ences. This Tarzan entry will probably do no better, nor worse, than all the others that went before, which should mean reliable boxoffice in the action houses, nabes and small towns. Lex Barker handles the Tarzan role in traditional style and Dorothy Hart is deco- rative and appealing as his mate. Tommy Carlton fits well into his introductory role as Tarzan's foster son. Charles Korvin and Patric Knowles are villainous enough to give Tarzan cause for his fury. The Sol Lesser production is highlighted by some animal process shots that are interesting and create 'GIRL IN WHITE' SLOW-MOVING PERIOD DRAMA Rates + in family houses; less elsewhere M-G-M 93 minutes June Allyson, Arthur Kennedy, Gary Merrill, Mildred Dunnock, Jesse White, Marilyn Erskine, Guy Anderson, Gar Moore, Don Keefer, Ann Tyrell, James Arness, Curtis Cooksey, Carol Brannon, Ann Morrison, Jo Gilbert. Directed by John Sturges. This slow-moving period drama, dealing with the experiences of a woman pioneer in medicine, does not hold much boxoffice promise. A good deal of the overlong 93 minutes is devoted to depiction of hospital methods in the year 1900. While these docu- mentary-style sequences are interesting, they retard the story of the girl medic's efforts to crack the profession's prejudice against women. Despite some fine performances and nice human interest touches drawn from the pages of Emily Dunning Barringer's bio- graphical novel, "Bowery to' Bellevue," this Metro offering fails to stir the spectator sufficiently. Boxoffice returns will be fair in family houses, below average in metropoli- tan deluxers and action spits. June Allyson is attractive and handles her straight dramatic part in a way that is sure to captivate her admirers. Arthur Kennedy shows well as a fellow student and doctor with more than an academic interest in Miss Allyson. Gary Merrill personifies the male resistance to women in medicine, and Mil- dred Dunnock, as a woman doctor who has already been through the prejudice mill, pro- vides the inspiration to Miss Allyson in her battle to overcome all obstacles. running the British blockade, and going to France to obtain gold bullion to finance the American cause. Stevens solicits the aid of Patric Knowles, a renegade cashiered from the British Navy. With his help, Stevens manages to evade the British and get to France. Seme of Knowles' men are in the crew and when they learn of the gold bullion, they plan to stage a mutiny and take the gold. When in France, Knowles meets his old flame, Angela Lansbury, and brings her aboard ship where she tempts him into lead- ing the mutiny. The revolt is successful, but Knowles secretly releases Stevens who manages to make it back to American shores. In an unbelievably short time, Stevens enlists the aid of the U. S. Navy, and Knowles and company receive their due. NEWT. suspense. STORY: Tarzan's jungle retreat is in- vaded by Korvin and Knowles, who, after murdering Tarzan's cousin, pass off Knowles as the dead man. They are in quest of a diamond treasure in the land of the Wazuri tribe, and Tarzan is the only one who can lead them there. They trick the Ape Man into thinking the gems are needed by England to make machine tools. It is obvi- ous, however, that Korvin and Knowles are really Russian agents. After an adventurous trek, frought with danger, Tarzan realizes he has been duped and just in time is able to foil the agent's attempt to escape with the diamonds. Returning the stones to the Wazuri, he saves Jane from a horrible death and all ends well. NEWT. STORY: When June Allyson, as a young girl, looks on as Dr. Mildred Dunnock saves her mother's life, she is fired with the am- bition to become a doctor. Despite warnings that women aren't accepted in the world of medicine, she attends medical school and graduates second in an all male class. It is here that she first brushes against the op- position that is destined to plague her career and it is here that she first meets Arthur Kennedy and refuses his proposal of marriage. After many set backs and some string-pulling by Dr. Dunnock, June be- comes the first woman doctor ever admitted to a New York hospital. The rest of the story pertains to her successful battle to break down the opposition to women in medicine, and finding that she needs more than a career to gain complete happiness. NEWT. 16 FILM BULLETIN £ekih4 the £ceheJ off J/im Production STUDIO SIZ6-UPS M A R C H 2 1952 COLUMBIA Kramer Seen Upping Budgets With High-Priced Story Buys There is every evidence that Stanley Kra- mer's own unit is pointing toward costlier films. Whereas, in the past, Kramer has largely concentrated on medium-priced orig- inal stories, or those in the public domain, he is now competing with the majors on the big properties market. His most recent acquisition is "The Flying Yorkshireman." the Eric Knight novel, which he purchased for $75,000 from Frank Capra. Deals on two other important properties are expected to be worked out within the next two to three weeks. Meanwhile. Kramer is as busy as can be, one of his forthcoming projects to be "The Library,'* with Mary Pickford. As for the controversial matter of whether or not Kramer will assume production re- sponsibilities on some of Columbia's "A" product, FILM BULLETIN is of the opinion that — as of right now, at least — the rumors are false. Within the past month, FB's Hollywood staff has interviewed several sources close to both Harry Cohn and Kra- mer, and has uncovered nothing to indicate such a switch has been more than sursorily suggested. In an effort to bolster the company's back- log of Class A features — and particularly those with big stellar names — efforts are being made to rush Rita Hayworth back be- fore the cameras for a second picture within six weeks after the completion of her cur- rently filming "Affair In Trinidad." This new assignment is "Salome," based on "The Good Tidings," written by W illiam Dieterle, under his pen-name of William Sidney. Dieterle. incidentally, will direct the picture for producer Buddy Adler. However, it is impossible to forecast an accurate starting date, inasmuch as "Affair" is almost nine days behind schedule, at the present writing. Another up-coming production that is par- ticularly newsworthy is the re-make of the old Grace Moore hit, "One Night Of Love," which has just been placed on the company's schedule. Harry Cohn has signed a young Portland singer by the name of Gloria Kreiger to be starred in the re-make. Also among the important future pro- ductions r.ow being readied is "From Here To Eternity,"' based on the James Jones novel, which swept the country by storm a few momhs past. Buddy Adler has been handed the producer responsibilities on this CxcluMe $L BULLETIN OeatuM By Jay Allen important property, tentatively set to roll in July. A steady production pace has been main- tained throughout March, with four pictures filming at all times. "Affair In Trinidad" (Rita Hay worth-Glenn Ford) and "Assign- men Paris" (Dana Andrews-Marta Toren) have been filming ever since the last Sizeups report. Recently completed were Kramer's "The Happy Time" (Charles Boyer-Bobby Driscoll), from the Broadway stage hit, and the Technicolor adventure, "Prince of Pi- rates" (John Derek- Barbara Rush). New starters, both from the Stanley Kramer Com- pany, are: "The Dirty Dozen" (Bonar Col- leano-Arthur Franz), directed by Edward Dmytryk, and the "The 5,000 Fingers of Dr. T" (Peter Lind Hayes-Mary Healy). Roy Rowland directs the latter, and Allan Scott serves as an associate producer to Kram.-r. It is being filmed in Technicolor. Three more pictures will have rolled by the time this issue is off the presses. They are Esskay Productions' "Last Train From Bombay" (Jon Hall), Fred Sears directing for producer Sam Katzman; "Kid From Broken Gun" (Charles Starrett-Smiley Bur- nette), Fred Sears directing for Bert Clark, and "The Outlanders" (Randolph Scott), di- rected by Roy Huggins. Louis de Rochemont's "Walk East on Beacon", tale of the F. B. I. fi^ht against the commies in the U. S., is ready for release. LIPPERT PRODUCTIONS Lippert Seeks New Deals, Pacts Set For Filming Abroad With a goal of 52 pictures for the 1952 re- leasing slate, Rohbcrt L. Lippert is angling for a distribution deal with Bernie Luber for two more George Raft starrers to follow his recently completed "Loan Shark." Luber, this month, revealed plans to star Raft in "The Black Pawn," an original by Harold L. Greene, to roll May 15 in England, and "Cairo Incident," to be filmed in Italy start- ing early in September. Seymour Friedman will direct "Pawn". Papers are being drawn up also on a co-production deal involving Luber and Alberto Audra of Sao Paulo, for the filming of "The Mysterious Amazonia," from a novel by Custao Cruls. The latter will be filmed in the Amazon country, and will be in color. The only feature in production at the present time is "The Jungle," a Voltaire Pro- tiuctions film which is being made in India. William i?erke doubles as producer-director (Continued on Page 18) PLAN BIG M-G-M PROMOTIONAL CAMPAIGN Inauguration of an expanded plan for earlier promotion of all important M-G-M pictures was celebrated at the studio when executive ad chief Howard Dietz introduced six new divisional field cxploiteers. Seen above, seated, in the usual order: Frank 9 hit beck, studio head of advertising and exploitation; vice-president Dietz: Dan Terrell, director of promotion, and Howard Strickling, Studio' director of publicity. Standing at the extreme left. Dewey Bloom, Canadian exploitation representative, then the six newly appointed promotional men: Ted Galanter (west). Ivan Fuldauer (midwest), Arthur Canton 'east), E. C. Pearson i central), Emery Austin (south) and E. B. Cole- man (southwestern). STUDIO SIZ6-UPS ' f Continued from Page 17) and the cast is headed by Rod Cameron, Cesar Romero and Marie Windsor. Shooting has been underway since January 22, and is scheduled to wind up during the final days of March. Of the forthcoming independent produc- tions which are definitely set for Lippert re- lease, "Helgate" (Sterling Hayden-Joan Les- lie) is of primary interest. Charles Marquis W arren and John C. Champion will produce the picture from an original screenplay by Warren. Actual filming will get underway during the first week of April. Producer Anthony Hinds of British Inter- continental Flms, will roll his next picture for Lippert release early next month. Titled "Lady In The Fog," it will star Cesar Ro- mero, the balance of the cast being British. Sam Xewfield is en route to London to take over the direction of the film. Distribution-wise, the Lippert organization is busily at work planning a big campaign on "Valley Of The Eagles" (Jack Warner- BRANTON & BARRYMORE A TV Deal Xadia Gray-John McCallum). This a Sover- eign Films production, filmed in Lapland, and scheduled to go into American release in April. At the present time, there are three com- pleted films in the Lippert backlog awaiting release. They are: "Outlaw Women" (Marie Windsor-Richard Rober), in Cinecolor; "Loan Shark" (George Raft-Dorothy Hart) and "Stolen Pace" (Paul Hcnrcid-Lizabeth Scott), filmed in England. METRO-GOLDWYN-MAYER Metro Maintains Top Pace With Seven Before Cameras This studio continued to lead all other Hollywood l..ts in the number of pictures in production during March. As of this writing, seven features are before the cameras. Two others wound up around mid-month, and 18 three more are slated to roll before April 1. Now shooting are: "One Piece Bathing Suit" (Esther Williams-Victor Mature), in Technicolor, which director Mervyn LeRoy and producer Arthur Hornblow, Jr., have been filming since January 15; "Eagle On His Cap'" (Robert Taylor-Eleanor Parker), Melvin Frank-Norman Panama producer-di- rector chore, which went before the camer- as February 4; "Fearless Fagan" (Janet Leigh-Carlton Carpenter), directed by Stan- ley Donen and produced by Edwin H. Knopf, shooting since February 11; "The Jealous Lover", sequence of Story Of Three Loves" (Moira Shearer-James Mason), directed by Gottfreid Reinhardt and produced by Sidney Franklin; "The Devil Makes Three' (Gene Kelly-Pier Angeli), which has been shooting off and on in Europe since January 27 — Andrew Morton directing and Richard Gold- stone producing; "Everything I Have Is Yours" (Marge and Gower Champion), Technicolor musical in work since February 22 — Robert Z. Leonard directing for pro- ducer George Wells; and "Lili" (Leslie Caron-Mel Ferrer) which rolled on March 10, with Charles Walters directing for pro- ducer Edwin H. Knopf. The two pictures which wound during the month were: "Mr. Congressman" (Van John- son- Patricia Neal), and "Pat And Mike" (Spencer Tracy-Katharine Hepburn). Com- ing up during the final days of March are: "Tribute To A Bad Man" (Lana Turner- Kirk Douglas), to be directed by Vincente Minnelli and produced by John Houseman; "Plymouth Adventure" (Spencer Tracy- Van Johnson), Technicolor, a Dore Schary pro- duction, directed by Clarance Brown; and "Letter From the President" (Shelley Winters-Ricardo Montalban), William Well- man directing for producer Stephen Ames. MGM has scheduled the biggest advertis- ing campaign in the company's history to exploit it's current line-up of pictures. How7ard Deitz, vice-president in charge of advertising, publicity and exploitation, an- nounced a plan whereby each picture will be handled individually, both on the local and national level, well in advance of release dates. Dietz visited the studio to look over product and to introduce six new divisional promotion men. MONOGRAM — A A Barrymore Parting for TV Series Bodes Exhib Gripes The big news from Monogram for this edition of Studio Size-Ups isn't the sort that will make the company's exhibitor customers very happy. It's the announcement that Mono's subsidiary, Interstate Television Corp., has s:gned Ethel Barrymore to a long term contract to do a series of half-hour TV shows. G. Ralph Bran ton, ITC president, declared that the advent of Miss Barrymore into video must be considered "the greatest single advancement from the entertainment standpoint that television has made to date." Now won't theatremen think that's just ducky! Meanwhile, Monogram's production activi- ties for theatre consumption are moving apace. No less than ten films are in various stages of work. First to start will be "Plow Jockeys" (Leo Gorcey-Huntz Hall), a Jerry Thomas Bowery Boys production. "Arctic Flight" (Wayne Morris-Alan Hale, Jr.) got away March 1 on the Little Diomede Islands in the Bering Straits. This is being directed by Ewing Scott for producer Lindsley Parsons. Next in line will be "The Sea Tiger," to be produced by William F. Broidy. This was postponed until mid-April due to bad weather. Others on the spring agenda are: two Cinecolor features, Walter Mirisch's "The Rose Bowl Story" and Grant Whytlock's "Wild Catters"; "Army Bound" (Stanley Clements), to be produced by Ben Schwalk; "Roaring Steel", also to be produced by Schwalb; "Timber Wolf" (Kirby Grant), a Lindsley Parsons production; Jerry Thomas' "Stranglehold" (Leo Gorcey-Huntz Hall); two Bill Elliott westerns, tentatively titled "Martial Law" and "Barbed Wire," to be produced by Vincent M. Fennelly; and a Johnny Mack Brown starrer, "Guns Across the Border," which Fennelly also will pro- PARAMOUNT'S HARTMAN Writers Should Know All duce. "Mardi Gras," in Cinecolor, will be started by producer Peter Scully by the end of April. Because of Allied Artists' completely de- pleted backlog, company officials are dis- cussing the possibility of hypoing at least one of Monogram's slated pictures into the AA bracket. There has been no product in the AA backlog since the release of "The Highwayman," last October, PARAMOUNT Writers Given New Status In Hartman Production Plan The lowly Hollywood writer is coining into his own at Paramount, and henceforth will play an integral part in translating his written ideas on the screen. Don Hartman, the company's production chief, is presently (Continued on Page 20) FILM BULLETIN WHERE ANYTHING GOES ...FOR A PRICE! SHE runs the West's strangest hideout... a ranch where a guest can hide his crime .. .quench his thirst. . .betray a woman and knife a man in the back... for a price! MARLENE DIETRICH ARTHUR KENNEDY MEL FERRER Co/or by T£CHNtCOLOR Directed by FRITZ LANG • Produced by HOWARD WELSCH • Screen play by DANIEL TARADASH SMASH 4-COLOR NATIONAL ADS... Full pages in Life, Look, Time and Newsweek studio size-ups (Continued from Page 18) working out the final details of such a plan in an effort to bring about a more efficient and effective production formula for the studio. Henceforth, Hart man, plans to have his writing staff sit in on conferences with foreign and home office executives, view all screen tests, follow the daily rushes on pic- tures in production, and attend talent au- ditions to assist the casting department in its selection of players. The high production pace which has been maintained on the Paramount lot since last fall, is slackening off a bit at the present time albeit there is no let up in the standard of production. Only three or four pictures have been shooting simultaneously during March, whereas a couple of months ago the average ran as high as seven and eight. Now shooting are: "Stalag 17" (William Holden-Don Taylor), a Billy Wilder pro- ducer-director chore, before the cameras since February 4; Hal Wallis' "Come Back Little Sheba" (Burt Lancaster - Shirley Booth), which director Daniel Mann teed off on February 18; and Pine-Thomas' "Tropic Zone" (Ronald Reagan-Rhonda Fleming), which director Lewis R. Foster put before the Technicolor cameras on March 17. Next to roll will be a new untitled Martin and Lewis comedy, which Hal Wallis is Keeping wrapped in secrecy. Barring last minute changes in plans, it will start shoot- ing this week (March 31). The only other April starter scheduled at this time, is "Road to Bali" (Bob Hope-Bing Crosby-Dorothy Lamour). This new "Road" production (the first in 5 years) will be directed by Hal Walker and produced by Harry Tugend, with an April 17 starting date. Pictures completed since the last Size-Ups report were: "Botany Bay" (Alan Ladd- James Mason), filmed in Technicolor; "Mili- tary Policeman" (Bob Hope-Marilyn Max- well), and "Hurricane Smith" (Yvonne De Carlo-John Ireland), also in Technicolor. Crosby is slated to make a film in France in the fall. It will be "Little Boy Lost," a dramatic story (with a few songs) dealing with a war veteran father's search for his lost boy. William Perlberg and George Seaton will produce. REPUBLIC Four-Per-Month Schedule Launches Big Spring Pickup With the tee-oft of four pictures during March, Republic has launched a heavy Spring production slate that calls for 12 features to no into production by the end of May. This Schedule will be carried out at the rate of four new productions each month. The Spring activity led off with an oater, "Old Oklahoma Plains" (Rex Allen), on March 8, Bill Witney directing for associate produced Edward J. White. Two days later, .,n March 10, director U. G. Springsteen and associate producer Sidney Picker grecn- 20 lighted "Toughest Man In Tombstone" (Vaughn Monroe-Joan Leslie-Jean Parker). Filming on another western, "Thundering Caravans" (Rocky Lane), got underway on March 18— Harry Keller directing for associ- ate producer Rudy Ralston, and "Ride the Man Down," which was not yet cast at this writing, was scheduled to hit the tape on March 26, under the direction of producer Joseph Kane. The quartet slated for April includes "Citizen Soldier" with John Auer as asso- ciate producer-director; "Flight Nurse," to be directed by Alan Dwan;"The WAC From Walla Walla" (Judy Canova), which R. G. Springsteen directs for Sidney Picker, and a serial, "Zombies of the Stratosphere." Scheduled May starters are: "The Great A Bomb Robbery," to be produced and directer by Joseph Kane; "Storm Out Of China;" and two westerns, "South Pacific Trail" (Rex Allen) and "Desperadoes Outpost" (Rocky Lane). Policy-wise, the studio's executive person- nel, is mulling plans to eliminate all strictly filler fare from its upcoming production slate. Working toward that end, boss Her- bert J. Yates has inaugurated a gradual switch-over of some of the producers and di- rectors working on the low-budgeters. Rudy Ralston, for example, moves up from the Michael Chapin-Eilene Janssen oaters — which, incidentally are being dropped entire- ly— to produce the Rocky Lane westerns. Harry Keller, in turn, relinquishes his pro- duction post on the latter series, to become a director. RKO One Film Tees Off In March RKO has been resting on its backlog during most of March, with little or no pro- ductive activity. Only the start of "A Son« Forever " (Tony Martin), on March 24, kept the studio from going into a complete lull. Even the independents who release through the company were comparatively inactive, with only Samuel Goldwyn's "Hans Christian SAMUEL GOLDWYN A Switch to II A? Andersen," (Danny Kaye- Jeanmarie), and Joseph Kaufman's "Sudden Fear" (Joan Crawford-Jack Palance-Gloria Grahame) be- fore the cameras. "Andersen," which Charles Vidor is directing, has been shooting since January 21, and is due to wind up easily in April. David Miller is directing "Fear," and should likewise bring it in during the early days of *he new month, barring further delays due to illness, which have plagued the company ever since the picture started on January 28. The Wald-Krasna unit is out of com- mission for two reasons: (1) ill health and (2) differences with bossman Hughes about scripts. It is generally believed that the pro- duction duo will not remain at this studio much longer. Despite this sluggish production pace, RKO is in no danger of facinpr a product shortage. Even without the new 1952 pro- ductions which are being readied to go be- fore the cameras later in the spring, RKO has enough pictures in its backlog to main- tain a high release rate up to the first of August. By that time, the company will have placed 20 pictures in release since the start of the new year. 20th CENTURY-FOX Two $100,000 Story Buys Key Zanuck Stress On Script "The story's the thing," seems to be the keynote of Darryl F. Zanuck's production planning for his 1952 slate. More and more the Fox studio seems to be leaning towards important properties on the story market, outbidding al! of the other majors on popular novels, plays and originals by topflight writers. Few of the properties purchased by Fox in recent weeks have gone below the $15,000 mark, which is about the ceiling level for a majority of the other companies. On the other hand, Zanuck has forked over $100,000 on at least two new acquisitions. Bob Ardrey's "Brotherhood of Fear," for ex- ample, has just been added to the Fox stock- pile, for the hundred grand figure. Robert Sherwood's "International Incident," also has been acquired at a similar figure, and will soon be adapted for movies, under the title, "Man On the Tightrope." Two new features have gone before the cameras since the last Size-Ups report, bring to three the total number of pictures filming during March. The new entries are: "Dar- ling, I Am Growing Younger" (Cary Grant- Ginger Rogers-Marilyn Monroe), directed by Howard Hawks and produced by Sol C. Seigel; and "Pony Soldier" (Tyrone Power- Penny Edwards), Joseph Newman directing for producer Samuel G. Engel. The other picture now filming is "The Snows of Kili- manjaro," Darryl F. Zanuck's personal pro- duction, which rolled on February 11. Ava Gardner has replaced Anne Francis as co- star with Susan Hay ward and Gregory Peck. Henry King directs the Technicolor feature. April will witness a considerable stepping Up in the company's production pace, with (Continued on Page 21) FI LM BULLETIN STUDIO 5IZ6-UPS (Continued from Page 20) seven and possibly eight new features set to roll. They are: "Stars And Stripes Forever" (Clifton Webb-June Haver-Rory Calhoun), Technicolor biopic of John Philip Sousa, di- rected by Henry Kostcr and produced by Lamar Trotti; "My Wife's Rest Friend" (Anne Baxter-Macdonald Carey-Hildegardc Neff), Richard Sale directing for Robert Bassler; "Tonight We Sing" (Ezio Pinza- Roberta Peters), in Technicolor, Jean Negu- lesco directing for George Jessel; "Niglit Without Sleep" (Linda Darnell-Gary Mer- rill), Roy Baker directing, Robert Bassler producing; "Bloodhounds of Broadway" (Mitzi Gaylor-Gloria DeHaven-Scott Brady) Harmon Jones directing for George Jessel; Part 5 of O. Henry's "The Full House" to be directed by Andre Hakim; "The Man Who Fooled Hitler" (Oskar Werner), Julian Btaustein producing; and Joseph Bernhard's "Ruby Gentry," which King Vidor will direct. UNITED ARTISTS Krim Woos Goldwyn, Sets Up New Batch Of Inde Deals The $64 question where United Artists is concerned is: Will Arthur Krim succeed in wooing Samuel Goldwyn away from RKO, now that Goldwyn's long-term releasing deal with Howard Hughes' company is about to expire. The guessing around Hollywood is about evenly divided on the subject, albeit some of Goldwyn's closest associates are betting he's going to make the switch. Krim returned east around mid-March, but will be back on the coast around the first of April to continue the parleys with Goldwyn. The present pact with RKO ex- pires on June 30. It is understood that UA is willing to make extensive concessions in order to corral the Goldwyn product. While in Hollywood, Krim was also en- gaged in setting up deals on at least 26 pic- tures, all in the high-budget class, and all with top name casts. Among the deals he discussed was a nine-picture commitment from Edward and William Nassour; one for four pictures from Harry Popkin; two from Famous Artists; one from Hedy Lamarr; two from Eugene Frenke; three each from Sam Spiegel and Johnny Hyde, and one from Joe Justman. First of the Popkin productions will be "The Thief," to be produced and directed by Clarence Green and Russell Rouse, respec- tively, who made "The Well". The film, with Ray Milland in the starring role, will con- centrate entirely on action to carry through the details of the story; no dialogue, nar- ration or title cards will be used, with only the musical score employed to point up the plot. Although the deal was not worked out on Krim's west coast visit, a three-picture con- tract also was signed this month with the King Brothers. Two of the three will be in Technicolor, including "Camel Corps," and MARCH 24, 1 952 DARRYL F. ZANUCK Bidding High for Stories "Indian Fighter." The black and white entry will be "The Syndicate." Another King Bros. Technicolor film, "Mutiny" is now in release. The only feature shooting during March which is definitely set for the Krim organi- zation's release slate, is "Invasion U.S.A." — an American Pictures Production, starring Michael O'Shea and Peggy Castle. "Planter's Wife," (Clr.udette Colbert), which has been shooting overseas since late January, wound shortly after March I, UN I VERSAL- INTERNATIONAL 18 In Technicolor For Year Sets Record U-l Tint Output Technicolor will play the largest role in Universal's history during the coming year, with a minimum of 18 tinted films due from the company. This means that at least every other picture coming from U-I will be in color. In setting up the ambitious Technicolor schedule, U-I toppers said, it was bowing to the "demands from exhibitors", particularly for films of the big outdoor action type "since color adds so greatly to the value of films of this type." Undoubtedly the success of "Bend of the River", expected to be the company's biggest grosser since "The Egg and I", was another important factor in the decision. Meanwhile, the U-I studios are soaring along at its highest production peak since last December, with five pictures shooting simultaneously. "It Grows On Trees" (Irene Dunne-Dean Jagger) and "The Riding Kid" (Richard Conte-Viveca Lindfors) teed off the new spurt on March 10, followed two days later by "The Black Castle" (Stephen McXally- Richard Greene-Paula Corday). "Trees" is one of those percentage deals which U-I has been entering into with top stars, to spark their important properties. Arthur Lubin directs the comedy for producer Leonard Goldstein. In addition to the three new starters just mentioned, "Yankee Buccaneer" (Jeff Chand- Icr-Scott Brady-Susan Ball), and "Ma and Pa Kittle At Waikiki" (Marjorie Main- Percy Kilbride), arc still shooting. Frede- rick Dc Cordova directs the Technicolor "Yankee' for Howard Christie, while Lee Sholein directs the Kettle film for Leonard Goldstein. Set to roll ibis week (March 31) arc: "l!onr Holly- wood product. Beginning with the March issue, they are carrying an editorial feature "Mel all's Goes to the Movies" which aims at "nrc-sclling Hollywood to America." UNIVERSAL PICTURES has launched a two month ballv featuring star tours of key cities. It's to be tied in with the final of the current "Nate J. Blumberg 40th An- niversary Sales Drive." Tony Curtis and Jan Sterling ("Flesh and Fury") are touring cities which will include Washington, Boston and New York. Ann Sheridan, John Lund and Howard Duff ("Steel Town") are scheduled for Cleveland, Birmingham and Atlanta. Special tie-ups for "Flesh and Fury" will be available to exhibitors with their local department and sporting goods shops in a joint promotion with the Everlast Sporting Goods Company. PLAUDITS AND KUDOS: Jerry Baker of RKO Keith's Theatre, Washington, D. C, received first prize in 20th-Fox's exhibi- tor showmanship contest for the most com- prehensive ad, publicity, and exploitation campaign on "The Day the Earth Stood Still" . . . The Motion Picture Associates of Philadelphia is honoring the following local branch mgrs., on April 21: Lester H. Wurtele, Columbia; Ulrik F. Smith, Para- mount; Joseph Engel, Screen Guild; Joseph Leon, Universal; Lou Formata, M-G-M; Norman Silverman, Republic; Samuel Dia- THE 'RUBE' JACKTER mond, 20th-Fox; William G. Mansell, War- ner; Maxwell Gillis, Monogram; Charles Zagrans, RKO, and John Turner, United Artists . . . The General Federation of Women's Clubs, disappointed because "The River" wasn't included in the Academy Award nominations, are asking the Acade- my's Board of Governors for "an award to that picture which is 'the most significant co- operative international schievement,' and that we should nominate 'The River' for the honor this year." . . . Parents Magazine selected "Never Take No For An Answer" (Souvaine Selective Pictures) best movie for the month of May . . . David T. Katz, ex- ecutive director of the Roxy Theatre, recent- ly received a special scroll from New York- City's Broadway Association, honoring the Roxy :or 25 years of service to New York moviegoers . . . Paramount walked away with top honors in the 1951 exhibitor poll held by England's {Cinematographic Weekly . . . Bob Hope and Alan Ladd were two of the four leading money making stars to ap- pear in films released in Britain, and among films to '.'am high boxoffice were. "Samson and Delilah," "Reap the Wild Wind" (top re-issue of the year), and "Detective Story." OF MEN AND THINGS: William B. Levy is off to Europe April 3 to set arrange- ments for production in Europe in associ- ation with both British and American in- terests . . . Columbia controller C. B. Wikoff's son Richard entered Uncle Sam's forces . . . Nat Levy, RKO eastern sales mgr., became a grandfather recently when his daughter Enid (Mrs. George Pager) gave birth to a girl . . . Columbia sales execs Louis Astor, Louis Weinberg and George Josephs are touring branch offices to push the company's current 'Round the World sales drive' . . . Texas exhibs recently feted Paramount's new South-Central mgr. Alfred M. Kane and his predecessor, M. R. Clark at a luncheon in Dallas . . . Jack Kirsch was re elected President of Allied Theatres of Illinois for a term of three years. Also elected: Van Nomikos, v. p., and Benjamin Banowitz, sec.-treas. . . . Milton Piatt is Nat Levy's new assistant succeeding Daniel Loventhal who has been granted a leave of absence by RKO . . . 20th-Fox distribution head Al Lichtman announces that Tom Mc- Cleaster has been tagged mgr. of the re- aligned Central Division . . . UA veeps Max Youngstein and William Heineman, accom- panied by Eastern Sales Mgr. Nat Nathan- son, instituted the first in a series of meet- ings with all UA branch personnel and ex- 1 ibitors in Boston, Buffalo, and Toronto last week . . . Wedding bells rang last week for Herbert J. Yates, president of Republic Pictures and star Vera Ralston. They were married on March 15 in Hollywood. MR. & MRS. HERBERT J. YATES WARIETY TENT TOPICS: Nathan D " Golden, chairman of the Varietv Club' Heart Committee invited two Las Vega newspaper editors to serve with trade pres reps on the Charity Citation Committe board of nidges which will select the tent ti be cited for the most outstanding job in th , field of charity work. Selections, to be mad at the forthcoming 16th annual convention ii Nevada, are not based on the amount (• money spent, but on the results of the parti cular effort . . . The schedule and prograrl for the big meeting are Hearing completio under the guidance of Jacob Kozloff, Con vention Chairman, and Ben Goffstein, Chit Barker, of Tent #39. Care has been take to provide open time for extra-conventio activities. 22 FILM BULLETII at your BOX OFFICE • • • GET THIS BOOKLET FROM NSS! Learn about the Big Easter Profit Campaign . . . you can develop . . . with special events . . . cash-in-the-bank Merchant Ads ... a Big Happy Easter Show . . . and plenty of other great hell-ringing show- manship ideas! The booklet is FREE . . . from any NSS Salesman ... or your nearest exchange ... so ASK FOR IT . . . and don't forget to ask about those new . colorful, eye-filling HAPPY EASTER DISPLAYS ! They're terrific! JVvmvs antl Opinion (Continued from Page 5) and local levels," Wolfson said. They will be a "source of additional manpower", lie added, to gather information and recommend a course of action on an industry-wide basis. Morton Thalhimer, of Richmond, Ya. is chairman of the committee. The Treasury's study indicated that any plan to reduce or eliminate the Federal levy on admissions would receive a "relatively low priority". They claim that the tax is on a "relatively non-essential service" and is spread over a wide ratine of income groups. The door left open, however, to the possi- bility that the Treasury might credit any state or local admission taxes on the Federal take. In effect, this would serve to place a 20 per cent ceiling on the admissions levy by all sources. The principal drawback in any such proposal would be the red tape in- volved in allocating the revenue from the tax. Goldman Pushes Attack On Advanced Admission Pics What may be the spearhead of a drive throughout the country by exhibitors against advanced admission price pictures has been launched by William Goldman. The fighting Philadelphia independent chain operator, who has won the industry's respect and ad- miration for his consistently successful buck- ing of the powers that be, led the way in taking the case against "capricious" labeling of "Road Shows" to the public. Goldman's technique was a two-edged master stroke of public relations for his theatres and a subtle dig at his major com- petition, the Warner circuit. It started with a paid ad urging moviegoers to see "With a Song In My Heart" at the competing Fox Theatre (not a Warner house), praising the house's policy of not raising admissions for the film. The ad brought an overwhelming response from the public and the press, with the Philadelphia Daily News acclaiming Goldman in a glowing editorial. Using the News editorial as a spring- board, the circuit head struck deeper at the indiscriminate tagging of "Good Pictures" as "Road Shows", pointing out that movies have grown by "catering to the masses, at prices within the reach of the average citizen." The "recognizable Road Show" has its place in the theatre, the ad said, noting such pictures as "Quo Vadis" and "GWTW". "My point is that the public can recognize a Road Show in sight . . . and so can the con- scientious theatre men. What I oppose is the capricious classification of 'Good Pic- tures' .is 'Road Shows', with a disappointed patron feeling he has been overcharged." Coincidentally, perhaps, Warner houses were playing such films as "The Greatest Show On Earth," "I Want You," md "Streetcar Named Desire," as well as "Quo Vadis", at lipped scales. Goldman told FILM BULLETIN that these were only the opening nuns in. his 24 personal battle against advanced admissions. He feels it is one of the principal deterrents to re-establishing the movie-going habit. "The public wants to come back to the movies," he said. "Quality pictures are doing business. Tint where a theatre labels a pic- ture a Road Show and raises the admission, the house is tagged as an advanced-price theatre and the people stay away." He cited the inevitable drop in business at the thea- tre for the attraction following the upped- scale picture, regardless of the subsequent film's qualitj With all the outcry by exhibitors agai'ist advanced admissions, it may well be that Goldman's fight will start a snowball that could reach nationwide proportions. PARAMOUNT'S ZUKOR CB Hurts More Than TV Bidding Bigger Factor Than TV in B.O. Drop— Zukor Competitive bidding, normally the pet gripe of exhibitors, rated a bouquet of scallions from a top distributor, Paramount Pictures board chairman Adolph Zukor. The Paramount topper, on a visit to the studios, rated the bidding practice as well as high taxes and the inflated cost of living as more important factors than television in the de- cline of boxoffice grosses. ■ Since the theatreman doesn't know whether lie will play a picture until shortly before playdatc under the competitive bidding system, the opportunity for exploitation on a local level is seriously handicapped, Zukor felt. It'- ;dso tough on the moviegoer shop- ping for his entertainment, he believes. After a film is publicized by the distributor and given the "want-lo-see" factor, the patron is Forced to search for the theatre playing the film, Zuko.- said. M '>rc than offsetting higher wages, ac- ording to the Paramount veteran, is the in- creased taxation and high, cost of living, which has made the public watch carefully every dollar spent. Supreme Court Brief Filed By Distribs In Milgram Case Fearful that the conspiracy findings in the Milgram drive-in case by the Federal Dis- trict Court, upheld by the Third Circuit Court of Appeals, would put the distributors "at the mercy of the plaintiffs in the mass of litigation with which they are confronted," the film companies are taking the case to the Supreme Court. Principal points in the brief presented to the high court were: (1) The Appeals Court citation of the Paramount decision as evidence of the dis- tributors' practice of "unlawful conduct", de- spite the complete dissimilarity in the case. (2) The findings of conspiracy purely on the basis of parallel action despite sound arguments by each of the distributors in re- fusing to license the drive-in first-run pro- duct. If such inference is drawn, then wherever any future parallelism occurs, the distributors would be forced actually to con- spire prevent such similarity, lest they be faced with another suit. (3) If the Appeals Court decision is al- lowed to stand, other district courts in the Third Circuit must follow this finding. Judge Reconsiders 'Pinky' Case, OK's High Court Appeal The action taken by the Texas Court of I Criminal Appeals which eased the way for a I Supreme Court test of movie censorship, I modestly labeled a "surprise move" by the I Motion Picture Association, was seen as a \ sign of tlu> industry's growing prestige in judicial circles. Having refused to sign appeal papers in | the "Pinky" case brought by Texas theatre manager W. L. Gelling, through his attorney, Robert H. Park, of Beaumont, Texas, Judge H. N. Graves "reconsidered" and signed. P>ut only after the MPAA has announced its j backing of the appeal and assigned a mem- ber of its legal staff, Philip J. O'Brien, Jr., and Herbert Wechsler, professor of law at j Columbia University, to assist in the case. Gelling, manager of the Paramount Thea- tre in Marshall, was fined and jailed in 1950, ; when he defied a local censor board's order and showed "Pinky." His conviction was ' subsequently sustained by a County court j and later tv the Court of Criminal Appeals. | Judge Graves' signing of the appeal papers, j in effect, authorizes Gelling to appeal to the I high court. If the Supreme Court holds that | the case is within its jurisdiction, it will be 1 asked to strike down movie censorship as a violation of constitutional guarantees. The Teaxs Appeals Court based its ruling j mi the 37-year-old "Mutual Films" decision) which held movies to be in the same category as a "circus" or a "spectacle." The appeal jj calls upon the Supreme Court to reverse the ] I (Continued on Page 25) FILM BULLETIN Sews anil Opinion (Continued fiom Page 24) Mutual decision in view of "supervening changes of both law and fact" to :^ivc the motion picture the constitutional protection now accorded the press. The MPAA's Eric Johnston hailed "this oportunity to have the highest court in the land rule om the constitutionality of motion picture censorship. Every one of us has a stake in the outcome of the 'Pinky' case," he added. "We know it's a basic and abiding truth that no one medium of expression can have its freedom chipped away without en- dangering all others ... I am hopeful that out of the 'Pinky' case can come a clear-cut decision by the Supreme Court which will rout out fiim censorship wherever it exists and which will establish for all time the principal ot freedom of the screen as a con- stitutional right — sacred along with freedom of speech and freedom of the press." MPAA'S JOHNSTON Hopeful Warners Moves To Retire Large Block Of Common Stock Warner Bros. Pictures, Inc. advised its stockholders that the corporation had ap- propriated §10,000,000 to cover the purchase of some 750,000 shares of common stock out- standing for cancellation and retirement. Approximately 200,000 shares will come from Harry H., Albert and Jack L. Warner, it was revealed as the corporation invited sealed tenders of stock at prices not exceed- ing $15 per share. Deadline for the stock tenders was set at 3 p.m. on April 4, and it was noted that all stockholders of record on March 3, 1952, will receive the dividend payable April 4, whether or not they tender stock. Xo tenders in ex- cess of '515 per share will be accepted, it was said, and all tenders are irrevocable. The 200,000 shares to be offered by the brothers Warner will reduce their aggregate holdings from 1,124,298 shares to 924,298, but their holdings percentage-wise will re- main as before — approximately 25 per cent. UPT Theatre TV Loss Set At $125,000 In 4-Year Period Some 105 theatre telecasts in ten United Paramount Theatres over the past four years has averaged better than $1000 less per pro- gram. The figure, set upwards of $125,000 in direct losses (not including cost of the TV equipment and regular operating ex- penses), was revealed by UPT secretary- treasurer Robert H. O'Brien before the Federal Communications Commission, Considering the experimental nature of the telecasts and the concentration of costs due to the dearth of theatres with TV equipment, it was noted, the figure was not too startling. In addition to the losses, close to a quarter million dollars had been spent for the purchase and installation of the equip- ment in the nine mid-western UPT theatres. The Xew York Paramount does not own its equipment; it receives its TV service from Paramount Pictures on a regular rate card basis. David Wallerstein, Balaban & Katz vice- president, dubbed the TV experiments by the UPT subsidiary in Chicago a costly proposition, so much so, in fact, that the chain has halted further installations in any of its houses. They will, however, continue with experimental telecasts in those theatres already equipped, he added. Court Grants UPT Extension, Denies U. S. Ban on 'Move-ups' United Paramount Theatres won an 18- month extetision of the time required by the Federal Court for divestiture of the remain- ing 184 theatres in which UPT has an in- terest. Although the Statutory Court ruling was termed a "compromise", the word was hardly suitable since none of the Govern- ment's objections were sustained, while UPT was granted all but six months of the two- year postponement it has requested. Under the ruling, the circuit must rid itself of one-third of its holdings each six months — the first by Sept. 3, 1952; two-thirds by March 3, 1953, and the balance by Sept. 3, 1953. The Justice Department's charge that GRIPES LIKE GRAPES TOA's grass roots gripes were com- ing in bunches. The first regional grievance panel heard seven complaints and founnd them all worthy of further investi- gation. Held at the Piedmont Hotel in Atlanta before a four-man committee, some 36 exhibitors heard the septet of complaints: another batch of 25 were due to be presented at the next meet- ing of the Georgia, Alabama and Ten- nessee exhibitors on April 13th. UPT had advanced playing position at some "i it> theatres ami the Government's request for an injunction against this practice for the next five years was denied, albeit "without prejudice" leaving the way open for further action 'jy the Government. UPT attorney George B. Gallants' contention that such a move would require an amendment to the decree was upheld by the Court. TOA Research Unit Seeks 'Clearing House' For New Ideas TOA's Scientific Research Committee, with Charles Skouras at the helm, got busy on plans to srt up its all-industry research in- stitute in cooperation with distributors, pro- ducers, and other exhibitor organizations. The idea, approved by the TOA board, is to TOA'S WOLFSON .V Seatter-Shot Approach establish an "industry clearing houuse" for testing, dc. eloping and proving new ideas. In announcing the Committee appoint- ments, TO \ head Michell Wolfson stressed the need for a coordinated scientific effort to develop movie potentialities. "We cannot have a scatter-shot approach to the problem of third dimension, theatre television, audi- ence tastes and exploitation techniques. We need an industry clearing house for testing new ideas— we need an industry laboratory where the best scientific brains can help us keep pac with developments in this elec- tronic age — we need an industry proving ground for merchandising and housekeeping techniques." Wolfson also announced that the Arbi- tration Committee will be ready to play an active part "in the industry-negotiations which we hope will develop shortly to bring about a sound arbitration system." Com- menting on the size of the 17-man board headed by Si Fabian, Wolfson said he 'Wanted ti to be representative of all areas of thinking and all types of exhibitor operators.', MARCH 24. 1952 25 EXPLOITATION PICTUEE DESTRY'S DIETRICH RIDES AGAIN EVEN THE DICE WARM UP WITH DIETRICH WITH KENNEDY The wonderful new Marlene Dietrich that was un- covered in "Destry Rides Again", the uproarious Western that brought the star a renaissance in Ameri- can films and has since made her one of the most no- torious scene-stealers in filmdom, is the Number One attraction of RKO's Technicolor "Rancho Notorious." Once again she combines the sultry with the rowdy, sex with scintillating humor, romancing with brawling, as she portrays the proprietress of a ranch that acts as a hideout for outlaws. She also has the opportunity to pack more sex into the film with a pair of songs, de- livered in that Tallulah-like voice with the implications only La Dietrich can sock across. There is little that action fans can miss in this fast-moving film. Gun-play, fist-fracas, jail-breaks, the uproar of a saloon and the suspense of gambling are there in abundance. They can be sold strongly to the blood-and-thunder addicts. But where the theatreman has his ace-in-the-hole is in the "Destry" Dietrich ap- peal that limits itself to no one segment of the audience. With this he can draw that important — and growing — group that seeks a bit more subtlety, that enjoys the pointed quip and the racy double entendres that Dietrich embodies. In this sense, RKO's boxofficers have done a whale of a job in setting up the campaign. They have exploited the Dietrich appeal in a number of ways, including a special set of stills of the star in the provocative costumes she wears in the film. These can be used in tie-ups, in teasers or throw-aways, or in several other ways, as outlined in the press book. Another important selling point is the co-starring of the rapidly-rising Arthur Kennedy, a 1951 Oscar nominee, and Mel Ferrer, whose popularity has grown by leaps and bounds since his appearance in "Lost Boundaries." With Kennedy as a man of vengeance, who enters the outlaw's hideout in search of his fiancee's killer, and I'lirer a> a m . nnian and Dietrich's paramour, all the elements of melodrama are enhanced by the competency of tlies< principals, as well as the boxoffice value. "Rancho Notorious" has a min d wider appeal than the average "super-Western". The ilieaireman who fails to capitalize on this extra bounty - missing out on the opportunity to earn the extra dollars that WITH FERRER SELLING AIDS Lobby Piece — A cut-out door with sliding panel. When you look through panel, you see a cut-out of Marlene Dietrich's body, but a mirror where the face would be. Thus viewer sees own head on actress' body. Background could be barroom. Front — A Chuck-a-Luek gambling wheel (prom- inent in the film) set up out front, spun by usher or barker inviting passers-by to come in "try your luck." Number could be covered by star photos. TIE-INS — Dietrich's gowns are a sight to see in Technicolor. Though fashions are not of today, they lend themselves to comparative displays and colors, to tie-in with yardgoods outlets, with bolts of cloth matching her dresses and costumes. Color- gloss stills could be shown in conjunction with this. Music includes the song "Get Away, Young Man," a sort of "See What the Boys in the Back Room Will Have" type of tune, published by Gramercy Music Co. It's rising in popularity and offers good music store tie-ups. NEWSPAPER ADS Below, some of the larger newspaper ads. Stress alternates between action and Dietrich, with pro- vocative copy for each. coine v\ illi showmanship. 26 WITH THE SUCKERS FILM BULLET EXPLOITATION PICTURE Confidently straddling her "horse", Marlene Dietrich gets set for a "handicap" race across the barroom floor. RANCHO NOTORIOUS Folk-ballads have been the source of many good movies. It kould seem logical that an occurrence arousing enough senti- ment to make it legendary and to have it recorded in song for posterity would have the makings of screen fare catering to the pass entertainment appetite. The ballad on which this film is ksed. "The Legend of Chuck-a-Luck" offers a wealth of such ingredients. The song, running through the film periodically, pis of a young man (Arthur Kennedy I who sets out on a nission of vengence to find the unknown killer of his betrothed. raveling through six states, he finally gets his first clue to tbe lurderer's whereabouts, a ranch run by a fabulous barroom pnger (Marlene Dietrich I as a hideout for outlaws. By helping I gunman (Mel Ferrer) escape jail, he gains entrance to the tanch, discovers the killer's identity through the barroom inger. When he turns the killer over to the authorities, the I ARCH 24. 1952 outlaws free the imprisoned murderer and ride to the ranch to vent their venom on the singer. In the ensuing battle. Kennedy and Ferrer shoot it out with the outlaws, but a sniper's bullet kills the singer as she attempts to protect the gunman. Thus the ballad ends. Enhanced bv Technicolor. Fritz Lang's direction, a full- bodied production by Howard Welsch, and the inimitable La Dietrich, the ballad is filled in by a wealth of detail that makes for popular movie entertainment. The "horse race with no horses", where the delectable entertainers ride the brawny bandits across the barroom iloor in a "handicap" race, the jail- breaks, the hand-to-hand battles, an exciting bank hold-up. the Dietrich delivery of the songs, are all "extras" that keep the spectator's interest from wavering throughout the film, and should have them in a happy frame of mind when they leave. 27 6XHIBITORS FORUfTl Opinions Culled from Organization Bulletins VIVA WHITE! ATO of the Gulf States State-shaving of theatre tax in Mississippi to become effective July 1, 1952, is a mem- orable accomplishment. In an allied cause, the Mississippi Theatre Owners worked "long and hard" and unturned all stones as obstacles in the pathway of their goal. The net resul* in the reduction of discriminative theatre tax is proof of what can be gained when theatre owners go to work and pursue their aims We salute not only the Mississippi Theatre Owners but the Mississippi Legislators who gave a sympathetic ear to their problems as well. To Mississippi Governor White, we loudly extol our tributes in recognition of his far- reaching understanding and appreciation of the Motion Picture Industry as an integral importance to our American Way of Life. FILMS TO TV ATO of Indiana Columbia realizes that they are in business producing pictures to be run by their thea- tre customers and they have turned down an offer repoited as high as 20 million dollars for the use of their backlog of pictures on TV. Likewise Disney has turned down TV for his product with the comment that TV revenue was "piddling" when compared with that derived from theatres. Disney added that "Our tongue isn't hanging out. We don't have to grope for little money. Thea- trical distribution is the only answer." On the other hand, Republic has offered its backlog of product to television. Exhi- bitors who buy product with which they eventually will have to compete on television will be wise to negotiate the kind of a deal that will give them an extraordinary profit to serve as a cushion for the day when they are competing with that picture on free home television. PLUG GIMMICKS Allied Caravan of la., Neb. & Mid Central Texas COMPO showmen came out last week with a novel idea of publishing a week- ly bulletin with showmanship ideas in it. First one had 6 different showmanship "gimmicks" in it. Ranged all the way from putting a one-sheet on the ceiling of the barber shop to posting your sheets upside down. Also the tried and true pasting them to the lobby floor or side walk. Another was to cut up a one-sheet pasted on beaver-board and offer a prize to the one who puts the jigsaw puzzle back together in specified time. All good. All can be done at little cost and all are showmanship. An idea may seem "corny" at first thought, but if it's Breaking Records! "March of Time's 'History in the Making' series is as timely as today's headlines," says showman Norman Elson who has captured the "Lost Audience" with his March of Time bookings. IS IT HAPPENING AGAIN ? Aro the Nazi t coming le pew*r in Germany? Ar« they our Alllet or our future foes? See how II happened the first timel MARCH OF TIME'S TOP SHOCKER T I Plus 20th Cintury- Fon's High Speed News CwgnM . . . Played to a bigger audience than its sensational 1938 business! "RACE FIXER" Also one reelers ) "UNION OF SOUTH AFRICA" For Bookings: Phil WiHioms, Thcotricol Soles Mar The MARCH of TIME 369 Lexington Ave., New York 17 j f "FOE OF CORRUPTION' 28 different there's a good chance that it is showmanship. One thing to remember about showmanship. Maybe some particular "gim- mick" didn't work. Maybe it let you down. KEEP PLUGGING. If every week there is something "different" in the way of a movie ad, a publicity stunt etc., who do you think the citizens are going to be talking about the most? Keep pouring it on. If they are talk- ing about your stunts, they are mentioning the picture and the theatre. PRICE JOCKEYING Western Theatre Owners Admission prices certainly vary around the country. Down Indianapolis way I under- stand the 1st run admissions are around 65c and when I was in Chicago, Sunday after- noon, killing a few hours between trains, I went to the Chicago Theatre and saw Lone Star plus vaudeville for 55c. Right around the corner they were running Quo Vadis matinee for around a dollar and nearby Death of ft Salesman was single billed, no stage attraction, for 98c. Here in New York i City the 1st runs also vary. Here is a partial' list: Playing Capitol Theatre Lone Star $1.50 Rivoli Viva Zapata 1.50 Warners Retreat, Hell 1.25 Holiday Return of the Texan 1.2C Globe When Worlds Collide l.Soj Victoria Death of a Salesman 1.5C Astor Quo Vadis 1.8C Broadway is the showcase, so they say J but I haven't seen any lines of people trying i to get into the theatres and everyone say?.' j business in New York is terrible, Are w«J| pricing ourselves out of business? — ROTUS HARVEY, Presl j GOOD PR STUNT ATO of Indiana One A. T. O. I. member wrote ever j merchant in town reminding them of th position of the theatre in the business life o the community and thanking them for thei past cooperation with the theatre. He exj J pressed the hope that the theatre and thl merchants might work together to even I greater extent in the future and as a gestun of appreciation the exhibitor supplied tli merchant with a quantity of tickets to I given to the merchant's patrons and carryin copy to the following effect: "This ticket in appreciation of your patronage. If yc will present it at the Theatre yc will receive a 50% reduction in the admisajq price with our compliments. Good for j date". Even at the reduced admission pri'j the exhibitor did way above his avcrai| gross. The merchants were pleased with tl deal because it was assumed by the patn that they were paying the difference betwe the regular and the reduced price. And, of course, the patron was hap about the movie bargain. FILM I1ULLETI Stale Script Dooms MGM's 'Just This Once', Critics Say "Just This Once" was given rather rough handling by the New York critics as they condemned this M-G-M film for bogging its players, Janet Leigh and Peter Lawford in an inept script. They were pretty well agreed that stale material was the principal reason for the film's downfall. "Brave but futile show of merriment," said Otis Guernsey in the Herald Tribune. " 'Just This Once' is merely another turn of the old romantic wheel in all its typical boarding-house-to-penthouse phases." The N. Y. Post's Archer Winsten admitted that he "has always liked Peter Lawford . . . and Janet Leigh is not exactly repulsive . . . It's the stale story . . . with the new veneer that's so irritating." Bosley Crowther, in the l imes, penned this warning. "The people who made this film had better do better next time." The World-Telegram's Alton Cook had nothing but pity for the cast. He observed that "everyone . . . concerned with the pic- ture are hopelessly stranded in the midst of a dreary scenario." He extended "sympathy to all these people who obviously have worked so hard and have so little to show for it." Of the five critics only Rose Pelswick, in the Journal-American, found it "A light and frivolous piece ... all pretty much on the whimsical side." LOVE IS BETTER THAN EVER" METRO-GOLDWYN-MAYER "One of those half-earnest, half-flippant love stories ... it is strained and artifical omedy . . . Must be credited with worthy aims, but it does not quite come out as scheduled by its creators." — Guernsey, N. Y. Herald Tribune. "Cheerful little comedy ... a frilly girl- meets-boy, girl-loses-boy, girl-gets-boy Val- entine."— Pelswick, N. Y. Journal-American. "Heaven deliver the heedless from the watery nonsense that goes on . . . We regret the necessity to note that it manifests no improvement in either movies or love." — Crowther, N. Y. Times. "Squishy little romantic comedy laced with large slabs of slapstick." — Cook, X. Y. Tele- gram & Sun. "One-woman show of striking proportions L . . But the story, cut for leap year con- sumption, doesn't reinforce Miss Taylor's efforts with comparable satisfactions." — Winsten, N. Y. Post. BUGLES IN THE AFTERNOON KVARNER BROTHERS I "When they first began using this Cavalry md In Hans story back in pioneer movie pays, people sure were pleased with it . . . but right now it leaves an impression of just [me too many battles with the Indians." — fook, N. Y. Telegram & Sun. A lot of Technicolored dust in 'Bugles n the Afternoon' . . . but not enough, mi- tt ARCH 2 4, 1952 "QUOT€S" What the Newspaper Critics Say About New Films fortunately, to hide it ... A rickety and transparent effort to streamline a familar format of Indian hunting and barracks bickering into a quality Western." — H. H. T., N. Y. Times "Picture has plentiful action without too much adventurous nonsense, and a few glints of humor that don't strain for the objective." — Winsten, N. Y. Post. "Robust outdoor yarn . . . the film offers plenty of ridin', fightin', and shootin'." — Pelswick, N. Y. Journal-American. "Presents its daredeviltry in handsome style . . .quite uncomplicated but very active, in the good and simple tradition of early American military adventures." — Guernsey, N. Y. Herald Tribune. 'HOODLUM EMPIRE' REPUBLIC PICTURES "Good (Movie Meter Rating) . . . wallop- ing gangland thriller." — Thirer, N. Y. Post. "Highly melodramatic film about rack- eteers and a crime-busting Senate committee . . . never comes anywhere near being as intensely exciting as the unrehearsed show- put on television by the real committee." — Pihodna, N. Y. Herald Tribune. "EflForts to prove that crime should not pay are worthwhile . . . But 'Hoodlum Em- pire' ... is still play acting, which is not nearly as effective as the facts that obviously inspired it." — Weiler, N. Y. Times. "Catchpenny hackneyed gangster melo- drama . . . Picture has many a scar of eager haste to be first on the screen with a Kefauvcr story . . . Main idea . . . seems to be a fast buck from the current high interest in crime investigation." — Cook, N. Y. Tele- gram & Sun. 'THIS WOMAN IS DANGEROUS" PARAMOUNT "Fictitious junk ... for people of mild discrimination and even moderate reason- ableness, the suffering of Miss Crawford wid be generously matched by their own." — Crowther, N. Y. Times. "Involved and confused, a tortuous con- tinuity of routine incidents stitched together and laid out in a flat succession of artifici il agonies and sentiments." — Guernsey, N. Y. Herald Tribune. "Crawford is up to her suffering once again . . . the act has gone very well in its time ... but neither she nor it is quite up to standard in 'This Woman is Dangerous'."— Cook, N. Y. Telegram & Sun. BELLE OF NEW YORK' METRO-GOLDWYN-MAYER "Most of the song and story, is second- rate movie legerdermain performed with a lot of old props and ideas . . . Makes mam- pretenses at frivolity in a carefree era, but it has only an artificial luster."— Guernsey, N. Y. Herlad Tribune. "Fred (Astairc) has left so many mellow memories behind him in other pictures, it is painful for an old admirer watching him try to palm off such fare . . . " — Cook, N*. Y. Telegram & Sun. "There's little cooking but Vcra-Ellen and Mr. Astairc in this handsomely costumed, brightly lighted dramatically empty film." — Crowther, X. Y. Times. "A pretty thing ... a tuneful thing . . . The story is used merely to keep songs from running over into dances and dances becom- ing confused with the songs." — Winsten, N. Y. Post. SOMETHING TO LIVE FOR' PARAMOUNT "Incredibly devious and tedious study in icform and sacrifice . . . artificially contrived and arbitrarily involved in a sham battle of emotions . . . does not touch life, it merely rambles about it."— Guernsey, N. Y. Herald Tribune. ". . . Virtually a sequel of Ray's classic battle against Old Demon Rum . . . (it) is several steps down in quality . . . George Stevens and his cast just miss the miracle of making a genuinely moving talc of this tawdry and unpredictable plot. But the soap opera in it inevitably asserts its frothy quality."— Cook, N. Y. Telegram & Sun. "Stevens' production and . . . direction . . . arc as sleek and professional as any . . . around . . . but script ... is a fcarsomely rigged and foolish thing, planted with fatuous situations that even Mr. Stevens can't disguise." — Crowther, N. Y. Times. BOOTS M ALONE' COLUMBIA "Takes its patrons into racing stables in a knowing and hilarious way . . . Salty wit and sharply etched characters . . . they live with a joy and zip . . . that are very contagious qualities."— Cook, N. Y. Telegram & Sun. "A good bit more entertaining than . . . has been . . . some previous race-track films (it) forms a sharp and amusing caboodle we'd like to encourage you to meet." — Crowther, N. Y. Times. "Standard mixture of sentiment and horse racing, with a dash of stable lore added . . . The gentle sorrows . . . are of no conse- quence, but some of its researches into the art of horse racing are worth seeing." — Guernsey, N. Y. Herald Tribune. "Better than most race-track pictures . . . Holmes and William Dieterle have put to- gether ... a story that alternately touches, frightens and gratifies the spectator." — Winsten, N. Y. Post. "Interesting, frequently moving drama that has the benefit of authentic track atmosphere and excellent performances . . . Both Holden and young Stewart play their roles with con- vincing sincerity, and the two are given able support by a well chosen company." — Pels- wick, N. Y. Journal-American. 29 Wtutk kas ike msi Wild 'RODUCTIOn ft R€L€flS€ R6CORD COLUMBIA 1951-52 Features Completed (56) In Production (4) Serials Completed ( 3) In Production (0) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. No. Rev. Affair In Trinidad Hay worth-Ford Dirty Dozen, The 5,000 Fingers of Dr. Colleano-Fram T., The Hayes-Healy Last Train From Bombay Hall-Ferraday COMPLETED Assignment — Paris - Andrews-Toren . Barbed Wire Autry-Buttram Barefoot Mailmen, The ISC) 183) ... R. Cummings-T. Moore 11-51 Boots Malone 1103) Holden-Clements 12-51 419 1-14 Brave Warrior Jon Hall .. Brigand. The (T) . Dexter-Lawrence Captain Blood, Fugitive IT) _ Louis Hayward ... ... Simmons-Howard _. . 10-8 McGyire-Moore O'Brien-Wyaft 10-51 412 9—1 6 404 Clouded Yellow, The 194) Conqo Bill Criminal Lawyer 174) Cripple Creek IT) Oeath Of A Salesman (III) European Edition _ Family Secret, The (85) Firefighters, Th» First Time, The (89) Rve (93) ... Four Poster, The Golden Hawk, (T) 10-51 412 Montgomery-Booth ... March-Dunnock 2-52 Glen Ford . Derek-Cobb 423 .Williams-Reynolds 12-51 414 Cummings-Hale 2-52 — S. Douglas-W. Phipps ...10-51 Harrison-Palmer Fleminq-Hayden Boyer-Driscoll Davis-Castle 424 371 2-1 I Happy Time, The . Harem Girl, The (70) Harlem Globetrotters, The (80) Gomez-Dandridge Hawk of Wild River, The 154) Starrett-Burnett _ Her Wonderful Lie Kiepura-Eggerth _ Indian Uprising ISC) (75) Montgomery-Long Jaifla Jim in the Forbidden Land _W»i»smuller-Ryan Jungle Manhunt (64) Weissmuller-Ryan Jiiejle Safari Waissmuller-Greene ... 2-52 422 11-51 345 2-52 1-52 417 10-51 411 11-5 Kid From Amarillo (56) ._ Lady and the Bandit, The (78) Laramie Moutains Magic Carpet (C) (84) Magic Face, The (89) Man In the Saddle IT) 187) ... Marrying Kind, The Mob, The 187) ..... My Six Convicts _ Starrett-Burnette _Hayward- Medina -Starrett-Burnett Ball-Agar 10-51 Adler-Knight . 9-51 .Scott-Leslie 12-51 Night Stage to Galveston Old West, The 161) Paula _ Pecos River (54) Prince of Pirates (T) _ Purple Heart Diary 173) Rainbow Round My Shoulder |C) Riders of the Whistling Pines Rough, Tough West ... Sabre and the Arrow. The IT) _. Saturday's Hero ___ Hoi I iday- Harrison B. Crawford-Buehler Beel-Mitchell Autry-Buttram _ „. Autry-Davis Young-Smith 10-51 488 9-51 337 410 402 420 9- 10 10- 8 10-51 407 9-24 _ 1-52 473 12-51 404 ..Starrett-Burnette Derek-Rush F. Langford-T. Romano ... 12-51 421 Laine-Daniels Autry-White 12-17 Starrett-Burnett Crawford-Hale Derek-Reed .9-51. 1-52 Scandal Sheet 182) Crawford-Derek Smoky Canyon (55) Starrett-Burnette Sniper, The Meniou-Franz Son of Dr. Jekyll (78) Hayward-Knox 11-51. Sound Off _ Mickey Rooney .318.. 8-27 ..1-14 483 409 Ten Tall Men (T) (97) Thief of Damascus, The (T) Valley of Fire (C) (62) War Cry IC) _ Lancaster-Lawrence 12-51 413 _ Henreid-Sutton ._ ._ ..Autry-Barnett 11-51 353 1 1-19 Montgomery- Long Whistle at Eaton Falls, The (96) Bridges-Gish ..... _. 8-51 322 8-13 1951-52 LIPPERT Completed (31) In Production (I) IN PRODUCTION TITLE — Running Time Jungle, The COMPLETED As You Were landit Queen PBI Girl RELEASE CHART — 1951-52 — Cast Cameron-Romero Rel. :or Men Only (93) Sreat Adventure, The (75) Highly Dangerous (81) _Tracy-Sawyer . Britton-Parktr -Romero-Totter . P. Henreid .Price-Hawkins -Clark-Lockwood ..S. Melton-M. Lynn Raft-Hart -eave It To The Marines 166) -oan Shark • Lamarr-Mature I ege',TT,he m SSM""- fSSt&S1 '„ - - Dtctro-Brien S»!SSdy T°vf? Me (T) Hutton-Meeker .... Something To L;ve For (90) Fontains-Milland 3-52 12-17 .11-21 12-51. Son of Paleface (T) Staoge, The __ Submarine Command T (89) That s My Boy (98) This Is Dynamite War of the Worlds Warpath (95) IT) (T) Hope-Russell Martin-Lewis . Holden-Olson 11-51 Martin-Lewis 8-51 . Holden-Smith .5112 ... — ~- 10-8 2-77 .5107 —502* Barry-Robinson „... — O'Brien-Jagger When Worlds Collide (82) (T) . Derr-Rush ||_5| 8-51 5025. 5106.. 9-24 -.7-2 .6-18 9-24 REPUBLIC 1951-52 Features Serials Westerns Completed (18) Completed ( 0) Completed ( 9) In Production (0) In Production (0) In Production (3) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Wild Horse Ambush Old Oklahoma Plains Toughest Man in Tombstone (Tr) . COMPLETED Adventures of Captain Fabian (100) Bal Tabarin Black Hills Ambush Border Saddlemates Captive of Billy the Kid Colorado Sundown Dakota Kid. The 160) Dasert of Lost Men (54) Don Daredevil Ridas Aqain Fabulous Sanorlta, The flight from Fury Fugitive Lady (78) ... ... Gobi and Gals Honeychil* (Tr) (89) Hoodlum Empire 32 Cast Chapin-Janssen Allen-Kay Monroe-Leslie Rel. No. Rev. E. Flynn-M. Prelle Lawrence-Ching Lane-Waller Allen-Kay Lane-Edwards .Rex Allen Chapin-Janssen ..... Lan* Curtis-Town* 1 0-4 ...... 5 10 1 10-8 1- 52 5064 2- 32 5141 7-1 5067 .... 11-19 5063 1-14 4-1 . 5084 ..... ..Estclita-Clarke 4-15 Edwards-Clark Paige-Barnes 7-15 . 50 1 j Downs-Hutton Canova-Foy 10-51 .5 >2 1 .'.'„__. Donl*vy-Trevor ... 4-18 _ 7-30 12-3 1951-52 Features Completed (66) In Production (2) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. No. Rev. Hans Christian Andersen (T) Kaye-Granger _ Sudden Fear Crawford-Palance - COMPLETED At Sword's Point (T) Wilde-O'Hara 2-52 220 Androcles and The Lion Simmons-Young Behave Yourself 181) Winters-Granger Biq Sky The Douglas-Martin Blue Veil, The (114) ...Wyman-Carlson — Cat People 173) Simone-Smith Clash By Niqht .....Douglas-Stanwyck Double Dynamite (80) ..Sinatra-Russell 12-51 214 Girl in Every Port, A (84) Marx-Wilson 1-52 214 1-14 Gypsy Blood (T) Jennifer Jones - Half-Breed, The (T) Young-Carter Hot Lead (40) Holt-Martin 1 0—5 1 209 10-22 Hunchback of Notre Dame (117) Laughton-O'Hara Reissue 244 I Want You (101) Andrews-McGuire 1-51 101 11-19 Jet Pilot IT) (118) ..Wayne-Leigh Jungle of Chang (47) ..Travel 11-51... .208 11-19 Korean Story, The Mitchum-Tallman 9-51 204 .9-24 I 1 0-5 1 243 9-24 Reissue 247 Las Vegas Story, The (88) Russell-Mature 2-52 On Dangerous Ground (82) Ryan-Lupino 1-51. On The Loose (74) Evans-Earl 10-51. Overland Telegraph (40) Holt-Martin 12-51 Pace That Thrills, The Williams-Balenda 3-52 1-14 Racket, The (89) Ragged Edge, The - — Mitchum-Scott 1 1—51- Lupino-Ryan .217 ...2 1 5. .202. ...214 213 .210 10-22 8-13 Saddie Legion (40) Slaughter Train (C) 178) ...... Snow White and the Seven Target Tarzan's Savage Fury Tembo 180) This Man Is Mine Trail Guide (40) Whip Hand. The (82) Dietrich Kennedy Holt-Martin .. 3-52 .. 221 117 3-10 Donlevy-Grey _ 10-51 -.207 10-22 Disney Feature Reissue 292 McGraw-White 227 Barker-Hart 3-S2 225 Documentary . 1-52 245 H^v ward-Mite hum Holt-Martin 2-52 219 2-11 .Leigh-Martin _. _ 11-51 2*4... . lt-_2 Keid-Tuttle - 10-51 212 = _fc_ I 20th CENTURY-FOX 1951-52 Features Completed (53) In Production (3) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Darling, I Am Growing Younger Pony Soldier IT) Snows of Kilimanjaro, The IT) COMPLETED Anne of the Indes (T) (82) Bells On Their Toes IT) Condor's Nest IT) Cast Grant-Rogers Power-Edwards Peck-Hayward Rel. No. Rev. Jordan-Paqet _....! 1—5 1 134 .....10-22 Crain-Loy 5-52 Wilde-Smith ._.... _ _ Cry of the Swamp (T) Peters-Hunter I David and Bethsheba (T) (114) Peck-Hayward 2-52 203 8-27 Day The Earth Stood Still. The 192).. Rennie-Neal 9-51 129 9-24 i Deadline U. S. A. Bogart-Barrymore 5-52 Decision Before Dawn (119) Merrill-Basehart 1-51 205 1-28 Desert Fox. The (91) Mason-Young 10-51 130 10-8 Diplomatic Courier Power-Neal Don't Bother To Knock Widmark-Monroe ... - Down Among the Sheltering Palms(T) Lundigan-Greer 4-52 Dream Boat Webb-Francis Elopement (82) _ _W.bb-Fran.is 12-51 __.MI „ll-l* Full House, The Crain-Granger _ _ 5 Fingers 1108) ..Mason-Rennie 3-52 208 3-10 Fixed Bayonets! (92) Basehart-O' Shea 12-51 M0 12-17 Girl Next Door, The IT) Haver-Dailey Girl on the Bridge, Tha (77) Haas-Michaels 12-51. Golden Girl (T) (108) Day-Gaynor 11-51... I Don't Care Girl, Tha (T) Gaynor-Wayne I'll Never Forget You (T) (90) Power-Blyth ......12-51.. Japanese War Bride (91) Yamaguchi-P. Taylor 1-52 Journey Into Light (87) Hayden-Lindfors 10-51.- Kaaajarao IT) O'Hara-Lawford 4-52 139 12-17 .134 1 1-1* .142 . 12-31 .202 .132 9-H FILM BULLETIN Las Miserable* Ut'i Make It Legal (77) Lave Nast 184) _ Lydia Bailey IT) 18?) Model and The Marriage Broker! 103) No H'ghway In The Sky 197) _ Outcasts of Poker Flat, The People Will Talk (110) Phone Call From A Stranger (96) Pride of St. Louis 193) Red Skies of Montana (T) (98) Return of the Texan 1871 Rose of Cimarron INC) (72) Secret of Convict Lake (83) _ - _ Viva Zapata 1113) Wait Till The Sun Shines Nellie (T) _ Way of a Gaucho IT) _ We're Not Married - .. What Price Glory With A Song In My Heart ITI I I 171 Rennie-Paget Colbert-Carey ll-SI Haver-Lundigan _ 10-51 Robertson-Francis J. Crain-T. Ritter I-S2 Stewart-Dietrich 10-51 Baxter-Robertson 5-52 Grant-Crain _ 9-51 Merrill-Winters . 2-S2 Dailey-Dru 4-52 Widmark-Smith 2-52 Robertson-Boone 2-52 Buetel-Powers 4-52 Ford-Tierney . 8-51 M . Brando-J. Peters 3-52 Peters-Wayne Tierny- Calhoun Wayne-Rogers Cagney-Dailey Hayward-Calhoun 4-52 133 131 I 1-5 10-22 201 121 . 126 204 207 209 123 206 12-17 9-10 3-10 2-25 210 2-25 Ma and Pa Kettle at the Fair Ma and Pa Kettle Go To Paris Mark ef the Renegade ITI 181) Meet Danny Wilson No Room for the Groom Pool of London Raging Tide, The (921 Red Ball Express Reunion In Reno 179) Sally and St Ann Scarlet Angel IT) Son of Ali Baba (T) Steel Town IT) Strange Door, The (80) Texas Man The IT) Thunder On the Hill 185) Treasure of Lost Canyon, The ITI Untamed. The (T) Week-End With Father 1831 World In His Arms. The IT) You Never Can Tell Main-Kilbride Mein-Kilbride Montelben-Charissa _ Sinatra-Winters Curtis-Laurie Colleeno-Shaw - Winters-Conte Chandler-Cabot Stevens-Dow Blyth-Gwenn DeCarlo-Hudson Curtis-Laurie __ Sheridan-Lund Laugnton Kerloff Ry*n-Adams Colbert -Blyth 181 IW. Powell-J. Adams Cotten-Winters Neel-Heflin Peck-Blyth ... Powell-Dow Apr Aug Feb 216 128 205 Aug 183 Nov 203 Oct 135 8-13 10-22 10-8 Mar 215 Dec 204 1 l-S Sept 133 e-iJ Mar 209 2-25 Dec 206 12-3 Sept 132 9-10 UNITED ARTISTS WARNER BROTHERS 1951-52 Features Completed (57) In Production (I RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Invasion U.S. A COMPLETED A Christmas Carol (86) Actors and Sin (94) African Queen (T) 1 104) Another Man's Poison 189) ■ig Night, The 175) Buffalo Bill in Tomahawk Territory 166) Captive City Chicago Calling (74) — Cloudburst (83) _ - Fort Defiance 181 ) Gold Raiders (56) Green Glove, The 188) He Ran All the Way 177) High Noon Hotel Sahara 187) Lady Says No, The (80) Limelight Mister Drake's Duck 181) Mr. Peek-A-Boo (74) _ Mutiny ITI 177) Obsessed 177) One Big Affair (80) Pardon My French (81) Planter's Wife _ Red Planet Mars Ring, The River, The IT) (102) Royal Journey 147) Saturday Island IT) (103) St. fanny, tha Dip 180) Strange World Tale of Five Wemen. A (86) Cast O'Shea-Caslle Rel. No. Rev. Alastair Sim Robinson-Hunt Bogart-Hepburn 3-21 Davis-Merrill 1-16 J. Barrymore-P. Foster -..12-7 Moore-Andrews 2-8 Forsythe-Hall 11-30 11-19 H-R -14 -14 -19 12-17 11-5 3-10 7-16 Duryea-Anderson 1-1 I - Preston-Sellars 1-31 D. Clark-B. Johnson 11-9 O'Brien-Ryan 9-14 Ford-Brooks 2-28 Ben Garfield-Winteri 7-13 _Reb .. Cooper-Kelly Kr DeCarlo-Ustinov 10—15 Jar 11-19 Caulfield-Niven 1-4 12-17 Chaplin-Bloom Fairbanks-Donlan 9-21 .10-8 Greenwood-Bourvil 1 0-2 1 Sach 9-24 Stevens-Lansbury 3-14 KB -Farrar-Fitzgerald 9-7 O'Keefe-Keyes 2-22. Oberon-Henreid 8-10.. ■Claudette Colbert Graves _ iRos-Moreno — 9-24 9-10 Ren Tom Brown's Schooldays 193) Two Gals and a Guy (70) Wall, The (85) When I Gi^w Up 190) -Swinburne-Shields 2-15 Color Feature 3-15 Linda Darnell ..Fae-h-Haymes 8-24 . Dan 7-16 Hauff-Schneider 3-28 Gehn Bonar Colleano 3-7 . Davies-Newton 11-2 ..Paige-Alda 8-31 -Rober-Kelly 9-14 Pop 9-10 ..Preston-Scott 4-20 UNIVERSAL-INTERNATIONAL 1951-52 Features Completed (65) In Production (5) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Black Castle, The McNally-Greene It Grows On Trees Dunne-Jagger Ma and Pa Kettle in Waikiki Main-Kilbride Riding Kid, The (T) Conte-Lindfors Yankee Buccaneer IT) Chandler-Brady _ COMPLETED Rel. No. Rev. IT) Against All Flags IT) . Battle at Apache Pass land of the River (T) Bright Victory (97) Iranco Buster (T) - Flynn-O'Hara Chandler-Lund _ —-.Stewart-Kennedy Daw-Kennedy Lund-Brady .Feb ......... 212... Jan 208 7-30 Cave of Outlaws, The IT) (76) _ Smith-Carey _ Cimarron Kid, The (T) (84) A. Murehy-Y. Dugay Duel at Silver Creek. The (T) -Murphy-Domergue _ Finders Keepers (75) Ewell-Adams Flame of Araby (T) (77) ..-.Chandler-O'Hara _ Flesh and Fury ... Curtis-Sterling Francis Covers the Big Town Donald O'Connor Francis Goes ta West Point O'Conner-Nelson Solden H3rde, The (T) Blythe-Farrer Has Anybody Seen My Gal (T) Colburn-Laurie Here Come The Nelsons Oizie and Harriet _ Iron Man (82) Keyes-Chandler Just Across the Street ..Sheridan-Lund Lady from Texas (T) (78) Hull-Duff Lady Pays Off. The Darnell-McNally i?i!fn r r H1" Mob' The - Guinness-Holloway ... Little Egypt (T) (82) Fleming-Stevens Lost in Alaska _ Abbott-Costello march 24. 1952 Nov 1 1-5 Jan 213 12-31 Jan .211 I 1-14 ..Jan ...207 12-3 Mar 214 Oct. 134 Feb , 210. Aug 130 Oct. 136 Nov 202 Oct 280 .Sept 131 8-27 7-16 10-8 1951-52 Features Completed (41) In Production (5 RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Abbott and Costello Meet Capt. Kid Abbott-Costello April In Paris IT) Day-Bolger Danger Forward Wilde-Cochran Miracle of Our Lady of Fatima, The Gilbert Rowland Story Of Will Rogers, The IT) Rogers-Wyman COMPLETED Rel. Rev. About Face IT) Big Trees, The IT) (89) Bugles in the Afternoon (T) 185) Captain Blood [Reissue) 198) ... Carson City Close To My Heart (90) _ Come Fill the Cup (113) MacRae-Bracken Douglas-Miller R. Milland-H. Carter Flynn-DeHaviland Scott-Massey Milland-Tierney J Cagney-P. Thaxter Captain Horatio Hornblower IT) I I 7 Peck-Mayo Crimson Pirate, The IT) Distant Drums IT) I 101) Force of Arms 1 100) I'll See You In My Dreams 1110) Jack and The Beanstalk ISC) (78) Lion and the Horse, The IWC) (83) Jim Thorpe, Ail-American (105) Man With A Gun (T) Mara Maru North of the Rio Grande Lancaster Cooper-Alden Holden-Olson Day- 1 homas Abbott-Costello Cochran-Teal Lancaster-Bickford Scott-Wymore Flynn-Roman McCrea-Mayo Painting Clouds with S'hine IT) (87) Mayo-Morgan Retreat, Hell! 195) Room For One More (95) San Francisco Story 12-29 _ 9- IS 1-12 4-12 4-19 9- 111 . 12-17 102 112 12-17 118 1 19 101 6 18 She's Working Her Way Through College (T) _ Starlift (103) Streetcar Named Desire, A Tank Are Coming, The (90) _ This Woman Is Dangerous (97) Tomorrow Is Another Day (90) Where's Charlie? IT) Winning Team, The (122) Loveioy-Carlsorv . Grant-Drake . McCrea-DeCarlo Mayo-Reagan . Cagney-Mayo Brando-Leigh S. Cochran-P. Carey Crawford- Morgan Roman-Cochran Bolger-McLerie Day-Reagan 7-28 10-6 2-23 1-26 029 105 115 113 9-24 2-2S 1-14 12-1 109 11-19 3-22 104 1 1-17 108 . 11-5 2-9 1 14 2-11 9-22 103 .1-27 Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St., Phila. 3 —1239 Vine St.. Phil*. 7 LOcust 4-0100 Member National Film Carriers 33 TECHNICOLOR IS THE TRADE MARK OF TECHNICOLOR MOTION PICTURE CORPORATIO HERBERT T. KALMUS, PRESIDENT AND GENERAL MANAGER BULLETIN 25c per Copy APRIL 7. 1952 Wfo J>J Preuumq the JCC? CALL A HALT TO TELEVISION'S BULLY TACTICS! Editorial by MO WAX, Page 3 A NEW DEPARTMENT Cxduii* QL BULLETIN ?Mf«* WHAT SET HAPF4f \ {■/> HAPPY EASTER T MUSIC HALL AID NATIONWIDE! M-G-M presents "SING! I! THE RAWIstarrin'g Gen veil Donald O'Connor I • I bbi Reynolds • | with Jean age Millard Mitchell • an C Charisse • Color by Tec! col Story and Screen Play b\ ten Comden and Adolph Green yf by| Arthur Freed • M c | Nacio Herb Brown • Dire a < Gene Kelly and Stanley on ; Produced by Arthur Frd L WEATHER FORECAST*. GOLDEN M-G-M SHOWE 5 BULLETIN EDITORIAL Vol. 20, No. 7 April 7, 1952 Page Three HARMONY "My idea of an agreeable person is a person -who agrees -with me." —BENJAMIN DISRAELI REVIEWS in This Issue Captive City 9 The Denver & Rio Grande 9 The Narrow Margin 9 The Battle at Apache Pass 10 Mara Maru 10 Faithful City 10 Thief of Damascus 12 Yank in Indo-China 12 Strance World 12 FILM BULLETIN — An Inde- pendent Motion Picture Trade Paper published every other Monday by Film Bulletin Com- panv. Mo Wax, Editor and Pub- lisher. BUSINESS OFFICE; 35 West 53rd St., New York, 19; Circle 6-9159. David A. Bader, Business Manager ; Leonard Coulter, Editorial Representative. PUBLICATION — EDITORIAL OFFICES: 1239 Vine St., Phila- delphia 7, Pa., RIttenhouse 6- 7424; Barney Stein, Managing Editor; Dick Newton, Publica- tion Manager; Robert Heath, Cir- culation Manager. HOLLYWOOD OFFICE: 659 Haverford Ave., Pacific Palisades, Calif., Hillside 8183; Jay Allen, Hollywood Editor. Subscription Rate: ONE YEAR, $3.00 in the United States; Canda, $4.00; Europe, $5.00. TWO YEARS, S5.00 in the United States; Canada, $7.50; Europe, $9.00 TV & THE FCC The call to arms issued by A. F. Myers apainst (lie abuses heaped upon our in- dustry by the television interests and "its" (Government agency, the Federal Communi- cations Commission, should be applauded, and. more important, heeded, by the men who control the film companies. This is a situation that has already pone much too far. It is most unbelievable that a big and powerful industry like ours should quiver and quake so spinelessly when confronted with an obvious shakedown such as it has been subjected to in the past year or two by the video magnates and their political gang in Washington. When the FCC, one year ago, issued its blatant and unveiled threat against our industry ordaining that the film companies must furnish their choice pictures and talent to the TV networks for the profit of the beer, soap and cereal hucksters, the entire movie industry should have roared back with a demand for an investigation into the sources of the pressure that must have been brought to bear upon the FCC. It is doubtful if there was ever in the history of our country a more immoral dictum handed down by an agency of our Government. What it amounted to was a fiat to the motion picture industry to commit suicide. By responding in equivocal, compromising tones, the film people invited the kind of shabby treatment they have been receiving in the current FCC hearings on appli- cations for television channels. Some of the blame for this situation must be placed right on the doorstep of those film executives who have felt that their future welfare will be best served bv playing footsie with the television interests. Hearing these film men talk out of both sides of their mouths at the same time has encouraged the McDonalds, and the Sarnoffs and the Folsoms to engage in all sorts of bulldozing tactics. Let's get the record straight and act accordingly: • Television needs films desperately. • Television faces the serious prospect of being overwhelmed by the cost problem in an effort to get films for their entertainment-hungry channels. • Television cannot begin to pay now. or in the foreseeable future, for even half decent feature films. • If the motion picture studios were to divert their product from theatres to the TV field, they would be reduced to a comparative penny-ante business. The video industry will undoubtedly find means of overcoming its own problems. If it needs 15- or 30-minute film subjects, or even of one-hour length, there will doubtless be plenty of outfits available to produce them within the price limitations of the medium. But it has no right to expect, much less demand, that the established movie industry turn over its multi-million dollar properties to it for a pittance so that it can sell its commercial time. No law is written on the statute books of the United States that requires an in- dustry to destroy itself merely to foster the growth of another commercial enterprise. If the Federal Communications Commission is willing to risk the obloquy of its stand, we should force into the light of public and judicial scrutiny the true intent and the effect of its actions. The motion picture industry is a giant; why does it act like a pygmy? MO WAX headlines... ( mm WILL CAPTURE THE CROWDS!! ■ictu,e to co -Y Je.b0ste. THE CAPTIVE CITY' starring JOHN FORSYTHE with JOAN CAMDEN . harold j. Kennedy . ray teal Screenplay by Sari I Kamb i and Alvin Josephy, Jr. • Based on an original story by Alvin Josephy, Jr. • Produced by THERON WARTH Directed by ROBERT WISE • Photographed with the Hoge Lens • The compensation for Senator Estes Kefauver's services has been donated to the Cordell Hull Foundation for World Peace .An Aspen Picture "TOPNOTCH BOXOFFICE! ONE OF THE BEST!"- Variety Another BIG 0/1 OA Film Profits Belie Doom Prophets Wha' hoppen? When the Department of Justice instituted its anti-trust action against the major film companies and demanded divorcement as the price for a decree, the industry heard dire warnings that the result of divestiture would be the destruction of the Big Five. It was said that these companies, bereft of their theatres, could never exist as film producing and distribution organizations alone. Profits, 'twas said, came only from theatre oper- ations, not from film production. The facts are laughing at those prophecies of doom today. Four of the companies that have come to terms with the Government via consent decrees and have agreed to divorcement are thriving, with the film entity taking the long end of the stick, according to the profit statements. The recent financial reports from Loew's, Inc. and 20th Century-Fox provide the clincher. Loew's, last of the Big Five to come under the divorcement axe, in a proxy statement to stockholders which recorded profits over the past ten years, continued that trend — with a vengeance. In each of the past three years total profits before taxes have increased steadily and substantially even though theatre profits have declined Arbitration Talks Set For Mid-April Sessions The gears finally started to mesh. The No. 1 topic in the movie industry today — formation of an arbitration system — was set for conference between exhibitors and the film companies by the middle of April. If the distributors had any doubt about the exhibitors' eagerness to get an arbitration system started, it was quickly dispelled by the promptness with which the exhibitor organizations accepted MPAA president Eric Johnston's invitation to meet with the distributor representatives, chairmanned by Metro's William F. Rodgers. The MPAA's action followed by a few days Allied president Wilbur Snaper's blast at the distributors' "delaying" tactics in set- ting up the arbitration conferences. Johnston's letter sent on March 20, went to the presidents of five exhibitor organi- zations: Wilbur Snaper, Allied; Mitchell Wolfson, Theatre Owners of America; Edward X. Rugoff, Metropolitan Motion Picture Theatres Ass'n; Harry Brandt. In- dependent Theatre Owners Ass'n; H. V. (Rotus) Harvey. Western Theatre Owners. It asked that they name representatives to meet within 30 days with the distributors' sales managers' committee to "explore thoroughly" an arbitration system to present to their respective organizations and to the Department of Justice for approval. The two national exhibitor organizations, Allied and TOA, who had presented their arbitration proposals, immediately named their spokesman: Allied Snaper, Nathan APRIL 7, 1952 quite sharply. And for the first time since 1946, the film net surpassed the theatres take. In its breakdown of the figures contained in the proxy statement there are listed total profits before taxes, profits from theatre holdings in the U. S. and Canada, and "all other profits". While the latter designation covers Loew's income from radio stations, MGM radio attractions, MGM records, sale of accessories and sundry items, the bulk of this revenue, of course, was derived from film rentals. The trend from 1948 on is clearly indicated by the following figures, all before taxes: Profits from Loew's theatres for 1948 were $12,472,000, which with the company's LOSS METRO'S RODGERS The Doctor Said "No" Yamins of New England and general counsel A. F. Myers; TOA, Wolfson, S. H. Fabian and general counsel Herman Levy. 1TOA quickly followed suit with Harry Brandt and Max A. Cohen. Both MMPTA and WTA were due to name their repre- sentatives momentarily. Representing the distributors, in addition of $4,101,000 from all other sources brought the total net to $8,371,000. In 1949, the thea- tres maintained their level with $12,583,000, the loss from other sources was cut to $1,795,000, bringing the total profit up to $10,788,000. In 1950. the theatres dropped to $9,896,000, all other profits went into the black with $2,712,000, raising the total to $12,608,000. And in 1951, theatres dipped to $6,944,000, other income zoomed to $7,243,- 000, giving a total take before taxes of $14,187,000. Recapitulation of the ten-year period, with the first half giving the lion's share to the non-theatre activities, worked out to an even split of the total $201,837,000 earned before taxes. The theatres net was $100,978,000, all other income, $100,859,000. The 20th-Fox report published last week showed a total profit of $4,380,000, of which approximately half came from film oper- ations. The division was revealed in a state- ment to stockholders by president Spyros P. Skouras, mailed with the company's annual financial report (Fox profit story elsewhere in News & Opinion). Skouras reported that $2,128,000 of the total net was film revenue and $2,180,000 was earned from theatre holdings, both after Federal taxes and all charges. to Rodgers, were 20th-Fox's Al Lichtman, RKO's Robert Mochrie and Columbia's Abe Montague. Serving as counsel are Para- mount's Austin C. Keough, Warners' Robert W. Perkins and Universale Adolph Schimel. The film company representatives, with Rodgers at the helm, went into feverish preparations for the conference. Rodgers met with his committee the following day; Johnston, Paramount's A. W. Schwalberg and the MPAA's Joyce O'Hara and Ralph D. Hetzel, Jr., joined the confabs and set up Further meetings. The distributors' committee was due to present its own recommendations, in addition to reviewing the exhibitors' proposals. Rodgers Says 'No' To COMPO Post Despite 'Draft' Movement "Perhaps it is more important that Bill de- vote his efforts toward (the) establishment of a workable arbitration system for unless such a system is set up there may be no need for a COMPO." The quote above, which so aptly sums up the situation, is from Pete Harrison's trade paper. "Harrison's Reports". The "Bill" re- ferred to, is, of course, William F. Rodgers, who pave an implacable "no" to pleas that he accept the presidency of the Council 'A Motion Picture Organizations despite one of the most fervent "draft" movements in the history of the business. The same reasons of health which forced Rodgers to relinquish his top distribution (Continued on Page 8) IT HAPPENEIf HERBERT JMBEL- MQUN IflBRI s^pu,« A REPUBLIC PICTUfl with IE T BANNING and BOB CONSIDINE • Associate Producer-Director JOSEPH KANE • public Pictures Corporation - Herbert J. Yates, .President News and Opinion (Continued from Page 5) post with Loew's, take a well-earned rest and return in an advisory capacity to the company, were cited by the popular distribu- tor leader in declining the post. Moreover, Rodgers had yielded to the previous requests that he lead the distributor arbitration repre- sentatives in the forthcoming conferences with exhibitor leaders, a man-sized job in itself. Typical of the "draft Rodgers" movemert was the bulletin issued by National Allied: -'COMPO cannot continue indefinitely in its present leadcrless state. It must be headed by an industry personality who is known to and respected by all industry members in all branches. "If COMPO is worth saving— and Allied thinks it is — then William F. Rodgers must be drafted for the presidency at once. "Bill has had a long and notable career of service to the motion picture industry. We fully sympathize with his wish to remain in retirement. But in times like these the in- dustry has great need of his experience, popularity and great ability. He already had hibernated too long. "In view of his demonstrated love for and devotion to the movie business, it is unthink- able that he will not respond to a clear call to duty. Let's all cry with one voice: 'Come back, Bill, and go to work!'." In view of such sentiments, Rodgers said, he considered the post, pending conferences with his physician and Nicholas M. Schenck, president of Locw's. Both vetoed the idea due to the chance he would be taking with his health, he said, "because the premium is too high". The "leadcrless" COMPO, however, was moving ahead under the yeoman guidance of executive vice-president Arthur L. Mayer, who agreed to continue in the post until a successor could be named. Representations were made by Mayer to the U. S. Treasury Department protesting its characterization ol the motion picture industry as a "relatively non-essential service". The speakers' bureau, authorized by the executive beard at its recent meeting will begin operations in May, with Universale Maurice Bergman and COMPO special counsel Robert W. Coyne set to kick off the nationwide appearances. And in New York, COMPO Finance Com- mittee chairman Trueman Rembusch held meetings with his committee members to set up a dues plan. RODGERS IN NEW 2-YEAR PACT William 1". Rodgers, Loew's vice- president, will receive $1,100 per week for two years in his "advisory capa- city" at the expiration of his current contract on July 26, next, under the terms of a new pact. Loew's reported to the Securities & Exchange Com- mission, the details of the new contrac t which includes a $200-pcr-wcck allow- ance for "unusual expenses" in ad- (I i l it til to (raveling expenses. MONOGRAM'S BROIDY For the Record: Theatres First Broidy Denies Trust Suit Reports, Halts Mono TV Sales Reports that Monogram president Steve Broidy was contemplating anti-trust action against exhibitors for their refusal to buy his company's product, as long as Mono- gram films were being sold to television, boiled down to a categorical denial by the Monogram head, and a clearcut statement of policy on the company's TV sales. The reports followed in the wake of a rising tide of exhibitor resentment against film companies' sale of product — old or new — for TV presentation. Upon publication of the rumors, Broidy issued the statement that the "entire story is without the slightest basis, in fact, insofar as it relates to Mono- gram". The company's wholly-owned sub- sidiary. Interstate Television Corp., created solely for the production of TV films, was not mentioned in Broidy's rebuttal, however. Interstate TV's recent signing of Ethel Barrymore for a series of film for TV had received widespread publicity. Broidy claimed that his "complete, un- equivocal" denial of court action against ex- hibitors was made to the reporter for the trade journal the evening before publication during a phone call to him by the scribe. The story, however, brought forth a definite stand by Broidy on the sale of films by Monogram to television: "Let it go on the i eiord that Monogram is primarily in the business of producing and distributing pictures for theatrical exhibition. Last year and during the present season our. product has met with the most enthusiastic ehxibitor reaction in our history. We're going to keep it that way". He also discolsed that the company had earlier halted any further commitments for Monogram films to TV. Those already set, of course, will be delivered, Broidy added. Film Grosses Up, Theatre Take Down As Fox Net Dips Despite an increase in film rental revenue; and total gross, 20th Century-Fox's net for 1951 was less than half of the preceding year's profit. Significantly, the increase was I more than offset by a decline in theatre receipts. Total gross, which included dividends, rents from tenants, and other income was $163,803,000 compared with $162,474,000 in 1950. Net for 1951 after all expenses anc provision for Federal taxes came to $4,308,- 000. In 1950, the corresponding net wa; $9,553,000. The latter figure, however, in eluded $2,263,000 of income of prior years and a $1,184,000 gain from exchange of thea tie properties, both net of taxes. After deducting dividends on prior pre ferred and convertible preferred stocks, botl retired in full on July 13, 1951, consolidate^ net amounted to $1.47 per share on 2,679,48.1 shares of common stock outstanding, com! pared with $3.26 per share on the 2,679,17. shares of common outstanding at the eml of 1950. Fourth quarter earnings were $2,160,00 compared with $2,957,000 in 1950. The latte figure however, included $1,183,000 from ex| change of theatre properties, indicating tha) the final 1951 quarter revenue far surpassei the comparable period in the preceding yea J With the exception of amortization of fill} costs, expenses remained comparativelJ stable. Amortization increased approximate ly $2,500,000; distribution, theatre operatio| and administration expenses up about $673 000. Contributions to employees' retiremeij plans were down from $1,900,000, to $li 321,000. The federal tax bite in '51 was $3,300,00' compared with $3,220,000 the year before, f Myers Scores TV Tactics To 'Bulldoze' FCC & D of J Abram Myers' advice to the industry wl to stop "bleating" and start "roaring" abol television's troubles and the pressure T|i interests are putting on Government agefl cies to further video's growth at the expenl of the movie industry. The Allied general counsel lashed into t|l political influence TV people have exert t upon the Federal Communications Co-jl mission and the Department of Justice jf "bulldoze the motion picture industry ii > turning over its products to TV". He ail scored the industry's neglect in permittil the "wide-spread impression to be creat'l that the movie industry, terrified by tc1- vision, is desperately trying to prolong m own life by withholding its current al choice pictures from TV. "It is timi Myers declared, "the public was told til the real controversy between the movies ;m TV revolves around the frantic efforts § TV to obtain the best motion pictures wft (Continued mi I'uge V F I L M BULL }•: T M CAPTIVE CITY' RAW CRIME STUFF WITH FAST ACTION Rates • • • - generally with exploitation; more in action houses United Artists (Aspen) 91 minutes John Forsythe, Joan Camden, Harold J. Kennedy, Marjorie Crossland, Victor Suther- land, Ray Teal, Martin, Milner, Geraldine Hall, Hal K. Dawson, Ian Wolfe, Gladys Hurlbut, Jess Kirkpatrick, Paul Newlan, Frances Morris, Paul Brinegar, Patricia Goldwater, Robert Gorrell, Glenn Judd, William C. Miller. Directed by Robert Wise. The first production turned out by the new Mark Robson-Robert Wise outfit, Aspen Films, bodes well for the production team. "The Captive City" is a suspenseful crime melodrama, done in the semi-documentary manner, that should find favor generally. Boxofficewisc it will probably get only fair returns, for it lacks name value. Filmed entirely on location, its realism is enhanced to a point where the lack of familiar screen names and faces is an actual asset. The ap- pearance of Senator Kstcs Kefauver in an epilogue, in which he endorses the film, adds further authenticity to the production, is well as heing an extra sidling point. The natural drawback in the lack of star names possibly can be made up by giving this the promotion push it deserves. Word-of-moUth will be another factor in building up grosses. Two recruits from the stanc, John For- sythe, who starred in "Mr. Roberts", and Joan Camden, make impressive Screen debuts, under the deft directorial hand of Robert Wise. To the latter must go the lion's share of credit for maintaining the film's gripping quality and the high level of performance. Production by Theron Warth creditably makes full use of his natural props and back- grounds. STORY: John Forsythe, editor of a smalltown daily newspaper, is warned by Hal K. Dawson, a private detective, that the town's police chief, Ray Teal, is crooked. Forsythe disbelieves Dawson, but when the latter is found dead the fighting yuunu editor begins crusading for a clean-up, alienating the police chief. Forsythe discovers that a newcomer to the town is a hoodlum recently involved in a Miami shooting, and now oper- ating a bookmakinv; syndicate. The crooks try to buy John off, hut he pursues his in- vestigation. After a second murder, the town's leading clergymen are called into con- ference. Unhappily, Forsythe finds they know all about the racketeers. There is corruption on every side. Realizing how powerless lie is to prevent it, he goes to Washington to give the facts to the Senate ( rime Committee. I. HON THE DENVER & RIO GRANDE' ACTIONFUL TECHNICOLOR WESTERN Rates • • + generally; better for action houses Paramount 89 minuted Edmond O'Brien, Sterling Hayden, Dean Jagger, Lyle Bettger, Laura Elliot, J. Carol Naish, Zasu Pitts. Directed by Byron Haskin. This Technicolor western from Nat Holt via Paramount is strictly for the action fans. Set in the pioneering days of railroads when the iron horse was still seeking a trail west- ward to the Pacific. The story is old hat, serving as a framework upon which to hang the rawboned, sinew-cracking sequences, paced by a dash of romance and comedy in the well-known formula. There's nothing really new in "The Denver & Rio Grande" but the scenic beauty, forceful direction, and, above all, some knock-down-dragout battles — highlighted by a head-on train crash — should make this good boxoffice in action houses and a satisfactory dualler elsewhere. Robust performances are the only acting requisities demanded of the cast and Ed- mond O'Brien, Sterling Hayden and com- pany complete their muscular assignments adequately. Laura Elliot is pert and appeal- ing, providing the love interest. On the lighter side, Zasu Pitts is still — Zasu Pitts. STORY: The Denver & Rio Grande rail- road is being built to Salt Lake City, as is a rival road, the Canyon City and San Juan. The Royal Gorge pass is the only practical route through the Rockies and a dispute arises as to which company is to use the pass. While trying to settle the dispute legally, a bitter rivalry develops between the construction outfits as they race to be the first to reach the vital gorge. When it be- comes obvious that the D&RG is going to win the race, the Canyon City crew reverts to sabotage and violence breaks out between the rival construction gangs. After some bloody encounters — replete with gun battles, dynamite blasts, and train wrecks — the D&RG emerges victorious. NEWT THE NARROW MARGIN ENCROSSING CRIME PROGRAMMER Rates • • as action dualler RKO 71 minuteg Charles McGraw, Marie Windsor, Jacqueline White, Queenie Leonard, David Clarke, Peter Virgo, Don Beddoe, Paul Maxey, Harry Hervey, Gordon Gebert. Directed by Richard Fleischer. Joining the line-up of films which are cash- ing in on the headline interest in nation-wide crime syndicates, "The Narrow Margin" contains sufficient suspense and action to make it a satisfactory as a programmer for action spots. The story unfolds aboard a train bound for Los Angeles from Chicago, || and suspense is built upon the efforts of racketeers trying to locate and silence an important grand jury witness before the train arrives in L. A. While this meller lacks marquee values, it shows evidence of capable direction, resulting in a pace that is calcu- lated to hold interest beyond the average program melodrama. Charles McGraw is convincing as the police officer whose mission it is to elude the racketeers and bring the witness before the grand jury. Marie Windsor is appealing as the police-woman who tricks everyone into thinking that she is the witness, and Jacqueline White is satisfactory as she hides the fact that she is the real woman in question. STORY: Charles McGraw, assigned the task of bringing the widow of a slain gangster from Chicago to Los Angeles, finds that he is going to have some stiff opposition from gangsters who want to prevent the woman from turning over incriminating evi- dence to the grand jury investigating bribery in the Los Angeles police department. He manages to get Marie Windsor safely on the train, but two of the racketeers also come aboard. The gangsters have no way of recognizing the woman and must watch McGraw in order to get a lead to- her identity. McGraw meets Jacqueline White who is traveling to Los Angeles with her young son. Unintentionally, McGraw leads killers to believe that White is the woman they seek. After some suspenseful scenes, Windsor is killed by the gangsters, and McGraw meets with the realization that he has been operating a diversion to trick the killers. Windsor was really a policewoman and White, the gangster's widow. After some tense moments the racketeers are appre- hended and McGraw's mission is successful. NEWT APRIL 7, 1952 5 THE BATTLE AT APACHE PASS' IN THE FAMILIAR GROOVE Rates • • + as dualler generally; more in action spots the whites, only to be thwarted by treachery Universal 85 minutes: John Lund, Jeff Chandler, Beverly Tyler, Bruce Cowling, Susan Cabot, John Hudson, Jimmy Best, Regis Toomey, Richard Egan. Done many times before, and following the current vogue of casting a sympathetic Kght on those erstwhile movie fiends, the American Indian, "The Battle at Apache Pass" is a Technicolor western in the pattern that Universal-International is milking dry. However, this entry will undoubtedly find flavor with devotees of the outdoor epic, but not much more. Some rousing sequences are built around the familiar framework of the screenplay by Gerald Drayson Adams. Most notable of the recent entries was "Broken Arrow". Leonard Goldstein's production, however, is a far cry from that earlier box- office winner, despite the same theme and many of the same characters. Jeff Chandler, for instance, is again seen as Cochise, the wise and peace-loving Apache chieftain who attempts to maintain friendly relations with MARA MARU GOOD ERROL Rates • • • generally Warner Bros. 98 minutes Errol Flynn, Ruth Roman, Raymond Burr, Paul Picerni, Richard Webb, Dan Seymour, George Renavent, Robert Cabal, Henry Marco, Nestor Paiva. Directed by Gordon Douglas. Leaving nothing to chance, Warners has resorted to all the tried and true techniques of adventure stories in presenting "Mara Maru". Shot on location in the Philippines, N. Richard Nash's screen play contains the sure-fire elements of romance, suspense, murder and intrigue — with a treasure hunt at the bottom of the China Set tossed in for nood measure. Added to this is a top notch cast, headed by Errol Flynn and Ruth in both camps. John Lund, as a Cavalry officer who attempts to establish harmony by peaceful means, the vicious Geronimo who breaks away to lead the bloodthirsty redskin faction, a conniving Indian scout and so on, are reminiscent of the "Broken Arrow" people. The directorial deftness, the heart and romantic interest that distinguished the latter, however, is missing. What is left is familiar cavalry-Indian stuff, maintaining interest for the most part, supplying dashes of bang-bang action and an occasional spurt of suspense, but never leaving the spectator in doubt as to the next sequence and the ultimate outcome. "Battle at Apache Pass" should make quite acceptable screenfare for the western fans and patrons of the action spots. The Lund-Chandler names should make this satisfactory as a dualler generally. Producer Leonard Goldstein has not searched for — or stumbled upon — novelty. Nor has director George Sherman, who relies on the formula treatment and regulation twists. John Lund's deadpan style is suit- FLYNN ADVENTURE Roman, and directed by the capable hand of Gordon Douglas. Some good underwater sequences add to the suspense and action. Everything in this David Weisbart pro- duction has been groomed for a well-paced, exciting adventure thriller, and it should roll up good grosses in all but the class houses. Admirers of Errol Flynn won't be disap- pointed as he swaggers his way through the role of a salvage diver who isn't too partic- ular how he makes money. Ruth Roman is convincing and appealing as she tries to make up her mind whether or not Flynn is worth having. In supporting roles, Raymond Burr and Paul Picerni are a larcenous pair with murder in their hearts. STORY: Flynn is in the salvage business in Manila with a partner (Richard Webl>) who is a spineless drunkard. Webb is able enough to his role. Jeff Chandler, de- spite the handicaps of the screenplay, manages to give vigor and character to the role of Cochise. STORY: John Lund, head of a fort in New Mexico at the start of the Civil War, maintains friendly relations with the Chiri- cahua Apaches despite his meager garrison, because the Chiricahua leader, Jeff Chandler, wishes for peace. An Indian Affairs advisor, Bruce Cowling, persuades other Apaches, led by Jay Silverheels (Geronimo) disguised as the Chandler faction, to attack the garrison in Lund's absence. Cowling also incites a young officer to punish the Chiricahuas for the attack. Angered by the white men's treachery, Chandler attacks and declares all- out war. The cavalrymen are ambushed in Apache Pass, but are routed when Lund turns his cannons on the Indians. The villains are killed, and Cochise, doubly grate- ful when a white doctor saves his wife's life as she gives birth to a son, permits the troops to ride off to safety with the promise of peace in the offing. COULTER married to Ruth Roman, who was once ro- mantically interested in Flynn. In one of his drunken stupors, Webb tells Flynn of a fabulous diamond treasure. Before Flynn can obtain details, Webb is murdered. Flynn is then approached by Paul Picerni and Raymond Burr, who tell him that he and Webb were the only ones who knew the location of the sunken ship containing the treasure. Flynn decides to go after it alone, but his boat is dynamited and he is forced to throw in with Picerni "and Burr. After a series of harrowing experiences, in which he is almost killed by his companions, Flynn is successful in finding the diamonds. It turns out that the treasure belongs to the church and Flynn proves to Roman he isn't such a bad guy, after all, by returning the precious stones. NEWT FAITHFUL CITY' HEARTWARMING ENGLISH-LANGUAGE ISRAELI DRAMA Rates • • as dualler; much more in Je RKO 86 minutes Jamie Smith, Didi Ramati, Dina Peskin, Ben Josef, John Slater, Rachel Markus, Israel Hanin, Juda Levi, Amnon Lifshitz. Directed by Josef Leytes. The heart-interest inherent in any story of homeless children, sincere performances and a fine directorial job by Josef Leytes lifts, filmed in Israel with an English-speaking cast, "Faithful City" well above the general run of imports. Although it will, of course, exert its greatest pull in dominantly Jewish areas, it is assuredly not limited to such locales. Its theme M universal and the at- traction it offers will be felt by adults and children in any area where it is shown and exploited. Although it uses the documentary style, it is not a documentary. Nor is it propaganda for Israel or its people. It is 10 wish areas and where exploited simply a poignant story of the rehabilitation of a group of parentless children from war- torn countries brought to a new land to bc^in a new life — their difficulties in adjust- ing themselves, the good that is brought out in them by kindness and understanding, the problems with the brattish individuals. All of this is accomplished with pathos, spiced with humor and never displaying a trace of sordidness. Naturally, it can't expect abundant Ik ixoffice returns, except in special- ized areas, because of its lack of marquee names and the foreign label. Jamie Smith, an American, does a bang- up job as the new master at the children's settlement where the action takes place. John Slater, head of the area, is less convincing, but under Leytes' knowing direction, makes his performance sincere. Didi Ramati, helper- teacher, is a find, exhibiting an Ingrid Bergman-like quality that will be noticed. STORY: A busload of children from the gutters of Europe and Africa arrives at a settlement in Israel. They are tough, tru- culent, suspicious after their wartime ordeals. Jamie Smith, the new teacher, finds it hard to convince the kids to have confidence in the adults, especially in the case of hard- boiled young Israel Hanin, a potential gangster. Just as the children are beginning to react to treatment, war with the Arabs breaks out. Jamie goes off to enlist. Without him young Hanin succumbs to fear once again, and runs away. In the shell-pocked ruins he finds a wounded Arab boy. Through heavy shellfire he drags him towards safety. Jamie, fighting his way back to the settle- ment, spots Israel and the Arab child. He rescues them, returns to the settlement, where the children, parched from lack of water and sick, pitch in to get supplies and begin a new life. YORK. FILM BULLETIN ie "CHEAPER BY THE DOZEN" FAMILY Is Back On The Screen In The look- Of -The- Month Best-Seller "BELLES ON THEIR TOES" Technicolor n JEANNE CRAIN • MYRNA LOY • DEBRA PAGET • JEFFREY HUNTER • EDWARD ARNOLD ' ¥& CarmiChael Produced by SAMUEL G. ENGEL Directed by HENRY LEVIN Screen Play by PHOEBE and HENRY EPHRON HE'S NO BUSINESS LIKE CENTURY-FOX BUSINESS' THIEF OF DAMASCUS' FAIR ADVENTURE MELLER IN COLOR Rates • • + as dualler generally Columbia 78 minutes Paul Henreid, John Sutton, Jeff Donnell, Lon Chaney, Elena Verdugo, Helen Gilbert, Robert Clary, Edward Colmans, Nelson Leigh, Philip Van Zandt, Leonard Penn, Larry Stewart, Robert Conte. Directed by Will Jason. Familiar but surefire ingredients have been tossed by Columbia and producer Sam Katz- man into the Technicolor hopper to give ex- hibitors a costume swashbuckler that should satisfy the less discriminating and followers of such films. It's all been done before, often better, but rarely more of the usual melange of bright costumes, flashing swordplay and Rates • + as supporting dualler United Artists 85 minutes Angelica Hauff, Alexander Carlos, America Cabral , Carmen Brown, Kumatzaikuma, Arny Jartul, Griyo Sobrinho, W. Hardt. Directed by Franz Eichhorn. This odd picture about a treasure hunt in the South American jungle will get by as a dualler only in minor houses, and as an exploitation special. Nil as to star value, the pfoduction isn't much better. The sound in many of the sequences was dubbed in. An A1 O'Catnp production for which O. A. Haver served as producer, it gave the Eich- horn iamily a field day. Franz Eichhorn directs, F. E, Eichhorn is one of three col- laborators on the story and screenplay, and Kdgar Kichhorn did the photography. If this had been confined to the animal shots- tapirs, monkeys, crocodiles, snake s, ctc. — it might have turned out better. Some of these are fairly exciting. In parts the film has a documentary flavor, and it night have been fairly convincing but scantily-clad harem beauties. That phases of Arabian Nights tales and characters like Sinbad, Scheherazade, Aladdin and others have been scrambled into the story of the siege of Damascus in the Seventh Century, won't bother most moviegoers a whit, es- pecially with the abundant displays of action and the form divine. Paul Henreid and Lon Chaney are the principal marquee names and a notch above the usual for this type of screen fare. Returns will be above average generally in small towns and metropolitan naborhoods where it plays on a dual bill. Producer Katzman has endowed the film with a mess of brightly colored plasterwork ami a high quota of feminine pulchritude. Director Will Jason's handling of the Robert for the inept performance turned in by Alexander Carlos, the young hero. Arny Jartul, the friendly native, on the other hand is believable, probably because he doesn't know how to act, and doesn't try. Apart from the dog, which doesn't even get a credit, best of the cast is an attractive, well- built young lady named Angelica Hauff of whom we would have liked to see a great deal more. STORY: A young clerk, Alexander Carlos, goes to the headhunting country of South America in search of his father, missing for some years during a hunt for a golden Inca statue, lie saves the life of an Indian, who agrees to guide him up river. In Amy's village Carlos meets Angelica Hauff who proves to be the daughter of the American Scientist who was with Carlos' father at the time of his death. They find the golden statue. The headhunted pursue them, but Carlos kills their chief. After a perilous journey through crocodile-infested jungle, in which they lose the statue, they make their way to safety. LEON E. Kent screenplay is adequate but never distinguished. The players follow the same pattern. STORY: John Sutton, as the Iron Man of Persia in 684 A.D., conquers the city of Damascus. His general, Paul Henreid ar- ranges a truce with the sultan's daughter, Helen Gilbert. Sutton, jealous of Henreid, orders his general's arrest. Escaping to the hills Henreid, Robert Clary and Lon Chaney join Ali Raba at his cave and organize an underground movement. They trap Sutton's best regiment. Just as Sutton about to be- head his beauteous captives the populace, roused by Henreid, brusts into revolt and Sutton is killed by the hero in a hand-to- hand sword fight. LEON for a missing U. S. scientist when the air- field is raided by Communist troops. John Archer, their ground crewman is killed and Dick and Harvey are forced to fly a load of ammunition to the beleaguered Commie general, Peter Chang. Ry a trick they blow the aircraft to smithereens and escape into the jungle with Jean Willes, a French air- field assistant, Archer's pregnant widow and the orphan boy Hayworth Soo Hoo. All except the boy are captured, and he follows the party. In the Red prison the Americans locate the scientist, escape and after a pursuit by the Reds, in which the boy is killed, make their way to safety. YORK MARCH OF TIME REISSUES March of Time is reissuing a group of its documentary short subjects to be known as the "History-in-the-Making" series. For the most part, it is diffi- cult to foresee much exhibitor or public interest in these subjects. "Inside Nazi Germany" has been fitted out with a prologue explaining that it has special significance today in the light of the German rearmament problem. However, its sights of Hitlerian ranting and raving is both dated and unpleasant to watch. "Baptism of Fire" is a 13-minutc fragment taken out of "The Ramparts We Watch", made about 1940. "Union of South Africa" (11 minutes) is an out-of-date item centering around the wartime deeds of the late Field Marshal Smuts. This one was never released in the U. S. "Foe of Corrup- tion" is a moderately interesting onc- reeler. Rest of the lot is "Invitation to Harvard", made last year. Running 34 minutes, this subject shows the fa- cilities offered by America's oldest uni- versity, with flashes of the glee club, sports activities, studies and research, and some fine shots of the campus. ( i H'LTFR YANK IN INDO CHINA1 LOW-RATE DUALLER Rates • + as supporting dualler for minor houses Columbia 67 minutes John Archer, Douglas Dick, Jean Willes, Maura Murphy, Hayward Soo Hoo, Don Harvey, Harold Fong, Rory Mallinson, Leonard Penn, Kamtong, Pierre Watkin, Peter Chang. Directed by Wallace A. Grissell. This unpretentious Sam Katzman produc- tion occasionally strays from the well-beaten path grooved by its countless predecessors, but not often enough to lift it above the supporting dualler category. The so-called "topical" angle is contained principally in the title, with the Reds, as villains, doing the dirty work. Katzman's production is also in the lower R category, with plenty of stock shots inserted into the Hollywood- made footage. In handling Sam Newman's story about a band of Americans who get tangled in the jungle with Chinese com- munists, director Wallace Grissell has managed to elicit a few lusty sequences, with carbine butts crashing down on Red noggins and some good flying stuff. There is also a human interest angle in a Chinese orphan boy who teams up with the Americans. The rest, however, is ho-hum programmer fare for the action house lower half. The marqueeless cast headed by John Archer, Douglas Dick and Jean Willes re- spond well enough to Grissell's unimagina- tive handling. Rest of the roles is Hayward Soo Hoo as the orphan, with Harold Fong, as a suitably sinister Reel officer runner-up in acting honors. STORY: Doug Dick and Don Harvey, running a small cargo airline in war-torn Indo-China, are about to set off to search STRANGE WORLD' MINOR EXPLOITATION ENTRY 12 FILM RULLETI freed flcte beck Jeanmarie, vivacious Paris- born ballerina, makes her debut in Samuel Goldwyn' s "Hans Christian Ander- sen". She's a rule trick. In alternate issues. FILM bulletin's Hollywood staff will spotlight one currently-filming picture as the "production-oj-the-month" — based on the various ingredients that go into making a box- office winner. This month, with 43 features to choose from, the nod goes to Samuel Goldwyn's "Hans Christian Andersen Story", which is now about mid-way through its 90-day shooting schedule. H li _ AXS Christian Andersen'-, starring Danny Kaye, Farley Granger and Jeanmarie, the exotic French ballerina, is being directed by Charles Yidor, and will cost in the neighborhood of $4,000,000 before it is ready for release, some time this fall. The idea for this film, Mr. Goldwyn says, dates back to 1938. Since that time he has had a dozen writers working on the script, none of whom came up with just what he wanted. So he paid them off to the tune of several hundred thousand dollars. Finally, last summer, Goldwyn put Moss Hart, the Broadway playwright, on the ven- ture. Hart's script, the twenty-second in line, so excited Goldwyn, he tells FILM BULLETIN, that he promptly scheduled the picture for immediate production. For one sequence alone, practically the entire main square of Copenhagen has been reproduced, and constitutes one of the most interesting sets ever seen on a hollywood stage. It takes up every available inch of a huge 30,000 square foot sound stage. The ballets, to be danced by Jeanmarie and Eric Bruhn of the Royal Danish ballet, are being staged by Roland Petit, choreographer of the Ballet de Paris. For the score, Gold- wyn hired Frank Loesser, the composer of such hits as "Slow Boat to China" and "Bushel and a Peck", to write tunes for Danny Kaye. Although the hero of the film is Hans Christian Andersen, who wrote the fairy tales, and the plot revolves around his stories, the film is not a screen biography in any sense of the word. Instead, it is an attempt to catch the philosophy of faith which Andersen expressed in his stories. Blue C hip Production HANS CHRISTIAN AMICIISCN" Above is Copenhagen Square, reproduced by Goldwyn at a reputed cost of $200,000. "Hans Christian Andersen" stars Danny Kaye. Farley Granger and Jeanmarie. Director Charles Vidor is seen here scheduling a camera setup of Danny Kaye with the school children in the scene at the pond. REPORT FROM THE STUDIOS COLUMBIA Harry Cohn continues to be one of the strongest hold-outs in Hollywood, against releasing old films to television. The Co- lumbia president has just nixed two extreme- ly lucrative offers from the TVers — one for 28 of the old "Mondie" series pictures, and another for the company's entire library of "B" films. At the same time, Columbia is stepping ahead of all other studios in the use of the television medium to advertise its product. An extensive promotional and advertising campaign utilizing clips from pictures, as well as guest appearances of the stars, is currently being slated for the video channels. Sam Katzman has come up with a new war picture project to glorify World War II's heroic Air Forces cameramen. The pic- ture will be titled "Combat Assignment", and will be one of the company's banner productions of the year. "Young Ames", the 10-year-old Walter Ames novel about New York in tin- I830's, has just been taken off Columbia's shelf for a 1952 filming. The screen adaptation is being written by Zachary Gold, and deals with the early developments of the export business in this country. This will be the first for writer Oscal Saul as a Columbia producer. The call sheet on Hugo Haas' "Strange Fascination", which rolled March 19, is reminiscent of an Orson Welles production, with Haas listed as producer, director and star. Stanley Kramer's Techni- colored "The 5000 Fingers of Dr. T" (Peter Lind Hayes-Mary Healey) will have more of the physical appearance of a musical than a straight comedy, as it is billed. No less than 12 original tunes have been written for the picture, which marks the first time that Kramer has ventured into the musical field. Kramer's "The Librarian", twice been shoved back on the schedule, gets away the end of April, and, 'tis said, will be Holly- wood's hottest blast yet against the Com- mies. It will have to be good to outdo Leo McCarey's "My Son John". L I P P E R T Television has latched onto its most up-to- date batch of motion pictures thus far, with the take-over of 20 Lippert productions, all released during 1949-50. The price on the pictures is a top secret, but it is understood that the figure was quite low. Apparently, a producer must be very hungry to peddle feature films to TV for comparative "fish cakes". Producer John Champion and di- rector Charles Marquis Warren teed off March 25 their Commander films produc- tion of "Hellgate". Prom all appearances, the Starling rlayden-Joan Leslie starrer should be one of the company's top releases of the year 14 M - G - M Joe Manckiewicz's first picture for MGM will be "Jefferson Selleck", from the novel by Carl Jonas, which has recently been hit- ting such a fast sales pace on the book counters. Spencer Tracy will star in the role of a very average, middle-class man from a small, midwestern city. Mankiewicz will write the screenplay, produce and direct. Mario Lanza is slated to make "The Student Prince", the Sigmund Operetta, as his second '52 film. Joe Pasternak will direct. Anson Bond has just signed a two-picture contract with Metro to develop a pair of his own stories. Bond is considered one of the "bright young men" in Hollywood, having started picture work only a few years ago as an educational-subjects producer for HAL WALLIS He Sits and Waits the armed forces during World War II. Since then, he's scored with four hits: "Japanese War Bride", "Not Wanted", "The Vicious Years" and "Journey Into Light". M uch 24 witnessed the launching of two important MGM productions — "Plymouth Adventure" (Spencer Tracy-Gene Tierney- Van Johnson-Leo Genn) and "Letter From the President" (Shelley Winters-Ricardo Montalban). "Plymouth" is a personal Dore Schary production, directed by Clarence Brown, with color by Technicolor. William VVellman directs "Letter" for producer Stephen Ames. Indications are that budgets will be held to a minimum on the majority of pictures turned out by MGM's new crop of fledgling producers in the Charles Schnee unit, as witness the 14-day shooting schedule allotted "A Sky full Of Moon", Norman Foster's first, to roll next month. Schary has just signed Richard Thorpe to a new seven-year director's pact. MONOGRAM — A A Steve Broidy, Monogram prexy, has answered the question as to wl. ether his company might be intending to channel all of its future production into the television field. The answer is a loud and firm "No". Says Broidy: "We're primarily interested in producing for theatres, just as we always have been, and we will refrain from com- mitting any further product to video." Nevertheless, Mono's vidpic unit, Interstate Television, will undoubtedly be a heavy con- tributor to television. The lull in Mono- gram's production is near an end, with six pictures set to roll during the last three weeks of April. They are: William F. Broidy's "Sea Tiger", Vincent Fennelley's "Martial Law", Ben (Bill Elliott) Schwalb's "Army Bound" (Stanley Clements), Lindsley Parsons' "Timber Wolf" (Kirby Grant), and "Mardi Gras", which producer Peter Scully will film in Cinecolor. PARAMOUNT Ah, success! Dean Martin and Jen-}' Lewis have given the film capital their first display of temperament. And producer Hal Wallis is holding an expensive bag. The comedy team refused to show up last week for the start of their next scheduled Paramount film, "Scared Stiff". The reason, we're told, is that they do not like the idea of working in a re-make of Bob Hope's oldie, "The Ghost Breakers", which, truth to tell, was no great shakes in its time. As the week was drawing to a close, the boys were adamant in their refusal to appear. "Scared Stiff" was slated to have Carmen Miranda opposite the comics, but so far everybody in the produc- tion unit is just waiting around for the miss- ing Messrs. M & L. Top echelon brass have decided to with- hold the three unreleased Alan Ladd starrers produced by Paramount until 1953, follow- ing the termination of his contract with the studio last month. However, the company will release "Red Mountain", for which they loaned him to Hal Wallis, some time in May. The trio being held back for next year are: "Botany Bay", "Thunder In the East" and "Shane". R KO This lot seems to be coasting on its back- log. Very little, is in work. Very little ac- tivity in the writing dept. The most note- worthy script in preparation is "Pilate's Wife", to which Clair Booth Luce is present- ly putting the final touches. In addition, Alan LcMay is completing "Blackbeard, the Pirate" for Edmund Grainger; Irving Wal- lace is working on "Split Second" for Lewis Rachmil; Frank Cavett is winding up "The t ook Story" for Ida Lupino's Fil makers, (Continued on Page I'i) FILM BULLETIN REPORT FROM STUDIOS (Continued from Page It) and Michael Fessier is prepping "The Cirls ' Have Landed" for Wald-Krasna. The sound stages went completely dark on the Gower street lot in late March, when "A Song Forever", which was to co-star Tony Martin and Kathryn Grayson, was suddenly called oil' at the last minute. The hitch stemmed from Miss Orayson's demands, JERRY WALD Talking To Republic which reportedly would have sky-rocketed the budget from a planned $1,200,000 to an unprecedented— for RKO, at least— $2,500,- 000. Only at Metro, Miss Grayson is so much money spent to make a musical! A good bet is that the Wald-Krasna unit will soon say goodbye to Mr. Hughes and move over to the Republic lot. Hollywood, generally is singing the praise of Howard Hughes, in his all-out stand for a principle in the Paul Jarrico suit. If Hughes is correct in saying that a script written by Jarrico was junked and the pic- ture was shot from another script, any at- tempt by the Screen Writers Guild to force a screen credit, would be a fraud on the public. And if the guild calls a strike in this matter, it will not have the sympathy of the public or deserve it. REPUBLIC Don't underestimate the persuasive powers of Republic's dynamic president, Herbert J. i ait s, in those conferences he's been hold- ing with Jerry Wald. Yates is out after more top producers, both in the high and low budget field, and he's willing to make some very attractive deals to land them. Yates needs good product badly, and Wald and Krasna are very prolific producers. Besides, they're not in much of a mood to continue at RKO, especially if they can come up with an equally attractive deal else- where. Just prior to the time that Yates and his new bride, Vera Ralston, took off for a European honeymoon, he gave the green- light to nine productions to roll during April and May — heralding a considerable pick-up in the Studio's production pace. The April starters are: "Ride the Man Down", "Flight Nurse", "Citizen Soldier", "Wac From Walla Walla" and "Zombies of the Strato- sphere". Mori Goodman, Republic publicity director for the past six years, turned in his resignation on April 1, to become vice-presi- dent of the Stodel Adevrtising Agency. Re- public will sorely miss him. 20TH CENTURY-FOX Fox will nunc to tin- head of the list in number of pictures shooting in April, with seven starters slated. They are: "Stars and Stripes Forever" (Clifton Webb- Ruth Hus- sey), film biog of John Philip Sousa, in Technicolor — Henry Koster directing for Lamar Trotti; "My Wife's Best Friend" (Anne Baxter-Macdonald Carey) — Richard Sale directing, Robert Bassler producing; "Tonight We Sing" (Ezio Pin/a- Roberta Peters), color by Technicolor — George Jcssel producing; "Night Without Sleep" (Linda Darnell-Gary Merrill) — Roy Baker directing for Robert Bassler; "Bloodhounds of Broad- way"— Harmon Jones directing, George Jessel producing; and "The Man Who Foiled Hitler" (Oskar Werner), to be produced by Julian Blaustein. Hcllijuccd tlctebcck This company will thaw out some ot its fro/en foreign funds by producing four films in Italy, to be released exclusively in the European market. The features, will cost approximately $200,000 each, and will be made in conjunction with Constellation Pro- ductions of Rome. Two will be in French and Italian, and the remaining three only in Italian. Mitchell Leisen is being sought to replace Jean Nigulesco as the director on "Tonight We Sing", foil owing the hitler's withdrawal to take over another film assignment. This would be Leisen's first chore for 20th. Darryl Zanuck says he will "fight to the finish" to get a new judgment in the Ring Lardner case. Lardner, you'll remember, won the first round in the fight which re- sulted from his dismissal from Fox, for refusing to testify before the House Un- American Affairs Committee. UNITED ARTISTS I F UA can maintain the standards set by the last two films previewed for the Holly- wood press, the company should indeed be over the hump. Two of the slickest modest- budgeters to hit the market in months will be found in "Without Warning" and "Cap- tive City". The latter, an Aspen production (Continued on Page 23) THE SPOTLIGHT ARTHUR FREED The uncontested man-of-the-hour in Holly- wood is Arthur Freed, who all but walked off single-handedly with this year's Academy Awards show. This M-G-M producer not only copped the coveted Irving Thalberg award for himself, but won seven additional Oscars with his bang-up production, "An American In Paris". Now his latest musical, "Singin' In the Rain", has created fresh excitement in Hollywood, being rated by some even superior to "American". Over the years that Arthur Freed has been making pictures in Hollywood, his name on a film has come to guarantee not only ex- cellent entertainment, but also good taste. Chief among his attributes is courage, courage to try new paths. The formula does not attract him as it does so many other producers of musicals. He began his career as a piano player in a Chicago music-publishing house. One day, the Marx brothers' mother was visiting the offices and asked him to play some of the new songs. Greatly impressed by his talent, she immediately hired him to join her son's new act. After that, he went into vaudeville as a protege of Gus Edwards and became a popular singer on the old vaude circuit. While a sergeant in the first world war. Freed began writing songs — a career which was destined to carry him to his present high place in the film industry. Among his most enduring compositions are "I Cried For You" and "Pagan Love Song". Eventu- ally he came to Metro and his first scoring job for movies was "The Broadway Melody of 1929". Since turning producer, he has given movie-goers such outstanding hits as: "Meet Me In St. Louis", "Ziegfeld Follies", "Good News", "The Pirate", "Easter Pa- rade", "Words And Music", "Royal Wed- ding". On The Town", "Annie Get Your Gun", "Show Boat" and "Pagan Love Song". No man in movieland can match the record of Arthur Freed in the musical field. APRIL 7. 1952 15 Short Subjects BY NEWTON CREDIT COMPO with promoting a grand tie-in stunt aiming to bring audiences back to the theatres. The Colgate-Palm- olive-Peet Company is carrying a two-page spread featuring 41 top actresses and the titles of their latest films in the current issue of Life bearing the caption, "Don't Be A 'Living Room Captive' — Step Out and See A Great Movie!" The ad will also run in Look early in May. OF MEN AND THINGS: James P. Clark, National Film Carriers exec, is recuper- ating in the University Hospital, Phila- delphia, after an operation . . . Irving Sher- man, Columbia's personnel chief, has taken on the added duties of office mgr. . . . Leon Bamberger, RKO promotion manager, was, taken ill alter addressing exhib group in Oklahoma City. Reported on the road back . . . W. Ray Johnston, board chairman of Monogram — AA, is in N. Y. preparing to sail abroad (April 10) to survey foreign film production . . . UA topper Robert Benjamin and his wife Jean were recently blessed with a son, Jonathan Adam . . . Nat Levy and Sidney Kramer, RKO sales mgrs., currently on tour of eastern and mid-west exchanges, are due hack in N. Y. on April 18 . . . Arthur A. Schmidt, former ad-pub chief at Columbia, is now a veep of Public Relations Management Corp., recently formed by a merger of IS of the nation's PR firms . . . CA toppers William Heineman and Max Youngstein are in New Orleans for the next series of meetings with exchange personnel in conjunction with the current sales drive . . . Jules K. Chapman, former Eagle Lion Classics exec, replaces John Powers as head of branch operations of United Artists. AT. I ( r< KIDMAN has been named advertis- ing manager of 20th- Fox by Charles Ein- feld. He succeeds Alec Moss, who occupied the position on a temporary basis for the past few months. Goodman entered the in- dustry at a tender age via Universal, where 20th-FOX'S AD CHIEF, GOODMAN he handled the exploitation of such supers as "Hunchback of Notre Dame". He has been active in many of the film industry's charitable and patriotic activities. AN EXAMPLE of h •. the film industry has by the video show "What" (VVJZ-TV Mon.-Thurs , 6 past six months the program 1 scenes from more than 145 n 16 in work for 1 demonstrated Pis lying? For the resented lire's ap- pearing on Broadway or Greater New York. Fmceed by John Conte, top Hollywood stars and personalities behind the productions have appeared on the show. It is claimed that 80 per cent of the "What's Playing?" audience attend films previewed by the pro- gram. IOHN J. O'CONNOR, Universal veep, is J heading a film industry committee of 50 which is to aid in the 1952 Catholic Charities Drive of the Archdiocese of New York in U-I'S O'CONNOR raising $2,500,000. George J. Schaefer, RKO exec, is treasurer of the 1952 drive and Bert Sanford, ABC Vending sales mgr., is vice- chairman of the Motion Pictures Committee. FAN-FARES: Pittsburgh's Harris Theatre gathered some good newspaper bally for its opening of Columbia's "My Six Con- victs", when it arranged for the warden of the Western Penitentiary to bring six con- victs in for a preview screening of the film ... In Mobile, Alabama, drive-in operator Edward I. Fessler caused a mild furor when he launched a sensational ship-model float manned by a bevy of local beauties to ad- vertise the opening of UA's Technicolor sea- epic "Mutiny" . . . Exhibitor's will do well to latch on to 20th-Fox's campaign book on "With a Song In My Heart". With eight pages devoted to music promotions, as well as a gold mine of ad, publicity, and exploita- tion material, it rates high as a comprehen- sive showmanship guide book . . . Soldiers stationed overseas will have a hand in select- ing six international beauties to appear in RKO's forthcoming "The Girls Have Land- ed", a salute to the U. S. O. Producers Jerry Wald and Norman Krasna will hold a series of beauty and talent contests among soldiers stationed in Germany, Italy, France, Alaska, Japan and Korea to choose the sextette. PLAUDITS AND KUDOS: Now in its 30th week in New York, UA's "The River" is the longest-run film hit in that city . . . The members of ASCAP feted Jane Froman at their annual dinner last week, marking the first time a single guest has been so honored. In a salute to her forthcoming film biog, "With A Song In My Heart", Miss Froman was acclaimed for her contributions to the music world ... St. Louis has set aside the week of April 11-18 as "Dizzy Dean Week" and the premiere of 20th-Fox's "The Pride of St. Louis" will highlight gala events in honor of Ol' Diz . . . New York's Cinema Lodge of B'nai B'rith recently presented the Lodge's Honor Scroll to Frank Sinatra for his efforts in promoting interfaith understanding . . . Helen Hayes, starring in Paramount's "My Son John" — her first film in 17 years — was honored by the Boston Press Club for her devotion to public life during her 47-year career . . . When "Rashomon", RKO's Japanese film, won an Academy Honorary Award as the "best foreign language film", it was the fourth time it has been so dis- tinguished. The National Board of Review and the Foreign Language Film Critics Circle presented it with a similar citation, and at the Venice Film Festival, it was heralded as the world's best film for 1951 . . . Sol A. Schwartz, RKO Theatres prexy, recently announced that Betty Hutton will be the highest paid star ever to appear at the N. Y. Palace when she begins her stint there on April 12. VARIETY TENT TOPICS: Jack Beresin, First Assistant International Chief Barker and chairman of Tent 13's Heart Fund, re- ceived the "Great Heart Award" at a dinner honoring him in Philadelphia last Monday night (March 31). Chief barker Vic Blanc made the award . . . Everything is set for the 16th Annual International Convention of Variety Clubs in Las Vegas, Nevada. Plans have been consolidated by Jake Kozloff, Convention Chairman; Ben Goffstein, Local Chief Barker and Wilbur Clark, Convention Journal Chairman. (.olumbia's Louis If einberg. circuit sales exec, is honored for his 25 years with the company. Front row (I. to rj, Columbia executives Paul Lazarus. Jr.. Maurice Grad. Leo Jaffe. A. Schneider, II einberg. A. Montague. Louis Aslor and Nat Cohn. In the rear. H. C. Kaufman, star Aldo Ray, Rube Jarkter. Joseph Freiberg, and Irving W ormser. Treasure / Temptation / Tropics ' Tabu/ And the Terror- Ship Called i. m STARRING Bc^j. ^Warner Excitement SWkv| ' ID BUm ■ PAUL PICERNI RICHARD WEBB - DUN SEYMOUR - GEORGE RENAVENT- ROBERT CABAL HENRY MARCO N. RICHARD NASH W DAVID WEISBART - GORDON DOUGLAS OiBCCTCD Of EXPLOITATION PICTURE BOGIE AND HUSTON DO IT AGAIN Big Advance, Oscar Are Extra Hypo BOGIE & KATIE REALLY SWEATED After Humphrey Bogart won the Academy Award for his performance in Hori- zon Productions' "The African Queen", a I nited Artists release, he said, in effect, that he had little to do with the receipt of the honor. He credited the story by C. E. Forester; the director. John Huston, and his co-star. Katherine Hepburn, for his brilliant showing. If you really want to choose the best actor he initimated. let all the candidates play in a movie of "Hamlet", then select the best of the lot. This might not be a bad idea if Hollywood's major purpose was to make motion pictures only for members of the Academy — and for those who like to see "Hamlet". Movies, however, are aimed at entertaining the greatest number of people, and '"The African Queen" fits that requirement perfectly. Hailed without exception by the lay and trade critics as outstanding enter- tainment (FILM BULLETIN'S review called it a "breathtaking entertainment ex- perience" that should be a "walloping box- office success"), its early pre-release show- ings have borne out that judgment. Bogart's "Oscar" triumph hypoed the business still more, in cases, where the show was in a long run, as much as 500 per cent. In its 14th week at the Fox- Wilshire. the day after the Awards an- nouncement, b.o. returns jumped five times over the preceding day. At the Woods in Chicago, the gross doubled and similar in- creases were recorded in Boston, San Francisco, New York and other cities that had been playing the film. Horizon Productions has given the thea- treman a grand hunk of entertainment, complete with a great star combination, a top director and a best-selling story. I nited Artists' Max Youngstein and his ace tub- thu mpers have whooped it up far in ad- vance and will continue to work in the field wherever it opens. The Oscar honors have enhanced its appeal. A show man could ask for no more. N. Y. CAMPAIGN 'I he Capitol opening on Broadway was a sample of exploitation ingenuity that capitalized every aspect of the hallyhoo campaign — and paid off handsomely well before the Academy Awards. No |e-,s than 22 major stunts and tie-ins were arranged hy Max Young-t<-in'» -taff. A genuine diamond give-away was engineered in conjunction with Columbia Diamond Company, to be used nationally, where 25,000 envelope containing a real diamond or a piece of glass. Appraisal could Ix- made at Finlay .Slrau-- jewels -t,,,,^ .,,,,] ,| the stone was real, it would he mounted in a ring and given to the lucky finder without charge. Each of the M PS stores gave |hl (| tit | big window display. Three girls (abovi <• ! in leopard skjns, distributed the com I out the city. Among the other iatereat-grabben wen fan club stunts (girl- garbed in gaily-n red raincoats with "Bogy" slogans on back, plus title, theatre and playdate are seen in photo above pre- senting the -tar with a pet monkey I; tie-ups and window displays with bookstores, drug stores, de- nt tores (eight of Bonwit Teller's Fifth tore windows used the jungle theme with credits t.> the Him and playdate); groceries, ■ir-conditi ig outlets, airlines, travel .agencies were among the host of other outlets. PRE RELEASE BALLY Few pictures have had the coverage BEFORE release that was aroused for "The African Queen ". Although the tour de force that made the entire populace look forward to its arrival at their thea- tre was the Academy Award to Bogart for the best performance, a barrage of publicity connected with the production was laid down by the UA boxofficers that had the film's name on millions of lips. Several top national magazines, including Life and Look, intrigued with the details of production hazards and hardships, gave big spreads to the picture. They were aided, without too much urg- ing, by the UA publicity department, who furnished them with stills, production details and various anecdotes that made highly interesting reading. The result: a ready-made audience of millions. NEWSPAPER ADS Below, some of the display newspaper ads, in- cluding the advance. Others with the Oscar copy are being prepared. A The abjert misery of Humphrey Bogart's state ran only be matched by his commend: "All that water and not a drop of Scotch.' The Congo! 1 ou can haie it!" The African Queen Four times before, writer-director John Huston and star Humphrey Bogart have been a top-notch boxoffice combination — "The Maltese Falcon". "'High Sierra", "Key- Largo", and ''Treasure of the Sierra Madre". Their fifth combined venture. "The African Queen" co-starring Katherine Hepburn, seems destined to surpass them all. These three principals, and the screen- play for the C. S. Forester novel, all re- ceived Oscar nominations, with Bogart cop- ping the coveted trophy as a gin-swilling river-boat skipper. In the story, laid at the opening of World War I in the African Congo, Bogart takes a missionary's strait-laced sister, played by Miss Hepburn, through miles of dangerous jungle streams on a fantastic mission. Their aim: to blow up a German gunboat with hand-fashioned torpedoes. How the incongruous pair surmount in- credible obstacles to accomplish their goal and. meanwhile, convert each other to a normalcy where they discover love, makes for a happy and exciting screen entertain- ment. Bobert Morley. noted British star, is seen briefly in support. S. P. Eagle pro- duced in Technicolor from the James Agee- John Huston screenplay. €XHIBITORS FORUm Opinions Culled from Organization Bulletins BITTER ABOUT LIFE Allied Caravan of la., Neb. & Mid Central LIFE REGURGITATES AGAIN: The latest spadeful has been thrown back on the graves of the motion picture industry by the pundits o'" America's greatest lazy man's magazine, Life. This time they've decided that maybe Hollywood isn't dead after all. (remember last summer?) but what they meant all the time was that it was exhibition that was dead. Hope no one gets excited about it this time. Life has long exposed its knowledge of movies in public. And that blabber-mouth producer, whom they quoted, but did not name — how my piles bleed for him. Shame on us rich, selfish, unappreci- ative exhibitors not cutting him in on his justifiable 50% on every picture. So he wants lo make pictures for someone where he can express his art. Now isn't that too bad that the movies so happen to be the poor man's opera and tin- public has never been able to keep step with geniuses, presuming he is a genius? But, if he wants to express his art there arc those aforementioned art houses becoming available — and they probably have a clientele that can afford $1.25 for his opus. ( Mhcrwise, TV, take him away. (Why don't some of you exhibs in the mid-west invite him to take a long swim in your swimming pool?) Maybe good family comedies, western epics, bouncing musicals and farce isn't art, but brother, they've paid for a lot of brick and mortar — and incidentally built a lew swimming pools too. TAX FREE COMPETITION ATO of Indiana Nobody bids any kind of competition wel- come, but we live in a free country and believe in the free enterprise system so if any individual wants to gamble his money to no into competition we may challenge his judgment but never his right. Now we are alarmed about a different sort of competition that appears to be growing; theatrical com- petition from tax free and tax supported in- Btituions. There are reports of an increasing number of public institutions going into the entertainment business, a greater variety in the attractions they offer and more frequent presentations. It is one thing to match your experience, talents and efforts against a competitor in a contest where the same rules apply t<> both, but it is another matter if that competitor doesn't have to pay taxes, doesn't have t" realize a profit, can afford to outbid yon on any attraction he makes up his mind he wants, and can get a handout any lime he needs more capital. And the unkindest cut of all is that his plant was built in the first place partly by money taken out of your business and paid in taxes. We believe this problem is important enough to ask you t , cooperate in a survey to determine just how ureal this non-theatrical competition has Krown. Of course, not quarrelling with the kind ;>ot some provoking holes." — Crowther, N. Y. Times. "Pours a lot of good new faces into an old, convincingly writi< n Works the same well-plowed patch with a fine show of having discovered something-. . . Constitutes an improvement on tired repetitions." — Winsten, N. Y. Post. "Far superior to its predecessor, the sen- sationally lurid 'Hoodlum Empire' ... A neat, tightly clipped little gangster drama, well stocked with chases, suspense and slaughter . . . Redeemed from the mere sensation-seeker class by the warm interest it strongly expresses in its idealistic aims." — Cook, N. Y. World-Telegram. THE BAD LORD BYRON' INTERNATIONAL FILM CORP. "Arresting notion for a novel movie, but it slipped out of hand in the making in its British studio. The approach is pompous and overstuffed . . . Occasional flashes of the charm of a travelog or a museum are not enough to carry the burden of a whole movie." — Cook, N. Y. World-Telegram. "Like most British historical dramas, the film resolves itself into a series of stately tableaux with dialogue to match." — Pels- wick, N. Y. Journal-American. "An excrutiatingly vapid biography of a world-renowned poet and soldier of fortune that probably has that genius thumping the coffin by now." — N. Y. Times. "Weary affectation and excess verbiage . . . Characters resemble talking puppets, handsomely costumed and set in proper British or Italian surroundings, but full of sawdust and antique dialogues." — Winsten, N. Y. Post. "Conglomeration of shallow pretenses dressed in elaborate costumes and trying, unsuccessfully, to shine in the reflected glory of a romantic personality . . . The vote here is to rule the whole thing out as incom- petent, irrelevant and immaterial." — Guern- sey, N. Y. Herald Tribune. RED SKIES OF MONTANA' 20th CENTURY-FOX "A vigorous action drama . . . offering a story new to the screen . . . with exciting fire scenes." — Pelswick, N. Y. Journal- American. "Blazing in one long series of forest fires in color, impressively large-scale and excit- ing . . . Details of the picture do succeed in their purpose of stirring up some wild and perilous-looking excitement . . . There's not much to say about the acting . . . except that it all looks very athletic." — Cook, N. Y. World Telegram. "Words and attitudes of the story . . . amount to nothing more than a conventional Hollywood substitute for a real continuity ... In so far as it is a dramatized docu- mentary of the exploits of wilderness fire- fighters it has the simple, visual and intense Fascination of irresistible movie adventure." — Guernsey, N. Y. Herald Tribune. "Thoroughly standard little film . . . labor- ing against insurmountable odds, even with the brightly-tinted assistance of some mag- nificent scenery. Harry Kleiner's dialogue would shame the Rover Boys themselves and Joseph Newman's indifferent direction makes the whole thing as exciting to watch as the usual order at a hot dog stand." — H. H. T., N. Y. Times. "Routine melodrama mostly made for the juvenile trade, the intrinsic excitement of, fighting forest fires, plus the added thrill of parachuting to do it, proves irrisistible . . . Story of fairly standard quality, predictable and easily understood, makes a sturdy frame work." — Winsten, N. Y. Post. BRIEF RAPTURE' JEWEL PRODUCTIONS "Interesting Italian-made melodrama that frequently follows the pattern of the Holly- wood product." — Pelswick, N. Y. Journal- American. "Follows a cliche-ridden blueprint, which has been well-thumbed here and abroad . . . For all of its exotic atmosphere . . . (it) is merely a familiar cops-and-robbers chase with English subtitles." — Weiler, N. Y. Times. "We didn't find 'Brief Rapture' inviting as a crime-does-not-pay . . . it's a bit on the confusing side." — Thirer, N. Y. Post "Attempt ... to make a tough movie about narcotic smuggling and peddling is not entirely successful . . . Hollywood pro- ducers do the job much better." — Pihodna, X. V. Herald Tribune. "Seems to be a noble attempt to rise above the crude style of Italian moviemaking, an ambition foiled either by lack of equipment or understanding of its use." — Cook, N. ''i . Telegram & Sun. MEET DANNY WILSON' UNIVERSAL-INTERNATIONAL "Fair plus (Movie Meter Rating) . . . Portions of its plot resemble events in Frankie's own career . . . Lots of songs, hot gun pursuit, and now and then a nice comedy touch and a bit of thoughtful direction." — Thirer, N. Y. Post. "The notion that Sinatra can carry a whole picture all by himself is not exactly borne out . . . Sinatra is much easier to take as a crooner than as a comedian. His comedy routines on the screen hardly help to keep the plot moving." — Pihodna, N. Y. Herald Tribune. "Tailored to Mr. Sinatra's talents and is pleasantly tune-filled and amiable . . . Trans- parent but generally cheerful tale . . . The story ... is not a model of ingenuity, but the . . . principals . . . run through their chores briskly." — Weiler, N. Y. Times. "Hits a gay pace . . . The nicest quality about 'Meet Danny Wilson' is the simplicity with which it is told. Its characters are fully established in the beginning and it wastes no time getting its story under way." — Torre, N. Y. World-Telegram. "Melodrama with music . . . (ilib dialogue and a lively pace keep the yarn moving, and Frankie boy handles his part easily." — Pels- wick, N. Y. Journal-American. 24 FILM BULLETIN PRODUCTIOn & R€L€flS€ R6CORD COLUMBIA In the Release Chart, "Rel." is the National Releaie Date. "No." is the release Number. "Rev." is the issue in which fhe Review appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1950-51 programs unless otherwise noted. (T) immedi- ately following title and running time denotes Technicolor, (C) Cincolor, (SO Supercinecolor, (TR) Trucolor, (A) Anscolor. 1951-52 Features Completed (59) In Production (4) Serials Completed ( 3) In Production (0) IN PRODUCTION TITLE — Running Time Affair In Trinidad Dirty Dozen. The 5,000 Fingers of Dr. T. RELEASE CHART — 1951-52 — Cast Hayworth-Ford _ Rel. No. Rev. Colleano-Fram The Hayes-Healy Last Train From Bombay Hall-Ferraday COMPLETED Assignment — Paris Andrews-Toren Sarbed Wire Autry-Buttram Barefoot Mailmen, The (SO 183) _ R. Cummings-T. Moore 11-51 Boots Malone (103) Brave Warrior Brigand, The (T) Captain Blood, Fugitive IT) Clouded Yellow, The (94) _ Congo Bill Criminal Lawyer (74) ... __ Cripple Creek (T) Death Of A Salesman (III) European Edition . Family Secret. The (85) Firefighters, The First Time, The (89) Five (931 _ -Holden-Clements 12-51 _Jon Hal! Dexter-Lawrence _ Louis Hayward _. .Simmons-Howard _ _McGuire-Moore O'Brien-Wyatt Montgomery-Booth March-Dunnock _ -Glen Ford .Derek-Cobb . 12-51 .Williams-Reynolds Cummings-Hale 2—52 ..S. Douglas-W. Phipps .10-51 .Harrison-Palmer Fleming-Hayden . Boyer-Driscoll „ Davis-Castle 404 419 1-14 10-8 10-51 2-52 412 9-10 423 12-31 414 424 371 2-1 1 Four Poster, The Golden Hawk. IT) Happy Time, The Harem Girl. The (70) Harlem Globetrotters, The (80) Hawk of Wild River, The 154) . Her Wonderful Lie Indian Uprising ISC) (75) Montgomery-Long Jttqle Jim in the Forbidden Land Weissmuller-Ryan Jungle Manhunt (44) Weissmuller-Ryan Jaifjle Safari Weissmuller-Greene Kid From Amarillo (54) Starrett-Burnette Konga, The Wild Stallion (45) Reissue Stone-Hudson Gomez-Da nd ridge Starrett-Burnett .Kiepura-Eggerth 2-52 422 11-51 345 2-52 1-28 1-52 3-52 10-51 417 I 1-5 Lady and the Bandit, The (78) Laramie Mountains 153) _ Magic Carpet (C) (84) ____ Magic Face, The (89) Man In the Saddle IT) (87) ... Marrying Kind, The (93) __ Mob. The 187) Mv Six Convicts _ Night Stage to Galveston Okinawa 147) _ Old West, The (41) Paula _ Pecos River (54! .Hay ward-Medina Starrett-Burnett .Ball-Agar . Adler-Knight .Scott-Leslie . Holliday-Harrison 10-51 2-52 9-5 1 4-52 10-51 9-5 1 12-51 4-52 488 337 _ 9-10 410 402 420 10-8 9-24 (41) . B. Crawford-Buehler 10-51 407 _ .Beel-Mitchell 3-52 Autry-Buttram 3-52 O'Brien-Mitchell . 3-52 Autry-Davis ___ 1-52 473 1-28 .Young-Smith Prince of Pirates IT) Purple Heart Diary (73) .... Rainbow Round My Shoulder (C) IJdart of the Whistling Pises Rough, Tough West Sabre and the Arrow. The (T) _ Saturday's Hero (III) Scandal Sheet (82) Smoky Canyon (55) Sniper, The (87) Son of Dr. Jekyll (78) Sound Off Ten Tall .Starrett-Burnette _ 12-51 Derek-Rush F. Langford-T. Romano 12-51 . Laine-Daniels .Aetry-White 404 421 12-17 Starrett-Burnett _ ..Crawford-Hale _ .Derek-Reed 5I_ 52 __ 52 4-52 .3I8_ Men (T) (97) ... Thief of Damascus, The IT) Valley of Fire (C) 142) War Cry (C) (78) Whistle at Eaton Falls. The (94) .. Bridqes-Gish .Crawford-Derek . 3 Starrett-Burnette I Menjou-Franz Hayward-Knox 11-51 Mickey Rooney Lancaster-Lawrence 12-51 ...Henreid-Sutton 4—52 Autry-Barnett 11-51 .Montgomery-Long .8-27 1-14 483 409 3-24 10-22 413 353 I 1-19 8-51 322 8-13 LIPPERT 1951-52 Completed (31) In Production (I) IN PRODUCTION TITLE — Running Time Jungle, The COMPLETED As You Were Bandit Queen FBI Girl RELEASE CHART — 1951-52 — Cast Cameron-Romero _ Rel. No. Rev. For Men Only (93) Great Adventure, The (75) Highly Dangerous (81) Leave It To The Marines (44) . Loan Shark . Man Bait (78) Navajo (70) _ . Outlaw Women (C) Stolen Face, The _ Stronghold (73) Sky High (40) -Tracy-Sawyer -Britten-Parker -Romero-Totter P. Henreid .Price-Hawkins . Clark-Lockwood _S. Melton-M. Lynn Raft-Hart Brent-Chapman Indian Cast Windsor-Rober Henreid-Scott _ Lake-Scott S. Melton-M. Lynn Superman and The Mole Men (58) .... Reeves-Coates _ Tales of Robin Hood Clarke-Hatcher Unknown World (43) Kellogg-Nash Tiger Man _ I0-5__5023.. -12-15 MIO. -10-24 5002. 1- 52 .5102 _ I 1-2 5021 -10-12 5029_ 9-2___5005 . 5-52 _ 5111 1-52 5103 2- 52 . 5104. 5-52 5105 . 5-52 . 5109. 2-52 5107.. .10-19 5024._ 1 1—23 . 5030.. .12-21 5008.. .10-24.— .5101- 4-52 _ 5108 .10—19 1-28 .2-1 1 APRIL 7, 1952 Valley of Eagles 1831 Wings of Danger 172) Warner-Gray Z Scott 4-52 4-52 5114 5104 Rev. METRO-COLDWYN-MAYER 1951-52 Features Completed (80) In Production (4) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE— Running Time Cast Rel. No. Eagle On Hit Cap —Taylor-Parker Fearless Fagan Leigh-Carpenter Lili Caron-Ferrer One Piece Bathing Suit IT) Williams-Mature COMPLETED Across the Wide Missouri IT) (78) . Gable-Hodia k American in Paris IT) (113) Kelly-Caron Angels in the Outfield (102) Douglas-Leigh Because Your Mine Lanza-Whitmore ... . — Belle of New York (81) Astaire-Vera-Ellun Bannerline 188) Forrest-Braselle Callaway Went Thataway 181) Mac Murray-McGur . Calling Bulldog Drummond (80) _ Pidgeon-Leighton Carbine Williams (101 1 - StewaM Hagen Devil Makes Three, The Kelly-Angeli Girl In White, The 193) Allyson-Kennedy Glory Alley 182) Caron-Meeker Holiday for Sinners Young-Rule Hour of Thirteen. The Lawford-Addams Invitation 185) McGuire-Johnson It's A Big Country (89) -All Star Ivanhoe |T) _ ... R. Taylor-E. Taylor Just This Once 190) Leigh-Lawford Light Touch, The (93) Grainger-Angeli Lone Star 194) Gable-Gardner Love Is Better Than Ever (81) E. Taylor-L. Parks Lovely To Look At IT) Grayson-Skelton Man With A Cloak 188) Cotten-Stanwyck Merry Widow, The IT) Turner-Lamas Mr. Congressman Johnson-Neal ; Mr. Imperium IT) (87) Turner-Pinza Pandora and the Flying Dutchman (T) (123) Mason-Gardner Pat and Mike Tracy-Hepburn People Against O'Hara (102) Tracy-O'Brien Quo Vadis (T) 1171) Taylor-Kerr _ — Red Badge of Couraqe (49) ... Murphy-Mauldin Sep Scaramouche (T) . - S.Grainger-E.Parker 4-52 Sellout, The 172) Pidgeon-Totter __ 1-52 Shadow in the Sky (78) Meeker-Davis-Whitmore 2-52 Singin" In The Rain (T) (103) Kelly-O'Connor 4-52- Skirts Ahoy William-Blaine 5-52 Strip, The 185) Rooney-Forrest Aug Talk About a Stranger (45) Murphy-Davis 4-52 Texas Carnival IT) (77) Williams-Skelton Oct Too Young To Kiss (91) . Ailyson-Johnson Nov Westward the Women 1114) Taylor-Darcel 1-52 When In Rome 178) Johnson-Douglas 4-52 Wild North, The (97) . Granger-Corey 3-52 Young Man With Ideas (84) Ford-Roman 5-52 Oct 208 10-22 Nov 9-24 Sep 202 8-27 3- 52 223 " 2-25 Oct 204 9-24 Dec 214 12-3 Dec 213 4- 52 — 8-52 3-24 5- 52 7- 52 4-52 2- 52 200 1-28 1- 52 215 12-17 8- 52 3- 52 224 1-28 Dec 2!2 _ 11-5 2- 52 222 — 4- 52 225 7-52 Oct 207 10-22 7- 52 Sep 1-52 8- 52 Sep 203 201 204 219 221 I0A22 _8^7 I 1-19 _ 8-27 12-31 12-31 3-24 140 205 214 224 3-10 9-2* lt-5 12-3 3-10 3-10 MONOGRAM - ALLIED ARTISTS 1951-52 Features Westerns ComDleted (42) Completed (16) In Production (2) In Production (0) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Artie Flight Plow Jockeys COMPLETED African Treasure Aladdin and His Lamp (C) Bowery Leathernecks Counterfeit Cast Morris-Albright Gorcey-Hall Rel. No. Rev. (47) (45) Crazy Over Horses Dead Man's Trail Desert Pursuit Elephant Stampede — Flight to Mars IC) (72) Fort Osage (C) (72) Gunman, The Hold That Line Jet Job Kansas Territory Lawless Cowboys 158) Longhom. The (70) Man from Black Hills Mexican Silver Night Raiders . Northwest Territory (41) Rodeo (C) Sheffield-Luez 5-25 Medina-Sands 1-52 Gorcey-Hall 11-18. DeFoe-King Gorcey-Hall 11-18 Brown-Ellison Morris-Caruso 5-52 — Sheffield 10—29 _ Chapman-Mitchell 11-11.. Cameron-Nigh 2-52 -Wilson-Knight 4-13 _Gorcey-Hall 3-52 . Clements-Verdugo 4 — 4 . Elliott-Stewart 5-4 __Wilson-Knight 1 1-7 — Elliott-Coates 11-25. _ Brown-Ellison 3—52 ... Wilson-Clyde , — Wilson-Knight 2-52_ -Grant-Chinook 12-9 —Jane Nigh 3-T 5207 5299 .5114 3-10 5114 2-11 5209 . .5110. .5103 5102 5252 521 I - 5215 . 5225 . 5155- 5223 _ 5242_ 1 1-19 5251 . .5104. £25 .<•: 156) rexas City Stage to Blue River Steel Fist. The (731 Texas Lawmen 154) Texas Marshall Trail Dust Vicious Years. The (79) Waco Waqons West (CI Whistling Hills Wild-Stallion IC) Witness, The Disc Jockev Highwayman, Wilson-Knight ...... McDowall-Miller Brown-Ellison Brown-Ellison Wilson-Knight Albright-Winters _ Cook-Moore Elliott Cameron . Brown-Ellison ..Johnson-Hyer Kirkwood-Gleason The (CI (83) ALLIED ARTISTS Simms-O' Shea ... Hendrix-Coburn 12-30 1-52 1-52 12-2 5217 5241 3-10 12-31 __ 5107- . 2-18 _ 2-52 . 5224 4-27 5205 .8-23 9-8 .21 -.20. .4-18 -8-27 Laay Possessed Mason-Havoc Last Musketeer. The Allen-Kay Leadville Gunslinger Lane-Riley Minnesota — Cameron-Hussey Oklahoma Annie (C) _ Canova-Russell Pals of the Golden West (68) Rogers-Fvans Quiet Man, The (T) Wayne-O Hara Rangers of the Golden Sage Chapin-Janssen Sea Hornet, The (84) Cameron-Booth South of Caliente 67) Stormbound _. Street Bandits (54) 1-52 3-52 3-52 5104 5142 5171 3-24 5122 12-15 5152 ... 11-6 10-15 .. Utah Wagon Trail (67) Wild Blue Yonder 198) Wild Horse Ambush 2-11 Rogers-Evans Dowling-Checchi 12-15 Edwards-Clarke Allen-Edwards 10-15 5054 11-5 Corev-Ralston ... 12-7 5130 12-17 Chapin-Janssen 4-15 5069 Woman In The Dark (60) Edwards-Elliott 1-52 5131 1-28 Wyoming Saddle Pals Chapin-Janssen 10-27 .5151 .. 1 1-1* 5032 11-15 5130 12-17 10-15. PARAMOUNT 1951-52 Features Completed (64) In Production (3) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Come Back Little Sheba Stalag 17 Tropic Zone COMPLETED Aaron Slick from Punkin Creek (T) 1 95)Shore-Young Cast Lancaster-Booth Holden-Taylor .... Reagan-Fleming Rel. No. Rev. Anything Can Happen 1107) Atomic City The Big Timber (T) Botany Bay IT) _ _ Caribbean Gold (T) Carrie . . . .. _ Darling, How Could You (95) Denver & Rio Grande IT) Detective Story (103) ... Encore Famous IT) 189) Ferrer-Hunter Barry-Clarke Payne-Moorhead La dd- Ma son Payne-Dahl Olivier-Jones . Fontaine-Lund ..... O' Brien-Hayden Douglas-Parker 4- 52 5119 3-10 5- 52 5117 3-10 6- 52 5120 Flaming Feather (Tl (77) Greatest Show On Earth (T) (151) ©reen Gold of Nevada (T) _ Payne-Morrow 8-52 _ .11-51 6-52 ._ 1 1-51. Maugham Stories 7-52 Crosby-Wyman S. Hayden-G. Russell 2-52 Stewart-Hutton _ 7-52 .5108. 5115 5111. 8-13 10-8 5118 5130 12-31 1-14 Hong Kong IT) (92) Hurricane Smith (T) Jumpinq Jacks Los Alamos Military Policeman My Favorite Spy (93) . My Son John I 122) Bace in The Sun. A 1122) ■age of the Vulture, The Red Mountain IT) 184) Rhubarb (95) Sailor Beware 1102) Semion end Delilah (T) 1129) Savage. The IT) Shane (T) Silver City (T) 190) Somebody Loves Me (T| Something To Live For (90) Son of Paleface IT) ~ ••oge. The Submarine Command (8*1 That's My Boy (98) " This Is Dynamite War of the Werlds (T) Werpath 195) (Tl Reagan-Fleming DeCarlo-lreland Martin-Lewis Barry-Carke Hope-Maxwell ... Hope-Lamarr ... Hayes-Heflin .... Crift-Winters Ladd-Kerr Ladd-Kennedy Milland-Sterling Martin-Lewis _ Lamarr-Mature _ Heston-Hanson Ladd-Arthur -52 5109 11-19 12-51 4-52 _ 9-5 1 .51 10 5116 .5102- 10-22 7-30 5-52 -9-5 1 _ 2-52 -3-SI. 7-52 5113. _5I03 .51 14 _58I0- _«—l3 12-17 11-21 1 2—5 1 5112- DeCarlo-O'Briei _ Hutton-Meeker Fontaine Milland . 3-52 5105 10-* When Worlds Collide 182) (T) Hope-Russell .Martin-Lewis ..Holden-Olson ... .Martin-Lewis . Helden-Smith Barry-Robinson _ O'Brien-Jagger -Derr-Rush ... _ 8-52 2-1 1 11-51 -5107 9-24 _ 8-51 5026 7-2 8-51 11-51 .5025. .5106 ... .6-18 9-24 R K O RADIO 1951-52 Features Completed (66) In Production (2) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Tiroe Hans Christian Andersen (T) Sudden Fear COMPLETED At Sword's Point (T) Androcles and The Lion Behave Yourself (81) Big Sky. The ... Blue Veil, The (114) Cat People 173) Clash By Night Double Dynamite (80) Faithful City Girl in Every Port, A (86) Gypsy Blood (T) Half-Breed, The (T) Hot Lead (60) Hunchback of Notre Dame (117) I Want You (101) _. Jet Pilot (T) 1118) _ Jungle of Chang 167) Korean Story, The Cast Kaye-Granger Crawford-Palance Rel. No. Rev. Wilde-O'Hara ...2-52 ..Simmons-Younq . Winters-Granger 9-51 Douglas-Martin _ ..Wyman-Carlson 10—51 Simone-Smith Reissue .Douglas-Stanwyck -Sinatra-Russell 12-51 Las Vegas Story, The (88) _ On Dangerous Ground (82) _. On The Loose (74) Overland Telegraph (60) Pace That Thrills, The Racket, The 189) Ragged Edge, The Rancho Notorious (89) Rashomon (86) Road Agent (60) Saddle Legion 160) Slaughter Train (C) (78) _ Snow White and the Seven Dwarfs (T) (83) Target ..J. Smith-D. Peskin Marx-Wilson Jennifer Jones Young-Carter Holt-Martin Laughton-O' Hara Andrews-McGuire Wayne-Leigh -Travel _ ..Mitchum-Tallman . Russell-Mature Ryan-Lupino -Evans-Earl -Holt-Martin 4-52 1-52 10-51 Reissue 1-51 . I.I 1—51... 2-52 1—5 1 1 0—5 1 12-51 WilWams-Balenda 3-52 - Mitchum-Scott _ 11-51 . Lupino-Ryan Dietrich-Kennedy 3-52 Japanese 3-52 Holt-Martin 3-52 Holt-Martin ..Donlevy-Grey 1 0—5 1 Tarzan's Savage Fury (80) Tembo (80) _ This Man Is Mine Trail Guide 160) Two Tickets to Broadway (T) (106) Whip Hand. The (82) Disney Feature Reissue McGraw-White 4-52 Barker-Hart 4-52 Documentary I — 52.. Hayward-Mitchum Holt-Martin 2-52 .Leigh-Martin 1 1 -CI... ..Reid-Tuttle _.. 10-51 Whispering Smith vs. Scotland Yd. (77) Carlson-Gynt 3-52 209 10-22 266 101 11-11 _20t 1 1—19 217-1 f-14 ..215 .202 8-13 216 213 ..2 1 0 10-22 221 3-10 268 .223 .._ -117 .207 10-22 .292 227 - 225 3-24 265 219 2-11 264 It, J2 .212 222 2 0th CENTURY-FOX REPUBLIC 1951-52 Features Comoleted (53! In Production (3) 1951-52 Features Serials Westerns Completed (18) Completed ( 0) Comoleted ( 9) In Production (0) In Production (0) In Production (3) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Wild Horse Ambush Old Oklahoma Plains Toughest Man in Tombstone (Tr) COMPLETED Adventures of Captain Fabian 1100) Bel Teberin Black Hills Ambush Border Saddlemetes Ceptive of Billy the Kid Colorado Sundown Dekote Kid. The 1601 Deeert of Lost Men (54) Son Daredevil Rides Again Dream of Jeanie Fabulous Senorlta. The Flight from Fury Fugitive Lady I7BI Gobs end Gels Hoaeychile (Tr) (89) Heedlu— i Empire _________ 26 Cast Chapin-Janssen Allen-Kay Monroe-Leslie Rel. No. Rev. E. Flynn-M. Prelle Lawrence-Ching Lane-Waller Allen-Kay Lane-Edwards Rei Allen Chapin-Janssen ... Lane . _____ Curtis-Towna Shirley-Lawrence Estelita-Clarke Edwards-Clerk _ Pefee-Barnat □owns-Hutton Canove-Foy Doaievy-Trevor _ 10-6 5101 10-8 4-15 5143 1- 52 5064 2- 32 5141 7-1 5067 ..... 11-19 5063 - 1-14 6-1 5084 4-1 5125 — - _ _ 6-18 - 7-15 . 5011 ..... 7-30 10-51 S»2I _ 12-3 Rev. RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. No. Darling, I Am Growing Younger Grant-Rogers Pony Soldier IT) Power-Edwards Snows of Kilimanjaro, The (T) Peck-Hayward COMPLETED Anne of the Indes (T) (82) Jordan-Paget 11-51 Belles On Their Toes (T) 189) Crain-Loy 5-52 ... _ Condor's Nest (T) . Wilde-Smith Cry of the Swamp (T) Peters-Hunter _. David and Bethsheba IT) (116) Peck-Hayward 2-52 203 8-27 Day The Earth Stood Still. The (92) _ Rennie-Neal 9-51 129 9-24 Deadline U. S. A. (87) Bogart-Barrymore 5-52 .134 ...10-22 Decision Before Dawn (119) Desert Fox. The 191) Diplomatic Courier _ Don't Bother To Knock Widmark-Monroe Down Among the Sheltering Palms(T) Lundigan-Greer Dream Boat Webb-Francis Elopement 182) Webb-Francis Full House, The Crain-Grangar 5 Fingers (108) Mason-Rennie .Merrill-Basehart 1-51 205 1-28 .Mason-Young 10-51 130 10-8 .Power-Neal 6-52 1 2—5 1 _ Fixed Bayonets! (92) Girl Next Door, The (T) Girl on the Bridge, The (77) _ Golden Girl (T) (108) I Don't Care Girl, The (T) I'll Never Forget You (T) (90) Japanese War Bride (91) Journey Into Light (87) -eaaareo IT) . Basehart-O'Shea JHaver-Dailey Haas-Michaels -Day-Gaynor _Gaynor-Wayne .Power-Blyth _ Yamaguchi-P. Taylor -Haydan-Lindfort -O'Hara-Lawford 3-52 12-51 .141. 208 140 11- 19 3-10 12- 17 12-51 1 1-51 . 139 136 12-17 11-19 1 2—5 1 1-52 .10-51- 6-52 FILM BULLETIN les Miserable; Let s Make It Legal 177) Uve Nest 184) _ Lydia Bailey IT) 189) Model and The Marriage Broker 1 1 03 ) J . Crain-T. Ritter No H'ghway In The Sky 197) ... _. Stewart-Dietrich . Rennie-Paget ... __Colbert-Carey ll-SI 133 II __Haver-Lundigan 10-SI 131 10- -Robertson-Francij Outcasts of Poker Flat, The People Will Talk 1 1 10) Phone Call From A Stranger 196) Pride of St. Louis (93) Red Skies of Montana IT) 198) Return of the Texan 187) Rose of Cimarron INC) 172) Secret of Convict Lake (83) Viva Zapata 1113) Wait Till The Sun Shines Nellie IT) Way of a Gaucho IT) We re Not Married What Price Glory Baxter-Robertson .. Grant-Crain . Merrill-Winters Dalley-Dru Widmark-Smith Robertson-Boone Buetel-Powers Ford-Tierney M. Brando-J. Peters Peters-Wayne ..Tierny-Calhoun Wayne-Rogers Cagney-Dailey With A Song In My Heart (T) (117) Hay ward-Calhoun 4-52 210 2-2S Ma and Pa Kettle at the Fair 1781 Ma and Pa Kettle Go To Paris Mark of the Renegade IT) 181) MmI Danny Wilton No Room for the Groom Pool of London _______ Raqing Ttde. The (92) Red Ball Eipress Reunion In Reno (79) __________ Sally and St. Ann Scarlet Angel IT) Son of Ali Baba IT) Steel Town IT) Strange Door. The 180) Teias Man. The IT) Thunder On the Hill I8S) Treasure of Lost Canyon. The IT) 181 Untamed, The (T) Week-End With Father 183) World In His Arms. The IT) . You Never Can Tell Main Kilbride Main-Kilbride Montalban Charisse Sinatra-Winters Curtis-Laurie . Colleano-Shaw Winters-Conte Chandler-Cabot Stevens-Dow Blyth-Gwenn DeCarlo-Hudson .Curtis-Laurie Sheridan-Lund Laugnton Karloff Ryan-Adams Colbert-Blyth Aor 216 3-24 Aug Feb 1 28 B-l J 205 1-28 Aug Nov 183 203 10-22 . Oct 135 10-8 Mar Dec W Po~eM J Adams Cotten-Winters Neal-Heflin . Pack-Blvth . Powell-Dow Sept Mar Dec Sept 215 204 133 209 206 132 I 1-5 8 13 2-25 12-3 9-10 UNITED ARTISTS WARNER BROTHERS 1951-52 Features Completed (57) In Production (I) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Invasion U.S.A. COMPLETED Cast O'Shea-Castle Rel. No. Rev. A Christmas Carol (86) Actors and Sin (94) African Queen (T) 1104) Another Man's Poison (89) ■ig Night, The 175) Buffalo Bill in Tomahawk Territory (66) Moore-Andrews 2-8 Alastair Sim _ Robinson-Hunt _ Bogart-Hepburn Davis-Merrill J. Barrymore-P. Foster 11-30 11-19 Captive City (91) Chicago Calling (74) Cloudburst (83) Preston-Sellars Fort Defiance (81) . D. Clark-B. Johnson Gold Raiders (56) Green Glove, The (88) 4-25 .Forsythe-Hall Duryea-Anderson l-l I 12-17 He Ran All the Way 177) .. High Noon 185) Hotel Sahara 187) Lady Says No, The (80) ... Limelight Mister Drake's Duck (Bl) Mr. Peek-A-Boo (74) Mutiny (T) (77) Obsessed 177) _ One Big Affair (80) Pardon My French (81) Planter's Wife Red Planet Mars (87) Ring, The River, The IT) (102) Royal Journey (47) O'Brien-Ryan Ford-Brooks ... Garfield-Winters _ Cooper-Kelly DeCarlo-Ustinov Caulfield-Niven ... Chaplin-Bloom Fairbanks-Donlan _ Greenwood-Bourvil Stevens-Lansbury .... Fa rrar- Fitzgerald O' Keefe-Keyes Oberon-Henreid Claudette Colbert Graves . iRos-Moreno _ Swinburne-Shields Color Feature I- 31 I I- 9 . .9-14 1 1-5 2-28 Ben 3-10 7-13 ... . Reb . .7-16 Kr_.. 10-15 Jar 1 1-19 1-4 12-17 9-21 10-8 10-21 Sach 9-24 3-14 KB 3-24 9-7 9-24 2-22 8—10 .9-10 Saturday Island (T) (103) Linda Darnell Jt. Benny, the Dip 180) Foch-Haymes 2- 15 3- 15 Ren Strange World (85) Tale of Five Women, A (86) Tom Brown's Schooldays 193) Two Gals and a Guy 170) Well, The (85) When I Gi_w Up (90) Hauff-Schneider Bonar Colleano Davies-Newton _ . Paige-Alda .Rober-Kelly ..Preston-Scott 8-24 3-28 3-7 _ 1 1— 2 8- 31 9- 14 .4-20 Dan Gehn 7-16 Pop 9-10 i ■ 1951-52 Features Completed (41) In Production (5) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. Abbott and Costello Meet Capt. Kid Abbott-Costello April In Paris IT) Day-Bolger Danger Forward Wilde-Cochran Miracle of Our Lady of Fatima, The Gilbert Rowland Story Of Will Rogers, The (T) Rogers-Wyman COMPLETED About Face IT) MacRae-Bracken Big Trees. The IT) 189) Douglas-Millar , ~ Bugles in the Afternoon (T) IB5) R. Milland-H. Carter 3-8 Captain Blood (Reissue) (98) . - Hynn-DeHaviland 12-5 Carson City _ . Scott-Massey Close To My Heart 190) Milland-Tierney 11-3 Come Fill the Cup I 1 131 ... J. Caqney-P. Thanter 10-20 Captain Horatio Hornblower IT) H7Pack-Mayo 8-1 1 - Crimson Pirate, The (T) B. Lancaster Distant Drums IT) MOD Coooer-Alden .„ 12-29 Force of Arms (100) ... _ Holden-Olson 9- 5 I'll See You In My Dreams (110) Day-Thomas I-1? Jack and The Beanstalk ISC) (78) Abbott-Costello 4-12 Lion and the Horse, The (WCI (83) Cochran-Teal 4-19 Jim Thorpe. Ail-American (105) Lancaster-B.ckford 9-l_ Man With A Gun IT) Scott-Wymore _ Mara Maru Hynn-Romjn — North of the Rio Grande _ _ McCrea-Mayo 7-28 Painting Clouds with S'hine (T) (87) Mayo-Morgan 10-6 Retreat. Hell! 195) Lovejoy-Carlson 2-23 Room For One More 195) - Grant-Drake 1-26 San Francisco Story McCrea-DeCarlo She's Working Her Way Throuqh Collage IT) _Mayo-Reaqan _ — ~— Starlift 1103) .__C_g»ey-Mayo U-l Streetcar Named Desire, A (122) .. Brando-Leigh «/ Tank Are Coming, The 190) _ S. Cochran-P. Carey "r'J This Woman Is Dangerous 197) Crawford-Morgan i-i Tomorrow Is Another Day (90) Roman-Cochran T-Z-- Where's Charlie? IT) Bolger-McLana Winning Team, The Day-Reagan 117 I 16 I 10 107 106 030 1 1 1 102 112 I 18 119 101 029 105 115 113 2- 25 3- 10 10-22 9-24 _ 7-2 lT-T7 12-17 6- II 9-24 2-25 1-14 109 104 108 I 14 103 11-19 I 1-5 2-1 1 UNIVERSAL-INTERNATIONAL 1951-52 Features Completed (65) In Production (5) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Black Castle. The It Grows On Trees Ma and Pa Kettle in Waikiki Riding Kid, The (T) Yankee Buccaneer IT) COMPLETED Against All Flags IT) Battle at Apache Pass IT) Bend of the River IT) Bright Victory 197) Bronco Buster (T) Cast McNally-Greene Dunne-Jagcjer Main-Kilbride Conte-Lindfors Chandler-Brady Rel. No. Rev. Cave of Outlaws, The IT) (76) Cimarron Kid, The IT) (84) Duel at Silver Creek, The IT) _ Finders Keepers (75) Flame of Araby (T) (77) ____ Flesh and Fury _ ... Francis Covers the Big Town Francis Goes to West Point Golden H^rde. The IT) Has Anvbody Seen My Gal IT) Hare Come The Nelsons Iron Man 182) Just Across the Street Lady from Texas IT) 178) Lady Pays Off. The Lavender HIM Mob. The Little Egypt IT) (82) Lost in Alaska _ Flynn-O'Hara Chandler-Lund Stewart-Kennedy Dow-Kennedy Luid-Brady Smith-Carey _ A. Murphy-Y. Dugay Murphy-Domergue ... .... Ewell-Adams Chandler-O'Hara _ Curtis-Sterling _ Donald O'Connor O'Connor-Nelson Blythe-Farrer Colburn-Laurie Ozzie and Harriet Keyes-Chandler Sheridan-Lund Hull-Duff ___.Darnell-McNally _ _ _ Guuinness-Holloway Fleming-Stevans _ Abbott-Costello ... Feb Jan 212 208 1-28 7-30 Nov Jan 213 . Jan Jan Mar . 211 _ 207 . 214 I 1-5 12-31 _I-H 1 2-3 Oct 134 Feb 210 1-28 Aug 130 7-16 Oct. 136 10-8 Nov 202 Oct 280 1-28 Sept.— .131- 8-27 Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St., Phila. 3 — 1239 Vine St.. Phila. 7 LOcust 4-0100 Member National Film Carriert APRIL 7, 1952 27 ^Jeclinicolor C^on^ratuiuted Academy Award Winners, 1951 For Supreme Achievement Best Motion Picture "AN AMERICAN IN PARIS" M-G-M ( Color by Technicolor) • Best Performance — Actor HUMPHREY BOGART "THE AFRICAN QUEEN" Horizon Enterprises-United Artists (Color by Technicolor) • Best Cinematography — Color "AN AMERICAN IN PARIS" M-G-M ALFRED GILKS; ballet photographed by JOHN ALTON ( Color by Technicolor) • Best Art Direction — Color "AN AMERICAN IN PARIS" M-G-M CEDRIC GIBBONS and PRESTON AMES ( Color by Technicolor) • Best Costume Designing — Color "AN AMERICAN IN PARIS" M-G-M ORRY-KELLY, WALTER PLUNKETT and IRENE SHARAFF (Color by Technicolor) • Best Story and Screenplay "AN AMERICAN IN PARIS" M-G-M ALAN JAY LERNER (Color by Technicolor) Irving G. Thalberg Memorial Award ARTHUR FREED, Producer M-G-M "AN AMERICAN IN PARIS," "SHOW BOAT" (Both in Color by Technicolor) and other musicals • Special Award GENE KELLY Achievements in the Art of Choreography; Choreographer, "AN AMERICAN IN PARIS" M-G-M (Color by Technicolor) and other musicals • Best Set Decoration — Color "AN AMERICAN IN PARIS M-G-M EDWIN B. WILLIS and KEOGH GLEASON (Color by Technicolor) • Best Scoring of a Musical Picture "AN AMERICAN IN PARIS M-G-M JOHNNY GREEN and SAUL CHAPLIN ( Color by Technicolor) • Best Special Effects "WHEN WORLDS COLLIDE" GEORGE PAL-PARAMOUNT, GORDON JENNINGS (Color by Technicolor) • Best Short Subject — Two-Reel "NATURES HALF ACRE WALT DISNEY PRODUCTIONS, RKO RADIO (Color by Technicolor) • Best Sound Recording "THE GREAT CARUSO M-G-M DOUGLAS SHEARER, Sound Director (Color by Technicolor) • Best Short Subject — Cartoon "TWO MOUSEKETEERS" M-G-M FRED QUIMBY, Producer (Color by Technicolor) TECHNICOLOR IS THE TRADE MARK OF TECHNICOLOR MOTION PICTURE CORPORATION HERBERT T. KALMUS, PRESIDENT AND CENERAL MANACER $3 per Year 25c per Copy BULLETIN APRIL 21. 1952 koe* the QUO £cu Qua Ufa Aa the Pntectw ttf iHeriedw? HUGHES versus HOLLYWOOD Editorial $t0 Broadway s all dated up w all America O'Brieta, Sterling Hayden, Dean Jagger, Laura Elliot, Lyle Bettger • Produced by Nat Holt te Big Paramount Product ating! comedy u i( _TheN.^- is Pe rfectV of the hopp^ enter foments o <( Hilarity at »ts ^ y T;nics by BERT GRANET • Directed by GEORGE CUKOR EDITORIAL HUGHES vs. HDLLYWDDD This is not a quarrel with Howard Hughes' professed in- tention to rid the RKO studio of its communists. He had a right, as a businessman, and a duty, as an American, to adopt every fair and legal means to accomplish that end. We do protest, and most emphatically, the calculated sensationalism he employed and the ugly reflection he cast upon the rest of our industry. In his statement announcing the shutting down of the studio. Hughes declared: "It is my determination to make RKO one studio where the work of Communist sympathizers will not be used." Obviously, the inference here is that the other film studios are harboring, or, at least, tolerating reds. He, alone, one might gather, stands as the defender of the American way in Holly- wood! Even the ITASE's Roy Brewer, one of the most ag- gressive and conscientious anti-communists in the film capital, could not swallow the Hughes action, terming it "a serious mis- take, because it may create the impression across the country that there are not enough good Americans to make pictures." And, Mr. Brewer adds, "This is not true and never was." Could there have been any doubt in Howard Hughes' mind that his action and his statement would be eagerly grasped by people in some quarters as proof positive that the film leaders have been derelict in their duty to eradicate all red influence? He must have known that would be the reaction of the element that misses no opportunity to criticize our industry. Either he knew, or he was the victim of stupid advice from the high- priced publicity firm he hired to handle his public relations in this matter. In either case, he cannot escape full responsibility for the injustice his statement inflicted on the other leaders of the American film industry. There is ample record to prove that the heads of all the other studios have been at least as alert and as conscientious as lli< RKO boss in combatting the communist menace. For all the witch-hunts that have been brewed against our industry in the marble halls of Washington and in the hills of Hollywood, hardly a shred of evidence has ever been produced to show that communist propaganda has gotten through to the screen. And, since it is now known that some party members had worked for years in the studios, this record stands as the highest tribute to the vigilance and the patriotism of the responsible film execu- tives. Are they to stand condemned by the inference of Hughes' statement, because they did not see fit to adopt the harsh and cruel course of throwing thousands of innocent people out of work in a questionable attempt to weed out what reds remain in the production ranks? Since he has set up an issue of Howard Hughes versus Hollywood, it becomes pertinent to look at the Hughes record in this business. First, there is reason to suspect a devious motive for his action, since it is reliably reported that he made an offer to settle the Paul Jarrico case, which provoked the shut-down order. The report has it that the offer was rejected as not being substantial enough. If this is correct, it appears, then, that Hughes put a price on his anti-red "principles", at least in that instance. Has Howard Hughes devoted some part of his production program to anti-communist themes, or to films that promote the American way of life? He has not, but other studios have, even though such pictures usually are regarded as dubious financial risks. Has he contributed to the prestige of the motion picture by the calibre of the pictures he produces? He has not. The Howard Hughes regime at the RKO studio has devoted itself largely to the output of strictly "commercial" product, most of which utilizes tawdry themes and overemphasizes sex to an ap- palling degree. Howard Hughes is a willful man and somewhat of an ec- centric. Perhaps his wealth entitles him such luxuries of temperament. It does not entitle him to brush aside callously the standing and the sensibilities of others who have earned higher status than he has in his chosen field of film pro- duction. MO WAX FILM BULLETIN An Ind.p.nd.nt Motion Picture Trad. Paper published every other Monday by Film Bulletin Company. Mo Wax. Editor and Publisher. r.A,.«J " W'" "rd NeW Y°rk' ": Cirde t-?l59- David A' Bader' Busine» Manager; Leonard Coulter, Editorial Representative. PUBLI- CATION— EDITORIAL OFFICES: 123? Vine St., Philadelphia 7, Pa., Rlttenhou.e 4-7424; Barney Stein, Managing Editor; Dick Newton, Publication Manager; Robert Heathy Ovulation Manager. HOLLYWOOD OFFICE: 45? Haverford Ave., Pacific Palisades, Calif., Hillside 8183; Jay Allen. Hollywood Editor. Sub.cnpt.on Ret.: ONE YEAR, $3.00 in the United Stat.,; Canada. $4.00; Europe. $5.00. TWO YEARS, $5.00 in the U. S.; Canada. $7.50; Europe, $?.00. FILM BULLETIN. FUSS, FEATHERS and FACTS ! There's an old show business term called "twenty-four sheeting the boss." It neans putting up a poster near his house so he'll be impressed. The wise showmen of film business are not fooled by window-dressing. They vant to know how they're benefiting. When the speeches and fireworks are over, when the smoke lifts, it's always Vl-G-M that has done the nationwide saturation job, advertising that reaches nto every exhibitor's community. I M-G-M's Giant New Ad Campaign Begins! Dur latest and greatest effort is "M-G-M's Movie-of-the-Month Calendar" ads 3re-selling 3 big M-G-M pictures each month. 18 National magazines are used. By a unique plan of rotating titles each picture is advertised over a period of 3 months, thereby achieving a cumulative readership impact of 156,370,000. (Below is a small reproduction of a typical full-page, four -color Calendar ad.) For example: May issues will advertise "Skirts |Ahoy!", "Scaramouche", "Lovely To Look At." |une issues advertise "Scaramouche", "Lovely To Look At", "Ivanhoe." July issues will advertise "Lovely To Look At", "Ivanhoe", "The Merry Widow." D Q r • And remember that M-G-M's new Calendar ads are in addition to our many other promotional activi- ties: Picture - of - the - Month column (62 million readership), newspaper teaser ads, regular spot radio an- nouncements in 33 cities, full -page color ads in American Weekly, Pictorial Review, Parade, This Week. ONLY ONE COMPANY DOES IT! THAT'LL HAVE 'EM LINING UP FOR YOU! TECHNICOLOR JEANNE CRAIN • MYRNA LOY • OEBRA PAGET • JEFFREY HUNTER • EDWARD ARNOLD in BELLES ON THEIR TOES Technicolor with Hoagy Carmichael • Barbara Bates Verna Felton- Produced by SAMUEL 6. ENGEL- Directed by HENRY LEVIN - Screen Play by PHOEBE and HENRY EPHRON There's No Business Like 2^21 Cenf ury-Fox Business! MY SON JOHN' GRIPPING ANTI-COMMUNIST MESSAGE Rates • • + generally Paramount 122 minutes Helen Hayes, Robert Walker, Van Heflin, Dean Jagger, Minor Watson, Frank Mc- Hugh, Irene Winston, James Young, Richard Jaeckel, Tod Karns. Directed by Leo McCarey. Leo McCarey lias Fashioned a powerful anti-communist preachment in this superbly directed, acted him. For all its merit, how- ever, "My Son John" will probably be a boxoffice problem. It is a terribly serious story, and a depressing one, of how a typical American family reacts to the disaster of having a son exposed as a communist and a traitor to his country. For the greater part of its slightly more than two hours running time, "My Son John" is thoroughly con- vincing, building suspense steadily as the suspicious father and the trusting mother have the harsh truth of their son's guilt forced upon them. Unhappily, the screen- play by McCarey and Myles Connolly was forced into a contrived, implausibly melo- dramatic climax as a result of the untimely death of key actor Robert Walker. This is a "message" picture, and the exhibitor faces the problem of attracting the mass audience seeking popular entertainment. It will not be easy in the case of "My Son John". Grosses will be best in class houses, weakest where the younger element predominates. The suspense should carry it through in action spots. Helen Haves, absent from the screen for 17 years, is superb as the mother. It is a difficult role, but she makes it deeply moving. Robert Walker's performance marks the high point of his career, a fitting epitaph for a fine young actor. Dean Jagger makes the most of his role as the father, but, the character may offend, rather than please, the American Legion. It comes pretty close to being a caricature of a flag-waving jingoist. STORY: With their younger sons off for Korea, Helen Hayes and her husband Dean Jagger, get a belated visit from their third son, Robert Walker, a young intellectual in the government service in Washington. He tells his parents that he has been invited to address the graduating class at his uni- versity the following week. It gradually becomes evident that Walker is involved in communist activities. His attitude toward his father, a schoolteacher and a Legionnaire, is one of disdain and superiority. His mother refuses to share Jaggcr's suspicious about her son, until F.H.I, man Van Heflin reveals to her that John is under surveillance. After an argument, in which he is hit with a bible by his father, Walker receives a phone call and suddenly decides to return to Washing- ton. Learning that he is implicated with a girl accused of communist activities, John's mother confronts him at his office and sub- sequently becomes convinced of his guilt. She pleads with her son to confess, but his conduct destroys her remaining mother love. Planning to make a getaway to Lisbon, John has a change of heart. After recording a speech of confession and advice, which he plans to deliver at the commencement, he phones Van Heflin to say he is turning him- self in to the F.B.L. He is shot down by co-conspirators on the steps of the Lincoln Memorial and, before dying, tells Heflin of the speech he recorded. Next day, the speech by John, telling how he became a traitor and warning others to avoid the same trap, is heard by the graduating class. BARTON everyone gets sloshed with water, will bring the house down. Another striking sequence is a nursery-rhyme underwater frolic with a pair of tots, Russell and Kathy Tongay. Vivian Raline steals every scene in which she appears as a man-chasing WAVE and Joan Evans is properly demure as the third of the 'buddies". Harry Sullivan as the base doctor has the principal male role and handles it efficiently. The Warren-Blaine tunes have the makings of Hit Parade quality. Best of them are the above-named, "What Good's a Gal Without a Guy", "Hold Me Close to You" and "The Navy Waltz". STORY: Three girls, Esther Williams, Vivian Blaine and Joan Evans, all join the WAVES because of man trouble. Williams is rich and spoiled, Blaine has been waiting for a sailor for many years, and Evans, a sheltered mother's girl, has been left at the altar. In a number of experiences during their training, the girls become buddies, with W illiams undergoing a complete transforma- tion into an unselfish leader. She has an on- again, off-again romance with the base doctor, Barry Sullivan, finally getting her man; Evans teaches her man, Keefe Bras- selle, a lesson in love and Blaine gets the short end of the stick as she is transferred to Paris just as the wandering sailor boy is stationed at the base. BARN 9 SKIRTS AHOY!' TOPFLIGHT TECHNICOLOR MUSICAL Rates • • • generally, except in action spots Metro-Gold wyn-Mayer 109 minutes Esther Williams, Joan Evans, Vivian Blaine, Barry Sullivan, Billy Eckstine, Keefe Bras- selle, Dean Miller, Margalo Gillmore, The De March Sisters, Jeff Donnell, Thurston Hall, Russell and Kathy Tongay, Roy Roberts, Emmett Lynn, Hayden Rorke. Directed by Sidney Lanfield. "Skirts Ahoy!" is the best Esther Wil- liams picture yet made. That should give ex- hibitors an idea of what they can expect at the boxoffice when they play the film. It would be difficult to find anyone who won't lap up the entertainment producer Joe Pas- ternak has furnished in his Technicolor tale of a trio of WAVES. Sock musical numbers, comedy that ranges from the chuckle to the belly-laugh, a frothy story that maintains interest throughout the 109-minute running time, beauty, verve and color — all of these have been combined in a film that should have the girls running to the WAVE recruit- ing centers. Under Sidney Lanfield's expert direction, and with the cooperation of the Great Lakes Naval Training Center, the ad- ventures of three girls from different walks of life during their training period as WrAVES is spun into a highly diverting and genuinely amusing hunk of mass entertain- ment. The songs by Harry Warren and APRIL 21, 1952 Ralph I 'lane and Nick Castle's musical numbers are worked delightfully into the Isobel Lcnnart script. If Miss Lennart's screenplay telegraphs each succeeding se- quence, it often redounds to a point of an- ticipation on the part of the audience for what's coming — and the result rarely fails to live up to that anticipation. Brief but ef- fective sequences are supplied by Billy Eck- stine, Keenan Wynn, and Debbie Reynolds, the latter in a bouncing version of the old "Oh, By Jingo". The stars, Esther Williams, Joan Evans and Vivian Blaine have never ap- peared to better advantage on the screen, the last-named making her film return a lulu with a Brooklynese characterization similar to the smash she scored in Broadway's "Guys and Dolls". The Williams draw, plus the Eckstine-Blaine appeal and the universal entertainment values in "Skirts Ahoy!" add up to beautiful boxoffice music. Miss Williams, in a suitably sympathetic role, looks lovelier than ever, sings, dances and cavorts on land and in the water with excellent visual and aural effect. Her comedy number, "What Makes a Wave?" a deck- swabbing song-and-dance routine where fatieu fating DEADLINE— U.S.A.' HARD-HITTING NEWSPAPER MELLER Rates • — generally 20th Century-Fox 87 minutes Humphrey Bogart, Ethel Barrymore, Kim Hunter, Ed Begley, Warren Stevens, Paul Stewart, Martin Gabel, Joseph De Santis, Joyce MacKenzie, Audrey Christie, Fay Baker, Jim Backus, Carleton Young, Selmer Jackson, Fay Roope. Directed by Richard Brooks. Treating the newspaper business with a realism seldom approached in Hollywood films, "Deadline — U. S. A. " is an exciting, hard-hitting story of an editor's battle against a crime syndicate while his paper is being sold out from under him by his pub- lishers. Situations and dialogue have a mark of authenticity. Underlying the action is a moralizing theme pointing up the importance of competition and ethical journalism in combating anti-social forces. The effective- ness of the film is heightened by the absence of maudlin elements that so often crop up in pictures of this kind. The off-hand ro- mance is neatly fitted into the plot. A brilliant marquee, star-studded with the names Humphrey Bogart, Ethel Barrymore, and Kim Hunter, provide potent exploitation material. Subtle directorial touches of Richard Brooks ties everything into an enter- tainment package that should make good boxofhee generally, and top-notch fare in metropolitan areas and action houses in all locations. "Oscar"-winning Humphrey Bogart per- sonifies the spirit of the story and confines his battling to wielding the weapons of his trade. Ethel Barrymore check in with her usual sterling performance in the role of the publisher's widow who is trying to uphold a dying tradition. Kim Hunter maintains her reputation as a fine actress as Bogart's ex- wife. Minor roles, headed by Ed Begley, Warren Stevens and Martin Gabel, are all BRONCO BUSTER' ACTIONFUL STORY OF THE RODEO Rates - in action and western houses; more with exploitation Universal 80 minutes John Lund, Scott Brady, Joyce Holden, Chill Wills, Don Haggerty, Dan Poore and Casey Tibbs, Pete Crump, Bill Williams, Jerry Ambler. Directed by Budd Boetticher. Budd Boetticher, who did such an excellent job in bringing to the screen the first finely delineated treatment of bull-fighting in "The Bullfighter and the Lady", has turned his hand to the fine points of another man vs. animal sport, the rodeo. He emerges with an actionful and arresting Technicolor film in "Bronco Buster" that should appeal ■trongly to action and western fans. Although the performances arc hardly on a par with those he elicited in the former film and the plot is routine, there are thrills galore in the rodeo scenes that make up the bulk of this film and the names of John Lund and Scott Brady should mean more at the boxofhee. Too, the growth of popularity of the rodeo has been so startling that it now ranks fifth in the country as a spectator sport. With proper exploitation, in the hinterlands par- ticularly, it may ring up some surprising returns. Several of the nation's top bronco- busters are featured: Casey Tibbs, Pete Crump, Dan Poore and Bill Williams. Horace McCoy and Lillie Hayward have dressed up the plot with good dialogue and Ted Richmond's production, especially of the actual rodeo scenes, gives the film an authentic aura not normally associated with westerns. Lund and Brady, neither of whom normal- ly tend to overact, give their usual wooden ably handled to enhance the stamp of qaulity on this production. STORY: While trying to prevent the sale of his paper, editor Bogart becomes em- broiled in a battle with a local crime syn- dicate headed by Martin Gabel. When one of his crime reporters is beaten up by the racketeers, Bogart orders an all-out expose on Gabel. Ethel Barrymore, who is part owner of the paper, backs out of the deal to sell when she realizes that there is a chance of busting the syndicate. Her two daughters, however, refuse to cooperate and the death of the paper is almost assured. In spite of being faced with the prospects of losing their jobs, Bogart and his staff proceed with business as usual, and uncover a lead that involves Gabel in the murder of a showgirl. After demonstrating the power of the press in some dramatic action scenes, Bogart loses the fight to save the paper, but manages to start the wheels rolling which will break Gabel and his syndicate. NEWT performances. Joyce Holden however, regis- 1 ters much more strongly. She deserves a | bigger chance to display her talents. Chill i Wills is his competent self as a clown I wrangler. Photographer Clifford Stine keeps | the camera work at a high level and is par- ticularly effective in the rodeo scenes. STORY: John Lund, champion rodeo rider, gives a chance to a newcomer, Scott Brady, but Brady soon becomes a swellhead and embitters the rest of the bronc-busting outfit. Lund's feelings are not improved when Brady goes after his girl, Joyce Holden, daughter of Chill Wills, the clown. In the circus horseplay the clown is seri- ously hurt as a result of Brady's grand- standing, and having learned his lesson, the swashbuckling Brady manages to reinstate himself as a reformed character. YORK OKLAHOMA ANNIE' JUDY CANOVA COMEDY PAR FOR THE COURSE Rates • • as dualler, more in rural spots Republic 19 minutes Judy Canova, John Russell, Grant Withers, Roy Barcroft, Emmett "Pappy" Lynn, Frank Ferguson, Minerva Urecal, Housely Stevenson, Almira Sessions. Directed by R. G. Springsteen. Judy Canova fans and audiences not noted for their discrimination will like this Tru- color offering. Jury's musical cavorting, bordering on slapstick, marks it as a satis- factory dualler for country situations. She's as effective as usual with such tunes as "Never, Never, Never", "Have You Ever Been Lonely?" and "Blow Your Whistle". Others in the cast don't amount to much, in view of the omelette dished up as a plot, and John Russell looks positively unhappy with his stint, despite director Springsteen's obvious effort to swing the pace along. For spots where the Canova pictures have been successful, this one should hit the same level. STORY: Brought in as sheriff to replace a crooked official, John Russell promptly at- tracts Judy Canova, rural shopkeeper. She persuades him to make her a deputy. They arc planning to raid a gambling den run by Grant Withers, who's palsy-walsy with tlie county's grafty politicians when Sheriff Russell is captured by the crooks. To rescue him Judy raids Wither's saloon, aided by a crowd of riled women. As reward she is made sheriff and Russell gets promotion. LEON 10 FILM BULLETIN Fit an- Theutre Men Discounted W I Imtr Long expected and long discounted, the fting of the television station freeze by the "ederal Communications Commission still aused film industryites, particularly theatre- nen in the virgin territories, to start apprais- ng the future. The obvious question in the ninds of production, distribution and exhibi- ion people was: What would this mean to heatre boxoffices? The answer was not nearly as apparent. The FCC thaw provides for the opening of ,053 new stations in the U. S., its territories ind possessions, both on Very High Fre- (uency and Ultra High Frequency channels. Considering that only 108 stations are now >perating, the new allocations may seem )verwhelming in their effect on the TV in- lustry and those competitive media, including lm theatres, which have been affected by it. Yet consider these facts: In such already horoughly saturated TV areas as New York City, Philadelphia, Los Angeles and Chicago, e theatres that had been shuttered in the iast few years were chiefly marginal houses hat had survived by virtue of lush war and arly post-war year profits. The same fate nay face those theatres in areas that will be >pened to TV reception, but it hardly seems ikely that much effect will be felt in current ideo territories. Moreover, the low quality of entertain- ment that TV has been able to supply even n the present concentration of stations will vletro Taking 100 Theatremen fo Hollywood To View Product I On the basis that "seeing is believing", tfetro-Goldwyn-Mayer is taking some ;iundred circuit and independent theatremen is guests of the company to its Culver City • tudios to view forthcoming product. It was believed to be the first undertaking of this magnitude in industry history. The gigantic junket was arranged by 'Zharles M. Reagan, vice-president and ,'eneral sales manager. The exhibitor toppers will be taken to the Metro studios by a fleet of chartered planes. The representatives will include members of he five exhibitor associations participating n COMPO, i.e., Allied, TOA, ITOA, Western Theatre Owners and Metropolitan Theatre Owners of New York. Thus, it was pointed out, representatives of the large and -mall theatres who have an important position in their zones of public influence will be present, and will be able to return with an official report to their units. Said Reagan: "I wish it were possible to transport a thousand exhibitors instead of a hundred. That being impractical, we feel that thriugh the avenue of exhibitor organi- zations, their officers and our customers in strategic locations, we could get the best possible opinion and merchandising counsel". The exhibitor contingent, arriving May 8, will be hosted by production chief Dore Schary for three days, tour the studios and meet key production personalities, stars and | APRIL 21, 1952 be diffused manifold in the inevitable thin spreading of programming over the greatly increased number of outlets. Added expense will be necessary for the present set-owner to accommodate the UHF channels as well as the additional number ol VHF channels set up in the FCC's redis- tribution of allocations. Adapters needed for UHF reception are estimated to run from $10 to $50 apiece. The TV stations, too, will have to space their transmitters farther apart from one another so that one channel does not interfere with another, meaning higher costs to the already financially troubled videomen. And where will the sponsors come from to pay for all the additional programs that will be necessary in the expanded setup? Such factors have led theatremen to the belief that the long-awaited opening of TV BULLETIN NEWS and OPINION METRO'S REAGAN Seeing Is Believing featured players. At the screenings the M-G-M promotion department, headed by Howard Dietz, will outline the ad-publicity- exploitation plans as well as conduct a forum of opinion on merchandising. floodgates — plus the time involved in financ- ing, constructing and getting the new stations into operation — do not pose a malignant threat to the theatres. For Hollywood, the new order held even less foreboding. While the number of thea- tre playdates might possibly be curtailed due to the closing of more marginal houses, the demand for film programs for the expanded, program-hungry market was undoubtedly due to rise sharply. The movie industry served notice that it was not going to sit idly by while the channel allocations were being handed out, despite the FCC's statement indefinitely postponing hearings on theatre television channels. "We shall not relax or mark time while awaiting a new date," Si Fabian, chair- man of the National Exhibitors' Theatre Television Committee, declared. Disappointed by the postponement, which the FCC said was due to the press of its agenda, the NETTC head felt that "a most comprehensive case" could have been pre- sented on the previously scheduled hearing date, May 5. The Commission, he added, will be advised of the hardships and expense to the various executives, engineers and legal staffs involved in the continuous postpone- ments. "We are confident that the Com- mission understands these factors and will move as promptly as possible to establish a new date for the hearing," Fabian said. Hughes Shut-Down Move Due To RKO's Own Problems An incensed industry was both privately and publicly boiling over Howard Hughes' intimation that Hollywood was so infested by Communists that it was necessary to close his RKO studio in order to weed them out. The general reaction in Hollywood was that the RKO shutdown had more to do with its own peculiar production and financial prob- lems than with the red issue. Hughes' public announcement of his giving "leave of absence" to 100 employees who are "innocent victims of the Communist problem in Hollywood," and that he was discontinuing production cast a Red shadow on the entire industry, it was felt, and sub- jected it to unjust criticism, supplying ad- ditional fodder to the publicity hunters who have plagued the industry. The RKO chief's announcement elicited immediate criticism from Gunther Lessihg, president of the Motion Picture Industry Council, and Roy Brewer, of the Inter- national Alliance of Theatrical Stage Em- ployes. Lessing expressed the view that Hughes was doing the film industry a "distinct disservice in spreading the impres- sion that it is infiltrated with Communists . . . White I do not minimize the need for ridding the industry of any Reds within it, I cannot agree with Mr. Hughes that Com- munist influence is so great it could actually contribute to the closing of a studio". (Continued on Page 14) 11 CARBINE WILLIAMS' ENGROSSING DRAMA Rates + generally; more in action M-G-M 101 minutes James Stewart, Jean Hagen, Wendell Corey, Carl Benton Reid, Paul Stewart, Otto Hu- lett, Rhys Williams, Herbert Heyes, James Arness, Porter Hall, Fay Roope, Ralph Dumke, Leif Erickson, Henry Corden, Frank Richards, Howard Petrie, Stuart Randall, Dann Riss, Bobby Hyatt. Directed by Richard Thorpe. It should be noted immediately, in view of the title, that "Carbine Williams" is not a western. Set in a North Carolina locale, it is an engrossing human interest yarn about a man whose indomitable spirit becomes Confused with his sense of right and wrong, and sets him on the road to prison. The title stems from the situation whereby a rifle is the cause of his imprisonment and a rifle brings about his pardon. Most of the Story is played amid life in the North Carolina penal system of a decade ago and it provides some starkly realistic scenes of the chain gang, the prison farm and prisoner houses rebellions. Fern interest is engendered by the faithful, waiting wife. Done in a flash- back-narration technique, the film unwinds in low-key over most of the route, but it does contain the qualities of human interest and dramatic appeal — plus some hard-hitting action — that add up to strong boxoffice for action houses. The marquee values in the James Stewart-Wendell Corey names should carry it along to slightly above average grosses in other situations. The rugged individualist, Marsh Williams, is played by James Stewart in his typical off-hand style. Jean Hagen, as his wife, pro- vides a sympathetic character and her per- formance is quite a switch from her "dizzy- blonde" role in "Singin' in the Rain", Warden and narrator in the flash back se- quences, Wendall Corey matches Stewart stride for stride in a capable performance. STORY: James Stewart arrives home from two hitches in the Navy to claim his share of the family farm and to announce his intentions to marry a childhood sweet- heart, Jean Hagen. When his father states he must first work his share for two yea before marrying, Stewart revolts, marrie Hagen and goes to work in a section gat] on the railroad. Looking for easy mone he falls in with moonshiners and is soo running his own still. Hagen discovers h illegal operations and begs him to sto before there is trouble. But the desire fo money to buy a farm spurs Stewart 01 Eventually his still is raided and in the coi fusion a federal agent is slain. Through legal tangle, Stewart confesses to the killing although there is no way of knowing wh really fired the shot. Expecting a ligl sentence, he gets 30 years in the state prisoi This setback turns Stewart against his famil and society. From here on, the story is cor cerned with Stewart's rejuvenation amid t adversities of prison life. Aided by warde Wendell Corey, he eventually finds himse and invents a rifle which operates on a entirely new principle. The resulting pul licity and legal work by his family leads Stewart's pardon and a reconciliation wit society. PHIL ABOUT FACE' MILDLY AMUSING FARCE WITH MUSIC Rates + as dualler Warner Bros. $4 minutes. Gordon MacRae, Eddie Bracken, Dick Wes- son, Virginia Gibson, Phyllis Kirk, Aileen Stanley, Jr., Joel Grey, Cliff Ferre. Directed by Roy Del Ruth. •'About Face" is a second-rate, but fairly vpritely, technicolor musical based on a re- hash of the stage play "Brother Rat". Utili- zing the farcial account of life on the campus of a military academy, Warners has con- trived to freshen up the worn out situations about college pranks with colorful settings, a few tuneful songs, and large chunks of slapstick. Directed by Roy Del Ruth, the W illiam Jacobs production is flimsy enter- tainment, although a couple of the musical numbers do provide some pleasing inter- ludes ("They've Never Lost A Father Yet" and "Piano, Bass and Drums"). Over the whole route, "About Face" manages to be a harmless, mildly funny picture. It has been tailored for family situations and wherever the youthful element is strong. Nothing here for action houses. Gordon MacRae, Eddie Bracken and Dick Wesson seem a little old to be cadets in a military academy. MacRae's vocal chores are done in a nice easy style, while Bracken's slapsticks his way through the role of a cadet who has broken the rules by getting married and is now an expectant father. Virginia Gibson, Phyllis Kirk and Aileen Stanley, Jr., arc pert and appealing as the objects of some girl-crazy shenanagans. STORY: The screenplay is more of group of incidents strung together than clear-cut story. The film gets underway the weekend of a big baseball game, wit MacRae and company meeting their gir at the station and planning for the fortl coming festivities. Cliff Ferre, one of 1 instructors at the academy tries to cut in the women, but the "boys" spike his h tonic with dye turning it various hues ar keeping him out of the running. The rest the picture concerns itself with smugglir girls — including the colonel's daughter- and out of dormitories, a crucial baseb game, Bracken trying to pass exams whi his wife has a baby, and other antics famili to those who have seen only a fair number musicals of this kind. RICH JACK AND THE BEANSTALK' FOR KIDDIES ONLY Rates • • + or better in family houses Warner Bros. 78 minutes Bud Abbott, Lou Costello, Buddy Baer, Dorothy Ford, Barbara Brown, David Stol- lery, William Farnum, Shaye Cogan, James Alexander. .Directed by Jean Yarbrough. Strictly for the kids. This Supercinecolor fantasy should delight the youngsters with its slapstick nonsense, but it is apt to bore anyone over 15 years of age. Though they have strayed far from their old "who's-on- lirst" routine, Hud and Lou still rely on large slabs of hokum as they romp through this version of the familiar f;iiry tale. The "fan- tasy" is heavy-handed and lacking in im- agination. "Jack and the Beanstalk", in brief, is no "Wizard of Oz" by a long, long shot. 12 Music and dancing has been tossed in, plus a talking harp, the hen which lays golden eggs, and the (not-so) ferocious giant. Family houses should do fine with this, since the grown-ups will take the kiddies. But what pity that it is lacking in inventive- ness ! Costello, as Jack, and Abbott, as his money hungry side-kick, play according to their familiar formula. Muddy Baer proves formidable in the role of the giant, while being beleagurcd by the clowning Costello. Shaye Cogan provides an eye-filling princess and James Alexander is satisfactory in the part of the prince. The opening and closing scenes are in sepia, while the dream sequence is in a rather washy supercinecolor. STORY: Abbott and Costello obtain a job as baby-sitters and while Costello is reading a fairy talc to one of the children, Lou falls asleep and dreams he is in the land of tl story and is now a boy named Jack, giant has been menacing the village, stc; ing all the food and causing havoc general! Jack's mother sends him to sell their co whereupon Abbott swindles Jack into takii five magic beans instead of money. Wh Jack returns home, his mother tells him plant the beans. In the meantime, the gia] hasi kidnapped the princess, and a yotu prince whom she was to marry. The d< after Jack plants the beans, lie finds that beanstalk has sprouted that reaches up the sky and the castle of the giant. Ti rest of the story is concerned willi Abbe and Costello climbing up to rescue the prin and princess. After some nonsensical, sla stick adventures, the giant is dispatched ai| Costello returns to earth with the villager stolen property. NEWT F I L M B U L L E T I DANGEROUS PARADISE! A man from nowhere . . . a woman with nowhere to go try to forget their pasts in exotic, exciting MACAO, port of sin and shady dealings! ROBERT MITCHUM JANE RUSSELL WILLIAM BENDIX JANE SINGS: "One for My Baby" "Ocean Breeze" "You Kill Me" NOMAS GOMEZ • GLORIA GRAHAME Directed by Screenplay by I EF von STERNBERG • BERNARD C. SCHOENFELD & STANLEY RUBIN FULL-PAGE NATIONAL ADS to 28,696,603 CIRCULATION ...In Life, Look, S. E. P., Collier's, Time, Newsweek, and This Week Supplement in 31 Sunday newspapers in 31 cities. JXetvs and Opinion (Continued from Page 11) IATSE's Brewer felt that the action might "create the impression across the country that there are not enough good Americans to make pictures. That is not true and never was". Hughes, in announcing the layoff of the RKO personnel, emphasized that they are "in no way involved in any Communist situation". However, he has determined to "make RKO one studio where the work of Communist sympathizers will not be used", and that the studio shut-down necessitates their "temporary" release. Snaper OK's 'Quo Vadis' Policy In Confab with MGM Heads Allied president Wilbur Snaper placed his blessing on Metro's "Quo Vadis" sales policy. tn a letter designed "to relieve the thoughts of many independent theatre owners that it is Metro's intention to establish a confisca- tory deal", the Allied head informed Allied units that he had met with M-G-M distri- bution chief Charles Reagan and his as- sistants, Eddie Saunders and Jack Byrnes, to discuss the company's terms on the big spectacle. Snaper reported the following conclusions resulting from the meeting: (1) Metro would publish its policy for QV for theatres in towns under 25,000 popu- lation in trade paper ads. (2) The M-G-M executives assured him that they did not intend to "impress terms that are destructive" in any way. (3) Metro will continue the "open door" policy where exhibitors have not received a just return on their engagements of "Quo Vadis". (4) No definite policy has been set on terms for smaller theatres, but the following are the types of deals that been sold so far: straight 70/30; 70/30 with a 10% of the ^ross guarantee where overheads have been acceptable; 70/30 with 40% minimum, and 90/10 over house overhead. FEBRUARY TAX TAKE UP January business at movie theatres was up considerably over the same month last year, according to Internal Revenue figures on admissions tax col- lections during February. The Bureau's tally showed almost a million dollars more was collected last February than in the same month in 1951, the first comparative increase, incidentally, in four months. Total take, of which movie admis- sions ((impose the great bulk, was $23,891,000, compared with $22,962,000 in February the year before. It also surpassed last January' take by about the same amount. The figure was especially significant in view of the customary dip in February from Janu- ary's collections. 20TH-FOX'S LICHTMAN Unity W ill Supply Brakes Unity, Showmanship Needed To Fight B.O. Damage— Lichtman Television's inroads into moviegoing and other changes in the state of the movie in- dustry since 1948 make it imperative that there be the utmost cooperation between ex- hibition and distribution and a revival of showmanship. So said Al Lichtman, 20th- Fox director of distribution at a meeting of Theatre Owners of Georgia last week. Lichtman said that surveys revealed that 99 per cent of the boxoffice decline has been caused by TV in areas where it is available. Non-TV territories, or where the installations are comparatively light, have actually in- creased business since 1948, he claimed the surveys showed. With this challenge of free and convenient competitive entertainment, the industry must "harness this new medium of communication to the advantage of the theatre as well as to the advantage of the producers". Supple- menting film shows with large screen live television, he felt, was one answer and all elements in the industry must fight for TV channels. The Fox Eidophor system of theatre TV, Lichtman said, will have its first showing within two weeks in the company's Little Theatre, to be followed by similar demon- strations in Los Angeles and Chicago. Manufacture on a large scale is due to begin "very soon thereafter", with a programming effort designed to utilize "some of the greatest people in show business". Lichtman felt that increasing admission prices "to meet present clay cost levels might be the answer in many cases" since the film industry depends upon maximum attendance to meet its costs. In his plea for unity, Lichtman plugged COMl'O's aims and advocated that with divorcement making all theatres free of distributoi -producer influence, "exhibitors should unite and form one strong exhibitofl organization by merging all existing organij zations". "Such an association," he saidj "could have a voice as powerful, if not mor powerful, as that of any industry group it the country". Formation of both national and local leve conciliation committees consisting of exhi bitor and distributor representatives werl urged by the 20th-Fox executive. A join group, he added, not only would aid in re solving intra-industry disputes, but would b a powperful factor in fighting censorship discriminatory tax treatment and othe harassments from outside the business. Arbitration Huddles Begin; May Make Industry History Tomorrow, April 22, may be a histori date for the motion picture industry. It' the day the representatives of exhibition an distribution are due to face each other acros the conference table to discuss plans for th setting up of an arbitration system that coul< put an end to the plague of litigation that ha cost the industry so many millions of dollars Although many of the proposals are stil blind quantities, each of the factions repre sented have given assurance that they ar approaching the meeting with an open min Representing the exhibitors will be National Allied, Wilbur Snaper and Natha Yamins, with A. F. Myers as counsel; TOAj Mitchell Wolfson and S. H. Fabian, witl Herman Levy as counsel; ITOA, Harry Brandt and Max A. Cohen, with Miltoi Weisman, counsel; Western Theatre Owner H. V. "Rotus" Harvey and William I Connors, with L. S. Hamra, counsel; Metro' politan MPTA, Leo Brecher and Emanue| Frisch. For the distributors: William F. Rodgers] Ldew's, Inc., chairman; Al Lichtman, 20th Fox; Robert Mochrie, RKO; A. Montague) Columbia, and, as counsel, Paramount^ Austin C. Keough, Warner's Robert W Perkins and Universal's Adolph Schimel. (More News and Opinion on Page 28,1 WB RETIRES $10,000,000 STOCK Ten million dollars worth of Warner Bros. Pictures, Inc., common was re- tired as stockholders responded to the corporation's invitations to tender their stock at a maximum of $15 per share. Approximately 70 per cent of some 670,000 shares purchased was retired at a figure of $14.99, according to the company. The brothers Warner and members of their family sold 190,000 shares. The invitation to tender stock was the second within the past year by Warners. Last fall, approximately $15,000,000 was expended to purchase more than a million shares for retire- ment. Close to 5,000,000 shares are still outstanding. 14 F I L M B U L L E T I N| Sekin4 the £ceneA o( Jifa Production STUDIO SIZ6-UPS APRIL 21. 1952 COLUMBIA Kramer Unit Busy, But Studio Works on Oaters Only They're a-ridin' the range down on Gower Gulch, these days, and padnah, it don't look like they're goin' to be puttin' on any fancy duds afore Princess Rita comes back to wave 'Salome's" seven veils, late next month. As a matter of fact, the entire production picture at Columbia for the next two to three months, is strictly on the unpretentious side. With the exception on the Stanley Kramer company, and the one Rita Hay- worth project, production will limp along on a handful of sagebrushers until July 21, when the studio shuts down for two whole weeks, to give everyone on the lot simul- taneous vacations. Even the shoot-em-ups are taking on a paler complexion, what with the dropping of the Charles Starrett series, which has been a studio mainstay for the past sixteen years. Starrett checked off the lot early this month, following the completion of "Kid From Rroken Gun", his 102nd chore for the com- pany. Replacing the Starrett series will be one starring Jack Mahoney, who has been featured in several recent Starrett films. Colbert Clark will produce the new series, which is expected to total eight annually. Two are already set to roll, namely: "Pan- handle Territory" and "Gun Powder". The former gets off May 6, to be followed by "Powder", on June 3. Sagebrushers now in production are: "The Pathfinder" (George Montgomery-Helena Carter), an Esskay Production being filmed in Technicolor, with Sam Katzman produc- ing and Sidney Salkow directing; "Wagon Train" (Gene Autry), produced by Armand Schaefer and directed by George Archin- baud; and "The Outlanders" (Randolph Scott), a Scott-Brown Production, which Roy Huggins is megging for producer Harry Joe Brown. However, as has been noted previously, this lethargy in the studio does not extend to the Stanley Kramer unit, which more and more is becoming the backbone of the com- pany. Within the past year, Kramer has doubled the personnel of his organization, to a point where it now encompasses 36 staff members, plus six contract directors and eleven writers. Six Kramer productions have been completed within the year, another, "The Dirty Dozen" (Bonar Colleano-Arthur APRIL 21, 1952 Cxckti* $L BULLETIN ? roll during this period are due to be announced momentarily. In reply to the many questions FILM MULLET IX has received about the public's reaction to "Quo Vadis", our Hollywood staff has been doing a bit of research on the subject and come up with the cheering news that total grosses in the first 140 dates, 71 of which are still playing, have hit the as- tounding mark of $7,250,000. Obviously M-G-M has tin proof that big pictures still pay off. HOWARD HUSHES On the Way Out? MONOGRAM— AA Allied Artists Gets Going With Five in Next 4 Months The production hiatus at Allied Artists has at long last been broken, and the Monogram sister company is about to enter a period ot concentrated production to build up the de- pleted backlog. As of this writing, five AA productions have been set to go before, the cameras during the next four month — nearly all of them on location sites. In addition, there are 20 properties now in preparation for both AA and Monogram. hirst of the Allied Artists' pictures to go before the cameras will be Walter Wanger's final week of April. Next will be Lindsley "Battle Zone", tentatively scheduled for the Parsons', "Down Periscope", to be filmed at the Navy submarine training base in New London, Conn., starting in early May. "Cow Country", to be produced by Scott R. Dun- lap as the first entry from his new inde- pendent unit, gets away in June in New Mexico and Texas. Wanger's second film will be "Buccaneer of the Barrens", to roll on location in Western Canada, some time in early July. The second July starter will be "The I'.lack Knight", which Walter Mirisch will produce. Four new pictures went into production this month for Monogram release: "Barbed Wire" (Bill Elliott), produced by Vincent Fennelly and directed by Lewis Collins; "Sea Tiger", a William F. Broidy production chore, directed by Frank McDonald; "The Rose Bowl Story" (Marshall Thompson), a Cinecolor feature directed by William Beau- dine and produced by Richard Heermance; and producer Ben Schwalb's "Army Bound" (Stanley Clements). With the start of the new Elliott starrer, "Barbed Wire", the company instituted a policy of higher budgets for the series. According to pre.xy Steve Broidy, the additional allocation is the result of the exceptional popularity of Elliott's last two releases. At the present time, there are 12 films in Monogram's backlog. They are: "Wild Stal- lion" and "Wagons West", both in color; "Here Come the Marines", "African Treasure", "Desert Pursuit", "Kansas Ter- ritory", "Man From Black Hills", "Dead Alan's Trail", "The Gunman", "Gold Fever", "Plow Jockeys" and "Artie Flight". PARAMOUNT Studio Due For Peak Color Production As Own Labs Close Paramount tipped its hand on the future color production policy this month with the announcement that the studio's film labo- ratory was shutting down April 19. Obvious- ly, this can mean only one thing: the ma- jority of Paramount's future pictures will be in Technicolor, which does its own process- ing. Whatever black and white pictures the company does produce will be farmed out for processing to an outside company. Actually, the move comes as no surprise. More and more Paramount has been con- centrating on color production, with all of the trappings. Greater emphasis on the pro- duction of musicals also makes it feasible to lean more heavily on tinted films. April has been a sub-par month for the company, production-wise, with only four pictures in front of the cameras. Of the four, one is a Hal Wallis production, and the other comes from the Pine-Thomas slate. Paramount's own production organization accounted for the other pair, "Stalag 17" (William Holden-Don Taylor), a Billy Wilder producer-director stint; and "Road To Bali" (Bob Hope-Bing Crosby-Dorothy Lamour). Hal Walker directs the new Technicolor "Road" comedy, for producer Harry Tugend. As of this writing, Dean Martin and Jerry Lewis were still hold-outs on the new Hal Wallis comedy which was slated to roll the first of the month. Both sides are making threats, albeit there is little likelihood that the matter will ever reach the courts. It appears that Wallis will probably shelve the property in favor of something more to the comics liking. The Hal Wallis picture that is in pro- | duction is the costly, "Come Back, Little Sheba" (Shirley Booth-Burt Lancaster-Terry Moore), which is being directed by Daniel Mann. The Pine-Thomas entry is "Tropic , Zone" (Ronald Reagan-Rhonda Fleming), filmed in Technicolor, and directed by Lewis ' R. Foster. The latter production company, incidental- ly, is set to maintain peak activity for some time to come, what with five stories ready ' to go out of eight yet to be filmed under their new 12-picture contract with the studio. "Thunderbolt" (John Payne-Arlene Dahl) ( rolls in July, followed by "Sangaree", the J Frank L. Slaughter best-seller, to be directed by Edward Ludwig. After that, the cameras will swing to "Jamaica" (Ray Milland), based on a Saturday Evening Post serial by ' Max Murray. The final two feature already | set are: "Seven Sisters From Seattle", an' original, and "High Tension", based on the | • novel by William Wister Haines. All stories will be filmed on location, and all will be in Tech nicolor. (Continued on Page 26) FILM It U L I. H T I n| It's Hard to Put Your Finger On It Will Rogers had it... Marie Dressier and Wallace Beery had it... and now Marjorie Main and Percy Kilbride as Ma and Pa Kettle seem to have it, too. What is it? Well, it's hard to put your finger on it— Collier's took five pages trying to describe it— but millions of movie patrons feel it the minute Ma and Pa Kettle appear on the screen. And with each new picture, added millions of "Kettle converts" trek to the nation's theatres to bask in that "in- definable something"— so real, so warm, so human, it has become a part of the very heart and humor of America itself. See for yourself! When you play "Ma and Pa Kettle at the Fair" get out in front of your theatre and see how those patrons who once thought the Kettles "corny" have come to appreciate and love that wonderful "Kettle kind of humor." .r AT THF FAIR" Universal-International presents "MA AND PA KETTLE AT THE FAIR" starring MARJORIE MAIN, PERCY KILBRIDE, with Lori Nelson, James JBest • Screenplay by Richard Morris and John Grant Directed by Charles Bartoni • Produced by Leonard Goldstein. EXPLOITATION PICTURE HOLLIDAY (JUDY) FOR SHOWMEN Star's New Film Loaded with Angles JUDY Holliday's first film after her smash performance in "Born Yesterday" is the big news for exhibitors and their audiences. The young lady with the squeaky voice ""voice captivated enough moviegoers in her Oscar-winning role as bird-brained Billie Dawn to cam a marquee power that will draw sizeable audiences wherever it is show n. Columbia Pictures, however, has not leaned solely on this factor for Judy's new film. Wisely, they chose the same director, George Cukor, and the same script-writer, Carson Kanin, who. with Ruth Gordon, have turned out a vehicle ideally suited to the star's talents. As a voung wife who goes through seven years of marriage with all the typical joys, sorrows and tribulations that are attached to that venerable institution, Judy has a field day. Enhancing all this, she is given a co-star in Aldo Ray, whose screen debul may be destined to do for him what "Born Yesterday" did for Miss Hol- liday. Ray's gravel-crunching voice is as unique for a movie actor as Judy's is for an actress. That young man will be talked about — and that usually means boxoflice. The value of liis appearance in the film should not be underestimated by the showman. The title and theme offer even more exploitation fodder for the ballyhoo potential. All kinds of stunts, some of which are detailed at right, can and should be worked up around these angles. Such ideas as a public wedding, free admissions to newlyweds, the oldest and the youngest married couples, leap year ballys, tie-ins with department stoics and specialty shops for gifts to newly-married couples, newspaper coverage and a host of others are presented in the excellent press book worked up by Columbia s I loxofficers; The newspaper ads (below), the posters and other accessories have captured the f iling angles admirably. They point up "that 'Born Yesterday' girl", the Oscar-win- ning performance, the story ("From T do' to 'drop dead!' and back again"), the intro- duction of Aldo Ray. and the hilarity of the domestic situations. When Judy smothers her husband's protestations with her inimitable "Shaddup!", or tearfully bemoans her spouse's antics with "There's one at every party — but why does it have to be my husband!" or rebels at criticism with, "Alright, so I'm dumb — so go marry Einstein ! ' it makes wonderfully provocative ad copy coupled with the scene stills. Alright, Mr. Showman, so you've got a bunch of exploitation angles. So don't waste them. NEW STAR Aldo Ray has made such a hit with the critics that there is little doubt of his coming stardom, and of his popularity with the fans. The latter love to make a "discovery" and you can help them with a special promotion centered around Judy Holliday's "new heart-throb". At present, Ray is making personal appearances with openings radio and at the theatre garnered plenty of news- of the picture. His New York p.a.'s on television, paper space and interest. When he went to Houston (above) for the opening, he was greeted by a budding fan club. The young people will love him. Give them plenty of opportunity to know all about him before the film opens. Can't Call Judy Damb Now, She's One of 12 Smartest BALLYS Judy Holliday, whose "dumb blonde" role in "Born Yesterday" won her an Oscar, has been named one of the 12 most intelligent women of the year by the Book of Knowledge. The story was carried in a syndi- cated United Press ar- ticle. It should make an arresting blowup and can be used as a tie-in with a local radio or TV pool to determine the most intelligent women in town; as the source of a quiz contest; a co-op with schools and colleges for the smartest women's page editors and commentator's on the boys and girls on the campus; in plugs by selection of Miss Holliday by the Book of Knowledge. On the title and theme, a public wedding idea is a natural. Launch a city-wide search for a couple who are "The Marrying Kind" and are (THEATRE) (PLAYDATE) willing to tie the knot on TV or on your stage, is well as give additional valuable window space ('.ilts from local merchants should spur the bally and displays for the show. The invitation card element (above) in the ad mats will make an unusual "wedding invitation" herald, with theatre name and playdate. It should not be too difficult for you to get a local merchant to share printing costs by placing a message on the back of the cards. These can be distributed house-to-house or in direct mail to your regular patron list. EXPLOITATION PICTURE \ "Alright, so /'m dumb — so go marry Einstein.'" Judy HolUday belabors her obviously harassed husband. Aldo Raj ■ I* APRIL 21, 1952 THE MARRYING KIND The domestic adventures from '* "I do' to 'drop dread and back again", as the ads so aptly put it. form a wonderful framework for Judy Holliday to wrap her talents around. Hers, that is. and top writing, direct- ing and thespic talent around the home of the dream merchants. The script is hy Ruth Cordon and Carson Kanin. who did Judy s Academy Award-winner. "Born Yesterday"; the director is Ceorge Cukor, who had the same credit for the comedy that brought Judy fame: a screen newcomer. Aldo Ray. as the star's husband, makes enough of an impression to merit the accolades of a surprising number of critics as the "screen find" of the year. Actually. "The Marrying Kind"' is the story of a marriage that could have — and has — happened to any of us. It begins in a marital relations court as Judv and Ray apply for a divorce before Judge Madge Kennedy (remember her in the silent films? I. and ends in the same chambers most happily with wife and husband reunited. In between, related in flashback, are the host of incidents that led to their appearance in the court. It is in the telling of them that the couple realize they have a marriage worth saving. And it is in their telling that the movie audience has a whale of a time, watching Judy and Aldo go through familiar spats, reconc iliations, comedy and tragedy and identifying themselves with the likeable people who star in '"The Marrying Kind". 25 STUDIO SIZ6-UPS (Continued from Page 22) REPUBLIC Stockholders Attempt To Embarass Yates Falls Flat April has been a month of internal strife for Republic, touched olT by a group of stockholders who are demanding that the company president, Herbert J. Yates cut his annual salary from $175,000 to $75,000. A cill was sounded also for James H. Grainger, Republic sales manager, to reduce his $75,000 salary to $25,000. Walter L. Schulman, representing the H. Hentz brok- erage firm, holding 200 Republic common shares, further asked a breakdown of the profit or loss on each of 10 films in which Vera Ralston, who recently became Mrs. Yates, appeared since 1945. This appears to be just another of the desultory attacks which occur occasionally against the Yates regime, to no avail. If the dissidents thought it was an opportunity to embarrass the Republic boss on his honey- moon, they did not succeed. It will take some much more deeprooted cause to dis- lodge Yates from his domaint position with Republic. Nor has the dissention, had an adverse effect on the company's ambitious spring production program. In addition to five pic- tures starting during the month of April, Republic is planning to start four more in May. Two others, "Toughest Man in Tomb- stone" (Vaughn Monroe-Joan Leslie) and "Thundering Caravans"( Rocky Lane-Mona Knox) have just completed their stint on the soundstages. April starters include: "Ride The Man Down" (Rod Cameron-Forrest Tucker-Ella Raines), being filmed on location in Utah, associate producer Joseph Kane directing; "The WAC From Walla Walla"' (Judy C'anova), R. G. Springsteen directing for producer Sidney Picker; "Citizen Soldier" (John Barymore, Jr.-John Derek-Marilyn Maxwell), John H. Auer doubling as asso- ciate producer and director; and "Flight Nurse", as yet uncast, to be produced and directed by Allan Dwan. Stephen Auer returned to the valley lot this month, with a new associate producer pact, said to be considerably more lucrative than the one which was terminated a few months ago. Another important new assignment was the transer of Mickey Gross from the field exploitation department, to head up the publicity department, replacing Mort Good- man, who recently resigned. RKO Hughes Sellout Seen Happy Solution For RKO All of Howard Hughes statements to the contrary. FILM BULLETIN has it on reliable authority that there is nothing scheduled to go into production for RKO until September. What may happen in the 26 20TH'S ZANUCK Aces Up His Sleeve meantime is wide open to conjecture. From the standpoint of the entire industry's wel- fare, porbably the most welcome news would be a confirmation of rumors that Louis B. Mayer is buying out the controlling interest in this production-distribution company. The product under the Hughes' regime has left a great deal to be desired and the morale of the men and women working at the studio has been anything but healthy. Friction between management and talent has been the frequent cause of costly inter- ruptions and delays in production activities. These factors and Hughes penchant for leaving important decisions hanging in mid- air has contributed to the gradual deterior- ation of this company. It is the common belief among well-in- formed circles in Hollywood that Hughes is very desirous of unloading his holdings. There's a popular school of thought that the Hughes bout with the Screen Writers Guild, over the firing of Paul Jarrico, was pre- dicated on his desire to incite a labor strike, which would give him a good excuse to shut down the studio. Whether or not that thought was in the back of his mind, no one, of course, can say. But it would seem a strong possibility, in view of the subsequent heavy layoff of personnel throughout the plant. No one in close contact with the in- dustry can be expected to accept his state- ment that red infiltration in Hollywood has become so great, that there is no other course but to lay off hundreds of innocent employees, and shut down production. Regardless of the shutdown, however, Hughes says that his company is in a position to maintain its release schedule for at least eight months. True, of course, there are now 18 pictures in the RKO backlog, with several more to be added in the next few weeks, from independent producers off the lot. In addition, new outside deals are being discussed all of the time. At the present time, there are only two independent productions in work, which have RKO rclasing commitments. These are: Samuel Goldwyn's "Hans Christian Andersen" (Danny Kayc-Farlcy Grangcr- leanmarie), (although there are rumors that this might go to UA), and Joseph Kauf- mans' "Sudden Fear" (Joan Crawford- Jack Palance). The latter, which is being di- rected by David Miller, has been a literal "tempest in a teapot" ever since the filming got underway. As a result, the picture is already 32 days over its shooting schedule — albeit, oddly enough — very little over budget. According to an announcement by Ed- mund Grainger, "Blackbeard the Pirate" will roll on May 15 for RKO release. The film originally was set to roll March 1, and then was moved back to April 1, when, once again, there was a last minute cancellation. Cornel Wilde is under consideration for the co-starring role, with Robert Newton. 20TH CENTURY-FOX Zanuck Plays Close to Vest In New Fox Production Spurt 20th Century- Fox is about to embark on one of its heaviest production periods in almost a year, with six top-budget pictures all ready to roll in the next three to four weeks. At least three of these new productions arc so-called "ace-up-the-sleeve" features, which Darryl F. Zanuck will keep wrapped in secrecy until they are ready to roll. FILM BULLETIN'S Hollywood staff hears that Zanuck is most unhappy over his studio's poor showing in this year's Academy Awards and has vowed that he'll sweep the field when Oscar time rolls around next April. He is understood to be pinning high hopes on at least two of the unannounced features about to be launched. Six features are shooting at the present time, headed by the Zanuck personal pro- duction, "Snows of Kilimanjaro" (Gregory Peck-Susan Hayward-Ava Gardner), which Henry King is directing. Others on the current production sheet are: "Pony Soldier" (Tyrone Power-Penny Edwards), Techni- color feature, directed by Joseph M. New- man and produced by Samuel G. Engel; "Night Without Sleep" (Linda Darnell-Gary Merrill), produced by Robert Bassler and directed by Roy Baker; "Stars and Stripes Forever" (Clifton Webb-Ruth Hussey-Debra Paget), Technicolor biopic of the late John Philip Sousa, produced by Lamar Trotti and directed by Henry Koster; "My Wife's Best Friend" (Anne Baxter-Macdonald Carey), a Robert Bassler production directed by Richard Sale, and "Monkey Business" (Cary Grant-Ginger Rogers-Marilyn Monroe), pro- duced by Sol C. Seigel and directed by Howard Hawks. Starting this week (April 21) are: "To- night We Sing" (Ezio Pinza-Roberta Peters- Tamara Toumanova), to be directed by Jean Ncgulcsco and produced by George Jessel; "Bloodhounds of Broadway" (Mitzi Gaynor- Scott Brady), another George Jessel pro- duction, with Harmon Jones directing; and "The Man Who Fooled Hitler" (Oskar Werner), to be produced by Julian Blau- stein. In addition, Bert Friedlob has teed off (Continued on Page 27) FILM BULLETIN I- STUDIO size-ups VCotinued from Page 26 J gjihooting on his independent, "Panic Stricken" ■ Joseph Cottcn-Tcresa Wright), for Fox re- lease. The picture is being filmed on location In New Orleans, and carries a 36-day shoot- ing schedule. Andrew Stone is directing ■ rom his own screenplay. UNITED ARTISTS No UA Theatre Film Will Go to Video, Krim Assures I United Artists figures to be one of the largest distributors of film shows especially designed for television, but president Arthur Krim assures most emphatically that under no circumstances would he allow his com- pany to sell theatre movies to the new medium. UA already has taken the jump on most other motion picture distributors (and they're all considering it) by setting up a full-time [TV office in Hollywood, and appointing a staff of salesmen to cover 14 cities where there are major television outlets. John H. Mitchell, director of UA-TV, says his subsidiary company will not attempt to Icorral television movies willy-nilly, and then try to find a market for them. Rather, they will first find a buyer and then shop for the pictures which will best serve that buyer's demands. Only one movie definitely scheduled for UA release, is in production at the present time. It is "Morassi," a new color adventure film being made on location in east Africa by George Breakston and Ray Stahl. It is the first of a program of three features for |UA release over the next two years. In- cidentally, the same production team has just made a deal with UA-TV to deliver a series of 13 television films called "Safari Bill", to be made in Africa at the same time as the feature, and also starring Martha Hyers, who will play the femme lead in "Morassi". The forthcoming "Return to Paradise" (Gary Cooper), which producer Theron Warth will launch on May 10, figures to be one of the most important pictures turned out for UA release in recent years. Mark Robson will direct, and all filming will be done on location in the South Sea Islands. The budget is reputed to be well over a million dollars, and the shooting schedule has been set at 65 days. Sam Spiegel and Samuel Rheiner have formed a new company to be known as Horizon-American, Inc., to produce a slate of films for UA release. As of this writing, none of the pictures has been set, however. UNIVERSAL-INTERNATIONAL U-l to Continue Action-Epic Formula In Future Production There will be no change in U-I's tried and proven formula of earthy, action pic- tures as the answer to current boxoffice re- quirements. Studio toppers freely admit that there s plenty of money to be made in the JACK L. WARNER All Color By 1953? APRIL 21, 1952 multi-million dollar type of musicals or the heavy dramas that win awards, but they need only to look at their own financial re- ports in recent months to prove that they, too, have won the public's approval. More- over, they have no desire to test their wini^s in the super-musical or big dramatic fields, and, as a result, are disposing of such costly properties as "Bloomer Girl", now gathering dust on the studio's shelves for nearly five years. "Bright Victory", the company's one recent venture into high drama, proved a great artistic achievement, but it isn't paying off like "Ma and Pa Kettle", "Francis", or such outdoor action epics as "Bend of the River". All of this doesn't mean, however, that everything U-I will turn out in the future, is going to fall into the medium-budget bracket. Rather, they will stick to the thing they've proved thaf they can do best, and dress it up with "class" trappings. For ex- ample, U-I already has set 18 films in Tech- nicolor for release this year, with more likely to be added. This represents more than 50 per cent of all releases coming up from the studio. Three new pictures have gone into active production within the past 10 days, boosting the total number of pictures currently film- ing to six. The new starters are: "Bad Man With A Gun" (Rock Hudson), which Raoul Walsh is directing for producer William Al- land; "Willie and Joe Back at the Front" (Tom Ewell-Harvey Lembeck), produced by Leonard Goldstein and directed by George Sherman; and "Magic Lady" (Loretta Young-Jeff Chandler), an Albert J. Cohen production, directed by Joseph Pevney. Also in production are "It Grows On Trees" (Irene Dunne-Dean Jagger), which started March 10, Arthur Luhin directing for producer Leonard Goldstein; "Bonzo Goes To College" (Edmund Gwcnn-Gigi Perreau), in work since April 7, Frederick de Cordova directing for producer Ted Rich- mond; and "City Beneath the Sea" (Robert Ryan-Mala Powers), Technicolor feature shooting since March 31, Bud Boetticher di- recting for producer Albert J. Cohen. WARNER BROTHERS Warner Pushing Own Color Although Inferior To Techni Although Warners own color system, WamerColor, is beinn ballyhooed extensive- ly by this outfit, the first release utilizing it, "The Lion and the Horses", clearly demon- strates that it's not in the same class with Techn icolor. Nevertheless, Warners are going ahead with lar^'c scale production of the new process. I he \\ arners laboratory is now converted to handle the company's new WarnerCotor process in volume with a capacity of 10 to 12 features annually as a starter. The actual number of pictures to employ the new process, however, has not been announced by the company. At the same time this expansion is going on at the Kurbank plant, technicians in W arner s London studio are preparing to run off their own WamerColor prints there. Jack Warner has confided to close asso- ciates that he hopes to turn out all of the company's pictures in color by late 1953. Gordon Blau, head of the studio's makeup department, has perfected a new skin make- up for the color process which, he contends, will vastly improve closeups of stars in future pictures employing WamerColor. It is so close to normal skin coloring, he says, that it K'ivcs the illusion of no makeup being worn. In an effort to regain his studio's lost initi- ative in the topical picture field, studio boss Jack L. has set a new production dealing with the Air Force experiments on a floating ice field near the North Pole. The picture, to be titled "Top of the World", is being pushed ahead of several other properties for an early starting date. As a matter of fact, director Felix Feist is en route to Alaska at the rpesent time to supervise the shooting of background material. Robert Sisk will produce, and the film is being made with the cooperation of the Department of Defense. The oft-delayed "Lion in the Streets" is also up for an early filming — possibly to go into production before the end of May. James Cagney will star for brother William. There are five pictures shooting on the lot as of the last week in April. They are: "The Miracle of Our Lady of Fatima" (Gil- bert Roland-Susan Whitney), produced by Bryan Foy, directed by John Braum, and employing the new WamerColor; "The Story of Will Rogers" (Will Rogers, -Jr.- Jane Wyman). a Technicolor special, di- rected by Michael Curtiz and produced by Robert Arthur; "April In Paris" (Doris Day- Ray Bolger), also in Technicolor— David Butler directing for producer William Jacobs; "Danger Forward" (Cornel Wilde- Steve Cochran), directed by Lewis Seiler and produced by Henry Blanke; and "The Iron Mistress" (Alan Ladd-Virginia Mayo), another Technicolor biggie, directed by Gordon Douglas and produced by Henry P.lanke. 27 News and Opinion Paramount Nets $5,459,000 As Gross Zooms 12 Millions Paramount's profit story for 1951 was almost a caricature of the pattern that seems to have been set by other film company financial statements— gross up, net down. In Paramount's case, the paradox was particu- larly marked as the company's consolidated gross shot up more than $12,000,000 and the net declined more than a million dollars, still, however, leaving a robust $5,459,000 profit. For the fiscal year ended Dec. 29, 1951, Paramount grossed $96,618,000, compared with $84,408,000 the year before. The jokers that brought the 1951 net below the $6,565,- 000 earned in 1950 were (1) increased ex- penses of $11,000,000 over the latter year and (2) a deeper tax bite. General and thea- tre operating expenses jumped from $16,352,- (X)() to $19,294,000; distribution expenses from $18,031,000 to $19,949,000; share of film rentals and royalties to others from $6,824,- 000 to $8,447,000 and amortization and other film costs from $30,053,000 to $34,865,000. Universal $411,000 Profit Triples Same 1951 13 Weeks Universale first 13 weeks of fiscal 1952 had heartening news for the company and its stockholders — the net was more than tripled compared with the previous year's same period. The company reported con- solidated earnings of $411,000 for the 13 weeks ended Feb. 2, 1952, after provision of $280,000 for Federal taxes. In the corre- sponding period ended Jan. 27, 1951, $107,130 was netted, after $55,000 for Federal taxes. Stockholders found an even more marked improvement in their common shares. After deducting dividends on the preferred stock, the 1952 quarter's earnings were the equiva- lent of 37 cents per share on the 960,498 share of common outstanding. For the cor- responding period of the previous fiscal year, consolidated earnings were the equivalent of 5 cents per share. MGM GROSS UP; NET HOLDS Metro's grosses continued to climb in the 16 weeks ended Mar. 13, 1952, reaching $55,121,000 and surpassing the previous year's similar period by almost a million dollars. The net, how- ever, dipped slightly, from $1,763,000 last year to $1,647,000 after all charges and Federal taxes. For the 28 weeks ended the same date, however, the net take increased to $3,222,000 from the $2,978,000 re- ported last year, (iross also rose to $95,693,000, compared with $93,950,000 in the same 28 weeks. The tax bite came to $212,230 for the last 16-wcek period compared with $1,330,000; $1,528,000 compared with $2,116,000 in the 28 wci ks. WB'S KALMENSON Pressure Cooker Methods Kalmenson Calls on Exhibs To Meet WB's "Dynamic" Bally "The kind of continuous performance that takes place in a pressure cooker" is needed to meet today's competitive conditions in the entertainment industry. That was the warn- ing issued by Warner distribution chief Ben Kalmenson in a pitch for "aggressive show- manship" by both distributor and exhibitor, as he addressed the first of a series of three regional sales meetings in New Orleans last week. The adage that "there is nothing wrong with the movie business that good pictures can't cure" has been outmoded, the WB sales head declared. "I don't believe that we can let it go at that. We still must sell all pictures to the public." Lauding the Warner product coming up as the best in the com- pany's history, Kalmenson expressed the belief that his sales force cannot "afford to sit back and say 'we've got good product', and let it go at that. If exhibitors cooperate as they should in helping us bring this product to the public, we will have a thoroughly sold public". His visit to the studio, Kalmenson de- clared, convinced him that production at Warners was "a genuinely continuous per- formance" that will be backed up by "dy- namic merchandising" on the part of the dis- tributor. "Theatre men," he added, "must see to it that their efforts are as constant as ours." Ad-publicity vice-president Mort Blumen- stock flew in from his studio headquarters to be on hand for the New Orleans meeting, to address the Southern division confab. The next two divisional sales conferences will be held in Pittsburgh, April 24-25 for the Kastcrn division and in Chicago, May 1-2 for the Western regional. 28 COMPO's New Star Tours Really Getting the Big Names The "no-name" star tours that exhibitors J complained about in the last Movietimefl junkets seems to be a thing of the past. The ' first two territory tours announced by i COMPO in the new series had plenty of I stellar attraction. Last week, Atlanta and surrounding areas I had the chance to view Broderick Crawford, i Lizabeth Scott, William Bendix, Rory Cal- houn and Lita Baron, as well as technical i people from movieland. This week, the troupe making the tour of the Albany ex- change territory is composed of Greer Gar- son, Audrey Totter, Sterling Hayden, Victor j Jory, director Archie Mayo and producer Sam Marx. Both tours were due for welcomes by thel high brass of the state and city. Paramount Vitascope Buy Seen Cutting Production Costs , Paramount's zooming production costs, so dramatically silhouetted in its financial state- 1 ment which showed a total expense rise < f| some $11,000,000, may be cut by a new French invention that is expected to elimi- nate a great many costly sets and location, shots. The innovation is known as the Vita-j scope, handled by Sol Lesser's Vitascope) Corp. of America, in which Paramount has! purchased a 50% interest. Using the 'scope, still photographs of thel proper settings may be used as foreground for scenes. Thus, elaborate buildings or set-" tings can be dispensed with and still main- tain a quality of depth. The invention is! suitable, it was said, both for black-atul-j white and color photography. It was also noted that the device will "be of the same value to television stations", both in live and filmed programs. Corpo ration heads figure the FCC thaw of TV] stations will supply a highly expanded' market for the mechanism. NPA Taking 'Sympathetic' View on Industry Needs— Hofl The National Production Authority vfltf viewing the problem of obtaining supplie^ and equipment for theatres, as well as thea tie construction, with a "sympathetic" eye according to J. Robert Hoff, president of th< Theatre Equipment and Supply Manufac Hirers Association. Although he felt that any statement as t(j the outlook for next year should come froni Washington, Hoff expressed optimism following his meeting with NPA heads ii the nation's capital. The TESMA president, who is secretarj and sales manager of Omaha's Ballantyn Co., distributors of various theatre cquipl ment items, followed his visit to Washingtoi with a trip to Chicago to meet with Jarl Kirsch, chairman of the National Allied cow vention to be held in the Windy City nex Fall. FILM B U L L E T I > PRODUCTIOn & R€L€AS€ R6CORD COLUMBIA 1951-52 Features Serials Completed Completed 58 3] Production Production (5) (0) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Oirty Dozen, The _ Colleano-Frani S.000 Fingers of Dr. T., The Hayes-Healy Outlanders, The IT) Scott-Jarman Pathfinder, The (T) - Montgomery-Carter Re No. Rev \1 rodi i Wagon Team COMPLETED Affair In Trinidad - _ Assignment — Paris Barbed Wire Barefoot Mailmen, The ISC) 183) Boots Malone 1103) Brave Warrior Brigand. The IT) _ Captain Blood, Fugitive (T) — Clouded Yellow, The (96) Cenqo Bill Autry-Buttram Haywo. th-Ford Anorews-Toren ..Autry-Buttram . R. Cummings-T. Moore 1 1-51 ..Holden-Clements 12-51 „Jon Hal! 404 41? 1-14 52 Dexter-Lawrence _ Louis Hayward .....5 .Simmons-Howard _ ..McGuire-Moore O'Brien-Wyatt 10-51 10-8 Montgomery-Booth 412 Criminal Lawyer 174) Cripple Creek IT) Death Of A Salesman (III) ...March-Dunnock 2-52 European Edition Glen Ford Family Secret, The (85) Derek-Cobb 12-51 414... 9-10 423 12-31 firefighters, The First Time, The 18?) five l?3l Four Poster, The _ Golden Hawk, (T) .... Happy Time, The .Williams-Reynolds _ Cummings-Hale 2— 52.. . S. Douglas-W. Phipps 10—5 1 ..Harrison-Palmer Fleming-Hayden 424 371 2-11 .. Boyer-Driscoll Davis-Castle 2-52 422 1-28 Gomez-Dandridge 11-51 345. .. Starrett-Burnett 2-52 _Kiepura-Eggerth . Montgomery-Long 1-52 Jungle Jim in the Forbidden Land 165) Weissmuller-Ryan 3-52 Jungle Manhunt (66) _ Weissmuller-Ryan 10-51 411 11-5 Jeifle Safari Weissmuller-Greene Kid From Amarillo 156) Starrett-Barnett . 4-52 Konga, The Wild Stallion (65) Reissue Stone-Hudson 2-52 Harem Girl, The (70) Harlem Globetrotters, The (80) Hawk of Wild River, The (54) Her Wonderful Lie Indian Uprising ISC) (75) 417 ?-5l 337 -. 4-52 Lady and the Bandit, The (78) Hayward-Medina Laramie Mountains (54) Starrett-Burnett last Train From Bombay Hall-Ferraday Magic Carpet IC) (84) Ball-Agar 1 0—5 1 410 Magic Face, The 18?) Adler-Knight _ 9-51 .402... Man In the Saddle (T) (87) Scott-Leslie 1 2—5 1 420 . Marrying Kind, The (93) Holliday-Harrison 4-52 Mob, The (87) B. Crawford-Buehler 18-51 ..... 407 My Six Convicts (104) Beel-Mitchell . 3-52 Night Stage to Galveston (61) ... Autry-Buttram 3-52 Okinawa (67) O'Brien-Mitchell 3-52 Old West, The (61) Autry-Buttram 3-52 475 Paula Young-Smith 6-52 Pecos River (54) Starrett-Burnett* 12-51 404 Prince of Pirates (T) Derek-Rush Purple Heart Diary (73) F. Langford-T. Romano 12-51 421 Rainbow Round My Shoulder (C) Laine-Daniels Udars of the Whistling Pines Autry-White ?-IO 10-8 ?-24 12-17 (T) Starrett-Burnett Crawford-Hale . .Derek-Reed Rough, Tough West Sabre and the Arrow, The Saturday's Hero (III) Derek-Reed 9-51 318 8-27 Scandal Sheet (82) _ Crawford-Derek 3-52 ..... 1-14 Smoky Canyon 155) Starrett-Burnette _ . 1—52 483 Sniper, The (87) _ _ Menjou-Franz 6-52 Son of Dr. Jekyll (78) Hayward-Knox 11-51 40? 10-22 Sound Orr (83) Mickey Rooney 5-52 Ten Tall Men (T) (?7) ... ..... Lancaster-Lawrence 12-51 413 _ Thief of Damascus, The (T) (78) Henreid-Sutton 4-52 4-7 Valley of Fire IC) (62) Autry-Barnett 1 1-51 353 ......... 1 1-19 "ar Cry IC) Montgomery-Long Whistle at Eaton Falls, The (96) Bridges-Gish 8-5 1 322 8-13 1951-52 LIPPERT Completed (32) In Production (I IN PRODUCTION TITLE — Running Time Lady in the Fog COMPLETED As You Were Bandit Queen I FBI Girl (74) RELEASE CHART — 1951-52 — Cast -Romero-Maxwell Rel. No. Rev. For Men Only (93) Great Adventure, The (75) Hellgate Highly Dangerous 181 ) Jungle, The Leave It To The Marines (66) Loan Shark Man Bait (78) Navaio (70) Outlaw Woman (C) (75) Stolen Face, The _ Stronghold 173) Sky High (60) ._ . -Tracy-Sawyer . Britton-Parker Romero-Totter P. Henreid Price-Hawkins _ 10-5. .12-15- .10-26. I- 52 II- 2 Hayden-Leslie 6-6 Clark-Lockwood 10-1? Cameron-Romero 7-52 ...S. Melton-M. Lynn 9-2- Raft-Hart Brent-Chapman Indian Cast Windsor-Rober . Henreid-Scott Lake-Scott . S. Melton-M. Lynn _ .5023. _5BI0_ .5002.. .5102 .5021 5113 .5029_ .10-19 1- 28 2- 1 1 5005. 5-23 5111 1- 52 5103 2- 52 5104 5-2 5105 5-16 5109 2-52 ...... 5 1 07.. 10-19 5024_ In the Release Chart, "Rel." is the National Release Date. "No." is the release Number. "Rev." is the issue in which the Review appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1951-52 programs unless otherwise noted. Listing of color pictures follows immediately after title: (T) Technicolor, (C) Cinecolor, (SO Supercinecolor, (TR) Trucolor, (AC) Ans- color, (NO Natural Color. (WC) WarnerColor. Reeves-Coates .... Clarke-Hatcher . Kellogg-Nash Superman and The Mole Men 158) Tales of Robin Hood IS9) Unknown World (63) Tiger Man Valley of Eagles (83) Warner-Gray Wings of Danger 172) Z. Scott Yank in Indo-China (67) Archer-Dick I 1-23 12-21 10-26 6-52 4- 25 4-1 5- 52 5030 . 5008 5101 _ 5108 5114 5106 4-7 METRO-COLDWYN-MAYER 1951-52 Features Completed (82) In Production (6) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Letter From the President Lili Plymouth Adventure IT) Prisoner of Zenda IT) You For Me COMPLETED Across the Wide Missouri (T) 178) American in Paris IT) (113) Angels in the Outfield (102) Because Your Mine Belle of New York 181) Bannerline 1881 Callaway Went Thataway 181) Calling Bulldog Drummond 180) Carbine Williams I 101 ) Devil Makes Three, The Eaqle On His Cap Fearless Fagan Girl In White, The (93) Glory Alley 182) Holiday for Sinners Hour of Thirteen. The Invitation (85) It's A Big Country (89) Ivanhoe |T) .... Just This Once 190) _ Liqht Touch, The 193) Lone Star 194) __ _ _ _ Love Is Better Than Ever (81) _ Lovely To Look At (T) Man With A Cloak 188) Merry Widow, The (T) Mr. Congressman . Mr. Imperium (T) 187) Rel. No. Rev. 10-22 9-24 8-27 2-25 9-24 12-3 One Piece Bathing Suit IT) Pandora and the Flying Dutchman (T) 1123) Pat and Mike People Against O'Hara (102) Quo Vadis IT) (171) Red Badge of Courage 169) . Scaramouche (T) Sellout, The (72) Shadow in the Sky (78) ... .. Singin' In The Rain IT) 1103) Skirts Ahoy IT) I 109) Strip. The (85) Talk About a Stranger 165) Texas Carnival (T) (77) Too Young To Kiss 191) Westward the Women (116) When In Rome 178) Wild North, The 197) Young Man With Ideas 184) Cast Winters-Montalban Caron-Ferrer Tracy-Tierney Granger-Kerr Lawford-Greer . Gable-Hodiak Oct 208 _Kelly-Caron . Nov . Douglas-l eigh ._ Sep 202 Lanza-Whitmore Astaire-Vera-ElUn 3-52 223 Forrest-Braselle Oct 206 ... MacMurray-McGui' . Dec 214 _ Pidgeon-Leighton Dec 213 . Stewart-Hagen 5-52 Kelly-Angeli 8-52 ...Taylor-Parker — , ,, Leigh-Carpenter Allyson-Kennedy 5-52 Caron-Meeker 5-52 Young-Rule 7-52 — _. Lawford-Addams 6-52 McGuire-Johnson 2-52 200 1-28 ..All Star 1-52 215 12-17 R. Taylor-E. Taylor 8-52 Leigh-Lawford 3-52 224 1-28 _ Grainger-Angeli Dec 2!2 _ 1 1 — 5 ...Gable-Gardner ........ 2-52 222 - _E. Taylor-L. Parks 4-52 225 . Grayson-Skelton . 7-52 Cotten-Stanwyck Oct 207 _ 10—22 -Turner-Lamas . _ Johnson-Neal 7-52 -Turner-Pinza Sep 203 6—4 ...Williams-Mature _Mason-Gardner 1-52 Tracy-Hepburn _ 8-52 .Tracy-O'Brien Sep ..Taylor-Kerr Murphy-Mauldin __. Sep S. Grainger-E. Parker 6-52 -Pidgeon-Totter _ 1—52 . Meeker-Davis-Whitmore __ 2-52 Kelly-O'Connor 4-52 William-Blaine 5-52 . Rooney-Forrest Aug Murphy-Davis 4-52 Williams-Skelton Oct Ailyson-Johnson Nov Taylor-Darcel _ 1-52 Johnson-Douglas 4-52 Granger-Corey . 3-52 Ford-Roman 5—52 10-22 3-10 MONOGRAM - ALLIED ARTISTS 1951-52 Features Completed (43) In Production (I) Westerns Completed (16) In Production (0) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. Rose Bowl Story, The (CI Thompson-Miles — 8-24 COMPLETED No. 5204 Rev. African Treasure Aladdin and His Lamp IC) Artie Flight Bowery Leathernecks Counterfeit _ ... . Crazy Over Horses (65) ... Dead Man's Trail Desert Pursuit Elephant Stampede 171) Flight to Mars (CI (72) _ Fort Osage IC) 172) Gunman, The Hold That Line (64) Jet Job (63) Kansas Territory (73) Lawless Cowboys (58) Longhorn. The 170) 167) _ Sheffield-Luez ..Medina-Sands Morris-Albright Gorcey-Hall _DeFoe-King Gorcey-Hall _ Brown-Ellison 4-52 1-52 7-20 .1 1 — 18 5207 5299 5210 5114. 3-10 . 11-18 7-6 5-52 .... 10-29 I l-l I 2-52 Wilson-Knight __ 4-13 Gorcey-Hall 3-52 Clements-Verdugo 3-23 -Elliott-Stewart 5-4 Wilson-Knight _ 11-7 Elliott-Coates 11-25 . _ Morris-Caruso Sheffield Chapman-Mitchell Cameron-Nigh 5114 5243 5209 _ _5II 0 . 5 1 03 ... 5102 5252 52 I I _ 5215 5225 5I55-. 5223 _ 2-11 11-19 1-28 APRIL 21, 1952 29 Man from Black Hills 178) Mexican Silver Night Raiders Northwest Territory 161) .. Plow Jockeys Rodeo IC) (71) rexas City Stage to Blue River 154) .. Steel Fist. The 1731 Texas Lawmen (54) Texas Marshall Trail Dust Vicious Years. The (79) Waco 168) Wagons West (C) Whistling Hills (58) _ Wild-Stallion (C) Witness. The Disc Jokey 177) Highwayman, The (CI (83) Brown-Ellison 3-52. 5242 Wilson-Clyde - Wilson-Knight 2-52 5251 . Grant-Chinook - 1 2—9 — Gorcey-Hall - 9-14 5213. Jane Nigh 3-9 5104 Wilson-Knight - 12-30 McDowall-Miller 1-52 5217 3-10 Brown-Ellison !-52 5241. Brown-Ellison 12—2 Wilson-Knight Albright-Winters 12-31 5107 _.. Cook-Moore .2-18 Elliott ... 2-52 ..... 5224. __ ... .... Cameron 6-29 5203 - Brown-Ellison - 10-7 5145 _ Johnson-Hyer 4-27 . 5205 .. Kirkwood-Gleason ALLIED ARTISTS Simms-O'Shea 8-23 21 6-11 Hendrix-Coburn 9-8 20 8-27 PARAMOUNT 1951-52 Features Completed (64) In Production (3) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Come Back Little Sheba Lancaster-Booth Stalag 17 - Holden-Taylor Tropic Zone (T) — Reagan-Fleming Rel. No. Rev. COMPLETED Aaron Slick from Punkin Creek(T) (95)Shore-Young 4-52 5119 3-10 Anything Can Happen (107) Ferrer-Hunter _ 5-52 5117 3-10 Atomic City, The (85) Barry-Clarke 6-52 5120 lig Timber IT) Payne-Moorhead IT) Botany Bay (T) Caribbean Gold Carrie _ Darling, How Could You Denver & Rio Grande (T) Detective Story 1103) ... Encore Famous IT) Flaming Feather IT) 1771 (95) 189) Ladd-Mason Payne-Dahl ..Olivier-Jones Fontaine-Lund .... O Brien-Hayden Douglas-Parker 6-52 .11-51. ... 6-52 11-51. Maugham Stories 7-52. Crosby-Wyman S. Hayden-G. Russell 2-52 Stewart-Hutton 7-52. Payne-Morrow .5108. 5115 -5111. .8-13 4-7 .10-8 Greatest Show On Earth (T) (151) Green Gold of Nevada (T) _ Hong Kong IT). (92) Reagan-Fleming Hurricane Smith (T) _ DeCarlo-lreland Jumpinq Jacks .. Martin-Lewis ... Los Alamos _ Barry-Carke Military Policeman Hope-Maxwell .. My Favorite Spy 193) Hope-Lamarr . My Son J~hn 1122) . Hayes-Heflin . Place in The Sun, A (122) Clift-Winters Rage of the Vulture, The Ladd-Kerr Red Mountain IT) (84) Ladd-Kennedy 5-52 Rhubarb (95) Milland-Sterling 5-51 Sailor Beware (102) .._ Martin-Lewis 2-52 5118 12-31 5130 1-14 1-52 5109 1 1-19 12-51 51 10 4-52 51 16 9-51 5102... 10-22 7-30 51 13 .... .5103 .51 14 . —5010. -.8-13 12-17 11-21 5112 10-8 Samiea aid Delilah (T) (128) Lamarr-Mature 3-51. Savage. The (T) . Heston-Hanson 7-52 Shane IT) Ladd-Arthur Silver City IT) (90) DeCarlo-O'Brien 12—51 Somebody Loves Me (T) Hutton-Meeker Somethinq To Live For (90) Fontaine-Milland 3-52 5105 2-11 Son of Paleface (T) Hope-Russell 8-52 Steoge, The Martin-Lewis 11-52 Submarine Command (89) Holden-Olson .. 11-51 5107 9-24 That s My Boy (98) Martin-Lewis 8-5 1 __S02* Z_7-2 This Is Dynamite Holden-Smith I 1-52 " wdf ° Lfh,SBy?;d' ,T) Barry-Robinson ... Warpath 195) (T) _ O'Brien-Jaqaer 8-£l SO?* """ a_ib When Worlds Collide (82) (T) _ -Derr-RuYh ?!!LZZII^lZjflM Leadville Gunslinger (54) Lane-Riley 3-52 5171 1 Minnesota Cameron-Hussey Oklahoma Annie (C) (90) Canova-Russell 3-24 5122 Old Oklahoma Plains Allen-Kay Pals of the Golden West (68) Rogers-Evans 12-15 5152 2-11 Quiet Man, The IT) Wayne-O'Hara Rangers of the Golden Sage . ...Chapin-Janssen Sea Hornet, The 184) Cameron-Booth South of Caliente 67) Rogers-Evans Stormbound Dowling-Checchi Street Bandits (54) Utah Wagon Trail (67) _ Edwards-Clarke Allen-Edwards 1 1-6 10-22 10- 15 5 151 11-19 12-15 5032 ] 1 1- 15 5130 12-17 10-15 - 5054 _ 11-5 Wild Blue" Yonder (98) - ..Corey-Ralston 12-7 .5130 12-17 Wild Horse Ambush Chapin-Janssen : Woman In The Dark (60) _ Edwards-Elliott 1-52 5131 ...1-211 Wyoming Saddle Pals Chapin-Janssen I RKO RADIO Rev. 1951-52 Features Completed (66) In Production (2) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. No. Hans Christian Andersen (T) Kaye-Granger Sudden Fear Crawford-Palance COMPLETED At Sword's Point (T) (81) Wilde-O'Hara .. Androcies and The Lion Simmons-Young Behave Yourself (II) Winters-Granger Big Sky. The Douglas-Martin Blue Veil. The (114) Wyman-Carlsoa Cat People (73) Simone-Smith Reissue 267 Clash By Night „.. Douglas-Stanwyck ... Double Dynamite (••) .Sinatra-Russell 12-51 214 Faithful City (86) J. Smith-Rama ti Girl in Every Port. A (86) Marx-Wilson _ 1-52 214 Gypsy Blood (T) Jennifer Jones — Half-Breed, The (T) Young-Carter Hot Lead (60) Holt-Martin 10-51 2-52 220. 9-51 20*..- 11-51 . 2*3 9- l-l 209. Reissue 266 . 1-51 ... 101 .11-51 ...1.208 Hunchback of Notre Dame (117) Laughton-O'Hara I Want You (101) Andrews-McGuire Jet Pilot (T) (118) Wayne-Leigh Jungle of Chang (67) Travel Korean Story, The Mitchum-Tallman Las Vegas Story, The (88) Russell-Mature 2-52 217 . Narrow Margin (71) — — McGraw-Windsor 4—52 On Dangerous Ground (82) Ryan-Lupino _ 1-51 —.215.. On The Loose (74) Evans-Earl 10-51 202.. Overland Telegraph (60) Holt-Martin 12-51 216... Pace That Thrills, The (63) Williams-Balenda 3-52 213... Racket, The 189) Mitchum-Scott 11-51 210... Ragged Edge, The Lu pi no-Ryan Rancho Notorious (89) Dietrich-Kennedy 3-52 221 Rashomon 186) Japanese 3-52 268... Road Agent (60) Holt-Martin 3-52 223.. Saddle Legion (60) Holt-Martin ■ 1 7 — Slaughter Train (C) (78) Donlevy-Grey _ 10-51 .207... Snow White and the Seven Dwarfs (T) (83) Disney Feature Reissue 292 .. Target (60) McGraw-White 4-52 227... Tarzan's Savage Fury (80) Barker-Hart 4-52 225.. Tembo (80) Documentary 1-52 265 This Man Is Mine Hayward-Mitchum Trail Guide (60) Holt-Martin 2-52 219 ... Two Tickets to Broadway (T) ( I0*)-Leigh-Martin 1 1-51 — 2*4 Whip Hand. The (82) JUid-Tuttle - 10-51 212... Whispering Smith vs. Scotland Yd. (77) Carlson-Gynt 3-52 222 .10-22 1 1-19 l-l' .8-13 10-2; 10-2: 3-2. 2-1 20th CENTURY-FOX 1951-52 Features Completed (53) In Production (6). REPUBLIC 1951-52 Features Serials Westerns Completed Completed Completed 18) 0) ( I In Production ( I ) In Production (0) In Production ( I ) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Runninq Time Cast Ride the Man Dov.-n _ ...Donlevy-Tucker Toughest Man in Tombstone (Tr) Monroe-Leslie COMPLETED Adventures of Captain Fabian (100) Bal Tebarin °-'*ck Hill« Ambush >rder S*-id!emates Rel. No. Rev. E. Flynn-M. Prelle Lawrence-Ching 10-6. 5101 10-8 Lane-Waller 5-20 Captive ct Billy the Kid (54) Colorado Sundown 167) Oakota Kid The 1601 Desert of Lost Men (541 Don Daredevil Rides Aqam Dream of Jeanie Fabulous Senorlta, The (80) flight lrom rury Fugitive lady 178) Gobs and Gel« Moneychile (Tr) 189) Hoodlum Empire (98) Lady Possessed 187) Last Musketeer. Th« 1*7) 30 Allen-Kay Lane-Edwards Rex Allen Chapin-Janssen Lane _ Curtis-Towne _ Shirley-Lawrence Estelita-Clarke Edwards-Clark ... Paiqe-Barnes Downs-Hutton ..... -Canova-Foy _ Donlevy-Trevor . leson-Havoc Allen-Kay 4-15 1- 52 2- 52 7-1 I 1-19 6-1 5143 5064 5141 5067 5063 5084 1-14 4-1 5125 7-15 5011 6- 18 7- 30 10-51 .5 »2 1 _ 12- 4-1 5 5105 1-52 5104 3-S2 5142 RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Monkey Business Grant-Rogers My Wife's Best Friend Baxter-Carey Night Without Sleep Darnell-Merrill Pony Soldier (T) Power-Edwards Snows of Kilimanjaro, The (T) . Peck-Hayward Stars and Stripes Forever (T) Webb-Hussey COMPLETED Rel. No. 1 1—5 1 Anne of the Indes (T) (82) lordan-Paget Belles On Their Toes (89) Crain-Loy 5-52 Condor's Nest (T) Wilde-Smith .134 Rev. 10-2 Peters-Hunter Cry of the Swamp (T) David and Bethsheba (T) (116) Peck-Hayward ... 2-52 203 Day The Earth Stood Still. The (92)...Rennie-Neal ._ 9-51 129 Deadline U. S. A. 187) Bogart-Barrymore 5-52 Decision Before Dawn (119) Merrill-Basehart 1-51 205 Desert Fox, The (91) Mason-Young 10-51 130.. Diplomatic Courier Power-Neal 8- 2 9- 2 4-2 1-2 .10- Don't Bother To Knock Widmark-Monroe Down Among the Sheltering Palms(T) Lundigan-Greer 6-52 Dream Boat Webb-Francis 1 Elopement (82) Webb-Francis 12-51 141 Full House, The „ Crain-Granger —J 5 Fingers 1108) Mason-Rennie 3-52 208 3-1. Fixed Bayonets! (92) Basehart-O' Shea 12-51 140 I2-Ii Girl Next Door, The (T) Haver-Dailey -I Girl on the Bridge, The (77) Haas-Michaels .12-51 139 ... I2-I| Golden Girl IT) (108) Day-Gaynor 11-51 1 3* I l-l I Don't Care Girl, The IT) Gaynor-Wayne I'll Never Forget You IT) (90) Power-Blyth 12-51 _ 142 12-3 Japanese War Bride (91) Yamaguchi-P. Taylor 1-52 202 1-3 Journey Into Light (87) Hayden-Lindfors 10-51 132 9-li Kaegareo IT) O'Hara-Lawford 6-52 FILM BULLETII Rennie-Paget (77) Colbert-Carey 11-51 Haver-Lundigan 10-51 Robertion-Francis Model and the Marriage Broker! 103) J. Crain-T. Ritter _ . I-S2 Les Miserable! Let s Make It Legal Lave Nest 184) _ Lydia Bailey (T) 189) No H'ghway In The Sky 197) Outcasts of Poker Flat The Peeel. Will Talk (110) Phone Call From A Stranger 194) Pride of St. Louis 193) led Skies of Montana IT) 198) latum of the Texan 187) lose of Cimarron INC) 172) 10-51 _ . Grant-Crain . Merrill-Winters Dailey-Dru Widmark-Smith Robertson-Boone Buetel-Powers Ford-Tierney M. Brando-J. Peters Walt Till The Sun Shines Nallia IT) —Peters-Wayne Way of a Gaucho IT) We're Not Married What Price Glory Secret of Convict Lake 183) Viva Zapata 1 113) Stewart-Dietrich Baxter-Robertson 5-52 9-51 2-52 4-52 2-52 2- 52 4-52 8-51 3- 52 7-52 Tierny-Calhoun ___________ Wayne-Rogers Cagney-Dalley 133 131 201 121 . 124 204 211 207 209 . 123 204 12-17 With A Song In My Heart (T) 1117) Hayward-Calhoun 4-52 210 2-25 Meet Danny Wilson 1881 No Room for the Grocm Pool of London 1851 Raginq Tide. The 192) Red Bell Express Reunion In Reno 179) Riding Kid. The IT) Sally and St Ann Scarlet Angel IT) Son of Ali Baba IT) Steel Town IT) 1851 Strange Door, The 180) Texas Man The IT) Thunder On the Hill 185) Sinatra-Winters Curtis- Laurie Colleano- Shaw Winters-Conte Chandler-Cabot Stevens-Dow Conte-Lindfors Blyth-Gwenn DeCarlo-Hudson Curtis-Laurie Sheridan-Lund Laugnron-Kerloff Ryan-Adams Colbert-Blyth 2-25 Treasure of Lost Canyon. The IT) 181 )W. Powell-J. Adams Untamed. The IT) Week-End With Father 183) World In His Arms. Tha IT) Yankee Buccaneer IT) You Never Can Tell 178) Cotten- Winters Neal-Heflin Peck-Blyth ChandUr-Brady Powell-Dow Feb Nov Nov Oct 205 183 203 135 1-28 10-22 10-e Mar 215 Dec 204 1 1-5 Sept 133 8-1 J Mar 209 2-25 Dec 204 12-3 Sept 132 9-10 UNITED ARTISTS WARNER BROTHERS 1951-52 Features Completed (58) In Production (I) IN PRODUCTION TITLE — Running Time Morass COMPLETED A Christmas Carol 184) _ Actors and Sin 194) Afriaan Oueen IT) 1 104) _ Another Man's Poison 189) — •ig Night. The I7S) RELEASE CHART — 1951-52 — Cast Hyer-Morassi Rel. No. ..Alastair Sim Robinson-Hunt Bogart-Hepburn -Davis-Merri -J I 1-30 Rev. I 1-19 3-21 _ 1-14 Barrymore-P. Foster 12-7 H-R luffalo Bill in Tomahawk Territory 144) Moore-Andrews Captive City 191) .._ - Forsythe-Hall Chicago Calling 174) Duryea-Anderson Cloudburst (83) Preston-Sellars Fort Defiance 181) D. Clark-B. Johnson Geld Raiders (54) O'Brien-Ryan Green Glove, The 188) - Ford-Brooks Ha Ran All the Way 177) Garfield-Winterj .High Noon 185) . - Cooper-Kelly Hotel Sahara 187) DeCarlo-Ustinov Invasion U.S.A. - O' Shea-Castle 'Island of Desire (T) (103) Linda Darnell Lady Says No, The 180) Limelight _._ Mister Drake's Duck (81) Mr. Peek-A-Boo (74) Mutiny IT) 177) _.. Obsessed 177) One Big Affair (80) Pardon My French (81) _ Planter's Wife _Caulfield-Niven Chaplin-Bloom -Fairbanks-Donlan _ -Green wood-Bourvil .Stevens- La nsbury - Fa rr a r-Fitzg era Id -O'Keefe-Keyes . Oberon-Henreid _ Claudette Colbert 12-17 .9-21 10-21 3-14 9-7 2-22 8-10 Sach ... KB .10-8 9-24 3-24 9-24 9-10 led Planet Mars (87) . Graves Ring, The Rios-Moreno liver, The (T) 1102) Swinburne-Shields Royal Journey 147) - - Color Feature tf. lenny, tha Dip 180) Fech-Haymes Strange World 185) Hauff-Schneider Tale of Five Wemen, A (84) Bonar Colleano Tarn Brown's Schooldays (93) Davies-Newton Two Gals and a Guy (70) Paige-Alda Wall, The (85) Rober-Kelly __ When I Gr«w Up (90) Preston-Scott 5-15 - 2-15 3-15 _ 8-24 3-28 __ 3-7 11-2 _ S -j I _ 9-14... 4-20 . Ren Dan Gehn 7-14 4-7 Pop .. 9-10 UNIVERSAL-INTERNATIONAL 1951-52 Features Completed (69) In Production (3 217 212 208 219 213" 211 207 ... 214 4-7 1-28 7-30 RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Tima Cast Rel. No. Rev. Bomo Goes To College - Perreau-Gwenn ._ _ City Beneath the Sea IT) Ryab-Powers . It Grows On Trees Dunne-Jactcjer COMPLETED Against All Flags (T) Flynn-O'Hara _ Battle at Apache Pass (T) (85) - Chandler-Land Apr Bend of the River IT) 191) Stewart-Kennedy Feb Black Castle. The McNally-Greene Iright Victory 197) Dow-Kennedy _ _ _ Jan Bronco Buster IT) 180) Lund-Brady May Cave of Outlaws, The IT) (74) Smith-Carey _ _ Nov Ciaiarron Kid, The IT) (84) — A. Murphy-Y. Dugay Jan Duel at Silver Creek, The (T) .._ Murphy-Domergue - - Finders Keepers (75) Ewell-Adams Jan Flame of Araby (T) (77) Chandler-O'Hara Jan- Flash and Fury 183) Curtis-Sterling Mar Francis Covers the Big Town Donald O'Connor Francis Goes to West Point O'Conner-Nelson Golden Horde, The IT) (134) Blythe-Farrer Oct. 134. Has Anybody Seen My Gal (T) Colburn-Laurie Here Comes The Nelsons (74) Oziie and Harriet Feb Iron Man (82) Keyes-Chandler _ Aug Just Across the Street Sheridan-Lund Lady from Texas (T) (78) Hull-Duff Oct. Lady Pays Off, The (80) Darnell-McNally _ __Nov_ Lavender Hill Mob. The (82) Guuinness-Holloway Oct Little Egypt IT) 182) Fleming-Stevens Sept Lost in Alaska .....Abbott-Costello - Ma and Pa Kettle at the Fair (87) Main-Kilbride Apr Ma and Pa Kettle in Waikiki .Main-Kilbride Ma and Pa Kettle Go To Paris Main-Kilbride Mark of the Renegade (T) (81) Montalban-Charisse Aug 128 -8—13 APRIL 21, 1952 1 1-5 12-31 1-14 12-3 210 130 134 202 280 131 214 1-28 .7-16 10-8 1-28 8-27 3-24 1951-52 Features Completed (42) In Production (5) RELEASE CHART — 1951-52 — Cast Day-Bolger Wilde-Cochran Ladd-Mayo The Gilbert Rowland Rogers-Wyman IN PRODUCTION TITLE — Running Time April In Paris IT) Danger Forward Iron Mistress. The IT) Miracle of Our Lady of Fatima. Story Of Will Rogers, The IT) COMPLETED Abbott and Costello Meet Capt. Kid Abbott-Costello About Face IT) (94) Maclae-Bracken Big Trees, The (T) (89) _ Douglas-Miller Bugles in the Afternoon IT) (85) R. Milland-H. Carter Captain Blood IReissue) I9B) Flynn-DeHaviland Carson City Scott-Massey Close To My Heart 190) Milland-Tierney Come Fill the Cup 1113) J. Cagney-P. Thaxter Captain Horatio Hornblower IT) I 17 Peck-Mayo Rel. Rev 5-31 3-29 3-8 12-5 I 1-3 10-20 8—11- 221 117 114 I 10 107 IC4 030 4-21 2- 25 3- 10 Crimson Pirate, The IT) Distant Drums IT) 1 101 ) Force of Arms ( 100) 12-29 9-15 1-12 1-12 Lion and the Horse. The IWC) 183) Cochran-Teal 4- t 9-1 I'll See You In My Dreams (110) Jack and The Beanstalk ISC) (78) Lancaster . Cooper-Alden Holden-Olson Oay-Thomas Abbott-Costello Jim Thorpe, All-American (105) Man With A Gun IT) . . Mara Maru (98) North of the Rio Grande Lancaster-Bickford Scott-Wymore Flynn-Roman McCrea-Mayo Painting Clouds with S'hine IT) 187) Mayo-Morgan Retreat, Hell! 195) Lovejoy-Carlson Room For One More (95) - Grant-Drake San Francisco Story, The 180) _ McCrea-DeCarlo She s Working Her Way Throuqh College (T) _ _ . Starlift (103) _ . Streetcar Named Desire, A (122) Tank Are Coming, The 190) _ This Woman Is Dangerous (97) Tomorrow Is Another Day 190) ..... Where's Charlie? IT) Winning Team, The ... ; 5-3 ... ... 7-28 10-6. 2-23 1-24 5-17.. I l I 102 . 112 I 18 119 101 120 029 . 105 115 113 121 10-22 9-24 . 7-2 I 2-1 7 4-21 4-18 12-1 3-22 Mayo-Reaqan Cagney-Mayo . Brando-Leigh S. Cochran-P. Carey 11-17. Crawford-Morgan 2-9 Roman-Cochran -9-22 Bolger-McLerie . Day-Reagan 109 104 108 1 14 103 4-7 9-24 2-25 1-14 4-21 1 1-19 I l-S 2-1 1 1-27 Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St., Phila. 3 — 1239 Vine St., Phila. 7 LOcust 4-01 :o Member National Film Carriers 31 USE MORE FOR YOUR DRIVE-IN THEATRE c USE MORE 24 SHEETS aac|jRlV[.|N □DDDDDnC USE MORE 6 SHEETS USE MORE 3 SHEETS □ — See yourNSS Salesman or write your nearest NSS Exchange JL THOSE WEOOWG BfLLS ARt RINSW6 i ^T*- - FDR THAI BORN YESTTBOAY m\ n u unau mmmv\cbeea service □□□□□□□an paw mw of mr mousmr BULLETIN MAY 5, Joe Exhibitor Speaks So, Mr. Warner 25c per Copy Would Edjicate Us Po' Folks! WHAT'S DOING IN THE FILM CAPITAL? Cxclu^e %L BULLETIN feature HP RIDING HIGH TO HOLLYWOOl AS TRADE PRESS CHEERS! The Skies Are Bright With M-G-M Hits! IP \\\ i«V£ty To LOOK AT //I ///',< /// /Ml * i I t 1 9 « « AMERICAN AIAUNES **** I*4? AND MANY Ml "Carbine Williams" • "Mr. .1 man" • "The Girl In Whit., j Story of Three Loves" (Tec/I 1 Piece Bathing Suit"|f "Plymouth Adventure' "Prisoner of Zenda"'(j "Everything I Have Is You "Tribute To A Bad Man Devil Makes Three" • "Fearl> and others. "BELIEVING IS ENTHUSING" "Since the exhibitors making this trip will be representative of all exhibitor groups their report to fellow showmen can have widespread influence. Let the enthusiasm flow through to the public and the pay-off will be substantially evidenced at the box-office." —Editorial in BOXOFFICE MAGAZINE "LEO SCORES AGAIN" "A forward step. What better means to a spirit of understanding than to get together and look at the product which is the blood, bone and sinew of the business." —Editorial in SHOWMEN'S TRADE REVIEW "GOOD BUSINESS RELATIONS" "A new departure in the field of good business relations that should pay off. Metro is to be congratulated." —Editorial in THE EXHIBITOR SEEING IS BELIEVING" "A most dramatic and unprecedented move. Leo is extremely proud of his product. He is going to let the product speak for itself. The optimism which will be generated will kindle sparks of showmanship all over the country. Already the industry is experiencing a healthful radiation." —Editorial in THE INDEPENDENT 'M-G-M's SMART MOVE" "With a good layout of product, as M-G-M certainly has, any company would have little difficulty placing it in important theatres. Bringing the theatre men to Hollywood is certain to create enthusiasm that could not be worked up better and quicker. This new showmanship by M-G-M will pay off big." —Editorial in HOLLYWOOD REPORTER WILL PAY RICH DIVIDENI "Metro has a way of establishing i- dustry precedent. The contributio a industry public relations could p:t to be of the first magnitude. The re n to their home communities of the* owners highly enthusiastic over v it they have seen can and will pay dividends. A doff and extra flouris 1 our chapeau to Leo the Leader." — Phil M. Daly in FILM D .¥ "ANOTHER METRO MASTE STROKE" "It will enable exhibitor leaden I bring back a well grounded report*1 the thousands of theatre men I represent. There is plenty of evid K out Culver City way that M-G-MlM much to offer its theatre custom* —Editorial in FILM BULl* BULLETIN EDITOR Vol. 20, No. 9 May 5, 1952 Pa<;e Three HARMONY "My idea of am agreeable person is a person ~who agrees with me," —BENJAMIN DISJRAELI REVIEWS in This Issue Hich Noon i 7 No Room For The Groom 7 The Half-Breed 7 The San Francisco Story 8 Walk East On Beacon 8 The Marrying Kind 8 FILM BULLETIN — An Inde- pendent Motion Picture Trade Paper published every other Monday by Film Bulletin Com- pany. Mo Wax, Editor and Pub- lisher. BUSINESS OFFICE; 35 West 53rd St., New York, 19; Circle 6-9159. David A. Bader, Business Manager; Leonard Coulter, Editorial Representative. PUBLICATION — EDITORIAL OFFICES: 1239 Vine St., Phila- delphia 7, Pa., RIttenhouse 6- 7424; Barney Stein, Managing Editor; Dick Newton, Publica- tion Manager ; Robert Heath, Cir- culation Manager. HOLLYWOOD OFFICE: 659 Haverford Ave., Pacific Palisades, Calif., Hillside 8183; Jay Allen, Hollywood Editor. Subscription Rate: ONE YEAR, $3.00 in the United States; Canada, $4.00; Europe, $5.00. TWO YEARS, $5.00 in the United States; Canada, $7.50; Europe, $9.00 Joe Exhibitor Writes EDUCATION ISN'T WHAT I NEED! April 28, 1952 Mr. Mo Wax, Editor FILM BULLETIN Dear Sir: Out here in the "sticks" (which means any place removed from Hollywood or New York), we exhihitors are peculiar and* proud critters. We're peculiar in that we work pretty hard at the job of trying to mtrke a living in the movie theatre business, and we're proud of our business and the way we conduct it. Oh. there are exceptions, but what I've written above applies to most of the exhibitors I know Personally, I have been around the movie industry some thirty years or more, and being one who still believes in it, (more, apparently, than the Warner Brothers, who tried to run away from the business), I think I'm entitled to display a bit of temper over the "lecture" Mr. Harry Warner gratuitously delivered to exhibitors the other day. As I read it in the trade papers, Mr. Warner told his sales force, among other things, that their most important job today is "the education of exhibitors who still feel that the cutting and squeezing of film revenue will put this business in its former profit state of health". The type of exhibitor he refers to must be an extinct type. Possibly, here and there, an exhibitor has a "closed" situation where he can dictate film terms, but the areat majority of them. I believe, are paying right close to the limit of what they ean pay and stay open. I talk to lots of my fellow exhibitors, and if they have been "cutting and squeezing" of late, it's been for the purpose of weathering the storm. When an exhibitor is paying 35 percent, and better, of every dollar for his feature product, he hasn't much leeway. Some of the other things that the film man said interested me no end. For instance, he instructed his salesmen: "Tell our customers that the economics of 1952 more than ever before requires us to spend in order to earn, and that the responsibility for earnings belongs to the exhibitor for getting the maximum performance from good pictures". Now let me tell you of a recent experience 1 had with Mr. Warner's company. I bought one of their important pictures at high percentage terms and decided to gave the engagement a shot in the arm by posting a few 2 1-sheets. I could find no 2 1-sheet illustrated in the press book, so I called the National Screen branch and was advised that Warners do not make 24s on most of their pictures. And. upon investigation, 1 learned that that is the only major company that has discontinued 21-slieets on A pictures as an economy move ! Mr Varner also told his salesmen that "the exhibitor must be educated to realize that certain playing time must be set aside in the interest of developing young and new talent". Of course We all know it is important to exploit new personalities. Hut does Mr Warner suggest that this is to be exclusively, or even principally, the exhibitor s Job? Basically, it should be the film company's job. Before exhibitors are asked to sell new stars, they should be exploited to the exhibitors. We have to be exc.ted be ore we can excite the public. So-called "new personalities are dumped into our laps without any or adequate advance ballyhoo within the industry—and we re expected to ao out and sell them to moviegoers. If Warner Bros., or any other film company, for that matter, want to "educate exhibitors to give maximum cooperation in pulling the industry through its present crisis, they must be prepared to contribute their maximum effort, too. Real showmen know that you have to spend to earn, but one exhibitor, at least, believes he heard Mr. Warner saying, "Let George do it." My best wishes to you and the FILM BULLETIN crew. Sincerely, JOE EXHIBITOR A SPECIAL SERVICE FOR EXHIBITORS..., THE BOOKING OF THE WEEK .. .DESIGN TO HIGHLN CURRENT /id CHOICE PR|)| ■ /NkoMJ^iMfr WAUL THINGS YOU'LL WANT TO KNOW TYPE OF STORY: idv Holliday and introducing M.i.. Kav RUNNING TIME: HIGHLIGHTS: festerday" Arademy Award winner does it all over again with thai "Born Yesterday" director, George Cukor, and that "Born Yester- day" writer, Garson kanin, collaborating with wife Ruth Gordon. For good measure a star is born in this picture — Aldo Ray. All the com- edy of "Born Yesterday" PLUS a world of heart* warming drama. "Excel- lent!" (M. P. II crald) "Mighty strong attrac- tion. Hits audience with brilliant effect. Ray's a guy to watch." (Film Daily) "Uoliiday is noth- ing less than great." ( Hollywood Rep.) "J give up — v/here'd you hide it this time? with Madge Kennedy. Written by RUTH GORDON and GARSON KANIN Produced by BERT GRANET • Directed by GEORGE CUKOR Judy's "Just Married"- and just wonderful in th< heartwarming story of a young couple in love up to here! COLUMBIA PICTURES presents JUDY HOLLIDAY The. introducing ALDO RAY Judy's light of love Arbitration 3teetinys Settle Machinery ,l But Delay Action On Film Rentals. Casts The motion picture industry had at least •he beginnings of an arbitration system >n work. A group of the movies' top exhibition- distribution leaders met "with open minds" in New York April 22-25 to devise a plan to rid the industry of its plague of law suit-. Concessions were made, points of agreement reached on the less controversial subjects and a "drafting committee" was named to set up the machinery to be discussed at an- other series of meetings beginning May 26. It was reported by the conferees that "significant progress" was made in setting up an arbitration system during the four- day meetings, but left unsettled were at least two of the testiest points — film rentals and cost of arbitration — for the follow-up sessions late this month. Six subjects were agreed upon as suitable for arbitration: (1) Clearance. (2) Violation by distributors of existing contracts. (3) Runs. (4) Conditioning of licensing of one or more pictures on licensing of others. (5) Any claim brought against the distri- butors for discrimination in the award of any picture under competitive bidding. (6) Any claim that an exhibitor overpaid or overbid in order to deprive another thea- tre owner of pictures under competitive bidding. The conference recommended that the successful bidder should be brought in by the complainant in these cases. Another important development was the agreement that arbitrators have the power to award damages. The scope of this power and the rules relating to the granting of damages were referred to the Rules Com- mittee, headed by TOA's Herman Levy, for presentation to the May 26 meeting. The committee includes Allied's A. F. Myers, Metropolitan Motion Picture Theatre Asso- ciation's Mitchell Klupt, ITOA's Milton Weisman, Western Theatre Owners L. S. Hamm, Paramount's Austin Keough, War- ners' Robert W. Perkins and Universal's Adolph Schimmel. The machinery to handle the arbitration proceedings will be under the jurisdiction of a 12-member National Administrative Com- mittee, with three members each from Allied, TOA and distribution, and one each from I ITOA. MMPTA and WTO. A chairman would be selected each year and rotated an- nually among the member organizations. The committee would be empowered to en- gage an executive secretary and such staff as might be necessary. It was estimated that the cost of such an office would run around $25,000. <» I Each exchange area would have a local I arbitration committee, to be named by local I exhibitors and exhibitor organizations and by I distributors in that area. The size of the f committee was left open for agreement by the local exhibitors and distributors, and number of employees, if any, to be engagrd, maintenance to any office, and any other administrative details. Selection of arbitrator-, a> adopted by the conferees, was as follows: In those cases where the only parties to the proceedings are the complainant and the distributors, the complainant would choose his arbitrator, the distributors their arbitra- tor and the two so chosen would designate a third. If no agreement can be reached on a third arbitrator, he will be named by the local committee from a permanent panel of neutral arbitrators. Where, in addition to the parties named, there are one or more intervenors, and the respondent distributors and intervenors agree unanimously on an arbitrator, he will be the single judge. In cases where there is dis- agreement, three arbitrators will be selected from the permanent neutral panel as pro- vided by the rules. All plans, it was emphasized, will be sub- mitted by the deelgates to their respective organizations for approval. Thereafter, the plan will be submitted to the Department of Justice and to the court. The opening day's sessions were chair- manned by William F. Rodgers. The popular Metro executive declined to act as permanent chairman and a rotating chair- manship was decided upon. Following Rodgers, the chairmen were Allied's Wilbur Snaper, ITOA's Harry Brandt. MMPTA - Leo Brecher, TOA's Mitchell Wolfson and WTO's Rotus Harvey. Henderson M. Richey, of Loew's, was elected Secretary of the Conference. From the first, conciliation played an im- portant part in the procedings. The con- ference was in agreement that there should be provision for conciliation prior to arbi- tration. Provisions for conciliation, it was agreed, should be included in the general arbitration rules. The MPAA's Eric Johnston, in opening the meetings, stressed from the beginning that any decisions on arbitration must be approved by the courts. He said he had notified the Department of Justice of the conference and that they had requested they be notified of what transpired. Three elements were certain for agree- ment, said Johnston. "(1) We all want a maximum number of people to see the maxi- mum number of films; (2) every film should earn a fair return according to its merits, and (J) there should be a fair and equitable distribution of the earnings of every film". Allied president Wilbur Snaper, giving his blessing to the Conference, assured Allied's hope for constructive and conclusive action resulting from reasonable discussion. Harry Brandt, [TOA head, blasted legis- lation and litigations that is "destroying our industry". Noting that the highest salaries are no longer being paid to the stars but to the lawyers, he expressed the hope that the conference would end the "lawyer domina- tion of our industry". MMPTA's Leo Brecher pointed out that the factions should not become too palsy- walsy. "When a business like ours becomes so passive that everybody loves everyone else, it is liable to become so static that it's no durned good". TOA's Mitchell Wolfson felt that arbitra- tion offered the best hope of ridding the in- dustry of its lawsuits and turmoil, and would give the industry the "inner strength" it must have to fend off attacks from "those who wish to prey upon us". Rotus Harvey, Western Theatre Owners head, remarked pungently that the reason previous attempts at arbitration had failed was that the prior systems were based on "something resembling a Supreme Court," and that the expense involved was "beyond the reach of most of those that wanted to use it". Metro's Rodgers felt that machinery for arbitration should be set up first and the details worked out later, if necessary. He said that the distributors had offered no counter proposals to the plans presented by the two national exhibitor organizations to pave the way for full discussion of all pro- )sab i At the arbitration meetings. Eric Johnston addresses the group^ Also shown are Rotus Harvey, Western Theatre Owners: Mitchell Wolfson. Theatre Owners of America: Wilbur Snaper, Allied States Association : William F. Rodgers. chairman of the distributors' committee, and Leo Brecher, Metropolitan Motion Picture Theatres Association. FILM BULLETIN COMPO Survival in Peril If It Remains Headless— Mayer The headless COMPO was asked to draft a presidential committee, if necessary, to steer the Council's course. The urgent re- quest was made by retiring executive vice- president Arthur L. Mayer, whose yeoman work in that post virtually since the incep- tion of COMPO was largely responsible for the success of the first all-industry organi- zation. In a wire to representatives of the execu- tive committee of the agency's 10 charter members, Mayer noted that COMPO's con- tinued existence might hinge on the ability to get a leader. He suggested that the three national organizations on the Executive Committee, Allied, TO A and MPAA, each appoint a representative to form an interim presidential committee until a new president is elected at COMPO's next annual meeting. COMPO'S MAYER Lights the Fire Mayer, who had several times postponed his announced departure from the executive rice-presidential post, finally set May 2 as the date on which he will definitely retire from the key position. Pointing to COMPO's nominating com- mittee's failure to find an industry leader to Serve as president, all those nominated having declined either for reasons of health or pressure of personal affairs, Mayer said that lack of an executive head "makes it im- possible for COMPO to proceed with cam- paign to repeal Federal admission tax or rest of extensive program authorized at our last Executive Committee meeting. Indeed situation so dangerous, future existence of COMPO in peril". Giving notice that he is winding up his duties as- executive v. p. May 2, he urged that the three national organizations elect their executive representatives, and, if necessary, "to draft one of its prominent members as its representatives". The di- vision of duties, he added, would require little time or effort on the part of any one individual". Perhaps Mr. Mayer has lit the fire that will get the COMPO boilers working. BULLETIN NEWS and OPINION UPT Earnings Drop 26% In 1st Quarter; 17 Ties Ended United Paramount Theatres estimated earnings in the first quarter of 1952 took a 26 per cent nosedive from the similar perio.l in 1951, according to UPT president Leonard Goldenson's report to stockholders. The re- port, however, emphasized that the figures were not, strictly speaking, on a comparable basis "since the composition of the under- lying theatre assets has changed over the year" to conform with the Consent Judg- ment. Consolidated earnings after all taxes and charges for the first quarter this year were estimated at $2,049,000, including net capital gains of $244,000. For the comparable period in 1951, the estimated net was $2,791,000 in- cluding net capital gains of $332,000. The tax bites in both years approximated the net profits, with $2,058,000 provided for Federal income taxes in the '52 quarter, $2,260,000 in last year's initial period. Goldenson also noted, however, that a retroactive adjust- ment for last year increased the '51 tax by $180,000. UPT's direct and indirect share of undis- tributed earnings of partly-owned non-con- solidated subsidiaries was $139,000 this year, $175,000 last year. During the 1952 first quarter, Goldenson said, UPT ended joint interests with co- owners in 17 theatres, receiving a 100 per cent interest in four of the houses. An un- disclosed additional number of individual theatres and properties were disposed of, with net proceeds from these transactions coining to $1,216,000, about half in cash. $187,000 REPUBLIC 13-WEEK NET Republic Pictures went into a slight dip in its profits for the 13 weeks ended Jan. 26, 1952, with $187,000 nett£d after taxes, compared with $227,000 in the same period last year. A good proportion of the drop was taken up by increased taxes, estimated at $205,000 for the last 13 weeks. The tax bite in last year's quarter was $1 80.0(H). Fox Rentals Upf Theatres Down; Net Hits $4,308,000 Twentieth Century-Fox's financial state-l ment for 1951 made it unanimous for the i five majors insofar as the profits pattern wasj concerned — gross up and net down. Despite combined revenue from film rentals and' theatre receipts matching the 1950 figure and other income topping the previous year's corresponding sources, the 1951 net profit, $4,308,000, fell below half of the '50 net, $9,553,000. Gross receipts, however, a tidy, $163,803,000 for 1951, rose above the preced-j ing year by $1,329,000. Income from film rentals and theatre receipts was $150,658,000,' compared with $150,995,000 in 1950. Of this] amount, film rentals increased from $90,841,- 000 to $92,489,000, while theatre receipts dropped from $60,153,000 to $58,169,000. Greatest portion of the dip was shown in "added income" of some $3,445,000 during 20TH'S SKOURAS A Pattern 1950 that failed to appear last year. Of this, $2,262,000 was income of prior years from countries with currency restrictions, and $1,183,000 from exchange of theatre proper- ties. Both figures were net of taxes. The rest was apparent in the increased expense fi mires. Amortization of film costs was $62,- 766,000 in 1951, $60,276,000 in '50. All other costs rose slightly with the exception of con- tributions to employees retirement plans, which was cut from $1,900,000 to $1,321,000. Federal taxes last year were $3,300,000; in 1950 the tax bite was $3,220,000. The annual report, as detailed by president Spyrous P. Skouras, also showed some other drastic changes. Cash and government se- curities fell to $27,855,000 in 1951 from $43,- 499, 000 the previous year. The number of pictures released, however, rose to 33 from the 28 in 1950. Average cost per picture dropper to $1,370,000 from $1,634,000. Total inventory at year's end was $57,848,0(K), com- pared with $58,295,000 in the preceding year. Estimated average cost of the 33 films scheduled for 1952 was $1,260,000, a further reduction. In 1953, it was reported, 36 (Continued on Pope 19) 6 M AY 5 , 19 5 2 1 THE HALF-BREED' FAMILIAR WHITE VS. INDIAN WESTERN ates • • + as duall RKO 1 31 minutes Robert Young, Janis Carter, Jack Buetel, Barton MacLane, Reed Hadley, Porter Hall, Directed by Stuart Gilmore Another chapter in the Apache-versus- ivhitc man series is recorded in this routine ■Technicolor western. Melodramatics in "The iHall- Hrecd" involve the usual attempts of renegade white men to bait the Apaches into ngoing on the warpath while fair-minded meroes try to maintain peace. Its all done on Khe same old formula, although this film lacks some of the quantity of "blood-and- thutider" contained in many of its predeces- sors. This dearth of action, however, has been supplemented with the voluptuous Janis Carter. While her low-cut gowns may cause many wolf-whistles from the audience, they elso run the risk of violating the dictates of action houses — good taste. "The Hali-B reed", however, possesses those elements which are usually well received in western and action houses, and it should make a satisfactory dualler elsewhere. Director Stuart Gilmore has turned this one out according to the book, and the cast falls into a familiar procession of characters. Robert Young plays his role of gamblcr- adventurer in a manner befitting the screen- play. Janis Carter's proportions are delibe- rately and startinglv exploited as a dance hall girl romantically interested in Young. A typical Hollywood conception of the stolid Indian characterizes Jack BuetePs wooden performance as the half-breed. STORY: Robert Young arrives on the scene just as the hireling of a gold-greedy rancher tries to ambush the half-breed leader of a band of peaceful Apaches. The killer fails, but Young is taken bv the Indians. After convincing Buetel he is in- noient, Young continues into town. There he is told by the marshal! to leave by morn- ing, because there is no room for a gambler in those parts. While in a nearby saloon, Young meets Janis Carter who is trying to avoid the same rancher who is stirring up the Apaches. This rancher has bribed the local Indian agent into cutting supplies to the Apache reservation and an uprising seems imminent. Buetel leads a band into town on a peaceful mission to straighten things out with the Indian agent. Young acts as mediator, gaining the trust and re- spect of Buetel and the Apaches. While the half-breed is negotiating a truce how- ever, the waiting Apaches are ambushed and again the Indian war seems certain. This on-again-off-again plot continues with first Young, then Huetel, preventing a war until the renegades causing the trouble are dis- patched ami peace is finally assured. NEWT HIGH NOON' UNUSUAL KRAMER WESTERN PACKS A TERRIFIC TWO GUN WALLOP Rates • • generally, more where ex UNITED ARTISTS 85 minutes Gary Cooper, Thomas Mitchell, Lloyd Bridges, Katy Jurade, Grace Kelly, Otto Kruger, Lon Chaney, Henry Morgan, Ian MacDonald, Eve McVeagh, Harry Shannon, Directed by Fred Zinneman This Stanley Kramer western — a change Ifrom his usual emotional dramas — is a novel jdrama that keeps the audience on the edge lof their seats in almost unendurable sus- pense. From both the artistic and box office Ipoint of view "High Noon" is a picture of [distinction. Its story is unconventional, its action completely satisfying and its twist brutally realistic. This is likely to be a winner wherever it is shown and regular moviegoers, as well as action fans will go for it in a big way. United Artists has been playing it up as something outstanding — and that is wha» it is. It is notable, too, for bringing back Gary Cooper in the kind of two-gun role which suits him best. Carl ploited Foreman's screen play, based on a story by- John W. Cunningham, is different from any other Western you ever saw and a vast im- provement on most. Stanley Kramer's pro- duction is simple and, therefore, doubly ef- fective, and director Fred Zinnemann makes his characters tense and alive right down to the bit players. Strangely, this is one picture which color photography would not have helped and Flyod Crosby does some magnif- icent work with the cameras without ever becoming arty or poking too manv filters in front of the lenses. STORY: The small Western town of Hadleyville in 1870 had been cleaned up by marshal Gary Cooper and a half dozen depu- ties who smashed a gang headed by Ian MacDonald. Just as the marshal is about to be married to Grace Kelly, a peace-loving Quaker, and move to another town, news comes that MacDonald is heading back to kill Cooper. Three of his gunmen have already arrived. Forced to choose between his sweetheart and his duty. Cooper decides to take on MacDonald, despite the fact that no one will side with the marshal because they want no shooting. The saloon prepares for a big day. The coffin maker puts his carpenter to work. Katy Jurado, once Mac Donald's mistress, sells the saloon and decides to quit Hadleyville. Cooper vainly goes from house to house trying to get men to help him deal with the gangsters. Lloyd Bridges tries to knock Cooper out so that he can be sent away from the town forcibly. Cooper w rites his last will and testament and heads out alone to face the gangsters. At the last minute, Kelly decides she cannot desert the Marshall. She hurries back to find Cooper battling MacDonald and his hench- men while the whole town watches in hyp- notic fascination. At the crucial moment, Grace herself, despite her religious convic- tions, joins the fray and saves her hubsand's life. As the gangsters' bodies lie on the dusty street and the townsfolk flock out to hail their liberation, Cooper scornfully re- moves his deputy's badge from his shirt, contemptuously rides off with his wife to a new life in another communitv. COULTER NO ROOM FOR THE GROOM' MINOR MARITAL FARCE FOR THE DUALLERS Rates • • — as dualler; n.g. for actior Universal-International 82 minutes Tony Curtis, Piper Laurie, Don DeFore, Spring Byington, Jack Kelly, Lee Aaker, Directed by Douglas Sirk Tony Curtis and Piper Laurie are a couple of engaging youngsters who deserve better stuff than this minor lightweight farce about a returning G.I.'s mother-in-law trouble. The stars strive to overcome the handicaps of some heavy-handed dialogue in the screen- play by Joseph Hoffman. "No Room for the Groom" may prove one thing — just how- much corn can the cornbelt take. Although the situation is basically an amusing, one, the film is singularly lacking in humor. Audi- ences which sit through this one as part of >n houses a dual bill may not suffer too much. Exhibi- tors operating action houses or those with a more discriminating clientele had better steer clear of this one. STORY: Draftee Tony Curtis and Piper Laurie keep their Las Yegas marriage a secret from her mother. Spring Byington. Tony is stricken with chicken pox on his wedding night, and robbed of his honey- moon and goes back to his unit for ten months. Returning to his home in Sutters- ville he finds his wife's relatives have moved into his house and that Miss Laurie's em- ployer, Don DeFore, head of the local cement company, has a romantic eye on the missus. Tony badly needs to make his marriage something more than a bit of paper, but every time he tries to get his wife alone something happens to prevent the romance from blossoming. Ma-in-law wants her daughter to marry the cement magnate and seeks to get the marriage annulled. The cement man wants to run a railroad through Tony's vineyard, so he tries to get him certified as mentally incompetent. Finally, Tony, fed up with all these obstacles to love, makes up his mind to quit, but of course, by this time Miss Laurie has also seen through her mother's wiles and manages to make Tony miss his train to camp. YORK. FILM BULLETIN 7 THE SAN FRANCISCO STORY' Rates • • + generally; more for action Warner Bros. 80 minutes Joel McCrea, Yvonne de Carlo, Sidney Blacfcmer, Richard Erdman, Florence Bates, Onslow Stevens, John Raven, O. Z. White- head, Ralph E. Dumke, Robert Foulk, Lane Chandler, Trevor Bardette, John Doucette, Peter Virgo, Frank Hagney, Tor Johnson, Fred Graham. Directed by Robert Parrish This period melodrama offers nothing new, but enough familiar action elements have been injected to make it a good attrac- tion for houses catering to the gun & fist devotees. Elsewhere, it should prove a fair- plus dualler. Laid in San Francisco of the I850's, the story recounts the efforts of vigil- antes to overthrow an unscrupulous political OK GUN & FIST STUFF houses boss. Ample suspense and brawling action are generated as the plot resolves into a two-man battle between Joel McCrea and Sidney Blackmer, with Yvonne DeCarlo, as the politician's paramour, switching her love to the clean-up man. Were the locale out on the plains, "The San Francisco Story" would be little different from the average western. The scene in which a United States Senator is bribed to take orders from the boss is likely to stir the ire of some people. Director Robert Parrish handled the eco- nomical Howard Welsch production as straight action melodrama, but maintains a good pace. Joel McCrea, Yvonne DeCarlo and Sidney Blackmer perform capably in roles that are standard for them. Richard Erdman lends credence to the part of Mc- Crea's side-kick. STORY: McCrea and Erdman arrive on the scene as the vigilantes are trying to clean up 'Frisco and break the boss rule of Sidney Blackmer. Since MsCrea was once a leader in the vigilantes, Blackmer sends his sweetheart, Yvonne DeCarlo, to bait McCrea and determine his leanings. When McCrea turns the tables on her, DeCarlo attempts to have him shanghaied. He es- capes the trap, and returns to offer help to Blackmer in taking over California. Blackmer double-crosses McCrea and every- one is led to believe that McCrea was killed in ambush. DeCarlo now reveals that she has been in love with McCrea all along and turns on Blackmer by giving incriminating evidence to the vigilantes. When McCrea learns that she is in danger, he returns to challenge Blackmer to a duel and brings reform to San Francisco with a blazing shotgun. PHIL WALK EAST ON BEACON' GOOD DE ROCHEMONT SEMI-DOCUMENTARY SPY YARN Rates • • + as dualler; more in action Columbia 98 minutes, George Murphy, Finlay Currie, Virginia Gil- more, Karel Stepanek, Louisa Horton, Peter Capell, Bruno Wick, Rev. Robert Dunn, Karl Weber, Jack Manning, Vilma Kurer, Michael Garrett, Robert Carroll, Ernest Graves, Rosemary Pettit. Directed by Alfred Werker Exhibitors who did well with Louis de Rochemont's wartime spy drama, "House on °2nd Strict", and the subsequent semi-docu- nrotary cloak-and-daggers, can count on this for handsome boxofticc returns. Pro- ducer dc Rochemont, using the same docu- mentary technique, has based his picture on a real life drama written by the FBI's J. Edgar Hoover and published in "Reader's Digest". This time, naturally, it deals with Communist espionage, and was made with FB] co-operation. The screenplay by Leo Rosten is extremely workmanlike. It is easy to follow despite a scries of tortuous twists. Alfred Werker gives it the simplest THE MARRYING KIND' HICH Rates • • • generally Columbia 93 minutes Judy Holliday, Aldo Ray, Madge Kennedy, Sheila Bond, John Alexander, Rex Williams, Phyllis Povah, Peggy Cass, Mackey Shaugh- nessy, Griff Barnett, Susan Hallaran, Chirstie Olsen, Barry Curtis, Wallace Acton, Elsie Holmes. Directed by George Cukor A happy scries of marital differences, >pi(-< id with heart-tttgs, "The Marrying Kind" abounds in entertainment values. Mirth, realism, pathos, and universal appeal have all been injected by director George Cukor from the Garson Kanin-Rtith Gordon screenplay. The tribulations that beset this lovable, wacky pair have been experienced by married couples the world over, but this comedy drama treats these familiar incidents with in- houses and where exploited possible direction. It ticks speedily along like a well made timepiece. On topical value alone it should generate audience appeal, where properly exploited, both in general houses and action situations. It meets family- house requirements, also, and should serve well as a top dualler. Action spots will get good returns if they ballyhoo the show. Performances are uniformly good, notably by George Murphy as the FBI Inspector in charge of the case; the Scottish veteran Finlay Currie, as the kidnapped refugee pro- fessor; Karel Stepanek, as the top Moscow agent; Bruno Wick, the agent's chief contact man, and Jack Manning as a well-meaning taxi driver caught in the Red toils. The women are slightly less impressive, having no chance in a picture of this kind to intro- duce heart-throbs, but Vilma Kurer seems built for more ambitious roles. STORY: Karel Stepanek, sent from Mos- cow to get the secrets of a new scientific project being developed by professor Finlay Currie, makes contact in Boston with Bruno Wick, a mild-mannered florist and Peter Capell and his girl-friend, Virginia Gilmore, who run a photography shop and are under- cover Communist agents. The professor's son is a Commie prisoner in East Berlin and the Red agents use this as a blackmail weapon to get information on "Operation Falcon", as it is called. Currie, however, telephones the FBI, which already has In- spector George Murphy working on the case. Acting on Murphy's instructions, Currie feeds the spies false reports. Ordered to walk east on Beacon Street one night, he is intercepted by a taxidriver, Jack Manning. FBI agents shadow Manning, and by the use of highly scientific gadgets finally catch up with the Washington end of the spy operation. The Reds there are about to escape with a duplicate recording of the pro- fessor's formula when the FBI pounces, but during their absence Currie is kidnapped by Stepanek, who heads out to sea with him for a rendezvous with a Russian submarine. After an exciting sea chase the fugitives and their hostage are captured and Currie learns that, thanks to his co-operation, not only has Moscow's mission failed, but his own son has been rescued from the Reds. LEON RATING JUDY HOLLIDAY COMEDY sight and subtle touches that lift it well above average marital mixup film. Done in a flashback technique, the story is a collec- tion of domestic sequences that are complete within themselves. Cukor's neat directorial touches enhance the narration-flashback treatmcnt and keeps the pace in high gear throughout. Kanin, author of the stage play "Born Yesterday", collaborating witli wife Gordon on the screenplay, supplies delight- ful dialogue and heart-warming, laugh- loaded situations. Judy Holliday's name on the marquee is added insurance that "Marry- ing Kind" will be great business for metro- politan nabes, and should stack up satis- factory grosses in all situations except action houses. Judy Holliday brings the role of Florence to life in the same warm, hilarious manner that led to an Academy award in "Born Yesterday". Newcomer Aldo Ray and his gravel voice, provide a perfect foil for Miss Holliday's squeaky tones. As the husband, Ray fits neatly into the role and gives every indication of being the new screen person- ality of the year. Madge Kennedy, after a 20-year absence from the screen, heads a good supporting cast. STORY: Judy Holliday and Aldo Ray file for a divorce and appear before domestic relations court judge Madge Kennedy. Start- ing with their pickup date in Central Park, the couple relate the story of their marriage. In emphasizing the frustrations and quarrels that grew out of ther domestic problems, they also reveal the hopes, dreams and good times they had together. Before they realize it, they find that their marriage wasn't a flop after all and decide to give it another try. NEWT MAY 5 , 1952 JHMBER! /I ON (\N5ERS* .STOMAL AYlth-17th CLEAN - HITTER! WERE'S NO BUSINESS LIKE c£C} CENTURY-FOX BUSINESS! Short Subjects By n e w t o A HALF MILLION dollars worth of tub thumping will be spent by Republic for its summer releases, including its star at- traction, "I Dream of Jeanie", which has its world bow in Pittsburgh, June 4th. This elaborate promotion budget was revealed by HERBERT J. YATES Republic president Herbert J. Yates in a special release detailing the "Jeanie" festivi- ties which will highlight "Welcome Week" in the Smoky City, with the film's stars, Ray Middleton, Bill Shirley Muriel Lawrence and Eileen Christy as featured guests. To handle the Pittsburgh premiere and the debuts the following two days in Indianapolis and Louisville, sales chief James R. Grainger named a Showmanship Committee consisting of William Martin Saal, executive assistant to Yates; director of ad-publicity Steve Edwards, studio publicity director Mickey Gross, advertising manager Dennis Carlin and exploitation manager Beatrice Ross. INDUSTRY NEWSPAPER advertising ' will plug the motion picture theatre as the source of the best entertainment, according to an agreement reached at a meeting of MPAA's advertising and publicity directors committee. Each company will shape its insti- tutional copy in accordance with COM PCs public relations program. HARRY K. McWILLIAMS, Columbia's ex- ploitation manager, was unanimously re- elected to the presidency of Associated Motion Picture Advertisers for his third term. This marked the first time in the as- sociation's history that the top spot has been occupied by one man for three successive years. Elected with him were Liege Brian, vice-president; Albert Elorsheimer, Jr., treasurer, and Edgar Goth, secretary. Named to the board of trustees was David Bader, FILM BULLETIN business manager. A committee was also named to check on the feasibility of reestablishing the AM PA relief fund. OF MEN AND THINGS: U-I's world sales chief, Alfred E. Daff, is in Europe to survey business conditions and study a possible distribution setup for the company pending the dissolution of the Motion Pic- ture Export A ••social ion operation in August . . . U-I v.p. in charge of ad-publicity David A. Lipton arricvd in New York from Holly- wood last Thursday (1st) for meetings with home office executives to discuss forthcom- ing product . . . U. S. and Canadian IATSE locals honored general secretary-treasurer William P. Raoul at a dinner in Brooklyn 10 . . . Paramount's Ray Wilkinson retired from his camera and laboratory post after 36 years with the company . . . Frank McGrann, former N. Y. newspaper man and press rep. for stage and screen stars, joined Columbia as a member of the company's home office exploitation staff . . . RKO veep, Phil Reis- man, is in Paris to conduct a sales con- ference of European managers . . . Jerry Pickman, Paramount ad-pub topper, is in Hollywood to set exploitation plans on forth- coming product . . . UA's Francis M. Wini- kus announced the appointment of Mort Nathanson to the post of publicity director of UA. TOA DIRECTOR Gael Sullivan is on leave of absence to manage Senator Estes Ke- fauver's campaign for the Democratic Presi- dential nomination. Sullivan was active in the Democratic party for a number of years before joining TOA in 1948. Stepping into Sullivan's TOA post, temporarily, is Herman Lew, general counsel for the organization. GAEL SULLIVAN FAN-FARES: In addition to the high- powered "free" publicity Columbia's "My Six Convicts" is receiving via the current prison mutinies, the studio has ex-convict "Big Jim" Morton on the road tub-thumping for the picture. Morton, who has spent 35 years in jails and prisons, now lectures to the youth of the country on the evils of crime . . . Paramount's "Encore" is receiving a dual selling approach by Oscar Morgan, sales chief for the Maughm film. Two trailers — one for "art" houses and one for general runs — along with separate ad campaigns are ready to sell the picture in all situations . . . By all indications, 20th-Fox has only the kitchen sink left to throw into its ad cam- paign on "The Pride of St. Louis". 22,000 sporting goods dealers are competing in a windaw display contest, 25,000 department and specialty stores have been flooded with merchandising aids, a Sporting News-Kreml Hair Tonic tie-in is hitting the nation's barber shops, and consumer, sport, and fan mags are booming the picture's openings . . . UA's "The Fighter", based on a Jack London short story, will highlight a nation-wide commemoration of the 35th anniversary of the famed author's death . . . Groomed for exhibitors, a 12-page paper titled "Para- mount News" will soon be distributed to the country's theatremen. Packed with exploita- tion material on forthcoming Paramount product, ads are available to exhibitors in mat form free of charge ... A neat co-op exploitation was racked up in Buffalo when the Lafayette Theatre tied in with some loci merchants and radio station in sponsoring a contest for Columbia's "The Marryinj Kind". The radio station instituted a searcj for Buffalo's longest-married couple, tH winner receiving a second honeymoon a Niagara Falls. DLAUDITS AND KUDOES: Paramount I "Detective Story" was accorded tli Edgar Allen Poe Award, by the Mysteri Writers of America, as the Best Mvster Picture of 1951 . . . M-G-M received the fir; award of its kind ever issued by tli Daughters of the American Revolution fc the picture "Kim", selected as the be. children's picture of 1951 . . . 20th-Fox "Belles On Their Toes" was kudoed by tr General Federation of Women's Clubs in letter recommending the film to more tha. 900 women's groups throughout the countr . . . Louis de Rochemont, producer of Cc lumbia's "Walk East on Beacon", receive congratulations from FBI chief J. Edga; Hoover for "the splendid job done in depia ing the activities of the FBI . . . an e> ceptionally fine motion picture" . . . A| editorial in the May issue of the America Legion Magazine urges its readers to se Paramount's "My Son John", adding, "it i our fervent hope that every American wi see it". MILTON E. COHEN, who began h: career with United Artists in 1929 an returned to the company last year a western-southern sales manager,, has bee appointed UA's eastern-southern sales mar ager by distribution v.p. William J. Heine man. During his 23 years in the industn Cohen has served as sales manager for Cc lumbia, RKO and Eagle-Lion Classic James Velde succeeds Cohen as UA1 western sales manager, promoted from district manager's post. MILTON E. COHEN VARIETY TENT TOPICS: Philadelphia Tent 13's Johnny Night (benefit for thii Variety Club camp for handicapped children is set for June 6. A game between the Cleve land Indians and Philadelphia A's, plus ; two hour pre-game, star-studded show will highlight festivities. Proceeds from Johnnj, Night provide summer vacations for handi| capped, underprivileged children . . . Th<| heart committee of Illinois Tent 26 donate( over $67,000 to their chief charity project] I.a Rabida Jackson Park Sanitarium, durinj. the past year. This brings the total tc nearly a quarter million dollars contributed to La Rabida over an eight-year period. MAY 5 , 1 9 5 \ Blue Chip Production THE SNOWS OF KILIMANJARO t Month, film BULLETIN inaugurated a new I turc which spotlights one currently-filming pic- e as the "production of the month" — bused on various ingredients that go into making a office winner. This month, with 42 features choose from, the honor goes to 20th Century- 's "The Snows of Kilimanjaro.'''' which is just ing from the sound stages to the editing rlment.) " ' 1 *HE Snows of Ki- limanjaro", adapt- ed from the classic Ernest Hemingway >ry of a virile writer and game hunter aiting possible death, is Darryl F. nuck's lone personal production for 1952. nd like all of the pictures which Zanuck is produced, no expense is being spared to ake it outsandingly spectacular. The producer has been working on the oject off and on since 1942, when he first sited the European and African locales of e story. After years of periodic conferences ith Casey Robinson, who was assigned to > the script, Zanuck finally gave the screen ama his blessings, and set about casting it ith four top name stars — Gregory Peck, .isan Hayward, Ava Gardner and Hilde- "ade Xeff. Few pictures in recent years ave boasted a cast which would surpass the jmbined earnings of these stars. Assured of his story and players, Zanuck len assigned the direction to top notcher Gregory Peck. Novelist and wild game hunter, believing he faces death, confesses the initmaeies of his pas' life to his wife. Susan Hayward. Henry King and the Technicolor photogra- phy to Leon Shamroy, three-time Academy Award winner and one of the all-time greats of his profession. The Technicolor camera crew spent six months in Paris, on the Riviera, and in Africa shooting backgrounds and big game hunts. At the same time, a massive set, rep- resenting an African hunting camp, was set up on Stage 8, at the company's Westwood lot. It was backed up by a 350 by 40 foot cyclorama canvas duplicating the bush country around 19,710 foot Mt. Kilimanjaro, as well as the snow-capped peak itself. Then came the actual shooting, a schedule of 48 days — not including the six months spent in background filming. A new and faster Technicolor film was adopted for the production, which produced a superior color with less light, using incandescant bulbs in- stead of heat-producing arc lights. The story, told in flash back, relates the experiences of a successful novelist and big game hunter (Gregory Peck) who has re- turned to Africa, where, he thinks, he lost his way professionally and began writing only for money. On a hunt with his wealthy wife, Susan Hayward, he suffers a leg in- fection, and believing that he is about to die, decides to tell her all of the innermost secrets of her life. Miss Gardner is revealed as his one true love, a beautiful and firey young woman who leaves him after delibe- rately destroying their unborn child. Miss Xeff is cast as an enegmatic and cool countess who plays a major part in destroy- ing his will to write. " The Snows of 'Kilimanjaro" can best be described as a really "gutty" piece of screen entertainment. Peck recalls his happy days with Ava Gardner, the fiery beauty who was the one true love of his life. REPORT FROM THE STUDIOS COLUMBIA Columbia is busily engaged in acquiring outright ownership to much of the inde- pendent product for which it holds releasing rights. This embraces pictures already in release as well as those in the backlog await- ing distribution. Included are: Arch Oboler's "Five", currently in circulation; "Valentino", which has been playing for almost a year, and "Cripple Creek" and "The Brigand", both awaiting release. The latter duo comes from the Edward Small independent com- pany. None of the principals would divulge the purchase price on the Small pictures, but FILM BULLETIN hears that the price tag on "Five" also a Small production, was worked out on a compromise expectant dis- tributor's gross of $600,000. Small was paid $125,000 by Columbia when the picture was delivered last year on a straight distribution pact. A special unit was set up on the Columbia lot last month for the express purpose of making trailers to aid in selling the com- pany's product. The trailers will be used both in theatres and on television. Prexy Harry Colin decided on the added emphasis on trailers after conducting a survey which reportedly revealed that 28 per cent of the film-going audiences is attracted to theatres by that kind of exploitation. Sagebrushers continue to dominate the production scene here, just as they did a month ago. With "The Outlanders" (Ran- dolph Scott-Donna Reed) completed in late April, the company puts four more oaters before the cameras this month. They are: "Jack McCall, Desperado" (George Mont- gomery), Sidney Salkow directing for pro- ducer Sam Katzman; Esskay Picture Com- pany's "Son Of Geronimo", as yet uncast; "Panhandle Territory" (Jack Mahoney- Smiley Burnette), Fred Sears directing for Colbert Clark; and The Gene Autry "Blue Canadian Rockies", which Armand Schaefer will produce and George Archinbaud will direct. LIPPERT PRODUCTIONS A pair of top independent productions for 1952 Lippert release are now in the hands of film editors and casting is underway on a third equally important production. Under- going the scissors treatment are: "Hellgate" (Sterling Hayden-Joan Leslie-Ward Bond) and "Lady In the Fog" (Cesar Romero- Lois Maxwell). The former is a Commander Films production, filmed almost entirely on location in Arizona, with Charles Marquis W arren directing and John Champion handl- ing the producer chores. "Lady" is an In- ternational Films project, made in England, under the production guidance of Anthony Hinds. Samuel New la id dim li d Both pic- tures were filmed on shooting schrdulcs of approximately 36 days. The Warren-Champion production team launched immediately into the casting of "Man Without A Country", following their return from the "Hellgate" location. Richard Greene is the favorite to draw the starring assignment if he can fit it into his schedule following his current chore in "Rogue's March" at MGM. "Valley of the Eagles," now in its fifth week of playdates, is showing strong evi- dence of developing into one of Lippert's biggest money-makers of the year. In its initial run in Los Angeles, the English-made picture far surpassed all expectations. Robert L. Lippert, the distribution com- pany's president has launched a formal pro- test against Hal Roach, Jr., over the latter's new telepix series, "Tales of Robin Hood", which conflicts with Roach's currently plav- ing theatre picture of the same name being released by the Lippert organization. At this writing no solution had been reached. ROBERT L. LIPPERT Says "No" to TV METRO-COLDWYN-MAYER In a major economy move, MGM is be- ginning to compress drastically its shooting schedules on medium-budgeters. In the past, it was rare for any MGM picture to be filmed in less than 40 days, but now at least half of the productions before the cameras, are aimed at breaking the tape in four weeks or less. For example, "Rogue's March" (Peter I.awford), which producer Leon Gordon and director Allan Davis rolled on April 28, carried a 20-day schedule. "You For Me" is still another example. Nevertheless, it should be pointed out that much of the saving in time is attributable to smart planning, rather than deliberate stinting on production values. For instance, the studio is using numerous slock shots from "Kim" to lessen shooting time and expense in the making of "Rogue's March". In marked contrast to the shooting cut- backs on the medium-budgeters is the studio's plan to continue making more and bigger musical extravangazas, many of them requiring three and four months to complete. MGM executives must be thoroughly con- vinced by now that such tremendous cash layouts in their supermusicals represent a sound investment. On the heels of the tre- mendous grosses piled up by "American In Paris", the company has alreday recouped $1,510,000 on the first 130 engagements for "Singin' In the Rain". Two of the big film tunes are currently well along in preparation for spring and summer shooting. Advance units are already at work on the new Gene Kelly starrer, "Bridgadoon", to be filmed in Europe and casting is now almost completed on "I Love Louisa" (Fred Astaire-Leslie Caron-Oscar Levant), due to roll around August 1. With the start of "Rogue's March" on April 28 and "Sky Full of Moon" ten days earlier, the Culver City lot is operating at capacity, with seven pictures shooting. "Moon" (Carlton Carpenter-Jan Sterling- Keenan Wynn), is being directed by Norman Foster and produced by Hayes Goetz. MONOGRAM— AA With a decided production pick-up just around the corner, Monogram Prexy Steve Broidy has announced that his company will take a big jump on the 1952 production schedule by getting it underway early this summer. Of the 39 pictures which Mono- gram slated for 1952, 22 are already com- pleted, three more are in production and six more are all set to roll within the next four weeks. Broidy has also revealed that over one- fifth of his company's picture rentals is now coming from drive-in theatres. Over $200,- 000 worth of Monogram product was sold to the drive-ins over a ten-week period, starting j in late January. Walter Wanger, having been granted a stay of execution until June 4 on his four- month jail sentence, is completing plans to I rush "Battle Cry" into immediate production for Allied Artists. The story has already been screenplayed and Wanger expects to have his cast ready by May 10. Pictures currently in production are: "The Rose Bowl Story" (Marshall Thompson-I Vera -Miles-Richard Rober), in Cinecolor.i William Beaudine directing for producer j Richard Heermance; "Sea Tiger" (Margue-' rite Chapman-John Archer), which has justj returned to the lot after 10 days of shooting! on the high seas, Frank McDonald directing i for producer William F. Broidy, and "Barbed Wire" (Wild Bill Elliott-Phyllis Carter), Lewis Collins directing for producer Vincent M. Fennelley. (Continued on Page I3)\ 12 M AY 5 , 19 5 2 Hcllijuccd Jjctehck (Continued from Page 12) PARAMOUNT Production continues at its lowest ebb in more than a year, on the Paramount lot, with only two pictures shooting at the turn of the month. Moreover, it seems unlikely that more than two new features will be ready to go before the cameras in May. There are. however, an even half-dozen stories in the final scripting stages and all have been assigned to producers for late spring filming. Even though the quantity of output is very low at the moment, certainly no one can deny that the company has another sure-fire boxoffice hit in the works with the start, April 24, of "Road to Bali" (Hob Hope-Ring LEONARD GOLDSTEIN Of all of the unsung heroes in Hollywood, probably none has been more neglected than Producer Leonard Goldstein. He has never won an Academy Award, his name has prob- ably never even been mentioned for the ACTRESS DUNNE & GOLDSTEIN coveted Irving Thalberg award, and his earn- ings are far removed from the Hollywood elite whose names can be found on the treasury department's annual list of top- salaried American executives. But it would be hard to find a producer in the business whose pictures have made as much money for their companies as have Goldstein's. During 1951, Universal-International re- alized a world gross of slightly more than $10,000,000 on four Goldstein-produced pic- tures. Add to that the less spectacular grosses of a half dozen other features he turned out during the year, and it's easy to see that he deserves a goodly amount of the credit for pulling his company out of the desperate straits it was in only a few years ago. Crosby-Dorothy Lamour). The resumption of the "Road" pictures, with its original trio of stars, is an event that will most assuredly be welcomed by theatremen who know what these pictures mean at their boxoffice. Hal Walker directs the Technicolor musical comedy for producer Harry Tugend. The only other active production at this time is the Pine-Thomas Technicolor feature "Tropic Zone" (Ronald Reagan- Rhonda Fleming- Estelita). The disagreement between producer Hal W'allis and his contract comedians, Dean Martin and Jerry Lewis, remains unsolved. However, FILM BULLETIN has it on good authority that a new multiple picture contract is in the making. Nevertheless, "Scared Stiff", the production which Martin Unbelievable as it may seem, Leonard Goldstein has produced 18 pictures within the past twelve months — a record which couldn't even be approached by any other producer in the business. More important, he has never turned out a picture that failed to show a profit. And with all this heavy schedule at the studio, Producer Goldstein has somehow found time to go out and sell his product to the public and the exhibitors. He has accompanied his stars on junket after junket back into the hinterlands to boost not only his picture, but the reputation of the entire industry, as well. When your FILM BULLETIN reporter asked him if he had a formula for consistent- ly turning out the type of pictures which meet with public aproval, he was quick to reply that he had. "What I look for in a story", he said, "are the elements of audi- ence identification. If movie-goers can put themselves in. the place of the personality they are watching on the screen, they're al- most certain to find the picture to their liking". Goldstein was born May 28, 1903, in Bisbee, Arizona, and was educated in the Los Anegels public schools. He started his career in show business as a producer of stage shows in some of the smaller Los Angeles theatres. His first movie production was "Big Street" for RKO, where he pro- duced a series of sagebrushers starring George O'Brien. In later years, he moved to 20th Century-Fox, where he gained in- dustry-wide recognition for his production of "When Irish Eyes Are Smiling". Subse- quently, he became executive producer at Columbia. He joined Universal in 1946 and continued with the company after it became Universal- International. He brought the "Kettles" into being on the screen, and that load of cheaply produced "corn" plus the "deluxe" westerns, has poured millions of dollars in profits into the U-I coffers. and Lewis walked out on, appears to be definitely off the schedule. RKO It has been a month of surprises for the men and women who work at RKO, as well as most of the sideline observers in Holly- wood. First, Samuel Goldwyn renewed his distribution deal witli the company for an- other five years, despite persistent rumors that he was about to sever his ten-year re- lationship. Next, Howard Hughes purchased the finished script of "A Likely Story" from GOLDWYN & DEPINET Fire More Years Paramount, along with the starring services of William H olden. And as if that wasn't enough to stump the prognosticators, he suddely took over the financing of "Red Beret", a Cubby Broccoli-Irving Allen pic- ture project, which is set to go before the cameras in London, around July 15. In ad- dition to the financing of "Red Beret", KKO will handle distribution on the picture, on a 50-50 basis. Prior to Goldwyn's re-signing with RKO, he held extensive talks with Arthur Krim, president of L'nited Artists. However, it is understood that the latter company would not meet the RKO terms. In another of Hughes' unpredictable decisions, RKO's story department has been given the go-ahead on nearly a dozen proper- ties, indicating that large-scale production activity may be resumed earlier than had previously been indicated. Three films have been set for the cameras during May. Scheduled for the RKO soundstages are Edmund Grainger's "Blackbeard the Pirate", which will work simultaneously on two soundstages, starting May 15. Robert Newton heads the cast. Also during the month, Robert Sparks' production "A Likely Story" (Jean Simmons) has been set for a start and the third of the May starters will be the Filmakers' "The Man With A Gun", with Collier Young at the production helm. (Continued on Page 14) THE SPDTLIGHT FILM BULLETIN 1.1 Hollifucod tfcteUck (Continued from Page 13) REPUBLIC As predicted several weeks ago, Republic is about to focus much of its production on tunefilms, which are proving unusually popular on the current market. One highly reliable source at the studio tells FILM BULLETIN that it is not unlikely the com- pany may produce almost as many musicals as sageb'rushers during the final quarter of 1952. The company currently has two pictures shooting, both of them in a budget class far above normal. "Thunderbirds", the story of the 45th division of the National Guard, for example, is shooting on location in Okla- homa, with one of the finest casts employed in a Republic picture in many months. John Barrymore, on loan-out from RKO, and John Derek, borrowed from RKO, hold down starring roles, along with Mona Free- man and Gene Evans. John H. Auer serves as associate producer-director. Equally im- pressive is the cast of "Ride the Man Down", which) producer-director Joseph Kane launched on April 17 with Brian Donlevy, Rod Cameron, Forrest Tucker, Ella Raines, Barbara Britton, J. Carroll Naish and Chill Wills. 20TH CENTURY-FOX Joseph M. Schenck, executive head of pro- duction for 20th Century-Fox, poised the axe over the studio during the past fortnight with the threat that "the deadvvood on the payrooll is going to have to go". The edict was not entirely unexpected, in- asmuch as Hollywood has been buzzing with rumors of a big shake-up on the lot for several weeks. The matter is believed to have been fomented by the company's com- paratively poor showing in the recent Aca- demy Awards. It is, however, to the credit of the Fox executives, that the axing is start- ing at the top instead of among the low- salaried groups, as has so often been the case in Hollywood. Schenck particularly singled out the pro- ducer ranks in his warning, advising that "all producers with bad records would be smart to resign". Of the 12 producers under contract to the studio, two have already an- nounced their departure, although they are not necessarily in the "deadvvood" category. Jules Buck checked off the lot almost a month ago, and Fred Kohlmar is due to leave upon the expiration of his current pact late this spring. I k spite the economy wave, Fox will con- tinue to expand its production slate, FILM lU'LLETIN* has been informed. The 1952 schedule of 36 films represents an increase of 50 per cent over three years ago, and plans now arc to expand it even farther in '53. Two new pictures have gone before the cameras since the last issue of FILM BUL- LETIN, bringing the total number now in production to seven. Three more are defi- nitely set to start in May. The most recent entries are: "Tonight We Sing" (Ezio Pinza- Roberta Petert-Ta ma ra Toumanava), di- rected by Mitchell Leisen and produced by George Jessel; and "Bloodhounds of Broad- way" (Mitzi Gaynor-Scott Brady-Mitzi Green), also produced by Jessel and directed by Harmon Jones. JOSEPH M. SCHENCK "Deadwood Must Go" UNITED ARTISTS United Artists, having narrowly been edged out of the Samuel Goldwyn releasing contract by RKO is about to stage another big drive tc corral top-flight independent production units to lend prestige to the com- pany's releasing slate. Two very important deals are rumored to be near the inking stage at the present time, although UA execs are keeping them very hush-hush lest some of their competitors try to over-bid them. Only one picture committed to UA re- lease is currently in front of the cameras, although the highly touted "Glass Wall" (Vittorio Gassman-Gloria Grahame-Robin Raymond) will roll in early May. The latter is a Tors-Shane Production. A May start is also scheduled for Gene Fowler, Jr.'s, "Father Damien," which is being adapted from John Kneubuhl's play about untouchables. All of the filming will be done in Hawaii, with Tombi Larsen handling the art direction. Larsen has just completed the important art direction work on Samuel Goldwyn's "Hans Christian Andersen". Russell Collins portrays the title role in the picture, which will be shot in Ansco Color. The one picture now in production for UA release is "Morassi" (Martha Hyer-Morassi), a color film produced and directed by the team of Breakston-Stahl. The entire picture is being shot on location in British East Africa. WARNER BROTHERS Keefe Braselle, who left MGM only last month, has been signed to a long-term pact at Warners, and draws the plum title role in "The Eddie Cantor Story", which producer Sidney ("Jolson Story") Skolsky is readying for an early June start. Warners hope it will do for Braselle what "Jolson" did for Larry Parks — and vice versa. In another new contract deal, Richard Bare has been signed to direct six more Joe McDoakes one reel comedies for the studio. George Hanlon will continue in the starring role and Gordon Hollingshead remains on as producer. The first three films to be made under the new program are: "So You Want To Be A Musician", "So You Think You're Wearing the Pants", and "So You're Going to the Dentist". "Springfield Rifle", Warner's important new WarnerColor production starring Gary Cooper, with Phyllis Thaxter and David Brian, got underway April 18 on location at Big Pine, California. The cast and crew- making the trip comprised one of the largest location units to go out from the Burbank lot in recent years. No less than 16 support- ing players and 70 bit people had to be taken there for shooting of important scenes. Other pictures shooting are: "The Iron Mistress" (Alan Ladd - Virginia Mayo), Technicolor epic produced by Henry Blanke and directed by Gordon Douglas; "Danger Forward" (Cornel Wilde-Steve Cochran- Karl Maiden), directed by Lewis Seiler and produced by Blanke; and "April In Paris" (Doris Day-Ray Bolger-Claude Dauphin), Technicolor musical directed by David Butler and produced by William Jacobs. UNIVERSAL- INTERNATIONAL Production jumped back to normal at U-I, this past month, following a brief slackening during March. As of May 1, there were five J pictures shooting, with a sixth due to go,! before the cameras on May 12. Those alreday shooting are: "Gun Hand" (Rock Hudson-Julia Adams), directed by Raoul Walsh and produced by William Al- i land, color by Technicolor; "Magic Lady" (Loretta Young- Jeff Chandler- Alex Nicol- Frances Dee), Albert J. Cohen producing, i Joseph Pevney directing; "Willie and Joe Back At the Front" (Tom Ewell-Harvey Lembeck-Mari Blanchard), George Sherman directing for Leonard Goldstein; "Bonzo Goes To College" (Maureen O'Sullivan-Ed- mund Gwenn-Charles Drake-Gigi Perreau), Frederick de Cordova directing for producer Ted Richmond; and "City Beneath the Sea" (Robert Ryan-Mala Powers-Anthony Quinn- 1 Suzan Ball), Bud Boetticher directing for: producer Albert J. Cohen, color by Techni- color. During the past fortnight final shooting was completed on "Against All Flags" (Erroll Flynn-Maureen O'Hara), big Technicolor! production, which required two additional days of shooting, following Flynn's return from Jamaica, where he had flown at the end of the picture's regular shooting schedule. John' Rogers, who was upped to a full producer last March 26, has drawn "Law and Order" as his first production. The film previously was on Carl K. Hittleman's slate before he checked off the lot without having produced any pictures. 14 M AY 5 , 19 5 2 EXHIBITORS FORUm Opinions Culled from Organization Bulletins 'ffy&cfy /VfW to bring YOU PRE-RELEASES Allied Caravan of la., Neb. & Mid-Centrol Someone dreamed up a wonderful idea with that word. Pre-release — that means a super national advertising campaign, must percentage and usually a hike in admissions. Ususally an exorbitant hike in small situ- ations. When you go for these deals do you also drop your admissions on some of the "turkeys" we all play occasionally? We cry about public relations and public apathy, and then when we get a picture that is above the run of the mill we don't make up for the oc- casional poor one by giving the big one at the same price. We whoop the price. That makes for wonderful public relations. Every person in your town thinks you have the easiest job, make the most money and are giving them practically nothing for their money. You can help that along by going for the advanced admissions on pre-releases. About all pre-releases do is usurp the value of the national advertising for the big town houses, holds up release or general run until the picture is no longer "in the air" and they'll let you play it on percentage to normal business. Phooey! The public don't give a damn about the transmission of dif- ferential of this business. All they know is that when a picture is "in the air" they want to see it. However, many, many showmen have discovered that the public will still be with you if you do pass a super-duper. Like all pictures, it will only please about half of them anyway. TAX FREE COMPETITION ATO of Indiana Returns to our questionnaire indicate that competition from tax free institutions is a problem to many exhibitors. One exhibitor reports that a school auditorium with a capacity of nearly 2,000 is rented for $75.00 per engagement. He says: "This lends itself perfectly to the outside promoter to make a killing and take about 80% of the gross out of the city. These shows and promoters don't want theatre dates as long as they can get this kind of a deal with the long end to them." Another exhibitor writes: "We have a school gymansium which seats about 3,000 people and which is available to professional promoters for a nominal rental fee of $25. I kn ow of one engagement there that grossed almost $2,500.00". Several exhibitors comment to the effect that the big share of the gross always goes to the promoter and the local sponsoring organization, when there is one, ends up with very little. Two possible approaches appear from these comments. First, can the theatre work with some of these local organizations in a plan that will in the final count give the sponsoring group a better return than they get from the trick deals they make with pro- FILM BULLETIN fessiotial promoters anil thus make local sponsorship difficult to obtain. Secondly, can a group of local taxpayers who, so to speak, own shares in the public building protest to the authorities the inadequate rental they are charging, Considering rent, light, heat and cleaning it would seem that the taxpayers should be entitled to at least 15 to 20 per cent of the gross. A fair charge might make the deal less attractive to some of these out- side promoters. Independent Exhibitors, Inc. (Boston, Mass.) Recently we checked a pseudo motion pic- ture showing in the name of Art in the City of Boston and the operators of same were found wanting. There are reports of an increasing number of public institutions going into the enter- tainment business, a greater variety in tin- attractions they offer and more frequent presentations. It is one thing to match your experience, talents and efforts against a com- petitor in a contest where the same rules apply to both, but it is another matter if that competitor doesn't have to pay taxes, doesn't have to realize a profit, can afford to outbid you on any attraction he makes up his mind he wants, and can get a handout any time he needs more capital. We believe this problem is important enough to ask you to cooperate by sending us any and all in- formation concerning this type of operation in your locale. We promise you results if we get the facts. POWDER KEG ATO of the Gulf States Exhibitors throughout the nation fed up with all the confusion surrounding arbitrary clearance, excessive bidding, so-called "ad- vanced-priced specials", and discrimination in general, are vigilantly "standing guard" waiting to touch off the bomb of legal ex- plosion, should the arbitration-plan fail to materialize. Government control tantamount to local legality lies in a somewhat paradox position. It both helps and hinders and in the best economy interests of all concerned should be regarded in the light of a last resource for correction of the infinity of evils now existent. These existent evils so detrimental to ex- hibitors can, by intelligent analysis, be neu- tralized and in many cases, completely elimi- nated. The solution lies in the palms of the hands of our distributors who must realize at sometime or other that "might" is no sub- stitute for "right". Exhibitors believe that the Arbitration- Plan is the "right" to which they are en- titled. It is seriously urged that distribution "clear its head of the fog of misdemeanor" and maturely approach the Arbitration-Plan with an open and objective mind. Once this is executed, both exhibition and distribution can co-exist and plan for a workable future. LIPPERT is a GREAT7TTMOVIE ! 'Excellent, rank* with, if not topping, beat of foreign •ward winner*." -»*i«rr "Great off -t Sports Section Mat ROP-3S2 (3-col.l Mat ROP-2Z (2-col.) Amusement Section NO ONE IS SAFE! the Headline- hot storVc OF REVENGE KiUiMGS •AMD HOW HEM WMO'TEli'ARE marked! When Richard Brooks, a former newspaperman, was assigned the directorial chores for his own screenplay of a fighting editor's attack on syndicated mohs and "revenge killings'", he could hardly have known the combination of factors that was to enhance "Deadline — U.S.A." with a headline timeliness rarely reached in screen annals. It was impossible to fofsee that Willie Sutton would be captured and that his henchmen would brutally shoot down the clothing salesman who gave police the information that brought Sutton's apprehension. Nor could Brooks have known that both Humphrey Bogart and his co-star, Kim Hunter, would win the coveted gold Oscars for 1951. Or even that the American Newspaper Publishers Association would give the film a unique pat on the back for being the first completely honest motion picture on the workings of a news- paper and would back it with unprecedented cooperation. And, finally, that it would receive the excellent critical reception accorded the film at its Roxy opening on Broadway. Even though it was a natural for the New York exploitation campaign, where the Sutton capture and subsequent Arnold Sinister killing aroused the citizenry to a high pitch, the national play that news re- ceived makes it adaptable to every metro- politan center and throughout the country. The New York campaign took advantage of all exploitation opportunities afforded by the headlines, spotting appropriate cuts throughout the various sections of the iicu -papers and gleaning a maximum of interest from the public. The ads, too, were angled at the headlines. These are all avail- able to showmen playing the picture on mats for a hard-hilling campaign. Also used for both run-of-paper and amusement pages ads were special advance teaser "readers" with copy set by the local news- paper. Their topical value, coupled with sensational headlines, should make provoc- ate plugs for the film, especially if adapted |r> local conditions. The Rogurt-I liinler names, shooting into new prominence with the Academy Awards, are a glittering pair for the marquee, The draw of Ethel Marrymore should be added lure to the (amity audiences. All of this, it should be noted, is par- ticularly useful in \ it endorsement of the newspaper publishers. They can he depended upon lo give it a good play if the theatre man does hi- pari. AD CAMPAIGN Some samples of the type of advertising cam- paign that can be used throughout the paper. a« well as on the amusement pages, are shown above. These are available on mats. With a little in- genuity, the showman can select from the abund- ance of lively stills to adapt the series to suit the topical situations in his own locality. Below, some of the large display and teaser ads. They have the same hard-hitting, newsy quulits to excite audience attention as does the picture. In a!! of these, a cut of the Oscar statuette can be inserted to point up the Academy Award-win- ning calibre of the players. EXPLOITATION PICTURE An outstanding selection of stills, some of which are pictured aouve, highlights the selling facets that abound in 20th Century-Fox's "Deadline — L.S.A.". The slambang action and suspense, the authenticity that surrounds the newspaper background for the story, the Academy Award winning stars Humphrey Bogart and Kim Hunter — all are given eye-arresting shots for a powerful display factor. DEADLINE — U. S. A. Hollywood has taken a great deal of censure, especially from indignant newspaper people, for its depiction of members of the rourth Estate. Many have called it responsible for the average layman's impression of the newspaper office and its personnel ;is a bunch of gin-swigging, brim-up, "follow-that-cab" upstarts who yell at their ulcerous editor and are continually fired and rehired. I ndoubtedly, the movie-makers must share the blame for this canard, but no more so than other dream merchants. Novelists, playwrights (Ben Hecht's stage play, "Front Page'*, was the Big bertha), even newspaper people themselves, have chosen tin?- colorful characterization as the epitomy of the member of the press. So much so, that the color has been drained and only the caricature remains. It is really news, then, that a movie giving an honest ac- count of the working press — its dignity, it technicalities and its responsibility to the people— is presented by 2()th Century-Fox. I nder the direction of former newspaperman Richard Brooks, who worked from his own screenplay, producer Sol C. Siegel has presented an authentic drama of a newspaper editor s battle against corruption in '■Deadline — I .S.A.". The sterling cast, headed by Humphrey Rogart. makes the story crackle. Rogart is seen as the editor who follows his credo of courage and public responsibility even (hough he knows his newspaper is about to be sold and his life is threatened. Kim Hunter adds another laurel to her series of dramatic accom- plishments as the wife who could not share a newspaper as her rival, and Ethel Rarrymore, as the paper's publisher who is stymied by her family's selfish interest, gives her usual solid characterization as the head of a supporting cast that lists no less than 43 individual credit;-. Stale Scenario Stymies "Mara Maru', Say N.Y. Critics Warner's adventure saga "Mara Maru" sailed a stormy sea of criticism when re- viewed by the N. Y. scribes. It was almost unanimously agreed that the film is an ordinary rehash of melodramatic situations that have long grown stale. In their opinion, Flynn and company were unable to over- come a dull, hackneyed screen play, and the result was a run-of-the-mill action meller. The Times' Bosley Crowther caustically observed "The gobbledegookish title ... is not the only obscure and unexciting thing about this stale adventure film". He finds that the "wholly improbable build-up of a criss-cross of rivalries ... is bleakly con- fused and grossly tiresome . . . hackneyed and cheaply emotionalized". Otis L. Guernsey, Jr., in the Herald- Tribune followed in the same vein with "For all its blood and intrigue, 'Mara Maru' is a stagnant thriller containing more sham than excitement". As far as he was concerned the film "does everything that has been done to death before on the screen". "Course is about par for Errol Flynn when everyone, including Mr. Flynn, is keeping things around average," wrote Alton Cook in the World-Telegram. He closed with this parting shot, "If you happen to suggest the picture to any member of the family exclude yourself." The Journal-American's Rose Pelswick greeted the film with "an energetic adven- ture yarn that doesn't miss a trick". Her critical eye found that "the goings-on may not be entirely clear, but they never lack for action". Only Irene Thirer's review in the Post approached any measure of enthusiasm. "Mara Maru" struck her as "An exciting ad- venture film whose earlier1 reels, however, don't compare with the thrill packed footage of its last half". ENCORE' PARAMOUNT PICTURES "While the stories presented in this pic- ture arc clever and diverting little bits, touched with a sly, ironic whimsey and most adroitly played, they are obviously super- ficial, beneath the ordinary skill of Mr. Maugham, and at least in the case of one of them, completely commonplace." — Crowther, N. Y. Times. "British producers have repeated the formula and scored once again ... As in the previous pictures, the accent is on charm and wit, literate writing and expert casting." — Pelswick, N. Y. Journal-American. "Excellent (Movie Meter Rating) . . '. The many who enjoyed 'Quartet' and 'Trio' will not want to miss 'Kncore', and the few who didn't sec them might as well start now and work back." — Winsten, N. Y. Post. "The vein of Somerset Maugham is run- ning about as rich as ever in 'Encore' ... It sets a cunning balance of humor and more substantial drama." -Cook, N. Y. World- Telegram. 18 "QUOT6S" What the Newspaper Critics Say About New Films "Slick and professional job of short story presentation on the screen . . . 'Encore' has neither the texture nor the bite of the best parts of its predecessors . . . Stories do not seem to have any special cinematic quality justifying their choice for film production." — Guernsey, N. Y. Herald Tribune. 'BEND OF THE RIVER' UNIVERSAL-INTERNATIONAL "Bang-up westerner packed with . . . enough action to stock half a dozen Western- ers, and it's all spun out against one spec- tacular out-door setting after another!" — Pelswick, N. Y. Journal-American. "Good plus (Movie Meter Rating) exciting picture which refinej and improves the out- door action formula . . . Grabs your attention and sympathy, and it holds them. It's a good one for the whole family to enjoy." — Winsten, N. Y. Post. "Actors are first-rate performers when it comes to slinging guns and giving a general impression of cryptic personalities . . . Scenery is good in Technicolor and the fightin' is frequent and bold ... A present for the Western outdoor fans." — Crowther, N. Y. Times. "Rugged, exciting . . . film is a pictorial joy, photographed entirely in the picturesque mountain region . . . Wild tale but told with more conviction than these outdoor melo- dramas usually achieve." — Cook, N. Y. W orld-Telegram. "Situations are a bit unusual but the con- flicts take place along traditional lines in a simple, hearty Western style . . . put to- gether out of a little bit of plot, a lot of action." — Guernsey, N. Y. Herald-Tribune. FAITHFUL CITY' RKO "Picturesque and frequently compelling drama . . . excellently photographed and per- formed with restraint . . . Traces the reha- bilitation of a group of Jewish war orphans against the hectic background of the new- born state."— H. H. T, N. Y. Times. "Treated as a propaganda film, (it) is a good job . . . Makes a strong point of ihe plea for solidarity . . . Film makers have a good point in presenting such a specialized movie as 'Faithful City' to American audi- ences."—Pihodna, N. Y. Herald-Tribune. "Good (Movie Meter Rating) . . . the Palestinian picture is grim — yet hopeful . . . Exteriors have charm; interiors are simple, and the general atmosphere is warm." — Winsten, N. Y. Post. "Warm, human, often poignant film . . . Passages of truly compelling emotion, as well as melodramatic ones . . . Photography is fine and the direction is frequently subtle and always effective." — Cook, N. Y. World- Telegram. "Poignant drama . . . Sincerity and under- standing have gone into the making of the film whose actors are for the most part non- professionals."—Pelswick, N. Y. Journal- American. JACK AND THE BEANSTALK' WARNER BROS. "Good (Movie Meter Rating) . . . There is far more pratfall than whimsy. However, there is not a real lack of the latter . . . Plenty of hilarity — if you're willing to allow the boys to do it their way." — Thirer, N. Y Post. "Spotlight is on the pratfalls and mayhem that Abbott and Costello concoct. They have not refined their particular brand of slap- stick to any great degree, and the improve ment can he traced mainly to their choice of a story." — O. A. G., N. Y. Times. "Picture doesn't begin to approach the calibre of 'The Wizard of Oz' ... It is short on spontaneity and imagination, and it i| grievoulsy burdened with some singular); wooden performances. But it is frequenth funny in a highly visual sort of way ane there is plenty of action." — G. A., Heralr Tribune. "Photographed in bright SupercineColoi and dotted with diverting gags, songs an' dances, the film gives Costello every chanci to do his characteristic clowning." — Pels wick, N. Y. Journal-American. "Adult reaction to this film may deper.' largely on the warmth of sentimenta memory which may object to violent man handling of the old story, even though it i plot is still there. Children . . . are sure t< greet it with high glee." — Cook, N. Y World-Telegram. 'AT SWORD'S POINT' RKO "Dumas' durable set of musketeers havj been given a new touch in their latest ap, pearance . . . This is not the most flattering appearance the musketeers have made, but they probably will have another chance t do better in a new picture before long."-| Cook, N. Y. World-Telegram. "An amusing swashbuckler, a successio of duels, captures, escapes and they-wentl thataway chases in costumes and Technl colors." — Pelswick N. Y. Journal-American "Fair plus (Movie Meter Rating) swasl buckler . . . Fast action with deft duelini and stern-lipped Cornel Wilde right in thei swinging as Doug Sr. used to do , an Maureen O'Hara gorgeous in Technicolo; too, showing a swift sword." — Thirer, N. Mi Post. "Able-bodied men . . . give a mighty fir] exhibition of athletic prowess, swinging r chandeliers, jumping over tables and fightini a whole platoon of dragoons. What til sle>ry lacks in coherence, it makes up t| some extent in movement." — Pihodna, N. 1 1 1 erald Tribune. "Assemblyline mixture e>f thundcrirj hoofs, bobbing plumes and clashing rapiel ... so woodenly designed ami enacted th even the stanchest adventure rooters a likely to flinch between rounds." — H. H. 'I N. Y. Times. MAY 5 , 19 ,Y#*##".v anil Opinion (Continued fiom Page 6) features arc being planned at an average cost of $1,1()(),(XX). It was noted that during last year the company, in preparation for the divorcement of its theatre holdings on July 13, 1951, re- tired in full all of its outstanding prior pre- ferred and convertible preferred stocks, re- quiring about $11,400,000 in cash to reduce the working capital substantially. Capitali- zation of the corporation now consists solely of 2,769,485 shares of common stock at $35.72 per share. The consolidated funded debt was reduced during the year by approxi- mately $3,300,000, with an additional $3,000,- 000 expanded for additions to fixed assets. Large Screen TV In All Theatres Seen by TNT's Halpem The stress was on the "T" in SM PTE's 71st semi-annual convention in Chicago during the five days of meetings which ended April 25th after a record-breaking series of 54 addresses heard by the Society of Motion Picture and Television Engineers. It was the most comprehensive view of television in the Society's history. Biggest gun — and the one most vital to the nation's exhibitors — was sounded by Theatre Network Television's Nathan L. Halpern. TNT's president saw the current 75 theatres ecpiipped with large screen TV in 37 cities expanded eventually to embrace every theatre in the country. The compara- tively rapid growth in the past year is only the beginning, Halpern said, despite an im- pressive increase of 600 per cent in seating capacity of TV-equipped theatres. Halpern gave some other interesting figures. Overall average attendance for all theatres on six prize fights for theatre show- ings by was 87 per cent of capacity. On several of these matches, the number of people turned away exceeded the seating capacity of the houses. The early losses in theatre TV, relatively small compared with experimental years in other fields, Halpern said, could be attri- buted to three factors: the small number of theatres sharing the cost of big-time at- tractions; the early tendency of some exhi- bitors to market their theatre TV attractions as a bonus with the feature movie without increase in admissions, and the lack of a regular year-round flow of program and pro- motions. He blamed the American Telephone and Telegraph Company for lack of sufficient distribution facilities, calling the "telephone situation a difficult road-block to the rapid growth of theatre television". However, he said the telephone companies have shown "an increasing understanding of theatre TV needs" and anticipated that AT&T would free more facilities for the medium. SMPTE president Peter Mole conducted the meetings. FILM BULLETIN WILLIAM GOLDMAN "/ Hate Bidding" Goldman Asks 'Moratorium On Apathy' By Movie Industry "A moratorium on apathy" was called for by W illiam Goldman, Philadelphia theatre- man who has made a bit of industry history in the course of his battles with distribution and the big affiliated circuit powers. Launching an attack on competitive bid- ding during a testimonial dinner by Phila- delphia's Motion Picture Associates to honor branch managers of all the film companies, Goldman lashed out at the practice as "vicious", saying that it offers a field day for the "manipulators". Even the distributors, he said, have decried bidding, but are doing nothing about it. He cited the statement by Adolph Zukor, Paramount board chairman, that competitive bidding has been a bigger factor in the business drop than the impact of television, "and yet Paramount keeps ask- ing for bidding", Goldman declared. The theatrcmen also unleashed a veiled attack on the Warner Bros, chain as he re- lated a biblical parable of 'three brothers" whose fig orchard withered and died because of their failure to nurture it. Having insti- tuted a newspaper ad campaign against ad- vanced admissions on film that he felt do not merit the higher prices at a time when the Warner houses were running such shows, Goldman followed this up with a blast against unsuitable roadshows. Advance ad- missions on such films are a dominant factor in reducing the public's good will, he said. Reviewers who pan pictures "because the films fail to live up to their long-hair standards", also came in for barbs from thq theatreman. There are few pictures pro- duced, he said, that do not contain some elements of entertainment for a theatre's patrons. He advocated that exhibitors use their own ingenuity in setting up campaigns in order to offset the "uncertainty, monotony and inertia" that has characterized the in- dustry in -the past few years. Heading the large Universal contingent at the alfair, Al half, worldwide sales manager, also took exhibitors t<> task for failure to maintain their theatres properly. Some bouses, In- said, are "a disgrace to this in- dustry". William (ichriiig, 20th Century-Fox ex- ecutive assistant sales manager, appealed for unity ami stress,-, | the importance of an arbitration system that will relieve the in- dustry of lawsuits. Branch managers honored included Lester Wurtele, Columbia; Jack Engel, Lippert; Lou Formato, MGM; Max Gillis. Mono- gram; Ulric Smith, Paramount; Norman Silverman, Republic; Charles Zagrans, kko; John Turner, United Artists and William Mansell, Warners; Sam Diamond, 20th- Fox and J OSepfa Leon, Universal, were unable to attend. WB Sets Sales, Promotion When Shooting— Blumenstock Warner advertising-publicity chief Mort Blumenstock, came East to explain why he went W;cst to set up his headquarters. The explanation made good sense for Warner Bros, and the salespeople Blumenstock ad- dressed at the company's divisional meeting in Pittsburgh. Briefly, the answer was long range pro- motion, according to Blumenstock. "Right now," he said, "we are planning our merchandising of product from the very moment the pictures which you will be dis- tributing go into production." Ad-publicity plans are now in process for all WB pictures currently before the cameras, he added. Today's competitive market, Blumenstock declared, makes it imperative that earlier and more intensive merchandising efforts be expended than ever before. He named "greater stress on exhibitor sales promotion and greater emphasis on consumer informa- tion about our forthcoming product" as major factors. Both Blumenstock and Ben Kalmenson, distribution vice-president, went on to Chicago for the Western divisional sales meeting for the last of the regionals. RKO Theatres Nets $1,322,000 In First Year; Grosses Down RKO Theatres Corp. in its first year as an independent circuit earned $1,322,000, de- spite a nine per cent drop in its gross box office receipts from 1950. Of the 1951 earn- ings, $1,122,500 was derived from operations of the company's 92 theatres and $199,500 from sales of capital assets. This was re- vealed in RKO Theatres president Sol A. Schwartz' first annual report to stockholders of the newly divorced corporation. Noting that comparative figures were on an estimated basis, since the previous vear's (Continued on Page 20) 19 JMotvs antl Opinion (Continued from Page 19) figures constituted a part of RKO Corpo- ration's operations, Schwartz figured that had the company operated independently in 1950, its earnings would have come to $1,195,- 000. Gross receipts were $29,550,000 in 1951 as against $32,300,000 in '50. Three RKO theatres— in New York-, Washington and Cleveland— are equipped with large screen television and two more are currently being installed in Cincinnati and New York. Schwartz said the company was "proceeding slowly" in TV installations because of constantly new technical improve- ments and the limited number of current at- traction available for theatre presentation. Round Table to Poll All What every exhibitor in the country thinks about production, promotion and presentation of motion pictures will form the basis for discussion at the second COMPO Round Table. 'The Round Table is an all- industry panel discussion for an interchange of ideas directly among representatives of each branch of the industry. The first COMPO forum was held last summer. The country's exhibitors will be polled on their opinions in a survey designed to obtain a complete picture of current exhibitor opinion, it was announced by H. V. "Rotus" Harvey, head of Western Theatre Owners and chairman of the Round Table Com- mittee. Because of the time needed to compile the results of the survey, Harvey said, the Round Table will be postponed until next fall. It was originally scheduled to be held in Holly- wood for three days beginning July 25. High Court Refused to Hear Milgram Case Opens Suit Gates 'The distributors received the U. S. Su- preme Court's refusal to review the Milgram drive-in case with shaking heads. They had presented what they considered foolproof arguments in citing other court decisions that were in direct contradiction to the finds in the Allentown, Pa. drive-in suit, but the high tribunal's refusal to hear the appeal left them aghast. Briefly, the case centered around David Milgram's charge that the majors had con- spired to keep first-run product from his Allentown drive-in. 'The distributors appeal, after the Pennsylvania Federal Court had ruled conspiracy in violation of the anti-trust laws, was centered on the point that the lower court had used "past proclivity to un- lawful conduct" as a dominant factor, along with a bias! against the implication that the companies4 so-called individual decisions not to supply first-run product constituted a con- spiracy. They called the decision by the lower court "so arbitrary that it should shock the conscience of this court", but the 'Third District Appeals Court upheld the lower court's findings of "guilt by inference". 20 HELEN KELLER Variety's 1951 Humanitarian Helen Keller Named 1951 Variety Humanitarian Winner 'There lias never been any question as to the worthiness of the 11 persons who had received International Variety Clubs' Hu- manitarian Award. There wasn't any question this year, either. Last week, when the entertainment in- dustry organization held its 16th annual con- vention in Las Vegas, April 28 through May 1, a great lady whose name is synonymous with courage, wisdom, determination and, above all, humanity, was the recipient of the Humanitarian Award — Helen Keller. 'The little girl who overcame the triple handicap of blindness, deafness and muteness to become an inspiration over the years to millions of afflicted people throughout the world, was named by a committee of over 70 newspaper and magazine publishers and editors who vote each year for the winner of the coveted award. Meanwhile, the hundreds who flocked to Las Vegas to combine business with pleasure at the annual shindig hear what "the heart of show business" was doing in each of the "tents" in this country and abroad. The "Heart Reports", as chief barker Marc J. Wolf put it, are the "less publicized activi- ties" of Variety and are "an example of good fellowship at work — in a democratic way. Tor each tent selects its own Heart work. F.ach tent operates that Heart work as it sees fit, in accordance with its abilities to keep faith- with the Variety ideal, the ideal which saw the first 'Tent spring into exist- ence at Pittsburgh to care for an abandoned child". But with a town like Las Vegas to house the goings-on, there was little doubt that a full quota of fun would be consolidated with the more serious business. BBC Finds TV Fans Low On Green and Gray Matter The more money you have and the greater education, the less time you spend watching television, if TV viewers in this country correspond to the British variety. According to a survey by the British Broadcasting Company, involving 3000 families and 1400 other groups and individu- als, both money and education have a definite bearing on television set owners. The survey uncovered some interesting facts and one rather startling finding: • In families with similar income but dif- ferent levels of education, the less educatec will get their TV set first. • Seventy per cent of adults who spent the most time looking at TV left school by the age of 15. • Children stay home more and stay ui later than before TV, averaging six hours week watching the set, with 15-year-olds the most avid addicts, averaging 7^2 hours weekly. Adults average four hours in TV viewing. • And — here's the shocker — by the end o 1950, 50% of all television set owners were persons earning less than $22.40 per week How much of that could go for movies: McCarey Strikes Back At N. Y. Scribes On 'My Son John The controversy that was expected to de- velop from Leo McCarey's production fo Paramount, "My Son John", took a new twist as the producer-director came East tc defend himself against what he termed "uti just, erroneous and false" motives allegedly attributed to him by New York newspapei critics. Since the newspaper critics in other citic are "swayed" by the New York scribes' re views, McCarey felt it important enough l( come to the Big Town personally to chal- lenge the critics. He said he had no quarre with the scribes' right to print whatever the\ wished to say about the picture, but lit questioned their right to impugn his motives McCarey quoted such terms as "bigot' and "dangerous thinking" attributed to hin by the critics, although lie would not specif) those individuals or papers with which hi took issue. He said he had not yet decidei the course of action he would take in com batting the critics' attack. Meanwhile, several national organization; "got into the act". The American Lcgiot backed the film as a strong weapon agains Communism. The Protestant Motion Picl ture Council, General Federation of VVomcn'j Clubs, the Parents-Teachers National Council and others in a group that comprise a joinl estimating forum on current films, felt thai the handling of the "message" was overj simplified. One of the group, the America Jewish Committee deplored the film's lacll of "sufficient distinction between a Com| "it and a Liberal". MAY 5 , 195: 'lODUCTIOn ,R€L€AS- R6CORD COLUMBIA In the Release Chart, "Rel." i$ the National Release Date. "No." is the release Number. "Rev." is the issue in which the Review appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1951-52 programs unless otherwise noted. Listing of color pictures follows immediately after title: (T) Technicolor, (C) Cinecolor, (SO Supercinecolor, (TR) Trucolor, (AC) Ans- color, (NO Natural Color, (WCI WarnerColor. 1-52 Features Completed (58) In Production (5) Serials Completed ( 3) In Production (0) RELEASE CHART — 1951-52 — PRODUCTION TITLE — Running Time Oy Ooien. The f 0 Fingers of Dr. T., The Glanders, The IT) iifinder. The IT) Ujon Team - - CiMPLETED Hiir In Trinidad * che Country 142) A gnment — Paris I sed Wire - _ I .foot Mailmen, The ISC) (83) _ fits Malone 1 103) I ple Creek IT) _ -Mth Of A Salesman (III) t-oean Edition f:.ily Secret. The (85) f fighters. The f't Time, The (89) F (93) ... f ■ Poster, The _ ©den Hawk, (T) frnpy Time, The *iem Girl, The (70) ♦Hlem Globetrotters, The (80) . W/k of Wild River, The (54) ► Wonderful Lie Iran Uprising ISC) (75) Jgle Jim in the Forbidden Land (45) J gle Manhunt (44) ._ J lie Safari K From Amarillo (54) Kga, The Wild Stallion 145) Reissue Ly and the Bandit, The (78) Ljmie Mountains 154) U- Train From Bombay ... .. __ _. fcjic Carpet (C) (84) *jic Face, The 189) ♦Ji In the Saddle IT) (87) •Jrying Kind, The (93) U>. The (87) ti Six Convicts 1 104) Nht Stage to Galveston (41) Qiawa (47) _ .. .... C West, The 141) .... fjla _ •os River 154) ... ... flee of Pirates (T) _ _ . Pale Heart Diary (73) Ribow Round My Shoulder (C) l>rs of the Whistling Pines *gh, Tough West Sire and the Arrow, The IT) Sjrday's Hero (III) Sndal Sheet 182) SJ>ky Canyon (55) *er, The (87) S of Dr. Jekyll (78) Sjnd Orr 183) _ J Tall Men (T) (97) f:f of Damascus, The IT) (78) V)ey of Fire IC) (42) V Cry IC) Mistle at Eaton Falls, The (94) lik in Indo-China, A 147) . Cast Colleano-Franz Hayes-Healy Scott-Jarman Montgomery-Carter Autry-Buttram Rel. No. Rev. 5-52 Hay v/o.th-Ford Autry-Buttram . Andrews-Toren Autry-Buttram R. Cummings-T. Moore 11-51 Holden-Clements 12-51 Jon Hal! . _ Dexter-Lawrence Louis Hayward Simmons- Howard McGuire-Meore . O'Brien-Wyatt 404 419 1-14 5-52 10-8 10-51 2-52 12-51 2-52 10-51 Montgomery-Booth March-Dunnock Glen Ford Derek-Cobb Williams-Reynolds Cummings-Hale S. Douglas-W. Phipps Harrison-Palmer ... Fleming-Hayden Boyer-Driscoll Davis-Castle 2-52 Gomez-Dandridge ......11—51 Starrett-Burnett 2-52 Kiepura-Eggerth 412 423 9-10 1 2-3 i 414 424 371 2-1 I 422 345 1-28 417 Montgomery-Long 1—52 Weissmuller-Ryan 3-52 Weissmuller-Ryan ... 10-51 411. Weissmuller-Greene I 1-5 9-51 337 4-52 1 0-5 I 9-51 12-51 4-52 Starrett-Barnett 4-52 Stone-Hudson 2-52 Hay ward-Medina Starrett-Burnett Hall-Ferraday Ball-Agar Adler-Knight Scott-Leslie Holliday-Harrison B. Crawford-Buehler 10-51 Beel-Mitchell 3-52 Autry-Buttram 3-52 O'Brien-Mitchell Autry-Buttram Young-Smith Starrett-Burnette Derek-Rush F. Langford-T. Romano Laine-Daniels All try-White 9-10 410 402 ... 420 .... 10-8 407 9-24 3-52 ......... . 3- 52 .475 4- 52 12-51 404 12-17 12-51 421 Starrett-Burnett __ Crawford-Hale Derek-Reed .9-5 1.. -318- .8-27 1-14 483 409 10-22 Crawford-Derek . 3-52 Starrett-Burnette ... _ 1-52 Menjou-Franz . 5—52 Hayward-Knox 11-51 Mickey Rooney 5-52 Lancaster-Lawrence 12-51 413 Henreid-Sutton 4-52 4-7 Autry-Barnett 1 1-51 353 1 1-19 Montgomery-Long Bridges-Gish 8-51 322 8-13 Archer-Dick 5-52 (51-52 L I P P ERT Completed (32) In Production (I) I PRODUCTION TITLE — Running Time I y in the Fog >MPLETED * You Were Idit Queen ' Girl (741 ' Men Only (93) "■■at Adventure, The (75) _ I I gate ' hly Dangerous (81) -gle. The »e It To The Marines 144) U Shark (79) •i Bait (78) Wio (70) .... flaw Woman (C) (75) !ite Submarine 149) ;len Face, The (71) RELEASE CHART — 1951-52 — Cast Romero-Maxwell Rel. No. Rev. ..Tracy-Sawyer .Britton-Parkar Romero-Totter P. Henreid _ Price-Hawkins _ .. Hayden-Leslie Clark- Lockwood Cameron-Romero .. S. Melton-M. Lynn Raft-Hart Brent-Chapman Indian Cast ..Windsor-Rober _ ..Special Cast .. Henreid-Scott 10- 5 .5023. .12-15 5«I0. .10-24—5002. 1- 52 5102 1 1- 2 5021 7-4 5 1 1 3 .10-12 5029. 4- 27 5112 9-2 5005 5- 23 5111 _ 1-52 5103 2- 52 ...5104 _ 5-2 5105 7-18 5110 4-4 5109 10-19 1-28 .2-1 I Stronghold (73) Sky High 1401 Superman and The Mole Men 158) Tales of Robin Hood 159) Unknown World 143) . Tiger Man Valley of Eagles 1831 Wings of Danger 172) Lake-Scott S Melton-M. Lynn Reeves-Coatei Clarke-Hatcher _____ Kellogg-Nash Warner-Gray Z. Scott 2-52 10- 19 1 1- 23 12- 21 10-24 4-52 4-25 4-1 5107 5024 . 5030 5008 5101 . 5108 5114 5104 METRO-COLDWYN-MAYER 1951-52 Features Completed (82) In Production (6) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Letter From the President Lili Plymouth Adventure (T) Prisoner of Zenda IT) You For Me COMPLETED Across the Wide Missouri IT) 178) American in Paris IT) (113) Angels in the Outfield 1102) Because Your Mine Belle of New York 181) Bannerline 188) Callaway Went Thataway 181) Calling Bulldog Drummond (80) — Carbine Williams 1 101) Devil Makes Three, The Eagle On His Cap Fearless Fagan Girl In White. The 193) _ _ .- Glory Alley (82) Holiday for Sinners Hour of Thirteen. The Invitation 1851 It's A Big Country (89) I vanhoe I T) ..... Just This Once (90) Light Touch, The 193) Lone Star 194) _ Love Is Better Than Ever (81) Lovely To Look At IT) Man With A Cloak (88) Merry Widow, The IT) Mr. Congressman Mr. Imperium (T) (87) One Piece Bathing Suit IT) _ Pandora and the Flying Dutchman (T) (123) Cast Winters-Montalban Caron-Ferrer Tracy-Tierney Granger-Kerr Lawford-Greer Gable-Hodiak _ . Kelly-Caron Douglas-l eigh Lania-Whitmore Astaire-Vera-Elli n Forrest-Braselle MacMurray-McGu ' Pidgeon- Leighton Stewart?Hagen Kelly-Angel! Taylor-Parker Leigh-Carpenter Allyson-Kennedy Caron-Meeker Young-Rule Lawford-Addams McGuire-Johnson ..All Star R. Taylor-E. Taylor Leigh-Lawford Grainger-Angeli Gable-Gardner E. Taylor-L. Parks . Grayson-Skelton Cotten-Stanwyck _ ..Turner-Lamas Johnson-Neal _Turner-Pima Williams-Mature Rel. No. Rev. Oct 208 10-2] Nov 9-24 Sep 202 8-27 3-52 223 2-25 Oct 204 9-24 Dec 214 12-3 Dec 213 5-52 4-21 8-52 5-52 5-52 7- 52 4-52 2- 52 1- 52 8- 52 3- 52 Dec 2- 52 4- 52 7-52 Oct 200 215 224 2!2 222 225 207 1-28 12-17 I- 28 II- 5 10-22 7-52 Sep . 203 Pat and Mike People Against O'Hara (102) Quo Vadis (T) (171) Red Badge of Courage 149) Scaramouche IT) Sellout, The (72) Shadow in the Sky 178) ... _ Singin' In The Rain IT) 1 103) Skirts Ahoy IT) (109) Strip, The (85) Talk About a Stranger (45) Texas Carnival IT) (77) Too Young To Kiss 191) Westward the Women 1114) When In Rome 1781 Wild North, The 197) Young Man With Ideas (84) . Mason-Gardner Tracy-Hepburn Tracy-O'Brien Taylor-Kerr Murphy-Mauldin S. Grainger-E. Parker . Pidgeon-Totter Meeker-Da vis- Whitmore Kelly-O'Connor William-Blaine - . Rooney-Forrest Murphy-Davis Williams-Skelton Ailyson-Johnson Taylor-Darcel ... Johnson-Douglas Granger-Corey Ford-Roman 10-22 MONOGRAM - ALLIED ARTISTS 1951-52 Features Westerns Completed (43) Completed (16) In Production ( I ) In Production (0) IN PRODUCTION TITLE — Running Time Rose Bowl Story, The (C) COMPLETED African Treasure .. ... Aladdin and His Lamp (C) (47) Artie Flight _ Bowery Leathernecks Counterfeit RELEASE CHART — 1951-52 — Cast Thompson-Miles Crazy Over Horses (45) Dead Man's Trail Desert Pursuit Elephant Stampede 171) Flight to Mars (C) (72) Fort Osage (C) (72) Gunman, The Hold That Line 144) Jet Job 143) Kansas Territory (73) Lawless Cowboys (58) — Longhorn. The (70) . Sheffield-Luez .._.Medina-Sands Morris-Albright Gorcey-Hall _DeFoe-King Gorcey-Hall _ -Brown-Ellison Morris-Caruso Sheffield Rel. No. Rev. 8-24 5204 4-52 5207 l_S2 5299 3-10 7-70 5210 .11-18—5114.. Chapman-Mitchell .Cameron-Nigh .Wilson-Knight Gorcey-Hall 1 1-18.. 7-4 5-52 10- 29 11- 11.. 2- 52 4-13 3- 52 . . Clements-Verdugo _ - 3-23 Elliott-Stewart 5-4 _Wilson-Knight 1 1-7 _Elliott-Coates 11-25. 51 14 5243 . 5209 _ -51 10 _ .5103 _. 5102 5252 . 521 1 _ 5215 . 5225 . 5 1 55 5223 _ 2-11 11-19 1-28 I L M BULLETIN 21 Man from Black Hills (78) Brown-Ellison Mexican Silver Wilson-Clyde Night Raiders - Wilson-Knight 3-52 5242 . Northwest Territory (61) Plow Jockeys Rodeo IC) 171) rexas City Stage to Blue River (54) Steel Fist. The (73) Texas Lawmen (541 Texas Marshall Trail Dust Vicious Years, The (79) .. Waco 168) Wagons West (CI Whistling Hills (58) Wild-Stallion (C) Witness. The ._ 2-52 , 5251 Grant-Chinook . 12-' Gorcey-Hall 9-14 5213 Jane Nigh 3-9 5104 Wilson-Knight 12-30 McDowall-Miller 1-52 Brown-Ellison 1-52 Brown-Ellison 12-2 Wilson-Knight 5217 5241 3-10 Albright-Winters Cook-Moore _ _=l I iott 1 2-3 1. -.51 07- .2-18 2-52 5224. . Cameron 4-29 ..Brown-Ellison 10-7. ..Johnson-Hyer 4-27.. ..Kirkwood-Gleason _ 5203 5145. 5205 ALLIED ARTISTS Disc Jokey (77) Highwayman, The (C) (83) Simms-O'Shea .... Hendrix-Coburn 8-23 9-8 21 4-18 20 8-27 PARAMOUNT 1951-52 Features Completed (64) In Production 13) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Come Back Little Sheba Lancaster-Booth Stalag 17 Holden-Taylor Tropic Zone IT) Reagan-Fleming .... Rel. No. Rev. 5119 5117 5120 COMPLETED Aaron Slick from Punkin Creek(T) (95)Shore-Young 4-52 Anything Can Happen (107) Ferrer-Hunter 5-52 Atomic City. The 185) Barry-Clarke 4-52 tig Timber (T) Payne-Moorhead Botany Bay (T) - Ladd-Mason Caribbean Gold (T) Pa^ne-Dahl — Carrie Olivier-Jones 4-52 _ Darling, How Could You (95) Fontaine-Lund 11-51. — 5108— Denver & Rio Grande IT) (89) O Brien-Hayden : 4-52 5115 Detective Story 1103) Douglas-Parker 11-51 — 5111 Encore Maugham Stories 7—52 Famous IT) ... Crosby-Wyman — Flaming Feather (T) 177) S. Hayden-G. Russell 2-52 5118 5130 .8—13 4-7 IO-« 12-31 1-14 Greatest Show On Earth (T) (151) Stewart-Hutton 7-52 Green Gold of Nevada (T) Payne-Morrow Hong Kong IT) (92) Reagan-Fleming 1-52 5109 Hurricane Smith (T) DeCarlo-lreland Jumping Jacks Martin-Lewis Los Alamos Barry- Carke Military Policeman .„._ Hope-Maxwell — My Favorite Spy (93) _ Hope-Lamarr 12-51 5110 10-22 My Son John (122) Hayes-Heflin 4-52 5114 4-21 Place in The Sun. A (122) Clift-Winters 9-5l._ 5102 7-30 R««. of the Vulture, The Ladd-Kerr Red Mountain IT) (84) Ladd-Kennedy 5-52 5113 Rhubarb 195) ... _ Milland-Sterl'ng 9-51 5103 t-13 Sailor Beware (102) Martin-Lewis 2-52 .5114 12-17 Samion and D.lilah (T) (128) Lamarr-Mature _ Savage, The IT) _ Heston-Hanson . Shane IT) Ladd-Arthur . Silver City (T) (901 DeCarlo-O'Brian Somebody Loves Me (T) Hutton-Meeker .3-51 5010 11-21 7-52 1 2— K I 5112 10-8 Something To Live For (90) Fontaine-Milland 3-52 5105 2-11 Son of Paleface (T) Hope-Russell 8-52 Jtaoge, The Martin-Lewis 11-52 . . Submarine Command (89) Holden-Olson _ 11-51 ...5107 9-24 That s My Boy (98) Martin-Lewi, 8-51 S024 7-2 This Is Dynamite War of the Warlds Warpath 195) (T) When Worlds Collide (82) IT) _ (T) . Holden-Smith 11-52.. Barry-Robinson O'Brien-Jagger J— i I ■ Derr-Rush 1 1-51 .5025 .5104 -4-18 9-24 REPUBLIC 1951-52 Features Serials Westerns Completed Completed Completed 18) 0) n ) In Production ( I ) In Production (0) In Production ( I ) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Toughest Man in Tombstone (Tr) Monroe-Leslie COMPLETED Adventures of Captain Fabian (1001 E. Flynn-M. Prelle Rel. No. Rev. Bal Tabarin Hack HilK Ambush corder Saddlemates Captive ot Billy the Kid 154) Colorado Sundown 147) Dakota Kid. The 140) Desert of Lost Men I5«) Don Daredevil Rides Aga.n Fabulous Senorita, The 180) Flight from fury Fugitive Lady 178) Gobs and Gals Honeychile (Tr) (89) Hoodlum Empire 198) I Dream of Jeanie Lady Possessed 1871 Last Musketeer, The (47) 11 Lawrence-Ching Lane-Waller 10-4 5101 10-8 5-20 Allen-Kay 4-15 Lane-Edwards 1-52." 5143 5064 Rex Allen 2-52 5141 Chapin-Janssen 7-| 5047 L^ne 11-19 5043 1—14 Curtis-Towne 4-| 5084 Estelita-Clarke 4-| 5 1 25 Edwards-Clark . Paige-Barnes . 7- IS 501 1 7-30 Downs-Hutton 5-52 5128 - Canova-Foy _ 10-61 5121 _ 12-3 Donlevy-Trevor 4— 1 5 5105 Middleton-Shirley ■lason-Havoc | —52 Allen-Kay 3-52 5104 5142 Leadville Gunslinger (541 Minnesota Lane-Riley 3-52 5171 .Cameron-Hussey Canova-Russell 3-24 5122 Oklahoma Annie (C) (90) Old Oklahoma Plains _ Allen-Kay .1 Pals of the Golden West (48) Rogers-Evans 12-15... 5152 2-1 Quiet Man, The IT) Wayne-O'Hara Rangers of the Golden Sage Chapin-Janssen ..] Ride the Man Down - Donlevy-Tucker J Sea Hornet, The (84) Cameron-Booth 11-4 10-1 South of Caliente 47) — Rogers-Evans _ 10-15 _.5I5I..._ I l-l Stormbound Dowling-Checchi 12-15 5032 .1 Street Bandits 154) Edwards-Clarke 11-15 _ 5 1 30 12-1 Utah Wagon Trail (47) Allen-Edwards 10-15 ...5054 - II- Wild Blue Yonder (98) -. Corey-Ralston 12-7 5 1 30 ... Wild Horse Ambush Chapin-Janssen Woman In The Dark (40) Edwards-Elliott 1-52 5131 Wyoming Saddle Pals ...Chapin-Janssen 12- RKO RADIO 1951-52 Features Completed (66) In Production (2 RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Hans Christian Andersen (T) Sudden Fear Cast Kaye-Granger Crawford- Pa la nee Rel. No. Rei COMPLETED At Sword's Point IT) (81) . Androcfes and The Lion — Behave Yourself (81) Big Sky. The Blue Veil. The 1114) Cat People (73) Clash By Night Double Dynamite (80) Wilde-O'Hara 2-52 220 Simmons-Young I Winters-Granger 9-51 .204 »-: Douglas-Martin ... Wy man-Carl son 1 0-5 1 _.743 9-1 , , Simone-Smith Reissue 247 .Douglas-Stanwyck .Sinatra-Russell 12-51 214 Faithful City 184) J. Smith-Ramati Girl in Every Port, A 184) Marx-Wilson Half-Breed, The (T) Young-Carter Hot Lead (40) Holt-Martin 1-52 214 10-51 209. Hunchback of Notre Dame (117) Laughton-O'Hara Reissue 246.. I Want You (101) Andrews-McGuire 1-51 .....101.. Jet Pilot IT) (118) Wayne-Leigh - Jungle of Chang (67) ,. Travel 11-51 208... Korean Story, The Mitchum-Tallman Las Vegas Story, The (88) . Macao (81) Narrow Margin (71) On Dangerous Ground (82) On The Loose (74) io-:i 1 1- rj io Overland Telegraph (40) 1,-17 n TL.l TL.!II. T L _ I / '. Russell-Mature 2-52 217— Russell-Mitchum 4-52 224... McCraw-Windsor 5-52 224 ..Ryan-Lupino 1-51 215... -Evans-Earl 10—51 — 202... -Holt-Martin 1 2-5 1 2 1 4 Pace That Thrills, The (43) Williams-Balenda 3-52 213.. Racket, The (89) Mitchum-Scott 11-51 ...210... Ragged Edge, The -Lupino-Ryan _ Rancho Notorious (89) Dietrich-Kennedy 3-52 221 Rashomon 184) Japanese 3-52 248 Road Agent (40) Holt-Martin 3-52 223... Saddle Legion (40) Holt-Martin II7_ Slaughter Train (C) 178) ..Donlevy-Grey 10-51 207.. 10- Snow White and the Seven Dwarfs (T) (83) _ Disney Feature Reissue 292.. Target 140) McGraw-White 4-52 227 Tarzan's Savage Fury 180) Barker-Hart 4-52 225 3- Tembo (80) Documentary 1-52 245 This Man Is Mine Hayward-Mitchum _ — Trail Guide (60) Holt-Martin 2-52 219 2- Two Tickets to Broadway (T) (106) -Leigh-Martin 11-51 244... Il>- Whip Hand. The (02) Reid-Tuttle 10-51 212 — Whispering Smith vs. Scotland Yd. (77) Carlson-Gynt 3-52 222 Wild Heart, The (T) Jennifer Jones - . 20th CENTURY-FOX 1951-52 Features Completed (53) In Production (6 RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Monkey Business My Wife's Best Friend Night Without Sleep Pony Soldier (T) Snows of Kilimanjaro, The ITI Stars and Stripes Forever (T) COMPLETED Anne of the Indes (T) (82) Cast Grant-Rogers Baxter-Carey Darnell-Merrill Power-Edwards Peck-Hayward Webb-Hussey Rel. No. Ret . Jordan-Paget 11-51 5-52 .134 10- Belles On Their Toes (89) Crain-Loy Bagdad on the Subway Crain-Granger David and Bethsheba IT) (116) Peck-Hayward 2-52 203 8- Day The Earth Stood Still, The (92) ... Rennie-Neal 9-51 129 _...»-: Deadline U. S. A. (87) Bogart-Barrymore 5-52 4- Decision Before Dawn (119) Merrill-Basehart 1-51 205 I Desert Fox, The (91) Mason-Young 10-51 130 Diplomatic Courier (97) Power-Neal Don't Bother To Knock Widmark-Monroe Down Among the Sheltering Palms IT) Lundigan-Greer 4-52 Dream Boat Webb-Francis Elopement (82) Webb-Francis 12-51 5 Fingers 1108) ..Mason-Rennie .... 3-52 Fixed Bayonets! (92) Basehart-O' Shea Girl Next Door. The IT) Haver-Dailey Girl on the Bridge, The 177) _. Golden Girl (T) (108) I Don't Care Girl, Tha IT) I'll Never Forget You IT) 190) Japanese War Brida 191) Journey Into Light 107) Kaagarao IT) 141 ll-l 208 3- 12-51 140 12- Haas-Michaels 12-51 139 .._ 12- .Day-Gaynor 11-51 134 II- _Gaynor-Wayne .Powar-Blyth 12-51. 1-52 .10-51- ..O'Hara-Lawford 4-52. .Yamaguchi-P. Taylor .Hayden-Lindfori .142 202 .132. M A Y 5 , 19 5 ■ i Miserable! it i Mai* It Legal (77) . N*tt IM) ure of the Wilderness (T) fdia Bailey IT) (89) lodel and The Marria,. to H'ghway In The Sky l?7) Outcasts of Poker Flat, The 181) eople Will Talk (110) _R*nni*-Pag*t .Colbert-Carey .Haver-Lundigen ... Peters-Hunter — .Robertion-Francii _ lodel and The Marriage Broker! 103) J. Crain-T. Ritter 11-51 . 10-51 hone Call From A Stranger (9ft) . ride of St. Louis 193) ed Skies of Montana IT) 198) _. eturn of the Te«an 187) ose of Cimarron INC) (72) ecret of Convict Lake (83) reasure of the Golden Condor IT) Iva Zapata 1113) _ Stewart-Dietrich Baxter-Robertson - Gra nt-Cra in 1-52 J 0-51 5-52 9-51 .Merrill-Winters 2-52 Dailey-Dru 4-52 Widmark-Smith 2-52 Robertson-Boone 2-52 Buetel-Powers _.. 4-52 Ford-Tierney ... 8-51 Wilde-Smith 3-52 _ Mark of the Renegade IT) (II) . MontalbanCherine 133 - 11-5 Meet Danny Wilson 1881 Sinatra-Winters 131 10-22 No Room for the Groom Curtis-Laurie Pool of London 1851 Colleano-Shew Raging Tide. The 192) Winters-Conte 201 12-17 Red Ball Express Chandler Cabot .121 Reunion In Reno 179) Stevens-Dow Riding Kid. The (T) Conte-Lindfors I2» 9-10 Sally and Saint Anne Blyth-Gwenn 204 1-28 Scarlet Angel IT) DeCarlo-Hudson 211 Son of Ali Baba IT) Curtis-Laurie 207 1-28 Sfeel Town IT) 185) Sheridan-Lund 209 3-10 Strange Door. The 180) Laugnton-Kerloff Texas Man. The IT) Ryan-Adams 121 Thunder On th* Hill 1151 _Colb*rt-Blyth M . Brando-J. Peters 7-52 iva£op2 Seeing [s The Answer To Fear Twenty years ago a great American told his cli-- pirited countrymen they had nothing to fear as much as fear itself, W ith a firm faith in the basic soundness of our democracy, he led the nation from deep, dismal depression hack to the sunshine of national prosperity, lie restored the people's faith in themselves. There's a parallel in the situation of the motion picture industry today. Fear and despair have struck some among us. The woods have grown so dark in the past year or two that many a theatreman has lost sight of the trees. The trees, VOU know, are the good motion pictures, the one?, that offer entertainment so wonderful that nothing can compare. These pic- tures still enjoy succe>» such a> the industry knew in its happiest days. Hut these are crucial days, and there is no point in denying it. Like the nation in the early 30's, our business cries for courageous leadership — and inspiration. Sensing this, sensing the need, above all else, for faith in the future. Metro-Coldw vn-Maver grasped the opportunity of this critical hour to deal a master stroke of showmanship. Convoying one hundred of the country's foremost exhibitors to its studio, this great and enterprising company spread before them, to witness at first hand, concrete manifestations of its confidence in the future. W e wish every last theatreman in America could have been privileged to see what M-C-.M showed the lucky 100 who attended the inspiring ''Seeing Is Believing" conclave. Those exhibitors, circuit operators and organization leaders, repre- sented some 10.001) theatres hard-boiled showmen, all. It was a magnificent thing to see their enthusi- asm bubble, to see sagging spinal columns stiffen noticeably. It was not alone the six fine — some great — films they looked at. nor the stimulating exploitation conferences they engaged in that gave the fortunate 100 the lift. As much, it was the bustling, big scale activity they saw all over the studio's sprawling 200 acres, the air of confidence that seemed to permeate the M) huge sound stages, the look-ahead attitude of the executives and thousands of workers. In his welcoming address. Dore Scharv gave voice to his company's confidence in these words: "We at M-C-.M have enormous faith, and that faith is not wishful thinking. It is based on the hard rock of good returns. It is no benzedrine of false hope. It is the tonic that has come with the demon- (Continued on Page 6) The pictures on this page, from top: ''Pit and Mike", with Spencer Tracy. Kulheriie Hepburn. Alio Ray: "Lovely To Look At" (Technicolor). Kuthryn Grayson. Howard Keel. Red Skelton. Marge and Cower Champion; "Because You're Mine" (Tech- nicolor). Mario Lanza. Doretta Munow. Page Three : SEE INC IS BELIEVING THEY CAME "SEEING IS BELIEVING" I I THEY SAW: "SCARAMOUCHE" {Technicolor) Stewart Granger, Eleanor Parker, Janet Leigh, Mel Ferrer, Henry Wilcoxon, Nina Foch 'LOVELY TO LOOK AT" {Technicolor) Kathryn Grayson, Red Skelton, Howard Keel, Marge and Gower Champion, Ann Miller "PAT AND MIKE" Spencer Tracy, Katharine Hepburn, Aldo Ray "THE MERRY WIDOW" {Technicolor) Lana Turner, Fernando Lamas "IVANHOE" {Technicolor) Robert Taylor, Elizabeth Taylor, Joan Fontaine, George Sanders, Emlyn Williams BECAUSE YOU'RE MINE' {Technicolor) Mario Lanza, Doretta Morrow ITHEY BELIEVED nd they 11 tell the nation that -G-M HAS 1THE PICTURES! AJD THERE ARE LOTS MORE JUST AS BIG: "Skirts Ahoy!" {Tech.) • "Carbine Williams" ■ "Above Ad Beyond" • "Mr. Congressman" • "The Girl In White" • "The Story of Three Loves" {Tech.) • "One Piece E thing Suit" {Tech.) • "Plymouth Adventure" {Tech.) • "Prisoner of Zenda" {Tech.) • "Everything I Have Is lurs" {Tech.) • "Tribute To A Bad Man" • "The Devil Makes Three" • "Fearless Fagan" • and others. EDITORIAL The Answer To Fear (Continued from Page 3) stration in the past few years when there has been so much pessimism. Today — right now — we have assembled a program of films that we believe will again bring profit and honor to all of us. But we didn't want to talk about this program; we wanted to put it on the line and show it to you proudly and confidently — and that is why this convention of showmanship is so aptly called- Seeing Is Believ- ing"." And put it on the line they did. The visiting exhibitors previewed the six outstanding films (five of them in Technicolor), which are illustrated on these editorial pages, and expressed their opinion in applause that ranged from loud to thunderous after each one. In addition, they saw clips from another half dozen shows that are still in work. All in all. it was a most impressive display of movie power. On the inevitable and vital subject of television, Schary had this to say: "1 do not know, nor does anyone, what co-oper- ations will exist in the future between our industry and television. Certainly, there will be some, either in advertising, exploitation, production or by tele- vision screens. But we certainly do not agree for a moment with any absurd predictions anticipating the end of the theatres. I don't believe that the popu- lation of America is going to become rooted to its television screen, any more than I believe it ever became rooted to the motion picture screen. I don't believe that television has a strong enough attraction to divorce completely the American public from all it> other enjoyments. I have a hunch that, despite television, people will still read good books, go to church, see ball games, go to the movies and go for moonlight drives- and that they will ultimately ac- cent television as something they can use when they choose to use it." There, at Metro, one hundred theatremen found no evidence of penny-pinching to meet the current boxoffice dip. There, rather, was apparent abundant evidence of determination to carry out production chief Schary's oft-repeated doctrine that the answer to television is big pictures, so big as to dwarf that little living-room screen. Some of the product we looked at will strain the bounds of even the largest theatre screen. We suspect that the idea of the "Seeing Is Believing" conclave was initiated by general sales manager Charles Reagan, although there is a healthy reluctance by anyone at Metro to take personal credit. That's all right; let it be a company matter. It was a great enough idea, a great enough example of leadership in showmanship to have some of its inspirational quality rub off on every individual in M-C-M. on every exhibitor in the land, and, in- cidentally, on every other film company in the busi- ng. \H> \\ \\ The climactic dueling scene in "Scaramouche" (Technicolor), starring Stewart Granger. Eleanor Parker, Janet Leigh. Mel Ferrer. Sir Walter Scott's classic, "Ivanhoe" (Technicolor), stars Robert Taylor, Elizabeth Taylor, Joan Fontaine, George Sanders. Lana Turner and Fernando Lamas, and company, dance the famous, romantic waltz in. "The Merry Widow'' (Technicolor). FILM BULLETIN — An Independent Motion Picture Trade Paper published every other Monday by Film Bulletin Company. Mo Wax, Editor and Publisher. BUSINESS OFFICE: 35 West S3rd St., New York, 19; Circle 4-9159. David A. Bader, Business Manager; Leonard Coulter, Editorial Representative. PUBLI- CATION—EDITORIAL OFFICES: 1239 Vine St., Philadelphia 7, Pa., Rlttenhouse 4-7424; Barney Stein, Managing Editor; Dick Newton, Publication Manager; Robert Heath. Circulation Manager. HOLLYWOOD OFFICE: 459 Haverford Ave., Pacific Palisades, Calif., Hillside 8183; Jay Allen, Hollywood Editor. Subscription Rete: ONE YEAR, $3.00 In the United States; Canada, $4.00; Europe, $5.00. TWO YEARS, $5.00 in the U. S.; Canada, $7.50; Europe, $9.00. 'Streamlined' Distribution Urged by MPAA's Johnston "Streamlined" distribution was called tor by Eric Johnston in his annual report to the Motion Picture Association of America. The production-distribution head urged this re- form as part of a six-point program around which future industry progress would re- volve. "The traditional machinery of the industry for distribution of film in this country should be streamlined," Johnston declared. "Chang- ing patterns of demand, transportation and population have dislocated the accustomed patterns . . . The goal of this effort is to get films to the theatres in the best and cheapest way possible." Also listed were: • Continued improvement in the quality, diversity and appeal of films. • Greater showmanship and promotion on both the national and local levels as part of ■ a joint program with exhibitors. MPAA'S JOHNSTON Streamlined Sales Methods • Maximum efforts to keep foreign narkets open to American films "on a fair ind equitable basis". Invention and development of new tech- lical methods and increased research. • Removal of barriers to the industry's velfare, such as exorbitant admissions taxes, .nti-trust litigation and censorship. A work- ble arbitration system "may materially re- luce the financial drain on the industry of nti-trust litigation," Johnston said. Although he foresaw a greater resurgence f moviegoing in the domestic market, the •IPAA topper was dubious about the foreign market outlook in 1952 despite the fact that opularity of American films abroad last ear rose to new heights, resulting in sub- tantial increases in revenues from foreign larkets over the preceding year. Dollar re- liittances in 1951 were estimated to have jeen the second highest in industry history, lapped only in 1946. "But warning signs ap- I eared in many markets abroad," he added, portending serious economic problems hich mav adverselv affect American films i 1952". BULLETIN Vol. 20. No. 10 Mav 19, 1952 NEWS and OPINION Paramount Schedules 33 In 18 Months; All of '52 Set Paramount put a release label on 16 films for the balance of 1952, 11 of them in Tech- nicolor, as the company's top brass of pro- duction, distribution and promotion ended a series of studio conferences. President Barney Balaban unveiled a program of 33 features from July. 1952, through December, 1953. And Cecil B. DeMille, who recently- dissolved his own production unit, served notice that he would continue to make epics for Paramount with the statement: "I'll never quit until they carry me away". The top-level conclave included division managers as well as Paramount Film Dis- tribution Corp. president Alfred W. Schwal- berg, studio heads Y. Frank Freeman and Don Hartman, vice-presidents E. K. O'Shea and Jerome Pickman and ad-publicity assist- ant director Sid Blumenstock. Termed by Balaban "unprecedented not only in investment but without precedent in scope", the 18-month program will have more than two-thirds in Technicolor. The Paramount head felt the lineup "will be far- reaching in stimulating the box office up- trend which has been in evidence for some months". He said "borderline" pictures were out; only quality films would be forthcoming from the studio. Schwalberg, detailing the balance of the year's attractions from Paramount, said that a record number of eight top films had been set for summer release in response to ex- hibitor demand for big pictures during the hot weather months. Eight more, seven of them in Technicolor, will be released in the final four months of the year. DeMille, who waxed enthusaistic about plans for the future, stressed the need for "inventive" methods in both production and promotion. "People don't go to motion pic- ture theatres any longer to hold hands, to buy popcorn or to enjoy air conditioning", he said. "They go to see pictures, and the dramatic values on the screen must be powerful enough to draw them away from their television sets." His next production, it was indicated, would be the story of Helen of Troy. Allied Plugs All-inclusive Arbitration, Hits Blind Bids There seemed to be little doubt that unless film rentals and inspection of competitive bids wire included in the proposed arbitra- tion system, the "all-industry" aspect of such a plan would be In grave danger. This became apparent after Allied States \ssociation'» national board meeting in Colorado Springs issued a resolution Unani- mously adopted by the Allied toppers ex- pressing "regret*" that the distributors failed to meet the independent exhibitors' or- ganization's proposals for an "all-inclusive" arbitration system. The resolution also in- structed its arbitration committee td con- tinue negotiations "in hope of securing such an all-inclusive system; and that approving or disapproving action be deferred until a final draft of a plan acceptable to the dis- tributors is presented to the Allied board for consideration". A. F. Mvers, National Allied board chair- ALLIED'S MYERS In Bidding, the Long Purse man and general counsel, did not close the door on hope for a narbitration system. In an address before the Allied Rocky Mountain convention following the board meeting, Myers said that if the ultimate arbitration plan were not all-inclusive, Allied might con- sider a compromise and give the plan a chance to prove itself. He also said that Allied would insist on the condition in reduced clearance arbitra- tion awards that a print be made available on time. Although competitive bidding was agreed upon by both distributors and exhibitors at the arbitration meetings in New York as a subject for arbitration, the specification that bids be open or inspection by competing exhibitors was not laid down. On bidding, the Allied board reiterated its opposition to the entire system, "especially that it tends to a monopoly by the exhibitors having the long purse". "Nevertheless," the statement continued, "this board recognizes that despite its pro- ( Continued on Sext Page) AY 19, 1952 7 JVetvs and Opinion (Continued from Preceding Page) tests competitive bidding still is being im- posed by the distributors upon the exhibitors and is aware that many complaints have been received at national headquarters of ir- regularities in the consideration of the bids and the awarding of the pictures. "The board is convinced that the only way in which these abuses can be eliminated and confidence in the practice maintained is for the distributors to reveal all bids to the bid- ders after an award has been made, and the board calls on the distributors to institute this reform. "In view of the fact that bidding prevails in public contracts and in other industries, we can only assume that blind bidding is used by the distributors for the purpose and with the effect of concealing irregularities and discriminations in making awards". The board also lashed out at advanced ad- missions that sales terms forced exhibitors to impose in order to play the film. Such a practice, the board stated, will be "suicidal from an industry viewpoint. The exhibitor, knowing the demand of the public for the best in box-office attractions, has a gun pre- sented to his head and the fatal choice of (a) not running such productions and depriving his patrons of widely advertised and publi- cized attractions, or (b) transferring the gun to the public's head with a demand for ad- missions far in excess of normal and greater than they can afford under the present eco- nomic conditions. "This presents an almost impossible choice with the exhibitor in the middle and public ill will whichever way he goes." Paramount was given the left-handed dis- tinction of most consistently practicing sales abuses. Over-allocations, refusal to re-al- locate after a film has proved a flop, impos- ing zone and mass bidding, pushing up ceil- ings on top flat rentals, advanced admissions, were among the abuses mentioned. The com- pany was also criticized for continuing to distribute Pine-Thomas productions when P-T films are being shown free on television. Headed by board chairman and general counsel A. F. Myers, the meeting included Wilbur Snaper, Trueman Rembusch, Ben Marcus, John Wolfberg, Ray Feeley, Leon I'.. Back, Rube Shor, Morris Finkel, Martin G. Smith, Allen Johnson, Charles Niles, Jay W'ooten, Bennic Berger, R. Vernon McGin- nis, Abe liercnson, and H. A. Cole. CP TRAILER READY There are few afflictions so heart- rending as cerebral palsy, and never has the need for helping its victims been greater. The 1952 United Cerebral Palsy campaign trailer, starring John Wayne, is currently being distributed by National Screen Service. Both National Allied and TOA have urged exhibition of the trailer, whose appeal is so de- signed that it is equally appropriate for theatre collections, or in urging contributions by other means. TRUEMAN REMBUSCH One-Third President Rembusch Named to 3-Man COMPO Head; TOA, MPAA Mum Only one-third of the three-man com- mittee due to handle the presidential chores of the Council of Motion Picture Organi- zations has been named. Trueman T. Rem- busch was National Allied's choice at the recent board meeting of the independent ex- hibitor organization, his acceptance break- ing the precedent set in the last few months when every candidate approached declined the post held formerly by RKO's Ned Depinet. The other two organizations to be repre- sented on the three-man committee, Theatre Owners of America and Motion Picture As- sociation, are still searching for their repre- sentatives. Both organizations, however, have approved the suggestion by COMPO's ex-executive vice-president, Arthur L. Mayer, for the three-man post. Meanwhile, special counsel Robert L. Coyne has been steering activities. RKO Pictures First Year Puts Company Back in Black After taking a net loss of approximately $5,800,000 for its picture operations on a pro forma basis in 1950, RKO Pictures Corp. bounced way back up into the black with $334,000 for 1951, its first year of operation as a separate production-distribution com- pany. Gross income from film rentals for 1951 was $57,444,000. The foreign market placed a sizeable chunk of revenue into the coffers with $3,101,000 of income from prior years. "A very reduced production schedule" will be in effect through the first half of 1952, the report stated. This was explained as being "in consonance with present policy to reduce picture inventory and conserve cash". Arbitration Rules Group Continues Draft Meetings The task facing the Committee on Rules of the industry arbitration conference wasn't something to be settled in a few days, it be- came apparent after the meetings last week in New York held under the chairmanship of Herman M. Levy. Several of the Committee members, which included exhibition, distri- bution and legal representatives, were un- able to attend, including Allied's A. F. Myers. Indications were that another series of meetings will be held before resumption of the arbitration conference scheduled for May 26. The meetings resolved themselves into a; general discussion of arbitration procedures, with specific drafting of rules parceled out to individual committee members. These, it was expected, would be presented at the; next meetings, probably Thursday and Fri- day of this week. Meeting with the press following the first day's sessions, Levy said that conciliation preliminaries, as part of the arbitration sys tern, were tackled by the members with two definite schools of thought emerging: (1) that conciliation would eliminate many of the grievances that might have otherwise been forced to take up time and expense of arbitration, and (2) conversely, valuable time and money may be lost if conciliation were attempted and failed, with ultimate resort to arbitration. After each committee member submits his recommendations for the draft, Levy said it would be compiled for presentation to next week's industry conference. Following any amendments and approval by the entire body, the following course would be re- quired : Submission for approval to each con stituent body represented at the conference Submission for approval to the Depart-J-— ment of Justice. Submission for approval to the U. S Statutory Court for incorporation into the various decrees. On hand for the meeting, in addition td Levy, were Austin Keough, Paramount; Adolph Schimel, Universal; Robert W. Per kins, Warneis; Theodore Black, Republic and Mitchell Klupt, Metropolitan Motion Picture Theatres Ass'n. In addition to Myers, who begged off be- cause of the press of Allied board meeting details and commitments to attend Ohic unit meetings, Milton C. Weisman, ITOA; L. S. Hamrn, WTA, and Irving Moross Columbia, were unable to be present. hi House Committee's Records Prove Films Anti-Red— Bergman Maurice Bergman, Universal Public Re"l lations, got in some hard licks at those whoT would smear Hollywood with the Red taint. (Continued on Page 20} FILM BULLETIN^ THE QUIET MAN' GREAT ENTERTAINMENT Rates • • + generally Republic 129 minutes John Wayne, Maureen O'Hara, Barry Fitz- gerald, Ward Bond, Victor McLaglen, Mil- dred Natwick, Francis Ford, Eileen Crowe. . May Craig, Arthur Shields, Charles Fitz- simons, James Lilburn, Sean McGlory, Jack McGowran, Joseph O'Dea, Eric Gorman, Kevin Lawless, Paddy O'Donnel, Web Over- lander. Directed by John Ford. "The Quiet Man" is an outstanding motion [picture, in many ways a great one. The [critics and the public will love it. It is by [far the finest film Republic has made and |among the very best from any studio in recent years. It is a definite "Oscar" con- tender. It is great because it will give pic- ture business a shot-in-the-arm. It is great lecause it will play to packed houses every- where, and to every kind of audience. It is :reat because it combines rich Irish humor, providing both chuckles and belly laughs, las a constant heart throb, is musically fas- ■inating, scenically inspiring and is acted, [produced and directed superbly. It is great jecause the plot, based on a "Saturday evening Post" story by Maurice Walsh is beautifully constructed and well told; be- cause Maureen O'Hara. the luscious red- headed little witch who was born in Ireland liives her performance more than she has K'er given the screen before; because the [ntire cast, including Victor McLaglen, Barrv Fttzgerald, Ward Bond and a group of Abbey Theatre players back her up so well, and because the whole thing moves swiftly along, with never a dull second, tons of rough-and-tumble action, and scores of deft little touches of direction. It was made in the little village of Cong, County Mayo, Ireland, not far from the place where di- rector John Ford's ancestors lived. Two of Miss O'Hara brothers, members of the Ab- bey Theatre appear, Wayne's four children Toni, Melinda, Patrick and Michael are in one of the sequences. Ford's brother Francis ar.d son Pat worked in the film. This is the kind of picture with so many colorful personalities that every filmgoer will want to make his own choice of his favorite character. Your critic's selection is Barry Fitzgerald, as the impish Michaeleen Flynn who varies his job as horse cab-driver with a bit of matchmaking on the side, who is also the village bookie and is a divil of a lad when, as nearly always, he has wrapped himself around a pint of black beer. The Technicolor photography is truly beautiful and special marks must also go to Victor Young for arranging the music. But basically it remains a triumph for director Ford. STORY: John Wayne returns from Pitts- burgh to his native Irish village to buy the thatched cottage where he was born. He is challenged by Victor McLaglen, the village bully, who has been trying to buy it from widowed Mildred Natwick, on whom he also has his eye. Wayne gets the cottage in spite of McLaglen's opposition but he does not PAULA' SOAP-OPERA TEARJERKER FOR THE DUALS lates • • generally as dualler -olumbia jf.O minutes ^oretta Young, Kent Smith, Alexander [nox, Tommy Rettig. Otto Hulett, Will fright, Raymond Greenleaf, Eula Guy. Mrected by Rudolph Mate. An unabashed tear-jerker, aimed directly |t the handkerchief brigade, "Paula" will By a moderate degree of success on the |ual bills. Its biggest asset is the marquee lull of Loretta Young in the sort of role that |er fans like. Although the screenplay by imes Poe and William Sackheim is some- ling right out of stock soap-opera files, Ludolph Mate's direction and good produc- lon values help life the film's appeal for poviegoers, but not enough to attract the more discriminating. The latter, and the males, will squirm in spots with embarrass- ment at the bald melodramatics that involve a childless woman's attempt to make amends to a young boy she believes she has made speechless in a hit-and-run accident. Pitched at the women, "Paula" will comfortably fill the dual spot, but it's too weak to stand alone. Loretta Young gives it all she's got, but even her capable ministrations fail to doctor up the improbabilities in the plot. The rest of the cast does well enough under the cir- cumstances, with young Tommy Rettig. Kent Smith and Alexander Knox making favorable impressions. Buddy Adler's physi- cal production is far superior to the material that goes into it. iRAVE WARRIOR' ROUTINE TECHNICOLOR ites as dualler, more for action 3lumbia minutes m Hall, Christine Larsen. Jay Silverheels, ichael Ansara, Harry Cording, James Seay, )rge Eldredge, Leslie Denison, Rory Mal- ison, Rusty Westcoatt, Bert Davidson, rected by Spencer G. Bennet. |We hear from big city exhibitors that the Ixoffice bloom is off westerns even the big for jobs. If that's the case, an undis- guished Technicolor western like "Brave spots, small towns Warrior" doesn't figure to attract much busi- ness, except, perhaps, in the straight action houses. It should do well in smaller towns. A Sam Katzman production for Columbia, this one offers nothing new. The Techni- color's fine, but the screenplay by Robert E. Kent is trite and Spencer G. Bennet's direction is loose. What action this offers is of the familiar Indians vs. whites type. In brief, "Brave Warrior" is routine all the way, but adequate enough to satisfy the avid western fans. get the latler's beautiful redheaded sister, Maureen O'Hara, with whom he has fallen in love. Ward Bond, the local priest, and Barry Fitzgerald, the village marriage broker, put together a little scheme to aid the course of true love. They lead McLaglen to believe that if he allows Wayne to court Maureen he is bound to hook the wealthy widow for himself. After an exciting horse- race over the sands, part of the priest's little plot. McLaglen discovers he has been tricked and though by this time the lovers have been married. Maureen finds herself without a dowry. This is so alien to local folklore that though she loves her husband, she will not share his bed. Wayne mistakes her pride and when he refuses to ask McLaglen for her dowry she decides to leave him. By this time Wayne is ready to fight McLaglen for his bride, but is deterred by an incident in his past. In America he had been a prize fighter and had killed an opponent in the ring. Arthur Shields, the village vicar, finally induces Wayne to battle for his rights. He drags Maureen to her brother's farm and. while the entire village watches, does battle with the bully in a tremendous fist fight, while Barry Fitzgerald is busy taking wagers from everyone, including the parsons. Over the cobbled streets the fight sways back and forth until both men fall exhausted and unconquered. When it is over, they find a new respect for each other and arm in arm. bruised, battered and beery, they go to the little white cottage where Maureen, her self respect restored, is waiting. COULTER STORY: Loretta Young and her husband, Kent Smith, both want children, but she is unable to have any. She believes she has run down in her car a young boy. Tommy Rettig, who, as a result of the accident, loses the power of speech. Spurred by remorse and mother instinct, Loretta decides to de- vote her life to teaching the youngster to talk again. Only one person knows the truth about the accident, family doctor Alexander Knox. A bigoted old rancher. Will Wright, however, denounces Loretta as the hit-and- run driver and the boy, who is making satis- factory progress turns on her. Just as the police are closing in on her, however, she is saved from jail, and the boy, realizing the truth after all. makes amends by returning her love. YORK The marquee will have to feature Techni- color and Jon Hall, in that order. No other names in the cast worth mentioning. STORY: Just before the war of 1812 Jon Hall, a Government emissary, is given the job of unmasking some British sympathizers who are stirring up the Indians. He finds support from Jay Silverheels, as Tecumseh, the Shawnee chief. After a good deal of feathers and dust, and some villanous scowl- ing by Michael Ansara, the traitors get their just deserts. LEON AY 19, 1952 WAIT TIL THE SUN SHINES, NELLIE' EPISODIC, BUT HEARTWARMING DRAMA Rates • • + in small towns and family spots 20th Century-Fox 108 minutes David Wayne, Jean Peters, Hugh Marlowe, Albert Dekker, Helene Stanley. Directed by Henry King. Heralded as a light-hearted romance, with a deceptive title that portends a frolicsome musical, 20th-Fox's "Wait 'Til The Sun Shines, Nellie" is a heartwarming — though often tragic — drama. Heavily steeped in Mid-West Americana at the turn of the centruy, this George Jessel Technicolor pro- duction episodically presents the story of a man who hitches his wagon to the fortunes of a small town, and rides a road that has more painful bumps than a Kentucky cow- path. There are some light-hearted moments, however, and it is in these welcome relief sequences that the film throws its greatest entertainment punch. The picture may leave some of the audience depressed, because pathos and heartbreak outweigh the humor and romance. Although it moves rather slowly in the opening scenes, the film gradu- ally picks up speed and is interest-holding over most of the route. With exploitation, the film should do well enough in nabes and small towns, less in metropolitan areas. Action houses can skip this one. A mediocre screen play by Allan Scott has been lifted by its boot straps through top-notch directing, acting and photography. Director Henry King manuvers his cast through flash-back sequences with some neat and nostalgic touches. David Wayne turns in a great performance as a small town barber who experiences all the vicis- situdes of life in the half-century covered by the film. Though the rest of the cast — headed by Jean Peters, Hugh Marlowe and Albert Dekker — is excellent, they remain subservient to the role played by Wayne. STORY: Supposedly headed for Chicago on their honeymoon, David Wayne takes Jean Peters off the train at a whistle-stop called Sevillinois. It turns out that Wayne has bought a little barber ship there, and OUTCAST OF THE ISLANDS' STRICTLY FOR ART THEATRES Rates • • + in art houses; n. g. for fat United Artists (Lopert) 93 minutes Sir Ralph Richardson, Trevor Howard, Robert Morley, Wendy Hiller, Kerima, George Coulouris. Directed by Carol Reed. For the mass of U. S. theatres, the best that can be said about this Lopert Films re- lease, handled by United Artists, is that it has a good deal of highly skilled craftsman- ship about it. A British import, it was pro- duced and directed by Carol ("Third Man") Keed. Vincent Korda designed the sets, the musical score is played by the eminent London Fhilarmonic Orchestra and the cast includes such distinguished stars familiar to American moviegoers as Sir Ralph Richard- son, Trevor Howard, son of the late great Leslie Howard, Robert Morley, and Wendy Hiller, who was so triumphantly successful mily and action spots in "Pygmalion". It is a moody job about a good-for-nothing who consorts with a native girl on a South Pacific island. Production- wise it is rich in local color, but though the elements of drama are there, it never seems to leave the ground. It's appeal, almost entirely psychological, is angled solely for those who patronize the art theatres. It will excite little or no interest in family spots; even less as far as action fans are concerned. Wendy Hitler's part is trivial. She is given about a score of words to say. In the hands of Trevor Howard, the sex-crazy double- crosser who comes to a sticky end, is almost believable. But Sir Ralph Richardson, as the brilliantly successful trading skipper, is a pure story-book character who never comes to life, and Robert Morley, as his chief lieutenant, Alamayer, is just a buffoon who seems to ape (none too well) Charles Laughton's classic performance in "Mutiny on the Bounty". The Alegrian girl Kerima is CARSON CITY' ROUTINE TINTED WESTERN Rates • • + in action houses; fair di Warner Bros. 87 minutes Randolph Scott, Lucille Norman, Raymond Massey, Richard Webb, James Millican. Larry Keating, George Cleveland, William Haade, Thurston Hall, Vince Barnett. Directed by Andre DeToth. Attempting to make something new out of the same old Western material, producer David Weisbart has shuffled stage coach bandits with railroad builders, tossed in some brawling action, filmed it in Warner- Color and called the result "Carson City". Basically, the picture is a familiar outdoor action-mellei , but a good cast — paced by durable Randolph Scott and Raymond Massey — helps to brighten an otherwise faded plot. Plenty of knuckle-busting, gun- smoking action is unle;i^linly one picture has been shooting at a ime. At best, they can only be described s run-of-the-mill Columbia oaters — held to ninimum budgets and shot in less than two veeks. "Panhandle Territory" (Jack Ma- ■oney-Smiley Burnette) went before the JOSEPH MANKIEWICZ "Caesar" First Chore cameras on May 6, to launch a new series which will replace the old Charles Starrett oaters. Colbert Clark is producing. On May 12, Gene Autry Productions launched "Blue Canadian Rockies", with Autry starred and George Archinbaud and Armand Schaefer holding down their regular director-producer spots. "Jack McCall, Desperado" (George Mont- gomery-Angela Stevens), a Sam Katzman Esskay production, directed by Sidney Sal- kow, also was started and completed since the last report here. LIPPERT PRODUCTIONS Lippert Merger Deal Reports Clog Hollywood Rumor Mills Rumors — all of them unconfirmed — con- tinue to fly in Hollywood, regarding possible Lippert mergers with other film makers. Still one of the most popular — and one which neither party will comment on — is a possible Louis B. Mayer-Lippert combine. Another which finds popular support in certain film circles forcasts the joining of forces by Lippert aad Monogram Pictures. Thus far, however, we have been unable to uncover any information which would indicate that either deal should be taken too seriously at this particular time. A new policy of concentrated bookings in key cities is beiiiK put into effect by Lippert this month in a bid to win wider recognition for the company, among the film-going public. San Francisco, Lippert's own strong- hold, is the city selected for the initial try- out. On May 22, "Valley of the Eagles" opens at San Francisco's St. Francis thea- tre, followed on May 29 by "Navajo" at the Bridge, "Loan Shark", which was com- pleted less than six weeks ago and "Stolen Face" will follow at the Paramount. A July 4 national release date has been set for Com- mander Films' "Hell^ate" (Sterling Hayden- Joan Leslie), which Charles Marquis Warren and John Champion completed only last month. This figures to be one of the com- pany's biggest grossers of the year, along with "Valley of the Eagles", which is already winning considerable attention in the nation's press. There are no pictures currently in pro- duction for a Lippert release, although the team of Warren and Champion expect to launch their upcoming production of "Man Without A Country" within the next 30 days. METRO-COLDWYN-MAYER Metro Eyes Young Producers; High-Wage Deadwood Due for Ax Despite the fact that MGM has hit a new high in its over-all budget for pictures this year, we can look for a big economy wave to hit the studio in the form of clearing out deadwood in the upper producer brackets. The emphasis is on new, young blood under the Schary regime, with strict orders' to crack down on waste. Whereas in the past, the studio has been overloaded with $150,000 per picture pro- ducers, it won't be long until a majority of the product will be turned out by compara- tive fledglings, working at approximatcly one-third the salary. Shooting schedules will also be sharply pared, except in the really big productions, such as musicals and big action dramas. In line with the economy drive, Schary has instituted a long overdue "get tough" (Continued on Page 14) I AY 19, 1952 13 STUDIO SIZ6-UPS ; (Continued from Page 13) policy to eliminate the waste brought on by stellar temperaments. Within the past month, the front office has handed out five suspen- sions to Stars who refused to buckle down to orders. At the same time, script clerks have been instructed to keep track of all time lost on a set, making complete notes on all interferences for the head man's perusal. Nevertheless, it should be noted that there will be no cutbacks insofar as the production of really big pictures is concerned. As a matter of fact, the company is placing greater emphasis than ever before on the making of top musicals — by all odds one of the most expensive type of pictures a studio can undertake. Already set for filming in the next 12 months are 18 musicals, which ig approximately 40 per cent of the total slate. Moreover, all 18 will be filmed in color by Technicolor. Great emphasis will also be placed on the spectacle dramas. For example, Schary has just assigned Shakespeare's "Julius Caesar" as Joseph L. Manikewicz's first chore at the studio under his new one-a-year contract. John Houseman will produce, with filming set to get underway early this summer. There are six pictures currently before the cameras, with two more slated to roll later this month. Now shooting are: "Plymouth Adventure" (Spencer Tracy-Gene Tierney- Van Johnson-Leo Genn), Technicolor fea- ture which Clarance Brown is directing; "Time Bomb" (Glenn Ford-Ann Vernon), produced by Richard Goldstone and directed by Ted Tetzlafr; "Prisoner of Zenda" (Stewart Granger - Deborah Kerr - James Mason-Jane Greer), also in Technicolor, and produced by Pandro S. Herman— Richard Thorpe directing; "Tribute To A Radman" (Lana Turner-Kirk Douglas-Walter Pidgeon -Dick Powell-Harry Sullivan-Gloria Gra- hame), Yincente Minnelli directing for John Houseman; "Rogue's March" (Peter Law- ford-Janice Rule-Richard Greene), Alan Davis directing, Leon Gordon producing; and "I Love Melvin" (Donald O'Connor- Debbie Reynolds-Richard Anderson), Don Weis directing for producer George Wells. Coming up later in the month are: "Naked Spur" (James Stewart-Robert Ryan-Janet Leigh-Ralph Meeker-Millard Mitchell), An- thony Mann to direct for producer William Wright; and "Equilibrium" one of the epi- sodes for "Story of Three Loves" (Pier Angeli-Ricardo Montalban), Gottfreid Rein- hardt to direct for producer Sidney Franklin. MONOGRAM— AA Broidy Boosting Budgets Bigger Names for New Product In line with the trend toward hypoing pro- duction values on Hollywood product, Mono- gram and Allied Artists are embarking on a poilcy of using bigger star names in most 1 1 PARA TOP BRASS At studio meetings front row: A. W. Schwal- berg, Y. Frank Freeman, Don Hartman, Barney Balaban. Jerry Pickman, E. K. O'Shea; Second row: Joseph A. Walsh. J. J. Donohue. Sid Blumen- stock. A. M. Kane: Top row: Howard Minsky, Gordon Lightstone. Hugh Owen. George Smith. of their future films. In addition, president Steve Broidy will earmark an increasing number for color. Budgets, generally, are due for a considerable boost. The new policy was decided upon at a recent conference of studio and sales executives held here. The policy was put immediately into effect with the casting of Sterling Hayden and Richard Carlson for the starring roles in "Flat Top", which got underway on May 9. Walter Mirisch is producing the Cinecolor feature, with Lesley Selander directing. The new policy should bode well for the entire industry, inasmuch as it marks the first step by the minors to elevate the standards of their pictures along with the majors. If movies are to successfully combat television, it would seem that all of the product must be on a high level, and not just a few outstanding pictures from the larger companies. The next month will be Mono and AA's busiest production period in more than a year, with eight pictures slated to roll. First to go is "Battle Zone", an Allied Artists pro- duction to be produced by Walter Wanger. As of this writing, neither the cast nor the director had been set. "Martial Law" (Wild Bfll Elliott) is next in line, with Vincent M. Fennelly producing. Lindsley Parsons will launch "Timber Wolf" (Kirby Grant- Chinook) late this week (May 19), and \\ alter Mirisch will order the cameras to roll on the Cinecolor production, "Hiawatha", which Kurt Neumann directs. May 26, an- other Cinecolor feature, "Mardi Gras" gets the green light, with Peter Scully producing. On the same day, Vincent Fennelly starts his second production chore for the month, with the first day of shooting on "Gun Smoke Range" (Whip Wilson). May 27 is the starting date set for "Yukon Gold" (Kirby Grant-Chinook), to be produced by William F. Broidy. And around mid-Junc,j Lindsley Pardons and director Lew Landers! will launch the Allied Artists production,! "Down Periscope", a story of submarine] warfare, to be made in cooperation with the > U. S. Navy, and to be filmed at the sub- marine training school in New London,; Conn. PARAMOUNT No More Borderline Films In New 35-Pic Slate— Balaban Despite the fact that Paramount brassij have ordered a slow-down in production for the months immediately ahead, in order to} cut down some of the company's $30,000,000 backlog of pictures, a new slate of 35 films, to be produced in the new season starting i July 1, has just been given a final okay. One iron-clad policy appears to have taken form here in setting the new production pro- 1 gram, the elimination of all short-budget I product in favor of straight "A" pictures. I Barney Balaban, the company president, j summed up the policy in this manner, at the I recent Hollywood conclave of production, I distribution and advertising personnel: "Pic- 1 tures which are sure-fire in attraction and j entertainment value will be the only ones ii considered for future Paramount production. ) The day of the borderline picture is over — I at least for this company." Balaban also declared that his companj will release a total of 33 major productions 1 — more than two-thirds of them in Techni- color— over the next 18 months. Of these 33 upcoming releases which, incidentally, J represent a total investment of $60,000,000, j 15 are already completed, seven are in the cutting rooms, and 11 are set for filming. Listed among the 35 films okayed fori production next year are: "The Shamrocks || Are Coming", an all-out musical production | to co-star Betty Hutton and Donald O'Con- nor; "Poppa's Delicate Condition", Corinnc Griffith's current best seller; "Babylon Re- visited", also from the best-seller list; "Mid- night At the Pentagon", an unusual original which has been stirring up considerable talk in Hollywood; "Rosalind," "Follow the Rain-i bow," Country Girl," "Adobe Walls," "Thell Parson of Panamint" and "Maurice Guest". lj Only one picture is shooting at the presentM time, and that is the Bing Crosby-Bob Hope-|J Dorothy Lamour Technicolor comedy, "Road^ | to Bali", which Hal Walker is directing for] J Harry Tugend. Next to go will be "Pleasure! j Island" (Don Taylor-Leo Genn), also to befl filmed in Technicolor, F. Hugh Herbert di-jl recting for producer Paul Jones. FILM BULLETIN'S Hollywood office] j has received numerous letters asking aboutfl Cecil B. DeMille's future plans, following^ the dissolution of his own motion picture.! company. Actually, his status will changeB very slightly. Almost any day now, DeMille | can be expected to announce a new set-up > with Paramount, under which he will produce!! (Continued on Page IS) II FILM BULLETIN! STUDIO SIZ6-UPS i (Continued from Page II) jail of the pictures which he has had under J consideration. His only reason for breaking I up the DeMille company, was to enter into [la capital gains set-up, similar to those which J several stars have recently manipulated as a Imeans of cutting down on income taxes. REPUBLIC Ford Film Gets Bulk of Half Million Summer Ad Budget John Ford's "The Quiet Man" (John ■Wayne-Maureen O'Hara) draws a lion's Iphare of Republic's half million ad budget j jror summer releases, with a total of $300,000 i earmarked for promoting this one feature. | It will be by far the most intensive pro- | ^lotion campaign ever undertaken by Re- public, which includes prodigious newspaper I ind magazine advertising, along with a big ii , xhibitor trade campaign. The picture opens fits premiere engegement at Loew's Capitol llheatre in New York City in mid-August. I So far as production is concerned, the > Company is in a comparative lull, with only 1 pne feature shooting. That is "A WAC From \ i.Valla Walla" (Judy Canova), which director I J.Villiam Witney and producer Sidney Picker I launched on May 12 as the first of two | Lanova starrers to go within a six-week I keriod. The second, "The Hot Heiress," is .i .cheduled to start the first week in July. "Thunderbirds" (John Derek-John Barry- I pore, Jr.-Mona Freeman-Gene Evans-Eileen I Thristy-Ward Bond), one of the company's bp productions of the year, has just been I anded over to the editing department, i allowing a month of filming. John H. Auer i bubled as producer-director. Next to roll will be "Rosita" (Estelita), Ihich director R. G. Springsteen and as- ■ lociate producer Sidney Picker expect to et underway on May 31. Herbert Yates has just assigned "Followr our Star," a Houston Branch original re- ently acquired by the studio, to Herman uillakowsky, for production in Italy, early i August. Millakowsky, who recently com- leted filming "Bal Tabarin" or Republic, in 'aris, has already started work on the screen "eatment of the story, which deals with a msic school for girls. RKO ■ I ughes-Mayer Deal Looms igger; Wald Seen Included All eyes in Hollywood are focused on the Iks which have been going on between oward Hughes and Louis B. Mayer, purees close to both parties say that the bal which Hughes has presented to Mayer ill be one not easily passed up. According to the best information avail- f AY 19. 1952 JOSEPH MOSKOWITZ At Top In Reshuffling able at the present time, Hughes is trying to persuade Mayer to set up his own inde- pendent company on the old RKO-Pathe lot in Culver City. He would operate completely independently of RKO, in much the same manner that Samuel Goldwyn has during his long association with the Hughes company. However, unlike Goldwyn, Mayer has re- portedly been offered partial financing by Hughes. There has even been talk that Jerry Wald, who recently bought out his partner, Norman Krasna, might figure in the deal — possibly as an executive producer for Mayer. There can be no denying that RKO is in dire need of some good product at the present time. Within recent weeks, there has been an intensified drive to corral new inde product to bolster the company's re- leasing slate. Particular emphasis is being placed on offbeat and foreign pictures — due, in part, to the success of such recent re- leases as "Kon-Tiki," and "Roshomon". For the bulk of the nation's theatres, however, this isn't good news, since such films are traditionally b.o. poison. At the same time, Mr. Hughes and asso- ciates are dipping deeper into the studio's vaults to try to uncover additional re-issues. A limited degree of success is currently being enjoyed by the company with re-issues of old thrillers, such as "The Hunchback of Notre Dame" and "The Cat People". Never- theless, even Hughes must realize that this is not the solution of his dilemma. And certainly the rest of the industry is aware of the ill effect which a flood of re-issues would have. The oldies can be seen on any television screen. RKO's own production machinery started grinding again in May after a month's hiatus. As of this writing, three features were scheduled to roll before June 1, and efforts are still underway to add a fourth. First to go was "Beautiful But Dangerous" (Jean Simmons-Robert Mitchum) which di- rector Lloyd Bacon and producer Robert Sparks put into actual production on May 12. On May 22, Edmund Grainger is slated t.. start "Split Second." which is yet to be cast. And on May 31. Grainger, assisted by director Raoul Walsh will launch "Black- beard the Pirate" (Robert Newton), a project which has drawn Hughes' special attention and one in which he is reputedly prepared to pour the outlay of cash which has maked some of his past "pets". 20th CENTURY-FOX Moskowitz Headed for Top Production Spot Under Zanuck 20th Century-Fox has entered into a trans- ition period in which things are happening so fast that it's almost impossible to keep apace. Three salient facts seem to stand out, however: (1) the change-over in top pro- ducer personnel has only barely benun; (2) Joe Moskowitz appears to be headed for the top production spot directly under Darryl F. Zanuck, and (3) the emphasis in future production will be on musicals and action features, all budyeted at over a million dollars apiece. Edmund Goulding is the last producer to exit the lot, his long term pact having been bought up by the company, with eight years still to go. There are rumors that even George Jessel may be leaving the company around September 1st. And with the de- parture of these and many more top-salaried producers, we will see Fox following the example of MGM by introducing new, young producer and director talent. In line with the added emphasis on musical production, Zanuck has decided to put the tunefilms on an entirely new basis. He has appointed Sol C. Siegel as the executive pro- ducer in charge of musical production, and it is understood that he will function on much the same basis as Arthur Freed at MGM. In announcing plans for the studio's 1952- 53 program, Zanuck has indicated that it will at least equal the 1951-52 slate of 36 films. He describes the new program as "The biggest long-range production schedule in the company's history," with 17 films, nine of them in Technicolor, now finished and awaiting release; another 12, half of them in Technicolor, about to go before the cameras; and 17 more — eight in color— will be ready for camera work by early summer. Thirty screenplays are currently being written, from which the balance of the program will be selected. One major story buy stands out in all the heavy activity of the month— the take-over of the rights to Lloyd Douglas' "The Robe" from RKO. Tyrone Power will be handed the starring assignment when the picture is ready to roll. Current production has reached such a peak that it was necessary to move two pro- ductions to the old Fox lot on Western Avenue. Seven pictures in all are now in production, including: "Pony Soldier" (Ty- (Continued on Page 16) 15 STUDIO SfZ€-UPS C Continued from Page 15) rone Power-Penny Edwards), Technicolor production produced! by Samuel G. Engel and directed by Joseph Newman; "Stars and Stripes Forever" (Clifton Webb-Ruth Hus- sey-Dcbra Paget), also in Technicolor, Henry Koster directing for producer Lamarr Trotti; "Tonight We Sing" (Ezio Pinza- Roberta Peters - Tamara Toumanova); "Bloodhounds of Broadway" (Mitzi Gaynor- Scott Brady-Mitzi Green), produced by George Jessel and directed by Harmon Jones; "Something For the Birds" (Patricia N'eal - Victor Mature - Edmund Gwenn), Samuel G. Engel producing, Robert Wise directing; "Big Man" (Richard Widmark- Joanne Dru), Robert Parrish directing for producer Stanley Rubin; "Farmer Takes A Wife" (Betty Grable-Dale Robertson-Thelma Ritter), Henry Levin directing for producer Frank P. Rosenberg. UNITED ARTISTS UA Has 20 Commitments With Indes For '53 Schedule United Artists' president Arthur Krim has notified west coast representatives that the company already holds commitments from independent producers for 20 features to be released in 1953. With several deals still pending, the company expects the 1953 slate to measure up to the 36 films set for release in 1952. Within the past month, UA has acquired distribution rights to a trio of Alexander Korda British productions; the F. Hugh Herbert-Otto Preminger "The Moon Is Blue"; English producer Stephen Pallos' "The Fake," and a Jules Levy-Arthur Gardner-Arnold Laven picture, "Without Warning". A deal is also reported to be very near the inking stage, by which UA will take over the releasing rights of Edward Small's future inde productions. The three Korda films on which UA will handle general distribution are: "Outcast of the Islands," "African Fury" and "Tales of Hoffman", the latter having completed its special art house runs. The only currently-filming picture which has been definitely set for UA release is "M'.rassi" (Martha Hyer-Morassi) which is being produced by Brcakston-Stahl in British East Africa. Two new features, however, are set to roll in June. They are: Aspen Pro- ductions' "Return to Paradise" (Gary Cooper-Roberta Hayncs), to be produced by Theron Warth and directed by Mark Robson .ind the Walter Wanger-Eugene Frenke inde, "Three Musketeers in America". The latter has not been cast at this time. Should Edward Small sign a UA releasing ('•ntract, as rumored, his first commitment WOllld be "Savage Frontier" (Yvonne De- Carlo), which Michael Kraikc will produce and Sidney Salkow direct. It is tentatively set to roll on July 21. If, ARTHUR B. KRIM Slates a Score UNIVERSAL- INTERNATIONAL U-I's Participation Deals Lure Has Big Stars Flocking Universal-International appears to be headed for a slate of star-studded releases — what with a host of "name" freelance actors and actresses angling for one of the com- pany's new 50-percent participation deals. It is the general concensus among the old- timers in the industry that U-I has again pulled a winning idea out of its bag of tricks, and that the participation deals will aid con- siderably in putting the company farther into the black. Alan Ladd is the latest star to latch onto one of the pacts, which grant the player no salary, but allow him half of the picture's take. Such arrangements not only allow the company to play safe with its investments in these perilous days of picture-making, but they also give the star the added benefit of declaring his income as a capital gain. In addition to Ladd, sufh name stars as James Stewart, Tyrone Power, Gregory Peck, Irene I hinne and Errol Flynn are taking advantage of the offer. Marlene Dietrich is the latest one to take it under consideration. Ladd's picture will be "Desert Legion", which is being planned as one of the com- pany's most important Technicolor produc- tions of the year. U-I continues to lean heavily on Techni- color in dressing up its product. The next five starters will all get the Technicolor tint. With four color films already completed since the first of the year and another two now in production, this will give the Uni- versal City lot a total of 11 tinters during the first half of 1952. First of the five set to roll is "Cattle Kate" (Maureen O'Hara), which producer Leonard Goldstein and director Lee Sholem will launch this week (May 19). "The Great Companions" (Dan Dailey), an Albert J. Cohen production, follows later in the week, with Douglas Sirk directing. "Mississippi Gambler" (Tyrone Power) is set to start oil June 10, with Rudolph Mate directing fo' producer Ted Richmond. On June 23, "Lon Hand" (Joel McCrea), and "Desert Legion (Alan Ladd), will go. Howard Christie pro duces the former, and Ted Richmond th latter. Currently filming are: "Bonzo Goes Ti College" (Maureen O'Sullivan - Charle Drake-Edmund Gwenn-Gigi Perreau), Fred erick de Cordova directing for Ted Rich mond; "Willie and Toe Back at the Front (Tom E well-Harvey Lembeck), Georg' Sherman directing for Leonard Goldstein "Magic Lady" (Loretta Young-Jeff Chandler Alex Xicol), Joseph Pevney directing, Alber J. Cohen producing; and "Gun Hand" (Rocl Hudson-Julia Adams), Technicolor actioi feature, directed by Raoul Walsh and pro; duced by William Alland. WARNER BROTHERS Burbank Lot Dull, But Four On Location Helps Hold Pace Warners hit a 1952 location peak earl) this month, with four pictures shooting awa> from the studio and only one film lensingj on the lot. "The Desert Song" (Gordon MacRae Kathryn Grayson-Alyn McLerie) is in Aril zona; "Springfield Rifle" (Gary Cooper- Phyllis Thaxter-David Brian) was at Lon< Pine; "Jim McLain" (John Wayne-Nanc>( Olson) was just starting its five-week Hono- lulu location stint, and "The Iron Mistress'] (Alan Ladd-Yirginia Mayo) was at Thous-i and Oaks, California. "April In Paris'' (Doris Day-Ray Bolger-Claude Dauphin), was the sole picture shooting at the studio No new pictures are scheduled to start al the studio within the next two or three weeks, although two new Warner properties^ and an independent scheduled for WB re-j lease are in the pre-production planning; stages. "Stop You're Killing Me", to be pro-j duced by Louis F. Edelman, will star! Broderick Crawford, who was signed earlier! this month for the role. The other WB pro-J duction is "By the Light of the Silvery! Moon," musical co-starring Doris Day andj Gordon MacRae. The inde is Norma Pro- ductions' "His Majesty O'Keefe," which will star Burt Lancaster. Byron Haskin will direct. An interesting new production method is being inaugurated by the studio in the prepa- ration of "The Private Life of Helen ofl Troy", which is due for a late 1952 filming. Art director Edward Carrere has already been assigned to work with producer Sam Bischoff and writers Hugh Gray and Richard Nash, so that each individual set may be sketched as the screenplay is developed. Normally an art director does not see aji script until it is completed. Andre Dc Toth, who is currently directing, "Springfield Rifle," has just been handed at long-term pact by the studio. Prior to "Rifle", De Toth worked on the lot as the i director of "Carson City". F I L M BULLETIN # THE WRITE-IN CAMPAIGN THAT'S SWEEPING THE COUNTRY! M-G-M's ''Seeing Is Believing" trip to California provided an unparalleled opportunity for theatre men to carry back to the nation an enthusiastic first-hand report that has become splendid public relations for the entire industry. We wish we could have had 10,000 showmen witnessing the screenings of the great M-G-M pictures coming. This was im- possible, but every exhibitor may now be assured that never in the history of film business has any company, including M-G-M, had so many fine attractions ready, willing and able to bring crowds into theatres. Here are some of our pictures, among them most of the big attractions screened in California, for release when your need is greatest, in May, June, July and August: "SCARAMOUCHE" (Tech.) Stewart Granger, Eleanor Parker,Janet Leigh, Mel Ferrer, Henry Wilcoxon, Nina Foch, Lewis Stone, Richard Anderson "SKIRTS AHOY!" (Tech.) Esther Williams, Joan Evans, Vivian Blaine, Barry Sullivan, Keefe Brasselle, Billy Eckstine "THE GIRL IN WHITE" June Allyson, Arthur Kennedy, Gary Merrill "CARBINE WILLIAMS" James Stewart, Jean Hagen, Wendell Corey "PAT AND MIKE" Spencer Tracy, Katharine Hepburn, Aldo Ray, William Ching "LOVELY TO LOOK AT" (Tech.) Kathryn Grayson, Red Skelton, Howard Keel, Marge and Gower Champion, Ann Miller "MR. CONGRESSMAN'" Van Johnson, Patricia Neal, Louis Calhern, Sidney Blackmer "THE DEVIL MAKES THREE" Gene Kelly, Pier Angeli "FEARLESS FAGAN" Janet Leigh, Carleton Carpenter, Keenan Wynn "IVANHOE" fTecfcJ Robert Taylor, Elizabeth Taylor, Joan Fontaine, George Sanders, Emlyn Williams And in September the famed "THE MERRY WIDOW" (Tech.) Lana Turner, Fernando Lamas— followed by "BECAUSE YOU'RE MINE" (Tech.) Mario Lanza, Doretta Morrow. EXPLOITATION PICTURE of the issue Red Ball Express Director Budd Boetticher likes to tackle new fields in which to place his story. In "The! Bullfighter and the Lady", he gave the first truly comprehensive exposition of bullfight- ing; in "Bronco Buster", the rodeo was treated in the same fashion. In both cases, a story that may have been told many times beforell was of secondary importance. It was Boet- II ticher's handling of the material and the starsjl in a "never before told on the screen" manner i that set these films apart. Now Boetticher! goes to a setting that has been on the screenB countless times — the battlefields of Francejl during World War II — but to a unit that hadll yet to receive screen treatment, the "Red Ball Express". The dramatic content is apparent in the I situation that unleashes the film's action: General Patton, pushing swifly to Paris wit! f his racing tanks, has outrun his supply line; f in the dash through German-held territory. Arl'l emergency fleet of trucks dubbed "Red BaH'jl (railroad term for top priority freight) is as I signed to carry supplies to the isolated tan! I corps. Tli< film lakes it from there, ancffl although the tale that follows has had it | counterpart on the screen in many ways, dill rector Boetticher and scripter John Michael I Hayes have injected an unusual amount o humor, conflict and action into the proceed > ings. The screenplay has Lieut. Jeff Chandlr heading a unit on the Express. Conflict withiiA the group develops when Chandler's sergeanlil Alex Nicol, is at dagger's point with his c.o I believing Chandler is responsible for hill (Nicol's) brother's death in a pre-war trucldfl ing accident. The melodramatics and heroic! during the mission are spiced and seasoncl with bright dialogue among the soldiers an I a romance between Charles Drake and Frenc actress Jacqueline Duval for effective relie At top, a contingent of "Red Bailers" wait tense for the start of their 270-mile trip through enen territory to get supplies through to General Patton isolated tank corps Center, Jeff Chandler kneels the grave of a soldier who did not survive U mission. Bottom, Alex Nicol puts the finishit touches on a successful skirmish. EXPLOITATION PICTUEE HEART& LAUGHS IN NEW WAR FILM v CHANDLER The "human side" of war, plus a "never-before-told storj oi tVorld War II arc the angles to sell in I niversal-International's "Red Sail Express". Detailing the storv of a haslily-organi/ed truck null o carry supplies to General Patton's tank corps in his race through •*rance, which isolated him from the normal suppl) lino, the film nits stress on a «roup of individuals and their reactions, rather than he usual mass war film. Unlike the hulk of war pictures, there is a insistent punctuation of comedy among the dramatic and actionful equences. as well as a serio-comic romance which introduces a new i i nch personality to American moviegoers, Jacqueline Duval. This OUng lady, with her whistle-bait figure, should he another important actor in the ballyhoo campaign. She is featured in virtually ever) me of the display ads. A blow-up of her in the lobby should be a must" in every theatre's campaign. For the marquee, there is the brawny and increasingly popular eff Chandler, who, along with Alex Nicol. Judith Braun and Charles Drake in the co-starring roles, has garnered a host of fans ever since his appearance in "Broken Arrow". A valuable series of aids to exhibitors has been established b) U-I for the film. Special screenings for national organizations and service groups was set up in connection with the World Premiere in San Francisco on May 2nd and the batch of day-and-date openings across the country in connection with the national observation of Armed Forces day, May 17th. Among these are the American Legion, Veterans of Foreign Wars. Jewish War Veterans. American Veteran's Committee. American Bed Cross, U. S. Army Transportation Corps, Public Information and Port of Embarkation Officers and the Ameri- can Trucking Association as well as newspaper and magazine editors. In connection with the Armed Forces Day observance and general release of the film, the Army has issued directives to all Transportation Corps installations to lend the fullest possible co- operation to local exhibitors who play the picture. The American Trucking Ass'n, which represents some 60,000 truckers in the 18 ales, is tied in with the picture with members urged to cooperate as Itlly as possible in connection with the local showings. So is the eneral Motors Truck Division, giving the film an unusual bac king pm a group that is constantly hitting the public eye with ads on heels. The stills are most effective, and a surprising number of them hve shots that include Negroes working, laughing and fighting side w side with the white soldiers. These should be especially valuable p theatres catering to colored clientele. David Lipton, chief of the LI-I boxofficers, and his stafT have orked up several exploitation stunts, displays and tie-in suggestions It use by exhibitors. Special attention has been given to the military nd trucking co-ops. It's up to the showman to take advantage of em. NICOL DUVAL CO-OPS The t it- iii arranged w i 1 1 ■ tin- \ riif-r i< tain Pirate IT) Louis Hayward 5-52 uded Yellow, The 194) . Simmons-Howard fo Bill McGuire-Moore 404 41? 1-14 2-52 pie Creek (T) Montgomery-Booth Of A Salesman (III) March-Dunnock Dozen The . Colleano-Franz ly Secret, The 185) Derek-Cobb 12-51 flfhters, The Williams-Reynolds Time, The 189) _ Cummings-Hale 2-52 Fingers of Dr. T., The Hayes-Healy Poster, The _ Harrison-Palmer Jen Hawk, IT) Fleming-Hayden py Time, The Boyer-Driscoll em Girl, The 170) Davis-Castle 2-52 422 em Globetrotters, The (80) Gomei-Dandridge 11-51 345 of Wild River, The 154) Starrett-Burnett 2-52 Wonderful Lie Kiepura-Eggerth an Uprising ISC) 175) Montgomery-Long e Jim in the Forbidden Land(45) Weissmuller-Ryan Safari Weissmoller-Greene 10-8 423 12-31 414 424 2-1 1 1-28 1-52 3-52 417 From Amarillo 154) Starrett-Barnett 4-52 |a, The Wild Stallion 145) Reissue Stone-Hudson 2-52 mie Mountains (54) Starrett-Burnett 4-52 Train From Bombay Hall-Ferraday In the Saddle IT) 187) Scott-Leslie 12-51 420 rying Kind, The 193) Holliday-Harrison 4-52 425 5-5 ix Convicts 1104) Beel-Mitchell 3-52 Stage to Galveston 141) Autry-Buttram 3-52 awa 147) O'Brien-Mitchell 3-52 West, The 141) Autry-Buttram 3-52 475 anders, The IT) Scott-Jarman Finder, The (T) Montgomery-Carter Young-Smith 4-52 s River IS4) ..Starrett-Burnette 1 2—5 1 404 12-17 e of Pirates (T) Derek-Rush le Heart Diary (73) F. Langford-T. Romano 12-51 low Round My Shoulder Id Laine-Daniels 's of the Whistling Pines Autry-White Tough West ...Starrett-Burnett e and the Arrow, The (T) Crawford-Hale 421 dal Sheet 182) Crawford-Derek 3-52 y Canyon (55) Starrett-Burnette 1-52 r, The 187) Menjou-Frani 5-52 f Dr. Jekyll (78) Hayward-Knox 11-51 J Orr (83) Mickey Rooney 5-52 all Men (T) (97) ... Lancaster-Lawrence 12-51 of Damascus, The IT) (78) Henreid-Sutton 4-52 y of Fire IC) (42) _ ...Autry-Barnett 11-51 >n Team Autry-Buttram East on Beacon 1981 Murphy-Gilmore iKI Cry IC) Montgomery-Long in Indo-China, A (47) Archer-Dick 5-52 483 409 413 353 424 1-14 10-22 4-7 I 1-19 5-5 El -52 L I P P ERT Completed (32) In Production (I) RELEASE CHART — 1951-52 — RODUCTION TITLE — Running Time Cast n the Fog Romero-Maxwell PLETED u Were Tracy-Sawyer Queen Britton-Parker Rel. No. Rev. 10-5 .12-15- .10-24. 1-52 -2 irl 174) Romero-Totter n Only (93) P. Henreid Adventure, The (75) Price-Hawkins li- te Hayden-Leslie 7-4 Dangerous 181) Clark-Lockwood 10-12 _ The Cameron-Romero 4-27 hark 179) Raft-Hart 5-23 ait 178) Brent-Chapman 1-52 170) Indian Cast 2-52 ' Woman (C) 175) Windsor-Rober 5-2 Submarine 149) Special Cast 7-18 5110 Face, The 171) Henreid-Scott 4-4 5109 hold (73) Lake-Scott 2-52 5107. .5023 _59I0 .5002 10-19 5102 1-28 5021 2-1 1 5113 .5029 5112 5111 5103 5104 5105 an and The Mole Men (58) Reeves-Coates .„ 1 1-23 .5030. Jf Robin Hood 159) Clarke-Hatcher 12-21 . 5008 Man 4-52 5108 of Eagles 183) Warner-Gray 4-25 5114 of Danger 172) Z. Scott 4-1 5104 V 19, 1952 IN PRODUCTION TITLE — Running Time I Love Melvin IT| Plymouth Adventure IT) Prisoner of Zenda IT) Rogues March Time Bomb Tribute To A Bad Man Cast O'Connor- Reynolds Tracy-Tierney Granger-Kerr Lawford-Rule Ford-Vernon Turner-Dougles Rel. No. Rtv. COMPLETED American in Paris (T) (113) . — Because Your Mine Belle of New York 181 ) Callaway Went Thataway (81) Calling Bulldog Drummond 180) Carbine Williams MOD Devil Makes Three, The Eagle On His Cap Fearless Fagan Girl In White, The (93) Glory Alley 182) Holiday for Sinners Hour of Thirteen. The Invitation 1851 It's A Big Country (89) Ivanhoe IT) Just This Once 190) Letter From the President Light Touch, The (93) Lili Lone Star 194) Nov .Kelly-Caron Lania-Whitmore Astaire-Vera-Ellfm 3-52 . MacMurray-McGuir-. Dec Pidgeon-Leighton _ Dec Stewart-Hagen 5-52 Kelly-Angeli 8-52 Taylor-Parker Leigh-Carpenter 8-52 223 214 213 231 9-24 2-25 12-3 4-21 Allyson-Kennedy Caron-Meeker Young-Rule Love Is Better Than Ever 181) - Lovely To Look At ITI (1121 Merry Widow, The (T) Mr. Congressman One Piece Bathing Suit (T) Pandora and the Flying Dutchman IT) 1123) 5-52 4-52 7-52 Lawford-Addams 4-52 McGuire-Johnson 2-52 ..All Star 1-52 R. Taylor-E. Taylor 8-52 Leigh-Lawford 3-52 Winter s-Monta I ban . Graingor-Angeli Dec Caron-Ferrer Gable-Gardner 2-52 E. Taylor-L. Parks 4-52 Grayson-Skelton 7-52 ..Turner-Lamas - Johnson-Neal 7-52 Williams-Mature 232 200 215 1-28 12-17 224 212 I- 28 II- 5 222 225 Pat and Mike (95) Quo Vadis IT) (171) Scaramouche (T) 1 1 151 Sellout, The (72) Shadow in the Sky (78) Singin' In The Rain IT) (103) Skirts Ahoy IT) 1109) Talk About a Stranger (45) Too Younq To Kiss 191 ) Westward the Women (114) __ When In Rome (781 Wild North, The (97) You For Me Young Man With Ideas (84) Mason-Gardner 1-52 Tracy-Hepburn 4-52 Taylor-Kerr S. Grainger-E. Parker . Pidgeon-Totter Meeker-Da vis- Whitmore Kelly-O'Connor William-Blaine Murphy-Davis Ailyson-Johnson Taylor-Darcel Johnson-Douglas Granger-Corey Lawford-Greer Ford-Roman 4-52 1- 52 2- 52 4- 52 5- 52 4-52 Nov 1-52 4-52 3- 52 219 221 227 233 228 214 229 224 10- 22 11- 19 12- 31 12-31 4-21 3-10 I l-S 12-3 3-10 5-52 230 3-10 MONOGRAM - ALLIED ARTISTS 1951-52 Features Westerns Completed (44) Completed (16) In Production ( I ) In Production (0) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Flat Top IC) Hayden-Carlson COMPLETED Rel. No. Rev. 147) 145) Sheffield-Luez Medina-Sands Morris-Albright Gorcey-Hall DeFoe-King Gorcey-Hall .. Brown-Ellison . Morris-Caruso Sheffield Chapman-Mitchell Fort Osage (C) 172) Cameron-Nigh Gunman, The Wilson-Knight Hold That Line 144) Gorcey-Hall Jet Job (43) Clements-Verdugo Kansas Territory 173) _ Elliott- Stewart Lawless Cowboys (58) Wilson-Knight Longhorn. The (70) _ _ Elliott-Coates . — Man from Black Hills 178) Brown-Ellison African Treasure Aladdin and His Lamp (C) Artie Flight Bowery Leathernecks — Counterfeit Crazy Over Horses Dead Man's Trail Desert Pursuit Elephant Stampede 171) Flight to Mars (C) 172) Mexican Silver Night Raiders Northwest Territory 1411 Plow Jockeys Rodeo IC) 171) _ Rose Bowl Story, The ICI ... rexas City Stage to Blue River (54) Steel Fist, The (73) - - Texas Lawmen (54) Texas Marshall .Wilson-Clyde Wilson-Knight ... ..Grant-Chinook Gorcey-Hall Jane Nigh ..Thompson-Miles Wilson-Knight _ McDowall-Miller ... Brown-Ellison Brown-Ellison Wilson-Knight 2-52 5251 12-9 9-14 5213 _ 3-9 5104 8-24 5204 12-30 _ 1-52 5217 3-10 1-52 5241 12-2 21 RKO RADIO trail bust - . ... Albright-Winters Vicious Years. The 179) _ Cook-Moore Waco 168) ...Elliott Waqons West ICI _ .. Cameron Whistling Hills 158) ...Brown-Ellison Wild-Stallion IC) Johnson-Hyer Witness, The _ Kirkwood-Gleason ALLIED ARTISTS 12-31. -2-18 2-52 6-2? 10-7 4-27 ..5107- 5224 5203 5145 5205 Disc Jokey 177) Highwayman, The (C) (83) Simms-O'Shea .... _ Hendrix-Coburn .8-23 9-8 .21. .20. .6-18 .8-27 PAR AMOUNT 1951-52 Features Completed (67) In Production (I) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Road to Bali Cast Hope-Crosby- La mour Rel. No. Rev. 12-52 5119 5117 5120 .5108. 5115 .5.1 IL COMPLETED Aaron Slick from Punkin CreekIT) (95)Shore-Young 4-52 Anything Can Happen (107) Ferrer-Hunter 5-52 Atomic City, The 185) Barry-Clarke 6-52 Blaiing Forest IT) - Payne-Moorhead 12-52 Botany Bay (Tl l;ddd"'las1.0,n " -VV," Caribbean (T) Payne-Dahl 9-52 Carrie - Olivier-Jones 8-52 Come Back Little Sheba Lancaster-Booth Darling How Could You (95) - Fontaine-Lund 11-51. Denver & Rio Grande IT) 1891 O' Bnen-Hayden 6-52 Detective Story (103) -.. Douglas-Parker I Ml. Encore Maugham Stories 7-52 Flaming Feather ITI 1771 S. Hayden-G. Russell 2-52 5118.. Greatest Show On Earth (T) (151) Stewart-Hutton 7-52 5130 Green Gold of Nevada (T) Payne-Morrow Hong Kong IT) (92) Reagan-Fleming 1-52 . 5109 Hurricane Smith IT) DeCai lo-lreland 10-52 Jumping Jacks Martin-Lewis 7-52 — Just For You IT) Crosby-Wyman 9-52 Los Alamos — Barry-Carke Military Policeman Hope-Maxwell My Favorite Spy 193) Hope-Lamarr .... 1 2—5 1 ...5110.. My Son John 1122) ... Hayes-Heflin 4-52 51 16 • •«• of the Vulture, The Ladd-Kerr , 3-10 3-10 .8-13 4-7 ...10-8 12-31 1-14 ll-l? 10-22 4-21 5113 51 14- Ladd-Kennedy 5-52 ..Martin-Lewis _ 2-52 Heston-Hanson I 1-52 Ladd-Arthur _ DeCarlo-O'Brien 1 2— S I SI I Red Mountain IT) (84) Sailor Beware 1102) Savage, The IT) Shane IT) Silver City IT) (90) Somebody Loves Me IT) Hutton-Meeker 10-52 Something To Live For 190) Fontaine-Milland 3-52 5105 12-17 10-8 Son of Paleface Stalag 17 3t*«ge, The (T) Submarine Command (89) This Is Dynamite Tropic Zone IT) War of the Werlds IT) When Worlds Collide (82) (T) Hope-Russell Holden-Taylor . Martin-Lewis . Holden-Olson _. . Holden-Smith Reagan-Fleming Barry-Robinson -Derr-Rush 8-52 11-52 1 1-51 11-52 .6107 2-11 9-24 1951-52 Features Completed (67) In Production (2) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Beautiful But Dangerous Simmons-Mitchum Hans Christian Andersen (T) Kaye-Granger Rel. No. Rev. 220 COMPLETED At Sword's Point IT) (81) Wilde-O'Hara 2-52 Androctes and The Lion Simmons-Young Beware, My Lovely Lupino-Ryan Big Sky. The Douglas-Martin Body Snatcher (Re-issue) Karloff .4-52 271 Cat People 173) — Simon •-Smith Reissue 267.. Clash By Night _ Douglas-Stanwyck Double Dynamite 180) .Sinatra-Russell Faithful City 186) J Smith-Ramati Girl in Every Port, A (86) _ .... Marx-Wilson Half-Breed, The IT) 181) Young-Carter Hunchback of Notre Dame (117) Laughton-O'Hara I Walked With a Zombie (Re-issue) Conway I Want You (101) Andrews-McGuire Jet Pilot IT) 1118) Wayne-Leigh Jungle of Chang 167) Travel King Kong IRe-issuel Cabot Korean Story, The Mitchum-Tallman . Las Vegas Story, The 188) Russell-Mature ..... Leopard Man, The (Re-issue) O'Keefe Macao 181) Russell-Mitchum Narrow Margin (71) McGraw-Windsor 12-51 214 5-52 273 4-7 1-52 214 I-M 5-52 5-5 Reissue 266 4-52 272 .... 1-51 101 11-11 11-51 _ 5-52 .208 ... 269 ll-l? 14 On Dangerous Ground (82) Overland Telegraph 160) 4-7 Ryan-Lupino -Holt-Martin Pace That Thrills, The (63) Williams-Balenda .. Racket, The 189) Mitchum-Scott _ Rancho Notorious (89) Dietrich-Kennedy Rashomon (86) Japanese Road Agent 160) Holt-Martin Saddle Legion (60) — HaM-Martin Snow White and the Seven Dwarfs (T) (83) Disney Feature Sudden Fear Crawford-Palance Target 160) McGraw-White Tarian's Savage Fury (80) Barker-Hart ._ Tembo 180) ._ Documentary This Man Is Mine Hayward-Mitchum Trail Guide 160) Holt-Martin Two Tickets to Broadway (Tl ( I Oil -Leigh-Martin Whispering Smith vs. Scotland Yd. 177) Carlson-Gynt Wild Heart, The (T) Jennifer Jones 2-52 .217 5-52 270 4-52 224 4-52 226 I— SI 2I5.._ . 12-51 .... 216 3-52 213 11-51 210... 10-22 221 268 223 -117. 3-52 3-52 3-52 3-10 Reissue 292.. 4-52 227 4-52 225 1-52 265 3-24 2- 52 .11-81.. 3- 52 219 2-11 264 ... 16-iJ 222 20th CENTURY-FOX n-4i.„._si06_— :»-24 1951-52 Features Completed (58) In Production (8) 1951-52 Features Serials Westerns Completed Completed Completed 18) 0) 13) Production Production Production (I) (0) (I) 10-8 RELEASE CHART — 1951-52 — COMPLETED Adventures of Captain Fabian (100) E. Flynn-M. Prelle .10-6 5101 Bal Tabarin (90) Lawrence-Ching 6-15 Black Hills Ambush Lane-Waller 5-20 Border Saddlemates Allen-Kay 4-15 5143 Lane-Edwards 1-52 5064 Rex Allen 2-52 5141 Lane 1 1-1? 5063 Estelita-Clarke 4-1 5125 Edwards-Clark _ Downs-Hutton 5-52 Canova-Foy 10-51 IN PRODUCTION TITLE — Running Time Big Man Bloodhounds of Broadway Hands Across the Sea Man Who Fooled Hitler Pony Soldier IT) Something for the Birds Stars and Stripes Forever IT) Tonight We Sing COMPLETED Anne of the Indes IT) 182) RELEASE CHART — 1951-52 — Cast Widmark-Dru Gaynor-Brady Rennie-Peters Werner Power-Edwards Neal-Mature Webb-Hussey Pima-Peters Rel. No. Rev. I 1-52 11- 52 12- 52 11-61 134 Captive of Billy the Kid 154) Colorado Sundown 1671 Desert of Lost Men 1541 Fabulous Senorita, The (80) Flight trom Fury Gobs and Gals Honeychile ITrl IB?) Hoodlum Empire l?8l Donlevy-Trevor 4-15 1-14 Jordan-Paget Belles On Their Toes IT) I8?l Crain-Loy 5-52 Bagdad on the Subway Crain-Granger 10-52 David and Bethsheba (T) (116) Peck-Hayward 2-52 Day The Earth Stood Still. The l?2)...Rennie-Neal _ 9-51. Deadline U.S.A. 187) - ...Bogart-Barrymore 5-52 Decision Before Dawn (119) Merrill-Basehart 1-51 205. Desert Fox, The 191) Mason-Young _ 19-1 203 12? I Dream of Jeanie ITr) 1901 Lady Possessed 187) Las* Musketeer, The 1671 Leadville Gunslinger (54) Minnesota Okrahoma Annie IC) 190) Old Oklahoma Plains Pals of the Golden West 168) Quiet Man, The IT) Middleton-Shirley 6-15 rt Defiance (81) D. Clark-B. Johnson Alastair Sim Robinson-Hunt Bogart-Hepburn Davis-Merrill J. Barrymore-P. Foster 11-30 11-19 H-R 1-14 1-14 I 1-19 old Raiders IS6) reen Glove, The (86) e Ran All the Way 177) O'Brien-Ryan _ 9-14 Ford-Brooks 2-28 Garfield-Winten 7-13 . 3- 21 1-16 12-7 .... . 2-8 4- 1 I Asp 4-7 1-4 12-17 1—3 1 11-9 RELEASE CHART — 1951-52 — Cast Day-Bolger Grayson-MacRae Ladd-Mayo Wayne-Olson Cooper-Thaxter 10-15 'iqh Noon 185) Cooper-Kelly otel Sahara (87) DeCarlo-Ustinov vasion U.S. A O'Shea-Castle land of Desire IT) (103) Darnell-Hunter 6-20 idy Says No. The 182) 11-5 Ben 3-10 Reb 7-16 Kr 5-5 Jar 11-19 melight ister Drake's Duck (81) r. Peek-A-Boo (74) -tiny IT) (76) ssessed 177) le Big Affair (80) __ rdon My French 181) _.. inter's Wife Id Planet Mars (87) •ng, The ver, The IT) 199) yal Journey 150) Chaplin-Bloom -Fairbanks-Donlan .Greenwood-Bourvil Stevens-Lansbury O'Keefe-Keyes Oberon-Henreid ..Claudette Colbert Graves .. Rios-Moreno 9-21 io-a 10-21 -Sachl - 9-24 3-14 KB 3-24 9-7 9-24 2-22 8-10 •-10 ) 5-15 2-15 Ren 3-15 8-24 _ Dan _ 7-16 IN PRODUCTION TITLE— Running Time April In Paris IT) Desert Song, The IT) Iron Mistress, The (T) Jim McLain Springfield Rifle IW) COMPLETED XurF^^4,Mee,Capt Kid ^ E^'AM m .85, WS^tas g_r_r«^i 1981 Close To My Heart 190) .. Milland -T.er, ™V Come Fill the Cup 1113) _J. Tha,,er Captain Horatio Hornblower (T) M7Peck-Mayo Crimson Pirate, The (T) t-^'r Z * Danger Forward W.ld.-Cochran Distant Drums IT) C 1 0 1 ) Cooper-Alden Force of Arms 1 100) I'll See You In My Dreams (110) Rel. No. Rev Holden-Olson Day-Thomas Abbott-Costello Cochran-Teal Lancaster-Bickford Scott-Wymore Flynn-Roman range World 180) le of Five Women, A (86) rn Brown's Schooldays 193) |'o Gals and a Guy 170) ell, The 185) hen I Gh»w Up 190) Hauff-Schneider 3-28 ..Bonar Colleano 3-7 Gehn 4-7 . Davies-Newton Paige-Alda 11-2 8-31 . Rober-Kelly 9-14 ..Preston-Scott .4-20 Pop 9-10 Jack and The Beanstalk ISC) 178) Lion and the Horse, The (WC) 183) Jim Thorpe. All-American 1105) Man With A Gun (T) Mfrraacle"ofUOur8lLady of Fatima, The Gi'.b.rT Rowland North of the Rio Grande MeCrea-Mayo Painting Clouds with S'hin. IT) 187) Mayo-Morgan t Retreat Hell! 1951 Lovely-Carlson Room For One More 195) Grant-Drake San Francisco Story, The 180) She's Working Her Way Throuqh College (T) Starlift (103) Story Of Will Rogers. The IT) Streetcar Named Desire. A 1122) Brando-Leigh 12-29 9-15 1-12 4-12 4-19 9-1 5-3 McCrea-DeCarlo McCrea-DeCarlo Cagney-Mayo - Rogers-Wyman UNIVERSAL-INTERNATIONAL 751-52 Features Completed (72) In Production (4) RELEASE CHART — 1951-52 — I PRODUCTION TITLE — Running Time Cast ,nio Goes To College Perreau-Gwenn jm Hand IT) Hudson-Adams igic Lady Young-Chandler Tank Are Coming, The (90) This Woman Is Dangerous (97) Tomorrow Is Another Day (90) 3 For Bedroom C IC) 174) Where's Charlie? IT) S. Cochran'-P. Carey Crawford-Morgan Roman-Cochran Swanson-Warren Bolger-McLerie 7-28 10- 6 2- 23 1-26 5-17 5- 17 12-1 3- 22 11- 17 2-9 9-22 6- 2 1 I I I 102 _ 112 118 I 19 101 120 029 . 105 IIS 113 121 121 109 104 108 I 14 103 124 12-17 12-17 4-21 6-18 4-7 9-24 2-25 1-14 4-21 5-5 11-19 ll-l 2-H 1-27 wnere s wmmki >•» " »„ Winning Team, The Day-Reagan Rel. No. Rev. (•lie and Je Back at the Front Ewell-Lembeck >MPLETED Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 lainst All Flags IT) ttle of Apache Pass, id of the River IT) ck Castle, The ght Victory (97) Flynn-O'Hara ... The IT) (85) Chandler-Lund Apr 191) Stewart-Kennedy Feb McNally-Greene Dow-Kennedy Jan 217 212 4-7 1-28 >nco Buster (T) 180) Lund-Brady ve of Outlaws, The IT) 176) Smith-Carey 'riarron Kid, The IT) (84) A. Murphy-Y. Dugay jty Beneath the Sea IT) Ryab-Powers el at Silver Creek, The (T) Murphy-Domergue .. ders Keepers 175) Ewell-Adams ' me of Araby (T) (77) __Chane!ler-0'Hara .. May Nov Jan 208 219 213 .... 7-30 4-2 1 1 1-5 12-31 Oct. ish and Fury 183) _ Curtis-Sterling incis Covers the Big Town Donald O'Cennor incis Goes to West Point O'Connor-Nelson Iden Horde, The IT) (134) Blythe-Farrer s Anybody Seen My Gal IT) Colburn-Laurie - — . re Comes The Nelsons (76) Oiiie and Harriet Feb ■ Man 1(2) Keyes-Chandler Aug jrows On Trees Dunne- J agger - 'ry Hunter 195) Steel-Sheridan June ■ t Across the Street ..Sheridan-Lund My from Texas IT) (78) Hull-Duff _ ... Oct. ly Pays Off, The (80) _ Darnell-McNally ..... Nov j'*nder Hill_Mob, The (82) ...Guuinness-Holloway Oct .Fleming-Stevens Sept Jan 211 1-14 ..Jan . 207 _ 12-3 Mar 214 134 210 130 , Egypt IT) 182) in Alaska Abbott-Costello and Pa Kettle at the Fair (87) Main-Kilbride ... and Pa Kettle in Waikiki Main-Kilbride .. and Pa Kettle Go To Parit Main-Kilbride _ rk of the Renegade (T) (81) ___ Montalban-Charisse Aug 1 et Danny Wilson 188) Sinatra-Winters Feb I Room for the Groom 182) Curtis-Laurie - May 'I I of London 185) ..... Colleano-Shaw Nov *U Y 19, 1952 221 136 202. 280 .131 10-8 Apr 216 128 205 220 183 1-28 8-27 3-24 8-13 1-28 5-5 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each weefc. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St.. Phila. 3 — 1239 Vine St., LOcust 4-0100 Member National Film Carriers PhiN 23 YOM P/CWRES / FfiAMfD The new patron-pulling service . . . that provides colorful, eye-appealing ad- vertising for placement in • MERCHANTS' WINDOWS • STORE COUNTERS • HOTELS • TERMINALS Handsomely mounted in footed, silver-colored frames to tell and sell the big story about your at- tractions ! See your NSS Salesman or write your nearest NSS Exchange nATionm . \ ctee/i service \JpnufBttBr Of me UIDUSTRY LOUIS MYWARD, JOHN SUTTON • SIEVE BRODIE ALAN HALE, If • JUDO HOLDREN II MA F!H [WS • GAVIN HUH • BUBW BICE ■ I0HN DIHNLR- MARUN OWU WALTER POLLEXi 4 on sorsh ip 'MIRACLE' RULING EAILS TO ANSWER $64 QUESTION The movie industry won an important victory, but the fight against film censor- ship was tar from over. The United States Supreme Court, in its first ruling on the status of motion pictures under the "freedom of speech" amendments in the Constitution since 1915. unanimously accorded films the same guarantees of free expression as that of the press. The high court ruling was delivered in the case of "The Miracle." which has been banned by the Xew York censors — upheld by the State Appeals Court — on the ground that it was "sacrilegious". While the ruling was purely on this factor, holding that a definition of "sacrilegious" was too indefinite to be vested in individuals, the decision, as handed down by Justice Tom C. Clark, specifically outlawed a Supreme Court ruling in 1915 that movies were "a business pure and simple" and ordained that "expressed by means of motion pictures is included within the free speech and free press guar- anty of the First and Fourteenth Amend- ments." Reaction within the industry was im- mediate and jubilant. MPAA president Eric Johnston was "delighted" about the guar- antees of tree speech and press and ex- pressed "hope" that the "subsequent case ( the Texas Pinky decision ) will go all the way" to give films full freedom from censor- ship. But such a prospect, while brighter than before the top tribunal's decision, was still in a vague realm. First, the Supreme Court had not yet accepted jurisdiction of the "Pinky" case. Second, the "Miracle" decision was couched in language that limited its ap- plication to censorship of the "sacrilegious" aspect of a film. Justice Clark made it i point to emphasize that the guarantees he mentioned did not mean that the Consti- tution allows "absolute" freedom to show "every motion picture of every kind at all times and all places". Just how far state and municipal censorship boards can still go was the $64 question, as yet unanswered. Profit Puttorn FILM REVENUE FIRM, THEATRE RECEIPTS DIP A profit pattern seems firmly established in the financial statements that have come from each of the film companies that have owned or still own theatres; film rentals re- ceipts either increased or maintaining a level while theatre earnings dip. 20th Centurv-Fox is not exception. The most recent profit report, detailed by president Spyrous Skouras at a stockholders' (Continued on Page 8/ BULLETIN JVEWS tttttl OPIXIOA DARRYL ZANUCK 17 Years if ore "H itl it* it I o u s " ZANUCK RESIGNATION RUMORS UNTRUE-SKOURAS That talk about Darryl Zanuck's resig- nation from 20th-Fox was squashed by president Spyros Skouras — but emphatically. "Nothing could be more ridiculous," the of- ficial statement said. "Mr. Zanuck and his family hold the largest individual block of stock in Twentieth Century-Fox. In addition, he has a long term contract which still has seventeen (17) years to run. Always one of the hardest working men in our industry, as well as one of its outstanding leaders in production, Mr. Zanuck has an exacting and exhaustive program ahead of him and it is preposterous tor rumors of the kind mentioned above to be given any credence." It is understood that Zanuck. who is due back from Europe on June 10. desired to issue the denial himself, but it was decided to handle it from the home office end. Why Panic? DE MILLE SAYS THEATRES WILL ENDURE AGAINST TV "I have been covering a good deal of country, and have run into two ques' repeatedly: "What about television and motion tures?" and "\\ hat pictures are you going to next?" Cecil B. DeMille. dapper, blue-suited, b tied, was sounding off in the Param Board Room on Broadway On TV his word was this: "Television a powerful and wonderful means of tran~ ring ideas, and it is going to be here after we have gone. But so are motion tures. The theatre has always been trouble, as far back as I can remember, is like the Stock Market, always up or d~ Because Standard Oil of Xew Jersey drops a couple of points, no-one on W Street imagines that people are going to up using oil. but when there is a down fluctuation in show business there's everywhere." Mr. DeMille sees no need for panic, the attitude of good film makers in all studios. How we could use more of "Before I tell you what I am going make." the famous producer said. "I'd say what I'm not going to do. I'm not ing "Helen of Troy". That's being made another company, which has priority registration. I am going to make 'The Commandments'." Surprisingly, he didn't mention his posed story of the Boy Scouts, which is ported elsewhere as his next scheduled ject. Asserting that his pictures had attain 36 years some 3.214.000.000 attendances ( eluding "Samson & Delilah" and "Grea" Show on Earth") the veteran showman marked. '"I wonder where in the world a one could buy for 75 cents the $4,000, put into 'Greatest Show'?" He added, in an aside, that dissolu the DeMille Producing Company had b| decided on merely because that company- served its usefulness for tax purposes, expect to be carried out of pictures," he - 4 olor WARNERS AND REPUBLIC MAKE NEWS ABOUT HUES Color may not be the answer to the hibitor's prayer, but there is a gro^ belief among film men that it is bee an increasingly important boxoffice factor Fresh attention was focused on colo the past week by the enthusiastic recep accorded the debut of WarnerColor in Lion and the Horse" by the Xew York reviewers, and Herbert Yates' announce r Continued on Pf FILM BULLET BULLETIN EDITOR ,ol. 20. No. 11 June 2. L952 l'a;:c Five ft HARMONY My idea of an agreeable person is a >erson who agrees with me." — BENJAMIN DISRAELI REVIEWS in This Issue ttld Heart _ 10 (inning Team _ - _ _ 10 u tors and Sin . _ 10 ust Across The Street .._ _ 11 rlory Alley _ 11 >ory Hunter _- _ 11 FILM BULLETIN — An Inde- pendent Motion Picture Trade Paper published every other Monday by Film Bulletin Com- pany. Mo Wax, Editor and Pub- lisher. BUSINESS OFFICE; 35 West 53rd St., New York, 19; Circle 6-9159. David A. Bader, Business Manager; Leonard Coulter, Editorial Representative. PUBLICATION — EDITORIAL OFFICES: 1239 Vine St., Phila- delphia 7, Pa., RIttenhouse 6- 7424; Barney Stein, Managing Editor; Dick Newton, Publica- tion Manager; Robert Heath, Cir- culation Manager. HOLLYWOOD OFFICE: 659 Haverford Ave., Pacific Palisades, Calif., Hillside 8183; Jay Allen, Hollywood Editor. Subscription Rate: ONE YEAR, $3.00 in the United States; Canada, $4.00; Europe, $5.00. TWO YEARS, $5.00 in the United States; Canada, $7.50; Europe, $9.00 STARS & PREMIIiHES A few theatremen and a couple trade paper turn were chewing thing- over on the Super Chief, heading back to iheir bailiwicks from the marvelous "Seeing Is Believ- ing*' conclave at the M-G-.M studio. The subject was the Glamour of Our Business, and what has happened to it. Jack kirsch. the Chicago dynamo, felt very strongly about the industry's failure to capitalize the lure of its glamour. What he said is mighty well worth your listening time. Mister Film Man and Mister Exhibitor. We can't recall all the exad word-, but this is the gist of it : "Glamour is an important part of our stock in trade, but we aren't doing an adequate job of selling it. Movie stars represent glamour, yet this asset i- utilized to a neglible degree. "W hat our business needs always, but, heaven knows, especially today, is the most powerful kind of exploitation to bring people out of their homes and into theatre -. One helluva job in this direction could be done by giving every worthwhile picture i gala premiere, attended by the film'- stars, in six. eight or len big cities. "Imagine the tremendous impact on the public if Metro, for instance, we re- io send out the stars of those six wonderful pictures thev showed u> at the studio! It would stand the public right on its ear. "I'm not talking about this as a once-every-six-month- proposition. I mean that cities like New ^ ork. Chicago. St. Louis. Philadelphia. Dulla-. Atlanta. Detroit. San Francisco and others of such size should have star-attended premieres every two or three weeks. We should be ringing the bells and turning on the kleig lights so often that the public will just have to sit up and take notice "Bv hitting those big cities, premieres would benefit every subsequent- run thea- tre throughout the area. The accompanying ballyhoo could be made to permeate a 60 to 80-mile radius around the event, to the profit of exhibitors and film companies alike. He was warming up to his subject. "Stars are difficult to handle? They're prima donnas? It's the business of the production people to let the m know that things are tough in this business today, that unless we all pull together the re- will be no taffy for anv of us. Perhaps it would be possible to write into players contracts a provision that thev are to spend four weeks on personal appearance tours with each film in which they appear. Mavbe they should be paid for their time. Wouldn't it be a cheap additional investment for any studio to make in a million dollar production? "I realize the mechanics of such an idea will take some planning. Hut we need something like this today — and it can be done. The once-a-year star tours arranged bv COMPO are a help, but not enough. We have to sell picture after picture afte r picture after picture, ad infinitum. Well, let's do it. and let's do it like big-time show- men.'" Were you listening to what Jack Kirsch had to say. Mr. Film Man ? Is it prac tic al to stacker premieres in a dozen important cities across the country in order to have the film's stars make personal appearances, to apply the lure of their Glamour io the task of winning back millions of moviegoers? Would your company make a policv of staging premieres attended by stars? The theatremen of America would embrace you. if you would. A WHOLE NE WORLD SWEEPS THE SCREEN! \eu?s und Opinion Profits (Continued from Page 4) meeting, showed that while the first seven weeks of the company's second quarter showed a gain over last year's period of $580,000 from domestic film rentals, theatre receipts dropped some $700,000 so far this year. 20th-Fox film grosses for the first quarter of '51 had dipped to $12,443,000 as against $13,323,000 in the previous year's initial period, Skouars said, but the first seven weeks of the second quarter gave hope that earnings will be ahead of last year. The theatre story was not so bright. At- tendance is down about 6% from a year ago, he said, but dollar admissions in the 19 weeks covered, he added, reduced the drop to about 3%. What this pattern can mean in the future was given some significant implication in Skouras' statements. The Fox people are due for an economy- drive that will axe some members of the staff and reduce salaries. Skouras emphasized that "executive" pay envelopes are in for slashes, too. He also served notice that the film com- panies will soon be servicing home television with films— special ones for TV. "The future of both television and motion pictures will see the merging of these two mediums to their mutual benefit. The success of home television will depend substantially on film entertainment — not the same as shown in the theatre, but, nevertheless, program on film." Plenty Product 42 FEATURES IN NEXT YEAR AND HALF FOR UA We all grinned. Someone asked about business prospects — "in the theatres, that is." Rob Benjamin, from his perch on the window-sill, wisecracked "It's tough." Arthur Krim: "Funny thing; you're startled how high you can go with a picture, and the next minute you're just as surprised to find how low you can get. That's about the size of it." With a grin Max Youngstein chipped in, "Now, if only we could find how medium we can go ..." Krim: "That's true, too. There no longer seems to be any ceiling, but nor does there seem to be any floor." This cute item of dialogue interrupted United Artists' newest progress report to the trade Press, over which President Krim ami- ably presided. He announced a list of 42 pictures for re- lease between July 1 and December 31, 1953 —first time for years that UA has been able to assure exhibitors of such a program. The pictures represent an investment of about $30,000,000, Krim said. They will go into release at the rate of about three a 'Continued on Page 9) I HERBERT J. YATES A Million For Color Mtontttguv CLAIMS HELP A PLENTY TO 'DISTRESS' THEATRES There were squawks and the big boss agreed to come over and hear them in person. So A. Montague, vice-president and general sales manager of Columbia, came to Philadelphia to face an irate group of Eastern Pennsylvania exhibitors. He heard a long list of grievances intoned by E. Pa Allied leader Sidney Samuelson, representated as a compilation of individual theatremen's beefs about Columbia's sales policies. Among them: forcing, tying-in of theatres in film sales, conditioning sale of one picture on that of others, over-allocating pictures, failure to adjust and tie-ins on ad- justments; exploiting product shortage. Montague listened patiently, then cate- gorically denied all charges that were in violating of the industry decree. That, he said, requires "definite proof, not generali- ties". The Columbia sales head then turned on the exhibitors and questioned whether they were "ganging up" on Columbia. The com- pany, he pointed oiit, had helped distress cases in some areas, even to the extent of carrying theatres without film cost in order to keep them open. His company will con- tinue to do its utmost for these theatres, but, in the final analysis, "it is not willing to compromise profit". Moreover, this continual griping about the distributor's part in aiding distress situations was one-sided, he indicated, suggesting as an example: "Why don'l exhibitors permit their competitors in distress to move up their runs?" For satisfaction the Philly exhibitors got Montague's pledge that "my door is wide open" to hear any exhibitor's complaint. Color ( Continued from Page 4) of a million dollar investment in True expansion. WarnerColor appears to hold consider; promise, to bear watching. Warner B are making the big plunge with it, empi ing WarnerColor in some of their most portant forthcoming films. "Springfield Ri (Gary Cooper) "Carson City" (Rand< Scott) and a religious picture which, cc wise, is said to be "tops". It is called " Miracle of Our Lady of Fatima". Maty note of the titles, Mr. Theatreman. WarnerColor was introduced without I fuss after Jack Warner and a Burbank t U headed by Colonel Nathan Levinson (IU of the Sound Department) and Fred Cj^ (chief of the studio film lab) had been wh ing on it since 1940. What happened? When "The Lion and la Horse" hit the screen it knocked New YcH critics for a loop. For instance: Wanda lie. (Daily News) — "First American color ph M graphy to compare favorably with Tecji-j color"; Abe Weiler (Times) — "It is equiid most respects to Technicolor" ; Philip SttH berg (Mirror) — "A scenic delight"; Arm Winston (Post) — "Every bit as effeetivJJ Technicolor"; Alton Cook (World-la gram) — "The only real rival to Technkpl in quality"; Rose Pelswick ( Journal- Ai i- can)' — "New and effective". Trucolor has been used extensivehW Republic for some years, but not until ■ has it been slated to come to full flowefl Herbert Yates, Republic headman, hall pressed his confidence in Trucolor by I ting his cash on the line. He has allocM over a million dollars for expansion ointi process. He added that the comp;rB analysis of boxoffice reaction to colojnl dicates that the 30 percent increase whifl brings to production costs "is definitely Ml ranted by the increase in theatre grossel I Some interesting details can be addt|loj that announcement, which stated that|ni| bulk of Republic's forthcoming deluxe foB gram will be in color, "stimulated by p*j office results." Yates, himself, told us, just before refill ing to the Coast, that part of the apprjri-1 ation would be used by Consolidated If""| ratories on the installation of high-sM printers, which will move Trucolor thrfra the labs at the same speed as hlackjflfl white, and which will provide — a featuj<>« Trucolor — complete uniformity of col both master print and copies. At least ! 000 will go into a new Trucolor huildi Hollywood which will be ready for oc tion in October or November — a projet signed for, not adapted to, color. "After 16 years of constant develop Trucolor has reached the stage wha meets not merely the demands of the bitor, but of the producer as well." F i L M BULLE Vctr.v unit Opinio** (\>ntintiril from I'tigc H) Bnth. About half of them have been parti- 1/ financed by United Artists, on money p'vided mainly by the Walter Heller com- Hhy of Chicago, plus some bank cash and a Main amount of "private investment". Vive of the pictures are being made in Htain under the quota — all, except one, lili dollars. lit was all so pleasant no-one dared dis- til) the harmony of the occasion by asking ■(at chances UA had of getting Charlie (.iplin's forthcoming "Limelight", on which J.otiations are "proceeding". Mr. Chaplin, yi may recall, has had more than a passing |i -rest in United Artists for more than a U years. IVhile there was some generality, a sur- pfing number of the pictures of the pro- gini wi-ri' given specific designation. Six of ■ 13 films to be released in the last half of tl year have been delivered, including Slnlcy Kramer's "High Noon". All but one ■the rest have either been finished or are ■toting and the last was due to go before til cameras last week. I'oungstein figuratively rubbed his hands ■glee at the opportunity to prepare the Hipaigns on the films so far in advance. II only is the balance of 1952 and the fore pit of next year set, he said, but "we have atady held meetings with producer repre- Mtatives and pre-planning for pictures to felreleased in the summer of 1953 has been ittcd". ionfiiivnce BOIDY SEES DRIVE-INS BON TO INDE PRODUCTION teve Rroidy, Monogram president, was cling confidence. The reasons: by Septem- bJ four or five pictures of star value will be o the 1953 slate. Of 1952's promised 39 idures, 36 will be ready by June 15. Walter Mischs' Cinecolor production of "Hia- wjha" will begin rolling any day now. p much for product. Rut what about bjiness? Rroidy told us that in spite of the d ing down of many small theatres, he is m particularly worried, although he wasn't Willy convincing on this point. KVe hate to see these houses closing. We'd dJmything we could to stop it, to find the aivver." would small producing companies find it ssary to go into the television field 2 No," said Rroidy. "TV isn't the answer." rt theatre product, then? No," repeated Rroidy. "We've never even cdsidered it. Our best bet is to make the Ml of picture which gets the widest pos- S'k distribution. Concentration on art thea- tr) films would be an out-and-out gamble, [nhaps the drive-in will prove the answer- tclur problems. The action type of picture is leal for the no-roofer." "nogram makes that kind of product. J N E 2, 1952 WILBUR SNAPER .Set Is Back II V*//. ttatvther! BRITISH FILM LEADER 'BLAMES' U. S. PICTURES " The gruesome fact is that most of the cinema-going public prefers to see American films to British films." This statement might seem rather — or is it "rawther" — surprising until one learns that it was uttered by the top exhibitor leader in Britain, Tom O'Brien, head of the Association of Theatrical and Kine Employees, on the heels of a report that the British film industry is on the verge of collapse unless it receives Government aid. Perhaps the movie industry's gloom- mongers in this country might learn a thing or two from Tom O'Brien's words. They might realize that the quality of our own product is the kind masses all over the world take to their heart; that Government controls and subsidies can never be the solution to the film industry's problems; and that the foreign market offers a lucrative source of revenue with which to finance the making of better Hollywood product. Just how much harm Government subsi- dies in films can wreak is implicit in the situation in which the Rritish film industry finds itself today. The report, as prepared by Political and Economic Planning, finds that Government aid, though presently vital, will merely "postpone final disaster". Good Rritish pictures, without Government inter- ference, is the answer, the report concludes. The trouble with the Government's taking an interest in the industry, it seems, is that political motives gain the upper hand. "From being a referee in the film industry," the re- search organization finds, "the Government has become a player." Yes, the Rritish government may have been the hero at the beginning of this series, when it curtailed American films playing in Rritish theatres and subsidized the industry. Now, it appears, it's the goat. And the Rritish cinema rests uneasily on the horns. Believing SCHINE, OTHERS, ACT ON M-G-M 'SEEING' CONCLAVE The enthusiasm that was stirred up among the 1(10 exhibitors (representing si, me 10,000 theatres) at the Metro "Seeing Is Relieving" studio conclave continues to percolate. It ap- pears that other companies are studying the prospect of similar junkets to show off the pride of their product. I'.ITcct of the showings and huddles was seeping through and inundating the circuits and theatre organizations represented. Louis Schine, independent circuit executive, sent out a 19-page manual to all of his theatres extolling the conclave. Prepared by the Schine publicists, headed by Seymour L Morris, the manual sets forth a complete promotion program for each of the six pic- tures shown. Enthusing about the Metro product shown, and the forthcoming consistent flow of good pictures it indicated, Schine related how his report left members of his home office or- ganization with a "feeling of optimism and good business to come". Unquestionably, he added, "the shot in the arm . . . the kick in the pants . . . call it what you will, that we've all been waiting for, has arrived with a bang!" Endorsed by Leonard Goldenson, presi- dent of United Paramount Theatres, a letter from UPT vice-president Robert M. Weit- man to his field forces, with copies to all dis- tributors, urged each of the companies to hold similar meetings. The cost involved. W'eitman said, may be high, but the dividends it will pay, both in selling the pictures to the exhibitors and injecting the confidence so sorely needed in the industry, will pay off. Allied States Association president Wilbur Snaper wrote all unit leaders an enthusiastic report on the meeting. "M-G-M has brought two things back to the screen which were sorely missed — glamour and sex," he said. " The spirit imbued is vital. Every exhibitor should start telling his public of the great pictures to come." There can be no question but that Metro's "Seeing Is Relieving" conclave was a great success — a great tonic for an ailing industry. More medicine like it would hasten the patient to a quick recovery. "Somebody's Nuts!" . . . The above comment is made by Charlie Jones, secretary of Allied of Iowa, Nebraska & Mid-Centrol, con- cerning the advice from a couple of his members that they had walkouts on Columbia's "The Marrying Kind ". C harlie says he rated it as "preferred" for his house, "a darn good comedy, warmly human . . . Somebody's nuts, and it's probably us, but we liked it. (I'm glad my town isn't filled with idiots!)" THE WILD HEART' BRITISH DRAMA FOR THE ART HOUSES; Rates • • • in art spots; fair dualler where exploited RKO Radio 82 minutes Jennifer Jones, David Farrar, Cyril Cusack, Esmond Knight. Sybil Thorndike. Directed by Michael Powell and Emeric Pressburger. A David O. Selznick Technicolor produc- tion for RKO Radio, made in England by Michael Powell and Emeric Pressburger, and starring Jennifer Jones, "The Wild Heart" should be a good attraction for the art spots. Generally, however, the strong Welsh flavor and accents, an abundance of slow stretches and an obvious and rambling story will prevent its success as a boxoffice attraction generally. < >n the credit side are a ma'gnificent production and photography, excellent performances and an exciting cli- max. The final sequence will be especially effective where the screen can be blown up as was done in its preview at the New York Paramount. There also are, for exploitation purposes, some torrid romantic scenes as Miss lones, in a role reminiscent of her half- breed role in "Duel in the Sun", uncorks a sexy performance as a part-gypsy girl drawn to a lusty squire. It is these attributes that many theatres can play up to good effect. Word-of-mouth, for the most part, will be detrimental. The morbid trend of the tale, taken from the Mary Webb novel, "Gone to Earth", with overtones of superstition and folk-lore, won't be conducive to general audience acceptance as entertainment. Class houses, however, with the Jones name and the Selznick-Powell-Pressburger prestige, may count a good return in the early runs. It is Miss Jones' picture all the way. As a girl with gypsy blood, imbued with super- stitious fears and a love for sick and maimed animals, she is ever the focal point of the film. All other characters are only super- ficially developed, even to David Farrar's cruel and dashing squire STORY: Jennifer Jones, living with her father in a shack on the Welsh moors, is GLORY ALLEY' MINOR M C M MELLER Rates • • as dualler M-G-M 82 minutes Ralph Meeker, Leslie Caron, Kurt Kasznar, Gilbert Roland, John Mclntire, Louis Arm- strong, Jack Teagarden, Dan Seymour. Directed by Raoul Walsh. "Glory Alley" fails t < . provide much in the way of entertainment [or any type of audi- ence. It's one of Metro's weakest offerings of the season. A rambling Art Colin screen- play bogs the cast in a morass of aimless events about a young prize fighter who turns "chicken" on a bout that means a shot at the championship. Set in the tenderloin section of New Orleans, the Nicholas Nayfack pro- duction does generate a sort of Runyonesque atmosphere, but the east is shouldered with a hodge-podge of watery motivations. The one redeeming element in the film is some sweet jazz by the personable Louis Arm- strong. But even his gravel voice or mellow trumpet cannot raise "Glory Alley" above its programmer category. The cast, although boasting no important names, is better than the material at hand. Directed by Raoul Walsh, the film was made on the flashback-narration technique and it unfolds in a relaxed and leisurely way. Ralph Meeker, as fighter Socks Barabarrosa, fought a courageous battle with the script, but came out second best. STORY: Ralph Meeker is a promising heavyweight and the fair-haired boy of Glory Alley, the fight district of New Orleans. For no apparent reason, Meeker takes a powder ACTORS AND SIN' TWO-STORY FEATURE MASSES FIRE Rates • • + for art houses; less for general run United Artists release 85 minutes Edward G. Robinson, Marsha Hunt, Dan O'Herlihy, Rudolph Anders, Alice Key. Directed by Ben Hecht. I'.eii Hecht, who wrote, directed and pro- duced the two unrelated playlets which form this picture, dedicates them to all actors. He has gone after the art theatre audience ex- clusively, much in the same manner as was done (and much better) with the British im- port, "Duet". Both playlets, "Actor's Blood" and "Concerning a Woman of Sin" are pure- satire, but the first misses fire because it lacks that essential ingredient of satire — wit. It hits the screen witli the thud of a clay- clod. The second is relieved by a delicious performance from Eddie Albert and the debut of a scrawny little- nine year-old, Jenny Hecht, a born comedienne. The marquee value of this offering is mild, and does not lend itself readily to exploita- tion. Even art theatre patrons may find, in the first half at any rate, that the satire has been laid on with too heavy a hand. STORIES: "Actor's Blood" portrays Ed- ward G. Robinson as a broken clown actor, basing in the sta^e triumphs of his daughter, Marsha Hunt. He is blind to her arrogance and to her infcdclitics, which cause Dan O'Herlihy, her husband, to leave her. After a succession of flops Marsha discovers she has alienated all her so-called friends and lovers. She stabs herself. Robinson, dis- tracted, cannot have his daughter remem- bered as a suicide-. He puts a couple of bullets in the corpse. The police arc called in. Robinson invites the dead girl's hangers- on to dinner, promising to unmask her killer. Suddenly the [ightS go out and Robinson drops to the floor with a dagger in his heart. WEAK ELSEWHERE frightened as she returns at night frcj town, believing she is being chased by; fox-hunting ghost who is reputed to ro? the countryside. Near hysteria, she is picki up by David Farrar, squire of the sectic and agrees to spend the night in his man« He makes advances, but she resists them a runs off to his old servant's quarters for t night. When her father taunts her abc getting married, she vows to marry the fii| who will ask her. Her beauty and child-li simplicity attract the local minister and makes the marriage bid. Although she is q able to put Farrar out of her mind, she gc through with the marriage but finally lea\ her husband to be with Farrar after he i lentlessly pursues her. Following an id with her lover, the minister comes to ta' her back with him, despite the knowled that he will be castigated by his family a t parsonage. As they prepare to leave tl area, her pet fox becomes the prey of! pack of hounds on a hunting party. In i desperate attempt to rescue the animal frcj the pack, both she and the fox fall to tin death in a abandoned mine-shaft. BARN on a fight that means a shot at the champk| ship, and announces he is quitting the riijj After going on a drunken binge, he retui to the alley and finds most of the gang ; C still his friends — except for his fiance father, Kurt Kasznar. Blind, Kasznar is t' honorary ruler of Glory Alley. He now A spises Meeker as a yellow coward, and fuses to let Meeker marry his daugli, Leslie Caron. A series of weak meloch matics ensue. Meeker goes off to war Korea and comes back with the Medal Honor. This has no impression on Kaszi In a maudlin climax, Meeker finds a doc[ that restores Kasznar's sight. Meeker tllj overcomes a psychological quirk that ma him quit the ring and goes on to win girl and the championship. NEIL It is developed that Robinson killed him in the hope of putting the guests under s picion of murdering — as vengeance for w he thinks was their shabby treatment of beloved daughter. "Concerning a Woman of Sin" is cast Hollywood in the crazy thirties. Ag Eddie Albert accidentally sends a ridicul script to a movie tycoon, Alan Reed, hails it as a work of genius and pays moon for the rights. When Albert seeks author he finds her to be a child of nine, dare not let Reed know this. The fill' boosted as a masterpiece, "the most m phisticated sex drama ever filmed." W the tycoon realises he has been fooled 1 nine year-old he threatens to ruin Albert, the latter neatly turns the tables on Reed signing him to a contract and promisfflj pass the nine year-old olf as his daugh C< >ULTEK FILM: BULLET |UST ACROSS THE STREET' AMUSING SITUATION COMEDY lates • • + as dualler; more in small town situations Jniversal-International 9 minutes inn Sheridan, John Lund, Robert Keith, !ecil Kellaway, Harvey Lembeck, Natalie (chafer, Alan Mowbray, directed by Joseph Pevney. ' Producer Leonard Goldstein, whose podest productions like tin- Keltic and Francis series have racked up top-heavy rosses gets off another unassuming, hut appy piece of entertainment in "Just Across lie Street". Audiences won't remember it >r long after they leave the theatre, but ie\ will have a thoroughly enjoyable time atching it. Specializing in bizarre twists uilt around routine, everyday situations, the kript by Roswcll Rogers and Joe Malone uirsues a maze of complications involving plumber, an employee he believes to be a icialite, her lovable, boozy father, and as- hrted other characters who respond in broad manner to Joseph Pcvucy's last paced direction. The latter inserts some very funny touches, many of them in a subtle vein that should catch the fancy of even the most dis- criminating. Previewed before a metropolitan audience, it reaped a bountiful harvest of laughs. It should do even betid- in the hinterlands, where the clean fun will be in- creasingly appreciated. With the Ann Sheri- dan-John I- nnil names for the marquee, re- turns should do well above average on the top half of a dual bill. As a stuffy plumbing house proprietor, Lund's immobile features come olT to good advantage and he makes a good foil for Miss Sheridan's ofT-the-cufT delivery. Moth cnt< r into the light spirit of the screenplay, with a sterling supporting cast to set off the situ- ations: Cecil Kelhway as Miss Sheridan's whisky-seeking father, Robert Keith and Natalie Schafer as the harassed socialites, and Harvey Lembeck as Lund's drainpipe trouble shooter. STORY: John Lund, operating a plumb- ing establishment, comes to the home of tycoon Robert Keith and his wife, Natalie Schafer, to fix a stopped drain, and mistakes Ann Sheridan, applying for affob as social secretary, for the daughter of the house. After he lectures her for her uselessness, she applies to Lund for a job in his office and is hired. Still believing she is the socialite (laughter, Lund insists on driving her home each evening and picking her up each morn- ing in his truck, despite the fact that she actually lives just across the street from his -hop. In tin process of the deception, the two fall in love, set up complications that have both Keith ami Schafer running to their lawyers for divorce proceedings, all comes out well, however, as Sheridan's rum- loving father, Cecil Kellaway, in his search tor whiskey-money, blunders his way to a solution. P.ARN THE WINNING TEAM' OK BASEBALL BIOC DRAMA ates • • + in season /arner Bros. i minutes •oris Day, Ronald Reagan, Frank Lovejoy, ve Miller, James Millican, Rusty Tamblyn, •irected by Lewis Seiler. As baseball pictures go, "The Winning [earn" is not a home run, nor even a triple. \'e would say its a fairly well hit two agger. In depicting the life of Grovcr leveland Alexander, this Bryan Foy produc- lon suffers principally from "stereotypics" I— it goes over the same territory covered by revious sagas of the national pastime. Aside ram the stale treatment of the story, the L'ting is good and Doris Day and Ronald Leagan give it fair marquee value. A straight Iraniatic presentation, the film has few- light loments and little comedy relief. It does enerate a fair share of heart-tugs, and some iod baseball action and suspense in later renes. These unwind with the air of authen- ticity, using big league players and dubbing in scenes of actual games. Released during the baseball season, it will attract the sports followers. Mest returns should be found in small towns and nabes. For the action houses, however, it's low and outside for ball four. Director Lewis Seiler fell in line with screen play writers Ted Sherdeman, Seeleg Lester and Merwin Gerard, and ground this one out according to the hook. Doris Day plays Alexander's wife as a straight dra- matic role, with only one song tossed in to satisfy some of her more avid fans. STORY: Living in a small town in Ne- braska, Ronald Reagan finds his love for baseball is conflicting with his love for Doris Day. In a sandlot game against a profes- sional ball club, Reagan is so impressive that he is offered a position on the club. Feeling that the opportunity would enable him to make some real monev and marry Day, Reagan takes the job against her wishes. He is a sensation in the minor leagues, but just as he nears the big time, he is beaned. The blow on the head side-lines him for the re- mainder of the season. Unknown to the base- ball trade, Reagan is also left with double vision. Thinking his life in baseball is over, he marries Day and settles down to farming. Meanwhile, his contract is bought by the Phillies and Reagan secretly tries to regam his pitching form, despite his impaired sight. Just before the season is to begin, Reagan's sight returns to normal and he joins the Phillies to become one of the game's great pitchers. At the height of his career, Reagan suffers symptoms of his old injury. Keeping it a secret, he turns to drink and soon takes the road downhill. When he reaches the bottom, Day finds out the truth about his eyes, and helps him back to his place of greatness, ending in a World Series triumph. NEIL IVORY HUNTER' WILD CAME MELODRAMA IN TECHNICOLOR ates • • + as dualler niversal release 7 minutes nthony Steel, Dinah Sheridan, Harold /arrender, Meredith Edwards 'irected by Harry Watt. This Technicolor jungle melodrama, |!ichael Ralcon production for the Rank Organization, was shot on location in East frica and at Ealing studios in London. Di- •ctor Harry Watt also wrote the story. It I based on the real-life story of an African Umc warden who, despite official coolness, ucceeded in establishing a one-thousand luare-mile animal and bird sanctuary in enya. As such, it is in the current fashion of Imi-documentaries, and is enlivened by ime pretty exciting animal pictures, onderful photography, a few dramatic in- dents and good performances by a cast unknown to American audiences. Harrv Watt's direction is tight, his characters are real, and he builds up quite a lot of tension to keep his story rolling. The picture is wholly short on glamor, lacks romance and is quite humorless. The tempo is not quite up to U. S. requirements. It is a fair dualler, however, and should have some value in the supporting slot, even in action spots. STORY: Anthony Steel, an East African game warden, revolts at the commercialized Correction "THE QUIET MAN' RATING A typographical error in our review of Republic's "The Quiet Man" (May 19 issue) gave this outstanding film a boxofhee rating of •• + . The rating sh mid ha\ e been • + safaris which arc exterminating so much wild animal life. With his wife Dinah Sheridan, and young son William Simons, he goes into the bush to establish, with semi- official backing, a wild-life reserve. Obstacles begin to pile up. The native patrols desert, a lioness stalks and almost kills the boy, the local tribesmen become restive. They are being provoked by Harold Warrender, sup- posedly a big-game photographer, but in reality an ivory smuggler. Steel decides tj set a trap for Warrender, but in the ensuing fight he is speared and left in the bush to die. A leopard attacks him in the night, but he is saved by an outcast native who kills the leopard. Aided by friends, the warden pursues Warrander, who is heading for the border in a jeep, loaded with ivory. In a dramatic climax the jeep, trying to avoid a charging rhino, plunges over a precipice. LEON UNE 2, 1952 11 Above, the Mayflower replica which M-G-M studio technicians and craftsmen recreated, working for 10 solid months to build the 90-foot vessel. Below, the Mayflower's captain Spencer Tracy (on quarter-deck), surveys his cargo of humanity prior to the start of the 66-day voyage that was to carry 102 passengers and 33 sailors to the historic landing on l'l\mnuth Rock. To right of group is Van Johnson, tc his left Dawn Addams and Gene Tierney in white BLUE CHIP PRODUCTION PLYMOUTH ADVENTURE (This month, with 39 features to choose from, FILM BVLLETIN features as the '-Production of the Month" — MGM's "Plymouth Adventure". The selection, as always, is based on the various ingredients that go into making a boxoffice winner.) P 1LYMOUTH ADVENTURE", one of Dore Schary's personal productions — and by all odds MGM's most ambitious film of the current season — represents an investment of approximately $2,000,000, and more than four years of preparatory re- search. It is based on the hitherto untold story of the human drama that transpired on board the Mayflower during its 96-day voyage to America. Director Clarence Brown, a veteran of nearly three decades of film-making, was selected by Schary to direct this epic-pro- portioned venture. Heading the all-star cast, selected from the ranks of top-flight stars of Hollywood, New York and London, are Spencer Tracy, Gene Tierney, Van Johnson, Leo Genn, Dawn Addams, Barry Jones, Noel Drayton, Margaret McGrath and Lloyd Bridges. As the principal set, studio workmen corn structed on MGM's back lot, a full-size re production of the Mayflower — authentic t< the point of utilizing actual furnishings an< ship fittings of the period. It required 1. months for the crews of workmen, workinj five, and often six days a week to complete the reproduction. Few pictures in Hollywood history, wit; the notable exception of "Quo Vadis", hay required the voluminous research that wen into the writing of the story. A staff, as signed to screenwriter Helen Deutsch spenj over 26 months combing every possibl source of information, both in this count! and in England. Mr. Schary, is commenting on this ami bilious film project, tells FILM BULLETIlj that the years of research have more thai paid off by bringing to light many startlin] aspects of the voyage never before spo lighted. "We have not used this new ii] formation to blast established concepts the courageous band, but rather, to highlig the epic story of the men and women < that historic voyage." The start of the voyage has the passengers boarding the Mayflower in Southampton harbor England. The first attempt was unsuccessful, forcing the ship back to England. It ultimately ief horn Plymouth. Boarding the ship's ladder (carrying saw) is Van Johnson us John Alden. HcUtfUood Wctebcck REPORT FROM THE STUDIOS STAH WIT I'he days of long-term talent contracts are the way out in Hollywood. And good dance. Universal-International, with its 50-50 pfit-participation deals, has pointed the iy for the new era in motion picture pro- ction, and more and more studios will on be following in their suit. 20th Century- >x is the latest of the major companies to in for the plan. Spyros Skouras has in- rmed Fox stockholders that his company already negotiating such a participation als. At least three other plants are hold- ^ front-office huddles on the subject be- nd closed doors. The plan will be ex- uded to include top producers, directors d writers, as well as acting talent. Actually, this may be part of the answer the present crisis. Players will not draw pay checks while idle, and studios will t push them into unsuitable vehicles to ep them working. The companies will Jofit by cutting down on the overhead and k, the talent stands to gain through a jre profitable tax structure on their in- mes. It is generally conceded that the vernment will allow income from this rce to be entered as capital gains. MGM, with its top-heavy roster of 24 pro- cers and nearly 50 players, will undoubted- be the last to swing over to the new licy, although it definitely is under con- leration on the Culver City lot. & * ft Warner Brothers will attempt to over- me the mediocrity of much of its recent oduct by concentrating, in the future, on tion dramas to be filed in color. The front nee has ordered an all-out search for ■stern and escapist types of stories and, at e same time, has earmarked 27 of its 33 coming releases for color filming. Of that mber, nine will be in Warner's own arnerColor, 16 will be in Technicolor, and o in SuperCinecolor. The company is also known to be con- lering a considerable expansion in the mber of productions to be turned out in e coming year, due to the shorter playing tes of most of the current product. ft * ft MGM will set a new summer record of oduction, between now and the end of ly, with the start of 17 new pictures, eight color. Three of this group are musicals, keeping with the studio's current trend ward high-budgeted tunefilms. Following is the ten-week slate: "The iked Spur"' (James Stewart-Robert Ryan- dph Meeker-Janet Leigh), Technicolor tdoor epic to be produced by W illiam H. right and directed by Anthony Mann; 'Pache Trail" (Gilbert Roland-Glenda Far- II), produced by Hayes Goetz, directed by irold Kress; "Small Town Girl" (Jane -NE 2, 1952 Powell-Bobby Van-Ann Miller), Techni- color musical produced by Joe Pasternak and directed by Leslie Kardos; "A Steak For Connie," produced by Stephen Ames; "Sombrero" (Ricardo Montalban-Peir Angeli -Vittorio Gassman-Yvonne De Carlo), to be filmed in Technicolor on Mexican location, Norman Foster directing for producer Jack Cummings; "The Making Of A Marine" (Ralph Meeker-James Whitmore-Carlton Carpenter), produced by Dore Senary and directed by John harrow; "The Desperate Search," produced by Matthew Rapf, direct- ed by Joseph Lewis; "Battle Circus," (Hum- phrey Bogart) produced by Pandro S. Her- man, directed by Richard Brooks; "The Stu- dent Prince" (Mario Lanza-Ann Blyth), pro- duced by Joe Pasternak, directed by Curtis Bernhardt; "Riptide." produced by Sol Field- ing and directed by John Sturges; "Vaquero" a Technicolor production chore of Stephen Ames; "The Girl Who Had Everything" ( Klizabeth Taylor-W illiam Powell), pro- duced by Armand Deutsch; "My Mother and Mr. McChesney" (Greer Garson-Donna Corcoran), produced by Edwin H. Knopf; "Julius Caesar," produced by John House- man, directed by Joseph L. Manckiewicz; "Dangerous When Wet" (Esther Williams- Fernando Lamas-James Whitmore), Techni- color feature to be produced by George W ells and directed by Charles Walters; and "Remains to be Seen" (Debbie Reynolds), produced by Arthur Hornblow, Jr. ft * ft Hollywood is buzzing with rumors that the proposed merger of Universal Pictures and Decca Records has gone by the boards. However, Decca prexy Milton Rackmil is reported by be joining the film company as a top-ranking officer. In the event that Xate Blumberg becomes the chairman of the board, Rachmil is expected to assume the presidency. The merger was blocked by J. Arthur Rank, who flatly refuses to dispose of his sizeable chunk of stock in Universal. Nevertheless, Rank and Rachmil appear to have reached an agreement on managerial policy for the company, and any position which the latter assumes, will be with the full blessing of the English movie magnate. ft * ft Howard Hughes has his dander up over the constantly recurring rumors that he plans to sell his controlling interest in RKO. In a statement released to the Hollywood press, Hughes says: "I am not negotiating, discussing or considering the sale of my in- terest in RKO Pictures Corp., to anyone whomsoever. I do not know if this story is being given to the press maliciously and for the purpose. of causing damage to RKO by some of the people who are displeased with (Continued on Page 16) ft Recognizing the vital need for the de- velopment of nen star personalities in the industry, FILM HI I.I.I T I \ Will feature, in alternate issues, an outastanding prospect for .stellar rating. Some will Hie up to their Itri^hl promise, others it ill jade and jail. Hut give them tht'T chance. H e urge theatre/lien to exploit these jresh ton people, jor thdr names might he made the boxoffice bonanzas of the future. DEBBIE REYNOLDS In the first of this new series, Debbie Reynolds. Mctro-Goldwyn-Maycr'- vibrant, young song-and-dance girl, has been chosen as the "Star Bright of the Future". She flashed into the national limelight with her rendition of the tongue-twisting "Abba- Dabba-Dabba" in the M-G-M's "Three Little Words", and looks like a sure bet for star- dom. Just in her twenties, she rose into public esteem in the meteoric manner that charac- terizes her performances. Her first screen role in "Daughter of Rosie O'Grady" for Warners gave the Metro talent scouts an op- portunity to grab her for their roster. It was in "Singin In The Rain" that she really came into her own. Playing opposite the inspirational Gene Kelly and Donald O'Con- nor, Debbie's performance is one which will captivate any audience and start the fan club rolling. Her next, "I Love Melvin" places her in a co-starring spot with O'Connor. This college musical comedy, in Technicolor, bodes further advancement into the ranks of topflight stardom Sell Debbie. Mr. Exhibitor. 13 6XHIBITORS FORUm Opinions Culled from Organization Bulletins BLIND BIDDING ATO of Indiana Several film companies are sending out bidding invitations in competitive situations and setting a deadline for the return of the bids which is prior to the trade screening of the picture and prior to the time that there are any trade reviews. The exhibitor in a competitive spot must bid his full potential in order to obtain the product but at the same time must bid realistically in order to permit himself some profit and remain in business. This is impossible to do on a pic- ture for which there is no information avail- able. We do not think that the distributors are engaging in this practice with any self ad- vantage in mind and are doing it only for a matter of convenience. If we were bidding we don't think we would want to have to make a blind guess on the picture and think that if you feel the same way and explain your attitude, the distributor will delay the closing date for your bid until such time that there has been a local trade screening or trade reviews are available for your study. It has been the custom in the past that whenever a distributor contended there was a discrepancy in a boxoffice statement the full facts were submitted to the exhibitor. But now the practice seems to be for the local branch manager to write the exhibitor stating that his home office has advised that the original boxoffice statement was in- correct and requesting the exhibitor to submit a new boxoffice statement. This procedure is no more than a fishing expedition and any exhibitor so accused has a right to be informed of the complete details of the charge. If the picture actually was checked and there is some kind of dif- ference existing in the reports, which is doubtful, then it will be impossible for the exhibitor to make a thorough study of the case and find an explanation of the cause unless he is armed with the amount of the difference, when the ticket buys were made and at what period of the engagement the discrepancy occurred, where the checker was stationed, etc. Without these details that are obviously necessary to resolve any responsible dis- crepancy the exhibitor should' not be subject to the accusation of submitting a false re- port. It is another example of lip service to mlra-industry harmony and then engaging in practices in tear down that good will. Kven the shrewdest showmen are reluctant in depend entirely on their own Individual judgment of a picture. Your evaluation of a picture would be helpful to exhibitors who must bid for each picture. The same in- formation is helpful to exhibitors who are fa< ed with increased film rentals obtained through improper allocation of pictures, to exhibitors who want to date pictures on the proper change, to exhibitors asking for help in selecting the proper pictures to contract for and the pictures that should be elimi- nated. Exhibitors who are seeking such informa- tion can get it from highly colored distribu- tor advertising, trade paper reviews which are overly charitable in some publications and salesmen's claims which are understand- ably inflated. Exhibitors might also get this evaluation of product from the consensus of their fellow exhibitors in similar situations. Will you get in the habit of letting us know what your opinion of a picture is every time you see a screening? The marquee value of the stars, the story, production and enter- tainment values, and what you think the pic- ture will do at the boxoffice. SPECIALIZED BALLY Allied Caravan of la., Neb. & Mid-Centrol Letters keep coming in on the importance of every showman beating the drums and beating the bushes in all out showmanship. What you do, how you do it and how often you can do it depends a lot on the type situation you run. It doesn't have to be original so long as it's new to your town. We have all seen some brilliant ideas in trade papers, press books, Irving Mack's In- spiration and countless places. All it takes is ambition to use them. Many are inex- pensive. We always liked the personal touch used by Irving Mack. He sits down and writes his customers a letter when he hasn't heard from them for a while. How many of us do the same? Most generally an idea that works in one situation will produce in an- other. At the same time, despite the in- sistence of some groups to the contrary, you can't exploit every picture that comes along. That creates a new norm and the flash of showmanship loses its punch. A BOW TO BROIDY I ndependent Exhibitors, Inc. (Boston, Mass.) We were most happy to read that Steve BrOidy in a recent press release said that Monogram is not selling its pictures to TV. Quoting Steve, "Once and for all, let it go on record that Monogram is primarily in the business of producing and distributing pic- tures for theatrical exhibition. East year and during the present season our product has met with the most enthusiastic exhibitor re- action in our history. We're going to keep it that way". Our comment: [ndependent Exhibitors TWO 'DEADLINE' TRAILERS ITO of Ohio We are advised by 2()th Century box mat although this has not been publicized, there are two trailers avail- able on DEADLINE U.S.A. One is on the rough and tough I'ogart for the action houses; another sells the pic- ture as a story about a newspaper. This time it is a case of "you pay your money and you take your choice". should certainly get behind an independen' company headed by a man of Steve's calibre Your support should be a must for a com pany who can see the light and produce t(} keep you in business. Let's reciprocate! PERCENTAGE FALLACIES Allied Caravan of la., Neb. & Mid-Central Despite the fact that it has been showil and proven over and over again that ;| small town cannot show a profit on per i centage pictures some continue to spend their time trying to prove two and two deffl not make four. In the opinion of distribution there are pictures that justify a percentage | run in Punkin Center with 202 seats along | with salary for checker. In the opinion o | Allied there is no picture so justified. Experi ence has proven that where one pops up foi a trial balloon it is very shortly followed by 3-5-7 on the same basis. As long as exhibi - tors in small towns go for them, so long wil we have them. There is no picture that you MUST play. Five or six years ago everv small theatre was playing 15-30 percentage! pictures a year. The past few years a great ' many theatres have played NO percentagi pictures. They are still in business, theii patrons did not desert them and they are no pestered with stooges nor "taking their ow adjustments". Maybe you show some profi on one of the big ones — if you gouge 'e $1.25 per seat. Just keep playing the mus percentage and in a few more years you'l again have 50% of your preferred time bac on percentage with stuff like "Who Sho John?". Just to show that sometimes it i only MUST percentage as long as they ca get takers, you will be interested to kno that there are two Iowa situations w her "David and Rathsheba" has only offered fla rental. No small town theatre can tie u any portion of his playing time with per centage pictures and show a profit. I every theatre would figure the past year- total feature rental against the net from pic tures from each company you will discove that you are paying enough for films if yo figure the percentage of cost. If it is ove 25% in a small town it is too much. Goo buyers are beating that. Poor buyers ar screaming to high heaven. $64 QUESTION All ied Caravan of la., Neb. & Mid-Central QUESTION FROM ROCKY MOUN- TAIN: They ask, "Is your Film Renta showing?" and ask if anybody was buyin pictures at prices that they could double-bil like some of the following that appeared i Denver recently. "Too Young to Kiss" "I Want You", "Flying Leathernecks" "Blue Veil", "Blue Veil" & "An American i Paris". Let's challenge 'em here in the mid west and see if we can't compile our ow little obnoxious list of double-bills. Can an oi the independents buy pictures of tha calibre to double-bill?' They ask, and W echo, "Why do you have to be penalize because you are an independent?" 14 FILM; BULLETIN Short Subjects BY NEIL IEOXARD GOLDSTEIN, one of Holly- L wood's top moneymaking producers, term- inated his contract with Universal-Inter- national (May 31) when he and the company LEONARD GOLDSTEIN From I'-I. With Regrets (were unable to reach a satisfactory agree- ment for his future services. Goldstein's '"corn-ball" formula spelled boxoffice success in pictures such as the "Ma & Pa Kettle" peries and "Francis" films. He's due for a leading production post at 20th-Fox, it's {understood. PARAMOUNT Distrib. Corp. president A. W. Schwalberg has set all future top level (Company sales meetings for Hollywood, if at all possible. Decision was prompted by the success of the company's sales sessions at the studio where distribution and studio lofficials viewed forthcoming product. DLAUDITS AND KUDOES: U-I received ' a special award from the General Feder- ation of Women's Clubs for the production "Bright Victory" during the organization's national convention in Minneapolis . . . Cecil B. DeMille was kudoed by the Volunteers of America, for distinguished service in the field of motion pictures . . . Walt Disney's >all-live-action "Story of Robin Hood" has been selected by the Christian Herald and the Protestant Motion Picture Council as the picture of the month for July . . . 20th-Fox's |"Kangaroo" has been tabbed the movie-of- the-month for June by American mag. VARIETY TENT TOPICS: Variety Club's j" new International Chief Barker Jack IBeresin was host to a shindig at his home 'tent, No. 13, in Philadelphia, at a dance in the clubrooms on May 24 . . . They're still talking about that lulu of a convention book jput out by Wilbur Clark for the Las Vegas • meeting. It's a collector's item for anyone in the entertainment industry. AX AMERICAN tribute to Italian films is " being planned for Xew York in October. A committee of leading cultural, social and [educational personalities in that city is now |being formed for the purpose of organizing [Italian Film Week, during which seven of •the outstanding Italian films produced dul- ling the year will be previewed. AF M E X VND THINGS: Paramount^ Hal V Wallis Productions signed Dean Martin and Jerry Lewis to a contract running through 1960. Agreement calls for one film to be made annually by Wallis and permits Martin and Lewis a specific number of out- side pictures during the period . . . RKO- southwestern district mgr. Ben Y. Cammack and wife were blessed with a -on, W illiam, on May 23 . . . Paramount's western division mgr. George A. Smith announced a series of promotions in the San Francisco Exchange: Jack Stevenson, from salesman to sales manager; Andy Anderson from office mgr. to salesman, and James Merry, Los Angeles booker, has been transferred to San Fran- cisco and advanced to the post of office mgr. . . . U-A's ad-pub topper Francis M. Winikus arranged a special "showfolks showing" of Ben Hecht's "Actors and Sin" at the film's world premiere last week. A midnight pre- view enabled the theatre world to see the film dedicated to men and women of show business. HIGHLIGHTING the Texas COMPO con- ference in Dallas, June 9, will be a pro- duction preview arranged by one of the nation's top exhibitors, Robert J. O'Donnell. TEXAS BOB O'DONNELL In Lone Star State Style The screening will include short previews on three forthcoming pictures from each major distribution company. Eric Johnston, MPIC prexy, will give the prologue and commen- tary. Also on the three-day program are addresses by Monogram topper Steve Broidy and RKO producer Edmund Grainger. More than a thousand theatre managers, executives and top officials from the motion picture in- dustry will be on hand for the conclave. IINIVERSAL ha- come up with a plan to U meet growing competition for increased promotion at the local level. An advance bally planning unit in New York is being established, with its field exploitation repre- sentatives participating as members. Follow- ing a series of promotional conferences be- tween ad-publicity topper Charles Simonelli and field exploitation reps, the unit will have a three-fold purpose: (1) initiate special pro- motions from the local level; (2) permit theatremen and local conditions to exert a more extensive influence on promotional planning, and (3) to scout merchandising tie-ups and promotions on all levels well in advance of actual campaigns. The results of each promotion will be checked and filed for use in future similar situations. CW FARES: 20th-Fox'a ad campaign on ■ "Diplomatic Courier" is setting its sights on a readership penetration of 133 million, l oncentrated in major daily newspapers and leading new- magazines, the campaign will blanket magazines and supplements with full-page, full-color ads. An added hypo will be the record use of Sunday papers as a media to merchandise films . . . Chalk up a neat display of showmanship to the Madison Theatre in Detroit. Booking UA's adventure film "Strange World," arrangements were made in such a hurry that no trailer was available in advance of the opening. Un- daunted, the Madison management filled the lobby with an assortment of snakes and bird-, highlighted bv a parrot with a graphic four-letter word vocabulary. Result, a jingl- ing boxoffice . . . U-I's ad-pub veep David A. Upton told sales execs that the forth- coming Technicolor production "The World In Hi- Arm- will be backed bv an all-out lull-thumping campaign. An Alaska World premiere, covered by leading press reps, will kick olT a high-powered wave of mag and newspaper ballyhoo . . . Republic's Pitts- burgh premiere of "I Dream Of Jeanie" set a record high in radio coverage. Ten of Al- legheny County's 12 radio stations were on hand to broadcast the event . . . Walt Disney'- "Story of Robin Hood" is being heralded around the country by a wandering minstrel. Ellon Hayes, one of England's foremost folk singers, has the role of Alan- a-Dale in the film and is currently promot- ing the picture in his wanderings across the nation . UNITED CEREBRAL PALSY prexy, Leonard H. Goldenson, announced this year's campaign goal is set at $5, 000, 000. National Screen Service is handling nation distribution of the UCP's 1952 fund-raising campaign trailer. Prints of the trailer are now in key XSS branches for the use of theatres participating in the campaign, which runs until July 1. The trailer was produced by Republic and stars John Wayne. Titled "Miracle in Motion," its running time is two minutes and 50 seconds. In addition to acquainting audi- ences with the nature of cerebral palsy and LEONARD H. GOLDENSON Industry's VCP Leader the techniques used in treating it, the trailer includes an appeal for contributions to be made voluntarily through the theatre man- ager. JUNE 2, 1952 15 THE SPOTLIGHT DON HARTMAN HotltjUooJl ttctebcck REPORT FROM THE STUDIOS (Continued from Page 13) the policy I have put into operation recently at the studio." Obviously, the rumors arise from Hughes' apparent plan to liquidate the studio's pro- duct assets. Nothing is being produced, but the vaults are being emptied. So people con- clude that Mr. Hughes is looking for out. Meanwhile, a two million dollar loss is anticipated for RKO's first quarter this year. # A * Republic has picked what looks like a prize plum in the form of a new co-produc- tion and releasing set-up with Wilcox- Xeagle Productions. Under terms of the contract just signed by Republic prexy Herbert J. Yates and W-N toppers, Herbert Wilcox and Anna Neagle, the cooperatively PRIZE PLUM Wilcox. Mrs. Yates. Miss Neagle. Yates controlled unit will turn out a minimum of -ix top budget features in color to be filmed in England. The first feature set for production under the new arrangement will star John Wayne and Miss Neagle, and is slated to start shoot- ing in London during September. Casting will be announced later on such properties as Daphne Du Manner's, "The King's Gen- eral," and Joseph Conrad's "Laughing Anne". United Artists also did some plum-picking last month — in the form of a new 13-picture releasing contract with Edward Small. Under terms of the new pact, Small must deliver ten of the features bv the end of 1953. First to roll will be "Kansas City 117" (John I'ayne-Colecn Gray), lo be made in associ- ation with Sam Mriskin and Sol Lesser. Di- rccotor Phil Karlson expects to have the cameras rolling on the feature late this week. (Continued on Page 17) Hollywood motion picture circles pay homage to few men. Only the Darryl F. Zanucks, the Dore Scharys, the Louis B. Mayers, and a select few of comparable stature, command more than passing recog- nition in this town where skepticism is the yardstick for measuring another's ability. However, a new name has been added to this group, in the person of Don Hartman, Paramount's new production chief. In the sixteen months since his appointment to this key post, Hartman has made a deep im- pression on everyone with whom his work has brought him in contact. His philosophy of production is summed up in this simple axiom: "If you make yes- terday's picture today, you can't sell it to- morrow." On his desk is a white placard with this forthright message: "Yesterday's thinking must be destroyed!" He believes in long-range planning, econo- my without loss in quality, and insists that no picture is .to start shooting until the script is completed, down to the very last line of dialogue. He takes the distribution department into his full confidence in plan- ning future productions, and welcomes their counsel on stories, casting, and all of the other elements that go into the making of a picture. His background as a writer, actor, director and producer, give him a sound knowledge of both the artistic and the business side of movie production. And the many dramatic facets of his personal life, give him a verve and warmth that ingratiates all who meet him. With all of his success in his chosen field, Don Hartman's world is not confined within the narrow boundaries of the motion pic- ture industry. He has a deep civic and social consciousness which have won him the grati- tude and respect of all Southern Californians. When the $5,000,000 Los Angeles County polio and communicable disease hospital is completed in 1952, it will be due, in no small part, to his efforts. Hartman first became aware of the deplorably' inadequate facilities for caring for polio victims in the Los Angeles area, when his own young daughter was stricken with the disease more than a year ago. Hart nan was born in Brooklyn, the son of Marx Hartman and the former Ida Strauss. He began an early association with the theatre as the first boy soprano featured in a Brooklyn movie theatre. From then until the time he entered the motion picture industry, his fascinating career ran the gamut of jobs — from a bellhop to the branch manager of a chemical company, from truck driver to a bank teller, and from social director in a summer camp to th Andy Hardy role in Aurania Rouverol' Broadway hit, "Skidding". After leaving the Broadway stage, hi came to Hollywood to try his luck as ! screen writer. He wrote his first screenpla on the kitchen table of another strugglim writer named Dore Schary. It was "Rq mance in Manhattan" for RKO, win starred Ginger Rogers. His flare for corned soon led him to Paramount, where, in co DON HARTMAN Tomorrow Not Yesterday laboration with Frank Butler, he w:rote tl early "Road" pictures for Bing Crosby, B( Hope and Dorothy Lamour. He later joined Samuel Goldwyn's sta where his first assignment was to do tl] screenplay for the new comedy find, Dam Kaye. The result was "Up In Arms", whifl immediately established Kaye's talents f the screen. Moving to Columbia, he wrote "Down Farth" for Rita Hayworth, following whid he took his first fling at directing his ovj script, "It Had To Be You", on which | also drew a producer credit. Immeditaely prior to his current appoii. ment at Paramount, Hartman was und contract at Metro-Goldwyn-Maycr, in t| triple capacity of writer, director and prj ducer. He has been married to the former Heljl W einberg since 1928, and is the father f three children. lb F I L M Bl'Ll.ETI REPORT FROM THE STUDIOS (Continued front Page 16) Republic is stepping up its production schedule to launch six new pictures between now and early July. "Tropical Heat Wave" (Estelita), which was formerly titled "Rosita From Rio", tecs off the hypoed slate, later this week. " The Lady Wants Mink", Wil- liam Seiter's first producer-director chore under his new Republic contract, rolls June 9; "Desperadoes' Outpost" (Rocky Lane), which Harry Keller will direct for associate producer Rudy Ralston, goes on June 17; Fair Wind to Java", directed by associate producer Joseph Kane, follows on June 23, and "South Pacific Trail" (Rex Allen), is set for June 25, with William Witney di- recting for Associate Producer Edward J. White. Allan Dwan is slated to start an untitled musical the first of July. The long-prophesied economy wave at 20th Century-Fox has begun to take con- crete form, with the notification going out to all department heads to submit lists of unessential employees. At the same time, Spyros Skouras has warned executives in the upper echelons that they can expect salary cuts before the end of 1952. It is expected that the new cuts will take the form of an extension of the voluntary pay-reduction plan instituted by the company last year. It is expected to be increased both as to the amounts of the reductions and the number of participants. The previous plan called for reductions of 25 per cent on salaries be- tween $500 and $1,000 weekly, and up to 50 per cent on those over $2,000. Monogram-Allied Artists also shifted into high gear with the turn of the new month, to launch a record seven new productions. The Mono starters are: "Hiawatha," to be produced by Walter Mirisch, starting today (June 2); "Yukon Gold," a William F. Broidy production, and "Gun Smoke Range", Vincent M. Fennelly production, both start- ing June 12; "Hired (inns," another Fennelly production, June 28, and "Mardi Gras", pro- duced by Peter Scully, June 28. The Allied Artists features are: "Ratle Zone," a Walter Wanger production, starting June 16, and "Down Periscope," a Lindsley Parsons-John Burrows production. Columbia has just closed a deal with Leonide Moguy, the French producer, whereby Columbia will partially finance and it distribute a slate of films which the French movie-maker will produce and direct in Europe. Moguy is the producer of the cur- rent French release, "Tomorrow Is Too Z Late." Heard IN uccd TJctebcck Hollywood By JAY ALLEN U-I will release "The World In His Arms" (Gregory Peck-Ann BIyth) around mid-August with the greatest promotional ballyhoo in the company's 40-year history. It's worth it, too . . . "Kansas Pacific" has been switched from the Monogram slate to Allied Artists. Walter Wanger handled the production reins . . . Sam Spiegel will pro- duce a slate of four pictures — two of them in Technicolor — for UA release . . . Jane Wyman copped the coveted star role in Warner's "Broadway Revisited", story about a film star who returns to the stage. Henry Blake will put it before the cameras in early summer . . . Jacques Tourneur has ankled 20th Century-Fox. He's up to direct "Desert Legion" (Alan Ladd) for U-I, with a term contract as bait . . . "The Farmer Takes A Wife" (Betty Grable-Dale Robertson) draws a 50-day shooting schedule, exclusive of pro- duction numbers. Producer Frank P. Rosen- berg and director Henry Levin rolled the cameras last week . . . It's just about set for UA to release Chaplin's "Limelight" . . . F'ox is trying hard to track down those rumors about Zanuck quitting. Denied ab- solutely, but everybody is wondering how the smoke started. * * * There is plenty of apple-polishing on the part of Leonard Goldstein's U-I producer confreres to grab the 16 completed scripts which were awaiting him when he quit the studio . . . Frank McDonald drew the megger chore on "Yukon Gold" (Kirby Grant), which William F. Broidy rolls for Mono, today (2nd) . . . Alleged deal for Jerry Wald to move to Columbia is off, no matter what the gossips say. Something's happened and he loves Hughes like Rogers loves Hammer- stein . . . That Stanley Kramer sure knows how to make every penny count. His nine pictures completed for Columbia averaged $700,000 per each . . . Eddie Small's slate for UA comprises a baker's dozen — five of them in Technicolor. They all have to be delivered in 19 months . . . Fox forked over a cool $100,000 for story and music rights alone, on "Stars and Stripes Forever" . . . Ty Power's new non-exclusive pact with Twentieth commits him to only two pictures by 1954 . . . The Ralph Cohn unit at Co- lumbia has a slate of six pictures to roll in a like number of months. * * * Look for Jane Russell to pay a return loan- out call to Paramount for Bob Welch's Techni-musical now in the final scripting stages, but not yet tagged . . . Republic will release the new- Italian language film, "New- Lease On Life". But first it will be re- JUNE. 2, 1952 dubbed and re-titkd "The Flying Squadron" . . . Surprise! Everything is but beautiful on the "Beatuiful Hut Dangerous" set at KKo — even to the temperament i of co-stars Bob Mitchum and Jean Simmons . . . Max Clifford's "Breakdown" (Anne Gwynne-Ann Richards) goes to L A ... It will be Donald O'Connor as the star of Paramount's Bill Hammer tcin mu-ii al, "Follow the Rain- bow" . . . From here on out, every 20th-Fox picture will rehearse one-week before the camera focuses — boss' orders . . . You can lay odds Paramount will hold Hal Wallis' "Come P.ack Little Sheba" (Shirley Booth- Burt Lancaster) until Oscar Derby time. It will give a good accounting of itself, too . . . Republic's "Minnesota" (Bod Cameron- Ruth Hussey) draws a plush civic premiere at Duluth's North Shore Theatre, July 16 . . . It's- a new record for Columbia, with eight pictures set to roll this month: "Target Hong Kong," "All Ashore." "Salome," "Atom Outpost," "Member of the Wedding" (Stanley Kramer Productions), "Panhandle Territory." "Winning of the West," and "Voodoo Tiger". Time and money healeth all things: Martin and Lewis signed a new 7-year con- tract with Hal Wallis. It calls for one per annum . . . U-I has set 17 release for the last half of '52 — bringing the year's total to .54 . . . Edmund Grainger's KKO Techni- color production, "Blackbeard the Pirate", teed off May 31, with Robert Xewton, Linda Darnell and Keith Andes in the top spots. Raoul Walsh is directing . . . Are Fox lawyers burning the midnight oil trying to figure angles to get out of a pair of 15-year contracts? . . . With "Hans Christian Ander- sen," the 1952 Oscar Derby's apt to be an- other all-Goldwyn show . . . Warners drew a new long-term producer pact with Br. an Foy. They need him, too . . . David O. Selz- nick resumes production late this \ear in Rome, with "Mary Magdalene," starring frau Jennifer Jones. * ★ * Cecil B. DeMille abandoned "Helen- of Troy" in favor of a remake on "The Ten Commandments". It probably will go in '53 . . . There's a 24-day shooting schedule on Joseph Bernhard's inde, "Ruby Gentry," for 20th- Fox release. Jennifer Jones, Charlton Heston and Karl Maiden head the cast, and King Vidor directs. It will be a late June starter . . . Next it will be the "Road to the Moon" for Crosby and Hope . . . Columbia's vidpix subsidiary. Screen Gems, is operating full tile turning out scads of movies for those little living room theatres. 17 EXPLOITATION PICTURE ATOMIC CITY' TENSE SLEEPEW [t's rare when a film from Hollywood comes into a Broadway house, unheralded, without either cast names nor production and directorial prestige, and captures the fancy of the blase New York critics, ct Paramount s "The Atomic City", sport- ing a title that wasn't ex- actly conducive to gleeful anticipation by the critics, earned an enthusiastic re- ception abounding with superlatives. Such ofteti stem judges as the Times' Hosley Crowther called it a "sleeper — a low-budget high voltage film . . . thai wastes no time on solemn messages . . . made for suspense and excitement Or the World-Telegram's Alton Cook with "seldom does a movie spread SO much genuine terror and send the spectators out so jittery". Or the Herald Tribune's Joe Pihodna: "Nearly explodes with exciting events . . , Tense and breath-taking kidnap hunt which had this reviewer sitting on the edge of his seat." The showman can take his cue from these rev iews and whip up a tasty batch ol audience interest by blowing up these notices— as well as others by well-known syndicated columnists and magazine writers for advance lobby boards las piclurec THE CLIFF RESCUE A surprising number of your audience, including the fast-increasing propor- tion of selective movie- goers, are sure to be im- pressed by the opinions of these critics and the box- office will react corres- pondingly. For many theatres, a ack along the lines of "the first film to take you jehind the scenes of the country's 'Atomic City'," should garner interest. Actually filmed in Los Alamos, New Mexico, and surrounding territories, in- cluding Santa Fe and the awesome Puye Indian cliff dwellings, there is an impressive authenticity about the film that brings action and suspense into at right) and for the front during the run. wi the fast-moving the realm of credibility. For a sure-fire heart appeal, the story of a boy. kidnapped by spies to force his scientist father to turn over vital atomic research information, can be a bonanza for the family trade. Some exceptionally ap- pealing and exciting stills on this angle are available for the showman who is alert enough to take advantage of them. The nail-biting suspense projected by the situ- ations, climaxed by a breath-holding rescue from the side of a cliff are beautifully pic- lured. Blow-ups, with appropriate copy, be a real eye-catcher. ■me ATOMIC ^ CITY READ THESE RAVES! "HIGH VOLTAGE FILM! If it doesn't pull you right off the edge of your ctuir, then we miss our guess!" — N. Y. Times "SURPRISE FILM OF THE YEAR! Potent thriller... fast, gripping . . . excellent!" -w. Jr. Mirror "A 'SLEEPER' that nearly explodes with exciting events. The ending. ..is about the most tense ten minutes on film!" -N Y. Herald-Tribune "A SPY THRILLER full of action and suspense ... a tense and taut melodrama . . . will have you biting your fingernails. Packed with realistic action!" -N. Y. Journal-American "A BLOCK-BUSTER. This is one of those films that comes like a bolt from the blue!" — Brooklyn Eagle "TIGHT, TENSE MELODRAMA . . . will have the viewer mopping the perspiration from face and hands!" LOBBIES & FRONTS Undoubtedly a compelling factor in the aul ence interest in a film is the well-known critl opinions about the picture. Since they have g(l all-out in their praise, a lobby board — the bigj the better — should be a must in any campaif The above carries some of the best notices. Oth| are available from Paramount' s N. Y. publicity office. The board should be used in the lobby for ad- vance and placed out front during run. Another effective display can be work- ed up with still blow- ups, as at right, com- plemented by art work and exciting copy. Include your playdatel base and weather-proof display with colorlf shellac. After opening, snipe your set-piece v| a "Now Playing" strip and put out front. For an eye-stopper, simulate a giant wall ol your inner lobby door panels. Equip each si| door with a section of this compo-boanl wl painted to resembe thick grey blocks, as pictuj below. The newspaper ads, left, are clear enough blow-ups, too. They embrace several t\pes| appeal so that the showman can select the most suitable to his audience. -AfoMIC^ITY m s to escape the terror of his captors. THE ATOMIC CITY Los Alamos. New Mexico, site of one of the atom bomb plants, is the exciting background against which producer Joseph Sistrom has placed a suspense thriller that should have every member of the audience on the edge of the seal for its full 85 minutes on the screen. Although the title indicates either a documentary ex- position or a fantastic interplanetary tale, it is neither of these. The action is centered about a youngster, whose kidnapping and rescue form the basis for crackling screen excitement and almost unbearable suspense. None of the cast is known to moviegoers, but all perform in .sterling fashion, with the snub- nosed little towhead, Lee Aaker. stealing the show right from under the noses of his elders. One Barry. Lydia Clarke. Michael Moore. Nancy Gates and Milburn Stone. y :"ir * Scribes Find 'Macao' Stale Entry in Russell-Mitchum Series Apparently the formula for the Jane Russell-Robert Mitchum series is beginning to sour, for their latest RKO starrer, "Macao", was tagged "familiar", "synthetic" and "pretentious" by the majority of N. Y. critics. It was generally agreed that what- ever story exists is merely designed to dis- play the sex appeal of its principals. Settings were deemed intriging, but the cast never had a chance to do more than just go through the motions, was their concensus. The Times' Bosley Crowther found the picture "a flimflam designed for but one purpose and that is to mesh the two stars . . . Mostly they ornament the motif, which is simply s-e-x." He felt that the story was "a routine and standardized account of a guy getting caught in the middle of a cops- and-robbers thing." In referring to the story line of the film, the World-Telegram's Alton Cook thought the "pa'.h must be growing very familiar to Jane even though its settings change". He observed thai "coherence or clarity in the story were no bother to makers of this pic- ture . . . Evidently, it is presumed that Jane had done this type of thing so often, all her admirers should know it by heart at this late date". "Dull arrangement of sultry poses and rugged pretensions, " w rote Otis L. Guernsey in the Herald Tribune. In his opinion the plot and characters arc "purely synthetic, and there is no excitement to be had out of the~i". The Journal-American's Rose Pelswick found the picture a series of "Oriental set- tings, knife-throwing villains and a variety of chases". Between chases, she adds "the cameras swing over to Miss Russell". According it a "Good" movie meter rating, the X. V. Post's Irene Thirer was the lone proponent of the film's values: "Expertly photographed, colorful in black and white melodrama . . . highlighted by the curvacious presence of one Jane Russell." The picture struck her as "contrived, but nevertheless absorbing". 'THE NARROW MARGIN' RKO "A tightly-knit film filled with action . . . high excitement despite a complete lack of star 'names' or pretentious production trap- pings . . . Stand-out entertainment." — Pels- wick, N. Y. Journal- American. "Almost a model of electric tension that, at least technically, nudges some of the screen's thriller milestones . . . This unpre- tentious offering should glue anyone to the edge of his seat and prove, once and for all, that a little can be made to count for a lot." — H. H. T., N, Y. Times. "Being hailed as one of the season's 'sleepers', a minor picture that has turned out every major in entertainment quality . . . Everyone concerned can take a nice big bow for this thrilling surprise." — Cook, N. Y. World-Telegram. "QUOT€S" What the Newspaper Critics Sag About New Fi "Good plus (Movie Meter Rating) . . . movie, a credit to RKO and everybody con- cerned with its production; a B item with A for appeal — provided you're interested in the tops in thrillers." — Thirer, N. Y. Post. THE ATOMIC CITY' PARAMOUNT "Tense and breath-taking kidnap hunt which had this reviewer sitting on the edge of his seat . . . Well knit and serviceable yarn that nearly explodes with exciting events ... A sleeper, arriving without fanfare or stars." — Pihodna, N. Y. Herald Tribune. "Tense and taut melodrama . . . will have you biting your fingernails . . . Effectiveness of - the story is heightened by the use of actual locales and the semi-documentary manner of its telling." — Pelswick, N. Y. Journal- American. "Paramount missed in turning out nothing more than a routine cops-and-robbers melo- drama . . . Regular thriller story which had been believed Hollywood had turned over to television." — Rice, N. Y. Post. "Seldom does a movie spread so much genuine terror and send the spectators out so jittery . . . One of the new school of adult films made on a small budget without stars . . . Sturdy melodrama, a sure guaran- tee to give you the shakes." — Cook, N. Y. W'orld-Telegram. "A 'sleeper' — a low-budget, high-voltage film . . . Trim little piece of melodrama wastes no time on solemn messages . . . made for suspense and excitement." — Crowther, N. Y. Times. THE GREEN GLOVE' UNITED ARTISTS "Pursuit melodrama . . . scenery is far more interesting than the plot which pro- vides low-gear motivation . . . Doesn't live up to the standards of a story line which is as rigid as the Western." — Pihodna, N. Y. Herald Tribune. "Merely a standard chase . . . Does have the redeeming features of having been filmed in truly picturesque areas . . . but the tale spun is minor-league melodrama." — Weiler, N. Y. Times. "Fair plus (Movie Meter Rating) . . . mystery, a thriller, a- chase, a romance . . . All it was trying to do was . . . raise maxi- mum excitement with minimum equipment." — Winsten, N. Y. Post. " Treats audiences to a literal return to the old cliff-hanger traditions of early movies . . . Picture was filmed in France and its ranging around antique settings is its prin- cipal charm." — Cook, N. Y. World-Tele- gram. "Colorful chase melodrama . . . Principals are called on to dash up and down the Kiffcl Tower, in and out of bistros, railroad trains, hotel rooms and a medieval castle." — Pelswick, N. Y. Journal- American. BELLES ON THEIR TOES' 20TH CENTURY-FOX "Another ail-American apple pie, with) same brand of wholesale and homey plj antries that marked its predecessor Without the tart-tongue earthiness of (| ton Webb, this latest chapter suggest Is harmless but sentimental transcription ofl< Old Woman in the Shoe."— H. H. T., Nf Times. "Reverses the usual course of mfc sequels . . . likely to give audiences morpl a mirthful and sentimental run for tlr money than did 'Cheaper by the Dozen W Cook, N. Y. World-Telegram. "Good plus (Movie Meter Rating) .1 'Belles' isn't quite the charmer its predefe- sor was . . . However, it is fine fun, vzlj entertaining." — Thirer, N. Y. Post. "It doesn't happen very often that a sell to a successful movie turns out to be as ipd or even better than the original . . . but tin exactly what happened in the case of 'BB On Their Toes'." — Pelswick, N. Y. Joui|l American. "Provides as fine a light and wholesjB screen entertainment as can be found N dozen trips to the movies . . . Funny I not overly sentimental." — Pihodna, Nil Herald-Tribune* 'PRIDE OF ST. LOUIS' 20TH CENTURY-FOX "Good plus (Movie Meter Rating) Story without any fancy trimmings Sentiment, at times may become sli steep, but that should be permissible picture of this kind ... I liked 'The Prii St. Louis' . . . and so will you and all family."— Rice, N. Y. Post. "A breezy, entertaining comedy Smartly written and handled script pi well chosen group of players make the enjoyable even for those who never toe afternoon off to yell at the umpire." — wick, N. Y. Journal-American. "Engaging and amiable comedy . . Dailey has contributed a masterpiece impersonation of Dizzy Dean . . . Dizzj a wake of incredibility and laughter whe he went. Those are the qualities of thiw ture, with strong emphasis on the lauglk. — Cook, N. Y. World-Telegram. "Baseball itself ... is not the majefl terest in this picture about Dizzy Dean.Bj magnetic thing is the nature of a greaBl lovable lug . . . Leaves you grateful iwl who made this picture — and to a legerwl the name of Dizzy Dean." — Crowther, mi Times. "Assets keep- 'Pride of St. Louis' oBP'4 the cellar, but it doesn't rise very far ; ovi i the level of boyishness, sentiment jplf trouble in the home in the routine pattAO these sports idealizations." — Guernsey, VI Herald Tribune. 10 In the Release Chart, "Rel." is the National Release Date. "No." is the release Number. "Rev." is the issue in which the Review appeared. There may be variations in the running time in States where there is censorship. All new productions ar« on 1951-52 programs unless otherwise noted. Listing of color pictures follows immediately after title: (T) Technicolor, (C) Cinecolor, (SO Supercinecolor, (TR) Trucolor, (AC) Ans- color, (NO Natural Color, (WO WarnerColor. METRO-CO LDWYN-MAYER 1951-52 Features Completed (85) In Production (6i RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Tim* Cast I Love Melvin ITI O'Connor-Reynolds Plymouth Adventure IT) Tracy-Tierney Prisoner of Zenda IT) Granqer-Kerr Rogues March Lawford-Rule Time Bomb Ford-Vernon Tribute To A Bad Man Turner-Dougles COMPLETED Rcl. No. R.v American in Paris IT) (113) Because Your Mine Belle of New York 181) Callaway Went Thataway (81) Calling Bulldog Drummond (80) Carbine Williams I 101 1 Devil Makes Three, The Eagle On His Cap Fearless Fagan Girl In White. The (93) ... Glory Alley 179) Holiday for Sinners Hour of Thirteen. The _ _ Invitation 185) It's A Big Country (89) _.. Ivanhoe IT) ..... Just This Once 190) Letter From the President Light Touch, The 193) Lili _ Lone Star (94) ... Kelly-Caron Lania-Whitmore Astaire-Vera-Ellr n ... MacMurray-McGui' . _ Pidgeon-Leighton Stewart-Hagen Kelly- Angeli Taylor-Parker Leigh-Carpenter Allyson-Kennedy Nov 9-24 3-52 223 2-2S Dec 214 12-3 Dec 213 5-52 231 4-21 8-52 8-52 5-52 232 4-52 234 7- 52 4-52 2- 52 1-52 8- 52 3- 52 . Young-Rule __ Lawford-Addamj McGuire-Johnson All Star R. Taylor-E. Taylor Leigh-Lawford Winters-Montalban _ Grainger-Angeli Caron-Ferrer Gable-Gardner 2-52 E Taylor-L. Parks 4-52 Grayson-Skelton 7-52 Turner-Lamas _ Johnson-Neal . 7-52 Williams-Mature Dec Love Is Better Than Ever (81) Lovely To Look At IT) 1 1 121 Merry Widow, The IT) Mr. Congressman One Piece Bathing Suit IT) Pandora and the Flying Dutchman IT) 1123) Mason-Gardner Pat and Mike (93) Tracy-Hepburn Ouo Vadis (T) 1171) Scaramouche IT) (115) Sellout, The 172) 1-52 4-52 Shadow in the Sky 178) Singin' In The Rain IT) 1 1031 Skirts Ahoy IT) 1109) Talk About a Stranger 145) Too Young To Kiss 191) Taylor-Kerr S. Grainger-E. Parker Pidgeon-Totter Meeker-Davis-Whitmore Kelly-O'Connor William-Blaine Murphy-Davis Ailyson-Johnson Westward the Women 1114) Taylor-Darcel When in Rome 178) Johnson-Douglas Wild North, The (97) Granger-Corey You For Me Lawford-Greer Young Man With Ideas (84) Ford-Roman 4-52 1- 52 2- 52 4- 52 5- 52 4-52 Nov 1-52 4-52 3- 52 200 215 224 212 222 225 1-28 12-17 I- 21 II- t 235 234 219 221 227 233 228 214 229 224 10-22 4-2 I 1-19 2-311 12-31 4-21 3-10 I 1-5 12-3 3-10 5-52 230 3-10 MONOGRAM - ALLIED ARTISTS 951-52 Features Westerns Completed (44) In Production (I) Completed (16) In Production (0) IN PRODUCTION TITLE — Running Time Flat Top IC) COMPLETED African Treasure Sheffield-Luez Aladdin and His Lamp IC) (47) ..Medina-Sands RELEASE CHART — 1951-52 — Cast Hayden-Carlson Rei. Artie Flight Bowery Leathernecks Counterfeit Crazy Over Horses 145) Dead Man's Trail Desert Pursuit ... — Elephant Stampede 171) Flight to Mars IC) 1721 Fort Osage (C) (72) Gunman, The ■ Hold That Line 144) Jet Job 143) Kansas Territory 173) ... . Lawless Cowboys 158) — ... Longhorn The 170) Man from Black Hills 178) Mexican Silver Night Raiders Northwest Territory (41) Plow Jockeys Rodeo IC) 171) Rose Bowl Story, The (C) .. _ Stage to Blue River 156) Steel Fist, The 173) _ _ Texas Lawmen (54) ______ — Texas Marshall — . . Texas City Morris-Albright Gorcey-Hall DeFoe-King . Gorcey-Hall . Brown-Ellison _ Morris-Caruso Sheffield Chapman- Mitchell Cameron-Nigh _W1lK n.Knlnht . Gorct Ho, i . Clemc s-Verdugo _Elliott-Stewart ..Wilson-Knight Elliott-Coates Brown-Ellison Wilson-Clyde Wilson-Knight . Grant-Chinook Gorcey-Hall Jane Nigh Thompson-Miles _ McDowall-Miller . Brown-Ellison Brown-Ellison Wilson-Knight Wilson-Knight 4- 52 1- 52 7- 20 I 1-18 1 1-18 . 7-4 5- 52 10- 29 11- 11 2- 52 .. 4-13 _3-c7 3-23 5-4 11- 7 11-25. . 3-52 . 2-52 '. 12- 9 9-14 3-9.. 8- 24 1-52 1-52 12-2 No. 5207 5299 5210.. 5114 5114 5243 5209 .5110. 5103 5102 5252 521 5215 5225 5155 . 5223 . 5242 . 5251 . Rev. 3-10 2-11 1 1-19 1-28 5213 _SI04_ 5204 5217 5241 3-10 12-30 RKO RADIO Trail Dust Albright-Winters Vicious Years. The 179) Cook-Moore Waco 168) - Elliott Wagons West ICI ...Cameron Whistling Hills 158) Brown-Ellison Wild-Stallion ICI Johnson-Hyer Witness. The Kirkwood-Gleason 12-31 2-18 2-52 6-2? 10-7 4-27 5107 5224 5203 5145 5205 ALLIED ARTISTS Disc Jockey 1771 Highwayman, The IC) 183) Simms-O'Sh'ea Hendrix-Coburn 8-23 9-8 21 20 6-18 8-27 PARAMOUNT 1951-52 Features Completed (67) In Production (I) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Road to Bali Cast Rel. No. Hope-Crosby-Lamour 12-52 Rev. COMPLETED Aaron Slick from Punkin CreeklTI 1 95) Shore-Young Anything Can Happen 1107) Ferrer-Hunter Atomic City. The 185) Barry-Clarke Blazing Forest IT) Payne-Moorhead Botany Bay (Tl .. Ladd-Mason Caribbean (Tl Payne-Dahl Carrie Olivier-Jones Come Back Little Sheba Lancaster-Booth Darling. How Could You 195) Fontaine-Lund Denver & Rio Grande IT) (89) O Brien-Hayden Defective Story (103) ._ Douglas-Parker Encore Maugham Stories Flaming Feather (Tl (77) S. Hayden-G. Russell Greatest Show On Earth (T) USD . Stewart-Hutton Green Gold of Nevada (T) Payne-Morrow Hong Kong IT) (92) _ Reagan-Fleming Hurricane Smith (T) DeCai lo-lreland Jumping Jacks Martin-Lewis Just For You IT) Crosby-Wyman Los Alamos _ _ Barry-Carke Military Policeman Hope-Maxwell My Favorite Spy (93) __ _ Hope-Lamarr My Son John 1122) Hayes-Heflin Rage of the Vulture. The Ladd-Kerr Red Mountain IT) 184) Ladd-Kennedy Sailor Beware 1102) Martin-Lewis Savage. The IT) Heston-Hanson Sn'ne (T) Ladd-Arthur Silver City (T) (901 DeCarlo-O' Brien Somebody Loves Me (T) Hutton-Meeker Something To Live For 190) Fontaine-Milland Son of Paleface IT) Hope-Russell Stalag Holden-Taylor Stooge. The Martin-Lewis Submarine Command 189) Holden-Olson _ This Is Dynamite Holden-Smith Tropic Zone (T) Reagan-Fleming War of the Worlds IT) Barry-Robinson When Worlds Collide 182) IT) Derr-Rush 4- 52 5- 52 6- 52 12-52 9-52 8-52 I 1-51 6- 52 I 1-51 7- 52 2-52 7-52 5119 5117 5120 5108 5115 5111 51 18 5130 3-10 3-10 8-13 4-7 10-8 12-31 1-14 1-52 10-52 7-52 9-52 12-51 4- 52 5- 52 2- S2 1 1- 52 12- 51 10- 52 3- 52 8-52 1 1- S2 11-51 11-52 5109 5110 5116 5113 5114 5112 5105 1 1-19 10-22 4-21 12-17 10-8 2-11 5107 9-24 1 1 —5 1 5106 9-24 1951-52 Features Serials Westerns REPUBLIC Completed (18) Completed ( 0) Completed (13) Production ( I ) Production (0) Production ( I ) RELEASE CHART — 1951-52 — COMPLETED Adventures of Captain Fabian I 100) Bal Tabarin 1901 Black Hills Ambush border Saddlemates Cap'ive ot Billy the Kid (54) Colorado Sundown (67) Desert of Lost Men 154) Fabulous Senorita, The (80) Flight from Fury Gobs and Gals Honeychile ITrl (89) Hoodlum Empire 1981 I Dream of Jeanie (Tr) 1901 Lady Possessed 187) Las' Musketeer. The 1671 Leadville Gunslinger (54) Minnesota Oklahoma Annie IC) 1901 Old Oklahoma Plains Pals of the Golden West (68) Quiet Man, The IT) I 129) Rangers of the Golden Sage Ride the Man Down ITr) Sea Hornet. The 184) _ _ South of Calient* 67) Stormbound _______________ Street Bandits (541 Thunderbirds Thundering Caravans Toughest Man in Tombstone (Tr) Utah Wagon Trail (67) Wild Blue Yonder (98) Wild Horse Ambush Woman In The Dark (60) Wyoming Saddle Pali _______ 22 E. Flynn-M. Prelle 10-6 ... 5101 10-8 Lawrence-Ching 6-15 Lane-Waller 5-20 Allen-Kay 4-15 5143 Lane-Edwards ... 1-52 5064 Rex Allen 2-52 5141 Lane 11-19 5063 .1-14 Estelita-Clarke 4-1 5125 Edwards-Clark 6-18 Downs-Hutton 5-52 5128 Canova-Foy 10-51 .5121 12-3 Donlevy- Trevor 4-15 5105 Middleton-Shirley 6-15 Mason-Havoc 1-52 5104 Allen-Kay 3-52 5142 Lane-Rilev 3-52 5171 Cameron-Hussev Canova-Russell 3-24 5122 4-21 Allen-Kay Rogers-Evans 12-15 5152 2-11 Wayne-O'Hara 5-19 Chapin-Janssen Donlevv-Tucker .Cameron-Booth 11-6 10-22 Rogers-Evans 10-15 .5151 11-19 Dowling-Checchi 12-15 5032 Edwards-Clarke 11-15 .5130 12-17 Derek-Barrymor; Lane-Waller Monroe-Leslie Allen-Edwards 10-15 . 5054 11-5 Corey-Ralston 12-7 5130 12-17 Chapin-Janssen Edwards-Elliott 1-52 5111 1 7A Chapin-Janssen __ 1951-52 Features Completed (67) In Production (2 RELEASE CHART IN PRODUCTION TITLE — Running Time Beautiful But Dangerous Hans Christian Andersen IT) — 1951-52 — Cast Simmon s-Mitchum Kaye-Granger Rel. No. Rev COMPLETED At Sword's Point IT) 181) Androcles and The Lion Beware. My Lovely Big Sky. The Body Snatcher IRe-issue) Cat People 173) Clash By Night I 105) Double Dynamite 1801 Faithful City 186) Girl in Every Port. A (86) Half-Breed, The (Tl (81) Hunchback of Notre Dame (1171 I Walked With a Zombie IRe-issue) I Want You (101) Jet Pilot IT) (118) _.. Jungle of Chang 167) King Kong IRe-issue) Korean Story, The Las Vegas Story, The 188) _ Leopard Man. The (Re-issue) Lusty Men, The Macao (81) Narrow Margin (71) On Dangerous Ground (82) Overland Telegraph (60) Pace That Thrills, The 163) Racket, The 1891 Rancho Notorious (89) Rashomon (86) Road Agent 160) Saddle Legion 160) Snow White and the Seven Dwarfs IT) 183) Sudden Fear Target (601 Tarian's Savage Fury (80) Tembo 180) _. Trail Guide (60) Two Tickets to Broadway IT) ( I 06) Whispering Smith vs. Scotland Yd. 177) Wild Heart, The (Tl (82) Wilde-O'Hara Simmons-Young Lupino-Ryan Douglas-Martin Karloff Simone-Smith Douglas-Stanwyck Sinatra-Russell J. Smith-Ramati Marx-Wilson Young-Carter LaughtonO' Hara Conway Andrews-McGuire Wayne-Leigh Travel Cabot Mitchum-Tallman Russell-Mature O'Keefe Hayward-Mitchum Russell-Mitchum McGraw-Windsor Ryan-Lupino Holt-Martin Williams-Balenda Mitchum-Scott Dietrich-Kennedy Japanese Holt-Martin Holt-Martin 2-52 220 4- 52 Reissue 6-52 12-51 5- 52 1- 52 5-52 Reissue 4- 52 1-51 11-51 5- 52 2- 52 5-52 4-52 4-52 1—5 1 . 12-51 3- 52 11-51 3-52 3-52 3-52 271 767 229 214 273 214 266 272 101 208 269 217 270 ' 224 226 215 216 213 210 221 268 223 117 II- 10- 3- Disney Feature Crawford- Pa la nee McGraw-White Barker-Hart Documentary _ Holt-Martin Leigh-Martin Carlson-Gynt Jennifer Jones Reissue 292. 4-52 4-52 1- 52 2- 52 I 1-51 3- 52 7-52 227 225 265 219 264 222 274 2- 10-2 20th CENTURY-FOX 1951-52 Features Completed (58) In Production (81 RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. No. Rev Big Man Widmark-Dru Bloodhounds of Broadway Gaynor-Brady Hands Across the Sea Rennie-Peters I 1-52 Man Who Fooled Hitler Werner 11-52 Pony Soldier IT) Power-Edwards 12-52 Something for the Birds Neal-Mature Stars and Stripes Forever (T) Webb-Hussey Tonight We Sing Pinia-Peters COMPLETED Anne of the Indes (T) (82) lordan-Paget Belles On Their Toes IT) 189) Crain-Loy Bagdad on the Subway Crain-Granger David and Bethsheba IT) 1116) Peck-Hayward Deadline U. S. A. 187) ...Bogart-Barrymore Decision Before Dawn (119) Merrill-Basehart Diplomatic Courier 197) Power-Neal Don't Bother To Knock Widmark-Monroe Down Among the Sheltering Palms(T) Lundigan-Greer Dream Boat _ Webb-Francis Elopement 182) ... Webb-Francis 5 Fingers (108) Mason-Rennie Fixed Bayonets! (92) _ Basehart-O' Shea Girl Next Door, The IT) Haver-Dailey Girl on the Bridge, The (771 Haas-Michaels Golden Girl (T) (108) Day-Gaynor I Don't Care Girl, The (T) Gaynor-Wayne I'll Never Forget You (T) (90) Power-Blyth .11-51 134 10 5-52 10-52 2-52 5-52 1-52 7-52 9-52 203 205 8-52 12-51 141. 3-52 208 12-51 140. 3- 12- 12-51 139 12- ..1 1—51 13- II- Japanese War Bride (91) Kangaroo IT) . Yamaguchi-P. Taylor O'Hara-Lawford Lady in the Iron Mask INC) L. Hayward-Medina Les Miserables Rennie-Paget Let's Make It Legal 177) Colbert-Carey Lure of the Wilderness IT) Peters-Hunter Lydia Bailey (Tl (89) Robertson-Francis Model and The Marriage Broker! 103) J. Crain-T. Ritter Monkey Business Grant-Rogers My Wife's Best Friend Baxter-Carey Night Without Sleep Darnell-Merrill Outcasts of Poker Flat. The 181) Baxter-Robertson Phone Call From A Stranger 1941 Merrill-Winters Pride of St. Louis 193) Dailey-Dru Red Skies of Montana IT) (98) Widmark-Smith Return of the Texan 187) Robertson-Boone FILM BULL 1 T I se of Cimarron (NO 172) Buetel-Powers lows of Kilimanjaro, The IT) Peck-Hayward easure of fhc Golden Condor IT) Wilde-Smifh va Zapata 1113) M. Brand. - J Peters ait Til The Sun Shines NellielT) I 108) Peters-Wayne ay of a Gaucho IT) Tierny-Calhoun jt're Not Married Wayne-Rogers hat Price Glory ,.. Caqney-Dailey ; ith A Song In My Heart IT) 1117) Hayward-Calhoun UNITED ARTISTS 951-52 Features Completed (58 In 4-52 212 Raging Tide .The 1921 I I —52 Red Ball Eipress - -- — Reunion In Reno I7?l 3- 52 206 2-25 Raiders. The IT) 7- 52 5-19 Sally and Saint Anne 9-52 Scarlet Angel IT) Son of Ali Baba IT) 8- 52 Steel Town IT) 185) 4- 52 210 2-25 Strange Door, The 180) Texas Man The IT) Thunder On the Hill 1851 Treasure of Lost Canvon, The Untamed Frontier. The IT) Week-End With Father 183) World In His Arms, The IT) Yankee Buccaneer IT) Production (I I You Never Can Tell 178) Winters Contt Chandler-Cabot Stevens-Dow Conte-Lindfors Blyth-Gwenn DeCarlo-Hudson Curtis-Laurie . Sheridan-Lund Laugnton-Karloff Ryan- Adams Colbert-Blyth ITI 181 W. Powell-J. Adams Cotten-Winters Neal-Heflin Peck-Blyth Chandler-Brady Powell-Dow Nov 203 10-22 May 218 Oct 135 I0-* June Mar Dec Sept Mar Dec Sept i PRODUCTION TITLE — Running Time orassi OMPLETED Christmas Carol 186) :tors and Sin 194) Irlean Queen IT) 1 1041 lother Man's Poison 189) g Night, The 175) ilfalo Bill in Tomahawk Territory 164) aptive City 191) ilcago Calling 174) oudburst 1831 .rt Defiance 181 ) old Raiders 156) reen Glove, The 186) e Ran All the Way 177) igh Noon 185) Mel Sahara 187) vasion U.S.A. land of Desire IT) 1 103) idy Says No. The 182) .■nelight ister Drake's Duck (81 ) r Peek-A-Boo (74) utiny IT) 176) ?sessed 177) ne Big Affair 180) jtcast of the Islands IT) (91) .rdon My FFrench 181) anter's Wife •d Planet Mars 187) ng, The ver. The ITI 199) >yal Journey 150) Benny, the Dip 180) range World 1801 le of Five Women, A 186) •m Brown's Schooldays (93) «o Gals and a Guy 170) lell. The 185) [hen I Grow Up 190) . RELEASE CHART — 1951-52 — Cast Hyer-Morassi Rel. No. Rev. 11-30 11-19 Alastair Sim Robinson-Hunt Bogart-Hepburn 3-21 H-R 1-14 Davis-Merrill 1-16 1-14 J. Barrymore-P. Foster 12-7 11-19 Moore-Andrews 2-8 Forsythe-Hall 4-11 Asp 4-7 Duryea-Anderson 1-4 12-17 Preston-Sellars 1-31 D. Clark-B. Johnson 1 1-9 O'Brien-Ryan 9-14 11-5 Ford-Brooks 2-28 Ben Garfield-Winters 7-13 Reb Cooper-Kelly Kr DeCarlo-Ustinov 10-15 Jar O'Shea-Castle Darnell-Hunter 6-20 Caulfield-Niven l-l I Chaplin-Bloom ... Fairbanks-Donlan 9-21 3-10 7-16 5-5 11-19 12-17 Green wood-Bourvil Stevens-Lansbury Farrar-Fitzgerald O' Keefe-Keyes Richardson-Kerima Oberon-Henreid 10-21 3-14 9-7 2-22 . Sach KB 1 0-8 9-24 3-24 9-24 .8-10 Lop 5-15 Claudette Colbert Graves Rios-Moreno Swinburne-Shields 2-15 Color Feature 3—15 Foch-Haymes 8-24 5-19 9-10 Ren Dan 7-16 Hauff-Schneider 3-28 Gehn 4-7 Bonar Colleano 3—7 Davies-Newton 11-2 Paige-Alda 8-31 Rober-Kelly 9-14 Preston-Scott 4-20. Pop 9-10 UNIVERSAL 951-52 Features Completed (72) In Production (4) RELEASE CHART — 1951-52 — 4 PRODUCTION TITLE — Running Time onzo Goes To College Cast Perreau-Gwenn un Hand IT) Hudson-Adams lagic Lady Young-Chandler 'illie and Je Back at the Front Ewell-Lembeck Rel. No. Rev. COMPLETED gainst All Flags IT) Flynn-O'Hara attle of Apache Pass, The IT) 185) Chandler-Lund Apr 217 4-7 end of the River IT) (91) Stewart-Kennedy Feb 212 1-28 ack Castle, The McNally-Greene -ight Victory (97) Dow-Kennedy Jan 208 7-30 ronco Buster (T) 180) Lund-Brady May 219 4-21 ave of Outlaws, The IT) (76) Smith-Carey . Nov 11-5 imarron Kid, The (T) (84) A. Murphy-Y. Dugay Jan 213 12-31 ity Beneath the Sea IT) Ryab-Powers uel at Silver Creek, The IT) _. Murphy-Domergue - - inders Keepers (75) Ewell-Adams Ian 211 1-14 lame of Araby IT) (77) Chandler-O'Hara Jan 207 12-3 lesh and Fury 183) Curtis-Sterling Mar 214 rancis Covers the Big Town . Donald O'Connor rancis Goes to West Point O'Connor-Nelson olden Horde, The IT) 1134) Blythe-Farrer Oct 134 las Anybody Seen My Gal IT) Colburn-Laurie ere Comes The Nelsons 176) Ozzie and Harriet Feb 210 1-28 on Man 1821 Keyes-Chandler Aug 130 7-16 Grows On Trees _ Dunne-Jigger - 'ory Hunter 195) Steel-Sheridan June 221 JSt Across the Street (79) Sheridan-Lund June 223 6-2 ady from Texas (T) (78) Hull-Duff Oct 136 10-8 ady Pays Off, The 1801 Darnell-McNally ... Nov . 202.. avender Hill Mob, The (82) Guuinness-Holloway Oct 280 . 1-28 ittle Egypt IT) 182) Fleming-Stevens Sept 131 8-27 ost in Alaska Abbott-Costello U and Pa Kettle at the Fair 187) Main-Kilbride ■ Apr 216 3-24 la and Pa Kettle in Waikiki Main-Kilbride fa and Pa Kettle Go To Paris Main-Kilbride tark of the Renegade IT) 181) Montalban-Charisse Aug feet Danny Wilson 188) Sinatra-Winters Feb lo Room for the Groom 182) Curtis-Laurie May ool of London 185) Colleano-Shaw Nov UNE 2 , 19 5 2 128 205 220 183 8-13 1-28 5-5 222 IIS 204 11-5 133 209 8-13 2-25 206 12-3 132 9-10 WARNER BROTHERS 1951-52 Features Completed (46) In Production (5) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Runninq Time April In Paris IT) Desert Song, The IT) Iron Mistress, The (T) Jim McLain Springfield Rifle |W) COMPLETED Abbott and Costello Meet Capt. Kid About Face ITI 194) Big Trees, The IT) 189) Bugles in the Afternoon IT) 185) Captain Blood IReissue) 198) Carson City (WC) 187) Close To My Heart 190) _ Come Fill the Cup 1113) Captain Horatio Hornblower IT) I I 17) Crimson Pirate, The IT) _ Danger Forward Distant Drums IT) 1 101 1 Force of Arms 1 100) I'll See You In My Dreams 1 1 10) Jack and The Beanstalk ISC) 178) Lion and the Horse, The IWC) 183) Jim Thorpe. All-American 1105) Man With A Gun (T) Mara Maru (981 Miracle of Our Lady of Fatima, The North of the Rio Grande Painting Clouds with S'hine ITI 1871 Retreat, Hell! 1951 Room For One More (95) San Francisco Story, The (80) She's Working Her Way Throuqh College IT) _ Starlift (103) - Story Of Will Rogers. The IT) Streetcar Named Desire, A I 1221 Tank Are Coming, The (90) _ This Woman Is Dangerous 197) Tomorrow Is Another Day 190) 3 For Bedroom C I NCI (74) Where's Charlie? (T) Winning Team, The Cast Day-Bolger Grayson-MacRae Ladd-Mayo Wayne-Olson Cooper-Thaxter Abbott-Costello MacRae-Bracken Douglas-Miller R. Milland-H. Carter Flynn-DeHaviland Scott-Massey Milland-Tierney J. Cagney-P. Thaxter Peck-Mayo B. Lancaster Wilde-Cochran Cooper-Alden Holden-Olson Day-Thomas Rel. Rev 5-3 1 221 4-21 3-29 117 2-25 3-8 1 16 3-10 12-5 1 10 6-14 123 5-1"? 1 1-3 107 10-22 10-20 106 9-24 8-11 030 7-2 Abbott-Costello Cochran-Teal Lancaster-Bickford Scott-Wymore Flynn-Roman Gilbert Rowland McCrea-Mayo Mayo-Morgan Loveioy-Carlson Grant-Drake McCrea-DeCarlo 12-29 . 9-15 1-12 4-12 4-19 9-1 5-3 McCrea-DeCarlo Cagney-Mayo Rogers-Wyman Brando-Leigh S. Cochran-P. Carey Crawford-Morgan Roman-Cochran Swanson-Warren Bolger-McLerie Day-Reagan 7-28 10-6 2- 23 1-26 5-17 5- 17 12-1 3- 22 I 1-17 2-9 9-22 6- 2 1 III 12-17 102 _ 112 1 2-1 7 118 4-21 1 19 101 6-18 120 4-7 029 105 9-24 115 2-25 113 1-14 121 4-21 121 5-5 109 1 1-19 104 108 11-5 114 2-11 103 8-27 124 Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St., Phila. 3 — 1239 Vine St.. Phil*. 7 LOcust 4-0100 Member National Film Carriers 23 kas ike msi wittt iuAououAoui LEO TO THE RESCUE PAT AND MIKE Spencer Tracy Katharine Hepburn Aldo Ray William Ching (Technicolor) Lana Turner Fernando Lamas August! THE GIRL IN WHITE June Allyson Arthur Kennedy Gary Merrill Now! LOVELY 1)1 LOOK A I (Technicolor) Kathryn Grayso i Red Skelton I Howard Keel Marge and Gower Ch.pkX Ann Miller | Zsa Zsa Gabor Kurt Kasznar ; "THE DEVIL MAKES THREE' Gene Kelly Pier Angeli 'CARBINE WILLIAMS James Stewart Jean Hagen Wendell Corey IVANHOE (Technicolor) Robert Taylor Elizabeth Taylor Joan Fontaine George Sanders* Emlyn Williams D N MEN AND M A T T E H S Col urn bin *.v S 780,000 for 39 TV Movies The noise of the explosion was loud, but Columbia's deal to produce a series of half-hour television featurettes for the Ford Motor Company was no atomic bomb, not by a long shot. The exhibitors who turned blazing hot in repercussing to the announcement can cool off. At $20,000 per subject— total of 39 subjects for the season — Columbia'? video subsidiary, Screen Gems, Inc., figures to gross $780,000. That's some- thing less than the cost of one first- rate feature, and Columbia is com- mitted to give Ford nineteen and one- half (1Q: ,) hours of "feature" film for that sum. Why, then, did Columbia take this naked plunge into the TV film pro- duction pool? The answer is probably contained in the company's financial report for the 39 weeks ended March 29, 1.952, released last week. It shows a drop in net profit for that period to $280,000 from $967,000 for the corres- ponding period ended March 31, 1951. Earnings per share were down from $1.12 to eleven cents. Those figures probably made the TV money look im- portant. Inquiry at both Columbia and the J. W alter Thompson ad agency, which handled the deal for the motor com- pany, disclosed the report that "top name movie stars" would be used in the video films to be an "exaggeration", putting it mildly. One statement had it that every personality on the Colum- bia lot, with the sole exception of the illustrious Rita Hayworth, would be employed in the subjects. Predicated on the cost factor alone, it is a better guess that th^ best Ford will get in "names" is an occasional third-rarrk supporting player. The production personnel and the material, obviously, will be of sub-movie theatre product calibre. Hot II eat her —Hot Pictures There has been a general wail by exhibitors during the past six weeks about the calibre of the pictures being offered to them and to the public. Theatremen all oyer the country are convinced that the sharp downward dip in theatre receipts is due as much to the "summer" pictures currently in release as it is to television and the heat. There has been a swell of opinion among theatremen in recent years that the distributors are missing a good bet in not releasing the strongest available product in the warm months. They argue that with the hiatus in TV pro- gramming during the spring and sum- mer, the video "shut-ins" go back to roaming the streets and looking for other means of entertainment. Why shouldn't the movie houses corral them ? Wilbur Snaper, president of Allied States Association, picked up this thought and carried it to the general sales managers of all the film com- panies a couple weeks ago. Admitting that the idea wasn't original (FILM BULLETIN can point to a couple edi- torials on the subjed within the past two years), Mr. Snaper pointed up the problem of boosting summer business thusly: "No one will deny the effect of TV upon our box office reports. Further, it is factual that during the summer months the quality of TV entertain- FILM BULLETIN: Motion Picture Trade Paper published every other Monday by Wax Publi- cations, Inc. Mo Wax, Editor and Publisher. PUBLICATION-EDITORIAL OFFICES: 1239 Vine Street, Philadelphia 7, Pa., Rlttenhouse 4-7424; Barney Stein, Managing Editor; Leonard Coulter, New York Editorial Representative; Richard N. Newton, Publication Manager; Robert Heath, Circulation Manager. BUSINESS OFFICE: 35 West 53rd Street, New York 19. N. Y., Circle 6-9159; David A. Bader, Business Manager. HOLLYWOOD OFFICE: 659 Haverford Avenue, Pacific Palisades, Calif., Hillside 8183; Jay Allen, Hollywood Editor. Subscription Rates: ONE YEAR, S3. 00 in the "United States; Canada, $4.00; Europe, $5.00. TWO YEARS: $5.00 in the United States; Canada, 57.50; Europe, S9.00. ment drops to a very low point. Cor- relating these two as a conclusion, don't you believe it would be a most advantageous thing for the industry, as a whole, to really come out with our best product during these months? If we can present the best of our enter- tainment to the public when other at- tractions are at their ebb, there is a great possibility of our recovering the lost audience. "It has been the custom of certain companies to withhold their better pro- duct during the summer motnhs but, with air conditioning, many theatres experience good business during this period, so I humbly suggest that our best foot be put forward immediately. May I say I have discussed this with other exhibitors and they believe much is to be gained." Isn't it time for film men to start thinking in terms of opening their "season" in early May, rather than late August when the competition is toughest? 'Sensible9 Ecottomy "We have come to conclusion that the only way of defeating the down- ward trend of attendance is by con- centrating on important subjects." The restless, boyish-looking man at the other end of the inevitable cigar was Darryl F. Zanuck, executive head of 20th Century-Fox production. He had just come back from Europe fully convinced that "low-budget pictures, made as such, can add nothing to the future of this business." Hear! Hear! Darryl Zanuck came back convinced, too, that the major film studios must learn to practice sensible economy in production, if they intend to stay in business. He was talking to the press in the 20th-Fox board of directors meeting room at the home office. What is this "sensible economy" to (Continued on Page 5) JUNE 16, 1952 3 wonderful years of "...when a Tin Lizzie s Pajamas". . . the was the rage ... and sheik went petting with his sheba! And how you'll cheer the Dozen SONGS you'll /iear n| "FIVE FOOT TWO, EYES OF BLUE" "TIGER RAG" \J I "WHEN THE RED, RED ROBIN COMES BOB, BOB, BOBBIN' ALONG" wg$ "GIMME A LITTLE KISS, WILL YA, HUH?" "IT AIN'T GONNA RAIN NO MORE" w.thLYNN BARI -WILLIAM REYNOLDS HOB by DOUGLAS M • mi m mi screen by JOStPH HOPPMAN proouceo by 1E0 RICHMOND • a universal-international pore -fromU°I...Tfie Best Friend your Box-Office ever tad ! J (Continued from Page 3) be? For his company it will be a policy of producing fewer pictures, se- lecting subject matter that will appeal to adult, international audiences, and bringing costs into line with the po- tential of today's market. Undoubtedly, he had devoted some reading time to president Spyros I'. Skouras' annual report to the stock- holders a couple weeks before. He was aware that the shareholders had been promised a reduction in expenditures "to a level in keeping with our in- come". Mr. Skouras had talked of cut- ting costs from the $1,370,000 per pic- ture average last year to $1,260,000 this year. In 1950, the average was $1,634,000. Fifty, but looking a lot younger, de- spite his problems, Zanuck talked like a man who had spent a lot of his time abroad studying the past and ponder- ing the future. He sounded like a man ready to discard the costly caprices of the lush days and determined to write a new set of rules to meet today's problems in the movie world. Too much has been spent on "in- visible" qualities in picture making, he said. From now on, the money put into films must be visible on the screen. By way of "factual substance" to his plan for carrying through a pro- gram of topflight product, Zanuck cited a list of imposing properties, some completed, others in various stages of work. "The Robe", which he anticipates will be one of the most im- portant undertakings of his career, should start rolling by October. "Snows of Kilimanjaro" is ready to be premiered. Casting is being completed on the best-seller, "My Cousin Ra- chael". Among the big films being prepared are Irving Berlin's "There's No Busi- ness Like Show Business" and the two smash stage musicals, "Call Me Madam" and "Gentlemen Prefer Blondes". Close to completion are "Stars and Stripes Forever" and "Tonight We Sing", which could be Ezio Pinza's first film success. Darryl Zanuck summed up in this manner: "We are in business to stay in business, and we can only stay in business if we can make a program of pictures of this type. And (here he paused)— and this is a BIG 'and'— if we can make them at a sensible price." JUNE 16, 1952 TV Settling ttotvn *- Warner Never has optimism in the future of the motion picture industry been ex- pressed so fervently than in the ad- dress delivered by Jack L. Warner in London before the British Film Pro- ducers Association. Never was it more needed. The 50-year history of the motion picture, the Warner studio chief said, is only a "curtain-raiser for a fine future". There was a sound basis for Mr. Warner's bright tone. His company, in contrast to some of the other major film organizations, showed a most en- couraging financial report for the six months ended March 1, 1952. WB profit: $3,750,000, compared to $3,827,- 000 for the same six months in pre- ceding year. Not bad in this depressed market. Some other quotes from the Warner speech : "We know now, from every type of poll, research table, and box-office sur- vey, that there is nothing that can take the place of a fine motion picture." "Remember this — our industry is great. The various competitions that rise and fall and plague us for a while are interesting briefly, diverting briefly. They make inroads for a short spell. But they never have the penetrating, pervading reach of the motion picture JACK L. WARNER ' A Fine Future' theatre screen. And they benefit us by stimulating greater effort to meet the new competition." "We saw television begin to settle down, to level off. We learned that like radio, it has a place in entertain- ment. We also learned it has weak- nesses as well." Referring to the recent announce- ment that 82 per cent of the next 30 Warner releases will be in color, J. L. foresaw the "day when the screen will be entirely in color almost without exception — features, short subjects and newsreels." Unquestionably, there is a crying need for the sort of optimism Jack Warner preached in London. It is an attitude, which, if practiced persistent- ly by every film man and exhibitor extant, and combined with good pro- duct and hard work, will convince the public, as well as ourselves, that the movie industry is on the way back. They'll Pay To Fly hi on TV Just one year ago, only nine movie houses were available to participate in the introduction of commercialized large-screen television. To capacity audiences, that small group of thea- tres brought, via closed channel, the bout between a couple of aging heavy- weights, Joe Louis and Lee Savold. Last summer other bouts were shown exclusively in theatres, and this new phase of show business reached a window-smashing crescendo late last season when huge throngs turned out to jam theatres for the Robinson- Turpin fight. The movie industrv seemed to have found an answer to one phase of TV competition. Then, exclusive theatre television went into eclipse and some were saying that it would never amount to anything. Now, it's back again, and how it has grown over the winter! On the night of June 23, 36, and possibly one or two more, theatres in 23 cities will project on their large screens the light-heavyweight cham- pionship fight between champ Joey Maxim and challenger Sugar Ray Robinson. According to Nathan Hal- pern, president of Theatre Network ( Continued on Page 20) 1 ^ IS WHAT THEY'RE SAYING .ABOUT 20th CENTURY-F* X if kangaroo i lY** fife tint a Hot a km " ala,,t"ne hit! IK,, """'IKS! THERE'S NO BUSINESS Sekihd the £ceheJ c{ Jilm Production STUDIO SIZ€-UPS JUNE 16, 1952 COLUMBIA Oters Becoming Passe, CI. Switches $ to Harem Pix II signs point to a slackening of Colum- bia heavy production of low-budget interns. However, this does not mean that tl company is joining the ranks of major st'lios who are eliminating short-shift pro- Ifion for strictly Class AA movie fare. K her. Columbia will concentrate on folium budget productions, such as those O^ntal background "epics" dressed up in Tihnicolor. ini Katzman, for example, is planning M such pictures for this year. First to go fcAre the cameras will be "Serpent of the Wt\ which deals with Cleopatra, tentative- Ivtet for an August 5 start. Others are: "■Icn of Baghdad," slated to roll September pfFlame of Calcutta," October 8: "Slaves otBabvlon, " November 3: and "Cario to Sjz," December 2. To further enhance the T hnicolor trappings, Katzman is attempt- in to line up name talent for the pictures, w Hedy Lamarr and Rhonda Fleming bji under consideration for the starring rrj in the initial production. y way of cutting back its oater schedule, tl| studio kas abandoned plans to team Jack Money and Smiley Burnette in a new sdes to replace the former "Durango Kid" sHebrushers. [he general outlook around the studio tnse bright June days is fairly bright. Firy department is working at near-capa- ci with seven new features going before tlj cameras during the month. Some are of tl| quickie variety, others hold high promise. Tp seven are: "Target — Hong Kong" I ichard Denning-Richard Loo) which Wa!- 1^ MacDonald produces and Fred Sears '1 cts; "All Ashore" (Mickey Rooney-Dick E-.-mes - Ray McDonald - Peggy Ryan), "hard Quine directing for producer Jonie ',»s; "Voodoo Tiger" (Johnny Weiss- fler-Jean Burkhart), produced by Sam K zman and directed by Spencer Bennett; ^iley Kramer's "Member of the Wedding" (Ihel Waters-Julie Harris-Brandon de »]de), to be directed by Fred Zinneman; "|lome — The Dance of the Seven Veils*' (pa Hayworth-Charles Laughton), Wil- l'i Dieterle directing for producer Buddy J N E 16, 1952 L. B. MAYER No Deal If ith Lippert Adler; "Atom Outpost" (Johnny W'eiss- muller), Bennet again directing for Sam Katzman; and "W inning of the West" (Gene Autry), produced for Autry Productions by Armand Sch.aefer and directed by George Archinbaud. The big news here currently is that Co- lumbia grabbed off the first "important" TV film production deal undertaken by any- major studio. The deal with Ford Motors calls for 39 half-hour subjects to be made by Columbia's video subsidiary, Screen Gems, Inc. We are trying to find out how much Ford will pay for the subjects. That will give exhibitors an idea of how good this TV film competition will be. LIPPERT Mayer Deal Off; Shooting Reaches New Hich For '52 After lots of gossip and endless specula- tion, nothing has come of the reported ne- gotiations between Louis B. Mayer and Bob Lippert. The one conclusive word that came down from the hills was the last word: no deal. Three inde films for Lippert release are before the cameras this month, to set a new- peak of production for 1952. Additional re- kasinu deaK now in the final stages of ne- gotiations indicate that the level will be maintained for much of the balance of the year. I WO of the trio now in production are being filmed in Kngland — one by Intercon- tinental Productions, and the other by Eros Films. "In the Money" (Dane Clark), is the Intercontinental entry, and is being directed by Sam Xewfield, under terms of the con- tract signed with the English company several months ago. British producer, An- thony Hinds is the producer. Eros' "The Black Pawn" (George Raft) has Seymour Friedman directing for producer Bernie Luber. On June 28, Hal Roach Productions will launch "Present Arms" (William Tracy-Joe Sawyer), with Hal Roach, Jr., handling the production reins. In keeping with company's new emphasis on greater 'merchandising of its product, Robert I . Lippert has closed a deal with Capitol Records for 1,000 double-faced press- ings of Bob Savage singing, "The Jungle," to be distributed to disc jockeys across the country. The records will carry a promo- tional label stating that the tune was "in- spired" by the Lippert release of the same name, which stars Rod Cameron, Marie W indsor and Cesar Romero. This is the film William Bcrke produced and directed in India earlier this year. METRO-GOLDWYN-MAYER Secret Confabs Will Bring Deadwood Pruning At M-G-M When the smoke-screen of secrecy clears • from the conferences which have been under- way since the first of the month between M-G-M home office and production execu- tives, Metro is going to take on a decidedly different complexion, we are authoritatively informed. In an effort to enforce a new policy of strict economy, the eastern execs have given their whole-hearted endorsement to Dore Schary's recent crack-down on recalcitrant stars. In other words, Metro, the mecca of (Continued on Page 8) 7 (Continued from Page 7) the star system and all that the term implies, is at long last taking a firm business-like stand in its relationship with stellar talent. Although FILM BULLETIN'S Holly- wood staff could get no official confirmation, due to the veil of secrecy surrounding the meetings, it hears from usually reliable sources that the path was also laid for clear- ing a lot of deadwood out of the upper pro- duction brackets. Well informed sources on the lot are of the opinion that MGM is in for a general high-level house cleaning, along the lines of that shaping up at 20th Century- Fox. This will open the way for the young producers which Schary has been pushing through his Schlee unit. From all indications, budgets on Metro's top product will suffer very little as a result of the economy drive. Emphasis will still be placed on plush million dollar musicals, which appear to be paying their way much better than most releases these days. It is no secret around the lot that the principal reason for the cut in Loew's Quarterly dividend rate, was to preserve cash resources in order to maintain a full pro- duction schedule of high quality pictures. Although it will probably be denied, FILM BULLETIN hears, also, that the conferees gave considerable attention to the produc- tion of films for television. There is a cur- rent rumor in Hollywood that Metro will make a full-scale entrance into this field of production as early as this Fall. Only four pictures are shooting here at this writing, the lowest level of production in several months. However, three new fea- tures are scheduled to go before the cameras later in the month. The quartet of pictures now in production includes: "Tribute To A Bad Man" (Lana Turner-Kirk Douglas-Walter Pidgeon-Dick Powell-Barry Sullivan-Gloria Grahame-Gil- bert Roland), Vincente Minnelli directing for producer John Houseman; "I Love Mel- Yin" (Donald O'Connor-Debbie Reynolds), Technicolor comedy directed by Don Weis and produced by George Wells; "Apache Trail" (Gilbert Roland-Robert Hortan), di- rected by Harold F. Kress, produced by Hayes Goetz, and "Naked Spur" (James Stewart-Robert Ryan-Janet Leigh- Ralph Meeker), Anthony Mann directing for pro- ducer William H. Wright. Coming up between now and July 1 are: "Sombrero" (Pier Angeli-Ricardo Montal- ban-Yvonne De Carlo-Vittorio Gassman- Cyd Charisse), technicolor feature to be filmed in Mexico, Norman Foster directing for producer Jack Cummings; "Small Town Girl" (Jane Powell-Farley Granger-Ann Miller-Bobby Vann), Technicolor musical, Leslie Kordas megging for producer Joe Pasternak, and the "Equilibrium" episode for "Siory of Three Loves" (Pier Angeli-Kirk I '"ii. las), ' lottfrt id Keinhardl directing, Sidney Franklin producing. I DER BINGLE Set For 'White Christmas' MONOGRAM— AA Monogram, Too, Seeking Stars Via Profit-Sharing Monogram is the latest Hollywood studio to offer profit participation deals to "name" stars in an effort to bolster the marquee value of its product and, at the same time, avoid the heavy financial outlay of term con- tracts. Cornel Wilde was offered such a deal to star in "Down Periscope," which Lindsley Parsons puts before the cameras June 30. Wilde turned down the offer, however, on grounds that he could not leave Hollywood for the prolonged location shooting. Mark Stevens has since been signed to head the cast of the picture. June is shaping up as Monogram and Allied Artists' busiest month so far this year, with eight pictures slated for shooting. First to go was Walter Mirisch's production of "Hiawatha" (Vince Edwards-Yvette Dugay) which is currently on location near Bass Lake, California. Kurt Neumann is direct- ing. Others either now before the cameras, or slated to roll later in the month, are: "Gun Smoke Range" (Whip Wilson), Lewis Collins directing for producer Vincent M. Fennelly; "Yukon Gold" (Kirby Grant-Chi- nook), Frank McDonald directing for pro- ducer William F. Broidy; Allied Artist' "Battle Zone" (Edmond O'Brien), which as- sociate producer William Calahan will handle for Walter Wanger; "Hired Guns" (Whip Wilson), a Vincent M. Fennelly produc- tions; "Guns Along the Border" (Johnny Mack Brown-Jimmy Ellison), another Vin- cent Fennelly production; "Mardi Gras", a Cinecolor Peter Scully production, as yet uncast, and "Down Periscope", (Mark Stevens), which Lew Landers will direct for producer Lindnley Parsons. PARAMOUNT Crosby-Berlin Musical Set On Participation Deal A profit-participation deal involving jl mount, Bing Crosby and Irving Berlill just been worked out for production < 1 long-discussed Berlin original, 1,1 1 Christmas". The three principals willB equally in the profits, with Paramount)! viding all of the financing, Berlin \vl both the music and the story, and CM handling the starring assignment. I draws a $250,000 advance, with the stjfl tion that the finished script must belli mitted for late 1952 production. Hdfl probably do this stint after he fii "There's No Business Like Show Bus for 20th-Fox. As predicted here several weeks ago, mount has disposed of its old film labor as a prelude to turning out a majority future product in color. The lab wai chased earlier this month by G. Ca Hunt for $550,000. Two-thirds of the summer slate ol films will be in Technicolor, and all point to an even higher percentage of films for the fall and winter program. Two of the nine summer films wet fore the cameras earlier this month are: "Pleasure Island" (Leo Genn-Don lor) and Hal Wallis' "Scared Stiff" I Martin-Jerry Lewis-Lizabeth Scott-C; Miranda). The former, in TechnicolH being directed by F. Hugh Herbert amm duced by Paul Jones. George Marslf megging the Martin-Lewis vehicle. Coming up later in the month are:: Stars Are Singing" (Anna Marie J ghetti-Rosemary Clooney-Lauritz Melciifl Technicolor musical which Norman Trq directs for producer Irving Asher; "Rial Holiday" (Gregory Peck-Audrey HeplW which William Seiter will both direct! produce on location in Rome; and Nat "Pony Express" (Rhonda Fleming-Ch JMjj Heston), to be directed by newcomer trrj Hopper. Pine-Thomas will launch two produkw in August, "The Rebel" (John Payijjll Sterling-Lyle Bettger) and "Jamaica 111 (Ray Milland-Arlene Dahl-Wendell C :y)i A unit began shooting backgrounds ft 'h* latter film in the West Indies last week REPUBLIC Trucolor Expansion Backed With 8 Summer-Fall Tinters lease in the Republic backlog, and an rah tional eight have been scheduled for su'ner and fall shooting. In the can are: "I U*"1 Having committed himself to an addrtn*' investment of one million bucks in hi;W icier system, Republic president Hertft Yates is plunging ahead to make it p'» Four Trucolor films are now awaitu IV (Continued on Pf FILM B U L LE STUDIO SIZ6-UPS wed from Page 8) .nic," "Minnesota," "Toughest Man In ia" and "Ride the Man Down*'. Com- i arc: "The Alamo," "Fair Wind to "The Lady Wants Mink," "Jubilee "The Golden Herd," "Man From I "Carnival," and "The Woman They t Lynched". r pictures get underway at the studio onth, two sagebrushers, two features, oaters are: "Desperado's Outpost" y Lane), Phil Ford directing for pro- Rudy Ralston and "South Pacific (Rex Allen), directed by William HERBERT J. YATES Dives Deep Into Color l/V hey who megs for Edward J. White. On thinore impressive side of the June slale irJ "The Lady Wants Mink" (Dennis D'eefe) which William Seiter directs and princes and "Fair Wind to Java", which Jo Kane handles, but which had no cast ■pis report was drawn. kic additional picture, "Tropical Heat Wje'' ( Estelita-Grant Wither) carried over ml June, having gone before the cameras thbnd of May. R. G. Springsteen is direct- intfor producer Sidney Picker. fcgotiations are on between Claude Jar- *Hi and Republic, for the former child star to tar in a series of westerns. Jarman re- tu s to Hollywood to make his permanent nde, following graduation from high school ■n|,ashville, Tennessee, this month. RKO RO Dickers For Fox Films I Bolster Meager Backlog Ithough there is a glint of hope in the Mmption of production at RKO, the over- "'picture these last few weeks has not been >hry pleasant one. The backlog is at a Pjariously low level — so much so, in fact, that Howard Hughes reportedly has been discussing the possible purchase of pictures from 20th Century-Fox, in order to fill out gaps in his releasing slate. On top of that, the latest financial report shows that the company suffered a net loss of $1,956,652 for the first three months of 1952. On the brighter side, nearly all of the units producing for RKO release — with the ex- ception of Samuel Goldwyn Productions — are again preparing to resume operations. Jerry Wald and Hughes have talked out their differences, with the result that new product will start rolling from Wald's unit starting next month. Collier Young and Ida Lupino are preparing to resume production through their Filmakers Company. And Hughes' own organization has two pictures currently before the cameras. The Goldwyn organization, however, is shutting down operations, following final editing of "Hans Christian Andersen", until 1953. A new independent unit entered the RKO releasing fold when a pact was signed with Samuel Bacrvvitz Productions for distribu- tion of three films from Baerwitz within the next two years. F'irst of the trio will go into production next month. "Beautiful But Dangerous" (Jean Sim- mons-Robert Mitchum), the picture which broke the long hiatus at the studio, is near- ing completion, at this writing. Producer Robert Sparks and director Lloyd Bacon expect to break the tape ahead of the dead- line. The only other picture shooting is Edmund Grainger Productions' "Blackbeard the Pirate" (Linda Darnell-Robert Newton- Keith Andes), which Raoul Walsh is direct- ing for Grainger. However, there is a sood chance that "Breakaway," an original by Leon Ware, will get into production later in the month. Actor Dick Powell draws the directing assignment on the picture, which deals with a World War II veteran's return to civilian life. First of the Wald productions set to roll in the activity revival will be "Size 12," for which producer Harriet Parsons is now lin- ing up a number of top New York models to be featured in a style show sequence. If casting proceeds on schedule she expects to have the picture rolling by July 10. 20th CENTURY-FOX 'Practical Economy' New 20th-Fox Credo By Zanuck "Practical economy" will be the keynote of future 20th-Fox studio operations, ac- cording to the word from New York, where Darryl Zanuck spoke to the press upon his return from Europe. (Details of the Zanuck statement appear elsewhere in this issue of FILM BULLETIN.) That kind of econ- omy means, in effect, that the spendthrifts and the luxury boys are going to buckle down, or look for jobs elsewhere. Zanuck came back fully convinced that only good — very good — pictures can succeed in today's competitive market, and they must be pictures produced to realize every dollar's value out of a reasonable budget limitation. You can expect, despite the studio boss' assurances, that certain people are noing to he lopped off the payroll here. It's going to be strictly business on this lot from now on. Leonard Goldstein, who quit his producer berth at Universal- 1 nternational a few weeks ago, is not coming to this studio. Goldstein now seems to be leaning in the direction of independent production for L'nited Artists. One new production has started thus far this month, brin^in^ to six. the total number of Fox pictures now before the cameras. Two more are scheduled to start this week (June 16). Currently shooting are: "Tonight We Sine" ( l-./io Pin/a- Roberta Peters-Ta- mara Toumanova-David Wayne), Mitchell Leisen directing for producer George Jesscl; "Something For the Birds" (Patricia Neal- Yictor Mature- Edmund Gwenn) — Robert HOWARD HUGHES Needs Pictures Wise directing, Samuel G. Engel producing; "Big Man" (Richard Widmark-Joanne Dru) — Robert Parris directing, Stanley Rubin producing; "The Ransom of Red Chief" se- quence for O'Henry's "Bagdad on the Sub- way" (Fred Allen-Oscar Levant) — Howard Hawks directing, Andre Hakin producing; "Farmer Takes A Wife" (Betty Grable-Dalc Robertson - Thelma Ritter - John Carroll), Technicolor musical directed by Henry Levin and produced by Frank Rosenberg; and "Niagara" (Joseph Cotten-Marilyn Mon- roe-Jean Peters) — Henry Hathaway direct- ing, Charles Brackett producing. Starting this week are: "My Cousin Rachel" (Olivia DeHavilland ), to be pro- duced by Nunnally Johnson and directed by George Cukor, and "Never Wave At A WAC" (Rosalind Russell-Marie Wilson-Don DeFore), an Independent Artists picture for Fox release, to be directed by Louis King and produced by Andre Hakim. In addition, the Bernard-Cidor independ- ent film. "Ruby Gentry" (Jennifer Jones- Charlton Heston), which carries a Fox re- leasing commitment, got underway on June 2 at San Louis Obispo, California. King Yidor produces and directs. (Continued on Page 10) N E 16, 1952 9 r STUDIO SIZ6-UPS (Continued from Page 9) UNITED ARTISTS 18-Month Slate of 42 To Top S30 Million Mark United Artists' recently announced slate of 42 pictures to be released between July 1 and the end of 1953, will come from 22 independent producers. The releasing com- pany, according to west coast representa- tives, will have limited ownership participa- tion in approximately one-half the pictures on the program, as a result of its assistance in lining up financing for the producers. Sixteen of the films will be in color, and the total cash outlay on the slate, they say, will exceed $30,000,000. Ten of the pictures are already completed, including: Stanley Kramer's "High Noon," David Rose's "Island of Desire," Samuel Fuller's "Park Row," King Brothers' "The Ring" and "South of Algiers," Alex Korda's "Outcast of the Islands" and "African Fury," Bern- hard Vorhaus' "Encounter" and "Finishing School," and J. Arthur Rank's "Planter's Wife". Two more, "Morassi" (Martha Hyer-Mor- assi) aud "Kansas City 1-1-7" (John Payne- Coleen Gray) are now in production. The former, a Breakston-Stahl production is being filmed in color on the African conti- nent, and the latter, is shooting at Samuel Goldwyn studios. Edward Small, Sol Lesser and Sam Briskin share the "Kansas City" producer credits, and Phil Karlson is direct- ing. A good bet is that Leonard Goldstein, who is leaving U-I, will organize a unit to release through UA. Producer Small and actor Louis Hayward are turning to Alexandre Dumas for the story of their next partnership film which starts in July, for UA release. A deal has just been arranged for Hayward to headline "Return of the Corsican Brothers," with screenplay by Richard Schayer. Michael Kraike will produce, with Ray Nazarro di- recting. Hayward will share in the profits. Milton Krims and John Basch have just incorporated in Panama to produce, for UA release, "The Ninth Man," to be filmed in Italy with Eastman color. Errol Flynn and Valli will star. Production probably won't vc\ underway before the end of the year. UNIVERSAL-INTERNATIONAL U-I Enters Tint Derby With 75% In Color For '52-53 Color made the big news on this lot in recent weeks. As a result of executive con- ferences held at the studio early this month, U-I will increa e its output of Technicolor pictures by 50 per cent, meaning that three- 10 NATE BLUMBERG More Color For U-I fourths of all the 1952-53 product will be in the Technicolor medium. Color is good, we say, a real asset to a good story that is well made. Participating in the conferences were Nate Blumberg, Leo Spitz, William Goetz, Ed- ward Muhl, Alfred E. Daff, David A. Lipton and Charles' J. Feldman. In addition to setting the new color com- mitments, the group laid plans to continue the high level of production, which provides 36 films for the current season. Releases will continue at the rate of three per month, re- gardless of seasonal ups and downs at the boxoffice, in an effort to provide exhibitors with mass audience appeal pictures the year around. Television production activity by U-I TV subsidiary, United World Films, got under- way this month, with the first of five series of telepix scheduled to be filmed this summer. The shorts will run approximately 26 minutes each. Studio scuttlebutt had been forecasting a big big economy wave when and if the merger with Decca was finally consumated. Now that the deal is put aside, for the time being, at least, there's been some relaxing. There shouldn't be a let-down in care, how- ever, for' there probably will be a more stringent attitude adopted by the high eche- lon here anyhow. Inasmuch as U-I has wisely avoided overloading itself with top salaried producers, directors and stars, the cut-backs are not expected to follow the lines of those shaping up at Fox and MGM. Rather, there will be a clamp-down on time lost in production, unnecessary luxuries and the adoption of sterner disciplinary action in dealing with temperamental talent. Despite the Goetz announcement that no outsider will be brought in to assume the production duties formerly handled by Leonard Goldstein, rumor continues in Hollywood that Bob Arthur will be return- ing to the lot. Arthur, you will remember, left U-I a year ago, to go Warner Brothers. This is the way the June production pic- ture shapes up. Now shooting: "The G Companions" (Dan Dailey-Diana Lynj Douglas Sirk directing, Albert J. Cohen ducing, color by Technicolor; "Cattle K (Maureen O'Hara-Alex Nicol) — Lee She directing, Leonard Goldstein produ< color by Technicolor: "Mississippi Gam! (Tyrone Power-Piper Laurie) — Rud Mate directing, Ted Richmond produi color by Technicolor; and "Roughs! (Audie Murphy-Susan Cabot) — Na Juran directing for Aaron Rosenberg, c by Technicolor. Coming up later this month: "Semir (Barbara Hale - Rock Hudson - Antl Quinn), to be directed by Budd Boetti and produced by Howard Chirstie. Like four now in production, "Seminole" wil in Technicolor, making June a 100 per color month on the lot. WARNER BROTHERS Film Exec (Not WB) Gives lady of Fatima' High Praise It looks like Warners has come up ]-ki a winner in "Our Lady of Fatima" (Gilrt Roland). One industry official (not J nected with the Burbank company) ; sied, after seeing a a sneak preview of le picture, that it would equal the grosseilni "Going My Way". That's a mighty big e-i diction! With theatremen's tongues han pg out for topflight boxoffice merchandise A hope WB gets this into release quickly. There's food for speculation in the fi- nouncement by Warner Brothers that if 1952-53 short subjects schedule is big boosted to 75 releases. This is a consider le increase over past years, and quite pos: !y could mean that the company intendraj offer a part, if not all of the shorts slatepr television. At least that's the way a lepf people in Hollywood are looking at the nouncement. Milton Sperling checked back in on tli | early this month after an extended hoi in Europe, with news that he has picke'lip 11 projects for future WB films. Nine oW projects are scheduled for Hollywood K>- duction, while two will be made in Ernie. Warners' scripter Ted Sherdeman ps been upped to a producer status and ha; the reins on "The Helen Morgan Story' his initial assignment. The property for ly was on Robert Arthur's slate, b< Arthur secured his release from the earlier this month. Four pictures are currently in produc »ft two in Technicolor, one in WarnerC 4 Techni-tinters are: "April in Paris" (Py Bolger-Doris Day-Claude Dauphin), M "The Desert Song" (Kathryn Gra> I Gordon MacRae-Steve Cochran-RaynM Massey). "Springfield Rifle" (Gary Cocf'- Phyllis Thaxter-David Brian) is the Wai Color project. The sole black and entry is "Big Jim McLain" (John ... Nancy Olson), which is shooting in H lulu. \,it< FILM BULLE1 Short Subjects BY NEIL '[.AUDITS AND KUDOS: Louis de j Rochemont. producer of Columbia's Walk East on Beacon", was commended I the American Legion for the anti-eommic . i ture. The film was also applauded in the jth Anniversary issue of The Investigator, ) FBI personnel publication . . . Paramount lis received the International Challenge jvard of France and Belgium' for the •ond consecutive year with the naming of ;. Place In The Sun" as the best film of »? past twelve months ... As a means of i-thering motion picture-press cooperation, i> State Press Associations of New York, fxas, Oregon, Georgia, Virginia and Wash- iflton have scheduled special preview show- of UA's "Park Row". The film is the 1st to carry a dedication "to American trnalism" . . . C. B. DeMille's "The Neatest Show On Earth" has received no Is than 14 awards, including plaques and Jations from leading magazines, civic, re- lious, theatre and commercial organiza- ins . . . Walt Disney's "Story of Robin bod", all-live-action film, was selected by ( bliday mag as picture for the month of Jne . . . And just to prove the absence of ^mentation in the good old U.S., Ameri- i» m mag selected both UA's "The Fighter" * ;ld Paratnount's "Anything Can Happen" f the same honors . . . And, as a topper — lie American Society for the Prevention of luelty to Animals has endorsed RKO's ' he Wild Heart"! l)MPO is sponsoring a short subject to 'assist in the recruitment of women for c; armed forces. Running 10 minutes, the start is entitled "The Real Miss America", 1 was produced by Jay Bonafield of RKO- Jthe. Narated by Henry Fonda, it will be tered free to exhibs and is expected to ll released July 1. ADOLPH ZUKOR Reelected Board Chairman |ROM ALL reports we hear, neighborhood | houses that stepped up admission prices % or more for "Quo Vadis" did not fare , well at the b.o. This bears out contentions exhibitor leaders that sub-ran houses can- lit afford to hike prices. The public may ly 25 or 50c more in a deluxer, but they ;ill not at a nabe spot. And if they won't •y for "QY", what does have a chance! UNE 1 6, 1 95 2 . W \kIKTY TENT TOPICS: The Cleveland » Tent tossed a testimonial dinner in honor of Max Wolf, who resigned recently as Ohio /one manager of W arner Bros. . . . Philly's Tent 13 held its annual "Johnny Night", topped by the Cleveland-Athletics baseball game at Shibe Park. A crowd of 25,000 turned out to witness a gala variety show and the ball game. Proceeds go to the Tent's camp for handicapped children. PREMIERE What's up up above? Thai's a crowd attending a movie premiere, drawn by the appearance of the film's star. Esther If illiams went to Philadelphia to attend the opening of M-G-M's "Skirts Ahoy" at William Goldman's Randolph Theatre. Result: A big opening night turnout and a fine start for the picture. Let's have more star-attended premi- eres. Let's have 'em every week! OF MEN AND THINGS: Charles Einfeld, vice-president of 20 Century-Fox, left for Europe June 12 accompanied by Mrs. Einfeld and their two lovely daughters, for a series of merchandising meetings with executives of the company's international organization. The Einfeld's are celebration their 25th anni- versary . . . Americo Aboaf, U-I executive, announces the appointment of Al Lowe as home office representative for Latin America . . . V.P. Jerry Pickman, Paramount ad-pub chief, was one of the principal speakers at the three-dav Texas COMPO conference . . . Monogram toppers Steve Broidy and Harold Mirisch are in England to confer with ex- ecutives of Associated British-Pathe regard- ing joint production and distribution plans . . . Harold Rodner, 62, v.p. of Warner Bros. Service Corp., died June 3 . . . Jack L. Warner has gone abroad . . . David Golding, Samuel Goldwyn's chief of advertising and publicity, is in N. Y. to ballyhoo "Hans Chirstian Andersen". He'll stay a while. BOARDS: The status quo prevails on movie boards of directors. Paramount's board reelected the full slate of officers at a meeting held June 5. Barney Balaban, presi- dent; Adolph Zukor, chairman of the board; Stanton Griffis, chairman of the executive committee; Y. Frank Freeman, Austin C. Keough and Paul Raibourne, v.p.'s: Fred Mohrhardt, treasurer; Austin Keough, sec- retary-; Russell Holman, Jacob H. Karp, Arthur Israel and Louis A. Novins, assistant secretaries. RKO reelected all incumbents to its board at the annual stockholders meeting June 4 at Dover, Delaware. They are: Ned Depinet, Noah Dietrich, Howard U. Hughes, Francis I ' CHara, Jr. and J. Miller Walker. UNITED AR TISTS sales drive, honoring v.p. William J. Heineman, kicked off yesterday (June 15), and is set up on a new basis to insure fairness to all competing areas of the sales organization. Exchanges have been L'i"ii|>ed according to the grossing potential, pitting exchanges of equal sales strength in competition with one another, rather than a total sales organization com- petition. The "Bill Heineman Drive" is scheduled to end Dec. 6. FANFARES: M-G-M's national exploitation on the S|iencer Tracy and Katharine Hep- burn starrer "Pat and Mike," will pivot on a comedy-sports angle. Street ballys, "I Like Pat and Mike" buttons, and tie-ins with sport stores, golf ranges and tennis courts, will hypo the campaign . . . 20th-Fox's Technicolor production "Lure of the Wilder- ness" will open via a 200-theatre saturation in the Atlanta, Georgia area on July 17, ac- cording to distribution chief Al Lichtman. An intensive regional tub-thumping cam- paign will herald the openings and set the pattern for the national kick-off of the film early in September . . . U-I's ad-pub topper Dave Lipton chalked up a neat bit of show- manship with the release of the industry's first specially made color cartoon and live action trailer for the musical "Has Anybody Seen My Gal". Studio's emphasis on trailers has resulted in special strips for "'The World In His Arms", "Against All Flags" and "No Room for the Groom" . . . Managers of the Skouras chain are competing for $500 to be awarded for the best exploitation campaigns on "The River", it was announced by UA's ad-pub director, Francis M. Winikus . . . U-I'S LIPTON Xeat Showmanship Success of their TV trailer series has prompted 20th-Fox to make available two video trailers,, one-minute and 20-second variations, on their Technicolor production "Lydia Bailey". Dale Robertson and Anne Francis appear in the TV trailers. Also, free radio spots on "Wait 'Til The Sun Shines, Nellie", are available to exhibitors upon written request. 11 CARRIE' HEAVY, BUT ENGROSSING, VERSION OF DREISER NOVEL Rates • • • - generally if exploited; more in class houses Paramount 118 minutes Laurence Olivier, Jennifer Jones, Miriam Hopkins, Eddie Elbert, Basil Ruysdael. Produced and directed by William Wyler. Boxofficewise, this picture is a big question mark. At the ouset, it should be noted that it will require heavy and specialized exploi- tation by Paramount and by the exhibitors who play it. William Wyler's production and direction wizardry has been pitted against Theodore Dreiser's characteristic morbidity in "Carrie". While Mr. Wyler has not compromised his talent for getting the most out of a scene and his players and for turning out adult pictures, he has succumbed to Dreiser's depressing approach to the social problems of 20th century America. The sense of doom that intrudes, almost from the first scene, is reminiscent of Dreiser's "A Place in the Sun". So is the tragic intensity of most of the film. But where "A Place in the Sun" was spiced with moments of light- ness and outdoor scenes that gave audiences a welcome respite from the tragedy, and a breathing spell in which to build up the next sequence, "Carrie" keeps its dark grip con- tinually in a setting that is squalorous and dingy. Necessarily episodic in its telling, Ruth and Augustus Goetz' screenplay at- tempts to encompass virtually all of the novel. The latter half of the film, concen- trating on the downfall of a once-proud restaurant manager while his young wife rises to fame on the stage, is filled with dark and gloomy sequences, magnificent in their photography and effect, if taken individually. Collectively, thev become redundant and lose some of their effectiveness, making the film seem even longer than its 118 minutes. "Carrie" is most assuredly not entertainment in the popular sense, but for excellence of performance, realistic production and di- rection, it is fully up to the Wyler standard, with touches that are unsurpassed in their delicacy and subtle excellence. Wyler has also evoked a maximum of suspense in what is a comparatively actionless screenplay. The class trade will find the film worthy of their attention from many angles. The star names are a sure draw for the discriminating. And for those who like to bathe in depression. "Carrie" is certainly their meat. The out- look generally, however, seems spotty. In the top roles, Laurence Olivier and Jennifer Jones are superb. As the unhappy father of two grown children, who gives up a respectable though loveless existence as he seeks love with a young girl, Olivier pro- gresses through his brief happiness and long, pitiful downfall in magnificently convincing fashion. Miss Jones has never been better in the title role. Despite these two master per- formers, however, it is Eddie Albert, as a glib salesman, that runs away with every scene in which he appears. That his is the only light role in the film, making his ap- pearances doubly welcome, does not detract from his beautifully shaded performance. STORY: Destitute in Chicago, Jennifer Jones accepts glib salesman Eddie Albert's invitation to live in his apartment while he is on the road, then succumbs to his at- 'PAT AND MIKE' BRIGHT COMEDY HIT WILL SCORE BIC Rates • or better generally, except Metro-Goldwyn-Mayer 94 minutes Spencer Tracy, Katharine Hepburn, Aldo Ray, William Ching, Sammy White, George Mathews, Loring Smith, Phyllis Povah, Charles Buchinski, Frank Richards, Jim Backus. Also, Gussie Moran, Babe Didrik- son Zaharias, Don Budge, Alice Marble, Frank Parker, Betty Hicks, Beverly Hanson, Helen Dettweiler. Directed by George Cukor. Like ham and eggs, bread and butter, Spencer Tracy and Katherine Hepburn, "Pat and Mike" is a natural, a swell audience show. A bright, adult comedy with sparkl- ing dialogue and an unusual story flowing easily from the talented pens of Ruth Gordon and Garson Kanin, the film holds strong at- traction for every stripe of movie fan and it will make a host of new ones when they see it. The stars, writers and director George Cukor are reunited most happily for the third time and are joined by one of the most promising newcomers in a long while, Aldo ("The Marrying Kind") Ray, to form a boxofnee combination it would be hard to top. In addition to all this, some of the fore- most figures in the golf and tennis worlds are involved in the action, giving this Metro offering added exploitation values. Runyon- in action houses esque in tone and characterization, the tale whips along in breezy zestful fashion as it tells of a whiz-bang lady golf-tennis star who becomes part of a tough manager's sports stable. It gives Miss Hepburn a chance to display not only her ability in these fields (most fans will be amazed at her expert handling of the golf club and the tennis racquet), but also a pair of gorgeous gams that have too long been hidden in skirts and slacks. Almost every element of entertainment is forthcoming in the process — humor, romance, excitement, suspense and nary a dull moment. Put them all together and they spell boxoffice. Miss Hepburn's handling of the role physi- cal requirements is as deft as her treatment of the slick dialogue. She makes a perfect foil for Tracy's tough-guy promoter and manager, who gets the lion's share of the choice quips and makes the most of every- one in an easy, off-the-cuff style. Aldo Ray- scores soundly as a dim-wit heavyweight whose back is chafed by so many contacts with the resin. William Ching, as Hepburn's stuffy fiancee who puts the hex on her when- ever she sees him watching her perform, is wi'h Mona Freeman. Jerry, kept oul of the Service by a bad car, is smuggled into cam)), taking the identity of Richard Erdman. The sergeant. Robert Strauss, swallows the story, hook, line and sinker and becomes Jerry's champion. The opening show goes over so well that the general, Ray Teal, singles out Jerry for con- gratulations and orders the unit on detached duty. This puts everyone in a spot. If Jerry admits he is a civilian, the whole com- pany will be courtmartialed. Kvery time he tries to escape, he is hauled back, and com- pelled to suffer the rigors of army combat training. During maneuvers Jerry accident- ally captures the "enemy" commander, and the general is so impressed that he has the hero sworn into the Paratroops at once. On a routine jump Jerry is thrown out of the 'plane without a parachute, but luckily lands on Dean's and floats to safety. In the end Jerry, his ear trouble cured, decides he prefers army life after all. LEON ' IPLOMATIC COURIER' SUSPENSEFUL SPY MELODRAMA Ftes • • • — generally 2 h Century-Fox 9 minutes Irone Power, Patricia Neal, Stephen Mc- Mly, Hildegarde Neff. I ected by Henry Hathaway. ■ Phis Casey Robinson production is offered v h an air of authenticity and realistic action lit makes it a better than average cloak- ■H-dagger film. "Diplomatic Courier" con- t is all the sure-fire elements of murder, felpense, mystery, and foreign intrigue that pjinto spy vs. counter-spy films. Except for ■sine implausible melodramatics in the last ill, the picture maintains an exciting and Ijeresting pace without glut of the usual Mod and thunder techniques. Most of the gdion is set in Trieste, which provides some »ifsh backgrounds for the chase. "Diplo- matic Courier" unwinds in a manner calcul- ated to entertain audiences who go for this sort thing. Aided by the Tyrone Power- Patricia Neal names, it should have good grosses in action and metropolitan houses, and will make a good dualler in other situ- ations. Under the guiding hand of director Henry Hathaway, the film unwinds in a senii-docu- mentary style. Tyrone Power, in the title role, is effective as a government messenger who becomes embroiled in espionage activity. Patricia Neal and Hildegarde Neff supply some interesting twists as they alternate their activities between sedition and seduc- tion. The supporting cast, headed by Stephen McNally, fit in well with the nefarious doings of "Diplomatic Courier". STORY: Tyrone Power is a messenger in the State Department, transporting im- portant documents between Washington and various European embassies. He arrives in Paris only to be assigned to a top secret mission which involves meeting a US agent who is bringing important information out from behind the iron curtain. Power locates the agent, but before the message can be passed, the agent is killed and the document disappears. Power learns that the agent had been in contact with blond Hildegarde Neff and he thinks she may be an important cog in the mystery. After being assigned to aid Stephen McNally — an Army intelligence colonel — Power traces Neff to Trieste and the plot thickens. Patricia Neal gets into the act as a wealthy widow on the loose, and Power becomes involved with both women and assorted commie agents. The usual melodramatics ensue with the eventual outcome never in dobut. NEIL 4 FOR BEDROOM C SWANSO ftes • • as dualler on Swanson name ^arner Bros. 7j minutea (jria Swanson, James Warren, Fred Clark, Lns Conreid, Steve Brodie, Janine Perreau, I nest Anderson, Margaret Dumont. Irected by Milton H. Bren. '3 For Bedroom C", a "drawing room" dnedy set on board a transcontinental train i its entirety, is about as entertaining as a aw freight on a steep grade. Filmed in 4 tural Color, this Gloria Swanson starrer *s sidetracked by a weak script before it W:r got rolling. The story concerns a flnous movie actress who, with her eight- Jir-old daughter, takes over the bedroom da college professor on board the Super Mief. Resultant situations never become I COMEDY FOR THE DUALLERS more than mildly humorous, and there is little in this frilly flimflam to interest most audiences. After skyrocketing back to prom- inance in "Sunset Boulevard", Swanson is about the only solid asset "3 for Bedroom C" can boast, and, in this instance at least, it won't be enough to make this Warner offering anything but program fare — and then only in metropolitan areas. Milton H. Bren has used little imagination in writing and directing "3 for Bedroom C". The cast moves sluggishly, except for Janine Perreau who brightens things considerably as the eight-year-old daughter of Gloria Swanson. The star of "Sunset Boulevard" is unable to overcome the weak and burden- some role of a coy actress who is tired of Hollywood glamour. Supporting players merely waddle around in the mire of a dull and implausible script. STORY: Chemistry professor James War- ren enters his compartment on the Califor- nia-bound Super Chief to find that screen star Gloria Swanson and her daughter have taken over his bedroom. Swanson turns on the charm and Warren, who up to now has only been in love with a few test tubes, bives her his compartment. Later, Warren and Swanson become enamoured over a few cocktails. When the train arrives in Kansas City, Swanson's agent, Fred Clark, gets aboard and matters become more compli- cated. A see-saw love affair ensues between Warren and Swanson, with some Hollywood hokum thrown in for good measure. By the time the train arrives in California Swanson has succeeded in capturing the chemistry professor. NEIL NE 16, 1952 13 LYDIA BAILEY' ROUTINE TECHNICOLOR HISTORICAL DRAMA Rates • • + generally; more in action spots 20th Century-Fox 89 minutes Dale Robertson, Anne Francis, Charles Kor- vin, William Marshall. Directed by Jean Negulesco. The promise inherent in the Kenneth Roberts best-seller, "Lydia Bailey", depict- ing the routing of the French and the es- tablishment of Haiti as a republic, never quite materializes in this 20th Century-Fox Technicolor production. It emerges as little more than routine historical drama, only spottily entertaining and most disappointing where it should shine. The fascination of the Haitian customs, voodoo and the heroic battle waged by Jean Christophe against Napoleonic tyranny are all subjugated to a rather insipid romantic joust, punctuated by flashes of action in a manner more reminis- cent of horse opera than history. A preg- nant beginning, boding big things to come, makes the contrast of the rest of the film doublv evident. Even the tremendously colorful voodoo dance, one of the highlights of the film, has its effect dissipated as the camera spends as much time on vapid close- ups of the principals during the performance as it does on the dancers. That the story manages to maintain interest for the most part is due to the vigorous portrayal of a gigantic Haitian patriot by William Mar- shall, recruited from the Broadway stage where he last played De Lawd in "Green Pastures". The backgrounds, many of which were shot in Haiti, are beautifully photo- graphed. Backed by the widespread publicity ensuing from the 20th-Fox press junket and plenty of exploitation angles, "Lydia Bailey" should come off better than average in most locations, with best returns in the action spots. It is an unusually Rood attraction for houses in Negro neighborhoods. Directed by Jean Negulesco, characteriza- tions emerge as familiar types, with William Marshall being the exception as the native leader named King Dick. Anne Francis is pertly innocuous in the title role. Dale Robertson and Charles Korvin turn in satis- factory performances as the hero and heavy respectively. STORY: Dale Robertson arrives in Haiti just as the powder keg of rebellion is about to explode. The natives have become aroused CLASH BY NIGHT' DREARY BUT EXPLOITABLE MELODRAMA Rates • • + generally on names of sex, though her actual worth to the story is minor. Exploitation values are good. The film moves well over most of the early reels, but it is over-long for what it has to offer, and becomes involved in some thin melo- dramatics at the climax. "Clash By Night is geared for adult audiences and will prob- ably do its best business in metropolitan first runs, tapering off in family and rural houses. Action houses should find this a good attraction. Neat directorial touches by Fritz Lang, and pood performances on all levels of the cast, hold an otherwise weak story together. Barbara Stanwyck is convincing up to the point where the script betrays her, requiring her to repent and return to her husband. Paul Douglas, as the wronged husband and Robert Ryan, as "the other man", get the most out their roles, but have to fight some RKO 105 minutes Barbara Stanwyck, Paul Douglas, Robert Ryan, Marilyn Monroe, J. Carrol Naish, Keith Andes, Silvio Minciotti. Directed by Fritz Lang. Based on a plot that has been the founda- tion for almost every soap opera ever told, this Wald-Krasna melodrama manages to generate a fair amount of interest and enter- tainment in a dreary, depressing manner. Written by Alfred Hayes, from a play by C lifford Odets, this tale of an unfaithful wife set in a west coast cannery town, captures the dubious flavor of the background more than it does the dramatic entertainment values. The marquee values of Stanwyck, Douglas, and Ryan is a decided asset, with Marilyn Monroe thrown in for an extra dash against the French land owners in particula) and all white men in general. Robertson, close friend of Anne Francis' late father, j seeking the girl's signature on a documen to settle the deceased man's estate. Robert son learns that Francis is the fiancee o | Charles Korvin, a French landowner, and she is living at Korvin's plantation on thl other side of the island. William Marshall' a leader in the pending revolt, befriend ] Robertson in order to gain access to Korvin': house. After meeting Francis and Korvin Robertson finds that the girl was unfriendh to her father, and also dislikes all American? While at the plantation, Marshall kills traitor to the native cause, who happens t< be in the pay of Korvin. Robertson help- 1 Marshall escape and they join the revolu 1 tionists. Soon after, the rebellion flares and the orgy of killing begins. When Robertson learns that Francis is in danger, he goes bad1 to the plantation, rescues her and they star I the perilous trip back to French-held terri tory. After some exciting melodramaticsi the eventual outcome of the native rebel lioi ' is assured, and the young pair declare theii love. PHIL inane dialogue. Perhaps the best perform ances are turned in by J. Carrol Naish anc; Silvio Minciotti in supporting roles a:. Douglas' uncle and father respectively. STORY: An embittered woman, Barbara Stanwyck returns to her home in a cannen town after 10 years of trying to find th<; things she believes will make her happy! Paul Douglas, a local fisherman, falls in lovtf with her. Douglas is a man with little edm cation or polish, but he can give Stanwycll security, which she never had. Withou loving Douglas, Stanwyck becomes his wife Robert Ryan, a friend of Douglas', is Stan wyck's counterpart. Though she fight , against it, she eventually takes up with Ryar! Eventually, Douglas finds out and almosj kills Ryan. In a sudden and implausibl' switch, Stanwyck repents and returns t(j Douglas. PHIL OUTCASTS OF POKER FLAT' SUSPENSEFUL MELODRAMA, MILD B. O. Rates • • + as dualler 20th Century-Fox 81 minutes Anne Baxter, Dale Robertson, Miriam Hop- kins, Cameron Mitchell, Craig Hill. Directed by Joseph M. Newman. Tightly knit, well paced, and highly sus- penseful, "Outcasts of Poker Flat" is based on the Bret Harte story about four shady characters who arc run out of a California mining town by the irate citizens. For all of its assets, however, this 20th-Fox offering appears to have only mild boxoffice possi- bilities. It will have to be doubled, and will require the support of a fairly good comedy or musical. It is adult fare and should do be^t in class and a< ,: n houses. Most of the action is set in a snnv-bound cabin in the mountains, and is played in low key — more 14 emotional than physical. A Julian Blaustein production, written by Edmund H. North, it unwinds with little lost motion, and Joseph Newman's direction succeeds in building one tense situation on another until the tension finally snaps in a savage and brutal climax. The cast, headed by Anne Baxter, Dale Robertson and Cameron Mitchell, checks in with first-rate performances with Mitchell leading the way as a cold blooded killer who terrorizes the outcasts. STORY: When the bank in the mining town of Poker Flat is robbed and two by- standers are shot down, the citizens decide to rid themselves of its undesirable element. Kaxter, Robertson, Hopkins and Lynn are provided with horses and told to clear out of the vicinity. Robertson decides to desert the rest of the party, but a sudden snow storm forces the group to hole-up in a mountain cabin. Joined by another couple, the groujj soon realizes that they will be snowbouti(j without food. One of the newcomers decide' to fight his way through the blizzard tho prefer broad action sex to subtlety and Stagecraft. Although the story has appeared |i many forms on the screen before, pro- lucer Leonard Goldstein and director Sidney )'. MALADY LINGERS ON ITO of Ohio Competitive bidding has brought about some greater evils that its inception was sup- posed to eliminate. This is largely due to the refusal of the distributors to reveal the bids after the awards. The Independent Theatre Owners of Ohio call upon the distributors to reveal all of the bids made on any picture on the demand of any bidder after the award of the picture in question. The motivation behind refusal of the distributors so to reveal the bids ran only be construed as for the purpose of con- cealing irregularities and discriminations in making awards. The Independent Theatre Owners of Ohio would also welcome cooperation by the dis- tributors in an open award of bids; i.e., hav- ing all bidders present when bids are beinti opened and awarded. The practice of "telephone bidding" in which the exhibitor is asked to commit him- self to a bid on the telephone without due reflection, is also condemned as an abuse of the entire bidding system. 'DE-LUXISM' DILEMMA Allied Caravan of la.. Neb. & Mid-Central Every time we go to a convention we hear some guy who probably never owned a thea- tre in his life, at least a small town, narrow margin operation, get up and tell us about fixing up our houses, put in new decorations, put in these new lamps, machines, lenses, chairs or carpet. Out here we're made up mostly of No. 1 and 1A towns. — That means towns grossing $500 per week or less — and a lot of them are in that less class. Sure we've got to keep clean, courteous, neat, painted up, and create the atmosphere. We've got to have concessions, good product and film rentals that will allow us to raise our families too. The point to where you can go in bring- ing Broadway DeLuxe houses to Main Street is a decision for every operator to make for himself. If it really takes all the things some of the expounders of de-luxism say it takes to improve business in small towns then this industry is rapidly approach- ing the point of the big animal that had to eat itself up to keep from starving to death. A lot of small theatres could do a lot more fixing up if they could buy film for 20% in- stead of getting the gouge. And we don't mean percentage buying. We mean film rentals over the years period bought on flat rental and not over 20% of gross. 17 EXPLOITATION PICTURE HEART, NOT TUNES, IS 'NELLIE IN THE 'GOOD OLD DAYS' Racoon Coats & Overstaffed Sofas Despite tin- title, the Technicolor, the fact thai George Jessel produced it — all of which must lead 99 out of a hundred to believe that '"Wait 'Til The Sun Shines, Nellie'* is a song-and-dance-film — it is nothing of the sort. It is, rather, a nostalgic slice of Americana, a "different"' film that will have something to offer to anyone who goes to movies. It has laughs and tears, tenderness and violence, the barber-shop quartet and a quick glimpse at vaudeville. The oldsters will remember the days of the horse and buggy, the bustle and the overstuffed sofa, as they watch a typical American small town's growth over the last half century. The younger folks will see what their elders could only tell them about, and thev will. too. be caught up in the emotional qualities of the film. As directed by Henry King and played by David Wayne — whose performance it this has rated impressive notices — "Wait inanity, from top-level municipal and civic big-wl to each group of the citizenry, was pitching in to hi the theatre and the film — many without even know^ they were doing so. The title was on everyone's and these thousands of walkie-talkie ads built int| mountain of anticipation. The first half of the 20th century has thousands of towns spring up: other? have grol into cities, and the cities have seen some miraculi changes. Chronicling of these in a pageant will gl the theatreman a priceless opportunity to perfornl public service, build his own and his theatre's pi tige and, of course, give the picture's boxoffice val a tremendous boost. If it is well planned, the towj leading merchants, civic organizations, women's school groups can be recruited into an army that \l put forth an all-out effort unmatched by any ir| vidua! ballyhoo. The store windows on Main Street would be del rated with flags and banners, with displays of "th< and "now" props, etc. They will make a fesll background and a natural pathway for a big Openl Night Street Parade. Vintage autos can be used, cl trasted with the latest models supplied by the I agencies. Wherever possible, there should be ra| and press coverage at the door of the theatre. Such a campaign was conducted in Hutchison. w| some unusual gimmicks. A barber shop displayed 1900 chair with a full rack of old-fashioned shav| mugs. Other stores recreated interest-grabbing plays of school classrooms of the 1900 era. miniatu| and antiques, and, several other ingenious stunts, stage opening night, the barber shop quartet i;| "must" as part of the festivities. 'Til The Sun Shines, Nellie" will not dis- appoint your audiences, unless they are de- termined to see a musical. It is important that the showman see to it that his patrons are not misled. The film has many at- tractive angles to sell — nostalgia, drama, humor — and they are all there in quantity enough to satisfy any member of the famiiy. The comparatively meager amount of music can be sold, too, but with care to avoid the impression that here is another of those name-song musicals. NEWSPAPER ADS hi right, several of the newspaper ads. Note the institutional ad, headed "Even THEN Nellie Couldn't Wait To Go To The Movies", that sells the theatre and mo\ie-going as well as the picture. TOWN CELEBRATION Any town, big or small, in America can take a leaf from the campaign conducted i" Hutchison, Kansas, where the World Premiere of Wait 'Til the Sun Shines, Nellie" was held. The whole com- 18 FILM BULLE EXPLOITATION PICTURE of the issue Three generations are covered as David Wayne personifies the average American small-towner who plants his roots in a village and shares its growing pains through 50 years. WAIT TIL THE SUN SHINES. NELLIE Nostalgia, chuckles, and hearth-throbs over the last half-century are the entertainment ingredients that make up "Wait Til the Sun Shines, Nellie". As played by David W ayne. the story of a barber who experiences a lifetime of happiness and tragedy in a small town, will evoke a host of happy — and not so happy — memories within its audiences. It follows the growth of a town "Sevillinois", the eyes of Wayne — his initial entry for a "temporary" stay with his bride, Jean Peters; how he acquires his own barber shop and nails down his future despite his wife's desire for big city living; her eventual flight and death with another man while Wayne is fighting in the Spanish-American War; the tragic end of his son in a gang- land shooting during prohibition after surviving World War I. and down through the years until he sees his grandchild the replica of his wife. Featured in the cast are Hugh .Marlowe. Albert Dekker. Helen Stanley, Tommv Morton, Jovce Mackenzie and Alan Hale, Jr. iewpoints (Continued from Page 5) Television, the number of participating theatres would have been considerably larger had it not been for the fact that the AT&T could not provide suf- ficent line facilities. The admission price scales set by the theatres for the Maxim-Robinson go are eye-poppers. The range is from $2.40 to $3.60. The tab doesn't seem to cool the ardor of fight fans, who are discovering in increasing number that a balcony seat in the movie gets them closer to the ring activities than a ringside seat at the stadium. Maxim vs. Robinson originates at the Yankee Stadium. New York City, therefore, is black out, lopping off another dozen or so houses that would like to join the theatre network. Theatre TV will get another shot in the arm on June 25, when 20th Century-Fox holds a demonstration for the press of its Eidophor color tele- vision system. Twelve years in work, this large-screen unit is termed by Spyros P. Skouras "the golden key opening the door to an era of far wider dimensions in screen entertain- ment for the public and increased pa- tronage for the theatre". Theatres definitely set carry Robin- son vs. Maxim: Boston— Pilgrim, State; Albany — Grand; Asbury Park — St. James; Camden — Stanley; Phila- delphia — Stanley; Chester — Stanley; Baltimore — State, Stanley; Washington — Lincoln, Keith's, Capitol; Richmond — Byrd, National; Pittsburgh — Fulton, Harris, Penn; Erie — Warner; Cleve- land— Palace, Hippodrome; Detroit — Palms State, Eastown; Toledo — Ri- voli; Dayton — Keith's; Cincinnati — Albee; Gary — Palace; Hammond — Paramount; Chicago — Marbro, Tivoli, Uptown, Crown; Milwaukee — River- side, Warner; St. Paul — Paramount; Minneapolis — Radio City; Omaha — ( )rpheum. The Thirtl Man The Council of Motion Picture Or- ganizations finally found The Third Man. The job went begging for weeks and then suddenly it was found that no less than three men had made them- selves available to serve as the distri- bution third of the triumvirate that will govern COMPO. Al Lichtman. 20th Century-Fox distribution head, had the finger put on him, joining Allied's Trueman T. Rembusch and TOA's Sam Pinanski. Mr. Lichtrnan's a battle-hardened veteran whose varied experience should serve COMPO well. Gracefully, and, possibly, without reluctance, Messrs. I.ric A. Johnston and Spyros P. Skouras bowed out of the picture to allow Mr. Lichtman to take the post. 20 € O I EH- TO-l O I ER There are substantial reasons why exhibitors all over America (andj the subscribers in Canada, Europe, England, India and Iceland, too) are agreeable to pay more for their subscription to F I LM I BULLETIN than for the average trade paper. The answer is that thousands of theatremen do more than just subscribe to FILM BULLETIN . . . They absorb it from cover to cover . . . They buy product by it production information . . . They book by its frank reviews . . . They form their views of industry policies by its Viewpoints pages . . . They have faith in it . . . They regard FILM BULLETIN as the paper with something important to say! F I L M BULLETIN RODUCTIOn R€L€flS€ R€CORD COLUMBIA 951-52 Features Serials Completed Completed (60) ( 3) Production Production (3) (0) RELEASE CHART — 1951-52 — «i PRODUCTION TITLE — Running Time Casf Rel. No. II Ashore IT) Rooney-Lawrence podoo Tiger Weissmuller-Burckhart fcrget — Hong Kong Denning-Loo IOMPLETED Kfair In Trinidad - Haywo. th-Ford Ipaehe Country 162) Autry-Buttram 5-52 isignment — Paris Andrews-Toren (rbed Wire ......... Autry-Buttram ots Malone 1103) Holden-Clements 12-51 419 ave Warrior IT) (73) Jon Hall 4-52 (iqand. The (T) Dexter-Lawrence •plain Pirate IT) Louis Hayward 5-52 louded Yellow, The (96) Simmons-Howard ._ ongo Bill McGuire-Moore ripple Creek ITI Montgomery-Booth _ ... »ath Of A Salesman (III) Marc h-Dunnoc k 2-52 423 rty Doien, The Colleano-Frani imily Secret. The IBS) .. Derek-Cobb 12-51 414 refighters, Th e Williams-Reynolds rst Time, The 189) _ Cummings-Hale 2-52 424 000 Fingers of Dr. T., The Hayes-Healy Mir Poster, The Harrison-Palmer ... _ _ olden Hawk. IT) Fleminq-Hayden appy Time, The Beyer- Or! seel I •rtm Girl. The (70) Davis-Castle awk of Wild River, The (541 Starretf-Burnett er Wonderful Lie Kiepura-Eggerth di«n Uprising ISC) (75) .... Montgomery-Long ,ick McCall. Desperado (T) Montgomery-Stevens ingle Jim in the Forbidden Land 165) Weissmuller-Ryan ngle Safari Weissmuller-Greene d From Amarlllo 156) Starrett-Barnett Rev. 1-14 5-19 10-8 ______ inga. The Wild Stallion 165) Reissue Stone-Hudson iramie Mountains 154) Starrett-Burnett ist of the Comanches (T) Crawford-Hale lit Train From Bombay Hall-Ferraday •n In th* Saddle (T) (87) Seott-Leslie arrying Kind, The (93) Holliday-Harrison ontana Territory (T) McAllister-Hendrix y Six Convicts 1 104) Beel-Mitchell ight Stage to Galveston 161) ... Autry-Buttram linawa (67) O'Brien-Mitchell Id West. The 161) Autry-Buttram utlanders, The (T) Scott-Jarman ithfinder, The (T) Montgomery-Carter . lula ISO) Young-Smith ince of Pirates IT) Derek-Rush 'rple Heart Diary 173) F. Langford-T. Romano linbow Round My Shoulder IT) Laine-Daniels ders of the Whistling Pines Autry-White ough, Tough West 154) Starrett-Burnett :*nd«l Sheet 182) Starrett-Burnett ■noky Canyon 1 55) Starrert-Burnette liper, The (87) Menjou-Frani on of Dr. Jekyll (78) Hayward-Knox ound Off (SO (83) Mickey Rooney en Tall Men IT) (97) _ _....Lancaster-Lawrence lief of Damascus, The (T) 178) Henreid-Sutton stican, The (T) (42) Documentary 'agon Team Autry-Buttram 2-S2 2- 52 1- 52 ' 3- 52 4- 52 2- 52 4-52 422 2-11 1-28 417 12-51 4-52 6-52 3-52 3-52 3-52 3-52 6-52 12-51 6-52 1-52 5-52 I 1-51 5-52 12-51 4-52 Special 'alk East on Beacon 198) Murphy-Gilmore 6-52 'ar Cry IC) Montgomery-Long ank in Indo-China. A 167) Archer-Dick 5-52 420 425 475 421 483 409 413 426 5-5 5-19 10-22 4- 7 5- 5 951-52 LIPPERT Completed (33) In Production (2! RELEASE CHART — 1951-52 — N PRODUCTION TITLE — Running Time Cast Rel. No. Rev. lack Pawn, The George Raft n the Money Dane Clark COMPLETED 9le. The Cameron-Romero 6-27 5112 ady in the Fog Romero-Maxwell •?«" .Shark (79) Raft-Hart 5-23 5111 ....... Brent-Chapman 1-52 ..... 5103 Indian Cast . 2-52 5104 Windsor-Rober 5-2 5105. ........Special Cast 7-18 5110 Henreid-Scott 6-6 5109 Lake-Scott 2-52 . 5107 juperman and The Mole Men (58) Reeves-Coates ... 11-23 5030 ales of Robin Hood (59) Clarke-Hatcher 12-21 . 5008 '9*r Man ... 4-52 . 5108 'alley of the Eagles 183) Warner-Gray 4-25 5114 v"igs of Danger (72) Z. Scott 4-1 5106 JUNE 16, 1952 *»n Bait (78) Uvajo (70) Outlaw Woman |C) 175) '"ate Submarine (69) tolen Face, The 171) .. . tronghold (73) In the Release Chart, "Rel." is the National Release Date. "No." is the release Number. "Rev." is the issue in which the Review appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1951-52 programs unless otherwise noted. Listing of color pictures follows immediately after title: (T) Technicolor, (C) Cinecolor, (SO Supercinecolor, (TR) Trucolor, (AC) Ans- color, (NO Natural Color, IWC) WarnerColor. METRO-COLD WYN-M A YER 1951-52 Features Completed (89) In Production (4) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Apache Trail I Love Melvin IT) Naked Spur, The IT) Tribute To A Bad Man COMPLETED American in Paris IT) (113) Because Your Mine IT) Belle of New York IT) 181) Callaway Went Thataway 181) .... Calling Bulldog Drummond (80) Carbine Williams 1 101 ) Devil Makes Three, The Eagle On His Cap Fearless Fagan Girl In White, The 193) Glory Alley 1791 Holiday for Sinners Hour of Thirteen. The Invitation 185) It's A Big Country (89) Ivanhoe IT) . Just This Once 190) Light Touch. The 193) ... UK - Lone Star 194) - Love Is Better Than Ever 181) Lovely To Look At IT) ( 112) Merry Widow, The IT) My Man and I One Piece Bathing Suit IT) Pandora and the Flying Dutchman IT) (123) - - Pat and Mike (93) Plymouth Adventure IT) - Prisoner of Zenda IT) Quo Vadis IT) 1171) Rogues March Rel. Scaramouche (T) (115) Sellout, The (72) Shadow in the Sky 178) . _ . Singin' In The Rain IT) (103) Skirts Ahoy IT) (1091 Talk About a Stranger (65) Time Bomb Too Young To Kiss 191) . Washington Story, The Westward the Women 1116) When in Rome (78) Wild North. The (97) You For Me Young Man With Ideas 184) Cast Roland-Horton O'Connor-Reynolds Stewart-Ryan Turner-Dougles . Kelly-Caron Lanza-Whitmore Astaire-Vera-Elli n MacMurray-McGu" Pidgeon-Leighton Stewart-Hagen Kelly- Angeli Taylor-Parker Leigh-Carpenter Allyson-Kennedy Caron-Meeker Young-Rule Lawford-Addams McGuire-Johnson All Star R. Taylor-E. Taylor Leigh-Lawford . Grainger-Angeli Caron-Ferrer Gable-Gardner E. Taylor-L. Parks Grayson-Skelton Turner-Lamas Winters- Montalban Williams-Mature Mason-Gardner Tracy-Hepburn Tracy-Tierney Granger-Kerr Taylor-Kerr Lawford-Rule S. Grainger-E. Parker Pidgeon-Totter Meeker-Da vis- Whit more Kelly-O'Connor . William-Blaine Murphy-Davis Ford-Vernon Ailyton-Johnson Johnson-Neal Taylor-Dare « I Johnson-Douglas Granger-Corey Lawford-Greer Ford-Roman No. Rev. Nov 1-7* 3-52 223 2-25 Dec 214 12-1 Dec 213 5-52 231 4-21 8-5? 8-5? 5-52 232 6-52 6-2 7_>;? 6-52 2-52 200 1-28 1-52 215 12-17 8-52 3-52 224 1-21 Dec 212 ll-l 2-52 222 4-1? 7-52 1-52 6-52 235 10-22 6-2 236 I 1-19 6-52 1-52 219 2-311 2-52 221 12-31 4-52 227 5-52 233 4-21 4-52 228 3-10 Nov 11-5 7-52 1-52 216 ... 12-3 4-52 229 3-10 3-52 226 5-52 230 3-10 MONOGRAM - ALLIED ARTISTS 951-52 Features Westerns Completed (45) Completed (16) In Production (2) In Production ( I ) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Hiawatha IC) Edwards-Dugay Gun Smoke Range Wilson-Stewart Yukon Gold - Grant-Hyer COMPLETED Rei. No. Rev. African Treasure Aladdin and His Lamp IC) 167) Artie Flight Bowery Leathernecks Counterfeit Crazy Over Horses 165) ....... Dead Man's Trail Desert Pursuit Sheffield- Luez Medina- Sands Morris-Albright Gorcey-Hall DeFoe-King Gorcey-Hall Brown-Ellison 4-52 1-52 7-20 I 1-18 1 1-18 7-6 5207 5299 5210 5114 3-10 Elephant Stampede 171) Flat Top IC) Feudin' Fools Flight to Mars IC) (72) Fort Osage IC) 172) Gunman, The Hold That Line 164) Jet Job 163) Kansas Territory 173) Lawless Cowboys 158) Longhorn The 170) Man from Black Hills 178) Mexican Silver Night Raiders Morris-Caruso _ 5-52 Northwest Territory 161 ) Rodeo IC) (71) Sheffield Hayden-Carlson Gorcey-Hall Chapman- Mite he II Cameron-Nigh Wilson-Knight Gorcey-Hall Clements-Verdugo Elliott-Stewart Wilson-Knight Elliott-Coetes _ Brown-Ellison Wilson-Clydi _ Wilson-Knight Srant-Chinook Jane Nigh 10- 29 9-14 11- l I 2- 52 4-13 3- 52 3-23 5-4 11-7 1 1-25 3-52 Kooeo i\«i i>ii - — - — ■•■»—• . - Rose Bowl Story, The IC) ... Thompson-Miles 2-52 . 12-9 . 3-9 8-24 5114 2-11 5243 5209 .51 10 ZsiTsZZZH 5103 . 11-19 5102 1-28 5252 5211 5215 5225 5IS5 5223 . 5242 . 5251 5104. 5204 21 McDowall-Miller 1-52 5217 3-10 Brown-Ellison _ 1-52 5241 Brown-Ellison 12—2 _ Stage to Blue River (5&) Steel Fist. The 173) Texas Lawmen (54) Texas Marshall — Wilson-Knight Texas City Wilson-Knight Trail Dust Albright-Winters 'f~?I . Corey-Ralston 12-30 5107 Vicious Years, The 17?) Waco 168) _ Wagons West IC) Whistling Hills (58) _ Wild-Stallion (C) Cook-Moore 2-18 ...Elliott 2-52 ... Cameron 6-29 ..Brown-Ellison 10-7 Johnson-Hyer 4-27 5224 5203 5145 5205 Witness The Kirkwood-Gleason ALLIED ARTISTS Disc Jockey 177) Simms-O'Shea Highwayman, The IC) (83) Hendrix-CobuTn 8-23 9-8 21 20 6-18 8-27 PARAMOUNT 1951-52 Features Completed (67) In Production (4) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Road to Bali Scared Stiff Cast Rel. Hope-Crosby-Lamour 12-52 Martin-Lewis No. Rev. Stars Are Singing, The IT) Alberghetti-Clooney . Pleasure Island IT) Senn-Taylor COMPLETED Aaron Slick from Punkin Creek IT) l95)Shore-Young Anything Can Happen 1107) Ferrer-Hunter Atomic City, The (85) Barry-Clarke Blaiing Forest IT) Payne-Moorhead Botany Bay IT) Ladd-Mason Caribbean IT) Payne-Dahl Carrie Olivier-Jones 4- 52 5- 52 6- 52 12-52 9-52 8-52 5119 5117 5120 Come Back Little Sheba Lancaster-Booth Darling, How Could You 1951 Fontaine-Lund 11-51 Denver ft Rio Grande IT) 189) O Brien-Hayden 6-52 Datactive Story (103) . Douglas-Parker 11-51 Encore _ Maugham Stories 7-52 Flaming Feather IT) (77) _ S. Hayden-G. Russell 2-52 Greatest Show On Earth (T) (ISM.- Stewart-Hutton 7-52 Green Gold of Nevada IT) Payne-Morrow Hong Kong (T) (921 _ Reagan-Fleming 1-52 5109 Hurricane Smith (T) Jumping Jacks Just For You (T) Los Alamos Military Policeman 5108 5115 5111 5130 3-10 3-10 8-13 . 4-7 10-8 12—31 1-14 My Favorite Spy (93) _ _ My Son John (122) Rage of the Vulture, The Red Mountain (T) (84) Sailor Beware 1102) Savage, The (T) Shane IT) Silver City (T) (90) DeCailo-lreland 10-52 Martin-Lewis 7—52 Crosby-Wyman 9-52 Barry. Carke Hope-Maxwell _ Hope-Lamarr 12-51. . Hayes-Heflin 4-52 Ladd-Kerr Ladd-Kennedy 5-52. Martin-Lewis 2-52.. Heston-Hanson 11-52 Ladd- Arthur 11-19 5110 5116 10-22 4-21 Somebody Loves Me IT)" DeCarlo-O'Brien 12-51 Hutton-Meeker 10-52 Someth.ng To Live For (90) . Fontaine-Milland 3-52 Son of Paleface IT) Hope-Russell 8-52 5113. _SII4 5112 5105 12-17 Stalag 17 Stooge, The Submarine Command (89) This Is Dynamite Trop' Zon IT) When Worlds Collide (82) (T) Holden-Taylor Martin-Lewis 11-52 Holden-Olson 11-51 5107 Holden-Smith 1 1-52 Reagan-Fleming Derr-Rush 11-51 5106 10-8 2-11 9-24 9-24 REPUBLIC 1951-52 Features Completed (18) In Production (1) Serials Completed ( 0) In Production (0) Westerns Completed (13) In Production (0) IN PRODUCTION TITLE — Running Time Tropical Heat Wave COMPLETED Adventures of Captain Fabian 1 100) Bal Tabarin 190) Hack Hills Ambush .. Border Saddlemates Captive of Billy the Kid 154) Colorado Sundown 167) Desert of Lost Men 154) Fabulous Senorita, The 180) Flight from Fury Gobs and Gals Honeychile (Tr) (89) ' Hoodlum Empire (98) „ I Dream of Jeanie (Tr) (90) Lady Possessed 187) Last Musketeer. The 167) Leadville Gunslinger (54) Oklahoma Annie IC) 190) Old Oklahoma Plains Pals of the Golden West (68) Ouiet Man, The IT) (129) Rangers of the Golden Sage Ride the Man Down (Tr) Saa Hornet. Tha 184) ■ ., South of Calianta 67) Stormbound Straet Bandits lc,4) Thunderbirds Thundering Caravans Toughest Mar, in Ariiona I Tr) Utah Wagon Troi' (67) RELEASE CHART — 1951-52 — Cast Estelita-Hutton Rel. No. Rev. E. Flynn-M. Prelle Lawrence-Ching Lane-Waller Allen-Kay Lane-Edwards Rex Allen Lane . Estelita-Clarke Edwards-Clark Downs-Hutton Canova-Foy Donlevy-Trevor Middleton-Shirley Mason-Havoc Allen-Kay Lane-Riley Canova-Russell Allen-Kay Rogers-Evan s Wayne-O'Hara Chapin-Janssen Donlevy-Tucker Cameron-Booth Rogers-Evans .Dowling-Checchi Edwards-Clarke Derek-Barrymore Lane-Waller Monroe-Leslie Allen-Edwards 10- 6 5101 6-1 5129 5-20 4-15 5143 1- 52 5064 2- 52 5141 11- 19 5063 4-1 5125 10-8 5- 52 10-51 4-15 6- 15 1-52 3-52 3-52 3-24 5128 .5121 5105 1-14 6-18 12-3 5104 5142 5171 5122 4-21 12-15 5152 11-6 10- 15 .5151 12-15 5032 11- 15 5130 2-11 5-19 10- 22 11- 19 12-17 7-20 10-15 5054 I 1-5 Wild Blue Yonder 198) Wild Horse Ambush Chapin-Janssen Woman In The Dark (60) ...Edwards-Elliott Woman in the Wilderness Cameron-Hussey Wyoming Saddle Pals Chapin-Janssen ... 12-7 1-52 7-15 5130 5131 RKO RADIO 1951-52 Features Completed (69) In Production ( RELEASE CHART — 1951-52 — Cast Darnell-Newton Rel. No. 2-52 220 IN PRODUCTION TITLE — Running Time Blackbeard. the Pirate (T) ... COMPLETED At Sword's Point IT) (81) Wilde-O'Hara .... Androcles and The Lion Simmons-Young ..... Beautiful But Dangerous Simmons-Mitchum Beware, My Lovely Lupino-Ryan Big Sky, The Douglas-Martin _ Bloodhounds of Broadway IT) Gaynor-Brady Body Snatcher I Re-issue) Karloff 4-52 271 Cat People 173) _ Simone-Smith Reissue 267 Clash By Night 1105] Douglas-Stanwyck 6-52 229 Double Dynamite 180) Sinatra-Russell 12-51 ... 214.. Faithful City 186) J. Smith-Ramati 5-52 273 Girl in Every Port, A 186) Marx-Wilson 1-52 214. Half-Breed, The IT) 181) Young-Carter 5-52 Hands Across the Sea Rennie-Peters Hans Christian Andersen (T) Kaye-Granger Hunchback of Notre Dame (117) Laughton-O'Hara Reissue 266 . I Walked With a Zombie (Re-issue) Conway 4-52 272 I Want You 1101} Andrews-McGuire 1-51 101... Jet Pilot IT) (118) Wayne-Leigh Jungle of Chang (47) Travel 11-51 208 . King Kong IRe-issue) Cabot 5-52 269 Las Vagas Story, The (88) Russell-Mature 2-52 217 Leopard Man. The IRe-issue) O'Keefe 5-52 270 Lusty Men. The Hay ward-Mitchum _ _ Macao 181) _ Russell-Mitchum 4-52 224 Man Who Fooled Hitler Werner Narrow Margin (71) _ McGraw-Windsor . 4-52 226 On Dangerous Ground 182) Ryan-Lupino 1-51 215. 1 1- One Minute to Zero Mltchum-Tallman Overland Telegraph 160) Holt-Martin _. _ 12-51 214 Pace That Thrills. The 163) Willlams-Balenda 3-52 213 Pony Soldier IT) Power-Edwards 12-52 Racket, The (89) _ ..Mitchum-Scott 11-51 210 10- Rancho Notorious (T) (89) Dietrich-Kennedy 3-52 Rashomon (86) _ Japanese 3-52 Road Agent 160) Holt-Martin .....3-52 Saddle Legion 160) _ _ _ Holt-Martin 221 268 .523 117 Reissue 292 Snow White and the Seven Dwarfs (T) (83) Disney Feature Something for the Birds _ Neal-Mature Stars and Stripes Forever (T) Webb-Hussey Sudden Fear Crawford- Pa lance Target (60) McGraw-White 4-52 227 . Tarian's Savage Fury (80) ... Barker-Hart .. Tembo 180) Documentary Trail Guide 160) Holt-Martin Two Tickets to Broadway IT) ( 106) Leigh-Martin 3 4-52 . 225 1- 52 . 265 2- 52 219 .. 2- 11-51 264 10-1 Whispering Smith vs. Scotland Yd. 177) Carlson-Gynt 3-52 222. ~.H Wild Heart, The IT) (82) Jennifer Jones -. (■ 20th CENTURY. FOX 1951-52 Features Completed (64) In Production ('r RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Rel. No. Cast Big Man Widmark-Dru Farmer Takes A Wife, The (T) Grable-Robertson Niagara IT) Cotten-Peters ..... Tonight We Sing IT) Pinza-Peters COMPLETED Anne of the Indes (T) (82) Jordan-Paget ... Belles On Their Toes IT) 189) Crain-Loy Bagdad on the Subway Crain-Granger 9-52 David and Bethsheba IT) 1116) Peck-Hayward _ 2-52 203 Deadline U.S.A. 187) Bogart-Barrymore 5-52 215 Decision Before Dawn 1119) Merrill-Basehart 1-52 205 Diplomatic Courier (97) Power-Neal 7-52 222. Don't Bother To Knock (76) Widmark-Monroe 9-52 R. 11-51 _ 134. 5-52 213 ID Down Among the Sheltering Palms(T) Lundigan-Greer Dream Boat Webb-Francis 8-52 Elopement (82) Webb-Francis 12-51 141. 5 Fingers (108) Mason-Rennie .....3-52 208 Fixed Bayonets! 192) Basehart-O'Shea _ ...12-51 140 Girl Next Door, The IT) Haver-Dailey Girl on the Bridge, The 177) Haas-Michaels Golden Girl IT) (108) Day-Gaynor .... I Don't Care Girl, The (T) ___Gaynor-Wayne I'll Never Forget You IT) (90) Power-Blyth Japanese War Bride 191) Kangaroo (T) 184) 12-51 139. . 11-51 136. 11-52 12-51 142 Yamaguchi-P. Taylor 1-52 202 O'Hara-Lawford 6-52 217 Lady in the Iron Mask INC) 178) L. Hay ward-Medina 6-52 218 Les Miserables - Rennie-Paget 8-52 Let's Make It L«gal 177) Colbert-Carey 11-51 133 Lure of the Wilderness IT) 192) . Peters-Hunter 9-52 Lydia Bailey IT) (89) Robertson-Francis 6-52 219 Model and The Marriage Brokerl 103) J. Crain-T. Ritter . 1-52 201 Monkey Business Grant-Rogers 10-52 My Wife's Best Friend Baxter-Carey 10-52 Night Without Sleep Darnell-Merrill Outcasts of Poker Flat, The 181) Baxter-Robertson 5-52 216 Phone Call From A Stranger 196) Merrill-Winters 2-52 204 Pride of St. Louis 193) Dailey-Dru 4-52 211 Red Skies of Montana IT) (98) Widmark-Smith 2-52 207 Return of the Texan (87) Robertson-Boone 2-52 209 12- II- II FILM fiUL LE T I it of Cimarron (NO 172) Buetel-Powers 4-52 ows of Kilimanjaro, The (Tl Peck-Hayward 11-52 easure of the Golden Condor IT) Wilde-Smith a Zapata 1113) M. Brando-J. Peters 3-52 it Til The Sun Shines Nellie (T) ( 1 08 ) Peters-Wayne 7-52 iy of * Gaucho (T) Tierny-Calhoun 9-52 're Not Married (85) Wayne-Rogers hat Price Glory IT) Cagney-Dailey 8-52 ith A Song In My Heart (T) (117) Hayward-Calhoun 4-52 212 Raging Tide .The 192) Red Ball Express Reunion In Reno 179) 204 2-25 Raiders. The (T) 220 5-19 Sally and Saint Anne Scarlet Angel IT) . Son of Ali Baba IT) Steel Town IT) 1851 210 2-25 Strange Door. The 180) Teias Man, The IT) Winter i Conti Chandler Cabot Stevens-Dow . Nov May Oct UNITED ARTISTS 951-52 Features Completed (59) In Production (2) RELEASE CHART — 1951-52 — Cast Gassman-Grahame Payne-Gray I PRODUCTION TITLE — Running Time Cast Rel. No. ass Wall, The insas City 1-1-7 OMPLETED Christmas Carol (84) Alastair Sim 11-30 11-19 :tors and Sin (94) Robinson-Hunt 6-2 rican Queen IT) (1041 Bogart-Hepburn 3-21 H-R 1-14 lother Man's Poison 189) Davis-Merrill 1-16 1-14 g Night, The (75) J. Barrymore-P. Foster 12-7 11-19 iffalo Bill in Tomahawk Territory 164) Moore-Andrews 2-8 4-7 12-17 Asp Forsythe-Hall 4-11 Duryea-Anderson 1-4 Preston-Sellars 1-31 D. Clark-B. Johnson 11-9 O'Brien-Ryan _ 9-14 11-5 Ford-Brooks 2-28 Ben 3-10 Garfield-Winters 7-13 Reb 7-16 Cooper-Kelly Kr 5-5 DeCarlo-Ustinov 10-15 Jar 11-19 O'Shea-Castle ...Darnell-Hunter 6-20 12-17 10-8 iptive City 191) "licago Calling (74) oudburst (83) .rt Defiance 181 ) old Raiders 156) reen Glove, The (86) e Ran All the Way 177) •igh Noon 185) otel Sahara 187) vasion U.S. A land of Desire (T) 1 103) idy Says No. The (82) Caulfield-Niven 1-1 1 ■nelight Chaplin-Bloom ._ ister Drake's Duck 181) Fairbanks-Donlan 9-21. r. Peek-A-Boo 1741 Greenwood-Bourvil 10-21 Sach 9-24 .utiny IT) (76) Stevens-Lansbury 3-14 KB . 3-24 •osessed 177) Farrar-Fitigerald . 9-7 _ 9-24 ne Big Affair (80) O' Keefe-Keyes 2-22 jtcast of the Islands (T) 191) Richardson-Kerima Lop 5-19 rdon My FFrench 181) Oberon-Henreid 8-10 9-10 anter's Wife _ Claudette Colbert ;d Planet Mars (87) Graves-King 5-15 ing, The Rios- Moreno ver, The IT) (99) Swinburne-Shields 2-15 Ren >yal Journey (50) Color Feature 3-15 arlet Spear Hyer-Denning Benny, the Dip (801 Foch-Haymes range World (80) Hauff-Schneider le of Five Women, A (86) Bonar Colleano im Brown's Schooldays 193) Davies-Newton ... ''O Gals and a Guy (70) Paige-Alda 'ell. The 185) Rober-Kelly hen I Grow Up (90) Preston-Scott - 4-20 -28 Gehn 4 -7 -2 .31 14 Pop 9- 9-10 UNIVERSAL 951-52 Features Completed (76) In Production (2) RELEASE CHART — 1951-52 — H PRODUCTION TITLE — Running Time Cast attle Kate (T) O'Hara-Nicol rate Companions, The (T) Dailey-Lynn •OMPLETED .gainst All Flags (T) Flynn-O'Hara lattle of Apache Pass, The (T) 185) Chandler-Lund end of the River (T) (91) Stewart-Kennedy lack Castle, The McNally-Greene .. onio Goes To College Perreau-Gwenn right Victory (97) Dow-Kennedy Ironco Buster IT) 180) Lund-Brady :ave of Outlaws, The (T) (76) Smith-Carey imarron Kid, The (T) (84) A. Murphy-Y. Dugay ity Beneath the Sea IT) Ryab-Powers >uel at Silver Creek, The (T) Murphy-Domergue ■inders Keepers (75) Ewell-Adams lame of Araby (T) 177) Chandler-O'Hara Hesh and Fury (83) Curtis-Sterling ^rancis Covers the Big Town Donald O'Connor -rancis Goes to West Point O'Connor-Nelson Golden Horde, The IT) (134) . Blythe-Farrer oun Hand IT) Hudson-Adams Has Anybody Seen My Gal (T) Colburn-Laurie Here Comes The Nelsons (76) Ozzie and Harriet ron Man 182) Keyes-Chandler 1 Grows On Trees _ Dunne- J agger Ivory Hunter (T) (95) Steel-Sheridan Just Across the Street 79) Sheridan-Lund Lady from Texas IT) (78) Hull-Duff Lady Pays Off, The 180) _ Darnell-McNally ... Lavender Hill Mob, The (82) Guuinness-Holloway Little Egypt IT) (82) Fleming-Stevens Lost in Alaska ._ Abbott-Costello Ma and Pa Kettle at the Fair 187) Main-Kilbride Ma and Pa Kettle in Waikiki Main-Kilbride Ma and Pa Kettle Go To Paris Main-Kilbride Magic Lady Young-Chandler Mark of the Renegade IT) (81) Montalban-Charisse Meet Danny Wilson 188) Sinatra-Winters No Room for the Groom (82) Curtis-Laurie fool of London (85) Colleano-Shaw Rel. No. Rev. Apr Feb 217 212 4-7 1-28 Jan _. 208 7-30 May 219 4-21 Nov I 1-5 Jan _ 213 ........ 12-31 Jan __. 211 1-14 Jan 207 12-3 Mar 214 July Oct 224 134 July 226 Feb 210 Aug 130 June 221 Oct Nov Oct Sept Apr 136 202. 280 131 216 1-28 7- 16 6-2 6-2 10-8 1-28 8- 27 3-24 Aug 128 Feb 205 May 220 Nov 183 8-13 1-28 5-5 Thunder On the Hill IBS) Treasure of Lost Canyon, The IT) Untamed Frontier, The IT) Week-End With Father 1831 Willie and Je Back at the Front World In His Arms, The IT) Yankee Buccaneer IT) You Never Can Tell (78) Conte-Lindlors Blyth-Gwenn DeCarlo-Hudson Curtis-Laurie Sheridan-Lund Laugnton-Kerloff Ryan- Ad am I Colbert-Blyth 181 IW. Powell J Adams Cotten Winters Neal-Heflin EwellLembeck Peck-Blyth ... Chandler-Brady Powell-Dow July June Mar Dec Sept Mar Dec Sept 203 218 135 225 222 215 204 133 209 204 132 I0-2J 10-8 I 1-5 8-13 2-25 12-3 9-10 WARNER BROTHERS 1951-52 Features Completed (47) In Production (4: RELEASE CHART — 1951-52 — IN PRODUCTION TITLE— Running Time Cast Rel. No. Rev April In Paris IT) Day-Bolger Desert Song. The IT) Grayson-MacRae Big Jim McLain Wayne-Olson Springfield Rifle |W) Cooper-Thaxter COMPLETED Abbott and Costello Meet Capt. Kid Abbott-Costello About Face IT) 194) MacRae-Bracken Big Trees, The IT) 189) Douglas-Miller Bugles in the Afternoon IT) 185) R. Milland-H. Carter Captain Blood (Reissue) (98) Flynn-DeHaviland Carson City (WC) 187) Scott-Massey Close To My Heart 190) Milland-Tierney Come Fill the Cup 1 1 131 J. Cagney-P. Thaxter Captain Horatio Hornblower IT) 1 1 17) Peck-Mayo Crimson Pirate, The IT) B. Lancaster Danger Forward Wilde-Cochran Distant Drums IT) (101) Cooper-Alden Force of Arms 1100) Holden-Olson I'll See You In My Dreams (110) - Day-Thomas Iron Mistress, The (T) Ladd-Mayo Jack and The Beanstalk ISC) 178) Abbott-Costello Lion and the Horse, The (WC) 183) Cochran-Teal Jim Thorpe. All-American 1105) .. Lancaster-Bickford Man With A Gun (T) Scott-Wymore Mara Maru (98) _ Flynn-Roman Miracle of Our Lady of Fatima, The Gilbert Rowland North of the Rio Grande McCrea-Mayo Painting Clouds with S'hine IT) (87) Mayo-Morgan Retreat, Hell! (95) Lovejoy-Carlson Room For One More (95) Grant-Drake San Francisco Story, The 180) McCrea-DeCarlo She's Workinq Her Way Through College (T) 1101) Mayo-Reagan Starlift (103) _ _ _ Cagney-Mayo Story Of Will Rogers, The IT) Rogers-Wyman Streetcar Named Desire, A 1122) Brando-Leigh Tank Are Coming, The 190) _ _ _ S. Cochran-P. Carey This Woman Is Dangerous 197) Crawford-Morgan Tomorrow Is Another Day 190) Roman-Cochran 3 For Bedroom C INC) (74) Swanson-Warren Where's Charlie? (T) _ Bolger-McLerie — Winning Team, The 1981 Day-Reagan 6-28 125 4-2 5-31 3- 29 3-8 12-5 4- 14 I 1-3 10-20 8-11 12-29 9-15 1-12 4-12 4-19 9-1 5-3 7-28 10-4 2- 23 1-24 5-17 7-12 12-1 3- 22 I 1-17 2-9 9-22 4- 21 221 117 I 14 110 123 107 106 030 I I I 102 _ 112 I 18 I 19 101 120 029 . . 105 115 113 121 128 109 104 108 I 14 103 124 4- 21 2- 25 3- tO 5- 19 10-22 9-24 7-2 12-17 12-17 4-21 6-18 4-7 9-24 2-25 1-14 4-21 I 1-19 11-5 2-11 8-27 Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St., Phila. 3 — 1239 Vine St., PhiU. 7 LOcust 4-0100 Member National Film Carriers JUNE 16, 1952 23 when you S//( MORE 2; GERALDS POSTERS *S7ftNDEES V TRAILERS nanonfu SERVICE Get full details from your NSS Salesman or write your nearest NSS Exchange! of mf/PDi/snrr In industry Historyi The product Paramount has concentrated into the six months starting in July, is, we believe, without precedent in our industry. Every single one of the 13 pictures scheduled is the kind of top box office mer- chandise that in the past was considered as a "special." Plus values abound — big stars — big production— A MUSICAL A MONTH ! AND 9 OUT OF 13 ARE IN COLOR BY TECHNICOLOR! With these pictures, released one right after another, the months ahead can be the most profitable in the history of exhibition. So we say: "Let the flags wave for the biggest six months line-up of money-making attrac- tions ever— from Paramount or any other company!" Trie urninjfbiri PERLBERG-SEATON'S SOMEBOPY Cokx by TECHNICOLOR starring Betty Hutton Ralph Meeker SM/7W Color by TECHNICOLOR starring William Holden Edmond O'Brien Alexis Smith starring Yvonne DeCarlo • John Ireland James Craig* Forrest Tucker Lyle Bettger* Richard Arlen Nat Holt Production CECIL B. DeMILLE'S THE GREATEST IHOU/ ON EARTH lor by TECHNICOLOR 1 ring mty Hutton #nel Wilde Carlton Heston 0-othy LamoMr fiiria Grahame and Juries Stewart starring Laurence Olivier Jennifer Jones with Miriam Hopkins Eddie Albert Dean Martin and Jerry Lewis co-starring Mona Freeman starring Bob Hope Jane Russell Roy Rogers and "Trigger" Cor by TECHNICOLOR THE 3AVA&E Color by TECHNICOLOR in ayne * Arlene Dahl Ctlric Hardwicke i fjancis L. Sullivan 1 1|illard Parker, liqi H. Pine and Ikfi C. Thomas Production rt« ing Ion Payne with W iam Demarest ^es Moorehead Riiard Arlen Sum Morrow W iam H. Pine and W iam C. Thomas Auction starring Glynis Johns Nigel Patrick Kay Walsh Roland Culver Ronald Squire starring Bing Crosby Bob Hope Dorothy Lamour II HOW BIG is IVANHOE EING IS BELIEVING" PREDICTION! ORLD PREMIERE CONFIRMATION I When theatre men representing 10,000 houses selected "IVANHOE" as the No. 1 attraction at M-G-Ms "Seeing Is Believing" meeting, the news spread like wild- fire through the industry. The trade press has unanimously acclaimed "IVANHOE". The reviews predict a goldmine. The good judgment of exhibitors and trade press has been richly confirmed. See the answer to "How BIG is IVANHOE?" in the column to the right. "IVANHOE" has SMASHED A 23 -YEAR RECORD in its London World Premiere and that's BIG in any language anywhere ! Money talks whether it's in yen, pounds or dollars. While it was expected to be a natu- ral draw there, it takes a picture with big muscles to SMASH A 23 -YEAR RECORD. This is electrifying news indeed for M-G-M, which poured a fortune into "IVANHOE". It is added reason for all exhibitors to attend one of the 92 Theatre Trade Shows. See for yourself the stature, the thrill, the Technicolor beauty of this Giant Film of our Generation. M-G-M presents Sir Walter Scott's Famed Novel "IVANHOE" starring ROBERT TAYLOR ELIZABETH TAYLOR • JOAN FONTAINE • GEORGE SANDERS . EMLYN WILLIAMS Color by Technicolor • Screen Play by Noel Langley • Adaptation by AEneas MacKxnzie • Directed Richard Thorpe • Produced by Pandro S. Berman More and more you'll hear this: NEVER A SHOW LIKE IVANHOE D N MEN AND MATTERS 7 00 Xtany («o/iv Put Arbitration in .Jt'optinlij It is difficult for two men to reach a meeting of the minds on a contro- versial matter. It is more difficult for three men to agree. Certainly, the possibility of accord diminishes when thirty or forty minds have to be satisfied. Arbitration for the motion picture industry is in jeopardy because too many cooks are stirring and tasting the broth. We need an arbitration system — and urgently. Everyone agrees that an arbitration system is vital, if we are to avoid litigating the industry into a premature grave. Last February, FILM BULLETIN urged that the task of formulating a plan be turned over to a small, com- pact group. The name of William F. Rodgers was advanced to represent all the distributors, it being pointed out that he is in a singularly advantageous position to accomplish such a mission. The thought was that Mr. Rodgers, sitting down with the top policy-maker of each of the two national exhibitor groups, Allied and TOA, had the best chance to effect a compromise of the many complex and ticklish issues bound to arise. We still hold that view, with this alteration: join with the two exhibitor leaders and Bill Rodgers one more film representative selected from among the key distribution executives of Universal, L'nited Artists and Co- lumbia. Four such men, we firmly be- lieve, could within a few short weeks harmonize their differences and draft a life -giving arbitration plan for our in- dustry. This plan would then be sub- mitted for approval or change to the full arbitration body. We face the danger of talking our- selves OUT of an arbitration system. The situation • calls for clear thinking and a practical approach. MO WAX Hnlltftrontl's 111 Wind . . . "It's an ill wind that blows no good." And the wind that has chilled movie business to the marrow of late has its compensations, too. In these seemingly precarious times there is a tendency to interpret re- alignments and changes of policy as omens of deeper darkness, rather than to appraise them as logical and healthy adjustments of the industry's economic position. The new plane on which the film studios now find it necessary to oper- ate is lower than that to which we had become accustomed. This new economic level on which How can a movie turn out to be a flop when it has the advantages of a topflight writer, an ace director, a couple of first- rate stars, and when one or two million bucks is spent to produce it? Oh, the smart boys will tell you, it's the "Holly- wood system". The other day, the New York World- Telegram's Ward Morehouse, one of the Big Town's better critics, had something pertinent to say on the subject, as it ap- plies to the legitimate "thitter". Morehouse had been asked the question: "Why do the plays that flop have to be produced at all? Can't an experienced manager, or an actor, tell upon the read- ing of the script if it has a chance for Broadway success?" Having repeated the question, the critic then called upon Donald Cook, the veteran actor who has been enjoying such great success for over a year in the hit play, "The Moon Is Blue", to provide an answer. And it's an interesting answer: "I read the play and turned it down, i went into the hospital and was there for six weeks. They called me again and I production is based must be lower in extravagance and lower in waste. Pre- cluded will be many of the costly artistic extremes to which producers had become devoted — not foolishly, mind you, but because the prosperity of the industry allowed for such in- dulgences. The tradition that cost represented quality is in the discard. All this is to the good. Thus, while we may seem to be cut- ting off some of the glamour asso- ciated with movies, the new Holly- wood approach promises an industry of far greater substance and perman- ence. How- Long-term talent contracts are due to be pared down sharply. With stars and high-salaried directors working on (Continued on Page 7) re-read 'The Moon Is Blue' and I still thought it corny and obvious and in bad taste. But I'd been to Europe and that, with the hospital expenses, took all my dough. So I took the play with the feel- ing that I'd get paid for a couple of weeks. When I walked out on the stage in Wilmington I was sure I was in a flop. "Well, that just shows how wrong you can be in this business. In the script 'The Moon Is Blue' looked bad; on the stage it played like hell. Those people in Wil- mington never stopped laughing. It's been that way ever since." o The United States Lines, rich and pros- perous, gets a $70,000,000 luxury liner for a piddling $28,000,000 or so. The movie theatres of America, which have done a whale of a patriotic job in war and peace, and needing help today, still suffer under the deadweight of an inequi- table admissions t.'X. Are movies no dif- ferent from mink coats in the eyes of our Government? (Continued on Page 7) 5 An important Figure in the industry! Here's Gay Garters Gertie, the doll who adds a new Twist to musical entertainment! She's a Burlesque babe who puts everything into her work— 'cause She's Working Her Way Through College! from Warner Bros, starring VIRGINIA RO* She STAijs THE FlREWORS July.! (Tlji N.Y. Paramo j July I Mayo Reagan Nelson DEFORE PHYLLIS THAXTER - PATRICE WYMORE round winters- Raymond greenleaf GENE GINGER CROWLEY • NORMAN BARIOID • THE BLACKBURN TWINS • RnT MILNE • WltllAM JACOBS • BRUCE Produced by Directed by Musical Numbers Staged and Directed by Le Roy Prlnz • Musical Direction Ray Heindorf YOU AGREE? Viewpoints (Continued from Page 5) a per-picture basis, immense benefits will accrue to the industry. The term deals burdened some of the major studios with fantastic overheads, run- ning up costs on pictures in w hich not one iota of those costs were visible. Profit-sharing deals with stars have been making the news from Holly- wood in recent months, and this is a healthy development, too. We're not thinking so much in terms of spread- ing the risk for the studios, as' we arc of the practical advantages derivable from such a method of compensating topflight talent. Dependent for in- come on the boxoffice success of their films, stars will not have to be per- suaded to help in the exploitation of the pictures in which they have a slake . They will make personal ap- pearance tours willingly. This con- clusion is borne out by the experience of those companies which have em- ployed profit-sharing deals in the past. One more point, a vital one: A definite pattern of future produc- tion policies is emerging from specific utterances by film executives and from visible evidence on certain lots. It portends a reduction in the volume of features to come from the foremost major studios and, most important, a concentration on quality pictures. That pattern may seem to be para- doxical to the economy pronounce- ments emanating from Hollywod, but not to those who do comprehend the serious new atmosphere that pervades the film capital. An ill wind has enveloped our in- dustry, but good will come of it. Hollywood is buckling down to the most serious undertaking in its fabu- lous history. It has suddenly come to realize that the stake is the whole future of this business. Yes, a stronger industry will emerge from this crucible. FILM BULLETIN: Motion Picture Trade Paper published every other Monday by Wa» Publi- cations, Inc. Mo Wax, Editor and Publisher. PUBLICATION-EDITORIAL OFFICES: 123? Vine Street, Philadelphia 7, Pa., Rlttenhouse 6-7424; Barney Stein, Managing Editor; Leonard Coulter, New York Editorial Representative; Richard N. Newton, Publication Manager; Robert Heath, Circulation Manager. BUSINESS OFFICE: 35 West 53rd Street New York I?, N. Y., Circle 6-9159; David A. Bader, Business Manager. HOLLYWOOD OFFICE: 659 Haverford Avenue, Pacific Palisades, Calif., Hillside 8183;. Jay Allen, Hollywood Editor. Subscription Rates: ONE YEAR, $3.00 in the United States; Canada, $4.00; Europe, $5.00. TWO YEARS: $5 00 in the United States; Canada, $7.50; Europe, $9.00. Ei daph or- A iVcff' ##o/##> Theatre television has an intriguing potential. Two events last week polished up its glittering prospects. Last Wednesday night 39 movie houses utilized their large screens to project the Joey Maxim-Sugar Ray Robinson fight from Yankee Stadium in New York, where the blazing 104- degrec temperature proved the victor in the lighthcavy weight title match. Capacity audiences paid admissions ranging from $2.40 to $3.60 per ticket, and many had to be satisfied witli standing room at these prices. That same afternoon of June 25th, an audience of tradepapermen, news- papermen, scientists and a few select thcatremen were privileged to witness a demonstration of large screen tele- vision—in color. It was 20th Century- Fox's Eidophor. It was a dramatic event, not for the quality of the typical TV entertain- ment that was provided during the half hour performance, but for the striking realization it brought to the spectators that a vast new panorama of entertainment will soon be opened before the moviegoing public. Eidophor, says Spyros P. Skouras, "will place all the gifted talents of the tearth — the peerless artists of every category — as well as current history as it is enacted, within the reach of theatre audiences of every community, large and small, no matter were lo- cated." Developed by a group of Swiss scientists, Eidophor has been taken over by 20th-Fox and wedded to the Columbia Broadcasting System's color process. The projector resembles a standard motion picture projector, being ap- proximately the same size, weight and shape. It employs the carbon arc as its light source. It is adaptable to any size screen and any throw distance used in conventional theatres. What will it cost2 That is the question many a theatreman is ask- ing, but it is a question 20th Century is not yet ready to answer. The cost today must be predicated on the great amount of research and experimental (Continued from Page 5) Aboard the new ship, the SS United States, making its maiden voyage July 3, are two air-conditioned movie theatres with 532 seats, designed, built, equipped mainly with U. S. funds. And will those lucky people aboard pay a tax? Bet your sweet life they won't. o So Milton R. Rackmil, head of Oecca Records, will move into the lop spot of Universal Pictures. His company has ac- quired control via a buy-out of the J. Arthur Rank stockholdings. Sit up and take notice, brother. Here's one of the smartest gents connected with show business who seems to think the movie industry has a future. We welcome him for the new blood he brings us and for his faith in our business. o Under pressure from the Screen Actors Guild, some of the film companies have agreed to make additional payments to actors for repeat performances of films produced for TV. One of these days, perhaps, someone will remember that the exhibitor, too, is entitled to a slice of the television cake. If, for instance, coin-in-the-slot video ever does become a practical business proposition, it ought to be operated by theatremen and not handed over to out- siders. 0 They put on a silly stunt at Myrtle Beach, North Carolina. Everyone in the place had to wear bathing togs until noon on a prescribed day, or be hauled before a magistrate. Crazy? Maybe. Juvenile? Sure. But it got more visitors to Myrtle Beach than they'd ever had before. "Life" did a picture story on it. They call it "showmanship", don't they? What a sad day it was for movie business when some of our Big Men started to economize in the wrong place and clipped the wings of the great showmen they have on their payrolls. How 'bout giving them back all the tools they need to do a big selling job again? work that has been poured into Eido- phor. The cost in mass production, of course, will be a different story. There were some rough spots in that first public demonstration last week, but there was no doubting that the exhibitors who attended the Eido- phor showing were ready to accept Spyros Skouras' statement that their industry stands on the threshold of "a new era of prosperity". JUNE 30, 1952 7 'IVANHOE' A GREAT SUCCESS Rates • • • • generally Metro-Goldwyn-Mayer 107 minutes Robert Taylor, Elizabeth Taylor, Joan Fontaine, George Sanders, Emlyn Williams, Robert Douglas, Finlay Currie, Felix Ayl- mer, Francis De Wolff, Norman Wooland, Basil Sydney, Harold Warrender. Directed by Richard Thorpe. Sir Walter Scott's classic, "Ivanhoc", comes to the screen for the first time in a Technicolor production that not only docs full justice to its time-honored reputation, but — and even more important to the thea- tremen of America — at a time when such films are needed most by the industry. Made in England by ace producer Pandro Berman and director Richard Thorpe for Metro- Goldwyn-Mayer with a brilliant cast, strong in marquee draw and quality, and with an epic scope rarely equalled in screen annals, "Ivanhoe" will be one of the biggest gross- ers in movie history. Few motion pictures have so much in their favor. The source is one of the masterpieces of modern literature and the picture fully captures all the stir- ring facets of Scott's immortal novel: the grand sweep, the spectacle, the adventure, the poignant love story. Considering the un- told millions who have read the book, it is safe to say that seldom has a film reached the exhibitor with so vast a pre-sold audi- • POOR • • I AIK • • • GOOD • • • • TOPS ence. Virtually every individual from high school age on up who can read has thrilled to the great adventure and the sublime ro- mance in Scot's account of a saxon knight's struggle to return the throne of England to its rightful monarch, Richard the Lion- hearted, and the knight's romantic triangle involving the fair Rowena, played by Joan Fontaine, and the tragic Rebecca, delineated by Elizabeth Taylor, with Robert Taylor, of course, in the title role. "Ivanhoe" is a BIG production in every sense of the word. It is ENTERTAINMENT in every sense of the word. And it is BOXOFFICE in every sense of the word. It is hard to recall when Robert Taylor has even been better in his long career as a top stellar personality. Perfect casting has placed the Misses Taylor and Fontaine in the two top romantic spots and they register right down the line. The fourth major marquee name, George Sanders, most ef- fectively portrays the principal heavy role, the head hate man of the usurper, Prince John. A distinguished supporting cast is headed by some of the top character experts in Britain, among them Emlyn Williams, Robert Douglas, Felix Aylmer, Finlay Currie and Norman Wooland. Color and photography are absolutely top-drawer. STORY: Briefly, the famous tale concerns the efforts of a Saxon knight, Ivanhoe (Robert Taylor), who had fought with Richard the Lion-Hearted (Norman Wool- and) in the Crusades, to restore Richard to the throne that was usurped by the latter's brother, John (Guy Rolfe), during the king's absence in the Holy Land. Posing as a troubador, Ivanhoe learns that the king is held prisoner by Leopold of Austria, and goes to England to raise money for ransom. Although he succeeds in getting the ran- som funds from a wealthy Tew, Isaac (Felix Alymer), he becomes involved in romantic complications with Isaac's daughter, Re- becca (Elizabeth Taylor), and meets oppo- sition from John's henchmen, De Bois- Guilbert (George Sanders) and Hugh De Bracy (Robert Douglas). When his father (Finlay Currie), his sweetheart (Joan Fon- taine) and his friends are held hostage by Bois-Guilbert, Ivanhoe is trapped into his own capture but escapes when a band of Richard's supporters lay siege to the castle. He pays the ransom money and, with the King, arrives in time to rescue Rebecca from being burned as a witch, while Richard mounts his rightful place on the throne. PHIL LOVELY TO LOOK AT' ANOTHER M-G-M MUSICAL BONANZA Rates • • • + except for action houses M-G-M 101 minutes Kathryn Grayson, Red Skelton, Howard Keel, Ann Miller, Marge and Gower Champion, Zsa Zsa Gabor, Kurt Kasznar, Marcel Dalio, Diane Cassidy. Directed by Mervyn LeRoy. A grand show! Chock-full of all the wonderful ingredients that make up out- standing musical comedy, produced by Jack Cummings in the finest M-G-M extrava- ganza tradition, and boasting the unforget- table Jerome Kern score from the original, "Roberta," it is impossible to see how this could miss being one of the outstanding grossers of the year. And, in addition to its wealth of song-dance-and-laugh virtues, it is climaxed by a gigantic fashion show, with gowns by Adrian, that will have the ladies gasping with wondrous delight. Anyone who has fond recollections of the 1935 screen original, starring Irene Dunne, Fred Astaire and Ginger Rogers, is bound to make com- parisons— and the current version stands up most favorably, even with the enhancement that time places on that great boxofhee success. The ten Kern song hits, one of the top musical scores of all time, with such tunes as "Lovely to Look At", "Smoke Gets in Your Eyes", "The Touch of Your Hand", "I Won't Dance", are given wonderful ren- ditions by Howard Keel, Kathryn Grayson and Marge and Gower Champion. The dancing of the latter pair rivals the superb hoofing of Astaire and Rogers. The Champions are a couple of the most in- gratiating youngsters to reach the screen in many a moon. Director Mervyn LeRoy has treated the comedy with the same knowing- grace he lavished on the musical portions. Red Skelton's talent for evoking laughs is given one of the best screen treatments the star has had to date. Instead of being splattered throughout the picture, it has been pinpointed to a few truly hilarious sequences to best effect. It's a great, big, tuneful eyeful and earful that should keep boxofhecs busy from coast to coast. Kathryn Grayson and Howard Keel make the most of their musical opportunities, their principal chore, handling the Kern score in glowing tones. Aided by the Champions, Ann Miller in a bouncy, saucy role that tops anything she has done before on the screen, and a bevy of beauties headed by the highly publicized Zsa Zsa Gabor, fill out amply the requirements of song and pulchritude. An- other standout in the cast is Kurt Kasznar as a chameleon-like producer who alternates gayety and business with some astounding changes of character. STORY: Stymied in their efforts to find! an angel for a Broadway show, Howard \ Keel, Red Skelton and Gower Champion grab at the chance to go to Paris in order to sell Skelton's interest in a dress salon, I Roberta's, Red learns he has inherited. I. Paris, however, they find the shop badly run, down and in debt. Moreover, the co-owners,! sisters Kathryn Grayson and Marge Cham-J pion, refuse to sell. Goaded by creditors,, Keel talks them into staging a grand re-' opening with a musical fashion show. Gower and Marge Champion, pair up romantically, and both Keel and Skelton set their cap Grayson. Romantic complications ensue,! however, when bubble dancer Ann Millerj arrives on the scene, but she is soon happily, aligned with Skelton. Troubled by financ-J ing for the show, they attract the interest of eccentric producer Kurt Kasznar, whe agrees to back the show — but on Broadwaj not at Roberta's. Keel leaves his disillu-l j sioned friends to return to New York witH Kasznar, hut has a change of heart after htl lands and dashes back to Paris to help pu on the magnificent show that will save tin shop, thereby wrapping up his romance witl i Grayson, while the other two couples paii off happily. BARTON 8 FILM BULLET 11 SCARAMOUCHE' EXCITING PERIOD SWASHBUCKLER 'ates • • • generally detro-Goldwyn- Mayer 18 minutes Stewart Granger, Eleanor Parker, Janet .eigh, Mel Ferrer, Henry Wilcoxon, Nina <"och, Richard Anderson, Robert Coote, .ewis Stone, Elisabeth Risdon, Howard "reeman, Curtis Cooksey, John Dehner, ohn Litel. Mrected by George Sidney. "Scaramouchc" has the ingredients to at- ract a large audience; unfortunately, it will [•rove somewhat disappointing to a consider- ,ble segment of its audience. The reason isn't easily definable for it has many ele- ments that will prove vastly entertaining to Bio^e who will undoubtedly he drawn by the o'orful Rafael Sabatini story, the adven- ture, intrigue and romance of the theme, 'he proceedings are replete with flashing wordplay, exciting chases, costumed der- l fing-do and light-hearted romance. On the ebit side, however, is a confused screen- lay that director George Sidney has elected h play tongue-in-cheek. Too much footage , devoted to attempts at satirical treatment fiat rarely comes off with telling effect. Jasquerading as a clown in a comic troupe i Paris, for instance, Stewart Granger's eroic role is subordinated to overlong by- play that slows the action noticeably, lags in the pace seem to emanate from recurrent attempts at kidding the story, making the picture seem longer than it- bountiful 118 minutes. Despite these faults, however, there is so much of "Scaramouche" that hold, mass appeal, it is safe to say that boxoffice returns will be in the higher brackets in all types of houses. Marquee value is stronj, witli the increasingly popular Stewart Granger, Kleanor Parker, Janet Leigh and Mel Ferrer heading a top-drawer cast. Granger has both the physique and the thespic ability to meet the demands of the title role. A dashing figure as he duels, leaps, carouses, mimes and makes \ov", Granger meets prodigious competition for masculine star honors in the dark and brooding Mel Ferrer, who portrays France's premier swordsman in top style. In the ro- mantic field, both Eleanor Parker, as a hot- blooded actress and Janet Leigh, as a lovely noblewoman, make beautiful foils for Granger's lighter moments. The large cast is featured by other accomplished perform- ers, including Nina Foch (as Marie An- toinette), Henry Wilcoxon, Richard Ander- son, Robert Coote and Lewis Stone. The latter, incidentally, had the Ferrer heavy role in the 1923 version; in this one, his part is more in the Judge Hardy tradition. STORY: In the France of Louis XIV, Stewart Granger is a gay blade who divides his time between the Opera Comique as a clown, Scaramouche, anil ladies' boudoirs. When his friend is cut down in a duel with a wicked Marquis, Mel Ferrer, the country's ace swordsman. Granger sets out to master the art to avenge hi"- friend's death. He is attracted to Janet Leigh, a noblewoman in whom Ferrer also has more than a friendly interest, but Granger lights the lure in the belief ihat Janet is the daughter of a noble- man he believes to be his father, thus mak- ing her his sister. Granger also is in the midst of an alfair with a member of the troupe, a beautiful, red-haired firebrand F.leanor l'arker. Mastering the fencing art. Granger incites Ferrer into a duel in the theatre in which Granger is performing as Scaramouche. In one of the most exciting swordplay sequences ever seen on the screen, the two have it out in the theatre and just as Granger is about to administer the coup dc grace, he learns that Ferrer is actu- ally his half-brother, and holds his sword. Realizing that Leigh is not his sister, Granger takes her hand in marriage, while l'arker turns her graces to a Gorsican lieutenan. ( hold as Gates sells his drug store atv| modest home to buy a big estate; Laurie I romance with Rock Hudson is broken o| by her mother's insistence that she take u with young scion, Skip Homeier, and Gatr goes off on a spending spree. Gates, at I party to announce Laurie's engagement I Homeier, finds he has squandered the entii fortune. The new-found "friends" leav them and they are forced back into their o!'i house and store. Coburn, however, sees tti change as a lesson and determines to g j ahead with his original plans to leave theill his wealth. PHIL as a senile, but love-hungry, grandfathe Marsha Hunt, thrifty, down-to-earth Scot woman mother, and Linda Christian as stage-entertainer turned maid who arousi the stirrings of the male animal in varioi members of the household. STORY: Between the two world war the French-Canadian Bonnard family, ioyous crowd, is about to celebrate the 12l birthday of its youngest member, Bobl Driscoll. A vaudeville magician in the the tre where father Charles Boyer leads tl orchestra, loses his luscious assistant, Lin< Christian, after trying to kiss her on tl stage. Boyer gives her a job as maid in tl Bonnard household, where romantic and d mestic complications ensue. Young Bobl' has his first stirrings of maturity, Dashil brother, Louis Jourdan, a noted garter-c lector, lays seige to her. In the end, ever thing works out for the best. Jourdan pe Linda; Uncle Kurt Kaszner finds a suit for his ugly daughter; Bobby gets his fir pair of long pants. LEONARD MONTANA TERRITORY' WORDY TECHNICOLOR WESTERN FOR THE DUALLERS Rates • • as dualler in action spots Columbia 64 minutes Lon McCallister, Wanda Hendrix, Preston Foster, Hugh Sanders, Jack Flam, Clayton Moore, Robert Griffin, Myron Healey Directed by Ray Nazarro. This Technicolor run-of-the-mill Western with the old hack about a crooked sheriff who is actually the outlaw leader, has almost as much dialogue as it has action. Although Colbert Clark has dressed it Up in production values far beyond its script merits, and Ray Nazarro's direction of a lively cast featuring 1 .on McCallister, Preston Foster and .Wanda Hendrix makes the most of a dully routine story by Barry Shipman, the plethora of words in a film of this type lessens consider- ably the picture's value for the fans at whom it is angled. The picture often gives the im- pression of having wandered occasionally from the main story-line and having had a little extra action dropped in here and there to give it pace. Action houses and smalltown theatres will find this a fair-to-middling dualhr. STORY: A Montana miner and his son robbed of their gold and killed. Lon Mc- Callister, a judges' son who is new to the territory, sees the bandits commit the crime, reports to the sheriff, Preston Foster at becomes a deputy. The sheriff, secretly t bandit leader, sends him on a dangero mission, hoping the youngster will be killi but Lon escapes, thanks to a tip by Ed< Walker, who runs the stagecoach rel station and with whose daughter, Wan Hendrix, Lon is in love. The sheriff ki Wanda's father in revenge, but Lon refu to believe his chief is guilty, despite Wand insistence. They become estranged, when the town's merchants form a vigila committee and prove the sheriff's guilt, L discovers his mistake and saves Wanda fr the bad man's clutches. LF.ON FILM' BULLET! every inch a woman... y every K ; inch 9 an actress... Marilyn Monroe in Richard Wi'd ma rk Marilyn IVIonroe with Anne Bancroft • Donna Corcoran I Jeanne Cagney • Lurene Tuttle Produced by JULIAN BLAUSTEIN Directed &y ROY BAKER Screen Play by DANIEL TARADASH Short Subjects BY NEIL THE CROSBY-HOPE Telethon of last week has taken on the aspects of a trial balloon. Many industryites are studying the effect this big TV extravaganza had on movie boxoffices in an effort to foresee what the future holds when top flicker talent hits the video trail. MAX YOUNGSTEIN has been appointed captain of UA's "Rill Heineman Drive", honoring the distribution chief . . . Pat McGee, general mgr. of the Cooper Foun- dation Theatres of Denver, succeeds Rob O'Donnell as co-chairman of the COMPO tax committee. O'Donnell asked to be re- lieved because of business pressures . . . Jack Kerness is Columbia's new business mgr. of the ad-pub department in the East. He replaces C. O. Slenker, who is now an administrative assistant to Leo Jaffe . . . Shades of divorcement! When the new Dean Martin - Jerry Lewis comedy "Jumping Jacks", opens at the Fox Theatre, Philadel- phia on July 9, it will mark the first time a Paramount film ever played this 20th-Fox tres in those exchange areas . . . Columbia's Gene Autry Productions has launched a prize contest for exhibs staging a Gene Autry Day in connection with the playing of any Autry production released through Columbia. Prize is a Hollywood tour or $1000 . . . The Marilyn Monroe skyrocket, already bright in the Hollywood heavens, is receiving a new burst of brilliance in 20th- Fox's tub-thumping for "Don't Rother To Knock via the top national mags . . . Six models from MGM's "Lovely to Look At" are currently touring the company's sales division making personal appearances for the new musical . . . Anticipating a land- slide of requests for "Greatest Show", when it goes into general release in July, Para- mount prexy A. W. Schwalberg announced a record number of Technicolor prints are now available . . . Free TV trailers are avail- able on 20th-Fox's "Lydia Bailey". Especial- ly produced for TV in one-minute and 20- second lengths, the trailers feature Dale Robertson, Anne Francis and William Mar- shall in scenes which contrast in inadaqua- cies of home TV sets in reproducing magni- ficent settings. Also, Fox is taking ad- vantage of summer's crowded highways with a highpowered billboard campaign on forth- coming releases "What Price Glory," "Monkey Rusiness," and "Way of a Gaucho". book choosing Disney's "Story of Robil Hood" for July honors. SIGNS OF THE TIMES: A recent Allied of Iowa, Neb., & Mid-Central bulled] carried a squib about a neat PR stunt use>< by C. P. McConnell, owner of the Lak Theatre in Lake View, Iowa. McConnelj seeing an overflow crowd standing for show break, set up credit at a nearby coffel shop so that the group could — and did- wait in comfort . . . Levittown, new housini development being constructed adjacent t the new Fairless steel mills in Eastern Penri sylvania, with an expected population c 100,000 by 1055, will be without a sing], movie theatre under present plans. Tb Levitt outfit publicly reasons that there's n market for a theatre because nearly even home will have TV. We wonder what the] are going to do about building extra roac to take care of the thousands who will a heading for other towns for their "goina out" entertainment, thereby draining loci stores of a fat chunk of Levittown revenuj MAX YOUNGSTEIN Captain s New Drive showcase . . . Peter F. Pugliese was elected assistant secretary of RKO, under J. Miller Walker, veep and general counsel on liti- gation matters . . . Rudd Rogers, one of the industry's most popular film men, ended his affiliation with Realart and Jack Rrodcr Pro- ductions, at the expiration of his five year contract on June 19. He expects to an- nounce a new enterprise within the next few weeks . . . 20th- Fox prexy, Spyros P. Skouras, is scheduled for the studio early in July . . . Walter Mirisch, production head of Monogram and Allied Artists, is enroute to England to follow up on joint production plans made with Associated Rritish-Pathc execs by Monogram prexy Steve Rroidy . . . Paramount's William Perlberg and George Scaton sail for Paris on July 11 to continue pre-production work on their Ring Crosby starrer "Little Roy Lost"'. FANFARES: RKO put TV to work for its reissue, "KiiiK Kong". Twelve TV BtatiotM saturated the Cincinnati, Pittsburgh, I )i t roil. Cleveland and Indianpolis areas heralding the film's new release in 400 thca- UNIVERSAL-INTERNATIONAL sound- ed ""forward march" for the press-junket brigade and 37 of the nation's top mag and newspaper scribes "mushed" for the Yukon and the Alaska premiere of "The World in His Arms". Shaping up as the longest pre- miere jaunt in motion picture history, the event was also the first of its kind ever held in Alaska. Hollywood stars, lead by Ann Rlyth, staged variety shows for servicemen stationed at U. S. bases in the northern outpost. Kicking off at the Elmendorf Air Force Rase, the record-setting junket pro- ceeded to Adak, Fairbanks and a number of other military installations in Alaska. MYSTERY WRITERS Association of America has nominated Paramount's "The Atomic City" for the year's Edgar Allan Poe Award as the Rest Suspense Pic- ture of 1952 . . . Movie-of-the-Month-ers were busy again with The General Federa- tion of Women's Clubs selecting UA's "High Noon", Parents' Magazine tagging Republic's "I Dream Of Jeanie", and Red- DRIVE-IN BALLYHOO Drive-ins are carrying the show- manship ball these days, judging by some of the evidence that crosses our desk these days. The most recent ex- ample is provided by Pearce Park- hurst, managing director of the Lan- sing (Mich.) Drive-In. For about three weeks prior to the opening, teaser ads were carried daily in the newspapers, working up to a pitch in the last five days — "5 More Days . . ." etc. On opening night, a variety of no less than seven different novelty giveaways delighted the patrons. Each patron was solicited to give the names of three friends to go on a program mailing list. This is a good sample of what busi- ness-hungry management can accom- plish. We could use more work like this and less wailing. IRVING SOCHIN Heads U-I's Shorts UNIVERSALE new short subjects s manager is Irving Sochin. The post been vacant since Edward McEvoy resig several years ago. A veteran of 15 year the distribution branch of the indu; Sochin has been assistant to domestic s chief, Charles J. Feldman since May, 1 Rreaking in as a salesman with Un Artists, he has also held sales posts I 20th Century-Fox. VARIETY TENT TOPICS: The Deti Variety Club has put the spotlight onB construction of "The Hollywood House'B its major activity this year, under thepj rection of chief barker Adolph Goldberg is expected to be one of I he most until and glamorous residences ever builtl Detroit, and will be devoted to raising ft| for the Cerebral Palsy drive . . . Phila phia's Tent 13 held its annual camp on at the camp for handicapped childrer Worcester, Pa. Highlighting a gala mam was the dedication of the Ladies ^| iliary Runk-House. 1 t FILM BULLET CALIFORNIA CONQUEST' STANDARD OUTDOOR COLOR SWASHBUCKLER ates • • + In action houses and as d olumbia ) minutes orncl Wilde, Teresa Wright, Alfonso edoya, Lisa Ferraday, Eugene Iglesias. 'irected by Lew Landers. I Tailored for the action addicts, "Cali- Lrnia Conquest" is a rugged Technicolor [teller involving some pseudo-historical Lents concerning the Spanish land-owners' Ports to escape the rule of Mexico and bc- |f>me part of the United States. What may le considered a "timely" note is added in |ieir fighting off Russian attempts to seize lalifornia. Robert Kent's screenplay has re- liltcd in a lot of swashbuckling action and ualler generally gunsmoke, though any resemblance to fact seems purely accidental in the contrived and conventional plot, (lay costumes and out- door settings, however, lend themselves t" colorful photography, and the pace is swift enough to satisfy the action fans. With the Cornel Wilde-Teresa Wright nanus, this will serve generally as a duallcr. STORY: The respectable Spanish land- owners in California, grown tired of slipshod Mexican rule, plan to rebel and request an- nexation by the United States. Lead by Cornel Wilde, they obtain a shipment of guns with which to start their revohllOfl and store them in the gun shop of a friendly American. Alfonso Redoya is a local bandit who - . » 111^ in know .ill hi Wilde's plans, and when Redoya raids the town, steals the guns and kills the American gunsmith, Wilde de- cides to become a Peon, join the bandits, and ham who is the traitor among the land- owners. Teresa Wright, whose father was killed by licdoya, joins Wilde in order to avenge her father. After being accepted by the bandits, Wilde and Wright learn that tin- guns are to be delivered to a Russian army that is waiting to take over California. After some fast shooting, in which Wright manages to mow down a few of the bandits and save Wilde, the Russians arc defeated and the annexation of California by the U. S. is assured. X KJ I. WAGONS WEST' ACTIONFUL ates • • + in action and western houses lonogram ) minutes od Cameron, Noah Berry, Jr., Peggie astle, Michael Chapin, Henry Brandon, arah Hayden, Frank Ferguson, Whenton Ihambers, Riley Hill. [irected by Ford Beebe. II Plenty of action, color, some good lory twists and above-average perform- IJices make Monogram's "Wagons West" a lood bet for the pair-off spot in the houses llat cater to action and western clientele. II illi a cast headed by Rod Cameron, one I the better draws among the oaters follow- ing, producer Vincent M. Fennelly has sue- CAMERON WESTERN IN COLOR ceeded in perking up and maintaining in- terest from the opening sequence right down to the fadeout. Dan Ullman's script, detail- ing a wagon-train's hazards through Indian country, has been well-paced by director Ford Reebe. Juvenile interest is heightened with kid western star Michael Chapin. "Wagons West" should register solidly with the addicts at whom it is angled and, more than that, may make a surprisingly good dualler generally. STORY i Due to meet his wagon train west, wagon-master Rod Cameron persuades young Michael Chapin to return to his family on the train after the boy had run away when his dog was banned from the trip by organizer Frank Ferguson. Conflict arises between Cameron and Ferguson, both because of the boy and the two men's mutual interest in Michael's sister, Reggie Castle. Suspecting Ferguson and his bully nephews, Henry Brandon and Riley Hill, of a treacherous deal with the Indians, Cameron and the boy stymie an attempt by the heavies to smuggle guns to the redskins. The latter attack the train and in the ensuing battle, Chapin saves Cameron from being shot down by the traitorous Rrandon. The three gun-smugglers are felled by the Indians' arrows and Cameron makes a pad with the Chcyennes to permit the train to proceed unmolested. ROGER BLUE CHIP PRODUCTION , — - 1 At top. U ill Knurrs. Jr., Jane II xman. Eve Miller and Steve Broidy in n draniatu mil ent. (.inter, lingers at a political campaign rally. Ilnltnm, HanjnE\e\ himself. Eddie Cantor, as he appears in the Zieg- futil rallies that started KogCTS an a fabltloUS eareer in show business. The Story of Will Rogers (This month, with 36 features to choose from, FILM BULLETIN features as the "Blue Chip Production" Warner Brothers' "The Story of Will Rogers". The selection, as always, is based on the various in gredicnts that go into making a boxoffice winner.) AFTER nearly ten years of planning, "The Story of Will Rogers" is finally nearing com- pletion. Only minor editing and scoring remain to be done before a special pre-release premiere in Beverly Hills, around mid-July. The foundation of the screenplay was taken from "Uncle Clem's Boy," anecdotes about Will Rogers, as written by his wife, and pub- lished a decade ago in the Satur- day Evening Post. After consider- ing some of the biggest male stars in Hollywood to play the starring role, Jack Warner finally settled on Will Rogers, Jr., the humorist's eldest son, who not only inherited an astonishing physical likeness to his father, but also his warm personality and homespun outlook on life. And the important job of directing was wisely entrusted to Michael Curtiz, a polo-playing chum of Rogers' and a long-time friend of the entire family. The competent Jane Wyman, with increased stature as an Academy Award-winning actress, was cast in the important role of Mr- Rogers. Nearly $2,000,000 has been expended by the studio in filming the Technicolor dramatization. Frank Davis' screenplay wisely by-passes Rogers' child- hood, takes up his life story just prior to the time that he left 3 his father's Oklahoma ranch to enter vaudeville. The picture is enhanced considerably by the inclusion of several big production numbers simulating the old Ziegfield Follies. A highlight is the appearance of Eddie Cantor, re-creating some of his famous) song and dance routines. A potential American audience of millions who love and| respect the memory of this great entertainer, now one of thel real folk heroes of American history, are looking forward to the job Warners has done in putting his life on the screen. Exhibitors should find their cash registers singing a happy tune if "The Story of Will Rogers" meets the promise it has displayed in thci making. ROGERS & CURTIZ A Natural REPORT FROM THE STUDIOS TV-Day has arrived in Hollywood! After months of closed door huddles and senseless smoke -screening, the powerful motion picture industry is now ready to divert a portion of its production facilities i to the invasion of the television medium. By September, probably every major and minor , studio in town will conic out in the open with plans for a production schedule of TV films. Universal-International, Columbia, KKO and Republic will doubt I ess lead the wav, but well-informed Hollywood sources are i of the opinion that the giant M(i.\l plant in Culver City won't be far behind. For the past few weeks, representatives of U-I, Columbia, RKO and Republic have been huddling with officials of the Screen Actors Guild, in an effort to work out an acceptable plan of paying actors "re-use" rights on their services for television. James C. Petrillo's musician's union has also figured in the parleys, to iron out necessary scoring problems. And, although the sub- ject has been veiled in top-most secrecy, the recent east-west studio conferences at MGM have resulted in finalizing plans for Leo's TV plunge. The somewhat nebulous term, "re-run payments", which forms the crux of the cur- rent difficulties, refers to the remuneration which actors will be paid for subsequent re- leases of films for television. The bargain- ing agents for the actors contend that the thesps should receive additional compensa- tion each time a picture is released to a new group of stations. The studio heads, on the other hand, are not taking too kindly to the idea. But whatever the ultimate agreement, the swing-over is now a certainty. Nor will it assume strictly the form of short and feature length production. Universal-International, at the present time, is filming a series of TV commercials, through its United World tele- vision subsidiary, which are assuming costly proportions, comparable to the filming of important screen tests. The sponsor, in this case a tabacco company, is expending up- wards of $25,000 on the filmed commercials, employing the talents of studio lighting and technical crews, make-up and wardrobe specialists, and all of the other facets of motion picture "know-how" that go into making pictures for theatre release. The well-publicized deal whereby Colum- bia Pictures' subsidiary, Screen Gems, will produce 39 half-hour TV films for Ford Motors stirred many of the other studios into action in the TV field. Each Ford TV film will be a complete story in itself, with different casts. Columbia has attempted to minimize the importance of the contract, by passing the films off as "nothing more" nor less than a series of shorts," but the fact remains that they are, in reality, complete film dramas, made with the same technical JUNE 30, 1 952 attention accorded to theatre films. The big question mark, of course, is this: what kind of 30- minute "feature" can be made for $20,000.' We say not much worth looking at. Darryl F. Zanuck arrived home from Europe, this month, with the announcement that 20th Century-Fox is trimming its pre- viously announced schedule of 37 films in order to concentrate on strictly quality pro- duction. The revised slate calls for 28 pic- tures. "We have come to the conclusion that the salvation of our industry lies in concentra- tion upon major subjects," Zanuck told the Hollywood press. As examples of the new policy, Zanuck pointed to his recent acquisition of screen rights to "The Robe", (Tyrone Power) Lloyd C. Douglas' best-seller, and "My Cousin Rachel" (Olivia dc Havilland), to be made from the Daphne du Maurier current bookstand favorite. Other major enterprises under the new program as listed by Zanuck are: "Call Me Madam" ( Ethel Merman-George Sanders- Donald O'Connor), based on the New York stage hit: Irving Berlin's musical, "There's No Business Like Show Business"; and "Gentlemen Prefer Blondes" (Hetty Grable- Marilyn Monroe), based on the Anita Loos Broadway success. Foreign production is on the upbeat ai^ain, after slackening off considerably from the peak of two years ago, when nearly 20 per cent of Hollywood's total product was being filmed abroad. Even some of the mino.- studios, such as Monogram, who have neve.- gone in heavily for overseas location junkets, has a pair of pictures scheduled for shooting in England, and a third in Japan. Metro has six set for European production during the remainder of 1952; Paramount is launching its most extensive overseas shooting sched- ule to date, with four pictures to be filmed in foreign locales; Republic has one slated for Italy, and Warner Brothers expects to reach a new peak in foreign production, with possibly as many as five or six units to be sent abroad. Although no one can condemn the Holly- wood movie-makers for trying thus to thaw out some of their frozen assets, there is grave danger that too heavy emphasis on foreign filming could have dire repercussions on the industry at home. More and more, television is making inroads into the motion picture talent ranks, especially in the field of technicians. If there are too many lay- offs at home during these foreign treks, the industry is apt to come up with a severe shortage of skilled personnel, which has (Continued on Page 18) Hdlijuccd tjetebeck NT A II BRIGHT it VIRGINIA GIBSON I'ILM BULLETIN'S nomination for stardom this month is Warner Brothers' peppery, pint-sized, red-headed dancing and singing beauty from the Broadway sta^e, Virginia Gibson. With less than a half- dozen pictures behind her, she has proved conclusively that she has that sparkle which captures the fancy of the movic-Koin^ public. Few newcomers to Hollywood have equalled her fan mail draw in so short a time. Even such a seasoned jud^e of movie talent as Joan Crawford has written her a letter predicting top stardom. A native of St. Louis, Miss Gibson started her meteoric climb in the high-kicking line- up of the Rroadway musical, "A Connecticut Yankee in King Arthur's Court". From there she advanced to Joan McCracken's understudy in "Billion Dollar Baby," later taking over the starring role. Other lead Broadway roles under her svelte 20-inch belt include "Look Ma. I'm Dancing," "Park Avenue" and "Along Fifth Avenue". Since Warners' talent scouts corraled her for movies, she has appeared in "Tea For Two," "Goodbye My Fancy," "Painting the Clouds With Sunshine," "Starlift" and jumped to one of the leading roles opposite- Gordon MacRae in "About Face". She is just starting her biggest role to date as the romantic lead in the new Broderick Craw- ford starrer, "Stop, You're Killing Me". 17 REPORT FROM THE STUDIOS (Continued from Page 17) been forced to turn to the new medium for its livelihood. And that isn't scare talk, as some of the studios are already learning, to their great regret. Decca Records has now taken over con- trol of Universal-International, with the pur- chase of 134,375 shares of common stock. The tlcal which brought Decca's holdings to 42 per cent, the largest single bloc of stock, was effected through the sale of the U-I stock held by J. Arthur Rank. It is still too early to foretell what, if any, policy changes will be put into effect at the studio, as a result of the change of ownership. However, there is a general feel- ing around the lot that there will be few if any personnel changes, with the exception of Leo Spitz' possible resignation. Mr. Spitz has been in ill health for some time, and may take this opportunity to announce his retirement. Decca is believed to also favor greater emphasis on musical production to promote a closer tie-up with record sales. If such is the case, the film plant will undoubtedly have to add new producers and directors who are qualified for this highly specialized type of production. At the present time, this constitutes one of the weakest facets of the lot's producer-director front. Walt Disney has just revealed a new pro- duction program which, during the next three years, will involve an outlay of more than $20,000,000. Among the full-length features figuring in the cartoonists long- range planning are: "When Knighthood Was In Flower," "Peter Pan," "The Lady and the Tramp," "Sleeping Beauty," and "20,000 Leagues Under the Sea." His production of "Leagues" will be taken by underwater photographers throughout the world, according to Disney, and will cost approximately $3,000,000. He described it as his "greatest challenge in all live-action ventures". Despite the fact that it will be interrupted by the annual two-week vacation hiatus, the period between now and October 15, will be one of the busiest in Columbia Pictures his- tory. Nineteen films will roll during the period, averaging slightly more than one per week. The accelerated pace was teed-off around mid-June, with the start of "Salome, the Dance of the Seven Veils" (Rita Hay- worth), and Stanley Kramer's "Member of the Wedding" (Ethel Waters-Julie Harris). Other top-drawer prospects arc "The Juggler" (Kirk Douglas), to roll in August; an untitled Jane Wyman starrer in Septem- ber, and Mary Pickford is scheduled to start "The Library" for Kramer in early October. A reduction in output, in order to step up quality, is in the offing at Warner P>rothers. LTsually well informed sources at the Bur- hank studio predict that Tack Warner will soon reveal a new slate of pictures in which budgets on the individual productions will run over $2,000,000 — a lot of money these days. Warner has said on several occasions re- cently, that he prefers making one picture which runs into the multi-million dollar bracket, rather than three budgeted at a quarter of that price, in order to break away from the so-called "1?" production, which he considers the industry's No. 1 stigma. In a recent communication from England, wdiere he is combining a vacation trip with foreign production business, the WP> production chief went on record as flatly opposing the double feature — "a real menace to the motion picture industry!" No exhibitor will quarrel with Warner's contention. Every ex- hibitor would like his studio to deliver fewer and better films. ■ Robert L. Lippert, in announcing a sum- mer release slate of eight films during the next four months, revealed still another tie- up with English motion picture production to place his' distribution company well up toward the front as a top distributor of im- portant British product. Lippert has just formed Michael-David Productions to act as a co-production company with Eros Films in England, and at the same time, acquired the releasing rights of J. Arthur Rank's "Secret People" (Valentina Cortesa- Audrey Hepburn). Summer releases for Lippert branches list, for June: "Outlaw Women" (Marie Wind- sor-Richard Rober), "Stolen Face" (Paul Henreid - Lizabeth Scott); July: "The Jungle" (Rod Cameron-Cesar Romero-Marie Windsor), "Pirate Submarine," a semi- documentary filmed in the Mediterranean ; August: "Hellgate" (Sterling Hayden-Joan Leslie), and the above-mentioned "Secret People", for September: "Scotland Yard In- spector" (Cesar Romero-Lois Maxwell) and "Tiger Man", a circus drama filmed in Europe. ■ MGM has set up five special test engage- ments on "Ivanhoe," its Technicolor spec- tacle, with an eye toward releasing the fea- ture on an advanced price, road-show basis. All of the test engagements will be held in late July, and, if the results warrant, will be followed by the withdrawal of the feature from the regular releasing slate, to be handled as a "special"'. Of the tests, ad- (Continued on Page 19) THE SPOTLIGHT SOL C. SIESEL With big-time musical productions lead- ing the current boxoffice parade, 20th Century-Fox has wisely concentrated the responsibility for this important phase of moviemaking in the hands of one man. He is Sol C. Siegel, a highly respected leader 'in Hollywood motion picture circles for nearly 20 years. Siegel will serve as unofficial executive producer in charge of tunefilms — a position similar to the key spot held by Arthur Freed at MGM. His wide experience in the production of musicals in Hollywood, plus his previous background as sales manager for Brunswick- Columbia Records, gives him a knowledge of the musical field equalled by few men in the industry. Siegel, one of the founders of Republic Studios, played an integral part in the amal- gamation of the six independent film com- panies which formed the backbone of the valley studio, and, during three of his six years with Republic as executive producer, turned out over 50 pictures. He left Republic in 1950 in join Para- mount with his own unit, later moving up to an executive producer. Among his pro- ductions at Paramount were: "Sweater Girl", Mean Belongs to Daddy", "Mrs WiggS of the Cabbage Patch", "Blue Skies", "Wel- come Stranger" and "The Perils of Pauline". \ In 1946 Siegel requested his release from ' Paramount to sign a term pact with Fox., In his tenure at the Westwood studio, he I has turned out such popular hits as: "A. Letter to Three Wives", "I Was A Malel War Bride", "Prince of Foxes", "Fourteen | Hours", "On the Riviera", "I Can Get It| For You Wholesale", "I'll Never Forget I You" and "Deadline — U. S. A.". His mostl recent productions are: "What Price GIory",l "Dream Boat" and "Monkey Business". 18 FILM BULL E T I N REPORT FROM THE STUDIOS ^Continued from Page IS) vaiued prices will be charged in San Fran- cisco, Huston and Cleveland, and regular prices at Atlanta and Evansville. ■ Filmakers, independent releasing through RKO, resumed production following a seven months' lay-off, with the start of filming on June 24 of "The Difference" (Edmond O'Brien-Frank Lovejoy). Ida Lupino is directing for her producer-partner, Collier Young. The story is based on the Clyde Cook kidnap headlines of a year ago. RKO has made a deal with Samuel Baer- witz Productions whereby the latter organi- zation will produce three pictures for RKO release, within the next two years. A July start is planned for the initial film, with the other two slated to roll by the end of the year. ■ The bid for bigger names in top Mono- gram-Allied Artists product, reported last issue, is being extended to cover all but the company's western slate. Mono's exec pro- ducer, Walter Mirisch told us last week. Indicative of this new trend is the name casts assembled for pictures now in pro- duction on the lot. Included in the casts are such names as Sterling Hayden, Richard Carlson, John Hodiak, Stephen McNally, Linda Christian, Mark Stevens, Dorothy Malone and Bill Williams. "Players, agents and other studios are now cognizant of the fact that the strong story properties, color and added production values we are giving our films today, are worthy of the best talent available," Mirisch said. "These pictures each play better than 10,000 theatres," he added, "and can also be of important help in furthering the careers of new stars." ■ Charles Vidor has sent word to Para- mount from London, where he is spending a few weeks on business, that he will return to the studio the first of August to begin his three picture commitment for the company. He'll launch immediately into production planning on "Rhapsody," the first of this trio, for which he hopes to corral Jennifer Jones in the starring role. The second story will be a James Michener original, to be filmed in the South Pacific. Vidor's last assignment in Hollywood was "Hans Chris- tian Andersen," for Samuel Goldwyn. ■ One new production has been completed and a pair of new ones have moved on the sound stages at Republic since our last re- port to you. The William A. Seiter produc- tion, "The Lady Wants Mink" (Ruth Hus- sey-Dennis O'Keefe-Eve Arden-William De- marest), teed off on June 18. Two days later, "Desperadoes Outpost" (Alan "Rocky" Lane) started shooting, with Phil Ford di- recting for producer Rudy Ralston. "Tropi- cal Heat Wave" (Estelita) wound up shoot- ing the same week. Heard in Hollywood By JAY ALLEN A lot of Metro producers and directors who've been called before Nicholas Schcnck during the production-executive confabs, have learned that Leo and Dorc Senary aren't the only ones in that camp who have a mighty roar. From here on out, it's strictly a nose-to-the grindstone policy out Culver City way . . . When Paramount decided Mitch Leisen was needed at home for "Topsy and Eva" (Hetty Hutton-Ginger Rogers), Fok passed the megaphone to Henry Koslcr for "My Cousin Rachel" . . . There'll be a lot of unused "Quo Vadis" footage used in "Julius Caesar". And how do you like this for Metro economy: Five (5) weeks actual shooting time on "Caesar"!! . . . Bette Davis s;iNs it's all set to repeat her fall Broadway musical on the screen, after it runs its course on the boards . . . Columbia has added a half million to its working capital via sonic- hank loans . . . Dore Schary will glorify the U. S. Army Rangers in his next personal produc- tion, " Take the High Ground", set to roll in August . . . Harry Cohn okayed a $2,000,000 budget for Princess Rita's "Salome" . . . Charles Coburn is filing a Superior Ci -in suit against Harry Popkin for $28,000 allegedly due him for appearing in "Impact" back in 19-18 . . . Irving Berlin is penning a brand new tune, tagged "International Rag" for "Call Mc Madam". Jane Wyman balked at "Hack to Broadway" and won't come back to Warners for quite a spell . . . George Sherman will direct "Lone Hand" (Joel McCrea-Barbara Hale), when U-I rolls it in late July . . . Leonard Goldstein, being very capital gains minded, insists on outright ownership of negatives on any pictures he produces — which narrows the field of majors bidding for his services . . . Paramount borrowed Jane Russell from Howard Hughes for a gag finale to "Road to Bali" (Crosby-Hope) . . . Dorothy and Herb Fields are scripting a musical for Paramount, to co-star Ginger Rogers and Donald O'Connor. Arthur Schwartz will provide the musical score . . . Louis de RochemOnt is casting a new film project based on the life of Martin Luther, to be filmed in Germany . . . When Warners get around to the re-make of " The Jazz Singer", Mike Curtiz will direct . . . U-I's world gross for the 26-week period ended May 3, took a $1,877,000 jump over the same period a year ago. Director Nicholas Ray, wdio ankled RKO six months ago, is back on the lot with a new long termer. He'll be the only director on the lot under term contract . . . Doris Day won't be playing the fern lead in "The Jazz Singer" because she considered the part too small . . . Darryl Zanuck calls the upcoming production of "The Robe", the biggest project in 2()th's history . . . Paulette Goddard makes like Cleopatra for Columbia's "The Serpent of the Nile," which starts August 8, in Technicolor ... Is Louis B. Mayer going to settle for producing horses instead of pictures, if he doesn't soon acquire control of a producing and releasing company? . . . Andre De Toth has been handed the director's assignment on Warners' "Come On Texas" (Randolph Scott) in WarnerColor . . . The Charles Schnee unit gets "Riptide" (Barbara Stanwyck), at Metro, on a $400,000 budget. David Brian won his release from Warners after three-and-a-half years on the lot. Never got a real break . . . When Otto Preminger was loaned out to RKO to direct "The Murder," DFZ handed Joe Newman the megging assignment on "The Number," Shelley Winters' second loan-out picture for Fox . . . Edmund Grainger is readying "Split Second" (Jane Russell-Victor Mature) for a July 7 start, at RKO. Columbia would like to corral Leonard Goldstein on a deal similar to Stanley Kramers . . . And, by the way, production costs on Kramer's "The 5,000 Fingers of Dr. T" have already run up far above his usual $500,000 to $700,000 budgets! . . . "Paris After Dark", a Technicolor musical with a Parisian background, has been placed on the Warners production slate of Milton Sperling . . . Olivia De Haviland rakes in a cool $175,000 for her "Rachel" stint at Fox . . . Directors Lewis R. Foster and Edward Ludwig are set for two chores apiece at Pine-Thomas . . . Technicolor is planning a plant for Rome . . . God and Lucille Ross willing, John Huston will roll "Moulin Rouge" for RKO release, July 15, on London soundstages . . . RKO has taken an option on Orson Welles' "Othello," which copped the Cannes Festival award . . . Martin and Lewis's next, "The Caddy," will be a partnership package with Paramount. M and I. get two thirds and Para draws the short third . . . The "Julius Caesar" cast is beginning to read like a Who's Who of Hollywood, what with Greer Garson, James Mason, Deborah Kerr, Marlon Brando, Louis Calhurn, et al . . . It cost Harry Cohn $125,000 to borrow Stewart Granger for "Salome". JUNE 3 0. 1 9 5 2 19 EXPLOITATION PICTURE MINSTRELS, FOSTER SELL 'JEAN IE' yiiMiiiiiiiiriuiiiii'iiiiriiiU MIDDLETON AND MINSTRELS The Great Edwin P. Christy and Troupe DRAMA Stephen Foster and the Minstrel shows have been a pair of American traditions, embodying the folk music of the South and a unique stage perform- ance designed excluisvely for laughs and gayety. Wisely realizing the entertainment potential of such material, Herbert J. Yates, president of Republic, decided to give the story of minstrel men and the man who inspired them a topflight production, with the company's own color process, Trucolor, and some of the top singing stars of Broadway. Among them are Ray Middleton, the handsome baritone who replaced Ezio Pinza in "South Pacific," after brilliant successes in several top Broadway musicals as Edwin P. Christy, famous minstrel man; Bill Shirley, the "boy with the golden voice", in the role of Stephen Foster; Eileen Christy, who has her own NBC network show, as the "Jeanie" of the story, and Muriel Lawrence, golden-voiced young blonde who has already appeared in Metropolitan Opera. While the cast is not of the "name" variety, it is full of youthful buoyance and zest, in perfect keeping with the tone of the film — and it is not too improbable that more than one may be the stars of tomorrow. Sell the cast and the characters they portray. The Stephen Foster name and the minstrel theme should exert a strong draw to the older element; the handsome Ray Middleton and Bill Shirley, along with the lovely young feminine stars can be exploited for a happy b.o. with the youngsters. SONG For an "Old-Timers" angle, interest can be worked up around anecdotes of the older people whose recollections of minstrel shows would make good copy. Cooperation of the local newspaper and radio station would be helpful. Another good stunt is a costume contest in keeping with the colorful minstrel attire. Bound to attract attention, il can be worked in several ways. Try to enlist the cooperation of local merchants and/or B department store in using costume entries in a window display, or offer merchandise and cash prizes for the best-cost timed entrants in a contest held at your theatre. DISPLAYS The period in which the picture is set offers an attractive set-up for displays. Every family has its collec tion of old-time photos. These could be used in a lobby display, especially effective in blow-ups. You might use a contest angle on this stunt, working with a local photography studio on prizes. A blow-up of Eileen Christy, who makes her screen debut in the film, has her own radio show over 103 NBC stations. Check the promotion manager of your local NBC station. He probably will be will- ing to arrange for playdate mention in return for lobby display or trailer featuring Miss Christy. NEWSPAPER ADS ACTION EXPLOITATION PICTURE of the issue Ull of the color, zest and charm that have characterized the minstrel shows are displayed in abundance by Ray Middleton and his I ministrel men in "I Dream of Jeanie'\ Republic s Trucolor musicil. I DREAM OF JEANIE The story of Stephen Foster and the story of the minstrel ows are a natural combination that should catch the fancy of whopping portion of the American public. It starts in Cin- inati in the middle of the last century, when a dreamy, love- ■n young man. Stephen Foster I Bill Shirley), writes a song it sweeps the country — "Oh. Susanna". Everyone loves it — I : railroad workers swing their picks to the rhythm, the Forty- ners speed thir steps w ith it on the dreary road to fortune, I i stevedores and the steamboat workers, even the great nstrel man Edwin P. Christy (Ray Middleton) and his iiupe make it their top number. Everyone loves it except one ry beautiful Southern belle, the girl Foster is in love w ith. iriel Lawrence. The more songs Foster writes — and which nation takes to its heart — the more he alienates the proud *NE 3 0, 1 95 2 young lover of the classics. When, in desperation, he tears up the scores of his unpublished songs. Miss Lawrence spurns the gesture to marry a stuffed shirt. It is then that Foster realizes that his true love is the younger sister (Eileen Christy) of his former sweetheart and is inspired to write the song that has lived to this day. "I Dream of Jeanie With the Light Brown Hair". The musical score reads like an encyclopedia of American folk music: "Camptown Races." "'Nelly Bly," "Massa's In the Cold Cold Ground," "My Old Kentucky Home." "Old Folks at Home." "Beautiful Dreamer." "Oh' Susanna." "Old Black Joe" as well as the title song and manv others. The music was adapted by Robert Armbruster under Allan Dwan's direction from a script by Alan LeMay. 21 N. Y. Scribes Applaud IOT£C 'Walk EdSt 011 BeaCOn' VjlU I vl} What the Newspaper Critics Say About New Films Louis de Rochemont's "Walk East on Beacon," for Columbia, met with unanimous acclaim when reviewed by the N. Y. critics. This documentary melodrama was found to be a well acted, suspenseful film and as entertaining as previous de Rochemont pic- tures done in this style. Said Alton Cook, in the World-Telegram, "de Rochemont, the old master at putting graphic reality into a film, has another tri- umph along these lines." Cook praised the cast with "this core of experienced players as well as their support was chosen apparent- ly because each one fitted the role. Not a bad choice has been made. According it a Good Plus movie meter rating, the Post's Archer Winsten found that "there is little to criticize." In his opinion, "De Rochemont makes no mistakes in this production. It is a solid, well-integrated piece of work serving a worthy purpose whether regarded as entertainment or edu- cation." "Put this fine picture on your must-see list," writes Rose Pelswick in the Journal- American. She believes the film is "as tense and timely as tomorrow morning's head- lines." As for its entertainment value, Pels- wick observes that "realistic backgrounds and authentic action rivet attention from the opening shot ... to its smashing climax." The Herald Tribune's Otis L. Guernsey, Jr. deemed the film "a bare but always in- teresting outline of facts and methods in the style of other de Rochemont films like 'The House on 92nd Street'." "Serious spy-chasing adventure," said the Time's Abe Weiler. He found it "expertly turned melodrama, but melodrama in a familiar format." In his opinion this Colum- bia release "is a swiftly paced, detail-filled yarn and a tribute to an arm of the law worthy of praise." 'SCARMOUCHE' M-G-M "Good (Movie Meter Rating) . . . bigger, prettier, much more colorful than ever . . . You feel as if . . . you should cheer. Not from enjoyment, but rather in dazed appre- ciation of an effort made to produce a gorgeous spectacle." — Winsten, N. Y. Post. "Spasmodic thriller, lovely to look at, oc- casionally wild with excitement and all too often heavy-handed and trite." — Hudson, N. Y. World-Telegram. "Costume drama . . .. filmed on a lavish scale . . . Plenty of action in the piece, and the assorted deeds of derring-do are spun out against picturesque backgrounds." — ' Pels- wick, N. Y. Journal-American. "A little bit slow in getting started . . . the business nets moving in earnest when the leading swashbucklers first cross swords and keeps moving . . . until the end of their big climactic duel." — Crowthcr, N. Y. Times. "One of those romantic adventure dramas that docs not quite convince nor quite sati- rize ... lis swash does not buckle to much purpose." — Guernsey, N, Y. Herald Tribune. THE FIGHTER" UNITED ARTISTS "Story of revenge and patriotism ... is a vigorous drama."— Pelswick, N. Y. Journal- American. "Suspense . . . swift savagery ... Its other values are stereotyped in a film that is a straight action drama all the way." — Guernsey, N Y. Herald Tribune. "Good (Movie Meter Rating) . . . wallop- ing melodrama at every turn of the plot." — Winsten, N. Y. Post. "Respectable film that seldom realizes its potentialities . . . The inevitable climax . . . adds up to one of the most graphically excit- ing screen bouts in years ... a fragmentary masterpiece of which Mr. London would have been proud."— H. H. T., N. Y. Times. CARBINE WILLIAMS M-G-M " 'Carbine Williams' has built a conven- tional but solid prison movie out of an extraordinary real life history." — Guernsey, N. Y. Herald Tribune. "Somewhat bewildering combination of personal attributes ... is arranged for almost solid admiration by the people of MGM." — Crowther, N. Y. Times. "Good plus (Movie Meter Rating) . . . new thing among Hollywood entertaiments . . . You'll find it an interesting oddity, good to watch if not quite fascinating." — Winsten, N. Y. Post. "Told with honesty, warmth and con- viction. It falls short ... of providing moviegoers with such essential ingredients as pace and action." — Torre, N. Y. World-Tele- gram. "Realistic; good cast ... an interesting and thoughtfully handled picture." — Pels- wick, N. Y. Journal-American. RED BALL EXPRESS' UNIVERSAL "Interesting picture . . . Dramatic story of the never-to-be-forgotten role played by the Army Transportation Corps on the Norm- andy beach-head." — Pelswick, N. Y. Journal- American. "Completely stereotyped and shoddy war picture . . . There is nothing in this film to recommend, with the possible exception of Sidney Poitier and Jeff Chandler." — O. A. G., N. Y. Times. "Generous use of actual combat films and some well-staged battle scenes make this film more palatable and more credible than most treatments of this same story." — Cook, N. Y. World-Telegram. "Rousing film ... It frankly discusses the question of color prejudice in the service . . . The Negro's attitudes and his treatment by certain of his fellow soldiers is brought into sharp focus here." — Pihodna, N. Y. Herald Tribune. OUTCASTS OF POKER FLAT' 20TH CENTURY-FOX "Well-acted melodrama . . . Based on Bret Harte's story of Gold Rush days ... the accent all the way through is on violence." — Pelswick, N. Y. Journal-American. "Harte's story has all the ingredients for a powerful screen story. Unfortunately, hardly any of the drama is displayed."— Pihodna, N. Y. Herald-Tribune. "Hits with tense subtlety . . . This picture should combine appeal for Western addicts as well as the seekers for more substantia! content in their movies." — Cook, N. Y World Telegram. "Fair plus (Movie Meter Rating) . . Plenty of snow, gun-play and fisticuffs, bill they don't add up to much you can believe.' —Winsten, N. Y. Post. "Improvises fancifully and enlarges or! Harte's blueprint, but only fitfully succeeds in adding movement or tension to the tale.' — Weiler, N. Y. Times. LYDIA BAILEY' 20 CENTURY FOX "This period adventure . . . succeeds u, being a briskly paced, swashbuckling yarn.' — Weiler, N. Y. Times. "Has little substance or reality, but it J surface is flashy enough to capture the ai tention most of the way through a routinj interlude of period melodrama." — Guernsey! N. Y. Herald Tribune. "Good roaring adventure story in an exotilj and menacing setting." — Cook, N. Y. Worldi Telegram. "Action filled picture of intrigue on Hail . . . Set-ups for a succession of swashbuck : ing scenes." — Pelswick, N. Y. Journa1 American. "Fair plus (Movie Meter Rating) . . , Minor contributions can do nothing to con pensate for the emptiness of the two leadin characters . . . Since the protagonists fall l! hold us, the rest ... is showy but insubstai tial." — Winsten, N. Y. Post. 'LOAN SHARK' LIPPERT "For all the pat format, this little pictu isn't particularly hard to take . . . Stirs up| fair amount of suspense." — H. H. T., N. Times. "Might have been more suspenseful if oi| did not have the feeling that he had seen i this somewhere before." — L. S., N. | Herald Tribune. "Mildly diverting melodrama which provokes a fair amount of interest. Otlifl wise it's run-of-the-mill stuff." — Torre, N. I World-Telegram. "Briskly handled crime yarn, it gives R: a chance to play his usual tough guy roll — Pelswick, N. Y. Journal-American. 21 FILM BULLETI 6XHIBITORS fORUfTl Opinions Culled from Organization Bulletins ADMISSION TAX Allied Caravan of la., Neb., & Mid-Central In a recent letter from Mr. Abram F. Myers, Allied General Consul to Charlie Miles, he states in part: "In the coming cam- paign — (eliminating the 20% tax) — let nothing be said about passing the benefit to the customers. The Metropolitan Opera and the symphony orchestras secured exemption because they needed the money: they frankly told the Senate Finance Committee that they proposed to increase their admission prices 20%. I don't know anyone who could use a 20% increase in gross receipts better than the exhibitors." This, we whole-heartedly agree with. We haven't seen any reduced prices at school functions, swimming pools, church affairs or ny of the other events sponsored by those bodies which were benefited last fall by the Hmination of the tax. In light of today's larket, certainly every theatre could make ood use of that extra 20% to keep a lot f them from going to the wall. CENSORSHIP Allied Caravan of la., Neb., & Mid-Central Now that the supreme court has ruled that t is unconstitutional for a state to bar a notion picture on the grounds that it is acrilegious we in this industry are getting iur first ray of light that has kept us in the mlp paper magazine class ever since our nception. The question before our house ow may be quite a while in being answered et — that is, is the the screen now really lear of censorship? We'll probably know a lot more about it hen we hear the ruling on "Pinky" that is lated to be ruled on soon. It has always )een a mystery to this writer why this :reatest medium of entertainment the world las ever known should have been placed in he catagory that needs some self-righteous >erson or group of persons to tell us what ve can make or show and tell their fellow nan what he can or cannot see. Legalized ensorship boards are not only a thorn in he side to the intellectual development of community, but an insult to their intelli- ence. Ours is an industry that has done a narvelous job of policing itself and the con- ents of any picture seen on any screen is e sole responsibility of the producer and xhibitor. Thank heaven we don't need to 'ide our head or fear the shame of facing 'ur patrons after they see our pictures. Undoubtedly the making of a picture has een difficult for any producer knowing that j censor board in Podunk or a hundred :ther places might cut half the meat out of is picture. Now here is a thought that has ept popping up in our head for quite a Lhile. (We aren't putting any money into Iroduction, so we're safe to say this.) Haven't we coddled John and Jane Public bout long enough? We've been so fearful UNB 3 0, 1 9 5 2 of offending this group or that group, or this or that censor board, so long that we've ended up with a lot of maudlin mush that is neither convincing nor purposeful. Assum- ing that the screen exists for the purpose of entertainment, yet it has a civic and intel- lectual responsibility. Production has done a good job of fulfilling this responsibility, but they've hafl to fear telling truths for fear of what John Q., or a certain portion of him, might do at the box office. Well, dollars talk pretty loud, all right, but it would show real integrity to make a picture an assertion or a policy and say, "This is what we stand for and I belong to that". If we are telling the truth, let's make the truth stand out in bold letters and let the chips fall where they may. We are so fear- ful of offending we are almost obsequious. Need we be? We are dealing with a public that deserts us at the earliest opportunity, do we have to keep handling them with kid gloves? TV TRAILERS ATO of Indiana It is very unfortunate that 20th Century- Fox is using "Kangaroo" as a test of the drawing power of television trailers. By all logic a specially designed TV trailer on an outstanding picture should get a lot of people away from their seats and into the theatres, but "Kangaroo" is not an outstand- ing picture. It is a very slow moving picture made in Australia with a cast that speaks in heavy English accent. Instead of a picture with a strong appeal to American audiences most viewers say it is more or less of a dud — and more than less. The TV viewer who leaves his set to see "Kangaroo* will have a lot of sales resistance to the next motion picture trailer he sees on TV. FIGHTING FILM TAX Allied of Gulf States At the last moment we are happy to ad- vise our members and all theatre owners that the Allied Legislative Committee, head- ed by Don George, Chairman, is again mak- ing an attempt to eliminate the state sales tax that we are now paying on film-rental. Inasmuch as we have to work fast, we ask you to contact your legislators both representatives and senators, over the week- end when they will certainly be home. Ex- plain to them that we have been paying an UNJUST tax on film rental which is our WHOLESALE COMMODITY. We are collecting the state tax at our box-office which is the retail end of our business just as other retail merchants do. Explain to your legislator that we are not trying to avoid any just taxes but feel that the tax collected on film-rental is not only unjust but discriminatory because other retail busi- nesses DO NOT PAY TAXES ON COM- MODITIES BOUGHT FOR RESALE. As you undoubtedly know, there are ex- penses involved in getting the bill prepared and introduced, which also necessitates keep- inn our active committee in Baton Rouge. Frankly we do not have enough money l<> re-imburse these people who have -o gen- erously offered their services and their time, and the least we can do is to pay their room and board and travel to and from Baton Rouge. If every theatre owner will contri- bute about 25% of what his annual film tax is, it would certainly help to make up the cost of getting these vicious taxes off for- ever. PUBLIC RELATIONS (?) ITO of Ohio Here is an example of a mimeographed letter sent to several thousand residents in the area near the Palms Theatre in Los Angeles, which must have been in a very desperate state before this appeared. "May I introduce myself? I am the Palms Theatre. Oooooops! Don't tear this up yet? (iive me a chance . . . please? "1 know what you're thinking — ('That dump* — 'That flea house' — 'A shoot-'em-up joint' — 'I wouldn't be seed dead in that place!') "Okay. That's what was. But — 'tain't so any more! "I have some new owners. Merritt Stone and James Allen. Young guys. Yets. Full of dreams. And eager to please — you. "Here are some of their improvements: "My street front has a new face. My lobby is attractively decorated and I have a peach of a candy stand with a tremendous assortment to appease your sweet tooth. My lounges are fresh and clean and I have (if you'll excuse me) new toilet seats. My screen and sound are the best that monev can buy. My seats are comfortable and kept in constant repair. My floors are clean. As for bugs — there isn't one who could live here because I get exterminated and fumi- gated regularly. I am getting the best pic- tures that arc made, etc., etc." NEWS REEL BALLYS Allied Caravan of la., Neb., & Mid-Central Much opposition was expressed at the Des Moines meeting on June 3 to the great amount of plugging pictures all distributors do in their news reels. Theoretically, this is not too bad if it is not overdone. Obviously it has been overdone. And one big com- plaint was that when they show a crowd lined up for a premier why don't they show what the popular people say about it or show them going to the picture — people like Johnnie Ray, Bob Feller or someone the people know. To show tuxedoed executives attending their own picture has neither popu- lar appeal or common sense. It's a waste of footage and docs nothing to advertise the picture. All exhibitors will agree that we've seen so damn many premiers on the screen that none of them are any longer news. 23 CO I EH-TO-CO I EH There are substantial reasons why exhibitors all over America (and the subscribers in Canada, Europe, England, India and Iceland, too) are agreeable to pay more for their subscription to FILM BULLETIN than for the average trade paper. The answer is that thousands of theatremen do more than just subscribe to FILM BULLETIN . . . They absorb it from cover to cover . . . They buy product by it production information . . . They book by its frank reviews . . . They form their views of industry policies by its Viewpoints pages . . . They have faith in it . . . They regard FILM BULLETIN as the paper with something Important to say! FILM BULLET RODUCTIOn 1 R€L€flS€ R6CORD COLUMBIA ?5 I -52 Features Serials Completed (60) Completed ( 3) In Production (3) In Production (0) I PRODUCTION TITLE — Running Tim* , I Ashore IT) odoo Tiger rget — Hong Kong OMPLETED < fair In Trinidad iache Country (42) signment — Paris rbed Wire . ots Malone 1 103) t >ve Warrior IT) (73) gand, The (T| 194) lifornia Conquest IT) (79) iptain Pirate IT) ouded Yellow, The (94) _ ngo Bill ipple Creek IT) (78) ath Of A Salesman III ty Dozen, The mily Secret, The (85) efighters, Th e .. , st Time, The 189) i00 Fingers of Dr. T., The ur Poster, The .Iden Hawk, IT) RELEASE CHART — 1951-52 — Cast Rooney- Lawrence Weissmuller-Burckhart Denning-Loo Rel. No. Rev. H*vw_,. :h-Ford _Autry-Buttram Andrews-Toren Autry-Buttram Holden-Clements Jon Hall Dexter-Lawrence Wilde-Wright Louis Hayward Simmons- Howard McGuire-Moore 5-52 12-51 4- 52 7-52 7-52 5- 52 419 1-14 5-19 10-B ppy Time, The rem Girl, The (70) _.. wk of Wild River, The 154) r Wonderful Lie Man Uprising ISC) (75) ...Montgomery- Booth March-Dunnock Colleano-Franz _.Derek-Cobb Williams-Reynolds Cummings-Hale Hayes-Healy Harrison-Palmer ..... Fleminq-Hayden ... 7-52 2-52 423 12-31 12-51 2-52 414 424 2-11 2-52 2-52 Boyer-Driscoll ..... _ Davis-Castle . Starrett-Burnett Kiepura-Eggerth Montgomery-Long 1-52 ck McCall, Desperado IT) Montgomery-Stevens agle Jim in the Forbidden Land (45) Weissmuller-Ryan 3-52 lgle Safari Weissmuller-Greene I From Amarillo 154) Starrett-Barnett 4-52 422 1-28 417 iga, The Wild Stallion 145) Reissue Stone-Hudson ramie Mountains (54) _ Starrett-Burnett st of the Comanches (T) st Train From Bombay in In the Saddl* (T) (87) irrying Kino!, The (93) >ntana Territory (T) Crawford-Hale Hall-Ferraday .Scott-Leslie Holliday-Harrison McAllister-Hendrix 2-52 4-52 12-51 4-52 4-52 3-52 420 425 5-5 Six Convicts (104) Beel-Mitchell ght Stage to Galveston 141) Autry-Buttram 3-52 linawa (47) . O'Brien-Mitchell _ 3-52 . i West. The (41) . Autry-Buttram 3-52 475 tlanders, The IT) Scott-Jarman _ thfinder, The (T) Montgomery-Carter _____ ila (80) Young-Smith 4-52 5-19 nee of Pirates IT) Derek-Rush •pie Heart Diary 173) F. Langford-T. Romano 12—5 1. ;nbow Round My Shoulder (T) Laine-Daniels . i Snow (75) Madison-Mala 7-52 lers of the Whistling Pines _ Autry-White ugh. Tough West (54) Starrett-Burnett _ andal Sheet (82) Starrett-Burnett oky Canyon (55) _ Starrert-Burnette per, The (87) Menjou-Fram 421 of Dr. Jeltyll (78) prn Over Tibet (87) . Reagon-Douglas 4- 52 1-52 5- 52 Hayward-Knox 11-51 483 7-52 409 ...... 10-22 und Off ISC) (83) Mickey Rooney 5-52 n Tall Men (T) (97) ... __ Lancaster-Lawrence 12-51 413 ef of Damascus, The IT) (78) Henreid-Sutton 4-52 4-7 tican, The (T) 142) Documentary Special agon Team _ Autry-Buttram -Ik East on Beacon 198) Murphy-Gilmore 4-52 424 5-5 ar Cry IC) Montgomery-Long nk in Indo-China, A 147) Archer-Dick 5-52 951-52 LIPPERT Completed (35) In Production (2) I PRODUCTION TITLE — Running Time ick Pawn, The _ the Money OMPLETED ■ You Were „ ndit Queen r Men Only (93) ... eat Adventure, The 175) illgate lgle, The an Shark (79) III Bait 178) •vaTo (70) ... itlaw Woman (C) (75) ate Submarine 149) jtland Yard Inspector :ret People >len Face, The (71) onghold 173) perman and The Mole Men (58) les of Robin Hood (59) _ _ j er Man Hey of the Eagles 183) _____" ngs of Danger 172) L*NE' 30, 1 952 RELEASE CHART — 1951-52 — Cast George Raft Rel. No. Rev. Dane Clark Tracy-Sawyer Britton-Parker 12-15 P. Henreid _ ..... 1-52 Price-Hawkins 1 1-2 . Hayden-Leslie 8-5 Cameron-Romero 4-27 Raft-Hart 5-23 Brent-Chapman 1—52.. Indian Cast 3-52 10-5 5023. 5010 5102 5021 5113 5112 5111 5103 ... 5104 Windsor-Rober 4-2 5105 Special Cast 7-18 5110 Romero-Maxwell 9-2 5117 1- 28 2- 1 1 ..Cortest-A. Hepburn Henreid-Scott Lake-Scott _ Reeves-Coates Clarke-Hatcher Warner-Gray Z. Scott 8-20 4-14 2-52 1 1-23 .12-21 4-52 4-25 4-1 .5109 5107 . 5030. 5008 5108 51 14 5104 In the Release Chart, "Rel." is the National Release Date. "No." is the release Number. "Rev." is the issue in which the Review appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1951-52 programs unless otherwise noted. Listing of color pictures follows immediately after title: (T) Technicolor, (C) Cinecolor, (SO Supercinecolor, (TR) Trucolor, (AC) Ans- color, (NO Natural Color, (WC) WarnerColor. METRO-COLDWYN - MAYER 1951-52 Featu res Completed (89) In Production (7) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Apache Trail . Desperate Search, The I Love Melvm 111 Naked Spur. The IT) Small Town Girl Story of Three Loves Tribute To A Bad Man COMPLETED Above and Beyond American in Paris IT) (113) Because Your Mine IT) Belle of New York IT) 181) Callaway Went Thataway 181) _ Calling Bulldog Drummond (80) Carbine Williams 1 101 1 Devil Makes Three. The Fearless Fagan Leigh-Carpenter Girl In White, The (93) Atlyson-Kennedy Glery Alley 179) Caron-Meeker Holiday for Sinners (79) Young-Rule Hour of Thirteen. The Lawford- Addams Invitation 185) McGuire-Johnson It's A Big Country (89) All Star Ivanhoe IT) . R. Taylor-E. Taylor Just This Once 1901 Leigh-Lawford Light Touch, The (93) Grainger-Angeli Lili Caron-Ferrer Lone Star 194) ____ Gable-Gardner Cast Roland-Horton Keel-Drake O Connor-Reynolds Stewart Ryan J. Powell-Grainger All-Star Cast Turner-Dougles Taylor-Parker . Kelly-Caron Lanza-Whitmore Astaire-Vera-EII» n MacMurray-McGuir . Pidgeon- Leighton Stewart-Hagen Kelly-Angeli Rel. No. Rev. Nov 9-24 3- S2 Dec Dec 5-52 8-52 8-52 5-52 4- 52 7-52 223 214 213 231 232 2-25 12-3 4-21 4-2 2- 52 1-52 8-52 3- 52 Dec Love Is Better Than Ever 181) Lovely To Look At IT) 1 1 12) Merry Widow, The (T) My Man and I One Piece Bathing Suit IT) Pandora and the Flying Dutchman (T) 1123) Pat and Mike 193) E. Taylor-L. Parks Grayson-Skelton Turner-Lamas Winters-Montalban Williams-Mature 2-52 4-52 7-52 200 215 224 212 222 225 1-28 12-17 I- 21 II- t Plymouth Adventure (T) Prisoner of Zenda (T) _ Quo Vadis (T) (171) ... Rogues March Scaramouche IT) (115) Sellout, The (72) Shadow in the Sky 178) ___ Singin' In The Rain IT) 1103) Skirts Ahoy IT) 1109) Sky Full of Moon Talk About a Stranger 145) Time Bomb Too Young To Kiss (91) Washington Story Westward the Women (114) When in Rome (781 Wild North, The 197) You For Me Mason-Gardner 1-52 Tracy-Hepburn 4-52 Tracy-Tierney Granger-Kerr Taylor-Kerr Lawford-Rule S. Grainger-E. Parker 4-52 Pidgeon-Totter 1-52 Meeker-Davis-Whitmore 2-52 Kelly-O'Connor 4-52 235 10-22 4-14 234 11-19 William-Blaine Carpenter-Sterling Murphy-Davis Young Man With Ideas 184) Ford-Vernon Ailyson-Johnson Johnson-Neal Taylor-Darcel Johnson-Douglas Granger-Corey Lawford-Greer Ford-Roman 5-52 4-52 Nov 7-52 1-52 4- 52 3-52 5- 52 219 221 227 233 228 214 229 224 230 2-311 12-31 4-21 3-10 1 1- 5 12- 3 3-10 3-10 MONOGRAM - ALLIED ARTISTS 1951-52 Features Westerns Completed Completed [45 16! In In Production Production RELEASE CHART IN PRODUCTION TITLE — Running Time Hiawatha IC) Gun Smoke Range Yukon Gold COMPLETED African Treasure Aladdin and His Lamp (C) (47) Artie Flight Counterfeit Crazy Over Horses (45) Dead Man's Trail Desert Pursuit Elephant Stampede (71) Flat Top IC) Feudin' Fools Flight to Mars IC) (72) _ Fort Osage IC) (72) Gold Fever Gunman, The Hold That Line (44) Here Comes the Marines Jet Job (43) Kansas Territory 173) ... Lawless Cowboys 158) Longhorn The 170) Man from Black Hills (78) Mexican Silver Night Raiders — 1951-52 — Cast Edwards-Dugay Wilson-Stewart Grant-Hyer Rel. No. Rev. Sheffield-Luez Medina-Sands Morris-Albright DeFoe-King Gorcey-Hall Brown-Ellison .Morris-Caruso Sheffield Hayden-Carlson Gorcey-Hall 4-52 1-52 7-20 Chapman-Mitchell Cameron-Nigh Morgan-Calvert Wilson-Knight Gorcey-Hall Gorcey-Hall Clement s-Verdugo Elliott-Stewart Wilson-Knight Elliott-Coates Brown-Ellison Wilson-Clyde Wilson-Knight 11-18 7-4 5-52 10- 29 9-14 11- 11. 2- 52 4- 8 4-13 3- 52 4- 15 3-23 5- 4 11-7 I 1-25 3-52 . 5207 5299 5210. 5114 5243 5209 _ 5 1 1 0 3—10 2-11 5213 5103 5102 11-19 1-28 52S2 5211 5215 5225 5155. 5223 . 5242 . 2-52 . 5251. 25 Northwest Territory (61) Rodeo (C) 171) ..Grant-Chinook ..Jane Nigh 12-?. .3-9 5104. Rose Bowl Story, The IC) Thompson-Miles 8-24 5204 ... Stage to Blue River 156) ... McDowall-Miller 1-52 5217 Steel Fist, The (73) Brown-Ellison 1—52 5241.. Texas Lawmen (54), Brown-Ellison 12-2 Texas Marshall Wilson-Knight Texas City Wilson-Kniqht 12-30 ... Trail Dust Albright-Winters 12-31 5107 Vicious Years, The 179) Cook-Moore 2-18 Waco 1681 Elliott ... 2-52. 5224 Wagons West (C) .. Cameron 6-29 5203 Whistling Hills (58) Brown-Ellison 10-7 5145.. Wild-Stallion (C) Johnson-Hyer 4-27 5205 Witness, The Kirkwood-Gleason ALLIED ARTISTS Disc Jockey (771 Simms-O'Shea 8-23 21 Highwayman, The (C) (83) Hendrix-Coburn 9-8 20 3-10 6-18 8-27 PARAMOUNT 1951-52 Features Completed (67) In Production (4) RELEASE CHART — 1951-52 — Cast Rel. No. Hope-Crosby-Lamour 12—52 IN PRODUCTION HUE — Running Time Road to Bali Scared Stiff Marfin-Lewis Stars Are Singing, The (H Alberg+ietti-Clooney Pleasure Island (T.) Senn-Taylor COMPLETED Aaren Slick from Punkin Creek (T) (95) Shore- Young 4-52 SI 19 Anything Can Happen (107) Ferrer-Hunter 5-52. 5117 Atomic City, The (85) Barry-Clarke 6-52 5120 Blading Forett (T) Payne-Moorhead 12-52 Botany Bay (T) _ Ladd-Ma«on Rev. 3-10 3-19 6-16 Caribbean (T) Payne-Dahl 9-52 Carrie 1 1181 Olivier-Jones 8-52 Come Back Little Shaba Lancaster-Booth Darling, How Could You (95) Fontaine-Lund I l^5t 5108 8-13 Denver S Rio Grande (T) (89) O'Brien-Hayden 6-52 5115 4-7 Detective Story (101) Douglas-Parker 11-51. .5111 i 0-8 |.ncore r • Mrftrgham Stories 7-52 Flaming Feather (T) (77) S. Hayden-G. Russell 2-52 . 5118 12-31 Greatest Show On Earth IT) (151) Stewart-Hutton 7-52 5130 1-14 Green Gold of Nevada (T) Payne-Morrow Hong Kong (T) (92) Reagan-Fl.ming Hurricane Smith (T) „ DeCa. lo-lreland 10-52 1-52 5109 Jumping Jacks ,98. M^nCT"? T-lt U.StAF,0.m0Ys°U !_ . Crosby-W.yman Military Policeman ll-l? 1 4-16 My Favorite Spy (93) My Son John ( 122) ..Barry-Carke Hope-Maxwell _ _.. Hope-Lamarr 12-51 5110 Haryes-Heflin 4-52 5116 Rage of the Vulture, The Ladd-Kerr Red Mountain IT) 184) Ladd-Kennedy 5-52 Sailor Beware 102) Martin-Lewis 2-52 Ihlgr-fT?6 171 " - Heston-Hanson Silver City (T) (90) Somebody Loves Me IT) 10-22 4-21 Ladd-Arthur I 1-52 5113 .5114.. 12-17 DeCarlo-O'Brien 12-515112 Something To Uve ^ " '(90) tU S?an,a°gf ^T'l' Stooge. The Holden-Taylor 8-52 5105 Martin-Lewis Submarine Command (89) Holden-Olson TroJr ?rdm,'T! Holden-Smith w l,Z)™ J1' ,T, Reagan-Fleming Wh :°L^MtSJJL.. ... Barry.Robinson" I 1-52 11-51 11-52 5107 n Worlds Collide (82) (T) Derr-Rush 11-51 5106 10-8 2-1 i 9-24 9-24 1951-52 Features Serials Westerns REPUBLIC Completed (18) Completed ( 0) Completed (13) In Production (2) In Production (0) In Production (0) IN PRODUCTION TITLE— R unning Time Lady Wants Mink, The (Tr) Tropical Heat Wave COMPLETED Adventures of Captain Fabian (100) Bal Tabarin 190) Black Hills Ambush Border Saddlemates Captive of Billy the Kid (54) ... Colorado Sundown (47) De«ert of Lost Men (54) _____ Fabulous Senorita, The (80) Flight from Fury .... _ _ _ Gobs end Gals Honeyebile (Tr) (89) _______ Hoodlum Empire 198) I Dreem of Jeanie (Tr) (90) Ledy Possessed (87) _ Last Musketeer, The (67) Leadville Gunslinger (54) Oklahoma Annie IC) 190) Old Oklahoma Plains Pals of the Golden West 168) Ouiet Man, The (T) (129) Rangers of the Golden Sage Ride the Man Down (Tr) See Hornet. The (84) South of Caliente 47) Stormbound Street Bandits (54) Thunderbirds Thundering Caravans 26 RELEASE CHART — 1951-52 — Cast Hussey-O'Keefe Estelita-Hutton . Rel. No. Rev. E. Flynn-M. Prelle Lawrence-Ching Lane-Waller Allen-Kay Lane-Edwards Rex Allen Lane .Estelita-Clarke Edwards-Clark Downs-Hutton .Canova-Foy Donlevy-TreVor Middleton-Shirley Mason-Havoc Allen-Kay Lane-Riley Canova-Russell Allen-Kay Rogers-Evans Wayne-O'Hara Chapin-Janssen Donlevy-Tucker Cameron-Booth Rogers-Evans Dowling-Checchi Edwards-Clarke Derek-Barrymore Lane-Waller 10-4 5101 4-1 5129 5-20 4- 15 5143 1- 52 5044 2- 52 5141 11-19 . 5043 4-1 5125 5- 52 siii 10-51 . ...5r2l 4-15 5105 4-15 1-52 5104 3- 52 5142 3-52 .5171 3-24 5122 IO-« -14 4-18 4-21 12-15 5152 2-11 5-19 H-4 10-22 • 0—15 — 5 1 5 1 _ 11-19 12-15 5032 I I — I B 5130 12-17 7-20 Toughest Man in Arizona (Tr) Monroe-Leslie Utah Wagon Trail (47) Allen-Edwards WAC From Walla Walla Canova-Dunne 10-15 5054 II- Wild Blue Yonder (98) Wild Horse Ambush Woman In The Dark (40) .... Woman in the Wilderness ... Wyoming Saddle Pals Corey-Raiston Chapin-Janssen ..Chapin-Janssen 12-7... . 5130 ..... 12- 1-52 5131 I-: ' 7-15 RKO RADIO 1951-52 Features Completed (69) In Production (I RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. No. Rev Blackboard, the Pirate (T) Darnell-Newton COMPLETED At Sword's Point (T) (81) Wilde-O'Hara 2-52.. Androcles and The Lion Simmons-Young ... Beautiful But Dangerous - Simmons-Mitchum Beware, My Lovely Lupino-Ryan Big Sky, The Douglas-Martin Bloodhound* of Broadway (T) Gaynor-Brady Body Snatcher I Re-issue) Xarloff Cat PeopLe (73) St— one-Smith 220 4-52 Reissue 4- 52 IC-51 5- 52 .. 1-52 5-5. 271 247 229 214 273 .214... Clash By Night (IBS) Douglas-Stan wycic Double Dynamite (88) Sinatra-Russell Faithful Gffy (84) J. Smith-Ramafi Girl in Every Port. A (84) Marx-W«m Brown's Schooldays l?3) |»o Gals and a Guy (70) 'ell, The 185) [hen I Grow Up (?0) Fairbanks-Donlan Greenwood-Bourvil 9-21. . 10-21 Sach Stevens-Lansbury 3-14 _ KB Farrar-Firzgerald 9-7 _ O'Keefe-Keyes 2-22 Richardson-Kerima 7-11 Lop . 5-19 Oberon-Henreid 8-10 —9—1 0 ..10-8 9-24 3-24 9-24 Claudette Colbert Graves-King Rios-Moreno _ .Swinburne-Shields Color Feature Hyer . Foch-Haymes Hauff-Schneider _ Bonar Colleano Davies-Newton -Paige-Alda 5-15 2- 15 Ren 3- 15 _ _ 8-24 _ Dan 3-28 Gehn . ... . ... 3-7 _ 1 1—2 8-31 7-14 4-7 Rober-Kelly 9-14 Pop Preston-Scott 4-20 9-10 UNIVERSAL 951-52 Features Completed (76) In Production (2) RELEASE CHART — 1951-52 — i PRODUCTION TITLE — Running Time attle Kate IT) rate Companions, The (T) OMPLETED gainst All Flags (T) Cast O'Hara-Nicol Dailey-Lynn Rel. No. Rev. Flynn-O'Hara ittle of Apache Pass, The IT) (85) Chandler-Lund end of the River IT) 191) Stewart-Kennedy ack Castle, The McNally-Greene Mio Goes To College Perreau-Gwenn ight Victory (97) Dow-Kennedy onco Buster IT) (80) Lund-Brady re of Outlaws, Tha IT) 17a) Smith-Carey awron Kid, The IT) 184) A. Murphy-Y. Dugay ity Beneath the Sea IT) Ryan-Powers Apr Feb 217 ... 212 4-7 1-28 ..Jan May Nov ..Jan. .308 .219 7-30 4-21 11-5 .213 12-31 uel at Silver Creak, Tha IT) nders Keepers 175) ame of Araby (T) 177) _ esh and Fury 183) ■ancis Covers the Big Town _ ■ancis Goes to West Point olden Horde. The IT) 1134) |un Hand (T) as Anybody Seen My Gal IT) ere Comes The Nelsons 174) on Man 182) Grows On Trees ory Hunter (T) 195) 'St Across the Street 79) idy from Texas IT) 178) >dy Pays Off, The 180) ivender Hill Mob, The (82) «!• Egypt IT) 182) >st in Alaska Murphy-Domergue Ewall-Adams Chandler-O'Hara Curtis-Sterling Donald O'Connor O'Connor-Nelson Blythe-Farrer Hudson-Adams .Colburn-Laurie Ouie and Harriet Keyes-Chandler ...... Dunne-Jagger Steel-Sheridan Sheridan-Lund Hull-Duff Jan._ Jan Mar .ill. 207 214 1-14 12-3 July Oct 224 134 July Feb Aug 224 210 1-28 .130 7-14 June 221 Darnell-McNally _ Guuinness-Holloway Fleming-Stevens Abbott-Costello a and Pa Kettle at the Fair (87) .... Main-Kilbride .: a and Pa Kettle in Waikiki Main-Kilbride a and Pa Kettle Go To Paris Main-Kilbride agic Lady Young-Chandler ark of the Renegade (T) (81) Montalban-Charisse eet Danny Wilson 188) - Sinatra-Winters o Room for the Groom 182) Curtis-Laurie >ol of London 185) ._ . Colleano-Shaw UNE, 30, 1 952 Oct. ... Nov Oct Sept .134- .202. 280 131 4-2 4-2 10-8 1-28 8-27 Apr 214 3-24 128 205- May 220 Nov 183 Aug Feb 8-13 1-28 5-5 WARNER BROTHERS 1951-52 Features Completed (47) In Production (4! RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time April In Paris IT) Desert Song, The IT) Big Jim McLaln Springfield Rifle IWI COMPLETED Cast Day-Bolger Grayson-MacRae Wayne-Olson Cooper-Thaxter Rel. No. Rev. Abbott and Costello Meet Capt. Kid About Face IT) 194) Big Trees, The IT) (89) Bugles in the Afternoon IT) 185) Captain Blood (Reissue) (98) Carson City IWC) 1871 Close To My Heart (90) Come Fill the Cup 1113) Captain Horatio Hornblower (T) ( I 17) Crimson Pirate, The (T) Danger Forward Distant Drums IT) (101) __ Force of Arms 1100) I'll See You In My Dreams (110) ... Iron Mistress, The (T) Jack and The Beanstalk (SO 178) Lion and the Horse, The (WC) (83) Jim Thorpe. All-American (105) Man With A Gun (T) _ Mara Maru (98) _ Miracle of Our Lady of Fatima, The North of the Rio Grande Painting Clouds with S'hine (T) Retreat, Hell! (95) Room For One More (95) San Francisco Story, The (80) She's Workinq Her Way Through College (T) (101) Starlift 1103) Story Of Will Rogers. The IT) Streetcar Named Desire, A (122) Tank Are Coming. The (90) This Woman Is Dangerous (97) Tomorrow Is Another Day 190) _ 3 For Bedroom C (NC) (74) Where's Charlie? (T) Winning Team, The 198) 187) Abbott-Costello MacRae-Bracken Douglas-Miller R. Milland-H. Carter Flynn-DeHaviland Scott-Massey Milland-Tierney J. Cagney-P. Thaxter Peck-Mayo -B. Lancaster Wilde-Cochran Cooper-Alden Holden-Olson Day-Thomas Ladd-Mayo Abbott-Costello Cochran-Teal Lancaster-Bickford Scott-Wymore Flynn-Roman Gilbert Rowland McCrea-Mayo Mayo-Morgan Loveioy-Carlson Grant-Drake McCrea-DeCarlo 5-31 221 4-21 3-29 117 2-25 3-8 1 14 3-10 12-5 1 10 4-14 123 5-19 1 1-3 107 10-22 10-20 104 9-24 8-11 030 7-2 12-29 . 9-15 1-12 4-12 4-19 9-1 5-3 7-28 10-4 2-23 1-24 5-17 I I I 102 . 112 118 I 19 101 120 029 . 105 115 113 121 12-17 12-17 4-21 4-18 4-7 9-24 2-25 1-14 4-21 Mayo-Reagan 7-12 Cagney-Mayo 12-1 Rogers-Wyman Brando-Leigh 3-22 S. Cochran-P. Carey 11-17 Crawford-Morgan 2-9 Roman-Cochran 9-22 Swanson-Warren 4-2 1 Bolger-McLerie Day-Reagan 4-28 128 109 11-19 104 108 1 1-5 114 2-M 103 8-27 124 4-14 125 4-2 Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nafl Film Carrier* 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put year return film in Hie lobby antil all year patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St., Phila. 3 —1239 Vino St.. PhiL. 7 LOcust 4-0100 Member National Film Carriers 27 BULLETIN JULY 14, 1952 —There Are Right and fVrang Kinds READ VIEWPOINTS Page Three RIGHT ON THE BUTTON ! Vote M-G-M, the ticket that sells the tickets! Spencer Tracy. Katharine Hepburn Aldo Ray. William Chmg NEVER A SHOW LIKE Robert Taylor, Elizabeth Taylor, Joan Fontaine, George Sanders. Emlyn Williams Mike A Date! '"Shu, 1 Technicolor Lana Turner. Fernando Lamas, Una Merkel. Richard Haydn. Thomas Gomez Spencer Tracy. Gene Tierney, Van Johnson, Leo Genn, Dawn Addams., Lloyd Bridges Wak It's A "Sleep FBARU Janet Leigh, Carleton Car Keenan Wynn, Fearless Fagar j Kathryn Grayson, Red S^ Howard Keel, Marge and Gower Esther Williams. Victor Mz Pidgeon. David Brian, Dor . By the Produc v ''And Director of "IvM The PRISOII .f limy Technicolor Lana Turner, Kirk Douglas, Walter Pidgeon, Dick Powell, Barry Sullivan. Gloria Grahame, Gilbert Roland, Leo G. Carroll. Vanessa Brown Stewart Granger, Deb Louis Calhern. Jane) Lewis Stone, Robert f and James Mason ; Kinds of Ecanom t§ Economy, which has become a by- word in the lexicon of the motion pic- ture industry during the past year, was given new and dramatic import by the pronouncement from the Metro-Gold- wyn-Mayer offices last week. The largest, the richest, and hitherto the most prodigal of all film studios in Hollywood took cognizance of the cir- cumstances that confront our industry and adopted a program to meet them. Leo, the mighty lion, is tightening his belt. The statement by Nicholas Schenck and Dore Schary was made openly and frankly, a nice contrast to the old, phonier days when anything that played down Hollywood's improvi- dence and extravagance was hush-hush to the press and the public. It appears that for some of our film leaders, at least, the days of pretending so as to hide fear are over; a most healthy sign. Obviously, these two executives felt no qualms about making their future plans known to the exhibitors or to the people who buy movie tickets. That, if you please, must be accepted as a manifestation of confi- dence that the course they have plotted is grounded in logic and good business. We accept it as a most encouraging- omen for the future of M-G-M and for the whole movie industry. What is the significance of Metro's economy move? It is summed up, simply, in these words from the state- ment: "The primary objective behind these (studio) conferences was to adjust our economy to meet potential box-office returns." That's ABC. No business can exist for long if it spends more than it takes in. Gradually, through the lush years from '40 to '50, picture costs went far out of line. The people in Hollywood had come to believe that in exhibition there was a bottomless pot of go1d. And so there seemed to be. But a bottom has been struck, and now >in entire industry — from Mighty Metro down to the smallest theatre operator — must bestir itself to meet a new and grave situation. Economy must be practiced if we are to survive. The question arises as to what kinds of economies will keep us alive and what kinds will kill us. Fortunately for the movie-making branch of the business there is still ample room to protect a profit be- tween production costs and boxoffice take. Before the former overtakes the latter, vast savings can be effected by eliminating waste and reducing extrav- agances, by dropping term contracts of * high-salaried stars, producers, direc- tors, writers, by judicious planning of production schedules to extract t lie maximum effort from the available manpower. This is the sort of industri- al statesmanship that is evident in the M-G-M economy program. Inevitably, reductions in expendi- tures raises the problem: What will be the effect on the quality of the pic- tures? Messrs. Schenck and Schary grasped this seeming dilemma by the horns and resolved to maintain "tra- ditional M-G-M quality" at the lower cost level. Much the same promise was made by Darryl Zanuck on behalf of 20th Century-Fox a few weeks back, when he said that no film company can stay in business today unless it makes quality product at a "sensible" price. Required to accomplish this is the substitution of creative ingenuity, busi- nesslike planning, and honest sweat for sheer spending power. This can be done. And it will be done. For it must be done. In exhibition there is a different problem, because it is extremely dif- ficult in most cases to reduce costs. Like the M-G-M executives, we are FILM BULLETIN: Motion Picture Trade Paper published every other Monday by Wax Publi- cations, Inc. Mo Wax, Editor and Publisher. PUBLICATION-EDITORIAL OFFICES: 123? Vine Street, Philadelphia 7, Pa., Rlttenhouse 6-7424, Barney Stein, Managing Editor; Leonard Coulter, New York Editorial Representative; Richard N. Newton, Publication Manager; Robert Heath, Circulation Manager. BUSINESS OFFICE: 35 West 53rd Street New York 19, N. Y., Circle 6-9159; David A. Bader, Business Manager. HOLLYWOOD OFFICE: 659 Haverford Avenue, Pacific Palisades, Calif., Hillside 8183; Jay Allen, Hollywood Editor. Subscription Rates: ONE YEAR, $3.00 in the United States; Canada, $4.00; Europe, $5.00. TWO YEARS: $5.00 in the United States; Canada, $7.50; Europe, $9.00. sure, thousands of theatremen have ac- cepted slashes in their income. But beyond that, and the further reduction of film rentals, there are no feasible or desirable avenues of economy open to exhibitors. The intangibles that give a film studio so much flexibility do not enter into the theatre's expenses. The figures of rent, light, heat, help and general upkeep are usually rather hard and fast. Eventually, if faced with .i crisis (as a good number of theatres are) the exhibitor begins to imagine that the only avenues of economy thai offer him hope to continue in business are the practice of frugality in main- tenance and the curtailment of adver- tising expenditures. Obviously, this is not the answer. Such economies are the wrong kind, and they can prove ruinous to our busi- ness. Theatres will always be the most profitable outlets for motion pictures, and it behooves the film companies as far as it is within their power to do so, to provide incentives that might woo theatremen away from shortsight- ed, perhaps suicidal, economies. We need bright and more comfortable, not dingy, dilapidated, theatres. These days, especially, we need MORE, not less, advertising, for the competition is stiffer than ever. The film executives can discouia^e ill-advised economies among exhibitor- by setting the proper example in show- manship. That kind of an example is not being furnished by the film com- panies which have so reduced their exploitation that exhibitors and the public alike must regard them as being on the verge of failure, or ready to jump over to the exclusive production of television quickies. Exhibitors rightly look to the film companies for leadership in showman- ship. If it is not forthcoming, the de- pression we are in will deepen. This hazard can be avoided if the film leaders apply the same kind of busi- ness statesmanship that is going into the solution of production problems 'o a revival of big-time movie showman- ship. Let's save where we can and spend where we must. 3 Warner Bros Beverly Hills^Los Angeles Tulsa, Oklahoma City and Atlantic City i5r then Astor, N.Y. July 17th Mastbaum, Philly July 18th He put a grin on the face of the world— and th ■s week it spreads the Industry! RYOF Will Rogers,.. Jane Wyman 1 WITH CARL BENTON REID EVE MILLER - JAMES GLEASON - SLIM PICKENS - NOAH BEERY, JR MARY screen play Bv FRANK OAVIS and STANLEY ROBERIS based on THE SATURDAY EVENING PRODUCED BY ROBERT ARTHUR DIRECTED BY WICKES STEVE BRODIE STORY, "UNCLE CLEM'S BE CURTIZ LUUIL Unil I Ull AS HIMSELF BY MRS. WILL ROGERS ORIGINAL MUSIC BY VICTOR YOUNG f oft A.ffree? It is difficult to see what it is to be gained from statements by prominent figures within our industry that television will close a large percentage of the nation's theatres. Among those who have popped off about this are Charles Skour^s and Samuel Goldwyn. How prophetic their statements are can only be deter- mined by the future. How strange it seems for men who stand to gain nothing from such prophetic rumblings — and lose much by driving their customers away — to make like the Winchells for what amounts to a paltry few columns of pub- licity. We disagree with these gentlemen. It is the opinion at this desk that theatre closings in TV-saturated areas are already very near their peak. Of course, there will still be a dribble of theatre closings — and probably plenty of openings, too — as the marginal houses which have been hit by overextended expenses, poor management, competition from new enter- tainment sources, drive-ins, shifts in popu- lation, and so on right through the list of reasons given for closings, continue lo shutter their doors. But they will be fewer and fewer until a solid core of well-managed, efficient, serviceable mo- tion picture theatres will stand firm against all onslaughts. 0 More talk about advanced admissions. Reports have it that Metro is considering "Ivanhoe" on an upped scale basis. Ditto Goldwyn for "Hans Christian Andersen". Outstanding as these pictures might be, the sentiment of the vast majority of ex- hibitors is agin the idea. In these critical days, when it is im- perative that a maximum number of moviegoers be induced to see the top films in order to re-establish the movie- going habit, wouldn't it be wiser to de- pend on volume of patronage rather than a quick grab at the maximum number of dollars in the shortest possible time — which is what advanced admissions amounts to? Brother, don't kid yourself — the price of admission is a factor, certainly a tre- mendously important one for the subse- quent run house which must charge doublet or more their regular scale. 0 Boxoffice reports from various sections of the country indicate that there is a definite upbeat since the beginning of July. The Spring fever brought the usual grab at outdoor activities, the drives in ■ ♦he park, the new baseball season, the lakes and pools, the picnics and all the other activities that had been denied the public by winter weather. But when the heat set in and drove them out of their homes, they found cool, relaxing comfort in the movie theatres. We keep harping on this, but it bears repeating: if more good product was released in the summer months, this season would be the biggest of all at the boxoffice. 0 As a welcome relief from the heavy- handed and windy antics of the national conventions and the subsequent politick- ing, it's certainly nice to anticipate the laughs that will be forthcoming shortly when Paramount releases two of the top comedies of the year, "Jumping Jacks" (Martin-Lewis) and "Son of Paleface" (Hope-Russell-Rogers). If our reviewers can be trusted (and they usually can), ' this pair of belly-whoppers ought to be just what the doctor ordered in these grim times. o Th ose in the industry who have been shrugging off the censorship battles and the recent U. S. Supreme Court decisions on "The Miracle" and "Pinky" as incon- sequential wouldn't be as blase about it if they realized how close to the box- office this campaign really is. It's signifi- - cance is as simple as this: A clear-cut decision by the high court that movies are a part of the press and thereby entitled to the same constitutional rights would be one of the most powerful factors in the fight to remove the Federal admissions tax. Heard of any newspapers being taxed lately? 0 When Dr. Hugh Frick, Director of the Motion Picture division of the State De- partment of Education, says he agrees there should be a system of licensing of theatres to stop nasty films being showr, he is asking for trouble. He and his colleagues, moreover, allege that exhibitors are doing so badly that some of them are trying to recoup their losses by showing undesirable pictures. Dr. Frick, and all others of his tribe who thus impugn the character of exhibi- tors should be rooted from their official positions before they can do any more to imperil the freedoms which are slowly being filched from us by these so-called moralists. 0 Howard Hughes, boss of RKO Pictures, is no angel, as the whole world knows, but he's entitled to better treatment than he was accorded the other day when his Big Sky" was being trade shown in New York. The picture is absurdly long — well over two hours. It's good, too; but not as good as all that. But for on6 well- known trade paper critic to walk out of the screening theatre, as he did, protest- ing about "wasting my time" was both bad manners and bad journalism. 0 So tNe steamship "Un;ted States" swept the North Atlantic. Fine. It's good to h-ive the record back home after all thes^ years. But who was it who missed the change of some fine motion picture pub- licity? The ship could, and should, have carried a representative group of Holly- wood stars on her maiden voyage. They'd have been worth their weight in plutonium to the industry. And, by the way, who except the passengers knew that on sail- ing day — quite an historic occasion — the film being shown on the ship was MGM s "Ivanhoe" ? 0 Mary Ellen Bute is a trier. We give her full marks for that. She has produced, in association with her husband, ceveral shorts which she calls "abstracts" and which have played in some of the best places, including the Radio City Music Hall. We don't like discouraging well- meaning folk with fresh ideas, but Miss Bute's dish of tripe isn't the kind of thing likely to restore the business to its old- time prosperity. Give us more like "Son of Paleface" and "The Quiet Man". o Writers in both the "New York Times" and "Herald-Tribune" have been sounding off about the decline in certain television programs now that they've been put on film. They deplore that Hollywood touch. Don't they know that the television boys have been praying Hollywood would come to their rescue. 0 What a pity it is that the Motion Pic- ture Association of America didn't have the guts to take a real stand on the issue of Communism in Hollywood when some busybodies from Washington began black- ening so many reputations. The MPAA meekly went along with the witch-hunters and helped them play their game. Now some more filthy linen is to be rinsed in public. The House Un-Ameri- can Activities Committee, which resumes hearings September 2, plans to call 140 witnesses. And so the process of public disenchantment is permitted to go on — to the detriment of this business. JULY 14, 1952 UP... YOU WILL SEE THE MOST TALKED ABOUT GIRL IN AMERICA TODAY! MARILYN MONROE is "The Genuine Article" says LIFE Magazine Don't Bother +o Knocl starring Richard Widmark • Marilyn MonrcS with Anne Bancroft • Donna Corcoran • Jeanne Cagney • Lurene Tuttle • Elisha Cook, Jr. • Jim B£,us Produced by JULIAN BLAUSTEIN . Directed by ROY BAKER . Screen Play by DAN I EL TARAC >H Sek'md the £ceheJ tff Jilm PrcjueticH STUDIO SIZ€-UPS J I I. ^ 14, 19 5 2 COLUMBIA Kamer Still Bulwarking CI. Product, Extension Seen If.ith two-thirds of the pictures now cont- lled under Stanley Kramer's original ■lenient with Columbia, talks have started It- an extension of the pact, both here and HJew York. Despite printed reports, a*- ILited to eastern executives of Columbia, ■hi the company has been unhappy over ■grosses on the Kramer product thus far ■hsed, insiders at the studio are of the pi ion that he has been a major contributor Kurd keeping Columbia on its feet and ■It be retained to maintain prospects of I pfitable future. I ranter's original contract went into effect ■ parch, 1951, and called for the delivery ■ 2 pictures. Three have gone into re- la, three more are completed and await- ■lse, another is now being edited and one I the process of being filmed. I J'y studio personnel who should be in a fclion to pass judgment believe that ■Thiers real money-makers are yet to be Used. "The 5.000 Fingers of Dr. T", Blh was produced at a figure more than Mile the budget of most Kramer pictures, ■ rlieved to have the potentialities of a re:| boxoffice bonanza. Rushes on "The ■dber of the Wedding" (Ethel W'aters- ■4 Harris-Rrandon DeWilde) likewise in- Hre a winner. And "The Happy Time", ■hli has drawn the attention of the entire ■dltry, may top them all. Ble over-all production at the studio, this ■c|h, took a marked surge upwards, with •iictures shooting simultaneously. In ad- Htr to Kramer's "The Member of the ■Mling," which Fred Zinnemann is direct- JBuhere \va- the high-budgeted Beckworth ■Miction, "Salome — The Dance of the ■Mi Veils" (Rita Hayworth-Stewart Gran- Anharles Laughton-Judith Anderson), di- trecll by W illiam Dieterle and produced by on«Jy Adler. A trio of action features also before the cameras: "Winning of the (Gene Autry-Smiley Burnette-Gail Dai), directed by George Archinbaud, pro- WucJ by Armand Schaefer; Esskay Pro- *»uc|>ns' "Savage Mutiny" (Johnny Weiss- nmlr- Angela Stevens), directed by Spencer Beiit, produced by Sam Katzman; and a Tediicolor period western, "Ambush at Joifhawk Gap" (John Derek). Fred F. 5*a| is directing the latter for producer fMce MacDonald. DORE SCHARY Retrenchment Starting early in August, the entire studio will shut down for two weeks, in order to allow all personnel to take summer vaca- tions. LIPPERT PRODUCTIONS More TV Activity Reported For Lippert With New AFM Pact The Hollywood rumor bill is busy on re- ports that Robert L. Lippert will play an increasing role in providing motion pictures for television. Although there are no indi- cations that he will again enter the produc- tion field for the TV films, it is believed that there will be a larger flow of old releases into the television hoppers. Toward that end, he has just renewed his tele-pictures pact with the American Federation of Musicians. No changes were made in the original pact, which expired on May 31. Terms call for five per cent of Lippert's gross on the pictures to be turned over to the AFM trust fund. This would apply to both new and old pictures, inasmuch as re- scoring is a necessity on the oldies. Filming got underway the first of the month on the initial offering of the 12-pic- ture deal which Hal Roach, Jr. recently signed. All of the pictures will star William Tracy and Joe Sawyer, and are to be pro- duced over a three-year period. Fred Guiol, is directing the first entry, entitled "Present Arms". Also in production is "The lilack Pawn" (George Raft), an Erros Film which Sey- mour Friedman is directing and Bernie I. iiber producing, in London. Discussions are underway for Lippert to release a new Paul Henreid independent pic- ture, "Anatole", which Henreid will direct, produce and star in. This is the property which formed the basis for the 1921 Para- mount release, "Affairs of Anatole". Henreid plans to film it in England. An October 17 release date has been set for "Johnny, the Giant Killer", the full- length Technicolor animation picture, formerly titled "Johnny Lion Heart". The film, produced in France and processed in t he London plant of Technicolor, has been specially edited and given an English sound track for the American release. METRO-COLDWYN-MAYER Executive Pay Slashes Key New M-G-M Economy Program The promise of great tidings from the Metro studios after five and a half weeks of top-echelon conferences materialized last week — and economy and efficiency were the keynotes. Xot blustery sound and fury signifying nothing, but solid, hard decisions were announced as president Nicholas M. Schenck. studio chief Dore Schary and vice- president Charles Moskovvitz faced four thousand studio employes to announce the economy measures: • Executive staff salary cuts of from 25Cr to 50% for the next year on amounts over SI 000 per week. "No part of the salary- given up during this period will be returned under any circumstances." • Reductions in the number of producers, directors and writers to be kept on a per- manent basis, with those remaining required to turn out a greater number of films. • Thirty-eight films will be made in the next fiscal year (40 were set for the current year) at an average cost "consistent with present box-office conditions. Our budget will be aimed at eliminating waste factors which have resulted from lush operations in former lush year." • Production of television films is not being planned, nor is any plan being contemplated at the present time. But that field is being (Continued on Page ") V 14, 19 52 7 r STUDIO SIZ€-UPS n (Continued from Page 7) "examined and re-examined as times goes on, because the economic factors involved are ever-changing." • Continuing opportunity for young talent in the program. • Elimination of waste factors — "tardiness, interference, temperament,' lack of prepara- tion and loss of working time." • "Consolidated effort in various depart- ments and there will be some reduction in the number of people in these departments. We will insist that everyone give as much as he can to the job for which he is paid. We plan to insure the level of salaries by re- quiring a full time job in exchange for a full week's salary." Probably at no time in the history of any motion picture studio has there been a more thorough analysis of all of the problems re- lating to efficient production, beneficial public relations and intra-studio harmony, than that just completed. After a week of preliminary strategy talks, all three of the company toppers rolled up their sleeves and went to work to get results on the spot. Studio personnel, from the highest to the lowest rank, were called in for personal interviews and all of the cards were placed on the table. Economy of production was uppermost in the discussions, but great emphasis was also placed on such industry bugaboos as Communist infiltration, immorality and all of the other facets that have contributed to Hollywood's bad press. Moreover, as the individuals were called on the carpet, thev were presented with facts and figures. An assistant director, who may have contributed to some minor delay in a day's shooting, would be asked to explain his actions. A small supporting player, who may have at one time expounded seemingly Communistic ideas, would be confronted with the evidence and requested to vouch for his Americanism. And so it went, up and down the line, put- ting every department of the studio under the analytical spotlight. It is to the particular credit of Schenck that the men and women who talked with him, emerged with more than an understand- ing that they must toe the line. They also came out with a spirit of enthusiasm for their jobs and a new faith in the future of their company. The fabulously successful "Kiss Me Kate", Bella and Samuel Spewack's musical take- off on Shakespeare's "Taming of the Shrew", with Cole Porter's music and lyrics, has been bought by M-G-M for production this year. Undoubtedly the top musical to be made by the company in 1952, the produc- tion assignment has gone to Jack Cummins, and will feature Metro's own, rather than the Broadway stars that have appeared since the stage hit's opening in 1949. Porter is due at the studio to meet with Schary on the advisability of including new songs in the screen version. Whatever will be added to the popular score is expected to be penned by Porter. Six pictures are now in production — all DON HARTMAN Keeps the Pencil Handy but one of them in Technicolor. The sole black-and-white feature is "Never Let Me Go" (Clark Gable-Gene Tierney), shooting in London, with Delmer Daves directing for producer Clarence Brown. The tinters are: "I Love Melvin" (Donald O'Connor-Debbie Reynolds), Don Weis directing for pro- ducer George Wells; "The Naked Spur" (James Stewart-Robert Ryan-Janet Leigh), Anthony Mann directing, William H. Wright producing; "Small Town Girl" (Jane Powell-Farley Granger-Ann Miller), Leslie Kardos directing, Joseph Pasternak produc- ing; "The Story of Three Loves" (Kirk Douglas-Pier Angeli-Richard Anderson), Gottfreid Reinhardt directing, Sidney Frank- lin producing; and "Sombrero" (Pier Angeli- Ricardo Montalban-Vittorio Gassman), Nor- man Foster directing, Jack Cummings pro- ducing. MONOGRAM— AA Allied Artists Hits High For Year With Three Shooting Allied Artists has swung into its heaviest production schedule in over a year, with three high-budget features shooting simul- taneously. Monogram, conversely, is in the midst of a production lull which will not be broken until the latter part of the month. The three A A productions are: Lindsley Parsons' "Down Periscope" (Mark Stevens- Bill Williams-Dorothy Malone), shooting at New London, Connecticut, under the di- rection of Lew Landers; "Kansas Pacific" (Sterling Hayden) and "Battle Zone" (John Hodiak-Linda Christian-Stephen McNally), the last two on the home lot. Both are Walter Wangcr productions. Ray Nazarro directs "Pacific", in Cinecolor, with Edward Morey, Jr., as associate producer, and Les- ley Selander is megging "Zone", with William Calihan associate producer. Monogram's next will be "Stranglehold", to be produced by Jerry Thomas and di- rected by William Beaudine, starting July 24; "The Eyes of Texas," Vincent Fenn producing, and "Mardi Gras," Peter Sci producing, both going August 4. No ca have been announced on any of the tn pictures. Wayne Morris has been signed by Fenl ly to an exclusive long-term contract call for four outdoor specials annually Silvermine Productions. Monogram has \ renewed its two-per-year pact with StaJ Clements. His next will be "White Lid ning" for producer Ben Schwalk, duel start in mid-August. "The Indianapolis Story," in Cinecc one of Monogram's top projects of the y is set to roll around mid-summer, \ David Diamond producing. PARAMOUNT Production Slowdown Seen As Scheduling Drops Sharply Although Paramount is currently o ating at near-capacity, with five pict shooting, indications point to a slow-d in production for the impending mot Studio chief Don Hartman has schedul minimum of pictures to go before cameras between now and winter, altfu insiders say that there are a dozen o properties in the writing stages which be pencilled in at a later date. The company is also known to be posing of some of its old story prope; for which there are no immediate pr tion plans. Included in the list bein_ p on the market are such important stori Vera Caspary's "Happy Days Are Again", for which the studio reportedly $35,000 and Laura Hobson's "Celeb bought at a cost of $20,000. Still other known to be available, although the. subject to bidding, rather than being p on the open market. These developments studio sources should not be construed as an indii that the company is on the verge oi drastic retrenchment. Rather, it is preted as a general proceed-with-ca policy to prevent any overextending of outlays at this critical juncture. One important property taken o' shelf is James Michener's "South Story", which Joe Sistrom has been n to produce. Everett Riskin had been ing on the property before he left th Another significant assignment this i was the designation of Norman Kras write the screenplay and direct the I Berlin-Bing Crosby production of Christmas". Both the story idea an music are by Berlin. Pictures now in production are: Wallis' "Scared Stiff" (Dean Martin Lewis-Lizabeth Scott-Carmen Mir; George Marshall director; "Pleasure I (Leo Genn-Don Taylor- Audrey Technicolor feature directed by F. Herbert and produced by Paul Jones; Stars Are Singing" (Anna Marie (Continued on Pt 8 F I I. M B U I. I- I Plenty of "See"... Plenty of Sell! Packed with plenty of selling angles! An exploitation natural!' '-exhibitor the beared Pirana fish devour ; a living man! ■•« HAUFf • ALEXANDER CARLOS | the | force head hunters oUhe Amazon in berserk frenzij t packed 'em E thru UA I r STUDIO SIZ6-UPSZ (Continued from Page 8) ghetti-Rosemary Clooney-Lauritz Melchoir) also in Technicolor, Xorman Taurog direct- ing for producer Irving Asher; "Roman Holiday" (Gregory Peck-Aubrey Hepburn ). shooting in Rome, with William Wyler pro- ducing and directing, and Xat Holt's Techni- color "Pony Express" (Charlton Heston- Rhonda Fleming- Jan Sterling), Jerry Hop- per directing. REPUBLIC Republic Seeking Names, Stories in New Class Program Republic is another studio that is heading for a summer production slow -down. Never- theless, this may be accounted for, in part, by Republic's efforts to obtain star names for a greater percentage of its future pro- duct. Indicative of this trend toward name power in its pictures, are the impressive casts now working on the lot in "The Lady Wants Mink" and "Fair Wind to Java", both in Trucolor. "Lady" boasts such popu- lar names as Ruth Hussey, Dennis O'Keefe. Eve Arden, and William Demarest. For "Wind", the cast sheet is topped by Fred MacMurray, Vera Ralston, Victor Mc- Laglen, Robert Douglas, John Russell, Claude Jarman and Buddy Baer. Republic is also known to be in the market for high-rating story properties. The most recent literary acquisition is "One For the Road," William Fay's Saturday Evening Post yarn about a prize fighter. Prexy Herbert J. Yates has assigned the property to producer-director William A. Seiter for a late Summer or early Fall start. Ann Sheridan is also known to be talking to the company about a couple of important properties which she owns. The next important production on the s'ate is an untitled musical to star Ray Mi Idleton. as a follow-up to "I Dream of Jeanie". The story, which also deals with the minstrel days, will go before the camer- as eirly in August. Allan Dwan will direct and produce. "Jeanie", which has been drawing high critical praise among the Hollywood press, is slated to go into gen- eral release next month. John H. Auer has a couple of properties in the production planning stage that may also brenk the tape this summer. They are: "City That Xever Sleeps," a Chicago police yarn, and an untitled Vaughan Monroe starrer. RKO Shootinq Picks Up, Three Going, Four Starring in July Altl ough the heated court battle between Jem Simmons and Howard Hughes has hell the RKO spotlight in the daily press, production has -urged ahead during the 10 DARRYL F. ZANUCK No "Personal" Productions past month to end the long hiatus which has plagued the studio for most of this year. Three pictures have been shooting on the lot since late June, and four more are slated to get underway, here and abroad, bv August 1. Producer Edmund Grainger and director Raoul Walsh are expected to com- plete the "shooting on Grainger's Techni- color feature. "Bluebeard the Pirate" (Linda Darnell-Robert Newton-Keith Andes-Wil- liam Bendix , some time this week. Director Ida Lupino and producer Collier Young will not finish their Flimakers productions of "The Difference" (Edmond O'Brien-Frank Lovejoy), until the first of next month. And "The Murder" (Robert Mitchum-Jean Sim- mons-Mona Freeman-Hebrert Marshall), is only about half finished at this writing. Nevertheless, producer-director Otto Prem- inger expects to finish shooting the final scenes before the end of next week. As soon as Miss Simmons finishes "The Murder" — and provided she does not win her contract freedom in the current court battle — she will be rushed right into "Break- up," an original story optioned from Para- mount, on the provision that she would star in it. Robert Sparks will produce. Other productions coming up this month are: "The Red Beret" (Alan Ladd), which will be a joint production effort of RKO and Warwick Productions, to be filmed in Europe under producer Irving Allen; Ed- mund Grainger's "Split Second" (Jane Rus- scll-Victor Mature), and Independent Artists' Pictures' "Never Wave At A WAC" (Rosalind Russell-Marie Wilson), the latter t<> he produced by Frederick Brisson and directed by Norman Z. McLeod. Terry Turner and studio publicity direc- tor Perry Lieber have been huddling for several days on campaigns for "The Big Sky", "One Minute to Zero," "Androcles and the Lion," "Sudden Fear," "Jet Pilot," and Hui saturation booking. The studio has ordered 500 prints on the picture, 150 more than has ever been ordered by the company on any other picture. "The Lusty Men". The latter, one of lies' pet projects, is headed for heavy 20th CENTURY-FOX Zanuck Drops 'Medium' Pics ' Sets Sights on Top-Budget s vc z A lot of things have been happenir 20th Century-Fox, these past few weeks three very important developments ; out : (1) Darryl F. Zanuck will have "personal productions'' in the new year. (2) The medium or "modest" budge ture will be completely eliminated fro production schedule. (3) Budgets may hit near all-time re( on a limited number of really big pict Zanuck has decided that personal pre tions require too much of his time fofl| present, at least, and will devote his el to the over-all production problems, will be assisted in this work by Joe M«|o- witz, turning over to Lew Schreibe ill matters dealing with talent. In eliminating the so-called "in-betv n" picture from the slate, Zanuck expl; cd that there is too much dissipation of t nt in mass production and not enough fcd stories. "We are going to narrow ours down to the best big shows we can achi he said, "and only make an occasional aH one when a clever, entertaining idea poj up which we feel certain will develop into od entertainment." He went ahead to explain that there \ lid be no budget limits on the big pictures ind: pointed to the up-coming productio of| "The Robe," which he expects to cost ltrl $3,500,000. He has set an October 15 jrt- ing date on the property. George Jessel made news of a difienti sort with his announcement that hej;iili leave the company in August after rirlyi ten years as a top Fox producer. Four 20th- Fox productions and one de- pendent for Fox release are currently jm- 1 ing. The independent is Bernhard- dor Productions' "Rube Gentry" (Jennifer jieH Charlton Heston-Karl Maiden), which ing Yidor is directing and Joseph Bernhanlro- ducing. The Fox line-up includes: (he Farmer Takes A Wife" ( Betty Grahlc w Robertson-John Carroll-Thelma Rprl, i Technicolor musical directed by I pry | Levin and produced by Frank P. Rosei'lfM "Niagara" (Joseph Cotten-Jean Ptre-J Marilyn Monroe), also in Technillor, Henry Hathaway directing for prctcer i Charles Brackett; "Powder River" 'Pr.v | Calhoun-Corinne Calvet-Cameron MitiMbi Louis King directing for Andre KakintUin 1 "The Number" (Shelley Winters), JjEp" I M. Newman directing, Jules Schcrmewro- i ducing. UNITED ARTISTS 'High Noon' Seen One Of UA's Biggest Grossers This company is anticipating that S|ikv j Kramer's "High Noon" (Gary Coopetlwi" f Continued on Pt F I L M 15 U I. L E IN DN OF PALEFACE' HAS IT ALL— LAUGHS, LECS, COLOR ptes • • • + except for action houses H'amount S minutes Lb Hope, Jane Russell, Roy Rogers, Bill Vlliams, Lloyd Corrigan, Paul E. Burns, Iuglas Dumbrille, Harry Von Zell, Iron les Cody, Wee Willie Davis, Charley Oley. I ected by Frank Tashlin. 'his is an exhibitor's dream come true! 1 Hollywood's magic touch at its most ■gical. It has a strong cast, it was bril- liitly directed for maximum fun and punch, inoasts a lavish production by Robert L. Vlch, delightful Technicolor, a story so lJisensical that Rob Hope is at his most Ujyable, plenty of music, life and action, a| Jane Russell's legs — such legs! "Son H Paleface" is great entertainment at it< Ifa-best, a sure-fire hit without any ex- citation, and a smash-smash-hit with some. .4l never was a picture so exploitable. It's * good, the television industry must turn den with envy. It will roll up grosses to iwch the year's best everywhere except in action houses. The songs are all tuneful: such lilting melodies as "C alifornia Rose," "Buttons and Hows," "Am 1 in Love," "There's a C loud in My Valley of Sunshine". And Mob Hope never had a funnier ditty than "What a Dirty Shame". Hope, of course, is tops, but after her performance in this picture no one need ever say Jane Russell got into movies because of her architecture, though that's nothing to complain about. Roy Rogers i- a definite asset also; in fact, there's not a fault to find with the casting. The film'- for you, for me, for the gal next door — and for ma and pa and grandma, too. STORY: Roy Rogers and Lloyd Corrigan are sent out to the wild West to round up a hand of outlaws led by "The Torch" when, with a violent bang and a ceaseless plutter, Mob Hope rides into Sawbuck City in a crimson automobile, wearing a huge "H" (for Harvard)! on his duster. The sherilT threatens to toss Hope into the hoosegaw, but desists when he introduces himself as Junior Potter, son of the legendarv Indian fighter. Paleface. He's come to claim his father's fortune. Hope >oon finds his fathe." had left town in a hurry, forgetting to pay his bills, but he professes to have found the gold and says he'll pay all his dad's old debts. Meanwhile, an old prospector main- tains that Paleface did actually leave a fortune in gold hidden away somewhere. Jane Russell, who owns the saloon and is really "The Torch", plays up to Hope, while he reckons that if he can marry her, hi- money trouble- will be over. She, swallow- ing the story of the fortune, has the same designs on him. Roy Rogers is also interest- ed in Miss Ru-sell — but for very different reasons. Finding a hidden map which indi- cates the place where his father cached his gold, Hope goes to Sterling City, finds his partner shot dead, and is captured by "The Torch" herself, Roy arrives in time to rescue Hope from Jane, who, it turns out, is really a nice gal, having once been swindled by Old Paleface. Gun in hand they fight it out together beat off a tribe of savage Indians who attack the place. LEON EARLESS FACAN' NOVELTY COMEDY FOR THE DUALLERS ^ es • • as dualler N3-M 7'minutes I et Leigh, Carleton Carpenter, Keenan V nn, Richard Anderson, Ellen Corby. Hected by Stanley Donen. [ased on an appealing real life incident lint ? young circus performer whose army dit call is complicated by his pet lion, " arless Fagan" emerges as hoked-up credy that wears thin with repetition. The Hetty of seeing an African lion capering a|.md such familiar stars as Janet Leigh '.| Keenan Wynn is intriguing, at first, rl when the edge wears off, this Edwin Nipf production contains few entertaining liients to keep the film from lapsing into bjng hokum all too familiar to even lly discriminating audiences. The small- fry may get a kick out of it, but in most situations this Metro offering is relegated to second-half program fare. Nothing here for the action houses. Screenplay writer Charles Lederer en- larged little on the original gimmick, prefer- ing to rehash the basic premise. Director Stanley Donen succeeded in evoking a fair amount of laughs, considering the difficulties encountered in making a mountain out of a molehill. Fagan, the lion, and Keenan Wynn, the top sergeant, check in with good per- formances, and Wynn must be given an extra pat on the hack for his consistent ability to salvage something out of almost impossible assignments. Janet Leigh un- fortunately, doesn't share this knack of Wynn's in this film and Carleton Carpenter's inane drawling iranner is a decided draw- back. STORY: Carleton Carpenter is a circus performer who is suddely drafted into the army. He is faced with the problem of find- ;nT a suitable home for his pet lion, Fagan. Since he is unable to do this, he smuggles the lion into camp. Janet Leigh, a movie star in camp to entertain the soldiers, s'u^ibler- on Carpenter wrest'ing with Fagan. She later reveals the secret, and the t nv brass decide to exploit the incident and find Fagan a home. After a lot of hoopla, a farmer offers to keep the cat. Fagan, how- ever, escapes and goes hunting for Carpenter who is on maneuvers. This leads to some melodramatics in which Fagan is almo-t killed, but Leigh comes through to provide a happy home for the lion and eventual ro- mance with his master. XRIL \DY IN THE IRON MASK' FORMULA SWASHBUCKLER IN COLOR R'es • • as dualler 2h Century-Fox minutes Iuis Hayward, Patricia Medina, Alan Hale, Judd Holdren, Steve Brodie. I ected by Ralph Murphy. ^ costumed actioner, "Lady in the Iron - sk" is another formula swashbuckler that ; mits the famous musketeers of Alexandcr I mas to ride again. Filmed in Natural (lor with bright settings, flashing sword- ; y and lusty humor, the tale involves some i liliar melodramatics about a villainous i >leman who plots against the throne of Lnce, and twin princesses — one of whom l> spent most of her life in an iron mask. v iile there was no attempt to come up with i . thing new in this Walter Wanger-Eu- • ie Frenke production, the film contains • »ugh swiftly-paced action and romance i interest even the most rabid action fan, and it should make a good dualler in most situations. Director Ralph Murphy keeps things roll- ing the traditional hlood-and-thunder manner. Performances are all cast from rugged swashbuckling mold with musketeers Louis Hayward. Alan Hale, Jr., Judd Holdren and Steve Rrodie durable and con- vincing in their roles. Patricia Medina is appealing as she plays the dual role of princess, and the princess' twin sister, pro- viding an interesting twist in the love Story at the climax. STORY: When the king of France dies, he leaves daughter Patricia Medina to suc- ceed him. The people are soon shocked to learn that she plans to wed the wicked Phillip of Spain. The aging French prime minister sends for Louis Hayward and the other musketeers. Hayward learns that Medina had a twin sister who had been hidden away behind an iron mask since her birth. Believing that the scheming Duke de Yaldac found out the secret and switched the princesses around in an attempt to grab the throne, Hayward sets out to learn the truth. As he feared, the real princess has been kidnapped and placed in a dungeon behind an iron mask. The musketeers manage to save Medina and during succeed- ing efforts to place her back on the throne, she falls in love with Hayward. He returns her love, but declines to show it because of the difference in their social levels. In due time, the Duke de Yaldac is overcome and the lovers are united in a neat switch at the end. PHIL L Y 14. 1952 'WE'RE NOT MARRIED' OMNIBUS COMEDY LOADED WITH LAUGHS Rates • • • except for action houses 20th Century-Fox 85 minutes Ginger Rogers, Fred Allen, Victor Moore, Marilyn Monroe, David Wayne, Eve Arden, Paul Douglas, Eddie Bracken, Mitzi Gaynor. Louis Calhern, Zsa Zsa Gabor. Directed by Edmund Goulding. This is a comedy hit, one of the year's best. There is something; to delight every- one in the five episodes that make up the fun-packed 85 minutes dreamed up by writer-producer Nunnally Johnson. The film is based on a provocative gimmick whereby five couples suddenly find that they aren't married after spending three years in a marital state. Five unrelated episodes evolve from this situation, each differing in treat- ment and outcome, but all calculated to entertain adult audiences with humor, drama and surprise "twists". With a great all- star cast as added boxoffice insurance, "We're Not Married" should provide a powerful hypo for business in all but the action houses. Director Edmund Goulding hasn't missed a trick as he paces this galaxy of names along the comedy path, from farce and slap- stick, to satire and wit. STORY: Justice of the Peace Victor Moore unwitingly marries six couples before he receives his commission. It is not until three years later, when one of the couples sue for divorce, that the error is discovered. The government sends letters to each of the other five couples, and each episode is based upon the effect of receipt of the letter stat- ing "you're not married". Ginger Rogers and Fred Allen have an early morning Mr. and Mrs. radio program. Unhappily married, the news is well received by them both, it backfires when their $5000- per-week salary is threatened, and they are brought to their senses for reconciliation. Marilyn Monroe wins a "Mrs Mississippi" contest and husband David Wavne is left with the care of their child and relat housework. When he receives the lett) which would disqualify Monroe as a "Mr he thinks his troubles are over, but t! leaves the way clear for Monroe to en and win the "Miss Mississippi" contest. The letter causes Paul Douglas to veal for his past conquests, but when he reckci the expense and other factors, he fina decides life with Eve Arden hasn't been bad and he burns the letter. Louis Calhern is an oil tycoon married I gold-digger Zsa Zsa Gabor. She frames hi into a divorce that can ruin him socially a financially, but the letter arrives to wr« her scheme. Eddie Bracken, a soldier going overse receives the letter at the time he learns is going to be a father. His frantic effoi; to keep his unborn child "legitimate" aided by a Navy chaplain who performs 1 marriarge ceremony on a ship-to-sh(; radio. NEIL WASHINGTON STORY' TIMELY POLITICAL COMEDY-MELODRAMA MILDLY ENTERTAININ< Rates • • + generally Metro-Goldwyn-Mayer 81 minutes Van Johnson, Patricia Neal, Louis Calhern, Sidney Blackmer, Philip Ober, Patricia Col- linge, Moroni Olsen, Elizabeth Patterson. Directed by Robert Pirosh. This is a political comedy-melodrama that can be tied in with the current election year. If so exploited, "Washington Story" stands a reasonable chance of above-average grosses. It is unfortunate that much of this film's entertainment value was dissipated in writer-director Robert Pirosh's too-talky preachment against political columnists and the lily-whiteness of practically all these fictional members of Congress. There is, however, a variety of selling points that should make this a good bet for all but the avid action fans. A good cast, headed bv Van Johnson, Patricia Neal and Louis Cal- hern; timeliness, what with the spotlight on the presidential campaign and — an integral part of the plot — corruption in Government- al high places; and even, for the action houses, the rackets angle. There is an en- lightening insight into the workings of Con- gressional committees, a virtual tour of our nation's capital, and other sidelights that help to maintain interest. It is not, however, another "Mr. Smith Goes to Washington," and the romantic thread is hampered by routine and obvious turns that lead right to where one might expect. Best returns will be forthcoming in the family houses. Action spots will be stymied by the plethora of dialogue. As a young Congressman, caught between duty to his country and responsibility to his own constituents, Van Johnson does a sym- pathetic role competently. Pitching in is a top-notch supporting cast which includes Patricia Neal as a newspaperwoman on the prowl for undercover activities, and for V: Louis Calhern as Johnson's Congressioil floor enemy and personal friend. STORY: Seeking inside news on out on the road. I intend to make more •pearances myself from now on — for every cture I make." We love people who make sense. Miss anwyck, pucker up! URRENTLY IX RELEASE is a 10- I minute short subject, produced by Jay j jnafield of RKO-Pathe, under the sponsor- ip of COMPO, that can prove a grand R. booster for theatres and a service to e country. It's "The Real Miss America", film designed to aid in recruiting women r the armed forces, written by Robert E. lerwood and Jerome Brondfield and nar- ted by Henrv Fonda. Check into it at ur local exchange. It's handled by MGM Washington, Charlotte, Indianapolis, fensas City; bv Universal in Albany, Cleve- id, Minneapolis. Dallas: by 20th-Fox in Manta. Detroit, Omaha, Portland: bv Re- I l)lic in Boston, Denver, Tampa; by RKO Buffalo. Pittsburgh, Chicago, San Fran- co; by Paramount in Milwaukee, Jackson- le. New York, Philadelphia and Los igeles; by Monogram in New Haven; by arners in Des Moines, Memphis, St. Louis, lit Lake City; bv UA in New Orleans, and Columbia in Cincinnati, Oklahoma City d Seattle. L'LV 14, 19 52 Al MEN AND THINGS: A sales depart- " rfienl veteran with RKO for 18 years, William Zimmerman has moved up in the category steadily to assistant to Robert Mochrie, RKO Radio v. p. and general sales manager . . . Art Anderson, who had been Warners acting Prairie District Manager, has been named Midwest District head, suc- ceeding Harry A. Seed, on indefinite leave of absence due to ill health. Hall Walsh re- turns from a leave to resume his duties as WB Pairie chief, headquartering in St. Louis. Anderson, working out of Chicago, will have jurisdiction over the Chicago, De- troit, Milwaukee and Minnaepolis branches . . . Ben Fish. Samuel Goldwyn representa- tive who celebrates his 30th year in the in- dustry this summer, will be figurehead of the RKO drive plugging Goldwyn product over the past few vears. to be known as the "Ben Fish Thirtieth Anniversary Drive" . . Republic International president Richard W. Altschuler has named Reginald Armour manager of continental Europe and the Near East . . . Everett Walsh has been appointed executive art director for Columbia, a post empty since Tack Meyer died early in 1951 . . . July is "Fred Sliter Month" in Albany. The 20th-Fox sales executive has worked the Albany territory since 1914 and his aim is a Fox subject, feature, short or re-issue in every theatre in the territory every "day during the month. It's an ambitious goal, but not an impossible one. SOME 2200 MILES of highway in eight states became a commercial for Warner's "The Story of Will Rogers". Here's how thev did it: Starting with Chicago, a car caravan of press people went straight through Highway 66, ballvhooing the dedi- cation of the Will Rogers Highway. By the time they reached Santa Monica, Calif., they had snread their gospel through eight States, had been feted by the top brass of eight states and all the municipalities along the wav. had given out two million car wind- shield stickers designed as a souvenir of the highway dedication and movie, had placed bronze road markers at state borders, had air coverage daily over 24 radio stations during the period, received front page cover- age throughout the area, which included Illinois. Missouri. Kansas, Oklahoma, Texas, New Mexico. Arizona and California, cul- minating with the Beverly Hills premiere, at which envoys of 40 countries paid tribute to the memory of the great guy who was the film's inspiration. I INI VERSAL'S LAUNCHING of "Sally U nnd Saint Anne" in New England at the beginning of the month had em talking about the ofT-the-theatre-page ads which featured the newspaper campaign. Ad-ptib- licity director David Lipton's brainchild, the idea seems to have a tremendous potential to draw a big audience that may not normal- ly read the amusement pages. It may do more than that, however. It may lure the readers to the theatre pages, thus opening a door for the return of a hefty segment of movie customers who have either forgotten or have never known the entertainment that movies offer. UA'S "STRANGE WORLD", named by your favorite trade paper as Exploitation Picture of the Issue, has racked up "out- standing grosses" in every one of its engage- ments, according to distribution chief Bill Heineman. The same news comes from foreign sales head Arnold Picker, who re- ported "top business" in the first week of its four-theatre Paris premiere. In all cases, the dates were accompanied by full-powered exploitation. AT THE LAST count, some 5000 especially invited guests had crowded into 20th Century- Fox's Little Theatre to witness the 26 demonstrations of Eidophor, the com- pany's new theatre TV process. In addition to press member-, who witnessed the in- augural showing, the series was attended by SPYROS P. SKOURAS That Eido/thor Smile presidents of film companies, tcle.ision, radio and allied entertainment corporations; exhibitors, industry executives, mili.ary rep- resentatives and a large delegation of public servants, including Senators, Congressmen and members of the Federal Communica- tions Commission. The company's president, Spyros P. Skouras, was the beaming host at each of the showings, and, judging from the reactions of the viewers, he had plenty to beam about. OOTH-FOX'S "THE ROBE", the Lloyd *- Douglas best-seller due to go before the cameras this summer, is working sturdily in line with its initial popularity. Holding the biggest non-reprint circulation figure of a fiction novel published in this generation (over 2,000,000 copies) from Hough ton- Hifflin, two Grosset and Dunlap editions have hit the 198,000 mark, and the world- wide sales have included editions in 18 languages. New movie editions of the novel to be merchandised on an international level are being timed for release at the same time as the film. Literally, here is "novel" pro- motion. TENT-TOPICS: Variety Clubs Inter- national's Silver Anniversary bids fair to be one of the movie industry's gala affairs of the year. Pittsburgh, birthplace of the "Heart of Show Business", will be the scene, November 21-23 will be the dates, and the William Penn Hotel will be the place. Variety's place in the national scene is evi- dent in the eagerness with which national bigwigs accepted the invitation by Inter- national Chief Barker Jack Beresin to attend the celebration. The CB is also working on the Post Ounce Department to issue a special postage stamp to commerate the founding of Variety. At the same time, Big Boss John Harris is lining up top Hollywood stars for the shindig and the climactic banquet on Nov. 23. The event, which will be aired on television and radio over a national network, shapes up as a Variety tribute unprecedented in this great organi- zation's history. It couldn't happen to a better guy. 15 (Continued from Page 10) be one of its biggest grossers in years. The picture goes into release next month. George J. Schaefer, Kramer's distribution associate, STANLEY KRAMER "High Noon" High on his current Hollywood visit, told us that over one thousand contracts already have been set on "Noon" at top terms. There is further cause for celebration in the UA camp with the closing of a releasing deal with Charles Chaplin on "Limelight," which is announced as his last picture. Also cheering news is the announcement that Robert Montgomery and Vanessa Brown are to co-star in "The Matinee Idol," which will be incorporated into "Tales of Broad- way," previously known as "Billy Rose's Tales of Broadway". Montgomery, who has done outstanding work on TV on a shoe- string, will also write and direct the epi- sode for the Alex Gottleib production. John Huston launched "Moulin Rouge" (Jose Ferrer-Collette Marchand-Zsa Zsa Gabor) in Paris, on June 24, which is the only picture currently shooting with a definite UA releasing commitment. Director Huston's producer on the picture is Anthony Veillcr. This week, Breakston-Stahl Produc,:~:i> will start filming "The Scarlet Spear" (Martha Hyer-Morassi), in British Ea-t Africa. The picture, to be shot in color, is cooperatively produced and directed by the team. Hollywood has been marvelling over the achievement of Andrew L. Stone after his disclosure that his UA release, "Confidence Girl," was produced at a total cost of $; 5,000. This figure includes all charges and no deferments, with the exception of Stone, himself, who wrote the screenplay, pro- duced and directed. Stone moved into actual backgrounds, such as large department stores and restaurants, using only two lights instead of the usual vast amount of electrical equipment. This bold deviation, instead of 16 cheapening the picture, has served to give it realism. It may serve as an example to other movie-makers that ingenuity and know-how can save both producer and exhi- bitor a healthy chunk of cash without de- tracting from boxoffice value. UNIVERSAL-INTERNATIONAL Rackmil Sees U-l Tops In TV Film Production The word is out in Hollywood that the U-I and Decca merger will mean an all- out drive to take the lead in production of films for television. Milton Rackmil, Decca president, who is slated to be Universal prexy, will make his headquarters at the studio in an effort to make full use of the recording company's strong lineup of vocal artists and Universal's film-making know- how, to take the lead in television movie production. Rackmil has told associates that he feels the new management is in a much stronger position in that respect than any of the other film companies, due to Decca's long- experience in dealing with the radio and TV networks. However, according to well- placed persons at the studio, who have talked with Rackmil, this will mean no de- emphasis of the company's pictures efforts for theatres. U-I has joined some of the other studios in town in trying to unload some of its ex- pensive literary properties which have been gathering dust on the company's shelves. "Song of Norway," for which the studio paid $250,000 a few years back, has been thrown on the market. Others include "Gus the Great," by Thomas Duncan, and "Purple Mark," which Samuel Goldwyn made as a silent way back in 1921. Actually, no one around the lot was too surprised that "Song of Norway" has finally been eliminated from future production plans. There has been a marked reticence on the part of the company for some time to go overboard on expensive musical produc- tions. Even one of the big productions, which had already been rehearsed for Dan Dailey's recent loan-out picture to the studio, was dropped at the last minute be- cause of the cost involved. Three pictures are in production current- ly. They are the highly touted "Mississippi Gambler" (Tyrone Power-Piper Laurie"). "Roughshod" (Audie Murphy-Siisan Cabot) and "Seminole" (Rock Hudson-Barbara Hale-Anthony Quinn). Ted Richmond is producting "Gambler," with Rudolph Mate directing. Nathan Juran directs the Techni- color "Roughshod" for Aaron Rosenberg, and Budd Boetticher directs "Seminole" for producer Howard Christie. This studio has moved up three associate producers to producer status. Ross Hunter (he was associate on "Hattle at Apache Pass") will produce "Vermilion O'Toolc" and "Stopover"; Richard Wilson ("Ma and Pa Kettle Go To Paris") got the production assignment on "The Golden Sword" ; | "Streets of Cairo"; Anton Leader ("S;j' and Saint Anne") will have "Men of Irll as his first production assignment. This move is in line with U-I's policv I developing and advancing production m • power from within the ranks. MILTON RACKMIL Decca to U-I to TV? WARNER BROTHERS Wayne-Fellows Set Second Inde Production for Warners John Wayne and Robert Fellows havera lected their second independent produc n to be released by Warner Brothers, uilr terms of their recently signed two-picH pact. It will be "Plunder in the Sun", b. '1 on an original screenplay by Jonatiu Latimer, which Wayne and Fellows Ire just purchased in a package deal, reports for $250,000, which includes Glenn Forces the star and John Farrow as the direcp Lensing will get underway some time du W August. Robert Sisk has been granted his relw from his producer pact at the studio, atps own request. However, Sisk tells FIM BULLETIN that the parting is entiW amicable. During the little more thai year that he was at the studio, Sisk turld out "This Woman Is Dangerous" and " '<•' Man Behind the Gun". Three pictures are now filming, tw« the studio and one in England. The la jr. "The Master of Ballantrae" (Errol Fbji- Beatrice Campbell), is a high-budget Th- nicolor drama, being produced by Wilpi Keighley and directed by Frank Matt* Those shooting at the Burbank studio t' "The Desert Song" (Kathryn Grayp- Gordon MacRae), directed by Bruce Hp* berstone and produced by Rudi Fehi|l> Technicolor, and "Stop, Vou're Killing f (Broderick Crawford-Claire Trevor), dii ed by Roy del Ruth and produced by LU F. Edelman. FILM BULLETHi 6XHIBITORS FORUm Opinions Culled from Organization Bulletins SURVEY FACTS ATO of Indiana Sindlinger and Company have been mak- B a very comprehensive survey of llic btion picture business in the Chicago area. ; a result of data obtained in this survey, ndlinger has made some well documented intentions about the future of the business. The average individual in 1947 went to the pvies 29.1 times and in 1951 he went 16.6 nes (a drop of 27.6%). In 1947 he spent .17 at the movies and in 1957 he spent ,65. The average U. S. household spent [5% of its entertainment budget at the pvies in 1947 but only 7.4% in the year of 51. Rut the number of households in the U. S. reased 16% from 1947 to 1951 and the eragc admission price increased 15%. Re- use of these compensating factors the al U. S. movie gross declined only \l°A in at period and apparently has levelled off that point. [Accordingly, the producer-distributor who ponds on total national gross did not feel B full impact of the business decline and w is past any crisis. Rut the individual hibitor who must depend on his own ini- tiate area is not benefitted by the overall S. increase in population and feels the 'II effect of a percentage decline in movie jing and a smaller share of the recreation liar. Recent profit statements of the pro- | cer-distributors bears this out. ■Sindlinger points out that the fact that the rage household is now spending only ['% of their recreation dollar should be an Icouraging sign for the exhibitor that the tential exists for him to increase his busi- Vlso that there will be a natural 2% •rease in total gross and that special orts of the industry might well increase e gross 20% above the 1951 level. PRICE CONTROL Western Theatre Owners "HARVEY PRONOUNCES FOR GOVERNMENT CONTROL" I This headline appeared in many trade |blications a short time ago. In the April ition of the Digest, in this column, I dis- ced the possibility of government control ng the answer to the small exhibitor's iblem. The trade journals, in reporting this subject, didn't say that I said taybe" but put it in headlines that I was >r government control". HEAVEN FOR- D! This is the last thing I want and I Ink my record for the past 30 years bears 1 out. I have said, and I say it again here, jiibitors are not content to lose their life l "ings and 'go broke' without a fight. Thousands of exhibitors are turning to ir government in a last desperate attempt survive. This fact is borne out by the re- it announcement of the Senate Small siness Committee that they will investi- e the Distributors for discrimination. It 1 es a flood of letters to start an action of this kind and where it will end, one can only guess. If the film companies had used sound business judgment and ethical practices in the past, the now infamous anti-trust suit would never have happened. One would think that the film companies had learned their lesson. RUT NO — they refuse to sell film at prices that will enable an exhibitor to exist. They continue to play both ends against the middle. What is he supposed to do — sit down and cry, sue, run to his government. He hasn't any tears left, he can't afford to sue, so he bombards Washington. Arbitration, even when we get it, will not stop all abuses. Dis- tributors must do it themselves, or face serious troubles. — Rotus Harvey, President HA-HA, NOT BOO-HOO Allied Caravan We agree with the small town exhibitor who writes that "there is a crying need for laughter in the theatres". The people are worried. Some have boys in Korea and nearly all boys face military service. The people are being taxed to death and they can't figure out what it is all about. They want to laugh and forget, at least for a little while. Let Hollywood forget sophistication and make pictures with belly laughs The MA and PA KETTLE pictures were a howling success for the patrons, for Uni- versal and for the theatres. And oh for some of those great comedy teams like Marie Dressier and Wallace Rerry. Even Abbott and Costello reissues gross more than most of the new product. America wants to laugh. Let Hollywood do its part in making it laugh — with pic- tures, not antics! If Caravan members agree, let them "tell the salesman". THOSE CLOSINGS Allied Caravan of la. & Neb. -Mid-Central Replacing the American newspapers fa- vorite headline, (and NSS's favorite trailer heading) is the continuing blast. Sounding with the clarion clearness of a loshna's trumpet, that more and more theatres are closing thanks to TV, or, as was stated for one big circuit's ill-advised public declara- tion for closing a big Omaha house, "due to a scarcity of good pictures". We seem to be getting a dose of the newspaper bad pub- licity plague which has been sweeping west- ward through Cleveland and Chicago. Seems every time you pick up a paper, it's front- paging a dirge for more closing theatres. The latest in the Des Moines Sunday Regis- ter of June 15 did nothing to create better public attitudes towards the still remaining multitude of operating theatres. These clos- ings are all accomplished facts, and, even though our sympathies are whole-heartedly with any exhibitor forced to close his doors, these -lories still remain a hard body blow to the previously mentioned public apathy toward motion pictures. These stories are the best reason in the world for every exhi- bitor in the territory to support to the limit the Allied-sponsored get-to^thcr with the press in the September 5 meeting in Des Moines. At least the news story was fair enough to admit there are 16 theatres still operating in the Quad-Cities with a total seating of 14,858, plus four Drive-Tns with a combined 2.8(H) car capacity. The picture is not rosy, but, we hope, neither is it as gloomy as bold headlines proclaim. CARTOON PLUGS ATO of Indiana Because many adults, as well as children, choose to patronize a theatre where their favorite cartoon character is playing, .i number of exhibitors have inquired about tiie little cartoon mats they have noted in the corner of some theatre newspaper ads. A composite mat of 12 favorite cartoon characters in inch individual size is avai!- for 50 cents and a composite mat of 1 inch characters costs 75 cents. They may be ob- tained by writing TEXAS COMPO SHOWMEN, 2008-A JACKSON STRKKT, DALLAS, TEXAS. Also, in order to help you sell your cartoon attractions the same office has available 12 full color 24 x 24 lobby cards depicting the individual char- acters for $8.00 and a kit of 12 cartoon trailerettes also for $8.00. Texas COMPO prefers to send you the cards and the trailer- ettes C.O.I). GRAPES FOR BEANS Allied Caravan of la. & Neb. -Mid-Central SHOWMANSHIP: Just to show that wMPLETED air In Trinidad Ashore (T) Starrett-Burnette 7-52 Hayworth-Ford Rooney-lawrence Autry-Buttram ... Andrews-Toren ... iche Country 142) ignment — Paris .... bed Wire 141) Autry-Buttram ts Malone 1103) Holden-Clements ve Warrior (T) 173) Jon Hall land The IT) 194) Dexter-Lawrence ifornia Conquest IT) 179) stain Pirate IT) ' uded Yellow, The ( go Bill I sple Creek IT) 178) 1941 Wilde-Wright Louis Hayward .Simmons-Howard McGuire-Moore Montgomery- Booth March-Dunnock S-52 7-S2 12-SI 4- 52 7-52 7-52 5- 52 419 4-30 7-52 2-52 12-51 2-52 2-52 2-52 423 414 424 422 1-52 417 I th Of A Salesman 1 1 1 1) _ I y Doien, The Colleano-Frani I iily Secret. The (85) Derek-Cobb I fighters, Th e Williams-Reynolds I t Time, The 189) ... Cummings-Hale ! )0 Fingers of Dr. T., The Hayes-Healy I r Poster, The Harrison-Palmer ( den Hawk, IT) Fleminq-Hayden I >py Time. The 194) . Boyer-Driscoll I em Girl. The 170) Davis-Castle Ivk of Wild River, The (54) ... Starrett-Burnett t Wonderful Lie Kiepura-Eggerth I an Uprising ISC) (75) .. Montgomery-Long . k McCall, Desperado (T) Montgomery-Stevens . gle Jim in the Forbidden Land (45) Weissmuller-Ryan 3-52 .gle Safari _ Weissmuller-Greene ► From Amarillo (54) Starrett-Barnett . 4-52 *ga, The Wild Stallion 145) Reissue Stone-Hudson 2-52 I amie Mountains (54) Starrett-Burnett 4-52 It of the Comanches (T) Crawford-Hale _ ... II Train From Bombay Hall-Ferraday l-rying Kind. The 193) Holliday-Harrison 4-52 425 » itana Territory IT) 144) McAllister-Hendrix 4-52 I Six Convicts 1104) Beel-Mitchell 3-52 I ht Stage to Galveston (41) ... Autry-Buttram 3-52 Ciawa (47) O'Brien-Mitchell 3-52 ( West, The (41) Autry-Buttram 3-52 475 < landers, The IT) . Scott-Jarman lifinder. The IT) Montgomery-Carter I la 180) Young-Smith 4-52 ► ce of Pirates IT) Derek-Rush lole Heart Diary 173) F. Langford-T. Romano 12-51 421 Hbow Round My Shoulder IT) Laine-Daniels _ I I Snow (75) Madison-Mala ... 7-52 ers of the Whistling Pines Autry-White 10-8 4-30 12-31 2-1 I 4-30 1-28 5-5 4-30 5-19 gh, Tough West (54) Starrett-Burnett 4-52 ndal Sheet 1821 Crawford-Reed 3-52 3ky Canyon 155) Starrett-Burnette ... 1-52 per, The 187) Menjou-Franz 5-52 rm Over Tibet (87) Reagon-Douglas 7-52 md Off ISC) 183) Mickey Rooney 5-52 i Tall Men IT) 197) ... _.. Lancaster-Lawrence 12-51 get — Hong Kong ...Denning-Loo ef of Damascus, The (T) (78) Henreid-Sutton 4-52 ican, The IT) (42) Documentary Special sdoo Tiger Weissmuller-Burckhart >gon Team Autry-Buttram • Ik East on Beacon (98) Murphy-Gilmore 4-52 ir Cry (C) Montgomery-Long nk in Indo-China, A 147) Archer-Dick 5-52 483 413 4-7 424 5-5 51-52 L I P P ER T Completed (37) In Production (I) RELEASE CHART PRODUCTION TITLE — Running Time ck Pawn, The >MPLETED Men Only 193) mbler and the Lady •at Adventure, The (75) Igate nny the Giant-Killer |TI gle, The 174) . n Shark 179) i Bait 178) -a(o (70) 1 law Woman IC) (75) ite Submarine 149) J sent Arms j Hand Yard Inspector • -et People ■ en Face, The 171 ) ... . ■nghold (731 ... ... r Man sy of the Eagles 183) gs of Danger 172) I- V 14, 1952 — 1951-52 — Cast George Raft Rel. No. Rev. 11-3 P. Henreid ,„.. 1-52 5102 Dane Clark 10-4 51 18 Price-Hawkins 11-2 5021 ..Hayden-Leslie 8-5 5113 Animated Feature 10-17 5114 Cameron-Romero 7-4 5112 Raft-Hart .... 5-23 Sill. Brent-Chapman 1-52 5103 Indian Cast 3-52 5104 ... Windsor-Rober . 4-2 5105 ...Special Cast 7-18 51 10 Sawyer-Tracy 11-17 Romero-Maxwell 9-2 5117. .. Cortesa-A. Hepburn 8-20 5119 Henreid-Scott 4-14 5109 Lake-Scott . . 2-52 _. 5107 . 9-15 5108 Warner-Gray 4-25 5114 Z. Scott 4-1 5104. 1- 28 2- 1 1 In the Release Chart, "Rel." is the National Release Date. "No." is the release Number. "Rev." is the issue in which the Review appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1951-52 programs unless otherwise noted. Listing of color pictures follows immediately after title: (T) Technicolor, (C) Cinecolor, (SO Supercinecolor, (TR) Trucolor, (AC) Ans- color, (NO Natural Color, (WC) WarnerColor. METRO-COLDWYN-MAYER 1951-52 Features Completed (92) In Production (6) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time I Love Melvin IT) Naked Spur. The IT) Never Let Me Go Small Town Girl Sombrero IT) Angeli-Montalban Story of Three Loves All-Star Cast COMPLETED Above and Beyond Taylor-Parker Apache Trail Roland-Horton American in Paris (T) (113) Kelly-Caron Cast O'Connor- Reynolds Stewart-Ryan Gable-Tierney J. Powell-Grainger Rel. No. Rev. Nov Because Your Mine IT) Belle of New York IT) 181) Callaway Went Thataway (81) Calling Bulldog Drummond 180) Carbine Williams 1 101) Lania-Whitmore 10-52 Astaire-Vera-Ellfn 3-52 MacMurray-McGui' _ Dec Pidgeon-Leighton Dec Stewart-Hagen 5-52 9-24 Desperate Search, The Keel-Drake Devil Makes Three, The (94) Kelly-Angeli 9-52 223 214 213 231 2-25 12-3 4-21 Fearless Fagan 179) Girl In White, The 193) . Glory Alley 179) Holiday for Sinners (79) Hour of Thirteen. The _ Invitation 185) It's A Big Country (89) _ Ivanhoe IT) 11041 Just This Once 190) Light Touch, The (93) ... Lili - Lone Star (94) Love Is Better Than Ever Leigh Carpenter 8-52 Allyson-Kennedy 5-52 Caron-Meeker 4-52 Young-Rule 7-52 Lawford-Addams McGuire-Johnson 2-52 All Star 1-52 R. Taylor-E. Taylor 8-52 Leigh Lawford 3-52 232 4-2 4-30 200 215 (81) Grainger-Angeli Caron-Ferrer Gable-Gardner E. Taylor-L. Parks Dec 2-52 4-52 7-52 Lovely To Look At (T) 1112) Grayson-Skelton Merry Widow, The IT) 1105) Turner-Lamas 9-52 My Man and I Winters-Montalban 9-52 One Piece Bathing Suit (T) Williams-Mature Pandora and the Flying Dutchman (T) 1123) Mason-Gardner .. 1-52 Pat and Mike 193) Tracy-Hepburn 4-52 Plymouth Adventure (T) Tracy-Tierney Prisoner of lenda (T) Granger-Kerr Ouo Vadis (T) (171) Taylor-Kerr Rogues March S. Grainger-E. Parker 4-52 224 212 222 225 1-28 12-17 4-30 I- 28 II- S 4-30 235 10-22 4-14 234 11-19 4-30 Scaramouche IT) (115) S. Grainger-E. Parker Sellout, The 172) Shadow in the Sky (78) Singin' In The Rain IT) 1103) Skirts Ahoy (T) Sky Full of Moon 4-52 Pidgeon-Totter 1-52 219 Meeker-Davis-Whitmore 2-52 221 Kelly-O'Connor 4-52 227 (109) William-Blaine 5-52 233 Carpenter-Sterling 10-52 Murphy-Davis 4-52 228 Ford-Vernon Ailyson-Johnson Nov 2-311 12-31 4-21 Talk About a Stranger 145) Time Bomb Too Younq To Kiss 191) Tribute To A Bad Man Turner-Dougles Wahington Story (82) Johnson-Neal Westward the Women 1114) Taylor-Darcel When in Rome 178) Johnson-Douglas Wild North, The (97) ...Granger-Corey You For Me Lawford-Greer Young Man With Ideas 184) _ Ford-Roman 3-10 11-5 7-52 1-52 4- 52 3-52 5- 52 214 229 224 230 12-3 3-10 3-10 MONOGRAM - ALLIED ARTISTS 1951-52 Features Westerns Completed (46) In Production Completed (18) In Production (2) No. Rev. RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. Battle Zone Hodia k-Christian Down Periscope Stevens-Williams . Kansas Pacific IC) Sterling Hayden COMPLETED African Treasure Sheffield-Luei 4-52 Aladdin and His Lamp (C) (47) ..Medina-Sands 145) Artie Flight Counterfeit Crazy Over Horses Dead Man's Trail Desert Pursuit Elephant Stampede 171) Flat Top IC) Feudin' Fools Flight to Mars IC) 172) Fort Osage (C) (72) Gold Fever Gun Smoke Range Gunman, The Hold That Line (44) Morris-Albright 7-20 DeFoe-King Gorcey-Hall _ 1 1-18 . Brown-Ellison 7-4 Morris-Caruso 5—52 Sheffield 10-29. Hayden-Carlson . Gorcey-Hall Chapman- Mitchell Cameron-Nigh 5207 5299 5210... 51 14 5243 . .5209 . .5110- 3-10 2-1 1 9-14 5213 .11-11 5103 ... 2-52 5102 Morgan-Calvert 4-8 Wilson-Stewart Wilson-Knight .4-13 5252 Gorcey-Hall 3-52 . 5211 11-19 1-28 Here Comes the Marines Gorcey-Hall 4-15 Hiawatha IC) Edwards-Duga, Jet Job (43) Clements-Verdugo _ 3-23 Kansas Territory 173) ..... Elliott-Stewart 5-4. Lawless Cowboys (58) Wilson-Knight 11-7... 5215 5225 . 5155. 21 Longhorn The [701 ... ... Elliott Coates 11-25 Man from Black Hills (781 Brown-Ellison 3-52... Mexican Silver Wilson-Clyde Night Raiders Wilson-Knight .... 2-52 „ Northwest Territory 141) Grant-Chinook . 12-9 Rodeo IC) (71) Jane Nigh -3-t„ Rose Bowl Story, The (C) Thompson-Miles 8-24 Stage to Blue River (561 McDowall-Miller 1-52 5223 _.. 5242 5251 Steel Fist. The 173) lexas Lawmen (54) Texas Marshall Texas City Trail Dust Vicious Years, The (7?l Waco 168) Wagons West (C) (70) Whistling Hills (58) Wild-Stallion (CI Witness, The Yukon Gold Grant-Hyer ALLIED ARTISTS Disc Jockey (77) Simms-O'Shea 8-23 Highwayman, The (C) (83) Hendrix-Coburn 9-8 Brown-Ellison 1-52 . Brown-Ellison 12—2 Wilson-Knight Wilson-Knight 12-30 Albright-Winters 12-31 Cook-Moore 2-18. ..Elliott 2-52 Cameron 6—29 ..Brown-Ellison 1 0—7 Johnson-Hyer 4—27 Kirkwood-Gleason _ .5104. 5204 5217 5241 ... 5107 5224 5203 5145. 5205 21 20 PARAMOUNT RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Tim* Cast Pleasure Island IT) ... Genn-Taylor Pony Express (T) Heston-Flemming Roman Holiday Peck-Hepburn Scared Stiff Martin-Lewis Stars Are Singing, The (T) Alberghetti-Clooney COMPLETED Aaron Slick from Punkin Creek(T) (95) Shore-Young Anything Can Happen (107) J^errer-Hunter Atomic City, The (85) Barry-Clarke Blazing Forest (T) Payne-Moorhead Botany Bay (T| Ladd-Mason .... Caribbean IT) Payne-Dahl Carrie (118) Olivier-Jones Come Back Little Sheba Lancaster-Booth Darling, How Could You (951 Fontaine-Lund Denver & Rio Grande (T) (89) O'Brien-Hayden Detective Story (103) . Douglas-Parker Encore Maugham Stories Flaming Feather (Tl (77) . S. Hayden-G. Russell Greatest Show On Earth (T) (151) Stewart-Hutton Green Gold of Nevada (T) ... Payne-Morrow Hong Kong (Tl (92) ....„ Reagan-Fleming Hurricane Smith (T) DeCai lo-lreland Jumping Jacks (98) Martin-Lewis Just For You (T) Crosby-Wyman Los Alamos Barry-Carke Military Policeman Hope-Maxwell My Favorite Spy (93) Hope-Lamarr My Son John (122) Hayes-Heflin Rage of the Vulture, The Ladd-Kerr Rel. Red Mountain (T) (84) Road to Bali Sailor Beware (1021 Savage. The (T) Shane (T) Silver City (T) (90) Somebody Loves Me (T) Something To Live For (90) Son of Paleface (T) Stalag 17 Stooge, The Submarine Command (89) This Is Dynamite Tropic Zone (T) War of the Worlds (T) W^n Wr,rid5 Collide (821 (T) Ladd-Kennedy Hope-Crosby- La mour Martin-Lewis Heston-Hanson Ladd-Arthur DeCarlo-O'Brien Hutton-Meeker Fontaine-Milland Hope-Russell Holden-Taylor Martin-Lewis Holden-Olson Holden-Smith Reagan-Fleming Barry-Robinson Derr-Rush 4- 52 5- 52 6- 52 12-52 9-52 8- 52 11-51 6- 52 I 1-51 7- 52 2-52 7-52 1-52 10-52 7-52 9- 52 12-51 4- 52 5- 52 12-52 2- 52 1 1- 52 12- 51 10- 52 3- 52 8-52 I 1-52 1 1- 51 I 1-52 No. 5119 5117 5120 5108 5115 51 I I 11-51 5106 1951-52 Features Serials Westerns REPUBLIC Completed (19) Completed ( 0) Completed (13) RELEASE CHART IN PRODUCTION TITLE — Running Time Fair Wind to Java ITr) Lady Wants Mink, The (Tr) COMPLETED Adventures of Captain Fabian (100) Bal Tabarin (90) Vack Hills Ambush rorder Saddlemates Cap*ive of Billy the Kid (54) Colorado Sundown (67) Desert of Lost Men 154) Fabulous Senorita, The (80) Flight from Fury Gobs and Gals Honeychile (Tr) (89) . Hoodlum Empire (98) I Dream of Jeanie ( Tr I (90) Lady Possessed (87) Las* Musketeer. The (67) Leadville Gunslinger (54) Oklahoma Annie (C) (90) Old Oklahoma Plains Pals of the Golden West 1681 Ouiet Man, The (T) (1291 Rangers of the Golden Sage Ride the Man Down (Trl Sea Hornet, The (84) South of Caliente 67) 22 — 1951-52 — Cast MacMurray-Ralston Hussey-O'Keefe Rel. No. E. Flynn-M. Prelle 10-6 . Lawrence-Ching 6-1 Lane-Waller . 5-20 Allen-Kay 4-15 Lane-Edwards 1-52 Rex Allen 2-52 .Lane 1 1-19 Estelita-Clarke 4-1 Edwards-Clark Downs-Huttpn 5-52 Canova-Foy 10-51 Donlevy-Trevor 4—15 Middleton-Shirley 6-15 5101 5129 5143 5064 5141 5043 5125 Mason-Havoc Allen-Kay Lane-Riley Canova-Russell Allen-Kay Rogers-Evans Wayne-O'Hara Chapin-Janssen Donlevy-Tucker Cameron-Booth Rogers-Evans 1-52 3-52 3-52 3-24 5128 5121 5105 5106 5104 5142 5171 5122 3-10 6-30 6-18 8-27 951-52 Features Completed (68) In Production (5) R.v. 3-10 3-10 6-16 8-13 4-7 10-8 5118 12-31 5130 .1-14 5109 I " 11-19 6-16 .si\0~.\0-22 5116 4-21 5113 ' IsluIZ 12-17 "5li2ZI"lb-8 rsio'sZZZi-iT 5107.7 ... 9-24 In Production (2/ In Production (0) In Production (0) Rev. 10-8 1-14 6-18 12-3 6-15 4-21 12-15 5152 2-11 5-19 11-6 10-15 5151 10- 22 11- 19 12-15 11-15 5032 5130 7-20 5173 Stormbound Dowling-Checchi Street Bandits (54) _ Edwards-Clarke . Thunderbirds Derek-Barry more Thundering Caravans ... Lane-Waller Tropical Heat Wave Estelita-Hutton ... Toughest Man in Arizona (Tr) Monroe-Leslie Utah Wagon Trail (67) Allen-Edwards _. WAC From Walla Walla Canova-Dunne ... Wild Blue Yonder 198) Corey-Ralston Wild Horse Ambush Chapin-Janssen Woman In The Dark (60) Edwards-Elliott .... Woman in the Wilderness Cameron-Hussey Wyoming Saddle Palt Chapin-Janssen ... 1951-52 Features Completed (69) In Production 10-15 1 2-7 Z. 1-52 7-15 5054 5130" 5131 IN PRODUCTION TITLE — Running Tim* Blackbeard the Pirate (T) Difference, The Murder, The RELEASE CHART — 1951-52 — Cast Darnell-Newton O'Brien-Loveioy Mitchum-Simmons Rel. No. Wilde-O'Hara 2-52 220 COMPLETED At Sword's Point IT) 181) Androcles and The Lion Simmons-Young Beautiful But Dangerous Simmons-Mitchum Beware, My Lovely Lupino-Ryan Big Sky, The Douglas-Martin Bloodhounds of Broadway (T) Gaynor-Brady Body Snatcher (Re-issue) Karloff 4-52 271. Cat People 173) Simone-Smith Reissue 267... Clash By Night (105) .. Douglas-Stanwyck 6-52 229... Double Dynamite (80) . Sinatra-Russell 12-51 214... Faithful City (86) J. Smith-Ramati 5-52 273.. Girl in Every Port, A (86) Marx-Wilson 1-52 214... Half-Breed, The (T) (81) Young-Carter 5-52 Hands Across the Sea Rennie-Peters Hans Christian Andersen (T) Kaye-Granger Reissue 266 ... 4-52 272 1-51 101 Hunchback of Notre Dame (1171 Laughton-O'Hara I Walked With a Zombie (Re-issue) Conway I Want You (101) Andrews-McGuire Jet Pilot (T) (1181 Wayne-Leigh - - Jungle of Chang (67) Travel 1 1-51 208 1 King Kong (Re-issue) Cabot 5-52 269 Las Vegas Story, The (88) Russell-Mature 2-52 217 I Leopard Man, The (Re-issue) O'Keefe 5-52 270 Lusty Men, The Hayward-Mitchum Macao 181) Russell-Mitchum 4-52 224 Man Who Fooled Hitler Werner Narrow Margin (71) McGraw-Windsor 4-52 226 On Dangerous Ground (82) Ryan-Lupino ._ 1-51 215. One Minute to Zero Mitchum-Tallman Overland Telegraph (60) Holt-Martin 12-51 ... 216 . Pace That Thrills, The (63) Williams-Balenda 3-52 213.. Pony Soldier (T) Power-Edwards 12-52 Racket, The (89) Mitchum-Scott 11-51 210.. Rancho Notorious (T) (89) Dietrich-Kennedy 3-52 221 Rashomon (86) Japanese 3-52 . 268 Road Agent (60) Holt-Martin 3-52 Holt-Martin 117 Saddle Legion (60) Snow White and the Seven Dwarfs (T) 183) Disney Feature Reissue . Something for the Birds Neal-Mature Stars and Stripes Forever IT) Webb-Hussey Sudden Fear Crawford-Palance - Target (60) McGraw-White 4-52 Tarzan's Savage Fury (80) . Barker-Hart 4-52. Tembo (80) Documentary I —52... Trail Guide 160) Holt-Martin 2-52... Two Tickets to Broadway (T) ( 1 06) Leigh-Martin 11-51 Whispering Smith vs. Scotland Yd. (77) Carlson-Gynt - 3-52 Wild Heart. The IT) (82) Jennifer Jones July 292 227 225 265 219 264 .222. 274 20th CENTURY-FOX 9-24 1 951-52 Features Completed (66) In Production (4 RELEASE CHART IN PRODUCTION TITLE — Running Time Farmer Takes A Wife, The (T) Niagara IT) Powder River Number, The COMPLETED Anne of the Indes IT) 182) Belles On Their Toes IT) (89) ... David and Bethsheba IT) ( I 16) Deadline U. S. A. 187) Decision Before Dawn (119) Diplomatic Courier 197) — 1951-52 — Cast Grable-Robertson Cotten-Peters Calhoun-Calvet Rel. No. R. Winters-Widmark -Jordan- Paget Crain-Loy Peck-Hayward Don't Bother To Knock (76) Down Among the Sheltering Palms(T) Dream Boat Elopement (82) 5 Fingers (108) Fixed Bayonets! (92) Girl Next Door, The (T) Girl on the Bridge, The (77) Golden Girl IT) (108) 11-51 5-52 2-52 ..Bog art- Barry more 5-52 .Merrill-Basehart 1—52 Power-Neat Widmark-Monroe Lundigan-Greer Webb-Francis Webb-Francis Mason-Rennie Basehart-O' Shea .Haver-Dailey 9-52 8-52 ... 12-51 3-52 .12-51 134 213 203 215 205 222 224 ... 223 141 . 208 140 .11- 3- 12-1 I Don't Care Girl, The (T) I'll Never Forget You (T) (90) Japanese War Bride 191) Kangaroo (T) (84) Lady in the Iron Mask (NO (781 Leave Her to Heaven ( I 10) (Reissue) Les Miserables - Let's Make It Legal (77) Lure of the Wilderness IT) (92) Lydia Bailey IT) 189) Model and The Marriage Broker! 103) Monkey Business — My Wife's Best Friend Night Without Sleep _ Outcasts of P<^«r Flat. The (81) O. Henry's Full House Haas-Michaels 12-51 139 Day-Gaynor _ 11-51 136 . Gaynor-Wayne 11-52 Power-Blyth 12-51 142 _ Yamaguchi-P. Taylor 1-52 202 O'Hara-Lawford 6-52 217 L. Hayward-Medina 7-52 218 Tierney-Wilde 6-52 255 Rennie-Paget . 8-52 225 Colbert-Carey 11-51 133 Peters-Hunter 9-52 Robertson-Francis 6-52 219 J. Crain-T. Ritter 1-52 201 Grant-Rogers 10-52 Baxter-Carey 10-52 Darnell-Merrill Baxter-Robertson 5-52 216 Crain-Granger 9-52 12- -H-l . 12- I- 6- 12- FILM BUM. FT I ne Call From A Stranger (94) y Soldier (T) lie of St. Louis 193) Ins Came, The 195) (Reissue) J Skies of Montana IT) (98) ijrn of the Texan 187) le of Cimarron INCI 1721 tws of Kilimanjaro, The (T) Irs and Stripes Forever IT) ..... lasure of the Golden Condor IT) {ight We Sing IT) Merrill-Winters Power-Edwards Dailey-Dru Power-Loy Widmark-Smith Robertson-Boone Buetel-Powers Pec k-Hay ward Webb-Paget Wilde-Smith Pima-Peters Widmark-Dru M. Brando-J. Peters 2-52 204 12-52 4-52 4-52 2-52 2-52 211 254 207 209 1-28 1-28 3-10 4-52 212 I 1-52 12-52 •i Zapata 1113) ft Til The Sun Shines NellielT] I 1 08) Peters-Wayne y of a Gaucho (T) Tierny-Calhoun Ire Not Married 185) Wayne-Rogers ... ^at Price Glory IT) Cagney-Dailey • h A Song In My Heart IT) (117) Hay ward-Calhoun 12-52 3- 52 7-52 9-52 7- 52 8- 52 4- 52 204 220 2-25 5-19 221 224 210 2-25 UNITED ARTISTS 51-52 Features Completed (61 In Production (2 RELEASE CHART — 1951-52 — PRODUCTION TITLE — Running Time lilin Rouge . fjrn to Paradise MPLETED /'.hristmas Carol 184) _ - /ors and Sin (94) > can Queen IT) 1 104) • ther Man's Poison (89) ■ Night, The 175) Cast Ferrer-Gabor Cooper-Haynes Rel. No. 3-21 1-14 12-7 I aloBill in Tomahawk Territory 144) Moore-Andrews 2-8 C.tive City (91) Forsythe-Hall 4-11 Alastair Sim Robinson-Hunt Bogart-Hepburn Davis-Merrill J. Barrymore-P. Foster 11-30 7-18 H-R C:ago Calling (74) Cidburst 183) C fidence Girl 181) ( the Beloved Country F.ter, The (78) F Defiance 181) €»s Wall. The td Raiders 154) C en Glove, The 184) Duryea-Anderson Preston-Sellars Conway-Brooke . Lee-Poitier 1-4 -31 Asp F Ran All the Way 177) Fh Noon 1 85) - Fel Sahara 187) I ision U.S. A _. lid of Desire IT) 1 103) Ksas City 1-1-7 Ly Says No. The (82) L'.slight t> er Drake's Duck 8 1 Iv Peek-A-Boo 174) (Kiny IT) (74) Cessed 177) C Big Affair 180) Stone 8-22 Conte-Brown Got D. Clark-B. Johnson 1 1-9 Gassman-Grahame O'Brien-Ryan 9-14 Ford-Brooks 2-28 Ben Garfield-Winters 7-13 Reb Cooper-Kelly _ 7-30 Kr 10- IS Jar I 1-19 4-2 1-14 1-14 1 1- 19 4-7 12- 17 4-14 4-14 8-4 l-ll 9-21 C:ast of the Islands (T) (91) rllon My FFrench (81) P Row ...... P ter's Wife R Planet Mars (87) I , The Mr, The (T) 199) R.il Journey 150) S let Spear Hauff-Schneider Bonar Colleano S Benny, the Dip 180) S nge World (80) T. of Five Women, A 184) _.. Ti Brown's Schooldays (93) Davies-Newton T>) Gals and a Guy 170) Paige-Alda W, The 185) Rober-Kelly Wn I Grow Up (90) Preston-Scott . DeCarlo-Ustinov O'Shea-Castle . Darnell-Hunter Payne-Gray Caulfield-Niven Chaplin-Bloom Fairbanks-Donlan _. G re en wood- Bou r vi I 1 0-2 1 — Sach .... Stevens-Lansbury 3-14 KB Farrar-Fitzgerald 9-7 ..O'Keefe-Keyes 2-22 Richardson-Kerima 7-11 Lop Oberon-Henreid 8-10 Evans-Welch 8-12 -Claudette Colbert Graves-King _Rios-Moreno Swinburne- Shi elds Color Feature Hyer Foch-Haymes I l-S 3-10 7-14 5-5 I 1-19 12-17 10-8 9-24 3-24 9-24 5-19 _9-IO 5-15 2- 15 3- 15 Ren 8-24 ..Dan 7-14 3- 28 Gehn 4-7 ... 3-7 _ .11-2 8- 3 1 9- 14 4- 20 Pop 9-10 UNIVERSAL '5 1 -52 Features Completed (78) In Production (3) I PRODUCTION TITLE — Running Time Missippi Gambler - » ihshod IT) Sl-nole IT) C MPLETED Ainst All Flags IT) RELEASE CHART — 1951-52 — Cast Power-Laurie Murphy-Dra ke Hudson-Hale Rel. No. Rev. lie of Apache Pass, The IT) (85) t\\ of the River (T) (91) 81 < Castle. The o Goes To College Mit Victory (97) ... ... II co Buster (T) (80) C le Kate (T) C ■ of Outlaws, The IT) (74) Cirron Kid, The (T) 184) C Beneath the Sea (T) 0 at Silver Creek, The (T) Fi ers Keepers (75) Fl e of Araby IT) (77) Fl(i and Fury (83) Fi cis Covers the Big Town Fi cis Goes to West Point S en Horde. The IT) (134) G e Companions, The (T) S Hand IT) H Anybody Seen My Gal IT) (89) H Comes The Nelsons (74) lr| Man 182) It -ows On Trees Hunter (T) (95) .._ Across the Street 79) . from Texas IT) (78) ■ Pays Off. The (80) nder Hill Mob. The 182) J Egypt (TI 182) *J>ig Tide ,The 192) Ri Ball Express _.. Flynn-O'Hara Chandler-Lund Stewart-Kennedy McNally-Greene Perreau-Gwenn Dow-Kennedy Lund-Brady O'Hara-Nicol Smith-Carey A. Murphy-Y. Dugay Ryan-Powers Murphy-Domergue ... Ewell-Adams Chandler-O'Hara Curtis-Sterling Donald O'Connor _ O'Connor-Nelson _ Blythe-Farrer _ Dailey-Lynn Hudson-Adams Colburn-Laurie _ Ozzie and Harriet Keyes-Chandler _ Dunne-Jagger Apr 217 Feb 212 Jan May . 208 _ 219 4-7 1-28 7-30 4-21 Nov Jan Aug Jan Jan Mar 213 228 211. 207 214 1 1-5 12-31 1-14 12-3 July Oct 224 134 i July . 224 Feb .... 210 Aug _ 130 221 4-30 1-28 7-14 Steel-Sheridan June Sheridan-Lund - - Hull-Duff : Oct _.. 1 34 .... Darnell-McNally Nov 202. . Guuinness-Holloway Oct 280 .Fleming-Stevens Sept 131..' Winters-Conte Nov _ 203 Chandler-Cabot May 218 4-2 i 4-2 10-8 1-28 8-27 1 0-2 J Lost in Alaska Ma and Pa Kettle at the Fair 187) Ma and Pa Kettle in Waikiki Ma and Pa Kettle Go To Paris Magic Lady Mark of the Renegade IT) 181) Meet Danny Wilson 188) No Room for the Groom (82) Pool of London (85) Reunion In Reno 179) Raiders. The IT) Sally and Saint Anne Scarlet Angel (T) 181) Son of All Baba IT) Steel Town (T) (85) Abbott-Costello . Main-Kllbride Main-Kilbrlde Main-Kilbride Young-Chandler Montalban-Charisse Sinatra-Winters Curtis-Lauria Colleano-Shaw Stevens-Dow _ Conte-Lindfors Blyth-Gwenn DeCarlo-Hudson Curtis-Laurie Sheridan-Lund Aug Apr 229 214 3-24 Aug Feb May Nov Oct July June 128 205 220 183 135 225 222 Strange Door, The 180) Texas Man, The IT) Thunder On the Hill (85) .... - - Treasure of Lost Canyon, The (T) (81 Untamed Frontier, The IT) Week-End With Father 183) Willie and Je Back at the Front World In His Arms, The (T) Yankee Buccaneer IT) You Never Can Tell 178) Laugnton-Karloff Ryan-Adams Colbert-Blyth W. Powell-J. Adams Cotten-Winters Neal-Heflin Ewell-Lembeck Peck-Blyth Chandler-Brady Powell-Dow Mar Dec Sept Mar Dec Aug Sept 215 204 133 209 8-13 1- 28 5-5 10- 8 T — 4-14 11- 5 8-13 2- 25 204 12-3 227 132 9-10 WARNER BROTHERS Rev. 1951-52 Features Completed (50! In Production (3) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Desert Song, The IT) Master of Ballanfrae IT) Stop, You're Killing Me IWC) COMPLETED Abbott and Costello Meet Capt. Kid About Face IT) (94) April In Paris (T) Big Jim McLain Big Trees, The IT) 189) Bugles in the Afternoon (T) 185) Captain Blood (Reissue) 198) _ . . Carson City IWC) 187) Close To My Heart ISO) Come Fill the Cup 1113) Rel. Cast Grayson-MacRae Flynn-Carrpbell Crawford-Trevor Abbott-Costello MacRae-Bracken 5-31 Day-Bolger Wayne-Olson Douglas-Miller R. Milland-H. Ca Flynn-DeHaviland No. 221 Rev. 4-21 _ _Milland-Tierney J. Cagney-P. Th Captain Horatio Hornblower (T) 1117) Peck-Mayo Crimson Pirate, The IT) B. Lancaster Danger Forward Wilde-Cochran Distant Drums IT) 1101) Force of Arms 1 100) I'll See You In My Dreams 1110) ... Iron Mistress, The IT) Jack and The Beanstalk ISC) (78) Lion and the Horse, The IWC) (83) Jim Thorpe, All-American 1105) — Man Behind the Gun IT) Mara Maru 198) — - ■ Miracle of Our Lady of Fatima, The North of the Rio Grande Painting Clouds with S'hine (T) (87) Retreat, Hell! 195) Room For One More (95) San Francisco Story, The (80) She's Working Her Way Through College IT) 1101) Springfield Rifle (W) Starlift 1103) - Story Of Will Rogers, The (T) Streetcar Named Desire, A (122) Tank Are Coming, The (90) ... ._ This Woman Is Dangerous 197) Tomorrow Is Another Day 190) 3 For Bedroom C INC) (74) Where's Charley? IT) Winning Team. The 198) Cooper-Alden Holden-Olson Day-Thomas Ladd-Mayo Abbott-Costello Cochran-Teal Lancaster-Bickford Scott-Wymore Flynn-Roman Gilbert Rowland McCrea-Mayo Mayo-Morgan Loveioy-Carlson _ Grant-Drake McCrea-DeCarlo 5-17 Mayo-Reagan Cooper-Thaxter Cagney-Mavo 3-29 117 2-25 3-8 1 14 3-10 12-5 110 . 4-14 123 5-19 1 1-3 107 10-22 10-20 104 9-24 8-11 030 7-2 12-29 1 1 1 12-17 9-15 102 1-12 112 12-17 4-12 118 4-21 4-19 1 19 4-18 9-1 101 5-3 120 4-7 7-28 029 . ... 10-4 105 9-24 2-23 IIS 2-25 1-24 113 1-14 5-17 121 4-21 7-12 128 Roger, Jr.-Wyman Brando-Leigh S. Cochran-P. Carey Crawford-Morgan Roman-Cochran Swanson-Warren 4-21 . Bolger-McLerie ... - - Day-Reagan 4-28 12-1 7-24 3-22 I 1-17 2-9 9-22 109 129 104 108 114 103 124 "l 25 11-19 I 1-5 2-11 8-27 4-14 "4-2 Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St., Phila. 3 —1239 Vina St.. Phil*. 7 LOcust 4-0100 Member National Film Carriers L Y 14, 1952 23 On the way IN... :iRfT!W COMING and GOING, your patrons will be sold when they see these Colorful, Cut-Out DISPLAYS that stand out in your Lob- by, Foyer or Out- Front . . . they need no frame and the beau- tiful fluorescent-lighted base adds to the SOCK and brings out the COLOR! Get full details from your NSS Salesman or write your nearest NSS Exchange ! 1BERTS0N FRANCIS LYNn . RUTH [OMAN HI COMING mmwL^ctei/? servicc PMZf naar or me inousmr '^ATTRACTION BULLETIN JULY 28, 1952 DESPERATE TELEVISION WANTS TO RIDE ON THE MOVIE INDUSTRY'S BACK Viewpoints HP BECAUSE: BECAUSE: For the 4th year in a row M-G-M wins the Laurel Award of Exhibitor Magazine, voted "The Company that gives you the fairest treatment." BECAUSE: In 92 Theatre -Trade -Shows-with -audiences, "IVANHOE" is rated by exhibitors as the greatest box-office property of our time, exceeding even "Quo Vadis." BECAUSE: "THE MERRY WIDOW" has been rated at Trade Shows as the new M-G-Musical delight, launching the Fall Season of Techni- color singing successes including "BECAUSE YOU'RE MINE," "EVERYTHING I HAVE IS YOURS'' and "MILLION DOLLAR MERMAID." Again in June's Box Office Champs of M. P Herald and in Variety's box-office survq (reprinted in Time Magazine} M-G-M lead: with two winners, "PAT AND MIKE" anc "SKIRTS AHOY!" BECAUSE: "LOVELY TO LOOK AT," the spectacula Technicolor hit, maintains M-G-Musica leadership at the box-office, a happy enter tainment for summertime crowds. BECAUSE: The exhibitors of the nation who vote M-G^ "Fairest Company" with "Best Product" ar saying: MAKE MINE METRO 0 N Viewpoints JULY 2 8, 19 5 2 M VOLUME 20, NO. 15 MEN AND MATTERS Must JVo Curry TV On Our Bucks*? Imagine, if you can, this situation: an enterprising small-fry publisher starts a new daily newspaper in New York City. Being unable to afford a competent staff, he calls upon the other established newspapers to fur- nish him with news and editorials written by their personnel, and, upon being refused, appeals to the United States Government to charge the other publishers with conspiracy in restraint of trade. If that sounds ridiculous, consider the action instituted last week by the Department of Justice against the motion picture industry on behalf of the competitive television industry. Here you have the unbelievable case in which the law arm of the Govern- ment reaches out to choke our busi- ness in order to breathe life into tele- vision. Make no mistake about this: video is desperate. This ogre, which has struck such fear into hearts of movie people and has been boasting that it will force out of business the thousands of theatres throughout the land, is close to a state of panic itself. Foundering in a mire of rising costs that threatens to engulf it, foreseeing itself soon barren of material to satisfy the consuming hunger of its channels, in a cold sweat trying to meet the demands of the beer, soap and cereal hucksters for new ideas, television has been covetously eyeing the movie busi- ness as its salvation. The moguls who control this power- ful propaganda medium have been tossing their weight around Washing- ton in an obvious attempt to have Uncle Sam solve their problems for them. They offer a simple solution: make the movie business furnish us. with films, so that we may sell com- mercial time on our channels. Nobody can blame them for trying. But how, in the name of Justice, can the Department of Justice of the United States of America lend itself to a scheme so nefarious, so preju- dicial! Heeding the entreaties of the video interests for a supply of product, and, of course, the lure of potential profit in that field, certain of the Hollywood studios have turned over part of their facilities to the making of TV films. As yet, however, no one has heard that any profits worth mentioning are, accruing to the companies who have wet their feet in those inviting waters. Now comes a pertinent question: If the studios involved in TV production should find it unprofitable and decide to give it up, will the Department of Justice sue to force them to continue their labors on behalf of the television industry? If that question seems impertinent, is it not wholly reasonable in view of the astounding action taken by the Department against the motion picture industry? Television has a wide open field before it, if it wants to make product for the medium. Obviously, TV can- not afford to buy the better talent in Hollywood but, there is no shortage of second- and third-rate writers, di- rectors, actors and technicians avail- able to turn out pictures within the budgetary and the artistic limitations of the sponsors. Why don't they make the product they need themselves? The fact is that the TV moguls want to ride on the back of the motion pic- ture industry. Well, let's not let television ride on our backs. And we believe the Depart- ment of Justice will be defeated in this (Continued on Page 5) YOU AGREE? In these dog days, when folks are snap- ping at each other and complaining about the heat, wouldn't it be a natural to play up the cool, comfortable, relaxing atmos- phere of your movie theatre? We mean real exploitation of this invaluable asset. It's one of the most potent — and one of the most neglected — selling points a thea- tre has to offer in the summer swelter siege. This thought was pointed up to us by a letter we received from an FB reader the other day. A theatre owner himself, it took a little personal experi- ence to impress him with the value of air conditioning in his theatre. Here s how he tells it: "Just the other day, a dozen of us, neighbors, were sitting on the front lawn, bleating pitifully about how the heat was getting us down and no chance for relief. When an air-conditioned movie was men- tioned as the escape, the guy who sug- gested it became the neighborhood hero. It struck these out-of-the-movie-habit people as the idea of the century. Within ten minutes, the lawns were cleared and the entire batch were on their way to the movies. Wonder what would happen to a theatre's business if a sound truck were to ride through the neighborhood, plug- ping not only the picture but the COOL angle? Wonder if the cost of that sound truck wouldn't be returned many times over, not only in patronage that night, but as a reminder for the future." 0 Paramount's Indianapolis branch head, Richard Frank, has circularized the terri- tory with a letter suggesting that theatres could use their "off time" for special showings of selective pictures for the dis- criminating patrons, acclaimed by the critics nationally, but not necessarily the type that would meet the mass market re- quirements. Instead of condemning this element, usually the most vocal critics of movies, and sloughing them off as of no account — "They come in a few times a year and spend the rest of the time break- ing down our business" — why not try ?o break through that barrier and show them that there are plenty of good, if not com- mercial, movies around? Many of these, as Frank points out, are moulders of public opinion (and, we wouldn't be sur- prised, many exhibitors like to rate them- selves among this group), while others can certainly be counted among the "lost (Continued on Page 5) 3 viewpoints (Continued from Page 3) attempt to make us carry this com- petitor until it exhausts us. Who has the right to say, in the name of what law of this land, that our industry must commit suicide in order to preserve a rival commercial enter- prise? MO WAX Tit 4* Tax Fight Ms I our Fight The motion picture industry stands poised for the battle of its life — the fight to eliminate the inequitable 20 percent Federal admissions tax. For hundreds, perhaps thousands, of thea- tres this is the struggle that will decide whether they are to remain in oper- ation or close their doors — for good. The fight is being directed and spear headed by COMPO, the one organi- zation we have that can carry this im- mense job through to a successful con- clusion. If you, Mr. Exhibitor, want this job done, you must do your share. You are asked to contribute just a little time and energy, and to pay the pitt- ance dues which will enable COMPO to carry on its work. The dues paid by exhibitors will be matched, dollar for dollar, by the distributors. This is the schedule: Four-Wall Theatres Up to 500 seats $ 10 yearly Up to 750 seats 15 yearly Up to 1000 seats 25 yearly Up to 2500 seats 50 yearly Over 2500 seats _ _ 100 yearly Drive-in Theatres Up to 300 car capacity 10 yearly Up to 500 car capacity 15 yearly Up to 600 car capacity 25 yearly Over 600 car capacity 50 yearly FILM BULLETIN: Motion Picture Trade Paper published every other Monday by Wax Publi- cations. Inc. Mo Wax, Editor and Publisher. PUBLICATION-EDITORIAL OFFICES: 123? Vine Street, Philadelphia 7, Pa., Rlttenhouse 6-7424; Barney Stein, Managing Editor; Leonard Coulter New York Editorial Representative; Richard n! Newton, Publication Managar; Robert Heath, Circulation Manager. BUSINESS OFFICE: 35 West S3rd Street New York I?, N. Y., Circle 4-9159; David A. Bader, Business Manager. HOLLYWOOD OFFICE: 65? Haverford Avenue Pacific Palisades, Calif., Hillside 8183- Jay Allen, Hollywood Editor. Subscription Rates: ONE YEAR, $3.00 in the United States; Canada, $4.00- Europe. $5.00. TWO YEARS: $5.00 in the United States; Canada, $7.50; Europe, $?.00. JULY 28, 1952 What a ridiculously small price for each theatreman to pay for a cam- paign to remove this onerous burden from our industry. The tax fight is your fight. FILM BULLETIN urges every exhibitors in America to pay his dues to COMPO without another moment's delay. Please do it NOW! V n iwrsa I \ JVeu? Team The executive changes in Universal Pictures certainly add to the formid- ableness of that company. The changes in executive titles that took place when Milton R. Rackmil stepped into the presidency of the organization were not emergency measures in any sense of the word. The company was operating profitably tinder Nate J. Blumberg's leadership, distribution and promotion were working like well-oiled machines in the capable hands of Alfred E. Daff and David A. Lipton. Good, reliable product was being pro- duced at a regular clip. Thus, when Rackmil stepped into the picture, it was not to save the com- pany, but rather to add a powerful asset to an already powerful organi- zation. With his varied and wide ex- perience in allied entertainment fields, the Decca head brings a new and full measure of youth and vigor, not only to Universal, but into the industry as a whole. Little embellishment need be given the acumen and broad experience of Nate Blumberg, now board chairman of the company. A 40-year veteran of exhibition, production and distribution, Blumberg has already worked won- ders for Universal. He will continue to give it guidance. The elevation of dynamic Al Daff to the post of executive vice-president, with an accrual of 32 years of movie know-how, rounds out one of the strongest executive teams extant in the industry today. As has been said before, it is a vast- ly encouraging thing to have a man of Rackmil's standing in the entertain- ment industry exhibit his confidence in movie business with cold, hard cash and executive responsibility, especially at a time when so many are crying that the industry's future is dark. His faith should be most heartening to those in our industry who despair. YOU AGREE? (Continued from I'uge 3) audience" we hear so much about. Allied ITO of Indiana whose bulletin brought this to our attention, is hopeful of the possibilities opened by Frank's idea, but cautions exhibitors who initiate such a policy to be wary in negotiations for rentals because of the added expense en- tailed in the special advertising and ex- ploitation necessary to make the plan television, read comic books, go to the 0 Latest of the experts to disavow the canard that movies are a major factor in fostering juvenile delinquency are Har- vard University's Sheldon and Eleanor Glueck, nationally-known crime experts. The seeds are sown, they say, in the home "before they are old enough to watch successful. It remains a mighty good idea, movies or form neighborhood gangs." The Glueck's report, on the basis of a 10-year study, listed the crucial factors in relation- ship of the delinquents and their parents. It might be well for the theatres to play this up, not only as a defense against their persecution on this count by thought- less parents, but as a public service that may remind the mothers and fathers of their responsibilities. 0 It's heartening to see the way Warners is keeping its production program on schedule in the face of the devastating fires that have laid waste several sound stages, ruined important equipment and props, and severly handicapped the work- ings of the studio. Despite the holo- causts, two important films that were shooting on the lot were brought in on schedule, the Gary Cooper starrer, "Springfield Rifle" and the big Techni- color musical, "The Desert Song". Three more were put into work on the lot, two others on location, and another pair will go within the week on the Burbank sound stages. Jack L Warner's production team s response to the emergency created by the crippling disasters is more than a "show-must-go-on" gesture. We construe it as evidence that this industry of ours can lick any situation it faces, when it makes up its mind to face it. 0 Much has been said about the injustice of the Federal admissions tax — and prin- cipally the fact that it's taxing many of our theatres right out of business. True. It's also been noted that such enterprises as opera and concert orchestras received special consideration from the Govern- ment and were relieved by pleading that survival was the stake in their battle to be rid of the discriminatory tax. No argument with that. The slim pickin's from the opera and classical performances gave the benevolent representatives an (Continued on Page 16) THE STORY OF WILL ROGERS' WARM, FOLKSY, ENTERTAINING tates • • • — except in action houses Warner Bros. 03 minutes Vill Rogers, Jr., Jane Wyman, James Glea- 'on, Eddie Cantor, Carl Benton Reid, Eve 'idler, Slim Pickens, Noah Berry, Jr., Mary Kickes, Steve Brodie, Pinky Tomlin, Mar- laret Field. Virgil S. Taylor, Richard Kean. directed by Michael Curtiz. I A heartwarming tribute to a man who has ecome one of the great folk-heroes of merica, "The Story of Will Rogers" seems estined for above-average boxoffice returns all but the action spots. Just as Will djers made his mark with simple words d an ingratiating manner that wormed ito the hearts of those who met him — on age, on the screen and face-to-face — so les the film's unreeling, leisurely and com- rtable, work its effect on those who will e it. Will Rogers, Jr., portraying his tnous father, both helps and hinders the m. There is a constant tendency on the irt of the audience to compare — and very ten, the younger Rogers doesn't quite easure up, cither in appearance or in livery. At other times, the resemblance is rtling. Consequently, one is always aware the deliberate attempt to emulate the eat humorist. The younger element won't affected by this factor but the plethora of logue and concentration on the Rogers nnerisms won't sit too well with them, the final analysis, however, "The Story Will Rogers" is essentially like the man nothing sensational or flashy, but good, lid folk stuff. It should reap a good box- ice harvest in the corn-belt and saddle • • • GOOD areas. Metropolitan returns will be lighter and, action spots, of course, will find a good many squirmers in their audiences. Will, Jr., though no great shakes as an actor, still has a certain easy naturalness that imparts a reality to the role that would be hard to duplicate by any well-known Hollywood actor. Filled with Rogers' home- spun philosophies, the picture follows the humorist's varied career, from cowpoke drifter to rancher to world girdler, thence on to vaudeville, the Follies, the movies, air- defense champion, and, finally, after a su- preme honor as a presidential nominee, to his ill-fated Slight with Wiley Post to Alaska. A good deal of it is, necessarily, glossed over. Unfortunately, his Follies' career is one of those pared down to a mere flash. On the other hand, the climactic Democratic convention nomination as a "favorite son" comes off in dramatic -and heart-tugging fashion. Eddie Cantor, in a "guest appearance", merely does a finish of a number and an introduction of Rogers during a benefit show. Old film clips — Al Jolson, Fannie Brice, Marilyn Miller — are given a brief and surprising reprise, and Rogers' meetings with the great and the famous get a quick going-over. The younger Rogers, occasionally grim- maces, grins and postures a bit obviously in his portrayal, but, on the whole, comes olf creditably. An excellent cast is headed bv Jane Wyman as Mrs. Will Rogers, James (ik-i-on as the humorist's agent, Carl I'.eiiton Reid as Will's father and Xoah Berry, Jr., in a strikingly rescmblant por- trayal of Wiley Post. Director Michael Curtiz, a polo-playing pal of the late Rogers, pulls out the heart-stops occasionally, but never untastefully. STORY: Returning to his father's ranch in Oologah, Oklahoma, after drifting around the West, Will Rogers fails to hold the job of ranch boss because of his rodeo antics. Despite an attraction for Jane Wyman, one of the town's belles, and an opportunity to settle down, Rogers leaves the ranch and travels throughout the world. Returning to the ranch, he and Jane arc married, go Fast to work the rodeo shows. When Will makes the headlines by roping a wild steer that heads for the audience, actors' agent James Glcason persuades him to go into vaude- ville with a rope act. Barely making his way, Rogers goes on the night his wife is to have a baby, fumbles his rope act and nervously slips into a dialogue patter that catches on and his stage career is truly started. He becomes a star with the Follies for four years, goes to Hollywood and meets Wiley Post, stunt flier in the movies. A fast friendship develops and Rogers becomes im- bued with the necessity for air defense, taking the stump for Billy Mitchell. Hiked into national political prominence, Rogers receives the Oklahoma state delegation's nomination for the presidency as a "favorite son". He then takes off with Post for the fatal Alaska flight. BARX VHAT PRICE GLORY?' EXCELLENT REMAKE OF POPULAR WAR STORY tes • • • + generally th Century-Fox tween the sergeant and the captain, the sexy lure of Corinne Calvet as "Charmaine", the strong ties that are forged in the crucible of battle, the human side of war, all lift these out of the category of what might be con- sidered the onus of a "war" story. Several songs, including the current popular revival of "Charmaine", help pace the entertain- ment. Two new Ray Evans-Jay Livingston tunes are included among the classic World War I songs, "Mademoiselle from Armcn- tieres", "Tipperary", "Oui, Oui, Marie" and several others. Put this one down as a box- office winner. While the part of Capt. Flagg is not as well suited to James Cagney's talents as others he has had, he delivers a top flight performance in the role. It would be hard to beat the performances of Dan Dailey or that little piece of provocative French bag- gage, Corinne Calvet. Dailey is wonderful as Sergeant Quirt, who's always fighting the Captain on principle. A little girl named j^iegoers everywhere. With every scene Marisa Pavan is outstandingly good in an > hiring the distinguished Ford Hallmark. ingenue role, Wally Vernon and James Glea- Jres Cagney, Dan Dailey and Corinne son are capable, as always, and others well fBvet take over the principal roles in a film worth mention are Robert Wagner, Craig ' ' Hill and Casey Adams. STORY: In a little French village during Century-Fox minutes nes Cagney, Corinne Calvet, Dan Dailey, illiam Demarest, Craig Hill, Robert Wan- Marisa Pavan, Casey Adams, James ;ason, Wally Vernon, Henri Letondal. ected by John Ford. iVhen Victor McLaglen and Edmund we appeared in the original screen sion of the Maxwell Andersen-Laurence llings play, "What Price Glory", back in 6 as Captain Flagg and Sergeant Quirk, lilestone in the progress of the movie in- try was established. In the 20th Centurv- *c remake, all of the modern technical im- vements, a great director, a topnotch cast Technicolor make certain that the luster the original is not tarnished. Under Sol gel's production banner, director John d has fashioned a big hunk of popular ertainment that will strike the fancy of wegoers everywhere. With every scene «ring the distinguished Ford Hallmark. Hvct take over the principal roles in a filni [1 of humor, drama, passion, heroism and Hios. The rough and tough rivalry he- World War T, James Cagney, heading a company of U. S. Marines, is challenged for his girl, Corinne Calvet, by Dan Dailey, his boozy sergeant. Corinne's father is an inn- keeper, Henri Letondal, who wants to get Dailey hitched to his erring daughter. But just as the priest is doing his stuff, the com- pany is ordered to the front. There the two men, the tough captain and the equally tough sergeant, maintain their grimly humorous enmity, but through it all they, at the same time, fight together and suffer to- gether. Haunted by dreams of the girl he refused to marry, however, Dailey gets him- self "slightly wounded',, and, escaping from the hospital, goes to woo Corinne, who is by this time consoling herself with a British officer. Just as he is making headway Flagg himself turns up at the inn. They put the problem to Corinne. Which of them will she marry? She confesses she loves them both, so they decide to play cards for her. Cagney bluffs Dailey into believing he is losing, and a fight develops, but just then the unit is ordered back to the front. Cagney, realizing he may never return, ad- vises the girl to marry Dailey, but as he leaves he hears his sergeant behind him call- ing, "Hey, wait for baby!" COULTER J LY 28, 1 9 5 2 AFFAIR IN TRINIDAD' HAYWORTH RETURNS IN GOOD THRILLER Rates • • • generally Columbia 98 minutes Rita Hayworth, Glenn Ford, Alexander Scourby, Valerie Bettis, Torin Thatcher, Howard Wendell, Karel Stepanek, George Voskovec, Steven Geray, Walter Kohler, Juanita Moore, Gregg Martell, Mort Mills, Robert Boon, Ralph Moody. Directed by Vincent Sherman. Yes, Rita's back — and that spells box- office. Rita Hayworth's first picture in three years returns her to her legion of fans with all the seductive charm and pulchitrudinous display which made her one of the top draws in films. She dances and sings with her old- time sensuous grace. Her gowns are low- cut. Her songs are suggestive. But even aside from the Hayworth adornment, "Af- fair in Trinidad" is still good, fast-moving entertainment, a suspense-thriller which should satisfy the vast majority of movie- goers. Director-producer Vincent Sherman has done a workmanlike job, for though everyone in the audience must know who the real murderer is, interest lies less in his identity than in guessing how he'll eventual- ly be caught with his blueprints down. Be- fore that happens several other dastardly deeds have ben committed, including an at- tempted stabbing, a series of clinches be- tween Rita and Glenn Ford, a fist-fight, all integrated into the atmosphere of low-key tension. This should be among the better grossers of the year. Hayworth, of course, is her extremely decorative self and emerges creditably in the thespic department. Some of the other cast members are outstanding, notably Glenn Ford, Alexander Scourby as the crook, Torin Thatcher as the British police inspector and Valerie Bettis as the "dipsy" ex-girlfriend of the crook. An added touch of topical interest lies in the fact that details of a new super-rocket, which the enemy is trying to get, are involved in the plot, one of several fine exploitation angles in the film. STORY: Rita Hayworth is performing in a Trinidad nightclub when she learns her artist husband has been found dead. The British Colonial police discover he has been murdered. They suspect the wealthy Alex- ander Scourby, who is known as a danger- ous international crook, and who has been squiring Rita around the town. To spare herself the scandal of being known as the wife of the murdered man, Rita agrees to help the police investigate Scourby. But her plans are complicated when her dead hus- band's brother, Glenn Ford, arrives o'i the scene. He gets evidence which will convinct Scourby, but, if that happens, Rita's own job for the police will be spoiled. So. although Rita and Glenn have by this time fallen in love, she sidetracks his designs on Scourby by professing to be the crook's mistress. When she has discovered Scourby's secret — he is selling the plans of an American superrocket to an enemy agent — it is safe to let Glenn know the facts. But by that time the crooks have caught her red-handed. In i a final melee as Ford attempts to rescue her, i Scourby is shot dead. Ford and Rita sail' away to America together with the gang) safely rounded up. LEON DON'T BOTHER TO KNOCK' WEAK MELLER HAS MARILYN MONROE TO SELL Rates • • + in metropolitan areas, if ex 20th Century-Fox 76 minutes Marilyn Monroe, Richard Widmark, Anne Bancroft, Donna Corcoran, Jeanne Cagney, Lurene Tittle, Elisha Cook, Jr., Jim Backus, Verna Felton, Willis B. Bouchey, Don Bed- doe, Gloria Blondell. Directed by Roy Baker. An emotional melodrama about a half- crazed girl who mistakes a flirting playboy for her dead lover, "Don't Bother to Knock" is depressing and slow-moving. If it attracts fairly good grosses it will be attributable to the marquee potency of Marilyn Monroe, the most publicized actress of recent years. If heavily exploited by exhibitors, Miss Monroe might very well account for good boxoffices in the metropolitan first runs. Word of mouth will not help this picture ploited; less elsewhere in the subsequents. Small town situations will find "Don't Bother" a weak attraction. Scripter Daniel Taradash can take the count for this one, for his attempt to pro- duce a sensational, passionate story has only succeeded in providing a hopeless mesh of circumstances that hapless director Roy Baker has turned into a grade B soap opera. While the script doesn't give the cast much of a chance, Marilyn Monroe comes up with a fair performance as a girl demented by the death of her lover. Airline pilot and playboy, Widmark is stuck with a lot of inane shenanigans as he provides a foil for Monroe's lunacy. Newcomer Anne Bancroft shows promise as an actress while provid- ing a tuneful voice in the role of a night club singer in love with Widmark. STORY: Marilyn Monroe takes a baby- sitting job in a Manhatten hotel, after her release from a mental institution. Anne Ban- croft is a singer in this hotel waiting foi the arrival of airline pilot Richard Widmark whom she has recently given the gate. Wid mark pleads with Bancroft to take him back but is given a cold shoulder. Later, fron his room, Widmark spies Monroe in a roon across the way, where she is amusing her self by trying on her employer's clothinf and jewelry. Widmark manages to "wolf his way into Monroe's room, where the d mented girl soon believes he is her dea<; lover, who was also a pilot. During an en suing love scene, the child, whom Monro is minding, interrupts and Monroe trys t push her out the window. Widmark save the child, but an elderly couple nearby com to the room to investigate. After mor emotional upheavel, during which Monro tries to commit suicide, Widmark comes t the rescue again, and his girl Bancroft thin k maybe he is worth having after all. PHI LOST IN ALASKA' LOW-GRADE ABBOTT & COSTELLO COMEDY Rates • • as supporting dualler on names Universal 76 minuteg Bud Abbott, Lou Costello, Mitzi Green, Tom Ewell, Bruce Cabot, Minerva Urecal, Emory Parnell, Michael Ross. Directed by Jean Yarbrough. ( (bviously made on a shoestring, the latest Abbott & Costello vehicle, "Lost in Alaska", is one of their weakes. Where the film might have been picked up — in film values, story, direction, performance — it fails to grasp any of these opportunities. A hackneyed script, slow-paced direction and a routine delivery by the stars makes it just another dualler. Even the fans of the comics won't find much to enjoy in this one. For most situations particularly the grassroots country where they find A & C films suitable, the comed- ians' names will make this satisfactory fare on a dual bill, although the patrons will be disappointed. For the others, it is strictly filler material. The stars' slapstick antics, their strongest projection, hang in mid-air very often as the script bogs them down in a welter of complications; the others in the cast, who manage more creditably, are strangled by the story. Mitzi Green, a very talented young lady, is wasted in a miserable part. In the heavy role, Bruce Cabot meets the same fate. Only Tom Ewell, of "Up Front" fame, turns in a bright performance as a slightly nutty pros- pector. Jean Yarbrough's direction seems as lost as the comedians in the unfunny frozen North. STORY: Bud Abbott and Lou Costello rescue Tom Ewell who is about to commit suicide in San Francisco Bay. They fin Tom owns the richest gold mine in Alask and has just been jilted by Mitzi Gree' When Tom gets a note from Mitzi askin him to return, Abbott and Costello find the, are suspected of murdering Tom, \vho:| rescue has not yet been reported. They g with him to Alaska, where Bruce Cabot a his gang are gunning for him. Lou and B try to protect him, for only if Tom liv can they establish their innocence. Aft an involved series of plot turns, Tom, L< and Bud set off for the Yukon to hide batch of gold. They are pursued by Cab and his gang, and during a crackpot fip on the ice the gold-laden sled slides into t water and is lost. Whereupon Cabot, nr without a motive for killing Ewell, agre to stake him and Mitzi to a wedding in I saloon. LEON FILM B U L L E T I Unite? A al \s lip ten (jceA Out LOOKING FOR AN AUDIENCE Cxc/uMe % BULLETIN Mature By Jay Allen The movie business has to go out to find s audience these days. Lots of folks are itting at home watching singing and danc- g commercials, while others are diverting lemselves with an assortment of miscel- neous entertainments, not the least of liich is figuring out their taxes. I Movie exploiteers are hep to the problem; ey know that our business just can't sit on |- fanny and wait patiently for those erst- pile film fans to inoculate themselves with e moviegoing habit. Realizing that the pvie industry must give them the needle, e progressive ballyhoo merchants in pro- iction, distribution and exhibition are ending their waking hours in search of pans and media for getting their theatre pduct to the attention of the red-eyed sit - -homes and all those other folks who aren't rusing the local movie pages these days. Excellent results have been obtained in |me instances by sticking movie messages bht in front of the noses of TViewers. The lecess RKO has experienced in its "King png" campaign will add new stimulus to s type of selling. Put in St. Louis, the Fanchon & Marco jcuit has devised a radio contest which has loved extremely effective in bringing at- jition to the movie pages of that city's yvspapers. The contest requires those ^wering phone call queries to have read y movie ads, and, ultimately, in order to ywer a jackpot question, to have seen the Iture. Quite a gimmick, and its rolling up jne fancy grosses in the F & M theatres. J L Y 28, 1 952 number of movie-goers into theatres by plugging such hits as Paramount's "Going My Way" and Fox's "Miracle On 34th Street". "We can't expect these one-time custom- ers to come looking for us," Lipton says, "so it is up to the industry to take its ad- vertising to the public. If, as many seem to think, this lost audience stopped reading the entertainment pages when it stopped attend- ing movies, we must attempt to reach them through other common interests — on the sports pages, the women's pages and along- side the department store bargain ads." DAVID A. LIPTON .Vo Grass Under His Feet Problem: How To Reach Our Audience Working on the assumption that every picture has an audience, if only it can be reached Universal-International's veep in charge of advertising and exploitation, David A. Lipton, is in the process of expanding the use of off-the-amusement-page advertis- ing to pre-sell its off-beat pictures. And he is giving the idea an institutional twist, making it beneficial to the industry at large. Starting with the current release, "Sally and Saint Anne" (Anne Blythe - Edmund Gwenn), this idea will be utilized on certain of L'-I's non-formula films. Three eye-catcher ads of approximately 800 lines each have been set up for "Sally", stressing the enhancement of any entertain- ment when shared with others "in the con- genial, relaxed atmosphere of your movie theatre". Moreover, U-I's promotional cam- paign takes full cognizance of the great pic- tures which once brought the maximum And It here Is Audience To Be Found? Lipton pointed out however, that this type of advertising is not feasible for all pictures. "It can be used only when the picture goes beyond the appeal of one which has a more or less standard plot. If these non movie- goers are to be enticed back into the thea- tres to see a picture that is not unusual, both as to quality and subject matter, we have defeated our purpose. These are the skeptical customers who will only be burned once." Lipton and his associates admit that they must give a great deal of thought to finding the audience where it is, which accounts, in part, for U-I making greater use of tele- vision to advertise its product, than has been customary for other companies. It accounts, too, for the company's great emphasis on wooing the new generation of prospective movie-goers in all of its promotional activi- ties. For example, on all of the personal appearance tours which U-I's contract play- ers have been making, at least a portion of (Continued on Page 16) REPORT FROM THE STUDIOS Prophesies by top industry leaders that Hollywood is heading for eventual 100 per cent color filming of its theatre product ap- pear more fact than fiction. This month more than three-fourths of all pictures in production are being lensed in Technicolor, Cinecolor, Trucolor, WarnerColor or Ansco Color. Color cameras were being employed on 25 out of the 32 pictures shooting last week. Four studios — 20th Century-Fox, U-I, War- ners and Republic — haven't a single black and white feature scheduled for the month, and only one of the six MGM films in work is without color. FILM BULLETIN'S survey of the August production schedules at all studios, indicate that color-filming may run as high as 84 per cent of the total for the month. If the various color labs can be expanded rapidly enough to handle the commitments, there is a strong possibility that U-I, MGM and Warners, at least, may strive for the 100 per cent goal for the year. Technicolor leads the July parade by a wide margin, with 20 out of the 25 color films now shooting. Trucolor is being em- ployed on two of the remaining five, while Cinecolor, WarnerColor and Ansco Color round out the slate with one each. 0 0 It is becoming increasingly evident that the big saving to be effected by the MGM economy program will not come from the payroll slash of executives in the over-$l,000 bracket. According to latest unofficial in- formation, only nine executives of the com- pany will be hit by the salary cuts, whereas many changes are in prospect in the pro- ducer-director ranks, where upwards of a dozen contract employees are on the way out. Not all of those exiting the company, how- ever, will be doing so at the studio's insti- gation. Some are already looking elsewhere in the belief that still further and deeper cuts will be made later in the year. Richard Goldstone has already arranged an amicable settlement of his contract after three years on the Culver City lot, during which time he produced a total of nine pictures. Sidney Franklin has been taken off a weekly salary basis and will now be paid per picture. William Wright and some of the fledglings in the Charles Schnce unit are rumored to be following suit. The salary cuts affecting the producers in the upper salary brackets will range from 25 to 50 per cent on only that portion of their pay over and above $1,000 per week. This is in contrast to the cut-backs made by Fox last year, which were figured on a per- centage of total salaries. 10 While the Los Angeles sheriff's office continued the search for incendiarists who are believed to have started the most recent Warner Brothers studio fire, wmich caused an estimated $6,000,000 damage, company executives did some fast re-shuffling on as- signments of soundstages to avoid any inter- ruption in production. It was believed at first that the fire would necessitate the post- ponement of part, if not all, of the five pro- ductions being readied for the cameras. However, all five will proceed on schedule, even though it may cost the studio consider- able over-time pay, and almost around-the- clock shooting on some stages. Included in the group were: "Back to Broadway," "The Eddie Cantor Story," "Jazz Singer," "Come On Texas" and "By the Light of the Silvery Moon". There can be no question that Warners is being plagued by arsonists. In addition to the two big fires which have reached the public press, there have ben 19 minor ones of unexplainable origin, within recent months. In an appeal to studio personnel to join in the search for the culprits, Jack L. Warner announced, in effect: "It's up to you boys. If you want to protect your jobs, get out and find those who are trying to destroy the studio." 0 0 Milton R. Rackmil, in assuming the presi- dency of Universal-International, confirmed FILM BULLETIN'S prediction that there will be no changes in management under the new administration. He said: "In assuming the presidency of Universal- International, I feel confident that the com- pany's present success results from the fine producing and distributing organization it has built up over the years. There will be no change in the management of the com- pany. The demand for mass entertainment is greater today than ever before. The motion picture business provides now and will provide in the future a great deal of this entertainment. Universal will continue its policy of producing motion pictures designed to appeal to the maximum audiences, not only in this country but throughout the world." As anyone who has been following U-I's record must realize, Rackmil's enthusiasm is well founded. The company is currently en- joying the greatest world grosses in its entire history, and is enjoying amazing prosperity in these difficult times for movie business. O 0 United Artists will put three more pic- tures into release before Labor Day, distri- ( Continued on Page 12) STAR BRIGHT MARGE & GOWER High up in the ranks of Hollywood's "bes bets for top stardom" are Marge and Gowe Champion, a couple of nimble-footed, freslj young dancers who, if properly cast b MGM and wisely exploited by exhibitor fare to match the triumphs of Fred Astair and Ginger Rogers. In the few short weeks since the releai of "Lovely to Look At", the Champion! stock has been soaring both with the prea and movie-goers. And, as a result, Metro I rushing them back before the cameras, nea month, in "Give the Girl A Break". On| other picture, "Everything I Have Yours", in which they also draw stellar bill ing, is completed and awaiting an OctobJ release. In private life, the Champions are "Ml and Airs." having been married in Ll Angeles in 1947. They were childhod sweethearts, having met at the dance schol of ballet coach Earnest Belcher, \vl| happens to be Marge's father. Ami other dancing stars Mr. Belcher brought I the fore is Betty Grable. The Champions bring a contagious 7V and a delightful youthfulness to their screlj work. This pair has that indefincablc "some thing" that attracts people. Exhibitors vm profit by giving the Champions the doublj barrelled exploitation treatment. FILM BULL E Til IUST ONE E ADS 10OK AND 14 MAGAZINES CTHER NATIONAL NOW TELLING ,000,000 HEADERS RITA'S BACK! RITA HAYWORTH GLENN FORD Those "Gilda" Stars Again ui Affair inTrinidad with Alexander Scourby • Valerie Bettis • Torin Thatcher* Screen Play by OSCAR SAUL and JAMES GUNN • Produced and Directed by VINCENT SHER- MAN • A BECKWORTH CORPORATION PRODUCTION A COLUMBIA PICTURE REPORT FROM THE STUDIOS (Continued from Page 10) tuition chief William J. Heineman an- nounced during a quick trip to Hollywood to huddle with producers and west coast exhibitors. "High Noon" (Gary Cooper), goes into release July 30; "Island of Desire" (Linda Darnell-Tab Hunter) follows a week WILLIAM J. HEINEMAN 3 Summer Big Ones later, and "The Thief," Harry M. Popkin's much-talked about production, will be set for pre-release bookings the first week in September. 0 0 Robert L. Lippert, convinced that there is an improving market for better quality program pictures, is unloading his 28 ex- changes across the country, to enter more fully into the financing of production on the higher budget level. His present plans call for the backing of from two to four productions per year, each budgeted at ap- proximately $1,000,000. He indicated that exhibitors would likely be given an oppor- tunity to share in the financing. I ippcrt reasons that the curtailment of production programs by some of the major studios is opening up a tremendous markei for independent product. He already has a large number of story properties with tenta- tive stars and directors as prospective packages for inde producers. First of the million dollar productions which he will angel will be "Dorothy and the Land of Oz," set to roll in November. He already has bank commitments for half the cost of the picture. Deferments will take care of part of the remainder, with the rest of the bankroll due to come from exhibitors and the exchanges, when they are sold. (Continued on Page 13) Heard in Hdllywddd By JAY ALLEN Isn't there more than meets the eye in the dropping of Betty Hutton's Paramount contrai Her fuss with Paramount was one of temperament, and the situation became untenable f production chiefs Y. Frank Freeman and Don Hartman. The lady had to go. Reportedly, Bet was slated to go into TV under the direction of her new hubby, but we'll wager a bob or tv that the gal stays in moom pictures. As a matter of report, she's now negotiating with J. Arth Rank to star in "Mathew, the Matador", Technicolor comedy slated to be made in Spain '53 . . . You can make book right now that Kathryn Grayson will be the next thrush to ta a crack at video. She'll come running back to the movies, you'll see . . . Hollywood is buzzi with rumors of a triple play to give the Krim-Benjamin forces complete control of UA. It wot like this: Pickford and Chaplin sell their interests to J. Arthur Rank, who in turn forfeits t shares to Krim-Benjamin in return for full control of Odeon Theatres . . . Albert Zugsmith, pre dent of American Pictures, is sending out saturation releases on "Invasion U. S. A." to 14 house organs published throughout the country with over 55,000,000 readers . . . Allan Da' returns to Britain, after cancelling his producer-director-actor-writer pact with MGM . . . E Kazan drew the director's ticket on Billy Roses's up-coming film production of "Carmen Jone: Irving Allen and Alberto Broccoli's "Red Beret" (Alan Ladd ) , color by Technicolor, is n< set for a Columbia release. The previous RKO pact with RKO cancelled by mutual consent wh the Hughes outfit tried to amend terms . . . George Pal gets his first crack at directing wh he subs for Byron Haskin on added scenes for "War of the Worlds" . . . Walter Wanger expe> to roll "The Royal Mounted Police", in August with William Calihan at the production helm . "Rough Shoot" (Joel McCrea-Evelyn Kayes) for UA release, rolls September 8 in London Robert Parrish directing for Raymond Stross . . . Sam Katzman has advanced starting dates "Conquest of Conchise" and "Combat Assignment" from mid-1953 to late this year. Harry Cohn has agreed to repay Columbia 20 G's to settle that old minority stockhold action pending since 1950 . . . Bette Davis will star for Bert Friedlob in "The Star," story o faded actress, which starts August 7, for 20th-Fox release . . . Heavy grosses being piled on the re-issue of "King Kong" have prompted Merian C. Cooper to activate a new exploitat project which rolls in late August at Republic . . . Joe Moskowitz retains some of his old dut in moving west to become an aide to DFZ, so there'll be no replacement for his NY post. . U-l will capitalize on the recent "Miss Universe" publicity by beautifying "Mississippi Gambl and "Desert Legion'' with eight of the contestants . . . Rex Allen will doff his Stetson to play role of poet James Whitcomb Riley in Republic's "Then You'll Remember Me" (Ray Middlet Bill Shirley) story of the travelling medicine shows of the I890's . . . "My Cousin Racfi (Olivia de Havilland-Richard Burton), which producer Nunnally Johnson and director He' Koster put before the Fox cameras July 21, has a total cast of only six players . . . Gene Nel i teams up with Virginia Mayo and Patrice Wymore in the WarnerColor "Back to Broadwa , which Gordon Dogulas directs. ^ II The new Charles Schnee unit at MGM has a belly-laugher in "You For Me" (Peter Lawfc • Jane Greer-Gig Young). It's the first product from the fledgling's nest . . . Howard Hugs okayed a $250,000 ad budget on "The Lusty Men" (Susan Hayward-Robert Mitchum Ari' Kennedy) due for the fall . . . David Butler drew the megging assignment on Warner's Tec - color "By the Light of the Silvery Moon" (Doris Day-Gordon MacRae) . . . Just when it loo J like Joan Crawford might be slipping, she comes back stronger than ever in "Sudden Fe,- Will Hollywood ever produce another like her — or did they throw the mold away? . . . RK ' "Break-Up" company is using Paramount's New York street set. Here's an economy mea!|» that should be taken a lot more often in the business . . . Eddie Lasker has retired to sit hld production program between Mono-AA ll nd Associated British Pictures Corp., is Ifenally going to start giving an account of tself in the form of some releases. Two joint productions will be completed this | ear, Broidy says. In all, six story properties sere agreed upon. Walter Mirisch will pro- duce the pair set to roll this year, one of , hich will undoubtedly be "Yellow Knife", ! Saturday Evening Post serial. Since the co-production arrangement was Irst set up in 1947, only one picture has hus far been made. It was "24 Hours In A Voman's Life" (Merle Oberon - Richard . j'odd), filmed in color, and now undergoing nal editing and scoring. O 0 Republic, which launched a series of ptc- l.ires for television last January, has given up as a bad job — at least for the present me. The pictures, produced under the aegis f Republic's TV subsidiary, Hollywood elevision Service, ran into difficulties with he American Federation of Musicians, hich company officials felt were insur- mountable. The musicians union is holding tit for five per cent of all grosses realized pm telepix. 0 o I Paramount added another picture to its "oduction program for the remainder of lie year, by re-activating the "Houdini" pro- let, which has been on and off again for lany months. As things stand now, it will I'll in August, with Tony Curtis starred, ul possibly co-starring his wife, Janet eigh. George Marshall will direct, George 111 will produce, and Frank Freeman, Jr. >es along as associate producer. Jay Drat- U is currently rushing the screenplay into pal form. CLY 28, 1952 FRED ZINNEMANN With "High Noon" going into release to the tune of critical raves from all sections of the nation's press, and the recently com- pleted "Member of the Wedding" generat- ing widespread enthusiasm in Hollywood, 43-year-old Fred Zinnemann has proved again that he is one of the industry's most brilliant and versatile young directors. Zinnemann, one of the pioneers of the documentary film, first rose to fame as the director of "The Search", which brought to the screen the stark tragedy of Europe's war orphans. His fetish is truth and facts. He believes that the most effective way to tell a story in movie form is to use the actual locales and, as far as possible, the actual kind of people involved in the story. That is why he used war orphans in the European UNRRA camps to tell the story of "The Search". And that is why he again employed natives to tell the story of "High Noon", which spans a single day in a small western frontier town, where one man tries to pro- tect an apathetic community from the vio- lence of a desperado and his band. He is that rare animal in Hollywood, a man who refuses to compromise his artistic integrity for profits. Although he has been offered fabulous contracts at four major studios, he's turned every one of them down. "I know it sounds corny," he admits, "but to me, film-making is an art, and I want to be free to work as I see fit. In a major studio the money-making demands are too great to assure this possibility." A native of Vienna, he moved to Paris while still in his teens and enrolled in a school for camermen. He came to this country at the age of 22 and got his first job as an extra in "All Quiet On the Western Front". He later became an as- sistant to Robert Flaherty, popularly known as the father of the documentary, which un- doubtedly explains his preference for this type of production. He later joined MGM, where he remained under contract for ten years. He directed only two full length features for the Culver City studio — "The Seventh Cross" and "Act of Violence". However, several of his short subjects at MGM were nominated for Acade- my Awards and one of them, "That Mothers Might Live", brought him his first Oscar in 1938. Zinneman won critical acclaim with both "the Men" and "Teresa", within the last two years, and was awarded an Oscar in 1951 for his short subject, "Benjy". HEARD IN HDLLYWDDD (Continued from Page 12) Pine-Thomas will re-make Paramount's 1926 release, "Old Ironsides", with John Payne and Arlene Dahl starred. Filming starts early next year . . . Orson Welles got a two-week jump on MGM's "Julius Cesar" by launching his own production of the Shakespearean classic around mid-July. It's shooting in Rome . . . U-l has suspended all activities of United World Films, com- pany's TV subsidiary, pending a more complete survey of the market . . . "No Time For Flowers" (Viveca Lindfors-Paul Christian) satire on love behind the Iron Curtain, will be released through RKO in October. The Mort Briskin production is being filmed in Vienna . . . RKO has reacti- vated "The Return of Zorro" and assigned it to Lewis J. Rachmil for early filming . . . Hear Columbia's planning a re-make of "The Awful Truth", with Jane Wyman in the Irene Dunne role . . . Stanley Kramer is readying "Four Shades in Blue", Irving Reis original, for a late 1952 start. Those sensationally productive Pine-Thomas p. a. tours to hypo the boxoffice on their pro- duct have added less than $2,000 to the budgets of the individual pictures, but netted many times that in additional revenue ... U-l has borrowed Vic Mature for Technicolor "Prince of Bagdad", starting in the fall. This means RKO will have to postpone the start of "Split Second", for which they have second call on his services . . . United Artists has slapped a suit on a Beverly Hills house for refusing to show "Actors and Sin", which the owner feels is detrimental to the industry. But then of course, it may be all for sweet publicity's sake . . . With a political campaign in the offing, maybe the American Legion will stop hitching free publicity rides from H ol lywood. 13 BLUE CHIP PRODUCTION MISSISSIPPI GAMBLER Of the 32 pictures in production this month, FILM BULLET IS nominates Universal-International's "Mississippi Gambler" (Tyrone Power-Piper Laurie) as the one with the greatest boxoffice potential. IN ADDITION to the all-important quality of a strong script and the lustre of the Power name in the title role, producer Ted Richmond has endowed the production with all of the extra trappings which capture audience's enthusiasm. The authentic waterfront sets of old Xew Orleans, Memphis and St. Louis; the stunning fashion creations of designer Bill Thomas, outstanding Technicolor photography, plus the emergence of Miss Laurie as a full-blown star — are all important factors in making it a picture which will be talked about and recommended by critics and moviegoers alike. Already, those who have witnessed the daily "rushes" are touting it as U-I's best in '52. Tyrone Power's return to the studio after an absence of 20 years (yes, he played a bit part in "Tom Brown of Culver") is another instance of U-I luring big name stars on profit-partici- pation deals — a scheme, incidentally, which has proved so profi able that it is setting a new trend throughout the entire industrj A good portion of the action takes place on a riverboaj which was re-produced in full size on the studio's back lot. was built in sections so that it can be "knocked down" and stord away in a small warehouse for further use. Rudolph Mate's outstanding job of direction on the pictui should go far toward launching a couple of newcomers on thel way toward important careers in Hollywood. Julia Adan emerges as both beautiful and talented in the role of the "othe girl, while John Baer, a recent recruit from the Pasadena Pla house, packs a real acting wallop in his portrayal of Miss Laurie incorrigible twin brother. The story evolves around Power's attempt to set up a r spectable gambling house in New Orleans, and his love for Mi Laurie — a love which is complicated by her brother's defian of him, growing out of a gambling debt. To punctuate this ten situation, a couple of thrilling fight sequences and a suspensef duelling scene keep the picture moving at a brisk pace. Top. left. Piper Laurie is left breathless when the brash Tyrone Power joins her in the runaway carriage he has just halted; right, his reputation as an "honest gambler" established. Power draws the kibitzers at the poker table: bottom, left, the gambler converses with the governor as Miss Laurie once again is popeyed. At right, the section of the 1850 St. Louis waterfront street built on the studio back lot, with the river boat in left foreground. "STEADY, FELLAS . JANE'S JUST TELLIN YOU WERE AIMIN' TO SNAP ALL 'PALEFACE' RECORDS!" re's your highest Hope in grossers! Four big stars — gags that'll t talked about for years . . . tremendous production values . . . dd six smash songs headed by today's leader "Am I In Love" ad the hot, fast-building number, "Wing-Ding Tonight"! Produced by ROBERT L. WELCH Directed by FRANK TASHLIN Written by Frank Tashlin, Robert L. Welch and Joseph Quillan LOOKING FOR AN AUDIENCE (Continued from Page 9) one day has been set aside in each city for granting interviews to the high school and college press. Universal first adopted off-the-amusement- page advertising of its more unusual pro- duct, as far back as 1949. It has been very effectively brought into play in selling "Woman On the Run," "Francis," "Harvey" and "Iron Man". DO YOU LIKE HAPPY PEOPLE? _ \\ . . . PEOPLE LIKE YOU MET when you saw such memorable pictures as "Going My Way" "You Can't Take It With You':., and "Miracle on 34th Street"? IF SO... YOU CAN MEET THEM again... right where you met them before — in the relaxed comfort of a movie theatre. For nowhere, hut nowhere, are ha|>|>\ moments so richl) enjoyed a- with other happ) people. AND HERE Is TH \T RAKE KIND OF picture thai walks righl into your licarl . . . lcav in^ ils Haniith . . . its lausnlcr. . . for %ou to enjo) through I )i«> \rjr>. IT'S THE RICH, WONDERFUL story of a miraculous!) funny famil\ — and a gorgeous fial who had (krlieve us!) a [ler^onal pull "with a Saint! YES, IF YOU LIKE HAPPY PEOPLE, anil like to be one of them, be sure to see Saint Anne ANN BLYTH- EDMUND GWENN JOM\ IrMTIM ■ PUHIR LIT. • Ml Ml OBKUV • MTIIIIIV III (.Ills The series of ofj-the-amusement-pagc ads is keynotcd by the happiness awaiting those who go to a movie theatre. 16 Admits Idea Is Not His Alone Lipton freely admits that it is not solely his own brain child. "The idea stems from talks with exhibitors, as far back as the earliest days of television," he says. "It was the opinion of many of the theatremen that their one-time customers never got beyond the television page in searching for their entertainment. As a result, we ran a series of teaser ads on "Harvey" right alongside the TV program logs, in numerous metro- politan newspapers. In many instances, we have positive proof that it paid off." The institutional angle in advertising, also did not originate with Lipton. More than a year ago, all of the major studios in the MPA agreed among themselves to promote motion pictures for their common good. However, be it to his credit that he is one of the first promotional executives to make effective use of it on an individual company basis. Lipton declined to say how large a budget has been set aside for this particular facet of the "Sally and Saint Anne" compaign. He indicated that it would remain flexible in order to expand it as the results indicate. In some instances, the ads will be financed co- operatively by the company and the indi- vidual theatremen. In others, U-I will foot the entire bill, depending entirely on indi- vidual deals with the exhibitors. Will Try F & M Radio Contest Elsewhere Lipton has also latched on to the Fanchon & Marco St. Louis stunt and will sponsor it in other cities in connection with some of the company's future releases. His interest was whetted by the outstanding grosses realized in F & M houses participating in the radio contest. "Has Anybody Seen My Gal" did approximately twice the normal week's business at the F & M Missouri, while "Red Ball Express" rang up grosses at least 50 per cent above normal at the Fox. "This is enough to convince me," Lipton told FILM BULLETIN, "that this idea can be projected into other cities to stimulate interest in the movie pages of the daily newspapers and to rekindle the movie-going habit." U-I's Dave Lipton isn't one to let grass grow under his feet. want a New Smile to wear ^ tomorrow? WE'VE GOT ONE THAT'LL FIT YOUR FACE ...and live right in your heart forever! YOU'LL FIND IT WAITING RIGHT where you found the joyous moments of "Going My VVay"and "Miracle on 34th Street" — right at your movie theatre. For now here, but NOWHERE — is heart-warming laughter so richly enjoyed as with others — in the relaxed comfort of the movies! YOUR NEW SMILE WILL COME FROM A SEW COMEDY. Like all great comedies it brings you much more than just laughter. It brings you the kind of happiness that walks into your heart- leaving its warmth and jo> to live with you the rest of your life. IT'S THE WONDERFUL STORY OF A MIRACULOUSLY FUNNY FAMILY— and a gorgeous gal who had (believe us!) a personal "pull" with a Saint! YES, IF YOU WANT A NEW SMILE -THAT WILL LAST fur a long, long, long time... be sure to see. . . (ALLYand ] ANN BLYTH- EDMUND GWENN hJOH* MrlNTIRE • PALMER LEE • Ml til IIBRIO • KATHLEEN 111 Lilt YOU AGREE? (Continued jrom Page 5) opportunity to make headlines about how they wanted "culture" to be unimpeded in its transmission to the peepul. The amount involved was a drop in the huge entertainment bucket. BUT, if the movie industry entertains any hope that simply pleading the "unfair" or the "distress angles will induce the legislators to give up the fat revenue plum from movie ad- missions, it is this corner's opinion thai they're due for a jolt. It's going to be a tough and bitter battle — and one that will be won only if the entire movie industry, fights it as a matter of life and death. FILM BULLET ONE MINUTE TO ZERO' ROUTINE KOREAN WAR MELODRAMA Rates • • as dualler; slightly more for action houses RKO ! 105 minutes Robert Mitchum, Ann Blyth, William Tal- man, Charles McGraw, Margaret Sheridan, Richard Egan, Eduard Franz, Robert Oster- loh, Robert Gist. Directed by Tay Garnett. "One Minute to Zero" is just another (minor entry in the current Hollywood ■ Korean war scries. This Edmund Grainger production, recounts the adventures of a iWorld War II colonel and a United Nations luurse caught in the first stages of the Korean war with some high spots of sus- pense and flashes of slugging action. But many of the situations have been overwork- ed, and the pace has been slowed by a story that is sometimes confused and often in- credible— especially to discerning audiences. The star values should help in exploitation, and some interesting — and often shocking — use has been made of combat films and newsreel strips. Action fans should accent this presentation, but "stereoptypitis" rele- gates "One Minute to Zero" to dualler statis in other situations. STORY: Robert Mitchum is a colonel helping to build a South Korean army just before the war breaks out. When the North Koreans attack, Mitchum is ordered to evac- uate all American civilians. Ann Blvth, a nurse assisting a United Nations health ser- \ ice, is rescued from certain death by Mitch- um and sent back to Japan. He attaches himself to an American army group and is instrumental in slowing the Reds' advance, though wounded in the process. Mitchum meets Blyth in a Japanese hospital and their romance begins. Later, Mitchum goes back to Korea and Blyth's UN assignments just happen to follow Mitchum around from time to time. The story pursues an actionful course in which the intrepid colonel almost single-handedly cuts the Red supply lines and puts the United Nations on the offen- sive. For this, Mitchum becomes a general and is assured of a match with Blyth. PHIL CAPTAIN PIRATE' ROUSING SEA YARN IN TECHNICOLOR Rates • • + as dualler and in action spots Columbia IS minutes Louis Hayward, Patricia Medina, John Sut- :on, Charles Irwin, George Givot, Directed by Ralph Murphy. I This dashing 17th-Century sea yarn, based pn Rafael Sabatini's novel "Captain Blood [Returns", is a rollicking combination of ighting, duelling, romancing and adventure hat should sit well with action fans and the oung 'uns. Producer Harry Joe Brown has ;iven it plenty of color and the vivid Tech- licolor accentuates the budget. Direction by \alph Murphy is sprightly The cast has no treat marquee value, and the performances arc average, with a quiet bit of scene-steal- ing done by Charles Irwin as a Scottish- accented pirate. Note for future reference: Malu Gatica, a throaty singer who appears briefly, would be worth a great deal more footage in the right kind of picture. Modest- ly budgeted, this is an unpretentious film, but it has the right ingredients for action houses and for the duallers and not much for class spots. STORY: A former pirate, Louis Hay- ward settles down in the West Indies as a doctor. He is engaged to marry the aristo- cratic Patricia Medina, a Spanish noble- woman, when John Sutton, who is also in love with her falsely denounces Hayward as the buccaneer who has raided the Spanish port of Cartagena. Patricia and Hayward's former crew aid his escape to sea, where he again hoists the Jolly Roger, determined to find the real culprit and clear himself. By various ruses, Hayward discovers that the pirate who has been posing as him, and who raided Cartagena, is about to loot Puerto Bellow. Hayward disguises himself and takes command of the garrison. They beat off the attackers and in the battered fort Hayward duels with Sutton, the latter finally crashing to his death. Hayward proves that Sutton was hand-in-glove with the Carta- gena raiders. Thus cleared, he and Patricia are reunited. LEON ONCE IN A GENERATION . . . ENTERTAINMENT LIKE THIS! Mr. Sean Thornton, bachelor, meet Miss Mary Kate Danaher, spinster. Miss Danaher, meet Mr. Thornton from Pittsburgh, U.S.A.!" HERBERT J. YATES presents MB WW nwxn Color by TECHNICOLOR • Directed by JOHN FORD A REPUBLIC PICTURE starri„e ULY 28, 1952 17 EXPLOITATION PICTURE 'ROGERS' HAS STRONG COMB "ALL I KNOW IS WHAT I READ IN THE PAPERS" Will Rogers (Jr.) and Betty (Jane W ymanj Meet the Press WARNER BROS. HAS a powerful combination in "The Will Rogers Story". They have the great appeal that the beloved comedian-philosopher-cowboy exerted on the American people, from the farmer to the cosmopolite; from the poorest to the richest; from the oldest to the youngest, Will .Rogers means a significant slice of Americana. The varied career of a unique folk-hero, the glamor of the Ziegfield Follies, the importance of the great personalities who always found time for this am- bassador of the people, and a deeply moving human interest story — each of these are selling points that would, individually, be strong meat for the showman. Combined, they are a rare exploitation feast. The worth of these possibilities has been well-covered in the ads, the publicity and the exploitation set up by WB's boxomcer-in-chief, Mort Blumenstock, and his staff. A wide selection of newspaper copy that should tickle any editor's palate, a wide variation of ads, including a combination mat that could service a complete campaign, stunts, the big Highway 66 dedication as the "Will Rogers Highway", newsbreak stills on national magazine features — all of these are available to the exhibitor for his own special promotion. The Highway dedication gives a particular break to exhibitors in the eight states covered in the route. Some 2200 miles in Illinois, Missouri, Kansas, Oklahoma, Texas, New Mexico, Arizona and California, encompassing hundreds of communities, saw dedication ceremonies along the way with governors, mayors, radio and newspapers participating. Over a million windshield stickers were distributed to carry the message over the entire country via autos traveling the famed route. The press book offers a wealth of detailed promotion suggestions for every type of theatre. There isn't a movie house that couldn't make them pay off. After drifting through the West, Will Roo comes home, takes over his father's ranch, tr when he runs the weight off the dogies with stunts, leaves the job to roam the world. Induced by President Wilson to talk toW people, Rogers stumps for air power afteMj meets flier Wiley Post, receives "favorite pifl nomination in Democratic convention. Established himself as a folk-hero, his inP* in aviation is so intense, he and Post detail on a flight to Alaska to establish defense tP ping, his last act in a full life. Above, Jane Wymans demure freshness contrasts with the showgirls in background as she meets Will Rogers (Jr.) backstage. (At left) Eddie Cantor does a guest appearance. The Story of Will Rogers The legend of a cowboy who brought warmth, laughter and happiness to millionc of Americans — and made them think at the same time — is told in Warners film bi- ography, based on the Saturday Evening Post story, "Uncle Clem's Boy", by the great humorist's widow. Betty. For the role of Will Rogers. Jack L. Warner finally selected the hero's own son. His mannerisms as well as his appearance are so much like his famous parent's that he is often stopped on the street and asked if he is ill Rogers' son. It was a similar situation that prompted Will, Sr.. to embark on the career that brought him fame and fortune. His father, a Senator of the Cherokee nation, was famed for his activities in the Oklahoma territory and Will. Sr.. attempting to escape from the shadow of the parent's domination, went through an amazingly varied and exciting career that ended suddenly with his ill-fated flight to Alaska w ith Wiley Post. The film, however, wisely leaves that tragic portion to the audience's memorv. The fullness and simple happiness that featured W ill Rogers' life are summed up in a choked-up sentence at the Democratic National Convention where he was nominated as the "favorite son" by the Oklahoma delegation: "T never met a man I didn't like". Short Subjects FAN-FARES: Carleton Carpenter, bright young M-G-M star, will take to the road with "Fearless Fagan" as part of the satu- ration bookings campaign in Indiana and Kentucky. Co-starred in the film with Janet Leigh, the lanky lad opens in Indianapolis Aug. 5 as part of the two-state round robin series of p.a.'s. This isn't just big-city stuff. Here's a sampling of Carpenter's early agenda: Indianapolis, Louisville, Vincennes, Peru, Terre Haute, Anderson, Lafayette, Bloomington, Bedford, New Castle, Madi- son, Greensburg, Rushville, Rensselaer, Richmond, Loganport, Marion, Muncie, Ko- komo, Ft. Wayne and Evansville . . . Atlanta had itself a ball with the opening of 20th Century-Fox's "Lure of the Wilderness," which, within a week, lighted the screens of 585 theatres in the 8-state saturation book- ings. A four-block section of the city was transformed into a simulated swampland to provide atmosphere for the colorful parade led by stars Walter Brennan, Jeffrey Hunter and Anne Francis. State and municipal top brass just reveled in the proceedings, plenty of newspaper space — the old-time ballyhoo . . . When Paramount's "Greatest Show on Earth" plays the 55 Loew's Theatres in New York on August 1, the circus atmosphere of the film will get a big assist. With all of the managers participating, the campaign, will feature a street float, carrying a "barker", a stunt-performing clown, and various other circus fixtures. In addition — and this sounds like a real honey of a stunt — a number of circus decorated merry-go- rounds with free rides for the kids, will hit different parts of the city. Theatre fronts will have clowns, stilt-walkers, midgets to distribute "Greatest Show" heralds, animal crackers, etc. Mr. Exhibitor — watch these grosses! TENT TOPICS: Variety International's Chief Marker, Jack Beresin, hasn't been letting any grass grow under his feet. By the early part of July, he had set up plans and named committees that bodes one of the greatest years in the 25-year history of the "Heart of Show Business". Details of next spring's annual shindig, to be held in Mexico City, are already being planned, with Charles Skouras and George Hoover as con- vention chairman; all the committees to aid in the Clubs' charitable activities have been named; the promotion program that was Beresin's baby is off to a roaring start, en- listing the willing aid of the trade paper publishers as a Publicity and Public Rela- tions Advisory Board. Working with the chief barker on this important phase of the VC'S BERESIN Moves Fast VC activities is press guy John J. Chisholm from Toronto . . . Tent 13, Philadelphia, is going all-out for its annual Golf Tournament and dinner dance at the Green Valley Country Club, Sept. 12. Harold Cohen is heading the arrangements, reputedly among the most lavish in the tent's history. UP AND AROUND: After 30 years with RKO and its predecessors, Harry Michal- son has stepped down from the presidency of RKO Pathe, the company's shorts sub- sidiary. Resignation, effective August 1, is result of Michalson's wish to take a "long and much needed rest", according to RKO Radio head Ned E. Depinet . . . The latter, along with sales v.p. Robert Mochrie, foreign v.p. Phil Reisman and ad director S. Barret McCormick, planed to Hollywood on the 15th to huddle on forthcoming pro- duct . . . UA vice-president Max E. Young- stein, who is captaining the company's cur- rent Bill Heineman Sales Drive, has really been stumping. Since the kick-off, on June 15, the popular veep has toured the South, upper New York and New England, then on to the midwest — and in this heat, yet . . . Norman Jackter has been upped to Col- umbia Albany branch manager, replacing Charles Dortic, switched to Pittsburgh as a salesman at his own request . . . Haf Thomas joins Souvaine Selective's board! world sales chief, both theatrical and vidji Thomas' record: March of Time v.p.; Plj president, Equity Pictures President . i KUDOES: Based on his plus-million-r J record of travel to entertain service™ in every corner of the globe — among otl things — Bob Hope has been named recipi l of the first Al Jolson Award and Citation i< the Veterans of Foreign Wars. The hor| will take place August 4 at the DisJ guished Guests Banquet, climax of the £1 Annual V. F. W. National Encampment i Los Angeles. The medal was authorized la presentation annually to the person in : amusement world who, in the opinion of J VFW, has done most during the past yeajJ entertain service men and hospitalized 1 erans ... It wasn't too much of a surpjd when Warners' "The Story of Will Rogi '] copped Parents' Magazine Family Medal liJ September as "the most inspiring film J- ographv in years" ... In recognitions] Gary Cooper's portrayal of the Sherifilil UA's Stanley Kramer thriller, "High Noifl the annual conference of the New Y State Sheriffs Ass'n will show the filmifl the confab's star attraction at the In Placid to-do. PARAMOUNT'S TWIN LODE, El Martin & Jerry Lewis are beating Ha hot grosses on "That's My Boy" and "Sal Beware" with their current release, "Jul ing Jacks", according to figures furnishecjj Paramount Film Distributing Corp. pui dent A. W. Schwalberg, who sees one ofiJ biggest money makers "in years" with I one. Schwalberg has some convincing jfl dence with which to back his prophecy. M film is outgrossing both of the earlier vm by as much as 40 per cent in some situatijfl In N. J. resort Wildwood, at the StranH broke a 45-year record and topped "Till My Boy", at the same house last Jul>™ $5000. In Atlantic City, at the 2000-B Stanley, "JJ" outgrossed "That's My Ijjfl by more than $4000, despite the fact H the latter played last July at the 4000 it Warner. ALL THAT TALK about Samuel Cttl wyn's "Hans Christian Andersen" am crediting the famed children's story wriW memory and arousing animosity in fig author's home country, Denmark, shoulhfl laid to rest with the statement by IlWl Hedtoft, former Danish prime minister M currently chairman of the Danish Culra| Relations: "After seeing the film, I ami vinced it will be a success. Millioniof . people's attention will be drawn to IN I Christian Andersen and to Denmark. AWI people all over the world will start reafiKi the Hans Christian Andersen tales tlftfl selves and we Danes have every reasmH be grateful for this result." CINANCIAL DEPARTMENT: Loew'Wj I profit took another dip in the 12-j(M period ended last month to bring thfWJ week total for the current fiscal yealH $4,478,000. The comparative 1951 figureW $5,567,000. For the '52 quarter, net H $740,000, for '51, $1,341,000. Gross foM two periods was up. For the 40 weeksjjpi year, $135,646,000 compared with $132 3,- -; 000; for the 12 weeks, $39,053,000 comJB] with $38,933,000. United Paramount Theatres also sliifl in its net returns from last year. SeBV quarter earnings of $1,459,000 broughijlWl six-month net to $3,508,000. In tin- nr>tja'' of '51, comparative figures were $1,9HH for the quarter, $4,594,000 for the half. FILM. BULLE'I 'RODUCTIOn I R€L€ RS€ R€CORD 1951-52 Features Serials COLUMBIA Completed (63) In Production (3) Completed (3) In Production (0) Rel. No. Rev. RELEASE CHART — 1951-52 — N PRODUCTION TITLE — Running Time Cast Vmbush At Tomahawk Gap Derek-Hodiak Member of the Wedding, The Waters-Harris .alome — Dance of the Seven Veils IT) Hay worth-Granger 'unction City (54) Starrett-Burnette . 7-52 COMPLETED \ffair In Trinidad Haywo.th-Ford Ill Ashore IT) Rooney-Lawrence ,>pache Country 162) Autry-Buttram 5-52 iisignment — Paris Andrews-Toren arbed Wire (61) Autry-Buttram 7-52 oots Malone 1103) Holden-Clements 12-51 419 rave Warrior IT) (73) Jon Hall 4-52 brigand, The IT) (94) Dexter-Lawrence 7-52 6-30 California Conquest IT) (79) Wilde-Wright 7-52 vaptain Pirate (T) (85) - Louis Hayward 8-52 |)louded Yellow, The 189) Simmons-Howard 8-52 10-8 : ongo Bill McGuire-Moore ripple Creek (T) (78) ...Montgomery-Booth 7-52 6-30 eath Of A Salesman 1 1 1 1) March-Dunnock 2-52 423 12-31 irty Dozen, The Colleano-Franz amily Secret, The (85) Derek-Cobb 12-51 414 'refighters, Th e Williams-Reynolds !rst Time, The 189) _ Cummings-Hale 2-52 424 2-1 1 ; 000 Fingers of Dr. T., The Hayes-Healy sur Poster, The Harrison-Palmer 417 olden Hawk, IT) Fleminq-Hayden appy Time. The (94) . ...Boyer-Driscoll arem Girl, The (70) Davis-Castle 2-52 422 lawk of Wild River, The (54) Starrett-Burnett 2-52 'er Wonderful Lie Kiepura-Eggerth jdian Uprising ISC) 175) Montgomery-Long 1-52 ick McCall, Desperado IT) Montgomery-Stevens [jngle Jim in the Forbidden Land 165) Weissmuller-Ryan 3-52 ingle Safari Weissmuller-Greene ,d From Amarillo (56) Starrett-Barnett 4-52 >nga. The Wild Stallion (65) Reissue Stone-Hudson 2-52 liramie Mountains (54) .....Starrett-Burnett ...4-52. list of the Comanches (T) Crawford-Hale list Train From Bombay Hall-Ferraday 8-52 arrying Kind. The 193) Holliday-Harrison ... 4-52 lontana Territory (T) (64) McAllister-Hendrix 6-52 y Six Convicts (104) Beel-Mitchell 3-52 light Stage to Galveston 161) ... Autry-Buttram 3-52 Icinawa 167) O'Brien-Mitchell 3-52 Id West, The 161) Autry-Buttram 3-52 Ijtlanders, The IT) Scott-Jarman thfinder The IT) _ Montgomery-Carter ula 180) Young-Smith 6-52 ince of Pirates IT) Derek-Rush 6-30 1-28 425 5-5 6-30 475 5-19 |rple Heart Diary (73) F. Langford-T. Romano 1 2—5 1 ... inbow Round My Shoulder IT) Laine-Daniels d Snow (75) __Madison-Mala ...7-52.. ,ders of the Whistling Pines Autry-White !'ugh, Tough West (54) Starrett-Burnett ... 6-52 andal Sheet 182) Crawford-Reed . 3-52 loky Canyon (55) Starrett-Burnette 1-52 iper. The 187) Menjou-Franz ... 5-52 arm Over Tibet 187) Reagon-Douglas 7-52.. hind Off (SO (83) Mickey Rooney ... 5-52.. h Tall Men IT) (97) Lancaster-Lawrence _ 12-51. I'get — Hong Kong _.Denning-Loo ... ef of Damascus, The IT) 178) Henreid-Sutton 4-52 jtican, The (T) 142) Documentary Special pdoo Tiger _ Weissmuller-Burckhart |igon Team Autry-Buttram ilk East on Beacon (98) Murphy-Gilmore 6-52 . ir Cry IC) Montgomery-Long Ink in Indo-China, A 167) Archer-Dick 5-52 421 483 413 4-7 426 5-5 L 1 P P ERT '51-52 Completed (37) In Production ( 1 ) RELEASE CHART — 1951-52 — PRODUCTION TITLE — Running Tim* Cast Rel. No. Rev. :k Pawn, The _ George Raft ...... 11—3 ■ >MPLETED F Men Only (93) P. Henreid 1-52 bat Adventure, The 175) Price-Hawkins 11-2.. •"'gate Hayden-Leslie 8-5 The 174) Cameron-Romero 7-4 L" Shark 179) Raft-Hart 5-23 * Bait (78) Brent-Chapman 1-52 £«io (70) Indian Cast _ 3-52 P'aw Woman (C) 175) Windsor-Rober _ 4-2 J te Submarine (69) _ Special Cast 7-18 * ent Arms Sawyer-Tracy 11-17 \ 'and Yard Inspector Romero-Maxwell 9-2.. 5102 .5021 5113 .... 5112 ... . 5111 ... 5103 ... .5104.. .5105 5110. 1- 28 2- 11 | et People i sn Face, The (71) S.nghold (73) Mr Man yby of the Eagles 183) 5117. 8-20 51 19 6-16 .5109 2-52 5107 ... 9-15 5108 Warner-Gray 4-25 5114.. js of Danger 172) Z. Scott 4-1 5106 .Cortesa-A. Hepburn Henreid-Scott Lake-Scott LY In the Release Chart, "Rel." is the National Release Date. "No." is the release Number. "Rev." is the issue in which the Review appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1951-52 programs unless otherwise noted. Listing of color pictures follows immediately after title: (T) Technicolor, (C) Cinecolor, (SO Supercinecolor, (TR) Trucolor, (AC) Ans- color, (NO Natural Color, (WC) WarnerColor. METRO-GOLDWYN-MAY ER 1951-52 Features Completed (92) In Production 16) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE— Running Time Cast Rel. No. Rev. I Love Melvin IT) O'Connor-Reynolds Naked Spur, The ITI Stewart-Ryan Never Let Me Go - Gable-Tierney Small Town Girl — J. Powell-Grainger Sombrero (T) Angeli-Montalban - — Story of Three Loves All-Star Cast COMPLETED Above and Beyond Taylor-Parker Apache Trail Roland-Horton American in Paris (T) 1113) Kelly-Caron Because Your Mine IT) (103) Lanza-Whitmore Belle of New York IT] 181) Astaire-Vera-EIU n Carbine Williams 1101) . Stewart-Hagen Desperate Search, The Keel-Drake Nov 10-52 3-52 5-52 223 231 9-24 2-25 4-21 9-52 Devil Makes Three, The (96) Kelly-Angeli Everything I Have Is Yours Champion-O'Keefe Fearless Fagan (79) ..... Leigh-Carpenter Girl In White, The (93) Allyson-Kennedy Glory Alley 179) Caron-Meeker Holiday for Sinners' 179) Young-Rule Hour of Thirteen. The Lawford-Addams Invitation (85) McGuire-Johnson J-M It's A Big Country (89) All Star • Ivanhoe (T) (106) R.Taylor-E.Taylor 8-52 Just This Once 190) _ Leigh-Lawford S-M Lili Caron-Ferrer Lone Star 194) - - .....Gable-Gardner 2-52 Love Is Better Than Ever 181) E. Taylor-L. Parks 4-52 Lovely To Look At IT) (112) Grayson-Skelton ... 7-52 Merry Widow, The (T) (105) Turner-Lamas 9-52 My Man and I 199) Winters-Montalban 9-52 Million Dollar Mermaid (T) Williams-Mature Pandora and the Flying Dutchman (T) (1231 8-52 5- 52 232 6- 52 7- 52 7-14 6-2 6-30 200 1-28 215 12-17 6-30 224 1-21 222 225 6-30 Pat and Mike 193) Plymouth Adventure IT) Prisoner of Zenda IT) Ouo Vadis IT) (171) Rogues March Scaramouche IT) (115) Sellout, The (72) Shadow in the Sky 178) ... . Singin' In The Rain IT) 1 103) Skirts Ahoy IT) 1109) Sky Full of Moon Mason-Gardner 1-52 Tracy-Hepburn 6-52 235 Tracy-Tierney Granger-Kerr Taylor-Kerr 236 10-22 6-16 Talk About a Stranger (65) Murphy-Davis Time Bomb Tribute To A Bad Man Wahington Story 182) Westward the Women (116) When in Rome 178) Wild North, The 197) S. Grainger-E. Parker 6-52 S. Grainger-E. Parker 6-52 Pidgeon-totter 1-52 Meeker-Davis-Whitmore 2-52 Kelly-O'Connor ... 4-52 William-Blaine 5-52 Carpenter-Sterling _ 10-52 11-19 6-30 219 2-311 221 12-31 227 233 4-21 4-52 228 3-10 Ford-Vernon Turner-Dougles Johnson-Neal Taylor-Darcel Johnson-Douglas Granger-Corey 3-52 7-52 1-52 4-52 7-14 216 12-3 229 3-10 .226... You For Me (71) Lawford-Greer Young Man With Ideas (84) Ford-Roman 5-5Z 230 MONOGRAM - ALLIED ARTISTS 1951-52 Features Westerns Completed (46) Completed (18) Production Production 3-10 (4) (I) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Battle Zone - Hodiak-Christian Down Periscope Stevens-Williams Kansas Pacific (C) - - - Sterling Hayden COMPLETED African Treasure ... _. Sheffield-Luez Rel. No. Rev Aladdin and His Lamp IC) (47) Arctic Flight Dead Man's Trail Desert Pursuit Elephant Stampede (71) Flat Top (C) Feudin' Fools Fort Osage (C) (72) Gold Fever Gun Smoke Range Gunman, The Guns Along the Border Hold That Line 144) . Here Comes the Marines Hiawatha (C) Hired Guns Jet Job (43) Kansas Territory (73) Lawless Cowboys 158) .... Medina-Sands Morris-Albright Brown-Ellison ..Morris-Caruso ...... Sheffield — Hayden-Carlson Gorcey-Hall Cameron-Nigh Morgan-Calvert ... Wilson-Stewart Wilson-Knight Brown-Coates Gorcey-Hall _ Gorcey-Hall Edwards-Dugav Wilson-Coates Clements-Verdugo . Elliott-Stewart Wilson-Knight 4- 52 5207 1-52 . 5299 _ 7-20 5210.- 7-4 5243 5- 52 ..... 5209 .... 10-29. -51 10._ 3-10 9-14 5213 2- 52 5102 1-28 6-8 . 8-17 5253.. - 4-13 5252 .10-12 5244 3- 52 521 1 6-15 12-7 5202... 11-9 5254 3-23 5215 5-4 5225 11-7 5155 8, 1952 21 Man from Black Hills 178) Mexican Silver Night Raiders Northwest Territory (61) .. Rodeo ICI 171) Rose Bowl Story, The ICI . Stage to Blue River 156) Steel Fist. The 173) Texas City Trail Dust Vicious Years, The 179) ... Waco (68) Wagons West (C) 170) Wild-Stallion (C) Squared Circle. The Yukon Gold 5251.. .5104.. 5204 5241 5217 Disc Jockey (77) Highwayman, The (C) 183) Brown-Ellison 3-52 5242. Wilson-Clyde Wilson-Knight . 2-52 . .......Grant-Chinook ... 12-9 Jane Nigh 3-9... Thompson-Miles 8-24 . . Brown-Ellison 1-52 McDowall-Miller 1-52 Brown-Ellison 12-30 Albright-Winters 12-31 Cook-Moore 2-18 Elliott 2-52 Cameron 6-29 Johnson-Hyer 4-27 Kirkwood-Gleason Grant-Hyer 8-10 ALLIED ARTISTS Simms-O'Shea 8-23 Hendrix-Coburn 9-8 3-10 5107 5224 5203 5205 6-30 5221 21 20 6-18 8-27 PARAMOUNT Rev. 1951-52 Features Completed (68) In Production (5) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. No. Pleasure Island IT) Genn-Taylor ... Pony Express (T) Heston-Flemming Roman Holiday .Peck-Hepburn Scared Stiff Martin-Lewis - Stars Are Singing, The IT) Alberghetti-Clooney COMPLETED Aaron Slick from Punkin Creek(T) (95) Shore-Young Anything Can Happen (107) Ferrer-Hunter Atomic City, The 185) Barry-Clarke Blazing Forest IT) Payne-Moorhead Botany Bay IT) _ .. Ladd-Mason - ... Caribbean (T| Payne-Dahl 9-52 5202.. Carrie (118) Olivier-Jones 8-52 .6-16 Come Back Little Sheba Lancaster-Booth Den ver & Rio Grande (T) (89) O'Brien-Hayden _. Detective Story (103) Douglas-Parker Encore _ Maugham Stories Flaming Feather (T) (77) S. Hayden-G. Russell Greatest Show On Earth (T) (151) Stewart-Hutton Green Gold of Nevada (T) Payne-Morrow Ho*g Kong IT) (92) __ _ Reagan-Fleming Hurricane Smith (T) DeCarlo-lreland Jumping Jacks (98) Martin-Lewis Just For You (T) Crosby-Wyman Los Alamos .. _ Barry-Carke Military Policeman Hope-Maxwell 4- 52 5119 5- 52 5117 6- 52 5120 12-52 6- 52 5115 . 4-7 11-51 5111 10-8 7- 52 2-52 51 18 12-31 7-52 . 5130 1-14 1-52 .1. 5109 Z 11-19 10-52 5204... 7-52 . . 6-16 9-52 5201 My Favorite Spy (93) Hope-Lamarr_ .12-51 SILO. 4-52 -SU6 My Son John 1122) Hayes-Heflin Rage of the Vulture. The Ladd-Kerr Red Mountain (T) (84) Ladd-Kennedy 5-52 5113 Road to Bali Hope-Crosby-Lamour _ 12-52 Sailor Beware (102) Martin-Lewis _. 2-52 5114 Savage, The IT) (95) Heston-Hanson 11-52 5206 Shane (T) _ Ladd-Arthur Silver City IT) 190) DeCarlo-O'Brien Somebody Loves Me (T) (97) Hutton-Meeker ... Something To Live For (90) Fontaine-Milland Son of Paleface (T) Hope-Russell Stalag 17 Holden-Taylor Stooge, The Martin-Lewis 1 1-52 Submarine Command (89) Holden-Olson 11-51 Turning Point, The 1851 Holden-Smith 11-52 Tropic Zone (T) ... Reagan-Fleming War of the Worlds IT) Barry-Robinson When Worlds Collide (82) (T) Derr-Rush 11-51 5106 10-22 4-21 12-17 12-51 5112 10-52 5203 3-52 5105 .. 8-52 10-8 2-11 7-14 5107 5205 9-24 9-24 Thunderbirds Thundering Caravans Tropical Heat Wave Toughest Man in Arizona (Tr) WAC From Walla Walla Wild Horse Ambush Woman In The Dark (60) Woman in the Wilderness Wyoming Saddle Pals Derek-Barrymore Lane-Waller Estelita-Hutton ... Monroe-Leslie Canova-Dunne Chapin-Janssen Edwards-Elliott ... Cameron-Hussey Chapin-Janssen 7-20 5173 1-52 7-15 5131 1-26 RKO RADIO 1951-52 Features Completed (69) In Production (3) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Blackbeard the Pirate (T) Darnell-Newton Difference, The O'Brien-Lovejoy Murder, The Mitchum-Simmons COMPLETED At Sword's Point (T) (81) Wilde-O'Hara Androcles and The Lion Simmons-Young Beautiful But Dangerous Simmons-Mitchum Beware, My Lovely (77) Lupino-Ryan Big Sky, The (140) Douglas-Martin Bloodhounds of Broadway (T) Gaynor-Brady Body Snatcher I Re-issue) ._. Karloft Cat People 173) Simone-Smith Clash By Night (105) Douglas-Stanwyck Desert Passage (60) Holt-Dixon Double Dynamite 180) Sinatra-Russell Faithful City 186) J. Smith-Ramati Girl in Every Port, A (86) Marx-Wilson Half-Breed, The IT) 181) Young-Carter Hands Across the Sea Rennie-Peters Hans Christian Andersen (T) Kaye-Granger Hunchback of Notre Dame (117) Laughton-O' Hara I Walked With a Zombie (Re-issue) Conway I Want You (101) Andrews-McGuire Jet Pilot (T) 1118) _ Wayne-Leigh Jungle of Chang (67) Travel King Kong lThone Call From A Stranger 194) Merrill-Winters f>ony Soldier ITI Power-Edwards •ride of St. Louis 193) Dailey-Dru Rains Came, The 195) (Reissue) Power-Loy led Skies of Montana IT) 198) Widmark-Smith leturn of the Texan 187) Robertson-Boone (ose of Cimarron I NO 172) Buetel-Powers Snows of Kilimanjaro, The IT) Peck-Hayward Something For The Birds Mature-Neal Stars and Stripes Forever (T) Webb-Paget .treasure of the Golden Condor IT) Wilde-Smith tonight We Sing IT) Pima-Peters Hop Man Ifiva Zapata 1 113) 2-52 12-52 4-52 4-52 2-52 2-52 4-52 1 1- 52 I 1-52 12- 52 204 1-28 211 256 207 209 212 Widmark-Dru M. Brando-J. Peters Vait Til The Sun Shines Nellie IT) ( 1 08) Peters-Wayne *ay of a Gaucho (T) Tierny-Calhoun tfe're Not Married 185) Wayne-Rogers tfhat Price Glory IT) III) Cagney-Dailey tfith A Song In My Heart IT) 1117) Hayward-Calhoun 12-52 3-52 204 2-25 7-52 220 5-19 9-52 7-52 221 7-14 8-52 224 4-52 210 2-25 UNITED ARTISTS 1951-52 Features Completed (61) In Production (2) " RELEASE CHART — 1951-52 — N PRODUCTION TITLE — Running Time Moulin Rouge leturn to Paradise COMPLETED Utors and Sin 194) Vfrican Queen IT) (104) vnother Man's Poison (89) luffalo Bill in Tomahawk Territory (44) Captive City (91) Chicago Calling 174) :ioudburst 183) Confidence Girl (81) Iry the Beloved Country ighter. The (78) .... ort Defiance 181) .lass Wall, The .old Raiders 154) ireen Glove, The 184) Cast Ferrer-Gabor Cooper-Haynes Rel. No. Rev. Robinson-Hunt 7-18 Bogart-Hepburn 3-21 Davis-Merrill 1-14 Moore- Andrews 2-8 Forsythe-Hall 4-1 1 Duryea-Anderson Preston-Sellars ..Conway-Brooke Lee-Poitier Conte-Brown D. Clark-B. Johnson Gassman-Grahame O'Brien-Ryan .. 9-14 Ford-Brooks 2-28 H-R 4-2 1-14 1-14 Asp 4-7 1-4 12-17 I- 31 Stone 4-14 8-22 Got 4-14 II- 9 le Ran All the Way 177) ligh Noon 185) lotel Sahara 187) ivasion U.S.A. iland of Desire IT) 1 103) ansas City 1-1-7 ady Says No. The (82) imelight lutiny (T) 174) bsessed (77) In* Big Affair (80) 7-13 ... 7-30 . 10-15 8-4 utcast of the Islands IT) 191) ark Row lanter's Wife ed Planet Mars (87) ing, The iver. The IT) (99) Garfield-Winters Cooper-Kelly ...... DeCarlo-Ustinov O'Shea-Castle Darnell-Hunter . Payne-Gray Caulfield-Niven l-l I Chaplin-Bloom Stevens-Lansbury 3-14 Farrar-Fitzgerald 9-7 O'Keefe-Keyes ... 2-22 Richardson-Kerima 7—11.. Evans-Welch 8-12 Claudette Colbert Graves-King 5-15 - Rios-Moreno Ben Reb Kr Jar ll-S 3-10 7-14 5-5 I 1-19 12-17 KB 3-24 9-24 Lop 5-19 oyal Journey 150) :arlef Spear ' Benny, the Dip (80) ■range World 180) ile of Five Women, A (84) >m Brown's Schooldays 193) vo Gals and a Guy 170) ell, The 185) hen I Grow Up 190) Swinburne-Shields 2-15 Color Feature 3-15 Hyer -.. Foch-Haymes 8-24 Hauff-Schneider 3-28 Bonar Colleano 3-7 Davies-Newton 11-2. .. Paige-Alda 8-31 Rober-Kelly 9-14 .Preston-Scott 4-20 Ren Dan Gehn 7-14 4-7 Pop 9-10 UNIVERSAL 951-52 Features Completed (78) In Production (3) RELEASE CHART — 1951-52 — i PRODUCTION TITLE — Running Tim* ississippi Gambler >ughshod IT) . iminole IT) OMPLETED gainst All Flags IT) ittle of Apache Pass, The (T) 185) cause of You nd of the River (T) 191) ........ ack Castle, The •nio Goes To College ight Victory (97) onco Buster IT) (80) ittle Kate (T) ive of Outlaws, The (T) 174) marron Kid, The IT) 184) ty Beneath the Sea IT) el at Silver Creek, The IT) iders Keepers 175) ime of Araby (T) 177) !sh and Fury (83) ancis Covers the Big Town sncis Goes to West Point >lden Horde, The (T) (134) I in Hand IT) is Anybody Seen My Gal IT) 189) re Comes The Nelsons (74) rizons West ...... .. n Man (82) Grows On Trees >ry Hunter IT) (95) it Across the Street 79) |dy from Texas IT) (78) dy Pays Off, The 180) i»ender Hill Mob, The 182) ... .. tie Egypt IT) (82) _. 1 ef Me at the Fair JLY 28, 1952 Cast Power-Laurie Murphy-Drake Hudson-Hale Rel. No. Rev. Flynn-O'Hara Chandler-Lund Young-Chandler ..Stewart-Kennedy McNally-Greene Perreau-Gwenn Dow-Kennedy Lund-Brady O'Hara-Nicol Smith-Carey A. Murphy-Y. Dugay Ryan-Powers Murphy-Domergue _. Ewell-Adams Chandler-O'Hara Curtis-Sterling Donald O'Connor O'Connor-Nelson Blythe-Farrer Hudson-Adams Colburn-Laurie Ozzie and Harriet .Ryan-Adams Keyes-Chandler Dunne-Jagger Steel-Sheridan Sheridan-Lund Hull-Duff Darnell-McNally .... ..Guuinness-Holloway .Fleming-Stevens ..Dailey-Lynn Apr 217 Feb 212 4-7 1-28 Jan .. 208 May 219 Nov Jan 213 7-30 4-21 I l-S 12-31 Aug 228 _ Jan 21 1 1-14 Jan 207 12-3 Mar 214 July Oct 224 134 July 224 4-30 Feb 210 1-28 Aug June 130 221 7-16 4-2 4-2 Oct. 134 10-8 ... Nov 202 Oct 280 1-28 Sept 131 8-27 Lost in Alaska Abbott-Costello Aug Ma and Pa Kettle at the Fair 187) Main-Kilbride Apr Ma and Pa Kettle in Waikiki Main-Kilbride Ma and Pa Kettle Go To Paris Main-Kilbride Mark of the Renegade IT) 181) Montalban-Charisse Aug Meet Danny Wilson 188) Sinatra-Winters Feb No Room for the Groom 182) Curtis-Laurie May Pool of London 185) Colleano-Shaw Nov Raiders. The IT) Conte-Lindfors Raging Tide ,The 192) Winters-Conte Nov Red Ball Express - Chandier-Cabot May Sally and Saint Anne Blyth-Gwenn July Scarlet Angel IT) 181) DeCarlo-Hudson June Son of AM Baba IT) Curtis-Laurie Steel Town IT) (85) — Sheridan-Lund Mar Thunder On the Hill 185) Colbert-Blyth Sept Treasure of Lost Canyon, The IT) 181 1 W. Powell-J. Adams Mar Untamed Frontier, The (T) Cotten-Winters ...... Sept. Willie and Je Back at the Front Ewell-Lembeck World In His Arms, The IT) Peck-Blyth Aug Yankee Buccaneer IT) Chandler-Brady 229 214 3-24 128 205 220 183 203 218 225 222 8-13 1-28 5-5 10-22 4-16 215 133 209 230 227 8-13 2-25 WARNER BROTHERS 1951-52 Features Completed (50) In Production (3) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Desert Song, The IT) Master of Ballantrae IT) Stop, You're Killing Me (WC) .... COMPLETED Abbott and Costello Meet Capt. Kid About Face (T) (94) April In Paris IT) Big Jim McLain Big Trees, The IT) 189) Bugles in the Afternoon (T) 185) Captain Blood (Reissue) 198) Carson City IWC) 187) Close To My Heart 190) ... Come Fill the Cup 1 113) Captain Horatio Hornblower IT) 1 1 17) Crimson Pirate, The (T) Danger Forward Distant Drums (T) 1 101) Force of Arms 1 100) Cast Grayson-MacRae .Flynn-Carrpbell Crawford-Trevor Rel. Rev. I'll See You In My Dreams 1110) .... Iron Mistress, The IT) Jack and The Beanstalk ISC) (78) Lion and the Horse, The IWC) 183) Jim Thorpe. Ail-American 1105) Man Behind the Gun (T) _ _ Mara Maru 198) Miracle of Our Lady of Fatima, The North of the Rio Grande Painting Clouds with S'hine (T) 187) Retreat, Hell! 1951 _ Room For One More 195) San Francisco Story, The (80) She's Working Her Way Through College (T) (101) Springfield Rifle IW) Starlift 1103) _. ... Story of Will Rogers, The IT) 1109) Streetcar Named Desire, A 1122) _ Tank Are Coming, The (90) This Woman Is Dangerous 197) Tomorrow Is Another Day 190) — 3 For Bedroom C INC) 174) Where's Charley? IT) (97) Winning Team, The 198) Abbott-Costello MacRae-Bracken Day-Bolger Wayne-Olson Douglas-Miller R. Milland-H. Carter Flynn-DeHaviland Scott-Massey Milland-Tierney J. Cagney-P. Thaxter 10-20 Peck-Mayo .... 8-11 .8. Lancaster — Wilde-Cochran Cooper-Alden .Holden-Olson . Day-Thomas Ladd-Mayo 5-31 _ 3-29 3-8 12-5 4-14 I 1-3 122 117 114 110. 123 107 104 030 4-21 2- 25 3- 10 5-19 10-22 9-24 7-2 I2-J9 9-15 1-12 III 102 112 12-17 12-17 4-12 4-19 9-1 Abbott-Costello Cochran-Teal Lancaster-Bickford Scott-Wymore Flynn-Roman Gilbert Rowland McCrea-Mayo — Mayo-Morgan Lovejoy-Carlson Grant-Drake McCrea-DeCarlo Mayo-Reagan 7-12 Cooper-Thaxter Cagney-Mayo '2-1 Roger, Jr.-Wyman 7-24 Brando-Leigh 3-22 S. Cochran-P. Carey 11-17 Crawford-Morgan 2-9 Roman-Cochr o "-22 Swanson-Warren 4-21 Bolger-McLerie 8-14 Day-Reagan 4-28 I 18 119 101 4-21 4-18 5-3 120 4-7 7-28 029 10-4 105 9-24 2-23 115 ... 2-25 1-24 113 1-14 5-17 121 4-21 128 109 129 104 108 I 14 103 124 130 125 1 1-19 7- 28 1 1—5 2-11 8- 27 4-14 7-14 4-2 Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St., Phila. 3—1229 Vine St.. Phil*. 7 LOcust 4-0100 Member National Film Carriers 23 flas everybody seen these figures Biggest opening in 33 weeks, Rialto Theatre, Atlanta Set new opening day record at Five Points Theatre, Jacksonville, beating previous record-holder, "Bend of the River" m Set new opening day record for U-l film at Empire Theatre, Montgomery, Alabama Huge first week at United Artists, Four Star, Paramount and Hollywood Theatres, Los Angeles and holding a second week. Also huge and holding a second week at Missouri Theatre, St. Louis UNIVERSAL-INTERNATIONAL presents -HAS ANYBODY SEEN MY GAL" Color by TECHNICOLOR • Starring PIPER LAURIE . JOCK HUDSON CHARLES COBURN • GIGI PERREAU • with LYNN BARI • WILLIAM REYNOLDS • Directed by DOUGLAS SIRK • Written for the screen by JOSEPH HOFFMAN • Produced by TED RICHMOND Keep your eye on W... the best Mend your AUGUST 11, 1952 IS THE TELEVISION CASE JUST A BIG BLUFF? VIEWPOINTS Page Seven Paramount^ Big Adventure M"Two Years Before The Mast"- Rea^ V W0 X MB. y n, ***Aa* pi • 1 HAVE rr 4BIBS^" ? SCfl£E^ -err; -"rr HA7E !!°°*s* and SESr; roj^ *• ;«* -r £; THE **CS BILL p*»* C BB£Aw" 4 "WICH WITT ILL BVm B 1 TH „TISI»G 0p TflB 4' *' SC*VAtBBRa The Boxoffice Tradition of ild Wind "- "Mutiny On The Bounty" ilt Directed by EDM IUDUIIG ten by (RM L (DOSS and f OUJiD LUDUJIG • from the novel by tilery H. Clark • Prodoced by William H. Pine and William C. Thomas 68 10^ m n 3* H E R B 1 RUTH HUSSEY-" .in J. CARROL Nit ocreen Play By NORMAN REILLY fl Associate Producer -Director JOSEPH^ Starring QRTH COUNTRY JERON- JOHN AGAR • GALE STORM l|M DAVIS • JAY C.FLIPPEN ijy CHARLES MARQUIS WARREN and PRESCOTT CHAPLIN A REPUBLIC PICTURE - Republic Pictures Corporation First 4 days 45% BIGGER Than "SHOW BOAT" First 4 days 38% BIGGER Than BATTLE- GROUND' how BIG is IVANHOE'? Cleveland, Houston, San Francis c Evansville, Atlanta give the answer to this question! Opening 21% BIGGER Than "QUO VADIS" First 4 days 22% BIGGER Than GONE WITH THE WIND" First 4 days BIGGEST NON-HOID GROSS II* HISTORY >F MUSIC HALL, N. . (W year M-G-f attendance rec^-'J This is the Biggest Attraction in M-G-M history! It is J for the entire Industry which it has lifted to the ske M-G-M presents Sir Walter Scott's "IVANHOE" starring Robert Taylor • Elizabeth Taylor • Joan Fontaine • George Sanders Emlyn Williams • Color by Technicolor • Screen Play by Noel Langley • Adaptation by A Eneas MacKenzie Directed by Richard Thorpe • Produced by Pandro S. Merman ON MEN AND MATTERS Ms The TV Case A Big Stuff? i\ow thai Attorney General McGranery has openly shown his hand as a partisan of the television interests, it is difficult to escape the feeling that the powerful offices of the I nited Slates Department of Justice have been employed to perpe- trate a big Muff on behalf of the TV monopolists. Shocking as this may seem, that implication must be read into McGranery's filing of an anti-trust suit to force the sale of feature films to video broadcasters. The flimsiness of the case and the prejudicial manner in which it was filed add weight to the v iew, supported by many competent lawyers, as well as a large section of the public and the press, that the suit has little or no basis in law or equity What, then, is its purpose? There is an abundant record of bluffing by video moguls, led by the RCA-NBC bigwigs, David Sarnoff and Frank Folsom. in their efforts to extract decent films from Holly- wood for their hungry channels. They have wheedled, cajoled, baited the film companies, and threatened them with dire consequences if they persisted in outlandish policy of seeking the best returns for their products. The hankering these gents have for good movies with which to entice TV advertisers is too, too apparent. They just can't conceal their passion for our product. At the out- set, when they began to realize that television might price itself out of sponsors, they shyly came a-courtin' and spoke endearingly about the "happy marriage" they envisioned be- tween the two industries. When the movie poppas spoke of video's inadequate dowry, the telev isionaries knew they weren't going to FILM BULLETIN: Motion Picture Trade Paper published every other Monday by Wax Publi- Captivate the movie cations, Inc. Mo Wax. Editor and Publisher. r PUB LI CATION-EDITORIAL OFFICES: 1239 Vine business with prettV Street, Philadelphia 7, Pa., Rlttenhouse 4-7424; v Barney Stein. Managing Editor; Leonard Coulter, ujrrrrU alnnp and he- New York Editorial Representative; Richard N. ^ OrOb alone, and DC- Newton, Publication Manager; Robert Heath, r i .1 Circulation Manager. BUSINESS OFFICE: 35 Iore long tnev canie West 53rd Street New York 19, N. Y., Circle , i • 6-9159; David A. Bader, Business Manager. to the conclusion HOLLYWOOD OFFICE: 459 Haverford Avenue, . . , Pacific Palisades, Calif., Hillside 8183; Jay that thev Simplv Allen, Hollywood Editor. 1 Subscription Rates: ONE YEAR, $3.00 Can't *UDDOrt it ill in the United States; Canada, $4.00; Kv Europe, $5.00. TWO YEARS: $5.00 in tL„ Btvl_ f whioh the United States; Canada, $7.50; Ule M>le t0 wmcn Europe, $9.00. .. , > it s accumstomed. There followed a series of shrewd statements and adroil maneuvers designed to bluff and bullv the movie people into releasing some of their valuable films to the voracious video networks. Last winter there were some "cute" stories ema- nating from the Messrs. Sarnoff and Folsom. Oh, no. they weren't after .Hollywood's product; to the contrary. Holly- wood was chasing after them. Coy fellows. In an interview with Variety's Abel Green, Mr. Sarnoff warned the film companies that the longer their libraries of pictures were withheld from TV the less they would be worth. Obviously seeking to nudge his reluctant "bride" toward the couch, the RCA chieftain said: "With time, all this alleged wealth of film product will become dated. Sure, they sit home and watch old 'BY but the TV medium moves so fast that what is choice by today s standards will be less than *DV perhaps, five years from now. when we have ultra-high frequency, color TV and, above all. a more mature standard of acceptance." At the very time when Sarnoff was thus needling the movie industry the Federal Communications Commission was doing its bit for the television monopoly by its inquiry into the right of film companies to sell their properties to the highest bidder. In answer. Paramount's Y. Frank Freeman bluntly told the FCC that filmdom's refusal to sell to TV was just a matter of price. Theatres pay far more than tele- vision can pay for pictures, therefore theatres are the de- sirable customers and will remain so. until the situation was reversed. That is the situation today and in our opinion that will be the situation for a long, long time to come, if not forever. And that is why we are inclined to view the McGranery suit as a big bluff. Stymied by the economic facts of life that are stacked against them, the TV bully boys have pulled from their sleeve what they hope will be their trump card — Uncle Sam"s big legal stick. Perhaps they have the notion that the Attorney General needs only to brandish the stick in order to make the movie people plead for mercy. We suspect they have misjudged the situation. I ntil they can raise a lot more dough for a dowry, the telev ision boys will have io keep right on pound- ing on their would-be bride's door. She's got another fellow. MO WAX 7 I mm 0ml mm iii (or det( ° THE BOAR»S IN 2 ■ > ON THERE'S NO BUSINESS L/KE CENTURY-FOX BUSINESS The Rise ol Milton Rackmil tfhtterJat'* Wei* President TatftJ Jreeht rfbcut tfti Career a*4 the \tlcfte SuAineAA Cxc/uMe BULLETIN Jeature E : ;' . .. By Leonard Coulter If if were not for its unfortunate connota- lion, the middle R in Milton K. Rackmil's name might well have stood for "Razor", so [harp and incisive is his mind. But there k'as once a Japanese militarist named Togo Ivho, in World War II, enjoyed that nick- lame. He was ruthless, cruel, dictatorial Ind well versed in the arts of treachery. By lontrast, the film industry's newest major figure is genial, considerate, and democratic inough to talk quite frankly about the steps k-hich have carried him to the Presidency of Universal Pictures, about his hopes and Imbitions and about the problems of motion pictures, television and show business in general . I He smiled broadly when I asked him bout his name. "I've got a surprise for rou," he said. "The middle R doesn't stand lor anything. I haven't got a middle name." fhat isn't the only surprising thing about Rackmil. Though he is heavily, powerfully milt and his thick, wavy hair is flecked nth gray, his complexion is fresh, his eyes lear and his dimpled smile infectious, creat- ng the impression of a man somewhat ounger than 49. Clearly he has a natural ggression; beneath his ease of manner one an detect thrust and purpose. You feel that kere's a man with his eye well on the target, lis trigger finger crooked for action, intent pn a bull's-eye with his very first shot. tarpenters Son I You are surprised, too, to learn that he is certified public accountant, for he doesn't measure up to the popular conception of a professional figure-expert. His language is olorful, colloquial, as befits a man born on [New York's lower East Side, son of a car- penter— "but an extremely good carpenter" -who moved to Brooklyn when Milton R. |vas still pink with diaper rash. He went to >ublic school in Brooklyn's Williamsburg •ection, and did odd jobs on the side. He vorked his way through high school, and Continued to work while attending night cl.ool at New York University, where he kraduated from the Business College, be- \UGUST fl, 1952 MILTON R. RACKMIL Movies and TV Complementary coming a certified public accountant with a New York firm. In those days he was im- mersed in the usual chores of a hired ac- countant. He dealt with audits, surveyed new formations, investigated insolvencies. Among the companies he was concerned with was the Brunswick Phonograph, Radio and Record Company, which in 1929 fell on lean days. Rackmil was invited to pull it out of the red. He did, and became the com- pany's comptroller. In a sense that appointment gave Rackmil his first association with the motion picture industry, for Brunswick was a Warner sub- sidiary. He transferred the main plant to Scranton, Pennsylvania, and went there to supervise operations. Before long Rackmil and his two chief associates, Jack Capp and E. F. Stephens — both now dead — conceived the idea of acquiring control of the business. They tried to interest in the deal Edward R. Lewis, dynamic London stockbroker who had floated the Decca Record Company in Britain and who was seriously challenging the near-monopoly of the record market en- joyed for many years by the Columbia Graphophone and the Gramophone (HMY) companies. Lewis, however, at that time had as much on his plate as he could comfort- ably digest, and the proposed purchase fell through. The Start of Decca The contact which Rackmil had estab- lished with Lewis, however, finally came to blossom in 1934 when they launched an American offshoot of the Decca company. The circumstances could not have been less propitious. Disc business was at its nadir. Radio had come in with a mighty flourish. Sales of records, which has reached about 110,000,000 in 1929, had slumped to some 6,000,000. Current thinking in the industry was that with radio music on tap, day and night, "for free", no-one in his right mind would continue to buy records. Rackmil and his friends, however, never accepted that theory. They believed that radio would stimulate interest in discs. As everyone now knows, they were right. By 1946 sales had soared to nearly 400,000,000 a year and Decca Records, Inc., was having its full share of the boom. If h v I niversal? Milton Rackmil draws a similar analogy today about motion pictures and television. He admits, in fact, that one of the reasons he bid for control of Universal Pictures was that films and television are complementary — or are destined to become so. "There's too much talk about their being at odds", he says. "They're not. Some people say that TY is going to kill motion pictures. They're nuts, brother. An industry which does a (Continued on Page 14) 9 UA-Kramer's 'High Noon' Rates All N. Y. Critics' Raves The flinty New York critics were pretty well softened up by Stanley Kramer's United Artists release, "High Noon". Normally talc- ing a sardonic view of the movie western, not a single reviewer could find anything wrong with this picture and several felt it was the best western ever made — including the classic "Stagecoach". But, more than that, they uncorked superlatives that indi- cated here was a movie that was unlimited in its appeal as a thrilling piece of enter- tainment. "The tension of a twisted wire in an at- mosphere of foreboding that could be cut with the edge of a sharp shadow on a dusty street," is the colorful description given by the Herald Tribune's Otis Guernsey. "A high voltage thriller," he adds, "with sense and sensation mixed together in a charged atmosphere." In the Times, Bosley Crowther calls it the "best of its kind in several years." "Familiar but far from conventional," he says, it's a "thrilling and inspiring work of art" that's "loaded with interest and sus- pense" and a "challenge to 'Stagecoach' for the all-time championship". "One of the great Westerns of all tune," says the World-Telegram's Alton Cook. "Suspense clutches the audience in a terrify- ingly tight grip" and the climax constitutes "one of the charpest and crispect gun battles ever staged." Rating it "Excellent" on his N. Y. Post Movie Meter, Archer Winsten dubs it the best since "Red River" and possibly better than that acclaimed film. He delves into its "powerful commentary on human nature," its "taut and growing suspense." The pic- picture doesn't need the U. S. Cavalry. It just permits the hero "to surmount impos- sible odds in a way that is at once fictional, fantastic, realistic and devoutly desired." Here, he says, is a "Western of conspicuous quality." In the Journal-American, Rose Pelswick describes it as a film with "nail-biting sus- pense". Gary Cooper, she feels, "contributes one of his finest performances," in a Western that is a "notable exception" to the average run of such films, "right out of the top drawer." 'SHE'S WORKING HER WAY THROUGH COLLEGE* WARNER BROS. "Songbursts and humor have an air of proceeding under a forced draught of col- legiate high spirits, and there is hardly any natural lift in either the book or the score." — Guernsey, N. Y. Herald Tribune. "Tuneful songs, lively dances and fine cast . . . Right in the light and gay mood of the air-cooled theatre season." — Pelswick, N. Y. Journal-American. 10 "QUOT6S" What the Newspaper Critics Sag About New Film "Abundance of dancing, singing, mediocre comedy, and all-too-slight resemblance to "The Male Animal."— Torre, N. Y. World- Telegram. "Good (Movie Meter Rating) . . . medium quality entertainment that should relax the average moviegoer." — Winsten, N. Y. Post. "Stubborn endeavor to weave a musical story line into the stout fabric of "The Male Animal" . . . has resulted in a combination that does credit to neither one. Musical story is routine . . . and the play has been woefully stripped of humor." — Crowther, N. Y. Times. 'CARRIE' PARAMOUNT "Excellent (Movie Meter Rating) . . . Whether you like this kind of picture or not, William Wyler's 'Carrie' ... is one of the great ones ... A companion-piece, in no way imitative or repetitious, to his other most perfect work of art, 'Wuthering Heights'."— Winsten N. Y. Post. "Having successfully brought "An Ameri- can Tragedy' to the screen under the title of 'A Place in the Sun', Paramount has done an equally effective job in picturizing the author's first novel, 'Sister Carrie'." — Pels- wick, N. Y. Journal-American. "Story and picture become pretty much of a handsome, sentimental display of emotion- al ecstasies and despairs . . . As such it is beautifully presented. Wyler has done an expert job of putting his people . . . through paces that will wring the last wet tear." — Crowther, N. Y. Times. "Has everything that a good movie ought to have except spirit and conviction. For all its technical excellence, it is a hollow, filmgoing experience." — Guernsey, N. Y. Herald Tribune. HAS ANYBODY SEEN MY GAL' UNIVERSAL-INTERNATIONAL "In no respect does it rise above an archly labored treatment of a pedestrian fiction . . . The humor is even rustier than the period slang . . . and the story about sentimental skittish old age seems even more dated than the flapper." — Guernsey, N. Y. Herald Tri- bune. "The Mayfair patrons . . . did not seem convinced — or much enteretained, either . . . Strenuous effort at comedy rewarded only with a wide miss." — Cook, N. Y. World Telegram-Sun. "Ruins its own entertainment case because its happy fluff is so consistently interlarded with arrant nonsense . . . Fair plus (Movie Meter)."— Winsten, N. Y. Post. "Intended to be one of those mellow, wholesome little family comedies . . . There are folksy chuckles all along the way . . . But the film has been fashioned with sucl off-handed slickness that the average cus i tomer may rue his contribution at the box i office."— H. H. T., N. Y. Times. "Engaging comedy . . . Light, gay, faith j ful to the wacky mood of the period. "— Pelswick, N. Y. Journal-American. 'WHERE'S CHARLEY?' WARNER BROS. "Cool, uncomplicated, and, on the whoh sprightly affair . . . On the screen, as on th ' stage, it is a vehicle which barely manage i to keep rolling along to the rhythms tappe> out by (Ray) Bolger's nimble feet . . . Goc performers involved in a foolish notion am] preserving a semblance of gayety with buf, foonery and song." — Guernsey, N. Y. Heral.[ Tribune. "Ray Bolger's wild impersonation o Charley's perennial aunt . . . was of sue! delightful buoyance and frank frivolity tha, a rhapsodized fan could only wish it pre] served for all time in a deep-freeze. Thai we are happy to inform you, has now beei effectively done." — Crowther, N. Y. Times "Thanks to the imcomparable Ray Bolgei 'Where's Charley?' comes off as amusingl on the screen as it did on the stage . . Divertingly nonsensical mixture . . . You'l find it fun." — Pelswick, N. Y. Journal American. "Less attractive and less human (than th r show) . . . Costumes are amusingly brigh and gay, the production numbers are reason ably showy and expensive. But somewher in the glittering Technicolor, the glow ha been lost." — Rayfield, N. Y. Compass. LADY IN THE IRON MASK' 20TH CENTURY-FOX "Sends D'Artagnan and his three muska teers riding again in the queen's cause. The are a jaded outfit now, with only a shadov of the flashing skill they once had as swords men and acrobats in other pictures." — Cool N. Y. World-Telegram. "Emerges as a Grade B Gallic Western with feathered plumes, capes and foils re. placing the usual levis and six guns."-| D. W., N. Y. Herald Tribune. "Fair plus (Movie Meter Rating) . . . Jus like cops and robbers in pseudo-French . . and a film load of duels . . . Kids will probj ably enjoy the action stuff." — Thirer, N. Yj Post. "Lively costume drama in Cinecolor, tn j film does a switch on the classic 'Man in th Iron Mask'." — Pelswick, N. Y. Journal American. "Unless you're interested in horses an< Pier 4 fighting, you might stay home . Check it off as another fancy-dress brawl. — Crowther, N. Y. Times. FILM BULLETIN Short Subjects BY BARN New York; Republic's distribution v. p. Jimmy Grainger and ad-publicity head Steve Edwards were on hand for the gala occasion. THIS HAS BEEN one of the hottest ami most ravaging summers in years. Tele- vision is at its peak. The national political conventions were supposed to take up the waking moments of the great American >ublic. Big prize fights were going to wreak havoc to moviegoing on Wednesday and Friday evenings, as well as on the other eatured boxing nights that have drawn such :rowds. So what happened5 Well, accord- ng to a survey of business conditions con- lucted among theatre owners in New York's netropolitan area, movie patronage during July is eleven (11) per cent above the at- endance figures for last year. Almost with- out exception, theatre owners reported that he political conventions had no effect on pusiness; that the heat brought many new customers to the air-conditioned theatres; , hat the desire to escape the heat, coupled ,.vith a run of high grade product had re- aptured much of the "lost audience" and hat the future looked bright indeed. Now, f only the moaners would wipe their tears tnd really put their efforts into exploitation. |%ASH & CARRY: Warners maintained '* substantially their 9-month net in 1952 kith a robust $4,958,000 after a similar heriod last year which netted them $5,808,- K)0. The '52 figure included provision of |5, 100,000 for federal income taxes and a provision of $400,000 for contingent liabili- ies. In the preceding year's three quarters, let was $5,808,000 after provision of $5,800,- 00 and $500,000 for contingent liabilities. Operating profit figure for 1952 also in- ludes $1,091,000 from sales of captial assets, before taxes, compared with a correspond- ing profit of $482,000 for last year's nine- lonth period. Gross income remained com- laratively static with $84,309,000 in the nine |ionths this fiscal year, $84,870,000 last year. IN ANSWER to the herald distribution 1 problem may be forthcoming from Allied I heatre ' >wners of Indiana. The giveaways ave alv a;, s been a valuable source of pub- city fo a theatre attraction. Too often, owever il.e cost of distribut'on and, even pore important, the reliability of the indi- jiduals v. ho do the door-to-door work — the bwers devour a healthy chunk, it seems — iscourage theatremen from this practice. |>TOI's suggestion is to use Cub Scout lacks, eight to eleven-year olds who depend n funds that they raise through their own :tivities for their financing. "These bojs like their work seriously," says ATOI, "and group of 40 or so of them will do a quick I id conscientious job for you if you will hake a contribution to their Pack treasury." ike? TS A REFRESHING thing to hear an actor play himself down, and give credit h the real sta.- of any film — the director, ut that's what Charlton Heston, rising film |ar, did on a radio interview and, conse- UGUST 11, 1952 Crowlher and Director Ford. quently, raised his own stock considerably. About a dozen films each year, he said, ac- tually require the talents of an actor. The others, he felt, need only a good director. "A good director can do almost all the work for you," the actor declared. Mr. Heston, our hat's off to you. Honest, intelligent actors are hard to find. IfUDOES: "Les Miserables" has copped the Parents' Magazine as Picture of the Month for September; Al Lichtman, 20th- Fox distribution chief accepted the Medal from Parent's Phil Wilcox . . . Warners' "The Story of Will Rogers" may have been the first movie to be shown to the possible next president of the United States, since he became a candidate. Gov. Adlai Stevenson was an honored guest during the Democratic convention showing of the film in Chicago's Civic Opera House for convention reporters and editors . . . John Ford, director of Re- public's all-time big-timer, "The Quiet Man", had himself a time as guest of honor for press representatives at Essex House in STEVENSON & ROGERS The Candidate Sees a Movie CANFARES: Metro is spreading out on the lie up field with its co-ops for "Ivanhoe" and "The Merry Widow". Two of the national tie-ups, I.ux and Lustre-Creme, have a parlay <>n stars Elizabeth Taylor and Lana Turner, with the former also on Whit- man Chocolates and Woodbury Powder, while I. ana, understandably, has Cameo Stockings plugging the film. In addition the male stars, Robert Taylor and Fernando Lamas, are featured in two national bread ad series, Quality Bakers and Sunbeam Bread. No less than 16 tie-ups are set fo» New York City on "Ivanhoe" and another half dozen for "Merry Widow", including the MGM Record Album and Columbia . . . Shades of "Cover Girl" Rita Hayworth's return to the screen in Columbia's "Affair in Trinidad" will be spearheaded by a national beauty contest, with Mojud Hosiery and some other national hosiery cooperating with a national "Rita Hayworth Beautiful Legs" contest. More than $10,000 will be given away in national prizes, augmented by local prizes. Each city will have its local contest with exhibitors, aided by Columbia field exploiteers, running the regionals. The tie-ups range from an air trip to Trinidad to hosiery, scarves and food stuffs, dancing lessons and luggage and a mess of other stuff. (\F MEN AND THINGS: 20th-Fox's Al ^ Lichtman has realigned his distribution setup "in order to strengthen and provide closer supervision" of the 38 domestic and Canadian branches. Arthur Silverstone and Edwin W. Aaron take over as Eastern and Western sales heads, respectively, with the former directly responsible for every Fox operational phase of the Eastern section of the country, while Aaron shoulders the functioning of the Western area. Under the new structure, Chicago switches to Western supervision . . . James R. Ricketts has been named acting branch manager of Para- mount's Denver exchange, replacing Clar- ence Olsen, resigned . . . Columbia flackman Joe Hyams is a father (his first). Wife Irene presented him with a six-pound girl at Polyclinic in N. Y. on July 29 . . . Kay Sullivan, one of the best-known gals in the distribution end of the industry, and secre- tary to 20th- Fox's Joe Moskowitz, eastern studio rep who went West to become Darryl Zanuck's aide, has come back to New York to handle liason duties with the studio . . . Loew's Saul Gottlieb and Universal's David A. Levy will co-chairman the exchange di- vision of the industry's Joint Defense Appeal drive . . . Gael Sullivan is back in TOA harness again after his bang-up, if abortive, stint as Kefauver campaign manager . . . Jack Frost has stepped out as Monogram Kansas City branch manager, effective August 15, Ray M. Copeland takes over. 11 BEWARE, MY LOVELY' SLOW-PACED, WEAK EFFORT AT SUSPENSE Rates • • as dualler RKO release 77 minutes Ida Lupino, Robert Ryan, Taylor Holmes, Barbara Whiting, James Williams, O. Z. Whitehead, Dee Pollack. Directed by Harry Horner This is a dismal little melodrama about a dangerous psychopath who traps a woman in her home, causing her to live a lifetime of terror in one day. Unfortunately, it wears out its audience with a tedious pace and its constant promise of things that don't happen. "Beware My Lovely", to put it bluntly, is more exasperating than exciting. The story, based on Mel Dinelli's play, "The Man", is given the stage treatment by di- rector Harry Horner — a static effect that calls for Hitchcockian directorial technique and the most adroit kind of performances. It gets neither. Ida Lupino and Robert Ryan, who occupy the screen almost exclusively for the 77 minutes running time, have both done far better work. Ryan, a mental case, always seems on the verge of violence, but none of this ever materializes, which de- prives this RKO release of its one potential selling point. Best grossing chance for this is in the transient ballyhoo houses, where a thriller-chiller campaign might pay off. Elsewhere, it won't mean much, certainly not for family situations. STORY: Ida Lupino, a World War II widow, hires Robert Ryan to house-clean. When she questions him, he admits he hd been discharged from the Army as beinl mentally unstable. He confesses that whet ever a murder is reported in the newspape* he can't be sure he isn't the killer. Ida m coils with horror, and tries to get him ov of the house, but he grows suspicious, are locks doors. Terror stricken, Ida tries 1 give a grocery delivery a message, but it found by Ryan, who makes up his mind 1 kill her. They struggle. When she retun to consciousness, Ryan isn't there. She fine him downstairs, preparing to leave, unawai that only a few minutes earlier he had a tacked her. His mood has changed to con plete docility. At dusk Ida's lodger retun home. Ryan meekly unlocks the door arj goes off into the night. YORK LES MISERABLES DISAPPOINT Rates • • + generally; better in class hou 20th Century-Fox. 104 minutes Michael Rennie, Debra Paget, Robert New- ton, Edmund Gwenn, Sylvia Sidney, Cameron Mitchell, Elsa Lancaster, James Robertson Justice, Joseph Wiseman, Rhys Williams, Florence Bates, Merry Anders. Directed by Lewis Milestone A remake of Victor Hugo's immortal classic about the relentless pursuit of a man by the law, this latest film version of "Les Miserables" has some moments of high ex- citement and suspense, but, on the whole, it falls short of being the solid, marketable product needed for today's fickle boxoffices. The Fred Kohlmar production has all the appearances of a great motion picture, for it boasts a superb cast, authentic settings and some astute direction, but its weakness lies in Richard Murphy's screenplay which has failed to capture the tragic overtones and stark drama of Hugo's original story. After the early scenes, which are hard- INC REMAKE OF VICTO HUGO es hitting, forceful sequences, the film lapses into a plethora of talk and emotional rambl- ings from which it never wholly emerges. The result of this is a film that will probably do its best business in art houses, or nabes- hoods and first-runs catering to class audi- ences. It will be a fairly strong attraction for action houses, too, but family spots will find it difficult to sell. Director Lewis Milestone has guided his players with many adept touches, but has been unable to maintain the fast pace of opening sequences and has been hindered by the slow-moving screenplay in later scenes. The cast labors under the same difficulties, but some notable performances do emerge as Michael Rennie portrays the hero Jean Yaljean in a warm, convincing manner and Robert Newton effectively personifies the law in his role of Javert. The supporting cast headed by Edmund Gwenn, Debra Paget and Cameron Mitchell is effective with no poor performances to be found. STORY: Michael Rennie is sentenced to 10 years in the French galleys for stealing a loaf of bread. It is there he first meets CLASSIC Robert Newton, a French police officer wit a perverted sense of duty under the lav Rennie emerges from his imprisonment bitter man, but is set aright by bishop Ec mund Gwenn. Rennie jumps bail to take job as a potter and soon becmes a succeJ in business. Later, he is made mayor of ttl town and also becomes guardian of DebiJ Paget. Not long after, Robert Newton turrj up as the town's chief constable. Newtq] suspects the true identity of Rennie ar' traps him into admitting he is really a bail jumper. Rennie escapes, however, and takr Paget to Paris. On the eve of the Frenc Revolution, Rennie decides to take his warj to England. Difficulties arise, when Renn learns that Paget is in love with a your, revolutionary, Cameron Mitchell. Renn. quarrels with Mitchell, but then realizes thi his ward will never be happy without hi lover. During a street fight, Rennie meet Mitchell and they are reconciled. Newtoj however, turns up again and it appears th.' Rennie is at last trapped. Newton relenj at the climax and a happy future is assure; for Rennie. PHIL YOU FOR ME' AMUSING LIGHTWEIGHT FARCE Rates • • + as dualler, except for action M-G-M 71 minutes Peter Lawford, Jane Greer, Gig Young, Paula Corday, Howard Wendell, Otto Hulett, Barbara Brown, Barbara Ruick, Kathryn Card, Tommy Farrel, Paul Smith. Directed by Don Weis This lightweight comedy evolving from the hectic, if familiar, romantic complications of a playboy, a beautiful nurse and a struggl- ing young doctor, is a fairly entertaining farce. Light on budget and on marquee names, it offers more fun than many a costlier film, due to the expert playing of the cast and snappy direction. Situations have been hypoed with dialogue that is at times downright hilarious, but the mirth isn't sustained enough to prevent a skimpy houses plot from frequently showing through. For neighborhoods and metropolitan first runs, this Henry Berman production will serve very well on dual bills. Action houses can skip it. The frivolous goings-on have been very well paced by director Don Weis and the arresting introduction to the picture gets things off to a flying start, at least. Peter Lawford, heir to a fertilizer fortune, provides some bits of dialogue that are genuinely funny. Jane Greer, who vacillates between playboy Lawford and hard-working doctor Gig Young, seems rather anemic beside the spirited performance of Lawford. Young is handsome, clever and very appealing. STORY: Receiving pants full of buckshot in a hunting accident, wealthy playboy Law- ford is taken to a hospital to which he donates large sums annually. There he I given rather rough treatment by nurse Jar j Greer, because the emergency he has caust' interferred with her day off. In a fit <' temper, Lawford threatens to cut off fun< to the hospital. Greer is fired, but docti, Gig Young, who needs the money for nj search, persuades Greer to go to Lawford room and vamp him into reinstating tlj fund. Greer is in love with Young, wl1 won't give her a tumble, but in order I help him and save her own job, she goes t Lawford and the playboy succumbs to h« wiles. From here on, the story is a su cession of farcial situations envolving Lav ford's estranged wife, the fertilizer fortun and a three-cornered romance between Lav ford, (ireer and Young, with Young gettin the final romantic nod. NEIL 12 FILM BULLETI JUST FOR YOU' IS BINC, BRIGHT BEAUTIFUL Rates • • • + except in action situations Paramount 104 minutes Bing Crosby, Jane Wyman, Ethel Barry- -nore. Robert Arthur, Natalie Wood, Cora Witherspoon, Ben Lessy, Regis Toomey, Art Smith, Leon Tyler, Willis Bouchey, Herbert Vigran. Directed by Elliott Nugent Here's a Rig Name picture from Para- mount. This King Crosby-Jane Wyman Technicolor musical has a show business •ackground and a strong romantic flavor, it's great entertainment for the family trade nd equally great for the class trade. Pat ihiggan's production is lush. Direction by ^lliott Nugent keeps the story-line easy to ollow and very eood to watch. He's made real musical play of it. not just a musical omedy woven round songs. The ten tunes It in snugly where they belong, and some t them are real Hit Parade stuff, especially he catchy "Zing Me a Zong". Top grosses tfeiieu Rating • POO* • • r air • • • GOOD • • • • TOPS will be rolled up by "Just For You" every- where, except in the action houses. In that inimitable, relaxed style of his Crosby is fine, even in a greying wig. Jane Wyman has a meaty role which gives her a chance to act, sing and dance. Ethel Barrymore handles her part as the slightly eccentric head of a girl's school with relish. The most promising member of the cast is Robert Arthur, Bing Crosby's young son. STORY: Bing. successful Broadway com- poser, is in love with his leading lady, Jane \\ yman. But he's been so busy carving a career that he's never got around to marry- ing her, or to showing his son, Bob Arthur or daughter. Natalie Wood, any genuine affection. Bob wants to write songs, too, but his father's criticism sours him. Natalie wants to go to a famous girls' school, but seems unable to persuade her father to use his influence on her behalf. Aided by Jane, Bing tries to win back his children. They go to summer camp, but the kids remain aloof. When Jane tries to straighten things out. Bob, a developing 17, misunderstands her and falls madly in love with her. Mean- while, Bing has managed to persuade Ethel Barrymore to accept Adelaide as a pupil at her school. When Bob discovers that Jane is in love with his father, and not with him, he throws away the love-song he has written and joins the Air Force. Realizing his mis- takes. Bing. goes searching for him at the head of a USO troup. He is performing at one remote camp when, unknown to him, Bob is in the rear of the hall. The young man has straightened himself out, and, at the appropriate moment, reveals himself and introduces his father to a singing partner. Who should it be but Jane Wyman, the girl Bing left behind. LEON WOMAN OF THE NORTH COUNTRY' STRONG OUTDOOR DRAMA ates • • • - generally Republic 0 minutes luth Hussey, Rod Cameron, John Agar, Vale Storm, J. Carrol Naish, Jim Davis, Jay '. Flippen, Taylor Holmes. Barry Kelley, irant Withers. Stephen Bekassy, Howard etrie. Hank Worden. Virginia Brissac. )irected by Joseph Kane 1 Filled out with an abundance of strong btion elements, this romantic melodrama bout the discovery of the famous Mesabi on-ore range in Minnesota stacks up as ood mass entertainment. Producer-director bseph Kane has lifted it into the A class th a first-rate production and some of the est Trucolor to date. The picture has lenty of pace and Norman Reilly Raine's screenplay maintains interest throughout. Ruth Hussey is inclined to overplay, but manages to keep a tight grip on an un- sympathetic part. Rod Cameron, as the hero, is excellent, and other notable performances are given by Gale Storm. J. Carrol Naish, Jay Flippen and bad-man Barry Kelley. Parts of the picture pack a wallop to keep action fans alert, and. having a pleasing ro- mantic interest and a rousing outdoor flavor, with a spicing of sudden death here and there, this Republic offering should roll up above-average grosses generally. STORY: Beautiful and wealthy Ruth Hussey is boss of the great Minnesota min- ing family owned by her and her two brothers. Her ambitions are threatened when Rod Cameron invents open-pit mining on a clainl once prospected by his father. She SUDDEN FEAR' SUSPENSE THRILLER STRONG ADULT SHOW ates • • • generally KO 10 minutes 3an Crawford, Jack Palance, Gloria rahame, Bruce Bennett, Virginia Huston, ouch Conners. irected by David Miller A gripping melodrama about a woman ho suddenly learns her seemingly devoted isband is plotting to kill her. "Sudden ear" is labeled boxoffice for those audi- ces who enjoy edge-of-the-seat entertain- ent This Joseph Kaufman production iapes up as Joan Crawford's best vehicle ice "Mildred Pierce". The Lenore Coffee- ">bert Smith screenplay is purposely slow- oving in the early reels to effectively em- usize the crescendoing climax of some ire-tight emotional suspense. Word-dr- outh, plus Crawford's name, should make is top business wherever adult entertain ent is in demand. L'GLST 11, 19 5 2 Director David Miller has expertly com- bined the elements of photography, sound, music and acting to achieve the maximum potential from a well-worn, though always shocking, tale. The entire production is built around Joan Crawford, and its success is attributable to the excellence in which she handles the demanding role of a play- wright-heiress who learns her husband is plotting with another woman to kill her. Jack Palance handles his assignment of the scheming husband in a way that should in- sure this fine character actor's future in Hollywood. Supporting players, headed by Gloria Grahame, check in with notable per- formances throughout. STORY: Joan Crawford, heiress and suc- cessful playwright, dismisses actor Jack Palance during an early rehearsal of her latest Broadway play. After the play's suc- cessful opening. Crawford entrains for her home in California. On board, she meets incites her brother to drive Cameron off his claim, but he fights back and kills him. With Ruth's family ruined, Cameron is in a position to marry Gale Storm, but Ruth is determined to win her fortune back by- marrying him. Rod jilts Gale and marries his former business rival. She ruthlessly persuades a Duluth banker, who is secretly in love with her, to grant Cameron a million dollar loan to build a railroad from the mines. Cameron mortgages his entire property for that purpose. Ruth then plans to wreck the railroad, bankrupt Cameron and remarry the banker, who will have collected on the mortgage. Her plot is foiled, how- ever, by Gale Storm. When Ruth attempts to win her husband's love back, the jealous banker shoots her dead, and Rod and Gale go off together to start life anew. YORK Palance and tries to explain her reasons for dismissing him in New York. They soon be- come friendly and Palance, intending to get off in Chicago, continues on to California. After a whirlwind courtship, they marry and Palance gives every indication of being the perfect husband. Before long, Gloria Grahame turns up and it is revealed that Palance and Grahame are old sweethearts and Palance is really interested in Craw- ford's money. When the scheming couple learns that Crawford plans to dispose of the bulk of her fortune, they decide to kill her. By chance, a recording is made of the Palance-Grahame murder conversation and Crawford learns of the plot. She accidently breaks the recording, whereupon, she is left to her own devices to cope with the killers. Crawford plans to kill Palance and frame Grahame for the murder, but in an exciting and suspenseful climax, Palance ironically kills Grahame and himself. NEIL 13 RISE OF MILTON RACKMIL (Continued from Page 9) world-wide business of two-and-a quarter billion dollars a year doesn't die that fast. I think that if people in the film industry would make up their own minds that it's here to stay, and here to flourish, we'd all be a lot better off." Another reason why Rackmil added the Presidency of Universal to his Presidency of Decca was the conviction that the record business had levelled off, that further ex- pansion in that limited field was unlikely, and that Decca had to penetrate outside its own market if it was to grow. "We were well fixed for cash and borrowing power. I investigated numerous projects in industries allied to the record business. When the Universal deal came along it seemed just the thing I had been looking for. Both com- panies were in show business. Both com- panies were mass-merchandising entertain- ment. It was a natural sort of association." Television and Films How did the Decca-Universal deal origi- nate? Rackmil makes no secret of the details. He says, "Nate J. Blumberg, former President of Universal" — and now Chairman of the Board — "came to me in the early summer of 1951 and told me there were a few large blocks of shares on the market. I investigated, and decided to go ahead. On Tune 15 I went to the Coast to clinch the deal. The first leak of the story came in September of that year, but it was nearly twelve months before the transaction was completed." Rackmil is equally frank about the wrays in which his purchase of Universal's con- trolling stock may satisfy his television ambitions, and the reactions of the motion picture exhibitor to Universal's activities in that field. "Television and motion pictures are separate businesses," he argues. "The manufacture of special films for television is not comparable in any way with the pro- duction of films for theatre exhibition. The techniques are different, the economics are about as dissimilar as they could be. You can make a film which will satisfy television audiences for $70,000. You can't make a film to satisfy theatre audiences for less than $500,000 — and there will always be a demand for both products, if they're good — or as we say in the record business, if they're 'in the groove'. But there's no point in blinking the fact that one of these days the over-all gross out of television films is going to be enormous." Problem of the Exhibitor What about the exhibitor? Milton Rackmil leans back in his swivel chair and smiles. "The receipts coming out of the theatres are still pretty good, in spite of all the moaning we hear. It's certain they're going to be even better — much better — once we've straightened out our thinking about show business generally. Properly handled, and given the Hollywood know-how, television can bring immeasurable benefits to the motion picture theatre. It will develop in- teresting new personalities, intriguing new techniques and ideas and it can whet the public appeatite for entertainment on film. Look what film trailers have done for the theatres when they have been used on TV — and that's only a scratch on the surface." Rackmil, in thus expressing himself, is not merely vaporizing. He says he is practis- ing what he preaches through Decca's as- sociation with Universal. It will give the companies an opportunity for the two-way development of artists and entertainers, furnish Universal with new outlets for studio by-products (such as its film sound- tracks) and provide Decca with an ad- ditional source of revenue through the dis- tribution of TV films produced by Uni- versal's subsidiary, United World Flms. Big-Screen TV On big-screen theatre television Rackmil is somewhat reluctant to talk, probably be- cause he has not investigated it closely, but it is obvious he is not yet sure of its com- mercial possibilities in competition with entertainment on film. Except for "spot" events, which cannot be anticipated, and hence cannot be exploited or programmed in advance, big-screen television, he thinks, has no advantage over film. In fact, it has pronounced limitations. The kind of bi 'i' musical hit which might attract a big-screcu audience — such as a Rogers and Hammer- stein production — cannot be produced "off the cuff' 52 weeks a year, or even a deli times a year. No shrewd exhibitor is liltl to forego a well-made Hollywood musn in favor of a televised burlesque progJ just because the latter has the novelty v;(l of being "live". As Rackmil says, a fill k just as "live" when it is being made. /lis Influence on Policy Ever since Milton Rackmil bought hiir | into the top position at Universal's bt |i table the industry has been asking vi| effect the change of management w< H have on the company's poliov. Would;! "interfere" in the studio? Would h? cm out the personnel? Would he — until nov | outsider, without film experience — introcU alien ideas into the business? Univer I head man takes no umbrage when you tU these points with him. He says simply, |dj sincerely, "I am not going to influence a ture policy. Univerfal has a lot of l I people who pre makiii ; good pictures. (J arc leaving things th;.- \av. In the reifB business I've never made records, and ■ not going to make pictures now. I d ft know anything about it." Milton Rackmil is no lover of changer* change's sake. Though the J. Arthur RH Organization no longer has a Univ< tl stockholding — Rackmil bought its shar I Rank's three nominees on the board arc ll there, and there's been no thought of I placing them "They are important cust I ers of ours. They handle our picture !■ Britain; we distribute theirs in 22 count (■ We value that association." Up in the Universal offices the people ■ arc working with Rackmil feel fairly h: about him. They say, cautiously, "HejlB pretty nice guy." They regard him a-fW expert in mass merchandising. The;. I knowledge the fact that he is a fast leaijnJ that he has a lot of new ideas and approapflj which may complicate their daily jobs tnfl now on, and which will shatter many III routines. They have more than a snea )g suspicion that Uncle Milty won't followlB rules just because they're rules, and thajifl doesn't like people with rigid mentalitic btl who have grown old mentally as they f'ti aged physically. The new Universal president, with lis youth and vigor, brings a nice unfettfed " mind to the movie business. We can pej him. LAST TRAIN FROM BOMBAY Rates • • as supporting dualler for minor Columbia 72 minutes Jon Hall, Christine Larson, Lisa Ferraday, Douglas R. Kennedy, Michael Fpx, Donna Martell, Matthew Boulton, James Fairfax, Gregory Gay, Kenneth Terrell. Directed by Fred F. Sears This Sam Katzman production for Colum- bia release is minor league stuff in every respect. Based on a far-fetched yarn by one Robert Yale Libott, "Last Train From Bom- bay" never enters the realm of plausibility and it lacks sufficient of the action elements that might overcome this weakness. Result is a lower-half dualler that will get by only 14 ' FAR-FETCHED LITTLE MELLER action spovs in the cheaper action spots. Performances are about on par with the story. Jon Hall can swing a fist with fair authenticity, but he's hard to take as a dip- lomat. Douglas R. Kennedy has the good fortune to get killed early in the film; he does OK while around. Others just adequate. STORY: American diplomat John Hall, arrives in India and immediately tangles with the police. A former Army buddy, Douglas Kennedy, is stabbed to death in Jon's hotel room. Before Kennedy dies, he discloses that a certain train is to be dyna- mited, leading to possible civil war. Hall races to stop the disaster, but by this time Kennedy's body has been found and he is being hunted as a murderer. In his flpl Hall mcpi.. an English tourist, Christine ym son, arr' '>cgs her '.o ai l his escape, wil she rcL\ ~s. Once again ne cs' ipes Hi 1 finally 1 niches the safely director o(m Indian Overland Railway, to w' ' : i i«>ll lates his fantastic yarn. The dircKi Gregory Gay, however, turns out to btWI leader of the assassins. Hall and ClinP* arc imprisoned in an underground cave. |f no bother at all they find a secret i*\itp<- walk calmly out. Jon starts up a new | donkey engine, he ids it towards the "'[•'j where the explosive charge has been Ml and flags the train to a :'.op just in tin '0! avert disaster. COUL'l liR FILM nULLEF' RMING THE SCREEN . SUSAN CABOT " william Reynolds • hugh o brian • victor jory Directed by KURT- NEUMANN . Story and Screenplay by GERALD DRAYSON ADAMS • Produced by LEONARD GOLDSTEIN U"I Delivers the Product witfi the BUILT-IN Profit! ■MM * boa, wnxJL aatwSHL, at oSJL pouufa. oij tha, i The StqryofWBLL ROGERS STARRING Will Rogers* <■ .Jane Wyman EDDIE CANTOR as his father ....MIL BENTON REID -EVE MILLER - J AMES GLEASON SLIM PICKENS AS St«[« H«r BT FRANK DAVIS .-oSTANLEY ROBERTS «WU omonw «us.c B» vic»0" VOUN& PSOOUCtO B as Will's adorable 'Betty' NOAH BEERY. ]R - MARY WICKS -SIEVE ws.oo.IHE SATURDAY EVENING POS! S10RY. ""MICHAEL CURTIZ PINKY IOMUN UNCLE CLEM S BOY BY MRS Will ROGERS Kekind the £ceheJ Ji/in Production STUDIO SIZ6-UPS AUGUST 11. 1952 COLUMBIA )hn Convinced Light Stuff What John Q. Public Wants : Heavy story material is definitely out of >lumbia's future production plans. Harry Cohn, having learned a bitter l-son from the sad boxoffice showings of -tures like "Death of A Salesman," "No id Songs For Me", etc., has now swung Jer to that Hollywood School which holds tt the public wants a light-hearted ap- fiach to its movie fare. As a result, he 11ns to slant the great majority of his I'thconiing slate toward the lighter vein. i you can look for a pretty straight diet ci adventure stuff, outdoor "epics" and c)medics. There will probably be an oc- Kional musical, too. although that kind of hh-budget film isn't so appealing to the flrrent economy thinking at Columbia. In the company's planning, there is also growing trend toward the release of fieign product. Joseph McConville, the dnpanv's foreign chief, was on the prowl fl such product during his recent trip to Irope. Although there have been no distri- ttion announcements growing out of the tj), thus far, McConville is authoritatively irf'orted to have made several temporary onmitments. 1 1 olumbia already is participating in a deal hjh French producer-director Leonide Mo- lly, and will distribute two Alan Ladd Htures to be made in England, by pro- tters Irving Allen and Cubby Broccoli. Rumors that Harry Cohn was selling his cjitrol in Columbia Pictures popped up in I llywood again this month and were again nnly denied. Said Cohn: "I wish to denv degorically that I have authorized any ni:otiations for the purchase of my interests ij this company." The reccurence of the Tlort makes one wonder if there might r lly be some fire under the smoke. pnly one picture, "Salome — The Dance of t] Seven Veils" (Rita Hay worth-Stewart Cj.nger - Charles Laughton - Judith Ander- H ). was in production at the turn of this Nnth. However, three more are slated M roll around mid-month. They are: " rpent of the Nile" (Rhonda Fleming- \ liam Lundigan), an Esskay Production f Technicolor; "On Top of Old Smoky" ( ne Autry-Smiley Burnette), and Stanley Hmer's "The Juggler" (Kirk Douglas: Mly Vitale). Sam Katzman and William Qtle handle the producer and director cjres on "Serpent", George Archinbaud jGUST 11, 1952 ROBERT L. LIPPERT Picks Up Hal} a Million megs "Smoky" for producer Armand Schaefer, and Fdward Dmytryk directs for Kramer on "Juggler". Louis de Rochemont is in Europe. His "Martin Luther" started shooting in VVeis- baden on the 4th. LIPPERT PRODUCTIONS Half Million Raised For Start of Future Production Robert L. Lippert has returned from a swing around the country with $500,000, not a lot of money, 'tis true, but enough to start on some product. The entire amount was raised from exhibitors and former branch managers and distributors, under Lippert's previously announced plans to offer participating interests in all future pro- duct. While he was away from Hollywood, Lippert also disposed of six more exchanges for a price of $120,000. The transaction in- cluded the exchanges at Buffalo and Albany, N. V., which were purchased by Louis Leis- ler, the former manager; Boston and New Haven, also purchased by a former manager, Al Swerdlov; Charlotte, N. C, now owned by former manager Francis White, and Washington, D. C, purchased by Max Cohen. i *' The percentage arrangements made with the exhibitors and former branch managers will provide sufficient funds for future pro- duction, Lippert said, pointing out that lie, personally, will handle active supervision and financing of the films, which will be farmed out for actual shooting. The $500,000 raised under the cast partici- pation deals will be used to finance the first two films which he has guaranteed to de- liver. They are "The Flanagan Boy," to be produced in London, starting around mid- September, which Reginald LeBorg has been signed to direct, and "Dorothy and the Land of Oz," a Technicolor feature which he ex- pects to have before the cameras by Febru- ary. Other pictures on the Lippert slate include two George Raft starrcrs, both to be filmed in England, and "Cairo," based on "Cairo Incident," a story purchased from the now defunct Enterprise Company. In addition, he has a package deal with Hal Roach, Jr., for "Present Arms" and "One Man Army'\ with Joe Sawyer and William Tracy, plus a pair of untitled domestic comedies. Currently shooting are: "I'll Get You," directed by Seymour Friedman and pro- duced by Bernie Luber, and "My Walky- Talky" (William Tracy-Joe Sawyer), which Fred Guiol is megging for Hal Roach, Jr. METRO-GOLDWYN-MAYER Despite Economies, Metro Stages Working Full Blast MGM presents a very confusing picture at the present time, with studio-wide re- trenchments going into effect on the one hand, while, on the other, production surges ahead at peak level. By all odds the most confusing facet of this complex picture— at least to most of the employees on the lot — is the test just com- pleted on actor John Carroll. Despite the fact that Carroll has been appearing in pier tures for nearly 15 years, the front office recently ordered an all-out test, complete with Anscocolor, and a strong supporting cast, at a total cost of upwards of $15,000. Undoubtedly this means that the studio is planning big things for the actor, but no one seems to be able to explain why such an extensive test was necessary. Productionwise, a total of 13 pictures will be in front of the cameras during the month of August, although not all of them will be shooting simultaneously. At this writing, eight pictures are in production, with the (Continued on Page 18) 17 r~ STUDIO SIZ6-UPS (Continued from Page 17) remaining five set to roll during the re- mainder of the month. This latter group in- cludes: "Julius Cesar" (Marlon Brando - Tames Mason-Louis Calhern-Greer Garson- Peborah Kerr - John Giclgud - Edmund O'Brien), which Joe Manckiewicz directs for producer John Houseman; "Dangerous When Wet" (Esther Williams-Fernando Lamas-James Whitmore), Charles Walters directing for producer George Wells; "Stu- dent Prince" (Mario Lanza-Ann Blyth), to be filmed in Technicolor, with Curtis Bern- hardt directing for Joe Pasternak; "Cry of the Hunted" (Vittorio Gassman), Bill Grady, Jr., producing and Joseph Lewis di- recting: and "See How They Run" (Dorothy Dandridge-Robert Horton), Gerald Mayer directing for producer Sol Fielding. The eight pictures now in producting are: "Vaquero" (Robert Taylor), filmed in AnscoColor, with John Farrow directing for producer Stephen Ames; "Never Let Me Go" (Clark Gable-Gene Tierney-Richard Haydn), shooting in London with Delmer Daves directing for Clarence Brown; "Som- brero" (Pier Angeli-Ricardo Montalban- Yvonne DeCarlo - Vittorio Gassman - Cyd Charisse), before the Technicolor cameras in Mexico City — Norman Foster directing for Jack Cummings; "My Mother and Mr. McChesney" (Greer Garson-Walter Pidgeon- Donna Corcoran-Agnes Moorhead), also filming in Technicolor, with Jean Negulesco megging for Edwin H. Knopf; "The Girl Who Had Everything" (Elizabeth Taylor- Fernando Lamas - William Powell - Gig Young), Richard Thorpe directing, Armand Deutsch producing; "Steak For Connie" (Van Johnson-Janet Leigh-Louis Calhern), Edward Buzzell directing for producer Stephen Ames; "Jeopardy" (Barbara Stan- wyck-Barry Sullivan-Ralph Meeker), John Sturges directing and Sol Fielding produc- ing; and "Battle Circus" (Humphrey Bo- gart-June Allyson-Keenan Wynn), Richard Brooks directing for Pandro S. Berman. MONOGRAM— AA Impressive 14-Picture Backlog In Mono-AA Vaults Monogram and Allied Artists are sitting on top of the biggest backlog of pictures in their respective histories — a total of 14 un- released films. Steve Broidy, president of the companies, has just completed screening this impressive backlog and was in a highly optimistic mood when your FILM BULLETIN Hollywood reported contacted him at the studio. He was especially enthusiastic over the results attained in the product by bringing in star names to head the casts, and indicated that the policy will be expanded still further in the months ahead. Pictures Broidy reported on are: "Elat Top" (Sterling Hayden-Richard Carlson), a Walter Mirisch production; "Down Peris- cope" (Mark Stevens- Dorothy Malonc- 18 Charles Winninger), produced for AA by Lindsley Parsons and John Burrows; "Hia- watha" (Vincent Edwards), produced by Mirisch in color; "The Rose Bowl Story" (Marshall Thompson-Vera Miles), also in co'or, produced by Richard Heermance; "Battle Zone" (John Hodiak - Linda Christian - Stephen McNally), a Walter Wanger production, and "Kansas Pacific" (Sterling Hayden - Barton MacLane - Eve Miller), also a Wanger production, filmed in Cinecolor. Other pictures in the backlog include: "Feudin Fools" (Leo Gorcey-Huntz Hall), "Arctic Flight" (Wayne Morris-Lola Al- bright), "Army Bound" (Stanley Clements), "Fargo" and "The Maverick", both starring Hill Elliott, "Yukon Gold" (Kirby Grant) and a couple Whip Wilson westerns, "Mon- tant Indicident" and "Guns Along the Border". The second picture under Monogram-As- sociated British Picture Corp. joint produc- tion program may roll late this fall, accord- ing to Walter Mirisch. "We know what we want to make," he said, "and it's now a question of clearing the rights." The first film to be completed under the deal was "24 Hours in the Life of A Woman" (Merle Oberon-Richard Todd). Producer Lindsley Parsons has set a Sep- tember 2 starting date for "Tangier Inci- dent" (George Brent), and Walter Wanger's production of "The Royal Mounted Police," to be filmed in Cinecolor, may roll next week, providing casting difficulties can be ironed out. PARAMOUNT Studio Planning Makes Paramount Financially Strong Under the long-range production planning instituted by production chief Don Han- man, Paramourt this month announced that ORIGINAL 'ROAD' GANG Don Hartman (standing, left). Paramount pro- duction chief who originated the famous "Road" series, and Frank Butler, who wrote the first scripts with Hartman. visit Rob Hope. Dorothy LamOUT and Ring Crosby on the set of "Road To Rair. sixth in the series and the first in Techni- color. Initial film was "Road To Singapore". 25 pictures are now being prepared for 195] production. And at least 16 of the films wi| be in Technicolor. Y. Frank Freeman, executive head of trJ studio, declared: "This production prograi entails a record investment and evidencic Paramount's supreme faith in the future c the motion picture business. It has bee planned in accordance with our convictio that the market demands bigger and bettc pictures." In line with his plan for utilizing stai when they are available and avoiding idle ness that runs up overhead, Hartman a ready has a large number of scripts read for the cameras. With stories ready, star and directors are being assigned thei vehicles. This kind of studio managemer is responsible for Paramount's healthy f nancial condition. The schedule includes: "The Big Son and Dance" (Donald O'Connor), Robe Dolan producing; "Rhapsody", based on t novel "Maurice Guest," Charles Vidor recting, Bernard Smith producing; "A Ne Kind of Love" (Yul Brynner), Billy Wild producing and directing; "White Christma (Bing Crosby-Fred Astaire), Technicol musical, Robert Emmett Dolan producin "South Seas," Joseph Sistrom producing Technicolor; "Legend of the Inca," also Technicolor, Mel Epstein producing; "Aw We Go" (Donald O'Connor), Technicol musical, Robert Emmett Dolan producin "Sad Sack," Paul Jones producing; "Co quest of Space," George Pal producing Technicolor; "The Parson of Panamin (Alan Ladd), color by Technicolor, Mel E stein producing; "Vanity Fair," Technicol Pat Duggan producing; "Papa's Delica Condition," Burton Lane producing; "T Country Girl," a William Perlberg produ tion to be written and directed by Geor Seaton; "Topsy and Eva", in Technicol Harry Tugend producing; "Elephant Wal in Technicolor, Irving Asher producin "Turmoil," Pat Duggan producing; "Folio the Rainbow" (Donald O'Connor), Willia Hammerstein producing; "Teacher's Pe William Perlberg and George Seaton pr ducing, and Seaton also directing; "R Garters," color by Technicolor, Robe Welch producing and Frank Tashlin direc ing; "Persian Gulf," in Technicolor, Josefl Sistrom producing; "Look Ma, I'm Dancin'| Technicolor musical to be produced I Robert Emmett Dolan. They're expecting big things here fro "Road to Bali" (Crosby-Hope-Lamourl Everybody on the Paramount lot feels th the public is just ripe for one of the comedies and this sixth in the "Road" seri looks most promising. Pine-Thomas lists the following four pr ductions for 1953: "Those Sisters Frol Seattle" (Rhonda Fleming-Arlcne Dah! Lewis Foster directing; "Sangarec," Edwa Ludwig directing; "Lost Treasure of tl| Andes" and "High Voltage". Meanwhii Lewis R. Foster is readying "Jamaica Ruj (Ray Milland-Arlene Dahl-Wendell Corevj which rolls early next month for the P"« Thomas unit. It's in Technicolor. (Continued on Page / FILM BULLET1 STUDID3IZ£0PT \ontinued from Page 18) REPUBLIC ates Believes Only A's an Buck Television in Roads 'Herbert J. Yates is one of the shrewdest i;n in the movie industry and he gave rther evidence of that fact by his an- nncetnent that Republic will operate under doubled production budget and a $2,500,- ) advertising appropriation for 1952-53. Yates knows that there is no bright future I minor league pictures; only class A pro- ct will be able to buck the inroads of 'evision. Companies like his have to face i? facts of today's situation, and HJY is man to dally when a condition has to he ^Concentration on deluxe product will be p keynote at Republic henceforth. Un- ubtedly, there will be some program stuff tde, hut not in any volume as in the past, .iw-budget westerns will probably be the i t to go, although even the former bread- d-butter oaters will gradually give way to [p "epic" type of outdoor film. In the Iture field, approximately 20 films on the )W season's slate are to cost between $800,- i) and $1,600,000. Considerable stress will be laid on color i the new program. Of the nine completed tints, all but one is tinted — seven in Re- iblie's own Trucolor and one in Techni- Jor. Of the eleven new productions ^leduled to go before the cameras in the i mediate future, at least half are expected 'i be in color. All four pictures shooting at »: turn of this month were in Trucolor. ptes tells FILM BULLETIN: "It is my ipple Creek IT) (78) . Montgomery-Booth )eath Of A Salesman (III) March-Dunnock )irty Doien. The Colleano-Franz :amily Secret. The 185) ..Derek-Cobb firefighters, Th e Williams-Reynolds :irst Time, The 189) . Cummings-Hale . 000 Fingers of Dr. T., The Hayes-Healy :our Poster, The Harrison-Palmer Jolden Hawk. IT) Fleminq-Hayden Happy Time, The (94) Boyer-Driscoll tarem Girl, The 170) Davis-Castle Hawk of Wild River, The 1541 . Starrett-Burnett ter Wonderful Lie Kiepura-Eggerth ...... ndian Uprising ISC) (75) Montgomery-Long ack McCall, Desperado (T) Montgomery-Stevens unction City (54) Starrett-Burnette ... ungle Jim in the Forbidden Land 1651 Weissmuller-Ryan ungle Safari Weissmuller-Greene id From Amarillo (56) Starrett-Barnett onga. The Wild Stallion 165) Reissue Stone-Hudson laramie Mountains 154) Starrett-Burnett ast of the Comanches (T) Crawford-Hale ast Train From Bombay Hall-Ferraday Marrying Kind, The 1931 Holliday-Harrison alome — Dance of the Seven Veils (T) Hayworth-Granger lontana Territory (T) (64) McAllister-Hendrix r Men Only 193) George Raft .... P. Henreid Price-Hawkins 1-52 I 1-2 reat Adventure, The (75) .. ellgate (87) Hayden-Leslie 8-5 ingle, The 174) Cameron-Romero 7-4 >an Shark 179) Raft-Hart 5-23 an Bait 178) Brent-Chapman ...1-52 *yaio 170) Indian Cast 3-52 utlaw Woman (C) (75) Windsor-Rober 6-2 5102 5021 5113 5112 5111 5103 5104 5105 5110 1- 28 2- 1 1 rate Submarine 169) Special Cast _. 7-18 esent Arms Sawyer-Tracy I 1-25 :otland Yard Inspector Romero-Maxwell 9-2 5117. icret People _.Cortesa-A. Hepburn 8-25 olen Face, The 171) Henreid-Scott 6-16 5109 ronghold 173) .. Lake-Scott 2-52 5107 3er Man ; 9-15 5108 'Hey of the Eagles (83) Warner-Gray 4-25 5114 mgs of Danger 172) Z. Scott 4-1 5106 UGUST 11, 1952 In the Release Chart, "Rel." is the National Release Date. "No." is the release Number. "Rev." is the issue in which the Review appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1951-52 programs unless otherwise noted. Listing of color pictures follows immediately after title: (T) Technicolor, (C) Cinecolor, (SO Supercinecolor, (TR) Trucolor, (AC) Ans- color, (NO Natural Color, (WC) WarnerColor. METRO-COLDWYN-MAYER 1951-52 Features Completed (961 In Production (8) Rel. No. RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast My Mother and Mr. McChesneylTI Garson-Pidgeon Girl Who Had Everything, The . Taylor-Lamas Steak for Connie Johnson-Leigh Never Let Me Go Gable-Tierney Jeopardy Stanwyck-Sullivan Battle Circus Bogart-Allyson Vaguero Taylor-Gardner COMPLETED Above and Beyond Taylor-Parker Apache Trail Roland-Horton American in Paris IT) (113) Kelly-Caron Because Your Mine IT) 1103) Lanza-Whitmore 10-52 Belle of New York IT) 1811 Astaire-Vera-EIU n 3-52 Carbine Williams 1 101 ) Stewart-Hagen 5-52 Desperate Search, The Keel-Drake Devil Makes Three, The (96) Kelly-Angeli 9-52 Everything I Have Is Yours ...Champion-O' Keefe Fearless Fagan (79-) ...Leigh-Carpenter 8-52 Girl In White, The 193) Allyson-Kennedy 5-52 232 Glory Alley (79) Caron-Meeker Holiday for Sinners (79) Young-Rule Hour of Thirteen. The Lawford-Addams I Love Melvin IT) O'Connor-Reynolds Invitation 185) McGuire-Johnson It's A Big Country 189) All Star Ivanhoe IT) (106) - R.Taylor-E.Taylor Rev. Nov 9-24 223 231 2-25 4-21 241 7-14 7-52 6-2 6-30 2- 52 200 1-52 215 8-52 3- 52 224 1-28 12-17 6-30 1-21 222 .... 225 6-30 Just This Once 190) Leigh-Lawford Lili Caron-Ferrer Lone Star 194) _ Gable-Gardner 2-52 Love Is Better Than Ever 181) E. Taylor-L. Parks 4-52 Lovely To Look At ITI (112) Grayson-Skelton 7-52 Merry Widow, The IT) (105) Turner-Lamas 9-52 My Man and I 199) Winters-Montalban 9-52 Million Dollar Mermaid (T) Williams-Mature Naked Spur, The (T) Stewart-Ryan Pandora and the Flying Dutchman (T) (|23) Mason-Gardner Pat and Mike 193) Tracy-Hepburn Plymouth Adventure IT) Tracy-Tierney Prisoner of Zenda (T) Granger-Kerr Ouo Vadis IT) (171) Taylor-Kerr K, l~\n Rogues March S. Grainger-E. Parker 6-52 6-30 1-52 6-52 10-22 235 6-16 Scaramouche IT) 1115) Sellout, The (72) Shadow in the Sky (78) Singin' In The Rain IT) 1 103) Skirts Ahoy IT) 1 1 09) Sky Full of Moon Small Town Girl Story of Three Loves S. Grainger-E. Parker 6-52 . Pidgeon-Totter 1-52 Meeker-Davis-Whitmore 2-52 Kelly-O'Connor 4-52 William-Blaine 5-52 ..Carpenter-Sterling 10-52 J. Powell-Grainger 219 2-311 221 12-31 227 _ 233 4-21 All-Star Cast Murphy-Davis Ford-Vernon Talk About a Stranger (65) Time Bomb Tribute To A Bad Man Turner-Dougles Wahington Story 182) Johnscn-Neal Westward the Women 1116) Taylor-Darcel When in Rome (78) Johnson-Douglas Wild North, The (97) Granger-Corey You For Me (70) Lawford-Greer Youna Man With Ideas 184) Ford-Roman .....4-52 228 3-10 7-52 7-14 . 1-52 .._ 216 12-3 4-52 229 3-10 3-57 226 8-52 5-52 230 3-10 MONOGRAM - ALLIED ARTISTS 1951-52 Features Westerns Completed Completed ;49; 18! In Production Production ( I I ) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Stranglehold Gorcey-Hall COMPLETED African Treasure Sheffield-Luez Aladdin and His Lamp (C) 167) ...Medina-Sands Arctic Flight Morris-Albright Battle Zone - Hodiak-Christian _ Dead Man's Trail - Brown-Ellison Desert Pursuit _ Morris-Caruso Down Periscope -....Stevens-Williams .. Elephant Stampede 171) -...Sheffield Flat Top IC) Hayden-Carlson Feudin' Fools Gorcey-Hall Fort Osage IC) (72) Cameron-Nigh Gold Fever Morgan-Calvert .... Gun Smoke Range - Wilson-Stewart Rei. No. Rev. 4-52 5207 1-52 5299 7-20 5210... 3-10 7-6 5243 5-52 5209 10-29 .51 10. Gunman, The Guns Along the Border Hold That Line 164) Here Comes the Marines Hiawatha IC) Hired Guns Jet Job 163) Kansas Territory 173) Kansas Pacific (C) ..Wilson Kniqht Brown-Coates Gorcey-Mall Gorcey-Hall Edwards-Dugay Wilson-Coates Clements-Verdugo ..._Elliott-Stewart ... Sterling Hayden 9-14 5213.. _ 2- 52 5102 1-28 6-8 8-17 5253 4-13 5252. 10-12 5244 3- 52 521 1 6-15 12-7 5202 1 1-9 5254 3-23 5215 . 5-4 5225....... 25 Lawless Cowboys 158) Man from Black Hills (78) ... Mexican Silver Night Raiders Northwest Territory (61) Rodeo (C) (71) Rose Bowl Story, The (C) Stage to Blue River IS6) ...... Steel Fist. The (73) Texas City _ Trail Dust Vicious Years, The (7?) .... Waco 48 Wagons West (C) (70) ... Wild-Stallion (C) Squared Circle, The Yukon Gold Disc Jockey 177) Highwayman. The (C) (83) Wilson-Knight Brown-Ellison Wilson-Clyde Wilson-Knight Grant-Chinook ..Jane Nigh 1 1-7 3-52. 5155. 5242_ 2-52 _ 1 2-? 525L 3-9 5104- . Thompson-Miles _ 8-24 5204 . ..Brown-Ellison 1-52 5241 ..McDowall-Miller 1-52 5217 _ Brown-Ellison 12-30 Albright-Winters 12-31 5107 3-10 Cook-Moore 2-18 Elliott _ 2-52.. Cameron 6-2? Johnson-Hyer 4—27 Kirkwood-Gleason ..... Grant-Hyer _ ALLIED ARTISTS Simms-O'Shea 8-23. ... Hendrix-Coburn 9—8 5224........ 5203 _ .5205.. 6-30 8-10 5221 21 20 6-18 8-27 PARAMOUNT Re*. 1951-52 Features Completed (72) In Production (2) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. No. Roman Holiday Peck-Hepburn _ Brazen (T) Payne-Sterling COMPLETED Aaron Slick from Punkin Creek (T) (95) Short-Young __ 4-52 5119 Anything Can Happen (107) Ferrer-Hunter ...... 5-52 5117 Atomic City, The 185) Barry-Clarke 6-52 5120 Blazing Forest (T) Payne-Moorhead 12-52 Botany Bay (T) Ladd-Mason .. Caribbean IT) Payne-Dahl 9-52 Carrie 1118) Olivier-Jones 8-52 Come Back Little Sheba Lancaster-Booth Denver 4 Rio Grande (T) (89) O' Brien-Hayden ... 6-52 5115 3-10 3-10 5202 Detective Story (103) Encore Flaming Feather IT) (77) Douglas-Parker 1 1-51 511 I Maugham Stories 7-52 S. Hayden-G. Russell _ 2-52 7-52 5118 5130 1-52 5109. 10-52 5204 .. 7-52 9-52 5201 Greatest Show On Earth (T) (151) Stewart-Hutton Green Gold of Nevada (T) Payne-Morrow Ho*g Kong (T) (92) Reagan-Fleming Hurricane Smith (T) _ DeCarlo-lreland Jumping Jacks (98) Martin-Lewis Just For You (T) _ Crosby-Wyman Los Alamos Barry-Carke Military Policeman Hope-Maxwell My Favorite Spy (93) Hope-Lamarr 12-51 5110 My Son John (122) _ Hayes-Heflin 4-52 5116 Pleasure Island (T) Genn-Taylor . Pony Express (T) Heston-Flemming Rage of the Vulture, The Ladd-Kerr Red Mountain IT) 184) Ladd-Kennedy _ 5-52 Road to Bali Hope-Crosby-Lamour 12-52 Sailor Beware (1071 .._ Martin-Lewis _ ___ 2-52 Savage, The (T) (95) Heston-Hanson Scared Stiff Martin-Lewis .. S"»ne IT) Ladd-Arthur Silver City (Tl (90) DeCarlo-O'Brien 12-51 5112 Somebody Loves Me (T) (97) Hutton-Meeker Something To Live For (90) Fontaine-Milland Son of Paleface (T) Hope-Russell Stalag 17 ... _ Holden-Taylor Stars Are Singing, The (T) Alberghetti-Clooney Stooge, The Martin-Lewis 6-16 '.....'4-7 .... 10-8 T--3~7 1-14 11-19 1 4-14 10-22 4-21 5113 5114 11-52 5206 12-17 10-52 5203 3-52 5105 .. 8-52 10-8 2-11 7-14 11-52 I 1-51 5107 Submarine Command 189) Holden-Olson Turning Point, The (85( Holden-Smith 11-52 5205 Tropic Zone (T) Reagan-Fleming War of the Worlds (T) Barry-Robinson When Worlds Collide (82) (T) Derr-Rush 11-51 5106 9-24 9-24 REPUBLIC 1951-52 Features Completed (20) In Serials Completed ( 0) In Westerns Completed (13) In Production (2) Production (0) Production (0) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Fair Wind to Java (Tr) Untitled Musical (Tr) COMPLETED Bal Tabarin 190) Black Hills Ambush .... Border Saddlemates Captive of Billy the Kid (54) Colorado Sundown 167) _ Desert of Lost Men 154) _ Desperadoes Outpost Fabulous Senorita, The (80) Flight from Fury Gobs and Gals .... Honeychile (Tr) (89) Hoodlum Empire 198) ... I Dream of Jeanie ( Tr) 190) . Lady Wants Mink, The (Tr) ... Lady Possessed 187) Last Musketeer. The (67) Leadville Gunslinger (54) Oklahoma Annie (C) (90) Old Oklahoma Plains (60) Pals of the Golden West (68) Ouiet Man, The (T) 1129) Rangers of the Golden Sage Ride the Man Down (Tr) Sea Hornet. The 184) Cast MacMurray-Ralston Middleton- Norman Rel. No. Rev. Lawrence-Ching ... 6-1 Lane-Waller 5-20 Allen-Kay 4-15 Lane-Edwards ... 1-52.. Rex Allen 2-52 Lane 11-19 Allen 5129 5143 5064 5141 5063 _ 1-14 5125 . Estelita-Clarke 4-1 Edwards-Clark 6-18 Downs-Hutton 5-52 5128 -Canova-Foy _ 10-51 . 5121 Donlevy-Trevor 4-15 Middleton-Shirley Hussey-O'Keefe . Mason-Havoc Allen-Kay Lane-Riley Canova-Russell 6-15 5105 5106 12-3 7-14 South of Caliente 67) _ Stormbound Street Bandits (54) 26 1-52 5104 3-52 5142 3-52 5171 3-24 5122 Allen-Kay 7-25 5144 Rogers-Evans 12-15 5152 Wayne-O'Hara Chapin-Janssen Uonlevy-Tucker .Cameron-Booth Rogers-Evans -Dowlinq-Checchi Edwards-Clarke 4-21 11-6 10-15 . 12-15 11-15 5151 5032 5130 10- 22 11- 19 12-17 Then You'll Remember Me Middleton-Shirley Thunderbirds Derek-Barry more Thundering Caravans (54) Lane-Waller Tropical Heat Wave fcstelita-Hutton ... Toughest Man in Arizona ( Tr ) Monroe-Leslie WAC From Walla Walla Canova-Dunne _ Wild Horse Ambush - Chapin-Janssen Woman In The Dark (60) Edwards-Elliott 7-20 5173 Woman of the North Country 190) Wyoming Saddle Pals 1-52 5131 Cameron-Hussey 7-15 5107 Chapin-Janssen RKO RADIO 1951-52 Features Completed (72) In Production (2 RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Break-Up _ Never Wave At A WAC COMPLETED At Sword's Point (T) (81) Androcles and The Lion Beautiful But Dangerous Beware, My Lovely (77) Big Sky, The (1401 _ Blackbeard the Pirate (T) Bloodhounds of Broadway (T) Body Snatcher (Re-issue) Cat People 173) _. Clash By Night (105) Desert Passage (60) Difference, The ... Double Dynamite (80) Faithful City 186) Girl in Every Port, A (86) Half-Breed, The IT) 181) _ Hands Across the Sea Hans Christian Andersen (T) Hunchback of Notre Dame (117) I Walked With a Zombie (Re-issue) I Want You (101) J«t Pilot (T) (118) Jungle of Chang (67) King Kong lite-issue) _ Las Vegas Story, Tha (18) Leopard Man, The (Re-issue) Lusty Men, The Macao (81) Man Who Fooled Hitler Murder, The Narrow Margin (71) Cast Simmons- Mature Russell-Wilson Rel. No. Re* 2-52 220 Wilde-O'Hara Simmons-Young Simmons-Mitchum Lupino-Ryan 302 Douglas-Martin Darnell-Newton Gaynor-Brady Karloff Simone-Smith 7-52 361 4-52 271 . Reissue 267 Douglas-Stanwyck 6-52 229 6—1 ' ..Holt-Dixon O'Brien-Lovejoy _ Sinatra-Russell J. Smith-Ramati Marx-Wilson Young-Carter Rennie-Peters Kaye-Granger . Laughton-O'Hara Conway .Andrews-McGuire Wayne-Leigh ..Travel Cabot Russell-Mature O'Keefe 5-52 12-51 5-52 .... 1-52 5-52 230 214 303 214 4- l-l 5- Reissue 4-52 .... 1-51 266 272 101 11-51 20B 6-52 269 2-52 217 6-52 270 ll-l ll-l' l-l On Dangerous Ground (82) One Minute to Zero (105) Overland Tejegraph (60) Pace That Thrills, The (63) _.. Pony Soldier (T) Rancho Notorious (T) (89) ... Rashomon (86) Road Agent 160) Saddle Legion (60) Snow White and the Seven Dwarfs IT) 1831 Something for the Birds Stars and Stripes Forever (T) Story of Robin Hood (T) (84) Sudden Fear (I 10) Target (60) Hayward-Mitchum Russell-Mitchum Werner Mite hum- Simmons -McGraw-Windsor -Ryan-Lupino 4-52 224 5-52 226 _ 1-51 215. . MTtchum-Tallman 8-52 301 Holt-Martin _ _ 12-51 216.. Wiltiams-Balenda 3-52 213 Power-Edwards 12-52 Dietrich-Kennedy 3-52 221 Japanese 3-52 268 ..Holt-Martin 3-52 223. Holt-Martin - 117 7-2 3-1 Tarzan's Savage Fury (80) Tembo (80) Trail Guide (60) Whispering Smith vs. Scotland Yd. (77) Wild Heart, The (T) (82) Disney Feature Neal-Mature Webb-Hussey Todd-Rice ..Crawford-Palance . McGraw-White Barker-Hart Documentary Holt-Martin Carlson-Gynt Reissue 292.. 7- 52 8- 52 Jennifer Jones 4-52 4-52 ... 1-52 2-52 . 3-52. July. 362 227. 225 265 219 222 274 .... 3-2» 2-1 20th CENTURY-FOX 1951-52 Features Completed (70) In Production (31 RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time My Cousin Rachel 60 Saddles to Gobi (T) „ COMPLETED Anne of the Indes (T) Cast de Havilland-Burton Widmark-Taylor Rel. No. Re*. 182) 1 1— S I 5-52 2-52 5-52 1-52 Diplomatic Courier 197) Power-Neal ... 7-52. Don't Bother To Knock (76) Widmark-Monroe 9-52 Down Among the Sheltering Palms(T) Lundigan-Greer Dream Boat (83) Webb-Francis 8-52 Elopement 182) . _ Webb-Francis 12-51 Belles On Their Toes IT) (89) David and Bethsheba IT) (116) Deadline U. S. A. (87) Decision Before Dawn (119) .Jordan-Paget Crain-Loy Peck-Hayward ..Bog art- Barry more ..Merrill-Basehart 134 213 203 215 205 222 224 10-2 4-2 1-2 4-1 7-2i Farmer Takes A Wife, The (T) 5 Fingers 1 108! Fixed Bayonets! (92) Girl Next Door, The IT) Girl on the Bridge, The (77) _ Golden Girl (T) (108) I Don't Care Girl, The (T) — I'll Never Forget You (T) (90) Japanese War Bride (91) Kangaroo (T) (84) .... . Grable-Robertson -.Mason-Rennie Basehart-O' Shea Haver-Dailey _ 3-S2 .12-51 223 _I4I_ 208 140 ll-l 3-1 12-1 . Power-Blyth . Yamaguchi-P. Taylor O'Hara-Lawford Lady in the Iron Mask (NO (78) L. Hayward-Medina . Leave Her to Heaven ( 1 10) (Reissue) Tierney-Wilde Les Miserables (104) . Rennie-Paget Lure of the Wilderness IT) (92) Peters-Hunter Lydia Bailey (T) (89) - Robertson-Francis Haas-Michaels _ 12-51 _Day-Gaynor 1 1-51 . _Gaynor-Wayne 11-52 12-51 1-52 6- 52 7- 52 6-52 _ 8-52 9-52 6-52 139 136 142 202 217 218 255 225 219 12-1 12-3 1-2 7-1 A- 1 Monkey Business _ Grant-Rogers 10-52 My Wife's Best Friend MOD Baxter-Carey 10-52 Niagara (T) Cotten-Peters Night Without Sleep Darnell-Merrill Number, The . Winters-Widmark Outcasts of Poker Flat, The (81) Baxter-Robertson _.. 5-52 216 ' O. Henry's Full House — . _ Crain-Granger 9-52 FILM 11 ULLETi: _. 2-52 'hone Call From A Stranger 196) Merrill-Winters >ony Soldier (T) Power-Edwards 'owder River _ .. Calhoun-Calvet 'ride of St. Louis 193) . Dailey-Dru lains Came, The 195) (Reissue) Power-Loy ted Skies of Montana IT) 198) Widmark-Smith leturn of the Texan 187) Robertson-Boone tose of Cimarron (NO (72) Buetel-Powers inows of Kilimanjaro. The IT) Peck-Hayward iomething For The Birds Mature-Neal ptars and Stripes Forever IT) Webb-Paget Treasure of the Golden Condor (T) Wilde-Smith Tonight We Sing (T) Pinia-Peters ''op Man Widmark-Dru 12-52 Ova Zapata (113) M. Brando-J. Peters 3-52 Vait Til The Sun Shines Nellie(T) 1 108) Peters-Wayne 7-52 Vay of a Gaucho IT) Tierny-Calhoun 9-52 Ve're Not Married 185) Wayne-Rogers 7-52 Vhat Price Glory |T| (II) Cagney-Dailey 8-52 /Vith A Song In My Heart (T) (117) Hayward-Calhoun 4-52 204 1-28 1 l-ol 4-52 211 4-52 254 2-52 207 1-28 2-52 20? 3-10 4-52 212 11-52 11-52 17-52 204 2-25 220 5-19 221 7-14 224 7-28 210 2-25 UNITED ARTISTS 951-52 Features Completed (61) In Production (2) N PRODUCTION TITLE — Running Tim* Moulin Rouge eturn to Paradise RELEASE CHART — 1951-52 — Cast Ferrer-Gabor Cooper-Haynes _ Rel. No. COMPLETED .ctors and Sin (94) Robinson-Hunt .frican Queen (T) (104) Bogart-Hepburn nother Man's Poison (8?) Davis-Merrill uffalo Bill in Tomahawk Territory (44) Moore-Andrews :aptive City (91) Forsythe-Hall _ hicago Calling (74) Duryea-Anderson loudburst 183) Preston-Sellars :onfidence Girl (81) Conway-Brooke H-R Lee-Poitier Conte-Brown D. Clark-8. Johnson Gassman-Grahame :ry the Beloved Country ighter. The (78) prt Defiance 181) lass Wall, The ■ old Raiders 154) O'Brien-Ryan __. • reen Glove, The 184) Ford-Brooks le Ran All the Way (77) Garfield-Winters iigh Noon (85) . . Cooper-Kelly otel Sahara 1871 DeCarlo-Ustinov ivasion U.S.A. O'Shea-Castle .... land of Desire IT) (103) ansas City 1-1-7 ady Says No. The (82) melight . Mutiny (T) (74) bsessed 177) ne Big Affair (80) utcast of the Islands IT) 191) ark Row •liter's Wife ed Planet Mars (87) ng, The iver, The IT) 199) 3yal Journey 150) :arlet Spear Darnell-Hunter _ Payne-Gray Caulfield-Niven Chaplin-Bloom Stevens-Lansbury ., Farrar-Fitzgerald . - O' Keefe-Keyes Richardson-Kerima Evans-Welch ...Claudette Colbert -Graves-King — Rios-Moreno Swinburne-Shields Color Feature _ Hyer Foch-Haymes Hauff-Schneider _ Bonar Colleano 7- 18 3- 21 1-14 2-8 4- 11 Asp 1-4 I- 31 Stone 8- 22 Got I I- 9 9-14 _ 2-28 Ben 7-13 Reb 7-30 Kr 10-15 Jar... "... (PIZZZZ Rev 4-2 1-14 1-14 4-7 12-17 4-14 4- 16 11-5 3-10 7-16 5-5 11-19 l-ll 12-17 3-14 KB 9-7 2-22 .7—1 1 Lop 8-12 3-24 9-24 5-19 5-15 2- 15 3- 15 Ren Benny, the Dip (80) range World 180) ile of Five Women, A (86) ..... >m Brown's Schooldays (93) Davies-Newton vo Gals and a Guy 170) Paige-Alda 'ell, The 185) Rober-Kelly 'hen I Grow Up 190) Preston-Scott 8-24 ........ Dan 3-28 Gehn ... 3-7 _l 1-2 8- 31 9- 14 Pop .4-20 7-16 4-7 9-10 UNIVERSAL 951-52 Features Completed (81) In Production (4) RELEASE CHART — 1951-52 — i PRODUCTION TITLE — Running Time Cast Rel. No. Rev. esert Legion (T) Ladd-Dahl >ve Hand IT] jolumn South IT) bbott & Costello Go to Mars OMPLETED gainst All Flags (T) McCrea-Hale Murphy-Evans Abbott & Costello Flynn-O'Hara ittle of Apache Pass, The (T) (85) Chandler-Lund icause of You ■nd of the River (T) (91) ack Castle. The jnio Goes To College ight Victory (97) onco Buster IT) (80) attle Kate (T) .Young-Chandler Stewart-Kennedy McNally-Greene Perreau-Gwenn _ Dow-Kennedy Lund-Brady O'Hara-Nicol ..... Apr Feb 217 . 212 4-7 1-28 Jan ._ May .... 208 219 _ 7-30 . 4-21 ave of Outlaws, The IT) (76) Smith-Carey marron Kid, The IT) (84) ity Beneath the Sea (T) jel at Silver Creek, The IT) nders Keepers (75) ame of Araby IT) (77) esh and Fury (83) ancis Covers the Big Town Donald O'Connor ancis Goes to West Point O'Connor-Nelson olden Horde, The IT) (134) Blythe-Farrer un Hand IT) Hudson-Adams as Anybody Seen My Gal IT) 189) Colburn-Laurie _ ere Comes The Nelsons 176) Oizie and Harriet "•ions West Ryan-Adams 3n Man (82) Keyes-Chandler _ Grows On Trees Dunne-Jagger ory Hunter IT) 195) Steel-Sheridan .... st Across the Street 79) .. Sheridan-Lund _ A. Murphy-Y. Dugay Ryan-Powers Murphy-Domergue ... Ewell-Adams Chandler-O'Hara ... Curtis-Sterling Nov Jan 213 I l-S 12-31 Aug ...228.. - Jan 211 1-14 Jan .207 12-3 Mar 214 July 224. _ Oct 134 July .226 6-30 Feb 210 1-28 Aug dy from Texas (T) (78) idy Pays Off, The (80) ■ vender Hill Mob, The 182) ttle Egypt IT) 182) st in Alaska Hull-Duff Darnell-McNally ... ...Guuinness-Holloway -Fleming-Stevens Abbott-Costello a and Pa Kettle at the Fair (87) Main-Kilbride a and Pa Kettle in Waikiki Main-Kilbride • UGUST 11, 1952 June Oct. Nov Oct Sept Aug Apr 130 7-14 221 7 4-2 .....6-2 136 _ 10-8 202. 280 1-28 131 8-27 229 7-28 216.. 3-24 Ma and Pa Kettle Go To Paris Man's Country Meet Me at the Fair Mark of the Renegade IT) 181) Meet Danny Wilson 188) Mississippi Gambler No Room for the Groom 182) Pool of London (85) Raiders, Ihe IT) Raging Tide .The 192) Red Ball Express Sally and Saint Anne Scarlet Angel (T) 181) Seminole IT) Son of Ali Baba IT) Steel Town IT) 185) Thunder On the Hill 185) _ - Treasure of Lost Canyon, The IT) Untamed Frontier, The IT) Willie and Je Back at the Front World In His Arms, The IT) _ Yankee Buccaneer IT) Main-Kilbride Murphy-Drake . .. Dailey-Lynn — • — Montalban-Charisse Aug 128 8-13 Sinatra-Winters Feb 205 1-28 Power-Laurie Curtis-Laurie May 220 5-5 Colleano-Shaw Nov 183 Conte-Lindiors Winters-Conte Nov 203 1 0-23 Chandler-Cabot May 218 Blyth-Gwenn July 225 DeCarlo-Hudson June 222 6-16 Hudson-Hale — Curtis-Laurie _ . Sheridan-Lund Mar 215 Colbert-Blyth _ Sept 133 8-13 181 )W. Powell-J. Adams Mar 209 2-25 Cotten-Winters Sept. 230 Ewell-Lembeck _ Peck-Blyth Aug 227 Chandler-Brady WARNER BROTHERS 951-52 Features Completed (51) In Production (5) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time His Majesty O'Keefe IT) Back to Broadway IWC) Jan Singer, The (Tl Master of Ballantrae IT) Stop, You're Killing Me (WC) — COMPLETED Abbott and Costello Meet Capt. Kid About Face (T) (94) April In Paris (T) - Big Jim McLain Big Trees, The IT) [891 Bugles in the Afternoon (T) 185) Captain Blood I Reissue) (98) ... - Carson City (WC) 187) Close To My Heart 190) Come Fill the Cup 1113) Captain Horatio Hornblower IT) 1 1 17) Crimson Pirate, The (T) Danger Forward - Desert Song, The IT) Distant Drums IT) 1 101) Force of Arms 1100) I'll See You In My Dreams (110) ... Iron Mistress, The IT) Jack and The 8eanstalk ISC) 178) Lion and the Horse, The IWC) 183) Jim Thorpe, All-Aroerican (105) Man Behind the Gun IT) Mara Maru 198) — Miracle of Our Lady of Fatima, The North of the Rio Grande Painting Clouds with S'hine (T) (87) Retreat, Hell! 195) Room For One More 195) San Francisco Story, The (80) She's Working Her Way Through College IT) (101) Springfield Rifle (W) Starlift (103) Story of Will Rogers, The IT) 1 109) Streetcar Named Desire, A 1122) Tank Are Coming, The 190) This Woman Is Dangerous (97) ... Tomorrow Is Another Day 190) 3 For Bedroom C INC) (74) Where's Charley? IT) 197) Winning Team, The 198) Cast Lancaster-Rice Mayo-Cochran Thomas-Lee Flynn-Campbell Crawford-Trevor Rel. No. Rev Abbott-Costello MacRae-Bracken Day-Bolger Wayne-Olson Douglas-Miller R. Milland-H. Carter Flynn-DeHaviland Scott-Massey Milland-Tierney J. Cagney-P. Thaxter Peck-Mayo B. Lancaster Wilde-Cochran Grayson-MacRae 5-31 122 4-21 3-29 3-8 12-5 6-14 I 1-3 10-20 . 8-1 I 117 114 1 10 123 107 104 030 2- 25 3- 10 5-19 10-22 9-24 7-2 Cooper-Alden 12-29 Holden-Olson 9-15 Day-Thomas . - 1-12 Ladd-Mayo 1 1 1 102 112 Abbott-Costello Cochran-Teal Lancaster-Bickford Scott-Wymore Flynn-Roman Gilbert Rowland McCrea-Mayo — Mayo-Morgan Lovejoy-Carlson Grant-Drake McCrea-DeCarlo 4-12 4-19 9-1 5-3 118 119 101 120 12-17 J 2-1 7 4-21 4-18 4-7 _ 7-28 10-6 _ 2-23 1-26 5-17 Mayo-Reagan 7—12 Cooper-Thaxter Cagney-Mayo - 12-1 Roger, Jr.-Wyman 7-26 Brando-Leigh 3-22 S. Cochran-P. Carey 11-17 Crawford-Morgan 2-9 Roman-Cochrar 9-22 Swanson-Warren .6-21 Bolger-McLerie 8-16 Day-Reagan 6-28 029 ... 105 115 1 13 121 128 109 129 104 108 I 14 103 124 130 125 9-24 2-25 1-14 4-21 11-19 7-28 11-5 2-11 8-27 6- 16 7- 14 6-2 Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St., Phila. 3 —1239 Vin« St.. Phil*. 7 LOcust 4-0100 Member National Film Carriers 27 as GOOD as your SHOWMANSHIP {_)>/HZf Bftar of mwmi.\t7tem service »MZ€Mav of rffemousmy BULLETIN AUGUST 25, 1952 Out Warn Weather £ccm fae/tarte LET'S GET SET FOR THE WINTER COMPETITION! VIEWPOINTS Page Five riE HAPPY NEWS »OURS IN AND SHOWMEN •JOKE! DATE AFTER DATE AFTER DATE SETS HOLDOVER AFTER HOLDOVER AFTER HOLDOVER! RUNAWAY RECEIPTS FROM WARNERS RIGHT ON TOP OF "SHE'S WORKING HER WAY THROUGH COLLEGE"! •4 it father as Will's adorable 'Betty' CARL BEN10N REIO EVE MILLER - JAMES GLEASON • SLIM PICKENS NOAH BEERY. JR MARY WICKES STEVE BRODIE PINKY TOMLIN and £Q[)|£ « himsi ERANK DAVIS »nd STANLEY ROBERTS based on IHE SATURDAY EVENING POST STORY. UNCLE CLEM'S BOY" BY MRS WILL ROGERS °**>»« •»««* » veto* xounc \i 7 PRODUCE D BY ROBERT ARTHUR directed by M|(]Hj\EL CURIIZ THE BLACK KNIGHT! IVANHOE is riding to glory from Coast- to-Coast ! THE BLAC NIGHTII THE MERR WIDOW" is M-G-M next box-office^ bonanza! f "How BIG is 'IVANHOE'?" In the first 18 days of its extended engagements in Cleveland, Houston, San Francisco and Atlanta, it is 44% bigger than "Show Boat"; 40% bigger than "Battleground"; 48% bigger than "An American In Paris." It is 11% bigger in paid admissions than "Quo Vadis." At the Music Hall, N. Y., its first 18 days set new all-time non-holiday records. M-G-M presents Sir Walter Scott's "IVANHOE" starring Robert Taylor • Elizabeth Taylor • Joan Fontaine • George Sanders • Emlyn Williams • Color by Technicolor • Screen Play by Noel Langley Adaptation by AEneas MacKenzie • Directed by Richard Thorpe Produced by Pandro S. Berman How to win friends and influence auj box-office? Give them "THE MER3 WIDOW," M-G-M's newest musal the gayest, the sauciest of them all. bt romance between luscious Lana Tuici and the new sensation, hot-blooded lii Fernando Lamas, will have the n; palpitating. Franz Lehar's love soi? Eye -filling Technicolor beauty! A S'f) that's naughty but nice! That's doib M-G-M presents Lana Turner as "THE MERRY WIl^ co-starring Fernando Lamas • with Una Merkel • Richard .P Thomas Gomez • Color by Technicolor • Screen Play by It Levien and William Ludwig • Based on the Operetta V*1 by Composer Franz Lehar and Authors Victor Leon oni* Stein • Directed by Curtis Bernhardt • Produced by Joe Pas'" As the fame of "IVANHOE" sweeps the nation- "THE MERRY WIDOW" gayly arrives to date yo Viewpoints AUGUST 25, 1952 t VOLUME 20. NO. 17 DN MEN AND MATTERS Let's Avoid 'Frigid Fright'! Happily, movie grosses this sum- mer have experienced the brightest boom in three years. Since the gen- eral trend has followed the same pattern these past three summers, there is little doubt left in anyone's mind that a switch has occurred in the seasonal influences on theatre at- tendance. While some of the film ex- ecutives took a bit long getting around to this conclusion, it is pretty well established now that warm weather is an ally of our business. It is also generally conceded that television is the prime factor res- sponsible for the cold weather dips that have followed the summer up- swings in movie patronage. There is no point in denying that when the snows fall and the winter winds howl, the exhibitor's job of enticing people out of their homes is a tough one, what with the "free" stuff they can pick up on their little living room screens. So, we might as well con- dition our thinking about theatre business to this new set of circum- stances, which means, simply, that the old "dog days" of May thru August have become the "dog days" of mid- November to mid-March. You may accept as wholly conceivable the pros- pect that some theatres which used to close down in the summertime to. escape the traditional slump in busi- ness will shutter for the mid-winter period instead. That is, if they are air-conditioned, of course. Since the people in our indu>tiy are no longer confounded by this revolutionary change in the movie -ra>ons. they might also ward off the tendency to develop mental frostbite when the first cold days again send grosses skidding off the upward path. If exhibitors boldly face the fact that the wintry blasts make their task more difficult, then, perhaps, thev will turn their efforts toward the mean* by which they can combat the com- petition of the elements and the video machine. All the talent possessed by the film and theatre showmen of the nation should be directed right now to de- vising campaigns that will coax people out to the movies when the weather is against us. Obviously, such campaigns must concentrate on getting into the homes. Radio and television should be used as ex- tensively as possible. Circulars by mail or door-to-door might he highly productive. The telephone is a wonderful weapon at our disposal to stimulate interest in films. And, of course, the newspapers. (Continued on Page 6) YOU AGREE? The question raised about the title "The Snows of Kilimanjaro" is an interesting one. Bob Wile, secretary of the ITO of Ohio, wrote to Al Lichtman of 20th-Fox saying that people may not go to see a picture with a title they cannot pro- nounce. He cited "Scaramouche" as an example of a title hurting a film at the boxoffice. We disagree, to this extent: when a picture is good enough and important enough, the title means little or nothing. Minor pictures, those which are aimed to catch the trade on the run, must have in- triguing titles, but an outstanding movie always has and always will rock and sock grossing records on sheer merit. Can you think of a less appealing title than "Ivanhoe"? But it's a classic and a superb production. "Gone With the Wind" meant nothing to anyone, except that it was a best seller and then a movie masterpiece. We recall a fairly good grosser called "The Four Horsemen of the Apocalypse". Movie annals are crowded with odd-sounding titles that didn't retard great-grossing films. As for "Scaramouche", the exhibitors who point to it as an example should ask themselves if the film itself measured up to audience expectations. Here is one moviegoer (among many) who feels it fell far short of its promise. Have no fear. If "The Snows of Kili- manjaro" lives up to all the 20th Century- Fox people say of it, this will be an out- standing boxoffice success. Millions of people will make it their business to learn the correct pronunciation. And they'll go to see it even if they don't know how to pronounce it. In the case of the really Big Picture, merit is what pays off. Nothing else. There's no denying the fact that young blood is paying off in the movie industry. Witness the resounding success of United Artists, lifted from the depths of depres- sion and despair a year ago to an unin- terrupted six months period of black ink on the ledger. Youth at the helm. What are other film organizations doing to develop replacements for their veteran executives? Every other important in- dustry builds a backlog of manpower to step into the shoes of the oldtimers. Why not our industry? (Continued on Page 6) 5 YOU AGREE? (Continued from Page 5) Our principal thought in discussing the prospect of a winter slump is to call for preparedness and planning by our industry's showmen. Let's avoid "frigid fright" this winter. MO WAX At II hut M*rice9 Mr* The Government's suit to force the sale of feature films to television be- comes more difficult to comprehend in just about direct ratio to the volume of explanations offered on its behalf by members of the Department of Justice. Obviously given a case of jitters as a result of the protests that have flooded the editorial pages of the nation's press, Attorney General Mc- Granery has been feverishly seeking to assure everyone that the suit was not filed to appease the monopolists who control the powerful TV propa- ganda weapon. Oh, no. it's to break up a deep, dark conspiracy by the movie companies. Last Wednesday, the New York Times carried a lengthy letter from Newell A. Clapp, Acting Assistant Attorney General in charge of the anti trust division, answering an edi- torial blast by that famous newspaper against the Government action. FILM BULLETIN: Motion Picture Trade Paper published every other Monday by Wax Publi- cations, Inc. Mo Wax, Editor and Publisher. PUBLICATION-EDITORIAL OFFICES: 1239 Vine Street, Philadelphia 7, Pa., Rlttenhouse 6-7424; Barney Stein, Managing Editor; Leonard Coulter' New York Editorial Representative; Richard H. Newton, Publication Manager; Robert Heath Circulation Manager. BUSINESS OFFICE: 35 West 53rd Street New York 19, N. Y., Circle 6-9159; David A. Bader, Business Manager. HOLLYWOOD OFFICE: 659 Haverford Avenue, Pacific Palisades, Calif., Hillside 8183; Jay Allen, Hollywood Editor. Subscription Rates: ONE YEAR, S3. 00 in the United States; Canada, $4.00; Europe, $5,00. TWO YEARS: $5.00 in the United States; Canada, $7.50; Europe, S9.00. 6 Heed, if you will, for a moment or two, Mr. Clapp's rather plaintive ap- peal for understanding for Mr. Mc- Granery's objective. He writes: "\dur (Times) editorial points out that 'the producers understandably have imposed restrictions on their ( sixteen-milimeter films) use lest they jeopardize business in theatre box- offices'. The Government's suit does not attack this practice. Instead, the suit attacks only the alleged combi- nation or agreement among the de- fendants that none of them will allow its product to be shown on television. This was clearly announced by At- torney General McGranery at the time the case was filed. He said : " 'This suit is filed as part of the continuing program of the Anti-Trust Division to prevent business men and others from combining to place re- strictions upon what members of the general public may see on their tele- vision sets.' '"Thus he made it clear that it was the combination among supposedly competing producers that was the gravamen of the offense. "If the Department of Justice is successful in establishing the charge made in its complaint that this un- lawful combination exists, then, in order effectively to terminate such a combination of producers, the depart- ment believes that the producers should not only be prohibited from continuing the combination, but each should also be prevented from con- ducting itself in the manner agreed upon in the course of the conspiracy. "In order to accomplish this it is our view that the producers should be required to sell their products to all purchasers (including television sta- tions) until such time as the pattern established by the combination has been dispelled." So, the film companies are to be "required" to sell their product to the telecasters. But at what price, Mr. McGranery? At what price? (Continued from Page 5) A few issues back we started to harp on the benefit's that can accrue to our business by giving topflight stars a stake in their productions. Look at Joan Craw- ford out working like an ambitious new- comer on behalf of "Sudden Fear", be- cause she has a piece of the property. In the lush salaried days of her earlier career, Miss Crawford couldn't be induced to lift a pinky to exploit her pictures. Now she's making appearances at pre- mieres from coast to coast, standing in lobbies for hours to say hello and to pass out photos, talking to the press and sell- ing her picture via radio and TV. And, boy, how it's paying off! 0 What drivel Governor Thomas E. Dewey writes in his new book, "Journey To the Far Pacific", when he says that American movies shown in the Far East "more often than not deal with the ugliest aspect of American life". This is just another case of an ill-informed public personality em- ploying some half-baked, random views to generalize about our industry. Tom Dewey is 'way off base if he means to imply that all our action pictures depict- ing vice or violence are accepted abroad as portraying typical aspects of American life. Tom could just as well have written that films showing Americans living in simple comfort tend to create resentment among the impoverished peoples of foreign lands. 0 Ned Depinet is unequivocal in his view that there isn't enough money around to pry loose the RKO film library from Howard Hughes. The rumor was making the rounds again in New York last week that a syndicate headed by Matty Fox was "on the verge" of closing a deal with Hughes, presumably with the intent of selling the films to TV. Forget it, boys. It's awfully difficult to believe that any astute film executive is naive enough to think that TV can pay more than fish-cake money for films. While it is conceivable that the networks might get desperate enough to combine their resources and make an enticing offer for one group of feature films, it would only be a gasp, not something to breathe life into video for a long period. As far as RKO is concerned, you can be sure of this: Ned Depinet would oppose any sale of his product to a competitor that hurts theatre business. His whole life has been wrapped up in the movie business, and to Ned that means the movie-theatre business. He has nursed RKO through several periods of severe illness, saved it once when it was given up for dead. He aims to preserve what he has fought for so much of his life. FILM BULLETIN [i the followi PROBABLY THE MOST SIGNIFICANT STATEM ENT YOU WILL READ THIS YEAR! Last week I saw the motioi picture screen achieve nev heights of greatness ... I sav "The Snows of Kilimanjan Rarely does a motion picture comprise, simultaneously, such a weal, of elements that insure stirring, unforgettable entertainment with su-| unlimited boxofhce potential, among young and old. It has . . . A Great Title: Widely known in every land . . . conjuring up vastness of scope, an aura of mystery, the tingle of anticipation. A Great Author: It is based on one of Ernest Hemingway's m celebrated, most compelling masterpieces. Great Stars: Gregory Peck, Susan Hayward and Ava Gardne supported by Hildegarde Neff, Leo G. Carroll, Torin Thatcher, Norring, Helene Stanley and Vicente Gomez. A Great Producer: It has been personally produced by Da F. Zanuck, who gave you such outstanding entertainments "David and Bathsheba," "All About Eve," "12 O'Clock Hig "Gentleman's Agreement" and "Pinky." A Great Director: It has been directed by Henry King, brought you "David and Bathsheba," "Song of Bernadette" and O'Clock High." A Great Photographer: Filmed in heretofore unenvisioned splen- dors of Technicolor by three-time Academy Award winner Leon Shamroy, who photographed "David and Bathsheba," "Cheaper By The Dozen," "Wilson" and "Leave Her To Heaven." A Great Campaign: The most extensive, most penetrating adver- tising, publicity and exploitation campaign in our company's history. [moves across the world on the broadest of canvases from Africa to France «i Spain and to the Wisconsin of America's Middle West — from the heady w-ie and tender hours of Parisian nights to hippopotami-teeming waters of ch throbbing jungle. It has unrivalled scenery and the spectacular excitement Dlthe bull-ring in Madrid. It has a hyena that produces the greatest animal :hill ever filmed. It excites with the menace of the lion and the vulture -md the furious charge of the rhinoceros. "The Snows of Kilimanjaro" is the greatest love story I have ever seen — and in my opinion the finest motion picture our company has ever produced. Itvill be available for pre-release engagements in a number of selected theatres ina limited number of large cities beginning early in October, following its W>rld Premiere Presentation at the Rivoli Theatre, New York, on September U'h. The tremendous exploitation penetration accruing from these pre-release sr:agements will give uThe Snows of Kilimanjaro" word-of-mouth publicity IT seilom before attained by any motion picture. Very soon, we will announce trade showings. I urge every exhibitor to be sure to attend. AL LICHTMAN . . . 20th Century-Fox ASSIGNMENT — PARIS' LEISURELY SPY MELLER Rates • • — generally; slightly more in action spots Columbia 85 minutes Dana Andrews, Marta Toren, George Sand- ers, Audrey Totter, Sandro Giglio, Donald Randolph, Herbert Berghof, Ben Astar, Willis Bouchey, Earl Lee, Maurice Doner, Leon Askin, Paul Hoffman. Directed by Robert Parrish. This is a fairly successful attempt to de- pict, by a combination of documentary style and fictional melodrama, the techniques used by the Reds to extort "confessions" from Americans enmeshed in the Iron Curtain. Based on Paul Gallico's Saturday Evening Post serial, "Trial by Error", this Columbia offering was shot on location in Paris, where most of the plot unfolds. Robert Parrish seems to have patterned his direction on the leisurely British style. There is a great deal of opening and shutting of doors, riding about in autos and plenty of talk, but not very much action. However, there is great topical interest in the subject, which exhibi- tors can! exploit to attract above average • POOR • • FAIR • • • GOOD • • • • TOPS grosses. Despite the absence of physical violence, "Assignment — Paris" is best suited for the action spots. Producers Samuel Marx and Jerry Bresler have given the settings a completely authen- tic flavor and peopled the cast with a set of capable performers. George Sanders, as the editor of the Continental edition of the "Herald", does extremely well. So does Dana Andrews, as the U. S. correspondent imprisoned by the Hungarian commies. Marta Toren is a highly decorative romantic interest. Note: Audrey Totter, who recently made the front pages via her narrow escape in Korea, is in the cast. STORY: Marta Toren, staff member of the Continental "Herald-Tribune" returns to Paris after a stint in Hungary and finds New York has assigned to the office a new re- porter, Dana Andrews, who promptly falls in love with her. Marta thinks she has di? covered a deal between the Hungarian Prim Minister, Herbert Berghof and Marshal Tit" to doublecross the Russians. She thinks th; if this plot can be proved the "Trib" caj compel the Hungarians to release an Amer can businessman who has been forced t confess himself a spy. Editor Georg Sanders, however, won't listen to Mart with whom he, also is in love. When tl paper's Hungarian correspondent falls il Dana Andrews is sent there to replace hir and he gets himself involved in the spy ph between Berghof and Tito. Arrested an jailed, his "confession" is faked by fixing tape recording of a harmless intervie\ Meantime, towever, Dana has managed get out of the country a picture proving tl existence of the plot. It finds its way int. Sanders' possession. With the assistance i the newspaper's morgue attendant, Sandi Giglio, Sanders finally blackmails the Hui garians into releasing Andrews, who retun to the waiting arms of freedom and Mi. Toren. COULTER 'BONZO GOES TO COLLEGE' A Rates • • + as dualler for family, rural ho Universal 79 minutes Maureen Sullivan, Edmund Gwenn, Charles Drake, Gigi Perrau, Gene Lockhart, Irene Ryan, Guy Williams, John Miljan, David Janssen, Jerry Paris, Frank Nelson, Bonzo. Directed by Frederick de Cordova. A few months ago, Hollywood was sad- dened when Universal's Bonzo perished in a fire. But today a new chimp shines bright, yea, even brighter, in the movie firmament — Bonzo the Second. What histrionic talents were displayed by the late, lamented chim- panzee in "Bedtime for Bonzo" are bettered by this new star in "Bonzo Goes To College". He may even rival Francis, this Bonzo, for he talks — well, almost. This U-I comedy has plenty of laughs to offer the family trade and it should be a strong dual FUSING ESCAPIST FARE ses bill attraction in metropolitan naborhoods. In smaller towns "Bonzo Goes To College" should be good boxoffice. The kids will love it. Producer Red Richmond has dressed it up nicely and director Frederick de Cordova has made the most of all the lively amusing situations provided in the screenplay by Leo Lieberma nand Jack Henley. Bonzo is the star, of that there's no doubt. He steals every scene he's in. The chimp's principal competition is furnished by Gigi Perrau, growing up and becoming more and more a young lady made of Stardust. Ed- mund Gwenn, essaying the role of footballl coach, seems uncomfortable. STORY: Gigi Perrau's grandfather, Ed- mund Gwenn, football coach at Pawlton College, promises to buy her a special present. He does — a bicycle. But when Gigi goes upstairs and finds in her room a tame chimpanzee, who has wandered away from a carnival, she thinks it is grandpop's gift. Her parents, Charles Drake and Maurec Sullivan, agree to have Bonzo legally adop ed. One day Bonzo shows he is superb good at passing a football, and Gwenn, wl is having trouble finding a strong team f the big game with Owens, signs Bonzo ( after he has passed the college entrance e animation. On the eve of the match, he ever, two carnival crooks kidnap the chin and substitute another, who prefers peant to football. The Owens coach wrecks hi game by feeding her nuts before each pk Pawlton is losing heavily when Bonzo < capes from the hotel room where the garni ing crooks have imprisoned him. He mak his way to the sports ground, ignores tl peanuts which the unsuspecting Owe1 players throw to him and makes a series scoring passes. With the score even, Bon makes the winning play by shinning up t' goal post and receiving a long forward p; to win the day for Pawlton. COULTER i 'ISLAND OF DESIRE TWO ON Rates • • + as dualler UA release, 93 minutest Linda Darnell, Tab Hunter, Donald Gray, John Luriem Sheila Chong, Russell Waters, Hilda Fenemore, Brenda Hogan, Diana Decker, Peggy Hassard, Michael Newell. Directed by Stuart Heisler Having had ten passionate minutes trimmed from its running time, this British import about illicit love on a tropical island emerges in its American version as rather tame and unbelievable. However, the sex theme gives it exploitation angles that might be utilized to draw fairly good grosses in certain situations. Generally, it will prove to be merely acceptable as a dualler, best A TROPICAL ISLAND— SEX coupled with a comedy or musical. Produced by David Rose in a lovely setting, admirably displayed by Technicolor, "Island of Desire" is based on a hackneyed story about two people, a mature nurse and a younger man, who are shipwrecked on an uninhabited island and give way to their passions. Stephanie Nordli's screnplay lacks substance and some of the dialogue is on the juvenile side. Stuart Heislcr's direction fails to de- velop much sympathy or suspense. Performances are mediocre, for the most part. Linda Darnell is the only name known to American audiences, and she makes more use of her physical than her histrionic talents. STORY: Linda Darnell, a Canadian Ser- vice nurse, is shipwrecked with Mar Corporal Tab Hunter when their vessel torpedoed in the Pacific. He saves her. Tl are the only survivors. A mature wom she resents being bossed by a youngster, w nevertheless seems capable of handling emergencies. They fall in love, despite th earlier differences, but their idyllic existei on the deserted island is ruined when British airman, Donald Gray, crashes j the atoll. Linda nurses him to health. ! then discovers she is really in love with hi rather than with the Corporal with >\h, she has been living. An ugly situation averted by the timely arrivel of a res' ship, with orders for Hunter to proceed mediately to Washington. LEON 10 FILM BULLET! THE DEVIL MAKES THREE' SLIGHTLY ABOVE PROGRAMMER LEVEL Rates • • + as dualler generally M-G-M1 89 minutes Gene Kelly, Pier Angeli, Richard Rober, Richard Egan, Claus Clausen, Wilfried Sey- •erth, Margot Hielscher, Annie Rosar. Directed by Andrew Marton. | Most folks would prefer to see Gene Kelly 'lance, since he doesn't figure to win any Oscars in melodramatic roles such as he lias in "The Devil Makes Three". Not that •his Metro offering is a bad little picture; • natter of fact, it's a notch or two above pro- grammer classification. Filmed on location ,|n the German cities, the background of Richard Goldstone's production have an aura >f authenticity that is extremely effective. (The yarn by Lawrence Bachmann, screen- >lay by Jerry Davis, dealing with pro-Nazi fforts to finance a projected comeback, is calculated to occupy the interest of most noviegoers. And it is a theme that lends Itself to effective exploitation, which, if ap- plied by exhibitors, should bring them fairly good grosses in the majority of situations. The names of Kelly and Pier Angeli have some marquee value in metropolitan areas. Action fans will find the slow pace of the first half a bit wearing, but there is enough excitement in the later chase sequences to compensate them for the wait. Kelly is adequate in the role of the Ameri- can war vet who returns to Germany and en- counters romance and danger. Miss Angeli is lovely and again proves that she is a highly talented actress. The late Richard Rober is effective as an Army officer. Di- rector Andrew Marton allowed the story to lag for too long while developing the charac- ters and the situation. STORY: Former Air Force officer Kelly returns to Munich a few years after the war to spend the Christmas holiday with a family that has saved him from the Nazis. He finds their home bombed out and all dead except a daughter. Pier Angeli, who hustles drinks THE RING' ENGROSSING DRAMA ON BOXING & PREJUDICE lates • • + as dualler, where exploited Jnited Artists (King Bros.) § minutes ierald Mohr, Rita Moreno, Lalo Rios, lobert Arthur, Robert Osterloh, Martin iarralaga, Jack Elan, Peter Brocco. lirected by Kurt Neumann. , The King Brothers have turned out an in - jresting and exploitable drama that mixes bxing racial prejudice, and does it effective- r. The story, based on Irving Shulman's j>vel, has an unusual twist. It tells about a [exican youth in Los Angeles, stung by the rejudice Americans show against his bople, strives for fame in the ring — and lils. Both the boxing and the social sc- iences are adroitly handled by director urt Neumann, and Lalo Rios, who plays e Mexican boy, is a discovery. He wins eat sympathy for the character. "The ing" will be accorded critical plaudits and, here exhibitors capitalize its exploitation angles, it should enjoy above average box- office returns. One scene, in particular, which points up the theme, is top-quality stuff: the young boxer, though a failure in the ring, takes some poverty-stricken Mexican friends to a swank drive-in cafe in Beverly Hills. The Anglo waitresses are offensive and the cashier finally calls the" police. When the law arrives, in the person of a lone motor- cycle cop, he remembers the pugilist and senses that the Mexicans are being pushed around. So he takes his coffee at the counter, lingering long enough to make sure the kids get decent treatment from the sluky waitresses. STORY: When young Lain Rios' father is sacked from his brickyard job, the youth seethes with anger. It seems the Mexican- Americans in the Los Angeles area are always being discriminated against. When he goes skating with his girl, Rita Moreno, they are turned away because it is not at a cafe and is engaged in smuggling goods between Munich and Salzburg. She urges Kelly to drive with her on a visit to relatives in Salzburg. Their rented car is followed by members of the Criminal Investigation Di- vision of the U. S. Army, who search the car while Kelly and Pier are having a bite and find some contraband goods. Upon their return to Munich, the CID calls in Kelly and informs him of Pier's activities and warns him that she might be implicated with a gang plotting the revival of the Nazi party. He refuses to believe them, since he has fallen in love with the girl. She, meanwhile, has been forced by the gang leaders to use Kelly on another smuggling expedition. When things go awry, Kelly grows sus- picious and finds himself facing death at the hands of the Nazis. In a hectic climactic chase on a frozen lake, Kelly, wounded, is aided by CID operatives, who capture, Claus Clausen, head of the movement, in Hitler's bombed Berghof headquarters. NEIL "Mexican Night". They are insulted in a bar. Lalo slugs the two non-Mexicans re- sponsible. The scrap is seen by Gerald Mohr, prizefight manager, who offers him a chance in the ring. Lalo accepts, despite his parents' objections, but after a few early victories he begins to go downhill and decides to quit. But when, just because he is known as a boxer, he finds he can take his Mexican friends into a Beverly Hills restaurant, he changes his mind again. Un- expectedly he is matched against the championship contender, Art Aragon. All Lalo wants is enough money to start his father in business. This big fight, he reckons, will provide it. Lalo's manager, realizing his boy's inferiority, asks Aragon, also a Mexi- can-American, not to hurt Lalo. But Lalo fights furiously. Aragon has to end the bout. He knocks Lalo out, and finishes his ring career. Lalo goes back home to his girl, happy in one respect: he has earned enough to start his father in business. COULTER ON OF ALI BABA' HAS TECHNICOLOR, ADVENTURE, WEAK STORY >tes • • + generally as dualler liversal minutes my Curtis, Piper Laurie, Susan Cabot, illiam Reyonlds, Hugh O'Brian, Victor ry, Morris Ankrum, Philip van Zandt, on Balasco, Palmer Lee, Barbara Knud- m, Alice Kelley, Gerald Mohr, Milada ) adova, Katherine Warren, Robert Barratt. Irected by Kurt Neumann. Son of Ali Baba" is a routine entry in Ijiversal-International's long cycle of Ara- Pn Nights fairy tales. It's all dressed up in itation junket, highlighted by the personal pearance of a half-dozen Hollywood per- lalities. Since that day, the picture has >er been off the Portland theatre screens, 1 is still playing to full houses in the JGUST 25, 1 952 naborhoods after 220-odd days. Let's have more, and more, premieres 1 0 0 Cecil B. DeMille, as expected, has signed a contract with Paramount for release of "The 10 Commandments," which he expects to launch in late 1953 as the biggest picture of his career. DeMille already has a large staff at work on the feature, which will be lensed in Technicolor. The screenplay will be based not only upon Riblical material, DeMille telp FILM RULLETIN, but also on other re- ligious writings and Dorothy Clarke Wilson's modern best-seller, "Prince of Egypt." Charlton Heston is DeMille's choice for the role of Moses. No decision has been reached on a contract for additional pictures, the veteran producer says, but he pointed out emphatically that there has been no dis- cussions with companies other than Para- mount on future distribution deals. Mean- while, his "Greatest Show on Earth" is racking up record-breaking grosses. 0 0 United Artists will release Charlie Chaplin's "Limelight," late this fall. Chaplin still has some additional work to do on the picture, but he has indicated that the changes will not alter the present running time of two h-.urs and 25 minutes. No details have been set as to whether or not it will go into immediate general release or be handled on a roadshow basis. The addition of "Lime- light" and two other new features to the UA releasing slate, raises to 46 the total number of features to be distributed by this fast- rising company in the next 17 months. The other two newcomers to the list are: "Rabes in Bagdad" (Paulette Goddard-Gypsy Rose Lee), produced by the Danziger brothers, and "Untamed Women," a Jewell production. 0 o Republic will move alongside Universal- International as a leader in the drive to hypo theatre receipts by personal appearance junkets. A three-month schedule of p.a.'s, which will take personalities on junkets throughout the United States and Europe, has just been okayed by Herbert Yates. In- cluded in the list of personalities are: John Wayne, Maureen O'Hara, Barry Fitzgerald, Victor McLaglen, Rex Allen, Rocky Lane, Forrest Tucker, Vera Ralston and Bill Shirley. The stars will concentrate on plug- ging John Ford's "The Quiet Man", and "Fair Wind to Java." o 0 MGM continues to lead the studios in maintaining a high volume of production, with nine pictures currently shooting, 24 in the backlog and 35 writers working on 31 story projects. This is the peak activity for (Continued on Page IS) J i STAR BRIGHT Probably no newcomer in Hollywood history has had a more meteoric rise than Marilyn Monroe, 20th Century- Fox's bomb- shell of sex and pulchritude. Within a period of only a few months, she has become a household word in America — a synonym for whistle-invoking glamour, even to many millions who have yet to see her on the screen. Miss Monroe is a perfect example of what can be accomplished by a smart publicity campaign. And there can be no doubt that 2()th-Fox's studio publicity chief Harry Brand and his associates have given her the most inspired campaign since Howard Hughes lavished two million dollars on Jane Russell's build-up. She's a present day Jean Harlow. For all of the aura of glamour which now surrounds this young lady, it's doubtful if any star has had a more humble beginning. A product of Los Angeles orphanages, Marilyn has been a ward of Hollywood's home county for much of her life. Her mother was a helpless invalid and her father was killed in an automobile accident shortly after her birth. Now 22 years old, Marilyn is five feet, five and one-half inches tall, weighs 118 pounds, and possesses the kind of a figure that not only movie cameramen dream about. Mother Nature has been most generous in apportion- ing this gal's physical assets. Everything's just where it belongs. Exhibitors should go all-out in helping to exploit this striking new star bright. Marilyn Monroe is that rare personality that excites public interest. She's one of filmdom's great names of the present and the future. 15 Cecil B.DeMilles * theGrba^S Starring CORNEL CHARLTON DOROTHY IE • HESTQN - L SHO ^ABTH Color by TECHNICOLOR GLORIA amjJAME GRAHAME • STEWA Never such a ticket-selling attraction! From big cities to small towns, it's out giant figures of "Samson and Delilah" on an average of 230% and often up t| HOPE • RUSSEU • ROGERS *J§ TRIGGER of Paleface COlOt*. Kt TECHNICOLOR We made it to make more money for you than "Paleface." And its first dates all prove that it will do just that. 300 immediate key dates coming up! Ask your Paramount exchange abopt its exciting Dollars- For-Showmen Promotion Contest. AND THE PARADE WILL CONTINL • RIGHT THRU '52 2 Confidence in the all-time biggest product from the Paramount Studio — confidence in exhibitors to back it with all their showman- ship, keynotes our Forward-March together toward ever increasing boxoffice returns! LAURENCE JENNIFER Olivier -Jones WILLIAM WYLEFlS Production of DEAN Maiotn - Lewis - HAL mm \ Her terrific legs for long runs are catching every showman's eye. Get your date set up with this glamor gal. Jumping Jacks It's jumping the boxoffice jack up to 160% of "Sailor Beware" which was the boys' biggest 'til this came along. M m in color sy m C/ TECHNICOLOR "Spectacular production numbers add up to solid hit" reports Hollywood Reporter on Bing's biggest musical. m W. SOMERSET MAUGHAM'S "Smash" — "hefty" — "strong" are the words Variety uses to headline the business of this mass-appeal hit. REPORT FROM THE STUDIOS (Continued from Page 15) Metro, or any other company in Hollywood, for over 18 months. All of the 31 properties now in preparation are scheduled for shoot- ing within the next year. Included in this list are: "Quentin Durward" (Robert Taylor); "Interrupted Melody" (Greer Gar- son); "The Band Wagon" (Fred Astaire- Cyd Charisse-Nanette Fabray); "Latin Lovers" (Lana Turner-Fernando Lamas); "Dream Wife" (Cary Grant-Deborah Kerr); "The Clown" (Red Skelton); "Beau Brum- mel" (Stewart Granger); "I Married West Point"; "Lonesome Gal"; "The Long, Long Trailer"; "My Most Intimate Friend" and "Big Leaguer". 0 0, Columbia continues its gradual swing over from low-budget production into the higher brackets, with a further thinning of "B" product producers and the setting of ad- ditional Class A productions. Colbert Clark, a top producer of low-budget musicals and westerns on the lot for over six years, checked out this month, to leave only Sam Katzman as keeper of the B's. At the same time, Columbia prexy Harry Cohn started preparing "From Here to Eternity" for early filming. He expects to make a decision by the end of this month regarding a director JERRY WALD Slated To Go To Columbia? for the film version of the best-seller. Ahlo Ray has already been selected for the star- ring role. More important news concerning Colum- bia is the report that Jerry Wald may move his unit to that lot after he checks out of RKO on October 31. There are strong in- dications that Wald, if he goes to Columbia, will operate on a contract similar to Stanley Kramer's. Wald puts "Size 12", his final pic- f Continued on Page 19) 18 Heard in Hollywood By JAY ALLEN Alan Ladd is so pleased with "Desert Legion" that he's signing for another picture at U under the same 50-50 participation arrangement . . . He's not pleased, however, with talks his two remaining pictures at Paramount, and insists that he get script approval, or else, t actors really know enough about story material??? . . . The new Hearst management is go! overboard for Hollywood, and will spring an all-movie edition of its American Weekly Sund supplement, August 31. Great industry promotion, too. Whoever promoted this deserves Oscar . . . Yvonne De Carlo and Paul Kohner have formed their own inde company which kic off next January with a De Carlo-Carlos Thompson starrer . . . Sol Lesser signed British produc Sydney Box to film his London stage property, "Black Chiffon," starting in early January. ft "The Affair" will be Norman Panama and Melvin Frank's first inde after completing the three-picture pact at MGM. Henry Fonda may star in it . . . Samuel Fuller has finished h screenplay on "Blaze of Glory," and puts it before the 20th-Fox cameras early next month, wi Richard Widmark and Shelley Winters doing the blazing . . . Edward Buzzell, heeding the wor of MGM boss Nick Schenck, brought in "Steak For Connie" (Van Johnson-Janiet Leigh) on snappy 17-day schedule . . . Mike Frankovich latched onto Western Hemisphere distributio rights for "Aan", the all-Indian Technicolor spectacle that has Londoners queued up for bloc on end . . . Cornel Wilde will play himself in Cinema Productions' "Main Street to Broadway which Lester Cowan rolls at Goldwyn Studios late this month. He'll keep some mightly fane company with Tallulah Bankhead, Olivia de Havilland and Jose Ferrer. Put away the crying towels, a survey just completed by Applied Psychology Associate reveals that Joe Public overwhelmingly prefers the loge to the living room for a ringside sea to celluloid romance . . . Dick Powell doffed greasepaint for a megophone, this month, to direc RKO's "Split Second" (Jane Russell-Vic Mature) . . . Hugo Haas went him one better, tho, producing and starring in "Story of A Bad Girl", which went before the cameras at Motion Pic ture Center, August 18, for a Columbia release . . . Barbara Stanwyck boards the ill-fat Titanic with Clifton Webb, for Fox's "Nearer My God To Thee," story of the ill-fated vessel . Here's a queer deal: Glenn Ford cut his Columbia commitments from four to two by waiving th equal billing clause in his contract for the ad campaign on "Affair in Trinidad". ^ . Even Elizabeth Taylor's morning sickness didn't keep Dick Thorpe from bringing in "G Who Had Everything", eight days under schedule . . . Ford Beebe, now completing the screen play of Monogram's "Jungle Girl," also has been set by Walter Mirisch to direct . . . Le Barker, who just finished Broder Productions' "Battle of Chief Pontiac," is signing for two mor Broder pix . . . John Russell gets the romantic lead in Republic's John Ford production, "Th Sun Shines Bright," which Merian C. Cooper will direct . . . Since Nick Schenck has ordere that all contractees must be kept busy, what's Metro going to do about new faces? Newcome have to get a chance to display their talents . . . Joan Leslie has her pen poised for a Republ termer. They started filming backgrounds in England, this month, for Disney's "The Sword and th Rose" . . . Producer Mel Epstein has set a September 22 starting date for "Alaskan Seas," his next for Paramount . . . Forrest Judd borrowed Ursula Thiess from RKO for "The Way Of A Woman," but he doesn't get her until August of 1953 . . . Samuel Goldwyn, Jr., gets out of the Army any day now and starts carving a niche for himself in TV (what?) production . . . Aren t Howard Harks and Howard Hughes feuding over RKO way? ... The latter Howard, incidental- ly, is getting itchy to start another personal production, to which end he has just registered the title, "Tunnel Beneath the River" . . . Darryl Zanuck gave producer Frank P. Rosenberg a late fall starting date on the Robert Ardrey novel, "Brotherhood of Fear" ... In line with Mono- gram and Allied Artists' new policy of adding name power to their product, David Diamond il trying to lure Howard Duff and Teresa Wright as the stars of his upcoming Supercinecolor feature, "The Indianapolis Story" ... If Jerry Wald moves to Columbia, won't he tee off with a musical version of "Rain," starring Hayworth? . . . Robert Jacks, DFZ's son-in-law, is slated to produce two pictures next month, "Man On A Tightrope" (Frederic March-Terry Moore) and "The Desert Rats" . . . RKO is moving the release of "Blackboard the Pirate" up to Thanksgiving. It was originally slated for a Christmas opener. (This one is FB's "Blue Chip Production" of the month. ) In "The Clown," Red Skelton's re-make of "The Champ," he won't die as Wally Berry did in the original, because his TV sponsors insisted on it . . . "The Robe" at 20th-Fox draws • $4,000,000 budget and a new building to house the 3 thousand costumes . . . Cedric Francu (Continued on Page 19) FILM BULLETIN Hclli)ucc4 tlctebcck 'THE THIEF' WON'T TALK! Federal workers at the windows watch as director Russell Rouse and star Ray MUland plot a scene for "The Thief on a busy street in Washington. D. C. But if they expected to hear MUland. they were disappointed, for "The Thief is a "silent" talking picture. THE SPOTLIGHT >EPORT FROM THE STUDIOS Continued from Page 18) ire for RKO, before the cameras next week nd expects to have the filming completed i tli in six weeks. In the event that it runs ver schedule and is not completed by >ctober 31, Wald may complete it off the >t. In moving from RKO, Wald takes 10 ory properties with him — several in various ages of script completion. o o , Xat Holt delivered a telling blow to the twly "R" picture, this month, when he told i press conference that "there is no future |>r program fare in our theatres." The Para- fount producer declared further: "Once pon a time double features may have Mietted the customer's appetite for a bar- 'iin, but today competition must be met lith quality, not quantity. When a TV '.vner invests in a baby-sitter, transportation hd theatre tickets, it's obvious he's after ^mething he can't get at home for free. He's (oking for high quality entertainment, and Is up to the studios to provide it, and the eatres to present it attractively, conveni- itly and economically. There is no other lay the industry can survive." Holt is a 'rmer exhibitor who has maintained close imtact with theatre operators throughout e country. 0 o j Robert L. Lippert is in the final stages negotiation for the sale of five more of Is exchanges. For the past several weeks, I' has been huddling with Herman Gorlick f St. Louis, Al Dezel of Detroit, Jack kfier of Indianapolis, Harris Dudelson of ttiicago, and Carr Scott of Oklahoma City, s in all previous sales, the new purchasers Lippert exchanges will become percentage bntributors to his future film productions. 0 0 Warner Brothers appears to have the in- lle track on a releasing contract with eorge Jessel for distribution of his first in- jpendent film venture, "Rip Van Winkle, .". According to sources close to Jessel, arners will also put up the primary financ- K on the picture, if the deal goes through. o o Monogram and Allied Artists have five ms in the cutting rooms, one shooting, and even half-dozen in the final stages of eparation, to set a new peak of activity for e year. AA's "The Royal Mounted Police" ames Craig-Keith Larsen-Rita Moreno), | alter Wanger's Cinecolor production, got ay on August 12, with Leslie Selander di- eting. Three more will get the gun during |e first week in September: "Tangier In- lent" (George Brent), a Lindsley Parsons loduction; "White Lightning" (Stanley ements), to be produced by Ben Schwalb, d a Wayne Morris starrer to be produced Vincent M. Fennelly. With "The Thief" going into release over the Labor Day week-end, the FILM BUL- LETIN Spotlight focuses on Clarence Greene and Russell Rouse, who have dared to do something radically different — an all- silent film in an age of sound. Rouse is a true product of Hollywood, having started his motion picture career as a member of Paramount's labor gang. Greene, on the other hand, comes from New York, where he was a playwright and pro- ducer of radio and television shows. They have worked as a team for slightly more than a decade, with Greene fulfilling the producer and writer functions and Rouse serving as director and co-writer. Their penchant for off-beat, non-formula fare led them to turn down credit after credit until they had the opportunity they were looking for. This came with "The Well", which they co-authored, co-produced and co-directed for Harry Popkin, just as they have in "The Thief". In discussing their new picture, the 34 year-old Greene told FILM BULLETIN: "Our idea in eliminating sound was to use the motion picture media in its true sense — to tell a story visually. The interpolation of dialogue, to the degree which it has been used in some contemporary films, almost eliminates the basic purpose of the motion picture. The audience hears the story, rather than seeing it as would seem it were in- tended. Therefore, we have strived to use the camera in its real sense, as the teller of the tale." To say that the two of them arc "modern" is an understatement of their keen sense of motion picture judgment. Certainly they are modern in the sense that they use the oblique approach in both writing and direction. In their own words, they try to cut through the ob vious and sidestep the conventional. In this critical era of the movie industry's history, when we are fast learning that the "tried-and-true" is no longer acceptable, the kind of imagination offered by the Popkin- Rouse-Greene team is most welcome. Not only is it refreshing, it spells out in practical, boxoffice terms the kind of entertainment today's movie shopping public will buy. HEARD IN HOLLYWOOD (Continued from Page 18) becomes head of Warner Brothers short subjects department, succeeding the late Gordon Hollingshead. The emphasis is on comedy at MGM with no less than 10 scripts in the lighter vein being readied for immediate production . . . Sy Gomberg ankled his writer-producer pact at Columbia for a straight writer ticket at Warners ... It now looks like Leonard Goldstein will wind up at Columbia instead of at RKO, or at U-l, or at Fox . . . They upped the admission for the Los Angeles showing of "Sudden Fear" (Joan Crawford), thus driving away a lot of cus- tomers whom the picture might have made movie boosters . . . Bing Crosby won't take the TV leap before the fall of '53 — if then. Smart boy, Bing.. He's still the best business man in show business. UGUST 2 5, 1952 19 Ivanhoe' Hailed by Critics As Great Dramatic Spectacle The raves by the New York critics were out in full bloom for M-G-M's "Ivanhoe" at the Radio City Music Hall. Some were tempered, but not one doubted that it is one of the greatest spectacles ever made, and most felt that it was a unique epic in that it did not depend purely on its epic quality for entertainment but went deeper into the dramatic and emotional quantities so rarely found in such big-scale productions. Archer Winsten. the Post's scribe, des- cribing it as "magnificent spectacle" added that the action was "agog with the fierce hand-to-hand encounters of the period and throbbing with the chivalric ardors of a ro- mantic novel." The Times' Rosley Crowther feels that the film "does M-G-M, Scott and English history proud," with the producers at the top for this "brilliantly colored tapestry of drama and spectacle." The drama achieves a "remarkable forcefulness and the picture brings off a serious lesson in fairness and tolerance not customary in spectacle." "A spirited dashing masterwork of spec- tacular drama", says Alton Cook of the World Telegram-Sun. The highlights "are frequent and magnificently staged," he adds, with "sharp terse film cutting" eliminating any dragginess. Some may consider it kid stuff, but it's "the sort that makes an oldster feel stirrings of departed youth. For the young audiences, a sheer ecstasy of excite- ment." Unpretentious, without "vulgarity dis- guised as grandeur," the Herald Tribune's Otis Guernsey dubs it "simple, fast and entertaining, a romantic daydream in action." The action scenes, he adds, "are staged with a relish that is perfect for highly costumed, bravura, escapist movie fare." Giving it an "excellent" rating. Fred Ray- field in the Compass calls it a "cascading symphony of sound, color and sweeping motion that captures the sprawl, the pano- rama, the clash and the medieval flavor" of the novel. "M-G-M has poured it on in all departments," he notes, "yet taste and judg- ment and control have been exercised and the result is not ostentation, but splendor." On top of that, Rayfield remarks, " 'Ivanhoe' isn't all sight and sound; it also has heart . . . it is this humanness that gives substance to the beautiful and romantic form of 'Ivan- hoe'." LES MISER ABLES' 20TH CFNTURY-FOX "Repeated variations of this noble theme have not always contributed luster to the original. And the present version is no ex- ception . . . Hugo's trenchant and panoramic view ... is rarely brought to the surface with dramatic force." — Weiler, X. Y. Times. "For those who have never seen 'Les Miserables', the picture should be as effective in arousing sympathy, tears and suspense as ever . . . (For others) it may be considered "QUOT6S" What the Newspaper Critics Sag About New Fill unobjectionable, somewhat moving, but shorn of its suspense." — Winsten, N. Y. Post. "Showy costume drama, full of big doings, but cutting below the surface only at odd moments . . . Just a little weary from too many promenades in the turbulent air of the movies." — Guernsey, X. Y. Herald Tribune. "Spectacular screen story of scope and sweep . . . Moody, melancholy flavor ... A monumental motion picture." — O'Connor, N. Y. Journal-American. "Concentrates on that side of the story (the man hunt), full of eagerness to wring every possible excitement from the classic . . . Every detail it touches gets understand- ing and zestful treatment." — Cook, X. Y. World-Teleeram and Sun. AFFAIR IN TRINIDAD' COLUMBIA "Outside of its celebration of the return of Rita Hayworth to the screen . . . there is little to endow with distinction . . . Obvious spy-thriller cliches as apparent and monoto- nous as a phonograph record on which the needle is stuck . . . Miss Hayworth proves no bargain after an absence of four years." — Crowther, X. Y. Times. "If that isn't very sexy stuff, it's not for want of trying . . . Trite business . . . Loose ends are flying all over the place and they never are tucked in . . . Pure pulp fiction." — Winsten, X. Y. Post. "As a whole, is not much, the kind of af- fected, static, cat-and-mouse drama that pulls smiles in the wrong places ... In it, though, the eye of the camera is fixed on Miss Hayworth . . . and no doubt this is sufficient purpose to be served for her many admirers." — Guernsey, N. Y. Herlad Tri- bune. "Mixed blessing, a cluttered, drawn-out and hoked-up tale of spies and intrigue . . . But Miss Hayworth is good to look at and dances a couple of numbers, one of which is quite stimulating . . . Oh, for more of those dances!" — Rayfield. X. Y. Compass. "Dances are not particularly imaginative, but the suggestions they are intended co convey in both song and movement arc emphatically clear . . . Jampacked audiences at the Yictoria yesterday make it clear that, after a four-year absence, Rita is right back- in her old place as moviedom's favorite dancing girl." — Cook, X. Y. World-Tele- gram. DREAMBOAT' 20TH CF XT CRY- FOX "Uneven entertainment offering much better sequences than can be found in the average film, and also much worse. As a whole it doesn't merit high commendation." — Winsten, X. Y. Post. "Clifton Webb in top form, running hi acidly merry course in a script full of larkifi humor . . . Frisky travesties of old movie) each a roaring outburst of impish laughter — Cook, X. Y. World-Telegram and Sun. "You'll have a lot of fun . . . Thorough I entertaining comedy . . . Webb at his supeJ cilious best . . . Succession of highly amusir situations with television and its con] mercials coming in for some slick spoofing] — Pelswick, X. Y. Journal-American. "Joke at the expense of silent pictures arl television . . . Up-and-down comedy dive I sion . . . Hits some very high spots in i| humor . . . Simply does not find the energj to carry it through all of its footage, bJ it is a part-time sparkler." — Guernsey, N. S Herald Tribune. "Hollywood's low opinion of TV is onared and able to pay only thousands. Texas COMPO Showman If the government should be successful in his lawsuit the result could be disastrous or the motion picture industry and bring bout the complete extinction of convention- I and drive-in theatres. The livelihood of very exhibitor is threatened by this vicious ction which is directed against the pro- ucers and distributors of the product we uust sell in our theatres. Contrary to the opinion of many . . . this not a fight for production and distribution lone . . .IT IS A FIGHT FOR EXHIBI- IOX. because exhibition would be the first 0 be seriously affected. The gravity of the ituation is clear ... the three branches of e industry must unite and fight this biased nd unjust objective that the Justice Depart- lent has brought against us . . . we must ght it with the same tenacity as that dis- layed by the fierce wolverine when caught 1 a trap for his life. There are various opinions as to who the >wer> are that perpetrated this court action . some believe it to be a political deal for ie favor of TV . . . there are those who link that the claim arises from only the levision interests. Only one thing is ;rtain at this point ... a department of our overnment is the plaintiff and our first :tion must be directed there. Enclosed are rprints of protests that have been sent from exas COMPO executive staff members and ie opinion of Mr. John Rosenfield. Amuse- tent Editor for the Dallas Morning News. • UGUST 2 5. 1952 Every exhibitor must protest vigorously . . . wire the Attorney General. James P. McGranery, Department of Justice, Wash- ington, D. C, wire, telephone or write your Congressman and Senator, and express your protest to the President by wire or letter. It is very important that every theatre owner, manager, and employee take action to defend our industry, our theatres, and our very existence. The business people in your town can help too . . . every business man should be cognizant of the fact that if our theatres are forced to close as a result of this lawsuit his business will suffer from the loss of traffic of movie patrons. Each exhibitor should obtain the support of at least 10 merchants, the president of his local Chamber of Com- merce, the mayor, along with his own pro- test. There should be more than 22,000 wires of protest sent to Washington from Texas alone. IT IS URGENT THAT YOU ACT NOW . . . TODAY . . . your theatre invest- ment won't be "worth a nickel" if your new- found competitor "gives it away". Gulf States Allied This bold and insidious attack upon an in- dustry besieged with innumerable ills culmi- nating out of previous governmental actions which sought one goal of correction only to create endlessly more ills further proves what the heavy hand of political and partisan pressure can do to corrupt the very basis of American free-enterprise. The action is a wolf in sheep's clothing, disguising itself in the finery of misleading and prejudicial allegations and no more fit- ting proof of this fact could be exemplified than by (1) The Government's anxiety in attempting to rush through the hearings and bring the case to trial during the national political campaign: and (2) by the listing of the Armed Forces, the Veterans Hospitals and other Government Agencies as part of the potential market for 16mm films, the defendants are named as having unreason- ably restrained competition in the distri- bution and exhibition of feature films and that the telecasting of the better and newer pictures has been restricted. In the minds of the average lay readers, the wording of these pleadings can easily be interpreted as meaning that the defendants have deliberately deprived motion picture entertainment to the Armed Forces which is a terrific punch in the "jaw" of an industry that has done "double-time" in their con- scientious efforts to not only supply motion- picture entertainment at all costs to Uncle Sam, but for the most part, released product to them many months prior to the engage- ments of those pictures in their national release dates. ATOI of Indiana In the August 4 issue of Motion Picture Daily, Sherwin Kane expresses his bewilder- ment at the continued silence of the pro- ducer-distributor defendants in the Justice Department's suit seeking to make all motion picture features available to tele- vision. Mr. Kane states that just to go through the legal motions of filing formal answers and denials is not enough and con- trasts that attitude with the vigorous and all out fight made by the A & P Company when an "equally senseless and obnoxious case" was brought against them by the Depart- ment of Justice. Erskine Johnson, writing from Holly- wood, says that there may be more than meets the eye in this suit and that "the big grapevine buzz is that they welcomed the suit". The reason is that the suit gives the major valid excuses for ignoring the wails and threats of exhibitors and leasing 16mm prints of old and new movies. For our part, we just don't believe this speculation because surely the producer-distributors must realize that if they jeopardize their theatre market for the relatively small revenue of 16mm distribution it is their own self-preservation that is at stake as well as that of their thea- tre customers. Allied of la., Neb., S. D. & Mid-Central It isn't necessary to go into all the details of the Complaint here; how there has been used the subterfuge of "16mm films", "the public interest" (to be served by TV!), and "reasonable clearances"; or how there has been dragged into it "Armed Forces", "Veterans Hospitals", churches and schools, hotels, ships, trains and planes; convents, home for the aged, taverns, "jack-rabbit itinerants", coin operated machines and "16mm dealers". THE CLEAR. COLD, HARD FACTS are that TV is thus making a desperate effort, with the help of the United States Department of Justice, to get our pictures, both old and new, for their own use! You think that's too rough? Hells fire, we've a right to fight for our economic life yet I hope, in spite of all the regimentation we've had to take! We've said many times before, our only hope of survival is to retain our theatre films for our own exclusive use. If this suit is successful, or even partially successful which would mean immediate re- lease to TV of the 5000 pictures mentioned above, WE. and OUR THEATRES and DRIVE-IN'S ARE ALL THROUGH! It's just as simple and stark and naked as that! IT IS POLITICAL. Your writer firmly believes this move is "political" and accord- ingly, it must be fought politically. That means ALL of us MUST get into it— VOLUME is MOST IMPORTANT. 21 EXPLOITATION PICTURE SELL 'DREAM BOAT' VIDEO WEBB & ROGERS Back to the Movies! The exhibitor has a two-pronged spear of exploitation in 20th Century-Fox's "Dreamboat". His first, of course, is the film's strong entertainment values. The other, much more subtle, but, perhaps, even more potent, is the barb thrown at its prin- cipal competitor, television. Here's the theme: A college professor, Gibraltarlike in his stand for proper be- havior and propriety, is uncovered as the romantic star of the silent film era. a Casanova who out-Valentineo's the Great Lover, when his films are reincarnated on television. Mistress of ceremonies on the show is none other than his former co-star, played by Ginger Rogers, and the resultant complications from Webb's threat of a law- suit to protect his current austere standing lead to some hilarious procedings, especial- ly when his students begin calling him "Dreamboat". It's not easy to make satire pay off, but in this case, not only does the film hit the bullseye with its barbs, but it aims the darts squarely at what has come to be regarded as its nemesis. It points up the contrast in entertainment values offered by television and by the movie houses and should give the theatre showman an added incentive to go all-out in his campaign on the film. Marquee-wise, the combination of Clifton "'Belvedere" Webb and Ginger Rogers is an intriguing one. Both are proven box- office draws and have the know-how to pull off a satirical comedy. The former, actual* ly, is l lie dean of the verbal barb, the look- down-the-nose shrinker, while Miss Rogers' talents, personified in "Lady in the Dark" and subsequent films leave little doubt as to her capabilities in this direction. The draw for the older audience is evi- dent in the scenes from the silent films. They'll eat up the curtain-chewing se- quences with fond nostalgia and the autumn romance between Webb and Ginger should strike them favorably, too. A concurrent affair involving Anne Francis and Jeffrey Hunter should be a satisfactory sop to the younger element. 20th-Fox's Charles Einfeld and his team of boxofficers have worked up some exciting showmanship ideas for exhibitors to use. Special lobby pieces, stunts, tie-ins, and, of course, a whopping series of ads, are all offered in the press book. Don't miss out on a good b.o. bet by failing to exploit "Dreamboat" when you play it. DISPLAYS A wonderful idea for a lobby piece is suggested in the press book — a '"Remember When" board that spotlights the corny silent pictures and their exaggerated gestures. As proffered by the press sheets, the stills used are taken directly from the picture, since the crux of the comedy involves the mock sequences from famous types of old silents. This can be varied, however, with actual stills of the old-time films. The Valentino's, the Fair- banks, the Clara Bow's, the Pola Negri's — and it shouldn't be too difficult to locate these — would enhance the display even more. Given proper spotting in your lobby, it should be a real eye- catcher. CONTESTS The same theme prompts a pair of contests that should arouse plenty of interest. A sequence of queries involving "films of yesteryear" would ask patrons- to identfy early film personalities and characters they played in films. The second con- test, in line with the "great romantic teams" of yesteryear, notes that Webb and Miss Rogers do a take-off on famed romantic couples of the movies' early days, divulges the name of one star and the film, and asks the participants to name the co-star. For the schools, it's a safe bet that teen-age girls will enjoy a contest that asks for a 100-word essay on what, in their opinion, constitutes their "CIGARETTE, MONSIEUR?" Curtain-Chewing Historyonics version of a "dreamboat". Newspapers' women's pages, as well as the amusement features, are an ideal spot for this stunt. TIE-INS Fashion and beauty tie-ins are a natural for "Dreamboat". With the luscious Ginger Rogers as bait, the company has arranged set-ups for fashion and beauty salon co-ops, utilizing some tantalizing still and ad art on Ginger, with play- date credit for window and in-store displays and newspaper ads. A "Miss Dreamboat" contest would enhance these, with cosmetics, wearing ap- parel, jewelry, etc., as contributing factors for the stores to join in the contest. The title also suggests a tie-in with travel agencies and tourist bureaus. Window display-, mail circulars, newspaper ads and other media can be utilized to exploit the theme: "Take Your 'Dreamboat' to a Vacation Wonderland." This can be tied in with cruises both of local and world- wide character. EXPLOITATION PICTURE of the issue At top. the now and then oj the old- time movie team. Left. Ginger Rogers offers her congratulations to the acidu- lous Webb after he makes a great come- back in films. Right. Webb as a daunt- less World If ar I ace prepares to go off on a mission before the adoring eyes of Miss Rogers. Center. Miss Rogers as the harem girl which she made famous as the silent movie star vamp. DREAMBOAT After all the spoofing of movies by television — while begg- for films to bolster its sad programming situation — the tion picture has done a turnabout and done a satirical turn- nit that should have the TV tycoons purple and the movie liences roaring with laughter. A take-off on video's use of old films to sell beer, soap and akfast cereals, "Dreamboat" is a satire that, unlike most of ilk, works in a solid plot to augment the theme. The delight- y acid tones of Clifton Webb point up the ridicule as he plays ollege professor who had long forsaken — and kept hidden-^-a vie career in the silent days when he was known as '"Dream- jit", greatest lover of them all. Webb's austerity is blasted H'n his glamorous co-star, Ginger Rogers, now a television m.c. resurrects his old films on her program. The butt of his students' cracks. Webb attempts to have the program taken oft the air. He journevs to New \ork to file suit, but the wily Dinger heads off the action by pretending she is completely dependent on the films for her livelihood. hen he learns that she is actually wealthy. Webb goes berserk and. in a bar, realizes that he is missing out on some pretty fine living by rejecting the movies. He returns to films making a sensational comeback as "Belvedere," with Ginger at his side and wedding bells in sight. In supporting roles are Anne Francis, Jeffrey Hunter, Elsa Lanchester, Fred Clark and Ray Collins. Claude Binyon directed the Sol C. Siegel production. CO I ER-TO-CO 1 Eli There are substantial reasons why exhibitors all over America (and the subscribers in Canada, Europe, England, India and Iceland, too) are agreeable to pay more for their subscription to FILM BULLETIN than for the average trade paper. The answer is that thousands of theatremen da more than just subscribe to FILM BULLETIN . . . They absorb it from cover to cover . . . They buy product by it production information . . . They book by its frank reviews . . . They form their views of industry policies by its Viewpoints pages . . . They have faith in it . . . They regard FILM BULLETIN as the paper with something important to say! ^ KILM DULLETI ;R?S R6CORD 951-52 Features Serials COLUMBIA Completed (66) In Completed (3) In Production Production ( I ) (0) RELEASE CHART — 1951-52 — Cast Waters-Harris N PRODUCTION TITLE — Running Time Cast Re lember of the Wedding, The COMPLETED ff air in Trinidad 1981 Hay worth-Ford 9-52 II Ashore IT) Rooney-Lawrence mbush At Tomahawk Gap Derek-Hodiak pache Country (62) - Autry-Buttram 5-52 isignment — Paris Andrews- 1 oren irbed Wire (ill - Autry-Buttram 7-52 >ots Malone 1103) Holden-Clements 12-51 ive Warrior IT) 173) Jon Hall 6-52 igand. The IT) 194) Dexter-Lawrence 7-52 .ilifornia Conquest (T) (79) Wilde-Wright 7-52 sptain Pirate (T) 185) Louis Hayward ouded Yellow, The (89) Simmons-Howard 8-52 jngo Bill McGuire-Moore _ ipple Creek (T) 178) .__ Montgomery-Booth No. Rev. 7-28 419 1-14 5-19 6- 30 7- 28 10-8 •ath Of A Salesman (III) March-Dunnock 185) rty Dozen. The mily Secret, The efighters, Th e ■st Time, The 189) 300 Fingers of Dr. T ur Poster, The >lden Hawk, IT) ippy Time, The (94) .rem Girl. The 170) 7-52 2-52 The Colleano-Franz .Derek-Cobb 12-51 Williams-Reynolds Cummings-Hale 2-52 Hayes-Healy Harrison-Palmer _ Fleminq-Hayden .Boyer-Driscofl Davis-Castle 2-52 Starrett-Burnett .. 2-52 6-30 423 12-31 414 424 2-11 422 t-30 1-28 Kiepura-Eggerth . Montgomery-Long -52 _ 417 . 7-52 3-52 iwk of Wild River, The 1541 ■r Wonderful Lie iian Uprising ISC) 175) ....... ck McCall, Desperado (T) Montgomery-Stevens ■iction City (54) - Starrett-Burnette ogle Jim in the Forbidden Land 165) Weissmuller-Ryan lgle Safari Weissmuller-Greene I From Amarillo 156) Starrett-Barnett 4-52 nga, The Wild Stallionl65) Reissue Stone-Hudson 2-52 amie Mountains (54) Starrett-Burnett _.. 4-52 it of the Comanches (T) _ Crawford-Hale it Train From Bombay _ Hall-Ferraday 8-52 prying Kind. The 193) _. Holliday-Harrison 4-52 tome — Dance of the Seven Veils |T) Hayworth-Granger ntana Territory IT) 164) _ Mc Allister-Hendrix 4-52 | Six Convicts 1104) Beel-Mitchell 3-52 )ht Stage to Galveston 161) - Autry-Buttram 3-52 ( nawa 167) O'Brien-Mitchell 3-52 I West. The (61) Stlanders, The IT) jhfinder, The IT) . Ila 180) _ lice of Pirates IT) 425 5-5 6-30 Jple Heart Diary 173) fnbow Round My Shoulder IT) (78) Laine-Daniels 9-52 Autry-Buttram ... 3-52 475 Scott-Jarman .. . Montgomery-Carter Young-Smith 6-52 Derek-Rush _ . ..... F. Lanqford-T. Romano 12-51 _.. 421 5-19 II Snow (75) I ers of the Whistling Pines $gh. Tough West 154) "ndal Sheet 182) )ky Canyon (55) Jer, The (87) ..Madison-Mala Autry-White Starrett-Burnett Crawford-Reed Starrett-Burnette . Menjou-Franz Reagon-Douglas 7-52 §rm Over Tibet 187) nd Off ISC) 183) Mickey Rooney Jl Tall Men IT) 197) _ Lancaster-Lawrence ';et — Hong Kong Denning-Loo IE) of Damascus. The IT) (78) Henreid-Sutton v can, The IT) 142) . Documentary V doo Tiger Weissmuller-Burckhart Mgon Team Autry-Buttram k East on Beacon 198) Murphy-Gilmore ' Cry IC) _ Montgomery-Long k in Indo-China, A 167) Archer-Dick 6- 52 3-52 1-52 S-52 7- 52 5-52 12-51 4-52 Special 483 413 4-7 9-52 6-52 426 5-52 5-5 1 5 1 -52 LIPPERT Completed (37) In Production (2) il PRODUCTION TITLE — Running Time M Walkie-Talkie _ C WLETED fcjMen Only 193) o bier and the Lady * jate 1871 ' ^et You Jojny the Giant Killer .. JMle, The (74) Lc Shark (79) JM'io (70) O iw Women (C) 175) r< e Submarine 169) and Yard Inspector ... . n People n Face, The (71) ghold (73) ba, The RELEASE CHART — T951-52 — Cast Tracy-Sawyer Rel. No. Rev. P. Henreid Dane Clark Hayden-Leslie George Raft Animation Feature _ Cameron-Romero Raft-Hart . Indian Cast Windsor-Rober — Special Cast Romero-Maxwell Cortesa-A. Hepburn — Henreid-Scott Lake-Scott 1-52 5102 11-7 5204 9-5 5113 12-12 5206 11-21 5205 7-4 5112. 5-23 5111 3-52 5104.. 6-2 5105 ... 7-18 . 51 10 9-2 5202 8-25 5116 1-28 1 of the Eagles 183) « of Danger 172) ■GUST 25. Warner-Gray Z. Scott 6-16 ...5109... ........ 2-52 . 5107 . 9-13 5201 4-25 51 14 . 4-1 5106 In the Release Chart, "Rel." is the National Release Date. "No." is the release Number. "Rev." is the issue in which the Re view appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1951-52 programs unless otherwise noted. Listing of color pictures follows immediately after title: (T) Technicolor, (C) Cinecolor, (SO Supercinecolor, (TR) Trucolor, (AC) Ans- color, (NO Natural Color, (WO WarnerColor. METRO-COLDWYN-MAYER 1951-52 Features Completed (96) In Production (8) RELEASE CHART IN PRODUCTION TITLE — Running Time My Mother and Mr. McChesneylT) Girl Who Had Everything, The Steak for Connie Never Let Me Go Jeopardy Battle Circus Vanuero Dangerous When Wet COMPLETED Above and Beyond Apache War Smoke — 1951-52 — Because Your Mine IT) 1103) Belle of New York IT) (81) Carbine Williams 1101) Desperate Search, The Devil Makes Three, Jhe (96) Everything I Have Is Yours Fearless Fagan (7?) Girl In White, The 193) ... Glory Alley 179) Holiday for Sinners (79) _ Hour of Thirteen. The _ I Love Melvin IT) It's A Big Country (89) Ivanhoe (T) (106) . Just This Once 190) Lili Lone Star (94) _ Love Is Better Than Ever 181) Lovely To Look At IT) 1 112) _ Merry Widow. The IT) (105) My Man and I (99) Million Dollar Mermaid (T) Naked Spur, The IT) Pandora and the Flying Dutchman (T) 1123) _ _ Pat and Mike 193) Plymouth Adventure (T) Prisoner of Zenda (T) Quo Vadis (T) (171) Rogues March Scaramouche IT) (115) Sellout, The 172) .._ Cast Garson-Pidgeon Taylor-Lamas Johnson-Leigh Gable-Tierney Stanwyck-Sullivan Bogart-Allyson Taylor-Gardner Williams-Lamas Taylor-Parker Roland-Horton Lanza-Whitmore Rel. No. Re. 10-52 Astaire-Vera-Ellf n 3-52 Stewart-Hagen 5-52 Keel-Drake Kelly-Angeli 9-52 Champion-C Keefe Leigh-Carpenter 8-52 Allyson-Kennedy 5-52 Caron-Meeker 6-52 Young-Rule 7-52 Lawford-Addams O'Connor-Reynolds All Star 1-52 R. Taylor-E. Taylor 8-52 Leigh-Lawford 3-52 Caron-Ferrer Gable-Gardner 2-52 E. Taylor-L. Parks 4-S2 Grayson-Skelton 7-52 Turner-Lamas 9-52 Winters-Montalban 9-52 Williams-Mature Stewart-Ryan 223 231 2-25 4-21 241 2^2 7-14 6-2 6-30 215 224 222 225 12-17 6-30 1-21 6-30 1-52 6-52 Shadow in the Sky 178) Singin' In The Rain IT) (103) Skirts Ahoy IT) 1 109) Sky Full of Moon Small Town Girl Story of Three Loves _ Talk About a Stranger (65) Time Bomb Tribute To A Bad Man Wahington Story 182) Westward the Women 1116) When in Rome (78) Wild North, The 197) You For Me 170) Young Man With Ideas 184) Mason-Gardner Tracy-Hepburn Tracy-Tierney Granger-Kerr Taylor-Kerr S. Grainger-E. Parker S. Grainger-E. Parker Pidgeon-Totter . Meeker-Davis-Whitmore Kelly-O'Connor . William-Blaine .Carpenter-Sterling J. Powell-Grainger All-Star Cast Murphy-Davis 4-52 Ford-Vernon Turner-Dougles Johnson-Neal 7-52 Taylor-Darcel _ ... 1-52 Johnson-Douglas 4-52 Granger-Corey 3-52 Lawford-Greer .„ 8-52 Ford-Roman 5—52 235 10-22 6-16 236 11-19 6-52 6-30 6-52 1-52 219 2-311 2-52 221 12-31 4-52 227 5-52 233 4-21 10-52 228 216 229 226 3-10 7-14 12-3 3-10 230 MONOGRAM - ALLIED ARTISTS 1951-52 Features Westerns Completed (49) Completed (18) In Production In Production 3-10 I I (I IN PRODUCTION TITLE — Running Time Stranglehold COMPLETED African Treasure Arctic Flight Army Bound Battle Zone Canyon Ambush Dead Man's Trail Desert Pursuit Down Periscope _ Elephant Stampede (71) Fargo Flat Top IC) Feudin' Fools Gold Fever Gunman, The RELEASE CHART — 1951-52 — Cast Gorcey-Hall Rei. No. Rev. . Sheffield-Luez .Morris-Albright Clements Hodiak-Christian Brown-Coates ...Brown-Ellison ._ Morris-Caruso . Stevens-Williams _ Sheffield _ Elliot Hold That Line (64) Here Comes the Marines Hiawatha (C) Jet Job (63) Jungle Girl - Kansas Territory 173) _ Kansas Pacific C Hayden-Carlson Gorcey-Hall Morgan-Calvert Wilson-Knight Gorcey-Hall Gorcey-Hall Edwards-Dugay Clements-Verdugo Bomba Elliott-Stewart - Sterling Hayden 4- 52 7-20 10- 52 9-52 .10-12 ..... 7-4 5- 52 1 1- 52 _ 10-29 9-52 10-52 _ 9-14 6-8 _ 4-13 _ 3-52 6- 15 12-7 3-23 I 1-52 5-4 5207 . 5210 5216 22 .. 5244 5243 5209 23 .51 10 5226 5201 5213 5220 5252 5211 5212 . 5202 -5215 5208 5225 1952 25 ..Wilson-Knight Lawless Cowboys 158) Man from Black Hills 178) Brown-Ellison Mexican Silver Wilson-Clyde ... Montana Incident Wilson-Stewart . Night Kaiaers _ „ Wilson-Knight ... Northwest territory (61) Grant-Chinook ... Rodeo IC) 171) Jane Nigh Rose Bowl Story, The IC) Thompson-Miles Sea Tiger Strangehold Texas City Timberwolf Trail Dust Vicious Years. The 179) Waco (68) Wagons West IC) Wild-Stallion (CI Wyoming Roundup Squared Circle, The Yukon Gold I 1-7 3-52 5155 S242 (70) Disc Jockey 177) Highwayman, The (C) (83) Bowery Boys Brown-Ellison Curwood Albright-Winters Cook-Moore Elliott Cameron Johnson-Hyer Wilson-Coates Kirkwood-Gleason Grant-Hyer ALLIED ARTISTS Simms-O'Shea 8-23 Hendrix-Coburn 9-8 8-17 2-52 12-9 ... 3-9 8-24 7-52 12-52 12-30 12-28 12-31 2-18 2-52 6-29 4-27 I 1-9 5253 bzal 5104 5204 5218 5214 5222 5107 5224 5203 5205 5254 8-52 5221 21 20 6-18 8-27 PARAMOUNT 1951-52 Features Completed (72) In Production (2) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. No. Rev. Roman Holiday Peck-Hepburn Brazen (T) Payne-Sterling COMPLETED Aaron Slick from Punkin CreekIT) (95) Shor<,-Young Anything Can Happen (107) Ferrer-Hunter Atomic City, The 185) Barry-Clarke Blazing Forest (T) Payne-Moorhead Botany Bay IT) Ladd-Mason Caribbean IT) Payne-Dahl Carrie (118) Olivier-Jones Come Back Little Sheba Lancaster-Booth .. De nver & Rio Grande IT) (89) O Brien-Hayden Detective Story (103) Douglas-Parker Encore Maugham Stories 4- 52 5- 52 6- 52 12-52 9-52 8-52 5119 5117 5120 3-10 3-10 5202 6-16 Flaming Feather IT) (77) Greatest Show On Earth (T) f 1 5-1 ) Green Gold of Nevada (T) S. Hayden-G. Russell Stewart-Hutton Payne-Morrow 6- 52 I 1-51 7- 52 2-52 7-52 51 IS 511 I 4-7 10-8 5118 5130 Hong Kong (T) (92) Reagan-Fleming Hurricane Smith (T) DeCarlo-lreland Jumping Jacks 198) Martin-Lewis Just For You (T) _.. Crosby-Wyman Los Alamos Barry-Carke Military Policeman Hope-Maxwell My Son John 1122) Hayes-He :lin Pleasure Island (T) Genn-Tavlor Pony Express (T) Hesfon-Flemming 1-52 10-52 7-52 9-52 5109 5204 5201 4-52 5116 Rage of the Vulture, The Red Mountain (T) 184) Road to Bali Sailor Bp—are I 1071 Savage, The (T) (95) Scared Stiff Shane (Tl Ladd-Kerr Ladd Kennedy Hope-Crosby- La mour Martln-I owis Heston-Hanson Martin-Lewis Ladd-Arthur Somebody Loves Me (T) (97) .... Hutton-Meeker .... Something lo Live For (901 Fontaine-Milland Son of Paleface (T) Hope-Russell y = 17 Holden-Taylor Stars Are Singing, The (T) Alberghetti-Clooney Stoone. The Martin-Lewis Turning Point, The (85 ( Holden-Smith Trop.c Zone (T) Reagan-Fleming War of the Worlds (T) Barry-Robinson ...... When Worlds Collide (82) (T) Derr-R'jsh 5-52 12-52 2-52 11-52 10-52 3-52 8-52 I 1-52 I 1-52 1-51 5113 51 14 5206 5203 5105 5205 5106 12-31 1-14 fi-i? 6-16 4-21 12-17 2-11 7-14 9-24 REPUBLIC 1951-52 Features Serials Westerns Completed Completed Completed (20) ( 0) (13) In In Production (2) Production (0) Production (0) IN PRODUCTION TITLE — Running Time Fair Wind to Java (Tr) Untitled Musical (Tr) COMPLETED Bal Tabarin (90) Black Hills Ambush forder Saddlemates Captive of Billy the Kid 154) Colorado Sundown 167) Desert of Lost Men 154) Desperadoes Outpost Fabulous Senorita, The (80) Flight from Fury Gobs and Gau Hoodlum Empire 198) I Dream of Jeanie (Tr) (90) Lady Wants Mink, The (Tr) .. Lady Possessed 187) Las* Musketeer. The 167) Leadville Gunslinger 154) Oklahoma Annie (C) 190) Old Oklahoma Plains 160) Pals of the Golden West 168) Ouiet Man, The (T) (129) ... Rangers of the Golden Saae Ride the Man Down (Tr) Stormbound Street Bandits 154) RELEASE CHART — 1951-52 — Cast MacMurray-Ralston Rel. No. Rev. Middle ton-Norman Lawrence-Ching 6-1 Lane-Waller 5-20 Allen-Kay 4-15. Lane-Edwards 1-52 Rex Allen 2-52 - Lane 1 1-19 Allen . Estelita-Clarke 4-1 Edwards-Clark 6-18 Downs-Hutton 5-52 D'^nlevy-Trevor 4-15 Middleton-Shirley 6-15... Hussey-O'Keefe Mason-Havoc 1-52 Allen-Kay 3-52 Lane-Riley 3-52 Canova-Russell 3-24 5129 5143 5064 5141 5063 1-14 5125 5128 5105 5106 7-14 5104 5142 5171 5122 5144 Allen-Kay 7-25 Rogers-Evans 12-15 515 Wayne-O'Hara Chapin-Janssen Donlevy-Tucker -Dowling-Checchi 1 2-1 5 5032 Edwards-Clarke 11 — 15 5130 .. 4 2 2- 5- 12- Then You'll Remember Me Middleton-Shirley Thunderbirds Derek-Barrymore Thundering Caravans (54) Lane-Waller Tropical Heat Wave Estelita-Hutton Toughest Man in Arizona (Tr) Monroe-Leslie WAC From Walla Walla Canova-Dunne Wild Horse Ambush Chapin-Janssen Woman In The Dark (60) Edwards-Elliott Woman of the North Country (90) Cameron-Hussey Wyoming Saddle Pals ..Chapin-Janssen 7-20 5173 1-52 5131 . .1-21 7-15 5107 RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel No. Break-Up Simmons-Mature Never Wave At A WAC Russell-Wilson COMPLETED At Sword's Point (T) (81) Wilde-O'Hara 2-52 Androcles and The Lion Beautiful But Dangerous Beware, My Lovely (77) Big Sky, The (140) Blackbeard the Pirate (T) Bloodhounds of Broadway (T) Body Snatcher (Re-issue) Cat People 173) .... Clash By Night (105) Desert Passage 160) Difference, The Faithful City 186) Half-Breed, The (T) 181) Hands Across the Sea Hans Christian Andersen (T) Hunchback of Notre Dame (117) I Walked With a Zombie (Re-issue) Jet Pilot (T) (118) King Kong (Re-issue) Las Vegas Story, The (88) Leopard Man, The (Re-issue) Look Who's Laughing (79) Lusty Men, The Macao 181) Man Who Fooled Hitler Murder, The Narrow Margin 171) One Minute to Zero (105) Pace That Thrills, The (63) Pony Soldier (T) Rancho Notorious (T) (89) Rashomon (86) Road Agent (60) Saddle Legion 160) Snow White and the Seven Dwarfs (T) (831 Disney Feature ... Reissue 292 Something for the Birds Stars and Stripes Forever IT) Story of Robin Hood (T) (84) Todd-Rice .... 7-52 Sudden Fear 1110) Crawford-Palance 8-52 362 Target 160) McGraw-White 4-52 227 Tain's Savage Fury (80) Barker-Hart 4-52 225. Too Many Girls (85) 8-52 Whispering Smith vs. Scotland Yd. 177) Carlson-Gynt 3-52 222 Wild Heart, The IT) (82) Jennifer Jones July 274 Wilde-O'Hara Simmons-Young Simmons-Mitchum Lupino-Ryan Douglas-Martin Darnell-Newton ... Gaynor-Brady Karloff Simone-Smith Douglas-Stanwyck Holt-Dixon O' Brien-Loveioy J. Smith-Ramati Young-Carter Rennie-Peters Kaye-Granger Laughton-O'Hara Conway Wayne-Leigh - Cabot Russell-Mature O'Keefe Hayward Mitchum Russell-Mitchum Werner Mite hum- Simmons McGraw-Windsor . Mitchum-Tallman Williams-Balenda Power-Edwards Dietrich-Kennedy Japanese Holt-Martin Holt-Martin Disney Feature Neal-Mature Webb-Hussey Todd-Rice Crawford-Palance McGraw-White Barker-Hart I Carlson-Gynt Jennifer Jones ..... 8-52 4- 52 Reissue 6-52 5- 52 5-52 5-52 Reissue 4-52 6-52 2-52 6-52 8-52 4-52 5-52 8-52 3-52 12-52 3-52 3-52 3-52 302 361 271 267 229 230 303 266 272 269 217 270 224 226 301 213 221 268 223 . 117 Farmer Takes A Wife, The (T) Grable-Robertson 5 Fingers 1108) Mason-Rennie 3-52 Fixed Bayonets! (92) __ Basehart-O' Shea 12-51 Girl Next Door, The (T) Haver-Dailey Girl on the Bridge, The (77) ... Golden Girl (T) (108) I Don't Care Girl, The (T) I'll Never Forget You IT) (90) Japanese War Bride (91) Kangaroo (T) 184) Lady in the Iron Mask (NO 178) L. Hayward-Medina 7-52 Leave Her to Heaven [ I 10) (Reissue) Tierney-Wilde 6-52 213 203 215 205 222 224 223 RKO RADIO 4-30 1951-52 Features Completed (72) In Production (2 Rev 20th CENTURY-FOX 1951-52 Features Completed (70) In Production RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. No. My Cousin Rachel de Havilland-Burton 60 Saddles to Gobi (T) ... Widmark-Taylor COMPLETED Belles On Their Toes (T) (89) Crain-Loy 5-52 David and Bethsheba IT) 1116) Peck-Hayward 2-52 Deadline U. S. A. (87) ...Bogart-Barrymore 5-52 Decision Before Dawn (119) Merrill-Basehart 1-52 Diplomatic Courier (97) Power-Neal 7-52 Don't Bother To Knock (76) Widmark-Monroe 9-52 Down Among the Sheltering Palms(T) Lundigan-Greer Dream Boat (83) Webb-Francis 8-52 208 140 Haas-Michaels 12-51 Day-Gaynor 11-51 Gaynor-Wayne 11-52 Power-Blyth 12-51 . Yamaguchi-P. Taylor 1-52. O'Hara-Lawford 6-52 Les Miserables (104) Rennie-Paget Lure of the Wilderness (T) (92) Lydia Bailey (T) (89) Monkey Business My Wife's Best Friend Niagara (T) 1101) Peters-Hunter Robertson-Francis Grant-Rogers Baxter-Carey Cotten-Petcrs 8- 52 9- 52 6-52 10-52 10-52 139 .136 ... 142 202 217 218 255 225 219 Night Without Sleep Darnell-Merri Number, The Outcasts of Poker Flat, The 181) O. Henry's Full House (117) 5 Phone Call From A Stranger (96) Pony Soldier (T) Powder River Pride of St. Louis 193) Rains Came; The (95) (Reissue) Winters-Widmark Baxter-Robertson 5-52 Crain-Granger 9-52 Merrill-Winters 2-52 Power-Edwards 12-52 Calhoun-Calvet Dailey-Dru 4-52 211 Power-Loy 6-52 256 216 204 26 F I L M RU L LETI Red Skies of Montana IT) 198) Return of the Texan 187) Rose of Cimarron INC) 172) Snows of Kilimanjaro, The IT) Something For The Birds Stars and Stripes Forever (T) Steel Trap Thief of Venice Treasure of the Golden Condor Tonight We Sing (T) Top Man I Viva Zapata 1113) Wait Til The Sun Shines Nellie (T) Way of a Gaucho IT) (We're Not Married I8S) 'What Price Glory IT) |M) ... jWith A Song In My Heart IT) I Widmark-Smith Robertson-Boone Buetel-Powers Peck-Hayward Mature-Neal Webb-Paget Cotton-Wright Montei-Christian Wilde-Smith ... Pinia-Peters Widmark-Dru M. Brando-J. Peters I 108 I Peters-Wayne Tierny-Calhoun Wayne-Rogers Cagney-Dailey 117) Hayward-Calhoun 2-52 2-S2 4-S2 I 1-52 I 1-52 12-52 10-52 12-52 207 209 212 1-28 3-10 IT) 12-52 3-52 206 2-25 7-52 220 5-19 9-52 7-52 221 7-14 8-52 226 7-28 4-52 210 2-2 i> UNITED ARTISTS 1951-52 Features Completed (61 In Production (2J RELEASE CHART — 1951-52 — N PRODUCTION TITLE — Running Time Encounter >wtelba ,^iss Hargreaves Moulin Rouge iteturn to Paradise :ough Shoot Ravage Frontier .outh of Algiers ihief. The fitness. The Cast Muni-Lorring Patrice Munsel Katharine Hepburn .Ferrer-Gabor ..Cooper-Haynes McCrea-Keyes Yvonne deCarlo Hef lin-Hendrix Milland-Gam Bergman-Brando Rel. No. Rev COMPLETED l.ctors and Sin 194) frican Queen (T) 1 104) _ uffalo Bill in Tomahawk Territory 164) :aptive City (91) •' loudburst 183) ... _ confidence Girl (81) _ [ry the Beloved Country lighter. The 178) _ 1 lass Wall, The i old Raiders 156) reen Glove, The 186) uest Wife 190) te Ran All the Way 177) ligh Noon 185) jvasisn U.S.A. land of Desire IT) fs in the Bag 187) 'insas City 1-1-7 jidy Vanishes, The 185) melight „ iutiny IT] 176) ne Big Affair 180) ... Ijtcast of the Islands IT) [91) rk Row ante.- s Wife . ■d Planet Mars 187) I kg. The (78) ker. The IT) (99) lyal Journey (50) arlet Spear (103) Benny, the Dip 180) -ange World 180) ie of Five Women, A [861 bi Brown's Schooldays 193) o Gals and a Guy (70) tamed Women 1 70) hen I Grow Up (90) Robinson-Hunt Bogart-Hepburn Moore-Andrews Forsythe-Hall Preston-Sellars Conway-Brooke Lee-Poitier Conte-Brown Gassman-Grahame O'Brien-Ryan Ford-Brooks Colbert-Ameche Garfield- Winters Cooper-Kelly _ O Shea-Castle „ Darnell-Hunter Allen-Benny Payne-Gray Red grave- Lock wood Chaplin-Bloom Stevens-Lansbury O' Keefe-Keyes Richardson-Kerima Evans-Welch Claudette Colbert _ Graves-King Rios-Moreno Swinburne-Shields . Color Feature Hyer Foch-Haymes Hauff-Schneider Bonar Colleano Davies-Newton Paige-Alda Jewel Productions Preston-Scott 7-18 6-2 3-21 H-R 1-14 2-8 4-1 1 Asp 4-7 1-31 Stone 6-16 8-22 Got 6-16 9-14 11-5 2-28 Ben 3-10 9-52 7-13 Reb . 7-16 7-30 Kr 5-5 I 8-4 9-52 9-52 3-14 Zl KB 3-24 2-22 7- 1 I 8- 12 Lop 5-19 5-15 9-52 2- 15 . Ren 3- 15 8-24 . Dan 3-28 Gehn 3-7 11-2 8- 31 9- 52 .4-20 7-16 4-7 UNIVERSAL '51-52 Features Completed (81) In Production (4) RELEASE CHART — 1951-52 — PRODUCTION TITLE — Running Time lert Legion IT) Je Hand IT) _ . <|umn South IT) co Buster IT) 180) % Beneath the Sea (T) Pi at Silver Creek, The IT) _ jjh and Fury 183) fjicis Covers the Big Town fjicij Goes to West Point .... (den Horde, The IT) 1134) g Hand IT) H Anybody Seen My Gal IT) h e Comes The Nelsons (76) Hizons West M Man '82) '1-rows On Trees 1 | V Hunter (T) 195) Ji Across the Street 79) Hi Pays Off, The 180) M in Alaska Hand Pa Kettle at the Fair 187) and Pa Kettle in Waikiki and Pa Kettle Go To Paris s Country (89) Cast Ladd-Dahl McCrea-Hale _ Murphy-Evans Abbott & Costello Flynn-O'Hara Chandler-Lund .Young-Chandler Stewart-Kennedy McNally-Greene Perreau-Gwenn Dow-Kennedy Lund-Brady Ryan-Powers Murphy-Domergue Curtis-Sterling Donald O'Connor O'Connor-Nelson Blythe-Farrer Hudson-Adams Colburn-Laurie Ozzie and Harriet Ryan-Adams Keyes-Chandler ... Dunne-Jagger Steel-Sheridan .... Sheridan-Lund Darnell-McNally Abb^tt-Costello Main-Kilbride Main-Kilbride Main-Kilbride Murphy-Drake Rel. No. Rev. July Oct July Feb 224 134 226 210 6-30 1-28 Aug June 1 Nov Aug Apr 130 7-16 221 6-2 6-2 202 229 7-23 216 3-24 Meet Me at the Fair Mark of the Renegade IT) 181) Meet Danny Wilson 188) Mississippi Gambler No Room for the Groom 1821 Pool of London 185) Raiders. Ihe IT) _ Red Ball Express Sally and Saint Anne Scarlet Angel IT) 181 1 Seminole IT) ■ . Son of All Babe ITI Steel Town IT) 1851 The Redhead From Wyoming lreasure of Lost Canyon, Tne III 1 8 1 Untamed Frontier. The (T) Willie and Je Back at the Front World In His Arms. The !T) tankee Buccaneer iT) Dailey-Lynn ..... Montaloan-Charlsse Aug Feb 128 205 8-13 1-28 Dnu.ar.1 Jnfl* . .. . — — Curtis-Laurie May 220 5-S Colleano- Shaw „, Nov 1 0 i Con-te-Lindtors 2 1 8 225 v^nanj «r wabot Blyth-Gwenn May jrl" June DeCarlo-Hudson Hudson-Hale 222 6-16 Curtis- Laurie Sept 231 215 . Sheridan- Lund Mar O Hara-Nicol 2-25 W P-weil-J Adams Mar 209 Cotten-Wirtters Sept. 230 Ewell-Lembeck 227 Peck Blyth Aug Chandler Brady WARNER BROTHERS 1951-52 Features Completed 151 ) In Production (5! RELEASE CHART — 1951-52 — Cast Lancaster-Rice Mayo-Cochran Thomas-Lee ..Flynn-Campbell Crawford-Trevor MacRae-Bracken Do, J.aer Wa , ne-Olson Douglas-Miller . . R. Miliand-n. Carter Flynn-DeHaviland Scolt-Massey IN PRODUCTION TITLE — Running Time His Majesty O'Keefe ITI Back to Broadway IWCI Jan Singer. The IT) Master of Ballantrae IT) _ Stop, You're Killing Me (WC) COMPLETED Abbott and Costello Meet Capt. Kid Abbott-Costello About Face (T) 194) April In Paris IT) Big Jim McLain .„ .. , Big Trees, The (T) 189) Bugles in the Aiterrjpon IT) 185) Captain Blood iReissuel (98) _ Carson City IWCI 167) Captain Horatio Hornblower(T) 1117) Peck-Mayo Crimson Pirate, The IT) B. Lancaster Danger Forward Wilde- Cochran Desert Song, The [Tl Gra / scn-MacRae Distant Drums IT) 1101) — Cooner Alden . . Force of Arms (100) ... — Holden-Olson — I'll See You In My Dreams (110) —Day- 1 homas Iron Mistress. The IT) . . Ladd-Mayo Jack and The Beanstalk I SO 178) Abbott-Costcllo Lion and the Horse. The IWCI 183) Cochran Teal Jim Thorpe. Ail-American (105) Lancaster-Bickford Man Behind the Gun (T) Scott Wymore Mara Maru 198) - - Flynn-Roman — Miracle of Our Lady of Fatima, The Gilbert P.owland North of the Rio Grande McCrea-Mayo Operation Secret Wilde-Thaxter Painting Clouds with S'hine IT) [87) Mayo-Morgan Retreat. Hell! (95) Loveioy-Carlson Room For One More (95) Grant-Drake San Francisco Story, The (80) McCrea-DeCarlo She s Working Her Way Through College IT) Springfield Rifle IW) Starlift 1103) Rel. No. Rev 5-31 122 4-21 3-29 117 2-25 3-8 1 16 3-10 12-5 110 . 6-14 123 5-19 8-11 030 7-2 1 101 ) _ Mayo Re.'.gan Cooper-Thaxter ._ Cagne/-Mayo Story of Will Rogers, The (TKI09) Roger, Jr. -Wyman Streetcar Named Desire, A (1221 Brando-Leigh Tank Are Coming, The 190) This Woman Is Dangerous 197) Tomorrow Is Another Day (90) 3 For Bedroom C I NO 174) _ Where's Charley? (T) (97) Winning Team, The 198) _ S. Cochran-P. Carey . Crawford-Morgan _ Roman Cochrd' Swanson-Warren Bolger-Mc Lerie Day-Reagan 12-29 1 1 1 12-17 _ 9-15 102 . 1-12 112 12-17 4-12 1 18 4-21 4-19 119 9-1 101 6-18 .... S-3 120 4-7 ...... 7-28 029 10-6 105 9-24 2-23 1 15 2-25 1-26 1 13 1-14 5-17 121 4-21 7-12 128 12-1 _ 109 1 7-26 129 7-28 3-22 104 1 1-17 108 1 1-5 2-9 1 14 2-11 «-22 103 8-27 6-21 124 6-16 8-16 130 7-14 6-28 125 6-2 Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St., Phila. 3 — 1239 Vine St., Phila. 7 LOcust 4-0100 Member National Film Carriers GUST 2 1952 27 the FOOTBAU S&SO/V. #£'S A FOOTBALL HERO / #" Ashe Outsmarts the Professors- •• *«cC cuts up with the Campus Cuties. (Jjm&m. irniO I i WS-nfie Best Friend your Box-Office ever d BULLETIN Jce Cxkibitw £ai/J: Another Way of Offsetting The Inroads of Television— 25c per Copy MATINEE 4p Paramount Musi 18 wonderful songs — 23 dazzling scenes and so many beautiful gals we just can't count 'em! Watch World Premiere Engagement now at the Chicago Theatre, Chicago — then set your play-date for early October when the peak of its pre-selling is reached! ADVERTISED TO 35 MILLION IN 61 KE This Week Magazine, Sunday, Octw — Parade Magazine, Sunday, Octorj Full fan schedule too. Plus Par,h«j famous saturation promotion on th< adi on TV — and in newspapers eveB PERLBERGSEATON PRODUCTION Starring Betty BUTTON ■ Ralph MEEM Color Br Iiats Betty's*** Greatest Show! > h ROBERT KEITH - ADELE JERGENS • and the CHEZ PAREE ADORABLES db /VILLIAM PERLBERG and GEORGE SEATON WRITTEN AND DIRECTED BY IRVING BRECHER SUGGESTED BY THE CAREERS OF BLOSSOM SEELEY AND BENNY FIELDS in****1* than the 1 Voictu" « *" fof "Great Caruso , eU W"0;^ $100,000 aheaj of d «g 28-dayg"*5"* full W^XDO^" h»£* every- «ent ft ***** cots 1 b^CMJSE 0 N Viewpoints SEPTEMBER 8, 195 2 t VOLUME 20, NO. 18 MEN AND MATTERS Joe Exhibitor Says : BUILD YOUR MATINEE BUSINESS September 1. 1952 Mo Wax, Editor Film Bulletin Dear Sir: When I was perusing the editorial page of your August 25th issue, wherein you urged exhibitors to get set for the television competition this winter, a thought struck me and I determined to re-read your comments and write you about my idea. Todav being Labor Day. which officially (for the movie business) marks the end of the summer, it seems an appropriate time to talk further about the subject of "frigid fright", as you picturesquely term the jitters felt by film and theatre men over the prospect of another seasonal recession following the encouraging summer business we enjoyed this year. t agree entirely with vour viewpoint that the warm weather seasons have become the best movie time and that "when the snows fall and the winter winds howl, the exhibitor's job of enticing people out of their homes is a tough one." \our comments made me ponder the question: How can a theatreman offset TV's inroads during the bad weather months? Several ideas occurred to me. one in particular that I would like to pass on to your readers. True, as vou say. the little living room screens — even with the drivel thev offer — are tough competition on a cold, snowy, or rainy winter night. True, also, that tele- vision has never cut much ice as a factor in the daytime. Irrefutable evidence of that fact is contained in a com- parison of TV advertising rates for day and night pro- grams: you can buy video time before 7 p.m. for half, or less, of what it costs after 7 in the evening. \^ ell aw are of the weakness of the medium in attracting daytime audiences, the networks have been concentrating on the sale of their radio time to advertisers for the morning and afternoon hours. Thinking over your provocative remarks on the need for finding ways and means of beating video competition, it occurred to me that our industrv should plug more energetically for the vast audience that is available during the daytime. We can certainly appeal to the women and. of course, to the children for after-school hours. But. in addition, is there any reason why we can*t develop a matinee moviegoing following among the men? I would like to see a campaign — on an industrywide scale— developed that would point up the physical and mental relaxation derived from an afternoon movie. The pitch should be that a couple hours diversion at a matinee show relieves the hard-working man or woman from the tensions of their labors and fits them for a happier evening and a more productive next day. This therapeutical ap^ proach to selling moviegoing could probably win the testi- monial support of psychiatrists, heart specialists and other medicos. Before daytime baseball became almost passe, countless businessmen used to slip out to the ball park on an after- noon to find surcease from their problems. They might like to be reminded that a movie will relax them. For the distaff branch, the drudgery of daily housework is bound to make them highly susceptible to the persuasions of a well-phrased campaign exploiting the comfort and refreshment a movie show affords them. For the youngsters, some sort of attractive after-school programs can be devised as a regular weekly feature. I intend to start such shows within the next few weeks. There will be special attractions and a special price, and the schools in the vicinity should be amenable to co- operating and publicizing properly selected kiddies show. Any exploitation expert can see that I ( w ith my limited talent for showmanship) have only scratched the surface of this whole thought. Smart showmen undoubtedlv will be able to come up with scores of clever gimmicks to in- crease matinee audiences. What an idea like this needs is some concentrated effort by the bright ballyhoo boys who labor in the vineyards of the film companies and the big circuits. They have the talent, and know-how. and if they could be organized into a "Build Matinee Business" committee for a couple of weeks. I am sure that the in- dustry could embark on a daytime seat-selling campaign that would go a long way toward offsetting the inroads that television has made on our evening business during the cold months. If you think this is worth repeating, please do. Sincerely yours, JOE EXHIBITOR 5 ^5ne of the finest productions I have ever seen, "O. Henry's Full House" is a beautiful picture; warm, sympathetic, funny and grand. I have always enjoyed reading 0. Henry, but I found his works even more fascinating in' the film. It was a new kind of a picture, suiting everyone's taste — young and old alike. Excellent in all departments: writing, acting, directing and photography, the picture is delightful to watch and a most excellent way to introduce people to the works of this wonderful author. Each story is more interesting than the other and sure to please the public. I consider "O. Henry's Full House" a masterpiece of a movie that does justice to five O. Henry classics. The audience at the perform- ance I witnessed applauded each story individually and gave a rousing response at the picture's end. It was a thoroughly enjoyable evening at a motion picture theatre. Pictures like this will make everyone want to go to the movies. Not only I thought it was wonderful, the whole audience was very pleased. Each sequence touched the heart and I have every inten- tion of seeing them again. "O. Henry's Full House" is honest, human, down- to-earth. Wholesome and entertaining, it is a wonderful screen surprise with superb performances. A four- star picture! To be seen by all. COMMENTS FROM AUDIENCE REACTION CARDS ROXY THEATRE PREVIEW. . . FRIDAY, AUGUST 29th FRED ALLEN • ANNE BAXTER • JEANNE CRAIN FARLEY GRANGER • CHARLES LAUGHTON OSCAR LEVANT -MARILYN MONROE -JEAN PETERS GREGORY RATOFF • DALE ROBERTSON DAVID WAYNE • RICHARD WIDMARK Full House Pioduced by Greeted by Sctetn flap by HOWARD HAWKS ■ HENRY KING ■ HENRY KOSIER • JEAN NEGULESC1; • WALTER BULLOCK • IVAN GOFF ■ BEN ROBERTS • LAMAR IROU! THERE'S NO BUSINESS LIKE c±p) CENTURY-FOX BUSINESS! Sek'md the £ceheJ ctf Jitin PrcducticH STUDIO SIZ6-UPS COLUMBIA Jrry Wald Unit Slated 1 Move To Col. From RKO I he deal is all set for Terry Wald to move f in RKO to Columbia, as exclusively pre- Mted in the August 24th issue of FILM ■LLETIN. hnder terms of the agreement now being U-ked out by lawyers representing the two mncipals, Columbia will acquire Wald- ■fesna's 50 per cent interest in the profits lithe unit's completed pictures, and place v. Id and his new partner, Milton Pickman, o, the Columbia payroll. According to the bt available information at this writing, Humbia will pay Wald $200,000 outright fi' liis 50 per cent interest in the completed ;p ures. Wald. in turn, will forfeit $22,500 o hat amount to Norman Krasna, in return ui the latter's interest in the unit. At the Wile Krasna withdrew from the unit, six n I i t lis ago, it was agreed that Wald would r«>ay him for his original investment of $1000, upon further disposition of their h lings. to information was immediately available alo the salary which will be paid Wald and Fjkman for heading up a unit of Columbia's p iluction. lthough the W-K contract does not ex- pi at RKO until January 1, it is believed til. Wald can obtain his release as early "is Cjober, inasmuch as he has eight weeks of airucd vacation time coming to him. It is bjeved that he will move to Columbia im- ivjliately upon terminating his RKO asso- cihon. ulnother fair-haired boy around Columbia, fctllt days is producer Jonie Taps. Not only ^We drawing top musical assignments, but Hie are persistant rumors that he is being ■j'ined to take on increasingly important ■Jonsibilities at this studio. B roductionwise. chief interest on the lot rW entered on "Strange Conquest," which IMts September 24, with Jane Wyman '■tired, on loan-out from Warner Rrothers. m Kent Sherman will produce and direct H story, which deals with the Lewis and i^M-lk expedition. Miss Wyman plays the M of an Indian woman — the only distaffer w|ng ^~ nicn on tlu' ^^i'0'1'1'011- | llso slated to roll on September 16 will ■*<|Manley Kramer's production of "The fs M'T EM R F. R 8, 19 57 ifl S K |» T K M I! K K 8 . 19 5 2 By Jay Allen METRO'S SCHARY Temperament Doesn't Go Juggler" (Kirk Douglas-Milly Yitale), which Edward Dmytryk directs. After two weeks of shooting at Columbia's Gower Street lot, the company will move to Tel Aviv, Israel, where the balance, of the picture is to be filmed. Three features have started at Columbia during the past month: Esskay Pictures' "Serpeant of the Nile" (Rhonda Fleming- William Lundigan), Technicolor feature di- rected by William Castle and produced by Sam Katzman; H. H. Productions' "Story Of A Bad Girl" (Cleo Moore-Hugo Haas), Robert Erlick directing for Haas; and Ess- kay Pictures' "Siren of Bagdad" (Paul Henreid), also in Technicolor, with Richard Ouine directing for Sam Katzman. LIPPERT PRODUCTIONS Lippert Will Operate On Single Picture Basis Robert L. Lippert is continuing to sell his exchanges, having thus far disposed of all but eight of the 22 total. The sales thus far have brought .in the neighborhood of $250,- 000. Still remaining to be sold are the ex- changes in Portland, Seattle, San Francisco, Los Angeles, Atlanta, Kansas City, Chicago and New York. This move indicates clearly that Lippert henceforth will operate solely as an inde- pendent producer on a per-picture basis, seeking distribution services where he can find them. Negotiations have just been concluded for Lippert to handle distribution on Frank Woods' independent film, "The Tall Texan" (Lloyd Bridges-Marie Windsor-Lee J. Cobb- Luther Adler). The feature will be filmed on location in New Mexico, starting Sep- tember 15. No director had been set at this writing. Lippert's decision to hypo the ad budgets from 5 to 10 percent of the gross on pictures playing his 28-theatre chain, is beginning to pay off handsome dividends. In the 13-week period ending August 1, Lippert's theatres showed a distinct gain in grosses over the same period a year ago, even though the trend generally has been on the downbeat. "Doubling my advertising budget helped more than anything else," he said. "In times such as these," Lippert con- tinued, "you simply must hypo the advertis- ing budgets if you want to take in more dollars at the boxoflice." METRO-GOLDWYN-MAYER Sharp Cuts in Talent Costs Effected By Careful Planning Production hold-ups brought on by Mario Lanza's latest burst of temperament not- withstanding, MGM is now operating in the most business-like manner in company history — if not, in fact, in the history of all studios. Mr. Lanza, by his repeated refusals to put in an appearance for the start of "The Student Prince", finally provoked Dore Schary into calling off the entire project. In these days of economy, Metro just won't sit around waiting for a temperamental star to place nice. Meanwhile, entire new techniques are being employed in the filming of the new product, cutting to an absolute minimum the talent costs, which have always been top- heavy at the studio. As an example, support- ing players hired from off the lot, are now f Continued on Page 8 J 7 STUDIO SIZG-UPS Z (Continued from Page 7) completing all of their scenes in as little as two or three days— whereas in the past, they would have been on the payroll for as long as eight to ten days. By carefully arranging shooting schedules, the supporting players are kept before the cameras almost con- stantly until their scenes are completed, and they can be dismissed. Another new facet of the MGM pro- duction scene that seems worthy of com- ment, is the trend toward pictures which can be broken up into sequences. In some in- stances, these pictures are assembled as a series of short stories, such as "Story of Three Loves," while in others — such as "Jeopardy" (Barbara Stanwyck-Barry Sul- livan), they bear the outward resemblance of one complete story told as a full-length feature. However, when the latter are care- PARAMOUNT'S HARTMAN Inspirational fully scrutinized, it is obvious that they can be broken down into serial form, of perhaps a half dozen sequences. Although this will undoubtedly be denied by MGM, it must be held possible that the company is planning such productions with an eye toward eventual release on television. It would be hard to remember a time when there have been as many MGM con- tract stars working simultaneously, as during the past month. As of September 1, 27 of the 40 players on the lot were in actual pro- duction, and all of the remaining 13 were in rehearsals on pictures soon to go before the cameras. Here again, economy is the answer to all this unprecedented activity. Obviously, the entire contract list will be kept busy most of the time from here on out, and many players of star rank will find that they are actually playing supporting roles. MONOGRAM— AA Four Month Schedule Lists Fifteen Features Monogram and Allied Artists will roll 15 new pictures in the four-month period from September through December — setting a new all-time production record for the two companies. Five of the 15 are set to go this month, according to executive producer Walter Mirisch. They are: "Jungle Girl" (Johnny Sheffield), one of Mirisch's own productions; "Tangier Incident" (George Brent), which Lindsley Parsons will produce; "Son of Belle Starr," a Peter Scully production to be filmed in color; "The Copperheads" (Wayne Morris), to be produced by Vincent M. Fennelly, and "Murder Without Tears", a William F. Broidy production. Starting in October are: "Cow Country," Scott R. Dunlap production for Allied Artists; "Timber Wolf" (Kirby Grant), an- other Parsons production; "The Indian- apolis Story," to be filmed in color; "The Marksman" (Wayne Morris), a Fennelly production, and "Wichita," a Richard Heer- mance production in color. Three are set to start in November, namely: "Jalopy" (Bowery Boys), to be produced by Jerry Thomas; an untitled out- door adventure yarn to be produced by Broidy, and "Outlaw Land" (Bill Elliott), which Fennelly will produce in Sepiatone. Scheduled to roll in December are: "White Lightning" (Stanley Clements), to be pro- duced by Ben Schwalb, and "The Home- steaders" (Bill Elliott), to be produced by Fennelly in Sepiatone. With the completion of the Cinecolor feature, "The Royal Mounted Police" (James Craig-Reginald Denny), early this month, the Mono-AA backlog jumped to 24 films. When the four-month schedule mentioned above, is completed, the companies will have a total of 39 productions for 1952. Since the last Studio Size-ups report Monogram has dropped its Whip Wilson and Johnny Mack Brown series, and termi- nated its contracts with three of the secondary players in the series, James Elli- son, Jim Bannon and Fuzzy Knight. PARAMOUNT New Studio Spirit Wrought By Hartman Seen In Product One only needs to step through the gates at Paramount, these days, to realize that a great change has come over the studio in the past year. That change has been wrought by Don Hartman, whose shrewd production planning, optimism in the future of motion pictures, and democratic spirit, have instilled a spirit of team-work among the employees of the studio — the likes of which have seldom been witnessed in Holly- wood. Moreover, it is evident in the product. Anyone who has spent a few hours watch- ing the daily rushes on the pictures now in production, can't help but detect a vast im- provement in every technical aspect of the pictures. Paramount definitely appears to be moving forward to a new era of success. Four pictures are scheduled to go be the cameras, this month. They are: "1^ dini" (Tony Curtis-Janet Leigh), Ger the third successive year, Universal- Wrnational has scheduled a slate of 36 f> budget films. And, again, the use of ¥> y has been almost doubled in the com- 1*1 's great strides toward eventual 100 per w\ color production. U but ten of the pictures scheduled for fnjnext fiscal year, starting November 1, *ijbe tinted, according to David A. Lipton, ^president in charge of advertising and li-PTEMBER 8, 1952 UA'S YOUNGSTEIN In the "Limelight" publicity. This is an increase of almost 50 per cent in color production over the current year. The new year's schedule was worked out during a five-week conclave of company brass, including Milton R. Rackmil, the new president; N. J. Blumberg, chairman of the board; William Goetz, head of production; Alfred E. Uaff, executive vice-president; Edward Muhl, general studio manager, and Mr. Lipton. President Hackmil tells FILM BULLE- TIN that his company will continue its policy of signing big name stars to head casts in special productions. Some of these stellar luminaries will be signed on a straight salary basis, while others will be brought in on the profit participation basis which was worked so satisfactorily for U-I during the current year. Cartoon production is also being hypoed on the 1952-53 slate, only in this instance, the number of cartoons is due for an increase, as well as the budgets. Walter Lantz, who produced the cartoons independently for U-I release, will increase his output for the new U-I'S RACKMIL Starry-Eyed year from 6 to 13. The new contract calls for Lantz to deliver seven instead of six films in the Woody Woodpecker scries, and six entirely new shorts, to be known as Walter Lantz Specials. Only two pictures are currently shooting at the studio, "Abbott and Costcllo Go To Mars" and "Man From the Alamo" (Glenn Ford-Julia Adams-Chill Wills). Charles Lamost is directing the A and C comedy for producer Howard Christie, and Budd Boet- ticher is megging "Alamo" for Aaron Rosen- berg. Two more features, both in Technicolor, are slated to go before the cameras on September 10. They are: "Thunder Bay" (James Stewart), which Anthony Mann will direct for producer Rosenberg, and "Law and Order" (Ronald Reagan-Susan Cabot- Alex Nicol-Preston Foster), to be directed by Nathan Juran and produced by John Rogers. WARNER BROTHERS Color & Quality Keynote Warner's Current Program Warner Brothers reached an all-time peak in color production, this month, with seven features being filmed in either Technicolor or WarnerColor. Even more important, the daily rushes on these pictures offer concrete evidence that the vastly improved quality of the Warner product in recent weeks is now the rule rather than the exception. Seven pictures now in production are: "The Master of Ballantrae" (Errol Flynn- Beatrice Campbell), directed by William Keighley; "His Majesty O'Keefe" (Burt Lancaster-Joan Rice), directed by Byron Haskin; "Hack to Broadway" (Virginia Mayo-Steve Cochran-Frank Lovejoy-Gcne Nelson - Patrice Wymore), directed by Gordon Douglas and produced by Henry Rlanke; "The Jazz Singer" (Danny Thomas- Peggy Lee), directed by Michael Curtis and produced by Louis F. Edelman; "By the Light of the Silvery Moon" (Doris Day- Gordon MacRae-Rosemary deCamp), di- rected by David Butler and produced by William Jacobs; "Come On, Texas" (Ran- dolph Scott-Phyllis Kirk-Lex Barker), di- rected by Andre de Toth and produced by David Weisbart; and Alfred Hitchcock's "1 Confess" (Montgomery Clift-Anne Baxter- Karl Maiden-Brian Aherne). "I Confess," incidentally, was originally scheduled for independent production by' Hitchcock's independent company, Trans- atlantic Films. The switch was brought about by difficulties in obtaining financing for the independent company. LTnder the new arrangement, Warners will pay Hitch- cock a salary plus a percentage of the pic- ture's take. "There's A Small Hotel" has just been activated by the studio and handed Sammy Calm to produce. Sy Gomberg will write the script — his first since joining the com- pany, late last month. Arthur Lubin will direct "Sulu Sea," a comedy-drama which Sam Bischoff will pro- duce for Warners late this fall. 11 O. HENRY S FULL HOUSE' WILL BE EXHIBITOR'S FULL HOUSE Rates • • • generally 20th Century-Fox 117 minutes Fred Allen, Anne Baxter. Jeanne Crain, Farley Granger. Charles Laughton. Oscar Levant. Marilyn Monroe. Jean Peters, David Wayne, Richard Widmark, Dale Robertson Directors Henry King. Henry Koster, Henry Hathaway. Howard Hawks and Jean Negu- lesco Producer Darryl F. Zanuck has taken five of O. Henry's best gimmick-ending stories, given them each an all-star cast and director, and called the omnibus film "O. Henry's Full House". So well has this production cap- tured the spirit of O. Henry's nostalgic tales, with their humorous and ironic twists, that it should soon be known as "The Exhibitor's Full House". For. while there are occasional slow sequences, the package as a whole is a sparkling bit of entertainment that provides something for everybody, and it ranks with the very best multiple-story films. John Steinbeck's narration bridges the stories and good balance has been maintained by play- ing humor against pathos. For the most part, the acting is excellent and direction first rate. Topping all this off with a blazing marquee and sure-fire word-of-mouth that is almost a certainty, "O. Henry's Full House" is stamped a top grosser for all but the action houses. Best of the lot is "The Cop and the Anthem", starring Charles Laughton, David W ayne. Marilyn Monroe and directed by Henry Koster. Laughton, as the dignified tramp Soapsy who spends summers in Central Park and winters in jail, is hilarious as he trys to be arrested with no success. Then, after deciding to reform. Laughton is jailed for vagrancy. Monroe's contribution is negligible, and the publicity given her brief appearance may tend to mislead and disappoint some of her fans. Directed by Henry Hathaway, the second episode. "The Clarion Call", star? Richard Widmark and Dale Robertson. This is a hard-hitting story in which detective Robert- son is unable to arrest killer Widmark be- cause of a debt incurred in the past. A solution is provided in typical O. Henry style and \\ idmark — who is extremely effective in his role — is jailed. "Ransom of Red Chief" is the lightweight entry, starring Fred Allen, Oscar Lev: and directed by Howard Hawks. Involv frivolity about two confidence men kidnap a boy, only to find that they hav pay his parents to take him back, it is weakest of the lot. Allen manages to into the spirit of the thing, but Levant f to be convincing and his efforts are aim amatuerish. Ann Baxter and Jean Peters star in "1 Last Leaf, directed by Jean Xegulesco, it is Gregory Ratoff who provides the heart in this drama about a girl who is sessed with the belief she will die when last leaf falls from a vine outside window. A shiftless artist Ratoff paintl leaf on the wall during a blizzard, thot the effort kills him. The girl finds strerJ to go on, because this derelict traded his for hers. Henry King directs the final episode " of The Magi", starring Jeanne Crain Farley Granger. Perhaps the best kno the O. Henry tales, it is a heartwa dramatization of a young couple who up their most prized possessions for other. NEIL BIG JIM McLAIN' WAYNE BATTLES COMMIES IN HAWAII Rates • • • tor action houses; slightly less elsewhere Warner Brothers 90 minutes John Wayne, Nancy Olson. James Arness, Alan Napier. Veda Ann Borg. Gayne Whit- man, Hal Baylor. Robert Keys. Directed by Edward Ludwig Bolstered by the magic John Wayne name and a topical plot, "Big Jim McLain" should garner fairly strong grosses down the line, although it falls short of being wholly satis- fying entertainment. There is action aplenty and enough suspense to keep the minds of even discriminating moviegoers off of the plot's shortcomings. Adding interest is the fact that the film's backgrounds were shot on the spot in Hawaii, whence Government agent Wayne goes to rout a nest of Com- munist saboteurs. The screenplay was done by no less than three writers, James Edward Grant. Richard English and Eric Taylor, but it lacks substance and credibility. Edward Ludwig's direction, likewise, fails to develop fully the serious topical theme. Despite these weaknesses. "Big Jim" will do hand- somely in the action houses and well enough elsewhere. Wayne turns in a typical hard-hitting per- formance, but acting honors go to Nancy Olson. This lovely girl gives further evi- dence of being one of the better young actresses in Hollywood. Given one strong role, she could become a star. STORY: John Wayne and James Arness go to Honolulu as special investigators for the House Un-American Activities mittee. John falls in love with a young widow, Xancy Oysen, whom he mee' the office of Gayne Whitman, a doctor, of the suspects in a Commie espionage Wayne and Arness are making good way in their investigation, thanks to t of hidden microphones, when Am bumped off. Wayne, meanwhile, has covered some useful evidence on the island of Molokai and gets other v leads from an elderly couple whose so Communist traitor, and from a rc house landlady, Veda Ann Borg. AU| the local police. Wayne tightens the ne a slugging match he takes on eight o Communists and is saved just in time b cops. COULTER CAIRO ROAD' STRONG EXPLOITATION VALUES IN DOPE EXPOSE Rates • • + as dualler; more where exploited Realart 82 minutes Eric Portman. Laurence Harvey. Maria Mauban. Coco Asian, Camelia Directed by David MacDonald This melodrama about dope-selling in the Near East is notable for its strong exploita- tion values, more than for its entertainment factors. Filmed largely on location in Egypt "Cairo Road" has the ring of authenticity, but the highly exploitable narcotics angle is the principal boxoffice asset of this British film. There are, under David DacDonald's direction, a few high spots of thrills and suspense, but these are muffled by the obscure story and the sudden plot turns. Hashish is the real villain of the piece, and some of the scenes in the hospital where tht addicts are treated, while not showing the miserable patients directly, are among the best sequences in the picture. Boxoffice re- turns should respond to ballyhoo of the dope theme, making this best suited for the transient exploitation spots in metropolitan areas. It will serve as a useful dauller. Eric Portman, as head of the anti-nar- cotics bureau in Cairo, goes through his role with a haughty iciness that makes his role effective. Laurence Harvey, as the top man in the narcotics racket, is more volatile but still a bit too mindful of the British tech- nique of underplaying a role. The two women, Maria Mauban and Camelia, who have the featured roles in the distaff depart- ment do the little they have adequately. STORY: The anti-narcotics squad, ating out of Cairo under headman Eric man, is given a lead on hashish smu when a man is found murdered. Oj on the most meagre of clues. Per agents follow the trail through the lab of hospitals where the addicts are found. Suspecting that a camel carrying a load of hashish, Portman them through an electric eye corrido uncovers the dope. The camel boy, questioned, reveals a rendezvous o smugglers, and in a fight in the many of the gang are captured but the pin escapes. In a chase through the along the Suez canal and back into the top man, Laurence Harvey, is tr~ in a final desperate fight, is captured. (More Reviews on Page 17) FILM RL'LLE BECAUSE YOU'RE MINE' ANOTHER LANZA SMASH! 'ates • • • • except for action houses 4etro-Goldwyn- Mayer 03 minutes rtario Lanza, Doretta Morrow, James Whit- nore, Dean Miller, Paula Corday, Jeft )onnell, Spring Byington, Curtis Cooksey, )on Porter, Eduard Franz, Bobby Van, ialph Reed, Celia Lovsky, Alexander teinert )irected by Alexander Hall A smash follow-up to "The Great Caruso"! Vlthough it is difficult to imagine the sen- ational grosses rolled up by "Caruso" being ppped, do not preclude that possibility, for [Because You're Mine" has the elements to lake it even more popular. Comparing it p last year's success, Mario Lanza sings as .ell and employs a far wider variety of pngs; he has become thinner and more at- ractive, as well as a much better actor; this licture abounds with sock laugh sequences, rhich were lacking in "Caruso". All in all, jBecause You're Mine" stacks up as a l.alloping boxoffice success that will jam neatres in the big cities and the smallest bwns in every part of the world. It's testitied to make a load of money for MGM |nd for the exhibitors who play it. 1 Producer Joe Pasternak has combined a i'ealth of surefire ingredients. Lanza's sing- jig — a show in itself — gets a full range of elections, popular and classical. The title png will rival his sensationally successful • POOR • • I air • • • GOOD • • • • TOPS "He My Love" (which, incidentally, is suni; by fern lead Doretta Morrow in this ne\% film). Among others, he renders "The Lord's Prayer", "The Song Angels Sing", adapted from a P>rahms symphony. "Lee-Ah-Loo", "Granados" and a number of operatic se- lections. No comment need be made on how well he sings them. The story is full of good humor and human interest. As a famous opera and recording star who is drafted into the army, Lanza has a much more appealing role than in "Caruso" and he handles it adroitly. He gets wonderful support from James Whitmore, as a tough sergeant who loves long-hair music and treats the famous private under him with laugh-provoking deference. Some of the situations between these two will wow audiences. Director Alexander Hall gets the most out of the comedy and he must be credited with a splendid job for the smooth manner in which he introduces the musical interludes. Karl Tunberg and Leonard Spigelgass earn an A for their first-class screenplay from the story of Ruth Brooks Flippen and Sy Gom- berg. The Technicolor is just right, not too obtrusive. Doretta Morrow, recruited from the stage musical "The King and I", is a highly promising screen newcomer. Xot a flashy beauty, she has the Irene Dunne kind of loveliness and a fine voice. Paula Corday is effective as an electronic blonde musical star. Less important roles are handled superbly by Spring Byington, Celia Lovsky and Eduard Franz, among others. STORY: Drafted into the army, opera star Lanza seems doomed to have a bad time at the hands of hard-boiled servant James Whitmore. However, it develops that the latter is an ardent Lanza fan who de- termines to protect the great singer's throat at all costs. Whitmore is also thinking of getting an audition for his sister, Doretta Morrow. He arranges for Lanza to meet hei at the home of Jeff Donnell, the sergeant's girlfriend. Lanza promptly falls in love with Doretta, but their romance is suddenly halted by an army captain who learns that he had left camp without a pass. Lanza arranges an audition for Doretta with his manager, Eduard Franz, in the course of which Paula Corday, Lanza's jealous singing partner, makes Doretta believe that Mario is mislead- ing her. Brother Whitmore thereupon goes to work on Lanza back at the camp. They have a fight and both land in the brig. Eventually, Mario proves that he loves Doretta and they are released from the guardhouse in time for Lanza to sing at a United Nations affair, where he is joined by Doretta in a duet. WAX SOMEBODY LOVES ME' HUTTON CLICKS IN MUSICAL WITH WEAK STORY ates • • + except in action houses aramount . fair price, they ought to run this pic- ture as a matter of self-defense. The country is interested in the struggle between TV and the movies and I would not hesitate to ad- vertise it as a picture dealing with this sub- ject. Indeed, I would like to see display ads pro- claiming "Movies Score Knockout in Titanic Struggle with Television." —A. F. MYERS BRIGHT DAYS AHEAD AITO of E. Pa. Of coursce, there is an old proverb about doctors disagreeing. Nearly everyone con- nected with the motion picture business, and a flock of outsiders, has his own pet theory about the cause of the present, severe box- office recession. According to Mr. Nicholas M. Schenck, President of Loew's, which releases Metro pictures, it is not T.V. — the greater menace are the multiple runs of the same picture in a single area. Quoted by "Variety" in its isue of August 13, Mr. Schenck said, "There is just so much money to be gotten from one zone. When you have a series of simul- taneous runs you achieve nothing but a dilution of the boxoffice potential. No thea- tre makes any big money and it costs the distributor twice as much, and more, for his participation in a selling campaign to try to bolster business of the theatres." Of course, Mr. Schenck did not say which film com- pany and which affiliated theatre chain start- ed multiple runs. Mr. Sol A. Schwartz, President of . RKO Theatres Corp., in his report to the stock- holders, dated August 6, 1952, and covering the first six months of the same year, said, "Gross receipts from admissions declined during the first six months of 1952. The de- cline in our business was more than seasonal during May and June due to the lack of good pictures." Volumes could be written on what is wrong with the picture business, but in my opinion business will get better and there 1 I are brighter days ahead. In the meantime, however, watch your film rentals and closely supervise every item of expense. Also, let's sell the pictures, let's go after business, keep- ing in mind the fact that no exhibitor should be penalized by way of film rentals for doing a good selling job. Getting the public to talk affirmatively and encouragingly about the motion picture business in any one location is a boost for the business generally. But unless every exhibitor rigorously guards every item of current expenses, he will not benefit by improving his business now or in the future. BIDDING MUST GO Allied ITO of E. Penna. Despite all efforts of independent exhibi- tors to convince the distributors that com- petitive bidding is the most destructive and unfair trade practice ever devised, and de- spite the repeated statements of highly placed distribution executives that they do not like competitive bidding, the practice still goes on. Bidding has been further aggravated by "blind" bidding. Members will, of course, recollect that our organization vigorously protested against blind bidding at the annual meeting last February and that this protest was transmitted to all of the major distribu- tors. Nevertheless, one distributor claims that its print problem makes it impossible, in some instances, to screen pictures before exhibitors must bid on the picture. This is an evil which wreaks untold damage on the exhibitors in the particular bidding situation. The distributor in question should immedi- ately eliminate this blind bidding. Unless they correct this glaring evil, there will be dire results. Many exhibitors, including myself, have come to the inevitable and logical conclusion that despite all protestations the distributors want bidding, like bidding, and wherever they can, stimulate bidding. Otherwise, it would have been abolished long ago! The greatest evil of bidding is that it is not bidding in the true sense of the word, because exhibitors never know on what basis the winning bid is awarded. United Artists has taken a long step to reform this angle, in its recently announced decision to allow inspection of winning bids by the losing exhibitor. From the trade paper stories I have read, United Artists has safe-guarded this disclosure of the bids. It is my opinion that this method will have a very beneficial effect on bidding. It is now time for all other distributors which use competitive bidding to follow the leadership provided by United Artists and to do like- wise. I '.ill Heinemann, Vice-President in Charge of Distribution for United Artists is to be congratulated for his action in this matter. But, exhibitors must remember, that de- spite all efforts by distributors to reform competitive bidding, this practice is an un- mitigated evil and must be eliminated from this busuiness. TAX REPEAL AITO of la., Neb., S. D. Mid-Central You know that repeal of this tax — 20% the top of every dollar you take in — if yo gross $250 per wTek, it means $200 per mon —would be eating and living money, the di ference between profit and loss; of stayin in business or going broke for most of But did you know that during 1951, this ta amounted to 7 times the profits of AL theatres, was GREATER that the annu combined payroll of All theatres?! wonder we're in trouble' You certainly D know better than anyone else, just what th tax is doing to you; how many times eve month-end you've fervently wished you cou trade your profit or loss to the Governme for their tax bite! And do you rememb how the present Washington administratio promised to take this tax off when the shoot ing stopped in WW II, and how they brokl that promise?! Get this straight — when repealed, this 205 stays with the exhibitor, unless the exhibitc! himself sees fit to pass it on. The whol campaign will be waged for straight, fu repeal with no strings attached, no promise to pass it on in reduced admission or othei wise. We need this money; we will keep to help us eat ,stay in business. Because d this we cannot ask the general public t help us in this tax repeal drive, altli Chambers of Commerce might to save the local theatres; and bankers and newspapt editors, because of your business and adve tising. IT CAN BE DONE. IF EVERYON in our industry — we, our employees, 01 close friends, landlords and other affectel will ALL do our bit, which actually very ll VERY LITTLE for EACH of us, th murderous tax WILL BE REPEALED rj this next Congress convening in Januar While it's sometimes embarrassing, arj always a real threat, the facts that we're ! bad trouble and that many theatres ha1 closed already are well-known to mo| everyone and form an unanswerable argj ment for tax-repeal. OHIO'S FAIR ITO of Ohio Our exhibit at the state fair, we belie\| will promote a great deal of interest | movies. If any of you plan to visit the fa i be sure and stop at the "Hollywood at t Fair" exhibit. Practically everyone of o| members has contributed his $2.00 for tt listing on the big board, to impress the f;| goers that the theatres have brought ;1 exhibit to them. We must express our thanks to Leon Bai berger of RKO Pictures Pictures. Whl many of the studios have furnished exhil| material, the RKO material is by far t| most outstanding and impressive. It all I the studios had furnished as much as RK we would have had the most outslandi exhibit ever displayed. Our old friend Le has proven that when you ask him for son thing, lie can deliver. FILM liULLETl Exploitation and Merchandising United Artists' fieldmen have been tub- Uttmping like crazy for "Island of Desire", md brother, how it's paid off! Armed with karongs and grass skirts, the exploitcers uflder the direction of ad-publicity chief '•'rancis Winikus and exploitation head Mori '\rushen had the potential customers craning Iheir respective necks and talking it up all |>ver the country. Some examples: In I'itts- lurgh, the pic was plugged heavily on radio [md TV, and a Tab Hunter fan club blos- somed. On Saturday before opening, a plat- form was set up in front of the theatre, Iressed as castaways and played cards, stop- ping traffic as crowds gathered. Navy re- (ruiters named Linda Darnell as "The Girl 'hev would most like to be stranded on an MODEL, CUSTOMER & LEI Ballyhoo Named Desire land with," and the dailies caried plants in L-ery issue. In Philadelphia, UA exploitace lax Miller got saturation breaks on all the lidio stations and combined them with a TV mipaign. Grass-skirted models in Bikini bthing suits gave leis to pedestrians, as well i visiting newspaper, radio and TV offices j' distribute garlands. In Xew Orleans, a Iream girl," dressed in a South Seas outfit, irew candy kisses to passerbys. Much of he same was conducted in Kansas City, layton (Models with the title stenciled on eir backs visited swimming pools) recruit- g Marines for the very welcome job. It's is kind of old-fashioned ballyhoo which is aking "Island of Desire" a top boxoffice traction. * * * i If the gloom-mongers had attended the hine circuit convention in Albany, they puld have had very little ammunition for eir blues program. "Win witli Showman- ip" was the keynote of the confab attend- by better than 150 theatre managers and EPTEMBER 8, 1952 the six-poitit program adopted was like a beacon in the gloom and fog of the calamity hounds. The sextet included (1) Merchan- dising films; (2) Campaigns which "tell and sell" the product played; (3) Proper service and facilities for theatre patrons; (4) Get- ting youngsters into movie houses; (5) More participation by managers in community affairs and (6) Economies and efficiency in theatre operation. Best of all was president J. Meyer Schine's appraisal of the present and prospective outlook for theatres. Though there was a recession between 1946 and 1950, said Schine, 1951-52 grosses were climbing back up, due chiefly to increased value of Hollywood product and more intensive sell- ing. Schine pointed out that in 1951 movie- goers spent some $1,350, 000. 000 on movies, more than all other types of entertainment combined. Also on hand as a hammer was Metro's Si Seadler, ad-head, who plugged home the point that managers should "talk shop" at every opportunity. The comments, he said, are juicy items for newspapers to pick up and enlarge the audience for movie- going as well as specific pictures. The Schine confab should serve as a model for the theatre circuits of the nation. That rear-view 16mm projector with trailer stunt running continously in theatre lobbies on Columbia's "Affair in Trinidad" is drawing 'em in like flies to molasses. Some 10 ol the "soundies" are being used in thea- tres across the country, showing a two- minute slice of Rita Hayworth's hot "Trini- dad Lady" calypso number. When the device was first used in front of the Victoria in Xew York, police had to be rushed in to disperse the mobs that gathered on the side- walk and overflowed into the street. % %• Darrvl V. Zanuck's personal production for 1952, "The Snows of Kilimanjaro" (don't say it, see it) is getting an unprecedented coverage by the fan magazines. Some 11 color covers and color inserts, plus 13 feature stories and picture layouts devoted exclusively to the film have been lined up, timed to break with the picture's initial pre- release engagements. QA l'REEMS: Darryl Zanuck's only person- al production of the year, "The Snows of Kilimanjaro," bows in its invitational world debut at Broadway's Rivoli on Wednesday night, Sept. 17, with the regular run begin- ning the following morning. The premiere is decked out in all the trimmings, with bigwigs from the United Nations, society, politics, sports and the entertainment world as guests. In the forefront will be top-rank- ing diplomatic representatives from the three regions which background the picture's action, British East Africa, France and (Continued on Next Page) By BARN fyJONOGRAM — ALLIED ARTISTS' national convention has been set by sales v.p. Morey Goldstein for Chicago's Black- stone Hotel, Sept. 24-26. The first national confab since 1946, the current conclave's im- portance is pointed up by Goldstein who claims the company's 1953 production schedule "warrants a meeting of this nature. It will give our sales staff the opportunity to learn fully about the program that offers the greatest boxoffice potential ever present- ed by our company." All of the big brass, including president Steve Broidy, v.p.'s Harold Mirisch, G. Ralph Branton, Edward Morey and George D. Burrows and studio MONOGRAM'S GOLDSTEIN The Meeting Is II ar runted chief Walter Mirisch are due to be on hand, as well as Mono-International prexy Norton V. Ritchey and ad-publicity director John C. Flinn. THE LADIES who will attend the TOA convention in Washington, Sept. 17, are due for a special treat — a tour of the re- furbished White House, personally con- ducted by the President and Mrs. Truman. Convention chairman A. Julian BrylawSki proudly announced the arrangements for the tour at 9:30 a.m., with buses leaving the Shoreham Hotel, headquarters for the con- vention, at 8:45. There'll be plenty more for the ladies to do but it is problematical that anything will top this event. The males, with more serious business to take their time, will have five days, Sept. 14-18 to be climaxed by the presidents' banquet with each of the company head in- vited to attend. Sales chiefs are also ex- pected to be on hand and the MPAA's Eric Johnston is due to address an estimated 700, members of TOA and their better half. (Continued on Next Page) 15 .Short Subjects (Continued from Page 15) AF MEN AND THINGS: Monogram's company-owned exchanges rose to 15 as president Steve Broidy announced the pur- chase of the Monogram franchise-operated exchanges in Chicago and Indianapolis from Irving Mandel. Sixteen others are being operated on a franchise-owned basis . . . The Motion Picture Pioneers, whose membership has zoomed in the past couple years, will hold their 13th Annual Dinner in the Grand Ballroom of the Hotel Astor, instead of the Waldorf Astoria which has become too small for the organization, according to president Jack Cohn. David A. Bader is the new pub- licity director for the Pioneers to work with executives Harry J. Takiff, secretary-treasur- er, and Marvin Kirsch, vice-president . . . Warner ad-publicity v. p. Mort Blumenstock's daughter, Haidee, was wedlocked to Major Marvin Perskie, U.S.M.C., Aug. 28 . . . Miss May F. Quirk, manager of the Victoria COLVIN, HOFF, KIRSCH Teda, Tesma, Allied Combine Theatre in Mt. Carmel, Pa., has copped M-G-M's second "Promotion Prize of the Month" half grand for the bally on "Just This Once" . . . Richard A. Harper, former Metro circuit sales rep, has joined the M. A Shea Theatrical Enterprises as executive assistant to the president . . . We don't know if it's a case of out of the frying pan into the fire, but Ellis Arnall leaves his post as Office of Price Stabilization chief to resume active duty as head of the Society of Inde- pendent Motion Pictures Producers. Whik OPS chief, Arnall was lauded by President Truman as a stalwart who handled a tough job "with courage, vigor and intelligence" . . . Legal control of Cinecolor Corp. has been acquired by Donner Corp. of Phila- delphia by purchase of five per cent sub- ordinated sinking fund debentures with common stock purchase warrants attached . . . Jack Kirsch, Illinois Allied prexy and chairman of National Allied's convention had 16 an across-the-table confab with TEDA presi- dent Ray Colvin and TESMA chief J. Robert Noff to set plans for the trade show at Chicago's Morrison Hotel on November 17-19. pASH & CARRY: 20th Century-Fox main- tained a healthy profit for the six months ended June 28 thanks to a whopping second quarter, as it reported a net of $962,000, com- pared with a consolidated net of $1,071,000 for the corresponding period last year. Second quarter earnings zoomed to $928,000 compared with $34,000 for the first quarter and $196,000 in the second quarter of 1951. Gross consolidated income during the '52 first half came to $78,044,000 of which $43,- 988,000 accrued from film rentals and $37,- 014,000 from theatre receipts. This was a slight increase over last year's first half when grosses totaled $77,466,000 . . . Techni- color netted $1,025,000 for the six months ended June 30, last, after taxes. This com- pared with $1,061,000 in 1951*s first half with taxes for the period adjusted to the effective rate paid for the entire year. Second quarter earnings were estimated at $506,- 000, compared with $571,000 for the corres- ponding period last year. THE 40 short subjects released by 20th Century-Fox this year will be matched next semester, according to Peter G. Levathes, shorts sales chief. Line-up con- sists of 26 new Terrytoons and four reissues, all in Technicolor; six Movietone sport reels; two Movietone one-reel specials and two Lew Lehr reissues. As before, there will be 104 editions of Fox Movietonews, issued twice weekly. DARAMOUNT LAUNCHED its "Greater Confidence Parade of 1952" sales drive on the 31st with Paramount Week, the traditional stanza during which the com- pany's sales force seeks to place a Paramount film in all the theatres throughout the country. The campaign, which will continue for 13 weeks through November 29, has been labeled "the most important sales drive in the history of the company," by sales chief A. W. Schwalberg. About $40,000 in prize money will line the pockets of the winners, with an additional $5000 to be split among members of non-winning branches who dis- play outstanding individual effort. CIRST OF the exchange areas to surpass its quota in the COMPO dues collection drive was Memphis, with Indianapolis hot on the Tennessee territory's heels. Each of the two exchanges have exceeded its quota b> several hundred dollars. Kudoes to Frank Carter, formerly head of the Warner ex- change, now in Atlanta, who is distribution co-chairman in handling the Memphis drive, and Foster B. Gauker, Loew's branch manager, distrib co-chairman for the Indian- apolis area. Exploitation & Merchandising (Continued from Page 15) Spain. The Broadway preem is the spring! board for a series of international opening in the principal cities of Europe, Asia, Ausj tralia, North and South America . . . TW Wald-Krasna RKO release, "The Lust; Men*', will have its world debut in Texas Oct. 1, and, with Interstate's Bob O'Donnel handling the details, along with RKO' Terry Turner, bids fair to be one of the rip roarin'est affairs of the year. The Rober Mitchum-Susan Hayward starrer was line* up for a bang-up TV campaign in Dallas Fort Worth, Houston and San Antonio; pro ducer Jerry Wald, star Mitchum, directo Nicholas Ray and several RKO feature' players are going to the Lone Star state foi the event under the direction of studio pub licity head Perry Lieber. KNIGHT BEFORE DAWN MGW S Dawn Addams Knights Jouster M-G-M field press representative Toll-:; Baldridge, who has never let a good bet sip- by, covering his Virginia territory a ^£jft. months ago, learned of an event he thorn, ■ might help bally the upcoming "Ivanhoe". I was the 131st annual jousting tournameW^'' in Mt. Solon (pop. 112) that drew thousanws, from surrounding areas. Baldridge shot "i9y». news to M-G-M exploitation chief D"B"*"" Terrell and publicity head John Joseph <")■ thereby started a snowball of publicity th™ * gave both the Tournament and the pictuB an invaluable boost. Metro invited as 1 guests reps of weekly magazines, natior J newspaper and photo syndicates, as well V radio and newsreel reporters. Starlet Daw Addams was flown in from Hollywood |» preside as "Queen of Love and Beauty" ajj award a cup for top jouster, the guy wl m could snare three rings on his lance whjH riding a field of 75 yards in eight seconJfi no mean trick. Credit Messrs. Joseph a|» Terrell with a ballyhoo coup. FILM BULLETlB; 1 off Agree*? The importance of keeping a theatre in good condition, making it an attractive place to "go out" to, cannot be empha- sized enough. Almost every day we hear or read of theatres that are doing good business largely because of this factor. Typical of these never-say-die exhibitors is the statement by an Indiana theatre- man in a town of less than 2500 popu- lation that is in the TV area: "The one thing that I have done in my situation is that I have kept my theatre far ahead of my town. I have complete air condition- ing for winter and summer. I think winter air conditioning is almost as important as summer. My sound, projection and pic- ture presentation are tops. Less than a year ago I remodelled the entire theatre with a new glass front, new drapes and complete painting. Believe it or not, busi- ness is good." It's like a breath of fresh air in the smoky atmosphere of theatre- men crying the blues. 0 Howard Hughes' shut-down of the RKO studios, avowedly on the basis of cleaning out Communists on the lot, appears to have cost the company a pretty penny. The latest financial report for the first half of this year showed a whopping loss of $3,712,000. Last year, the company was also in the red for the first half, but only to the tune of $734,000. Indications of the financial damage wrought by the shutdown are apparent in the comparative second quarters of each year. During the 13 weeks in '52, RKO showed a loss of $1,756,000, while in the comparative period a year earlier, the company went into the black with a $351,000 profit. 0 Midwestern exhibitors really received an earful from Leo Wolcott, board chair- man of Allied ITO of Iowa, Nebraska, S. Dakota and Mid-Central, in a two- pronged blast against the admissions tax and the Government anti-trust suit on behalf of TV. Among the salient points he makes: where the admissions tax is concerned, don't count on the public's support "because we will keep the amount of the admission tax, when repealed, to help keep our theatres going and not pass it on to the public." "But," he adds, "we can interest our bankers and lawyers be- cause of our business with them, our em- ployees and landlords, if any; our city officials and Chambers of Commerce to keep( the theatre open, to help us get repeal." The same, he says, applies to the TV suit because the public won't pay for something they can get for nothing. Not enough attention, Wolcott declares, has been paid to the newspapers. "If our newspapers would go to bat for us, present our side of the story, elaborate on how much the theatre means to a town and community, our public relations would be much better and we wouldn't have to fight all our battles alone". o We couldn't think of a better Holly- wood representative than Marjorie ("Ma Kettle") Main during the "Hollywood at the Fair" exhibit put on by Independent Theatre Owners of Ohio at the State Fair. The Kettle pictures, which have shown phenomenal grosses in the hinterlands, will be represented by Universal with costumes, props, sketches and other in- teresting material from the studio, includ- ing those from Miss Main's latest, "Ma and Pa Kettle at Waikiki". O Those drawn-out discussions between the American producers and the French Government appear to have been just a long — and expensive — waste of time. With France trying to build up its film industry by limiting imports, while at the same time, the French movie houses are starv- ing for product, it seems the Gallic powers-that-be have cut off their nose to spite their face. The Motion Picture Ex- port Association announced a "complete breakdown of current negotiations" for a new international film agreement, with Eric Johnston, MPEA head allocated "blanket authority" to take measures as he sees fit. Johnston is going to give it another try after negotiations with other governments for film agreements. But, meanwhile, that French film revenue counted upon by U. S. producers goes down the drain. And Marianne's exhibi- tors take a product shortage beating. o If you can't beat 'em, jine 'em. The mutual benefits to be derived from co- operation between the three principal sight-and-sound media — movies, television and radio — were pointed up most graphi- cally when the powerful Organization of the Motion Picture Industry of the City of New York signed a reciprocal promotion project with the city's NBC radio and TV outlets. Chairman of the film organization Fred J. Schwartz and WNBC-WNBT vice- president Ted Cott penned their signatures to the agreement, which calls for cross- promotion plans, including listings by the airwavers of current movies, as well as special programs highlighting various features of production and exhibition. Some 30 theatre chains totaling 500-plus theatres are involved. It's by far the biggest step toward converting TV from a competing medium to a major factor in promoting moviegoing and the experiment which runs for a trial period of 13 weeks, beinning Sept. 15 should offer plenty of food for thought by theatremen through- out the country. THE MIRACLE OF OUR LADY OF F ATI MA1 HAS WIDE APPEAL ates • + in Catholic areas; 'arner Bros. 1 minutes ilbert Roland, Angela Clarke, Frank lvera, Jay Novello, Richard Hale, Norman ce, Frances Morris, Carl Millitaire, Susan hitney, Sherry Jackson, Sammy Ogg rected by John Brahm Drawn from the miracle witnessed by tree children at Fatima, Portugal, in 1917, i lis Warner production will appeal most to Ltholics. However, despite its sectarian [feme, "The Miracle of Our Lady of lltima" has entertainment qualities that are Jiversally appealing and it should enjoy j jove-average boxoffice success outside of [|avily populated Catholic localities. Taste- ly done up in WarnerColor, the simple ry as scripted by Crane Wilbur and es O'Hanlon never attempts to go into h-sounding preaching, nor, as directed by n Brahm, does its religious impact PTEMBER 8, 1952 • + elsewhere weaken the film's simplicity and appeal. Rather, it merely presents a heartening story of faith that is rewarded. The color photo- graphy, under Edwin DuPar's guidance adds considerably to the visual attraction and Max Steiner's musical score additionally enhances the production. Since the cast has no marquee value, and the picture's appeal is strongest in predominantly Catholic areas, the religious angle in these territories is the one to concentrate for best returns. Else- where, the heartwarming tale can be plugged to attract the family trade. The only familiar name in the cast, Gil- bert Roland does an exceptional job with his role as the likeable village ne'er-do-well whc tries to keep the story of the miracle from spreading lest the anti-Church forces in the Portugese government grab the opportunity to clamp down on the religious institutions. He adds touches of humor that aid the film's entertainment qualities considerably, STORY: Politically riddled by revolutions that have seen a succession of anti-Church forces in power, the people of Portugal in 1917 clung to their faith. In the village of Fatima, three children, tending a herd of sheep, see a vision in the treetops of a young woman who tells them to visit the spot on the 13th day of each of the next six months. Despite measures by the children's parerrts and the village philosopher-drunkard, Gilbert Roland, to keep the incident a secret, know- ing that the Government will take the op- portunity to stifle the Church, the news leaks out and thousands gather at Fatima to witness the miracle. Threats and punish- ment by the officials fail to shake the children's faith and at the end of the sixth month the miracle occurs as the sun sudden- ly plunges toward the earth. Scenes of the actual pilgrimage which saw more than a million people gather at Fatima on the 35th anniversary of the miracle last October high- light the climax which sees the now grown children reaffirming their faith. YORK 17 EXPLOITATION PICTURE HUTTON CLICKS IN SOMEBODY Star Selling Angle in Musical Biog. Not within this writer's memory has Rettv Hutton had such an opportunity to dis- play her song, dance and pulchritude values as she does in "Somebody Loves Me." the biogra- phical musical based on the romantic life of Blossom Seeley and Benny Fields. Renowned for her bouncing, callio- pe delivery of songs, Betty gets the opportun- ity to do a host of old ballads, blues numbers and sweet songs — in ad- dition, of course, lo her own unique style of punching a screaming number over — and in no department does she fall. That's the gal to sell in this one. for she carries the picture right on through the sock finale. Her click in "Greatest Show on Earth" has lifted Betty to heights that spell b-o-x- o-f-f-i-c-e anywhere the Hutton name is dis- played. In this one, she makes every scene count and her thespic efforts match the musical highlights. Angle No. 2 is the Seeley-Fields love story, famous in theatrical circles, and one which the public should take to its heart as well. How the now-famed Benny took BENNY & BLOSSOM Mr. & Mrs. Song & Dance Blossom as his meal- ticket wife, only to find himself in love with the girl he married; his des- perate efforts to make good on his own, Blos- som's discarding her own career to teach him a "style" and his final triumph at Chicago's Chez Paree that started him on the road to well- earned fame — all of those are told within a framework of Gershwin- Berlin-Evans & Living- ston melodies (Angle No. 3) that should evoke nostalgia in the older moviegoers and toe-tap- ping among the young- sters. No less than 18 tunes are delivered in their entirety, with an- other dozen added for hackground and terpsichore. It's virtually a panoramic history of American music during the early part of the century. For good measure, the Chez Paree Ador- ables lend their eye-appealing assets; Jack Benny makes a guest appearance with his violin and a batch of gags that should sit well with his huge audience and there's plenty of caustic comedy donated by Billie Bird and Robert Keith. SONGS Some of the top songs of the early 20th Centi are featured in the film, and they should ma a wonderful eye-and-ear display in the lobby an advance. Played by recording and highlight! by stills, among them are: "Rose Room," "L<|| Him,"' "Way Down Yonder in New Orlean "Somebody Loves Me," "That Teasing Raj "Dixie Dreams," "Jealous," "I Can't Tell Wh; Love You," "Smiles," "The Wang Wang Blue NEWSPAPER ADS Below, several of the larger display ads, ty in Hutton's recent success in "Greatest Show Earth", as well as the tunes, the pulchritude i the "dazzling scenes by the dozen". I EXPLOITATION PICTURE of the issue SOMEBODY LOVES ME The star-spangled careers of Benny Fields and Blossom ley are unfolded in a parade of some of the best American fluilar music to come to the screen in "Somebody Loves Me . amount's Technicolor musical with Betty Hutton in the top t. Some r>0 tunes are interspersed to set the nostalgic scene. a 18 getting the full production treatment. And as delivered Miss Hutton as Blossom Seeley and whoever sings for her tar. Ralph Meeker, playing Benny Fields, they pack plenty of c in their delivery. Director Irving Brecher apparently has made this a labor of for he wrote the screenplay and then handled the mega- ne to make sure of its proper presentation. It begins with :y singing on the Barbary Coast a la John Philip Sousa. wman D. J. Grauman convinces her to sing softly, as though were aiming her vocals at each individual in the audience, owing his advice, she rises to the top as a vaudeville enter- I >1 tainer during World War I. Deciding to augment her act. Betty hires a trio, one of which is Benny Fields who sings and plays the keyboard. She falls for the guy. despite constant brushoffs, and grabs at the chance to marry him when Fields proposes, feel- ing that Hutton will be his mealticket. Fields, however, really falls in love w ith his wife after marriage, and. unable to bear the taunts of Broadwayites who knew his real motive, leaves her to seek a career on his ow n. I nable to rise above the lesser circuits. Fields returns to her and agrees to have her teach him a tech- nique she feels will click. After months of intensive training, he gains a spot in Chicago's famed Chez Paree. only to learn that she was instrumental in the deal. Fired with the knowledge that Hutton will complete the engagement if he fails. Meeker goes on to become a solid smash. It is only when he learns that she will quit the stage to become a housewife if he registers that he realizes her great love for him and brings her onstage as "Mrs. Bennv Fields". John Ford's Best Or Hot, 'Quiet Man' Registers As Hit A host of Irish superlatives was lavished on John Ford's Technicolor production for Republic, "The Quiet Man", when it opened on Broadway at the Capitol. The distinctive Irish quality of the film did not limit it purely to descendants of Erin, however, it was noted, however. Whether it was Ford's best in a distinguished career was a moot question, but the fact that it was considered by the New York newspaper critics in that category was proof enough that here is a truly good picture. Commenting on Ford's avowal that it is the best picture he has ever made, the Post's Archer Winsten registers doubt on that score, but qualifies that it is "his best in a long while". He calls it "beautiful, it has the truth of character and country, it dis- plays the rich and varied texture of a pano- ramic tapestry, but it deliberately avoids the drama that grabs you by the throat". The picture has a"wonderful lyric, bucolic, pure- ly Irish quality", he adds but "because it does move slowly and because it is a de- parture from accepted movie practices, it will be regarded by some as too long and too diffuse". The Journal-American's Jim O'Connor is charmed by the film. Coming to town "tout- ed as one of the best pictures of the year" and "lives up to expectations". It's really "something to shout about. It's a grand pic- ture— 'tis that!" Abe Weiler, of the Times, calls it a "rollicking tale ... as darlin' a picture as we've seen this year". It's Ford's "throughly comic and enjoyable accented use" of Irish customs that does the trick, he feels and the performers "give us a fine, gay time". In the World-Telegram & Sun, Alton Cook feels there's plenty of "quaint Irish custom and turn of speech" — maybe too much— and while it will be "a joy to all the Irish . . . less specialized tastes may find their enthusiasm running high but on a con- siderably more moderate level". Taking issue with this, the Herald Tri- bune's Paul V. Beckley declaims that while its "full of that quality for one land its people, nevertheless must touch something sensitive in anyone. Nearly everything of wish or delight that the Irish take pleasure in has been put into this picture (if none of the sorrows that made wishes so signifi- cant) and it was done with a loving hand and a leftness that has surely its own sug- gestion of the Blarney Stone". He sums it up as a "subtle blend of beauty and comedy and the wild glee of the Irish when the mood of joy is upon them." WHAT PRICE GLORY' 20TH CENTURY-FOX "Well-watered rewriting . . . Salty vigor of the dialogue and the savage cruelties of war are omitted . . . Cagney and Dailey have lowered their acting standards." — Cook, N. Y. World-Telegram & Sun. "Passage of time has not worked wonders with this World War I drama . . . Despite some heroics and the monumental rivalry of its principals, a swiftly moving but not an "QUOT€S" What the Newspaper Critics Say About New Fill especially distinguished offering." — Weiler, N. Y. Times. "Movie of leers, tears and cheers. It's my private opinion that the general public will like this." — O'Connor, N. J. Journal-Ameri- can. "Substitution of Technicolor, comedy, ro- mance and musical rowdiness for the solid conviction of that harsh old play from World War I. The total result is deplorable . . . All that's worst in Hollywood's concept of 'entertainment value' is perfectly exemplified here ... An act, a very professional act, an entertainment act with no trace of the blood, guts, dirt and despair that made the old play so memorable." — Winsten, N. Y. Post. MIRACLE OF OUR LADY OF FATIMA' WARNER BROS. "Within the conventions of the religious film, it is human, touching and inspiring . . . No lack of dramatic suspense ... It can touch you even without belief . . . By the same token, it should be uncommonly of- fensive to those strongly opposed to that kind of teaching." — Winsten, N. Y. Post. "Warner Brothers . . . have treated a sectarian theme respectfully . . . Lessening dramatic impact is felt throughout the middle portions of the film . . . Spiritual document for the faithful and a serious but unspectacular drama for others." — Weiler, N. Y. Times. "Mundane background of the story is dealt with rather perfunctorily but the makers . . . have approached the religious events quietly and thoughtfully . . . (Per- formances are) sympathetic, credible and admirable." — Beckley, N. Y. Herlad Tribune. "Deeply moving . . . Good picture-in the highest meaning of the word." — O'Connor, N. Y. Journal-American. "Highly decorated and devout picture . . . A year ago a mass pilgrimage visited the shrine built on the site of the miracle. The film is likely to be greeted in the same spirit and the same proportions." — Cook, N. Y. World-Telegram & Sun. THE BIG SKY' RKO RADIO "Ranks with the all-time achievements in this field . . . Expresses completely the rough scramble of life on the frontier . . . Series of masterworks individually and collective- ly."— Cook, N. Y. World-Telegram & Sun. "Beautiful as the settings are, stalwart as are its good peple bent on giving the Indians a decent break and making big money, load- ed as the story is with action, 'The Big Sky' is also rather childish in the way that epics made in American film factories so often are." — Pollock, N. Y. Compass. "Saga as long as the day and as big as ail outdoors . . . Much too long . . . But . . . the flavor of the period, the beauty of an un- sullied countryside and, above all, the nature of some of those daring few is enough."-- Weiler, N. Y. Times. "Good (Post Movie Meter) . . . Has more dignity, substance and character than an ordinary Western, but it fails to achieve its true goal, frittering away its energies linguistic concerns, petty fights and the i terminable boating." — Winsten, N. Y. Po "Big as the great outdoors and just as i freshing . . . Here is adventure in the op . . . suspense . . . sudden death . . . Virile p ture of vigor and violence. It's sturdy, sti ring stuff." — O'Connor, N. Y. Journ American. "Would have been easy to have "The Sky' into a horse opera . . . but How" Hawks withstood that temptation Certainly there is brawling and Indian fig ing and hard delays . . . but these things kept supordinate to the main theme . . . D considerable justice to the character of country . . . Scienically, it is splendid.' Beckley, N. Y. Herald Tribune. SON OF ALI BABA' UNIVERSAL-INTERNATIONAL "As a film package that substitutes ent tainment for art . . . the Palace's new o ing rates a round zero . . . Of all the fran juvenile oriental hore operas . . . this on the dullest."— H. H. T., N. Y. Times. "Distinctive for running even wilder t most of the others . . . Better save y main attention for the vaudeville on Palace stage." — Cook, N. Y. World-T gram & Sun. "Arabian Nights on Broadway ... In Technicolor, it unfolds a story set in s Oriental splendor as is seldom seen in town . . . Plot too complicated ... If it explained by some genius, the explana apparently baffled all concerned — inclu this innocent onlooker." — O'Connor, N. Journal American. "Comes very close to being No. 1 ch burlesque with more fine flesh under veils than you or I would care to sha stick at . . . Smoke-house dialogue with n of Allah constantly invoked to lift the c of PS 58 declamation off the lines." — A sten, N. Y. Post. SHADOW IN THE SKY' M ETRO-GOLDWYN-MAYER "Hollywood once more is tackling problem of the psychoneurotic service with more vigor than subtlety ... So somber and generally sincere motion pic' What it lacks is authority to deal with a large and immediate problem." — Piho N. Y. Herald Tribune. "Earnest, intelligently made picture must be called minor because it attempt little in its portrait of a post-war psycho —Winsten, N. Y. Post. "Synthetic garnishing has been allowe spoil some appealing sensibilities in modest little drama . . . Performances are so natural that the predominant ficiality of 'Shadow in the Sky' just d stand a chance."— H. H. T, N. Y. Tim "Good material has been hypoed and verted to rather obvious melodramatics With a litle more restraint and contin freshness and originality of approach might have had a rattling good fil N. Y. World Telegram & Sun. 20 FILM BULLE In the Release Chart, "Rel." is the National Release Date. "No." is the release Number. "Rev." is the issue in which the Review appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1951-52 programs unless otherwise noted. Listing of color pictures follows immediately after title: (T) Technicolor, (C) Cinecolor, (SO Supercinecolor, (TR) Trucolor, (AC) Ans- color, (NO Natural Color, (WC) WarnerColor. METRO-CO LDWYN-MAYER 1951-52 Features Completed (101) In Production (6) IN PRODUCTION TITLE — Running Timt See How They Run Invitation to the Dance (T) Julius Cesar COMPLETED Above and Beyond 1 1231 Apache War Smoke Because Your Mine IT) 11031 Belle of New York ITI 181) Carbine Williams 1 101) Desperate Search, The Devil Makes Three, The (94) Everything I Have Is Yours Fearless Fagan (79) Girl In White, The (93 ) ... Glery Alley 17?) Girl Who Had Everything, The Holiday for Sinners f79) Hour of Thirteen. The I Love Melvin IT) It's A Big Country 18?) Ivanhoe IT) (104) Jeopardy Just This Once l?0) Lili Lone Star (94) Love Is Better Than Ever (81) Lovely To Look At IT) 1 112) Merry Widow, The (T) (105) My Man and I I??) _ Million Dollar Mermaid IT) My Mother and Mr. McChesneylT) Naked Spur, The (T) Never Let Me Go _ Pandora and the Etying Dutchman (T) (123) _ Pat and Mike l?3) Plymouth Adventure (T) Prisoner of Zenda (T) Quo Vadis IT) (171) Rogues March Scaramouche IT) (IIS) Sellout, The 172) RELEASE CHART — 1951-52 — Cast Dandridge-Horton Kelly-Youskevitch Brando-Mason Rel. No. Rev. Taylor-Parker Roland-Horton Lama-Whitmore Astaire-Vera-EII»-n Stewart-Hagen Keel-Drake Kelly-Angeli ?-S2 Champion. OKeefe 10-52 10-52 3-52 5-52 223 231 2-25 4-21 8-25 . Leigh-Carpenter Allyson-Kennedy Caron-Meeker Taylor-Lamas Young-Rule Lawford-Addams O'Connor-Reynolds ..All Star ~R. Taylor-E. Taylor Stanwyck-Sullivan Leigh-Lawford Caron-Ferrer Gable-Gardner E. Taylor-L. Parks Grayson-Skelton Turner-Lamas 8-52 241 7-14 5-52 232 4-52 4-2 7- 52 I 1-52 1-52 8- 52 3-52 4-30 215 12-17 4-30 2-52 4-52 7-52 ?-52 Winters-Montalban ?-52 Williams-Mature 12-52 Garson-Pidgeon Stewart-Ryan Gable-Tierney 224 222 225 1-28 4-30 Shadow in the Sky 178) ... _ Singin' In The Rain IT) 1103) Skirts Ahoy (T) 110?) Sky Full of Moon (75) Small Town Girl Steak for Connie Story of Three Loves Talk About a Stranger (45) Time Bomb Tribute To A Bad Man ... Wahington Story (82) Westward the Women (114) When in Rome (78) .... Wild North, The (?7) You For Me 170) Young Man With Ideas 184) Mason^Gardner _ 1-52 Tracy-Hepburn 4-52 235 Tracy-Tierney I 1-52 Granger-Kerr 11-52 Tayfor-Kerr 234 S. Grainger-E. Parker 4-52 S. Grainger-E. Parker 4-52 . Pidgeon-Tofter 1-52 21? Meeker-Davis-Whitmore 2-52 . 221. Kelly-O'Connor 4-52 227 William-Blaine 5-52 233 Carpenter-Sterling 12—52 ..J. Powell-Grainger Johnson-Leigh ..All-Star Cast Murphy-Davis 4—52 Ford-Vernon Turner-Dougles Johnson-Neal 7-52 Taylor-Darcel _ 1-52 _ 214 Johnson-Douglas 4-52 229 Granger-Corey . 3-52 224 Lawford-Greer _ 8-52 Ford-Roman 5-52 230 10-22 4-14 I l-l? 4-30 2-311 12-31 4-21 228 3-10 7- 14 12-3 3-10 8- 11 3-10 MONOGRAM - ALLIED ARTISTS 1951-52 Features Westerns Completed (50) Completed (18) In Production (0) In Production (0) IN PRODUCTION TITLE — Running Time Jungle Girl COMPLETED African Treasure Arctic Flight Army Bound Canyon Ambush RELEASE CHART — 1951-52 — Cast Sheffield-Sharpe Dead Man's Trail Desert Pursuit _ Elephant Stampede (71) Fargo — - Flat Top IC) Feudin' Fools Gold Fever Gunman, The Hold That Line 144) Here Comes the Marines . Hiawatha IC) Jet Job 143) Kansas Territory 173) ._ Lawless Cowboys 158) _ . Man from Black Hills 178) Mencan Silver Sheffield-Luei Morris-Albright Clements Brown-Coates _ Brown-Ellison Morris-Caruso _ Sheffield _ Elliot Hayden-Carlson . Gorcey-Hall Morgan-Calvert Wilson-Knight Gorcey-Hall Gorcey-Hall Edwards-Dugay Clements-Verdugo Elliott-Stewart Wilson-Knight . Brown-Ellison Wilson-Clyde Rei. No. la*. Montana Incident Night Raiders ... Northwest Territory (61) Rodeo ICI 171) Rose Bowl Story, The IC) Sea Tiger No Holds Barred Texas City Timberwolf Torpedo Alley Trail Dust Vicious Years. The (7?) Waco 168) Wagons West IC) Wild-Stallion IC) Wyoming Roundup Squared Circle, The Yukon Gold (70) Battle Zone Disc Jockey 177) Highwayman. The IC) 183) Kansas Pacific IC) Wilson-Stewart Wilson-Knight ... Grant-Chinook _ .Jane Nigh Thompson-Miles Bowery Boys Brown-Ellison Curwood Stevens-Malone Albright-Winters Cook-Moore Elliott Cameron _ _ Johnson-Hyer Wilson-Coates Ki r k wood -G lea son Grant-Hyer ALLIED ARTISTS Hodia k-Christian Simms-O' Shea Hendrix-Coburn Hayden-Miller 8-17 5253 2-52 S2sl ...... .... 1 2-? ... 3-1 ._ 5 1 04 8-24 5204 7- 52 52 1 8 12-52 52I4 1 2-30 12-28 5222 I I —52 23 I2-3I 5I07 2-I8 2-52 5224 6-2? 5203 6-30 4-27 5205 II-? 5254 8- 52 522 1 ?-52 8-23 ?-8 22 21 20 6-I8 8-27 PARAMOUNT I 95 I -52 Features Completed (72) In Production (2) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. No. Rev. Rock Grayson's Women IT) Payne-Sterling Roman Holiday Peck-Hepburn COMPLETED Aaron Slick from Punkin CreekIT) l?5) Shore-Young 4-52 5119 3-10 Anything Can Happen (107) Ferrer-Hunter 5-52 5117 3-10 Atomic City, The (85) Barry-Clarke 6-52 5120 Blazing Forest (T) -Payne-Moorhead 12-52 Botany Bay IT) Ladd-Mason :. Caribbean (T) Payne-Dahl .9-52 5202 Carrie 1 1 181 Olivier-Jones 8-52 6-16 Come Back Little Sheba Lancaster-Booth Denver & Rio Grande IT) (89) Detective Story (103) Encore Flaming Feather IT) (77) Greatest Show On Earth IT) (151) Green Gold of Nevada IT) Payne-Morrow O Brien-Hayden 6-52 5115 Douglas-Parker 11-51 5111... Maugham Stories 7—52 S. Hayden G. Russell 2-52 5118 Stewart-Hutton 7-52 5130 4-7 10-8 12-31 1-14 Hong Kong (T) (92) Hurricane Smith (T) Reagan-Fleming DeCarlo-lreland 1-52 10-52 7-52 . ?-52 .510? 5204 ll-l? 5201 6-16 8-11 4-21 12-17 Jumping Jacks l?8) Martin-Lewis Just For You (T) (104) Crosby-Wyman Los Alamos Barry-Carke _ Military Policeman ....... ... Hope-Maxwell My Son John 1122) _ Hayes-Heflin 4-52 5116 Pleasure Island (T) Genn-Taylor Pony Express (T) Heston-Flemming Rage of the Vulture. The Ladd-Kerr Red Mountain (T) 184) Ladd-Kennedy 5-52 .5113. Road to Bali Hope-Crosby-Lamour 12-52 Sailor Beware 1102) Martin-Lewis _. 2-52 5114 Savage, The (T) (?5) Heston-Hanson 1 1-52 5206 Scared Stiff Martin-Lewis Shane (T) Ladd-Arthur Somebody Loves Me (T) (?7) Hutton-Meeker 10-52 5203. Something To Live For (?0) . Fontaine-Milland _ 3-52 5105 Son of Paleface (T) Hope-Russell 8-52 Stalag 17 _ Holden-Taylor Stars Are Singing, The (T) Alberghetti-Clooney Stooge. The Martin-Lewis 11-52 Turning Point, The (85( Holder-Smith 10-52 5205 Tropic Zone (T) Reagan-Fleming War of the Worlds (T) Barry-Robinson __„.... When Worlds Collide (82) (T) Derr-Rush 11-51 5106 ?-24 2-1 1 7-14 REPUBLIC 1951-52 Features Completed (21) Serials Completed ( 0) Westerns Completed (13) In Production ( I i In Production (0) In Production (0) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Fair Wind to Java (Tr) Sun Shines Bright, The COMPLETED Bal Tabarin I?0I Black Hills Ambush Border Saddlemates Captive of Billy the Kid (54) Colorado Sundown (67) Desert of Lost Men 154) Desperadoes Outpost Fabulous Senorita, The (80) ... Flight from Fury Gobs and Gals Hoodlum Empire (?8) I Dream of Jeanie (Tr) (?0) Lady Wants Mink, The (Tr) Lady Possessed (871 ... Last Musketeer, The (67) Leadville Gunslinger (54) Oklahoma Annie (C) (?0) Old Oklahoma Plains (60) Pals of the Golden West 168) Quiet Man, The IT) (12?) Rangers of the Golden Sage Ride the Man Down (Trl Stormbound Street Bandits 154) 22 Cast MacMurray-Ralston Winninger-Whelan Rel. No. Rev. Lawrence-Ching Lane-Waller Allen-Kay Lane-Edwards Rex Allen Lane Allen EstWita-Clarke Edwards-Clark Downs-Hutton Donlevy-Trevor Middleton-Shirley Hussey-O'Keefe Mason-Havoc Allen-Kay Lane-Riley Canova-Russell Allen-Kay Rogers-Evans Wayne-O'Hara Chapin-Janssen Donlevy-Tucker Dowling-Checchi Edwards-Clarke 6-1 512? 5-20 4-15 5143 1- 52 5064 2- 52 5141 11-19 . 5063 -14 4-1 5125 6-18.. 5- 52 5128 4-15 5105 6- 15 5106 ........ 7-14 1-52 5104 3-52 . 5142 3-52 5171 3-24 5122 7-25 5144 12-15 5152 4-21 2-11 5-1? 12-15 5032 11-15 5130 12-17 Sweetheart Time (Tr) Middleton-Cristy ihen You'll Remember Me Middleton-Shirley Ihunderbirds Derek-Barry more Thundering Caravans (54) Lane-Waller Tropical Heat Wave ... Estelita-Hutton .... Toughest Man in Arizona (Tr) Monroe-Leslie WAC From Walla Walla .. Canova-Dunne Wild Horse Ambush Chapin-Janssen Woman In The Dark (60) ..Edwards-Elliott Woman of the North Country (?0) Cameron-Hussey Wyoming Saddle Palt Chapin-Janssen _ 7-20 5173 1-52 7-15 5131 5107 RKO RADIO Rel. No. Re 2-52 8-52 4-52 Reissue 6-52 5-52 5-52 5-52 220 302 361 271 267 22? 230 303 1951-52 Features Completed (73) In Production (ij RELEASE CHART I — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Never Wave At A WAC Russell-Wilson COMPLETED At Sword's Point IT) (81) Wilde-O'Hara Androcles and The Lion . Simmons-Young beautiful But Dangerous Simmons-Mitchum Beware. My Lovely (77) Lupino-Ryan Big Sky, The 1140) Douglas-Martin Blackbeard the Pirate (T) Darnell-Newton Bloodhounds of Broadway IT) Gaynor-Brady Body Snatcher IRe-issue) Karloff Break-Up Simmons-Mature Cat People 173) Simone-Smith Captive Woman Clarke-Field Clash By Night 1105) Douglas-Stanwyck Desert Passage (60) Holt-Dixon Difference, The O'Brien-Lovejoy Faithful City 186) J. Smith-Ramati .... Half-Breed. The IT) 181) Young-Carter Hands Across the Sea Rennie-Peters Hans Christian Andersen (T) Kaye-Granger Hunchback of Notre Dame 1117) Laughton-O' Hara I Walked With a Zombie (Re-issue) Conway Jet Pilot IT) I I 181 Wayne-Leigh King Kong IRe-issue) Cabot Las Vegas Story, The (88) Russell-Mature Leopard Man, The IRe-issue) O'Keefe Look Who's Laughing (79) Lusty Men, The Hayward-Mitchum Macao 181) Russell-Mitchum Man Who Fooled Hitler Werner Murder, The Mitchum-Simmons Narrow Margin (711 ....... McGraw-Windsor One Minute to Zero (105) .. Mitchum-Tallman Pace That Thrills. The (63) Williams-Balenda Pony Soldier IT) . Power-Edwards Rancho Notorious (T) (89) Dietrich-Kennedy Rashomon 186) Japanese Road Agent (60) Holt-Martin Saddle Legion 160) ... Holt-Martin Snow White and the Seven Dwarfs IT) (83) Disney Feature Something for the Birds Neal-Mature Stars and Stripes Forever (T) Webb-Hussey - Story of Robin Hood (T) (84) Todd-Rice 7-52 Sudden Fear (110) ..Crawford-Palance 8-52 Target 160) McGraw-White 4-52 Tarzan's Savage Fury (80) Barker-Hart 4-52 Too Many Girls 185) 8-52 Whispering Smith vs. Scotland Yd. (77) Carlson-Gynt 3-52 Wild Heart. The (T) (82) Jennifer Jones July Reissue 4-52 6-52 2-52 6-52 8-52 4-52 5-52 8-52 3-52 12-52 3-52 3-52 3-52 Reissue 266 272 269 217 270 363 224 226 301 213 221 268 223 117 2?2 3?l 362 227 225 364 222 274 RELEASE CHART — 1951-52 — Cast Rel. de Havilland-Burton Widmark-Taylor IN PRODUCTION TITLE — Running Time My Cousin Rachel 60 Saddles to Gobi (T) ... COMPLETED Belles On Their Toes (T) (89) Crain-Loy David and Bethsheba IT) (116) Peck-Hayward Deadline U. S. A. (87) Bogart-Barrymore Decision Before Dawn (119) Merrill-Basehart Diplomatic Courier (97) Power-Neal No. 1 5-52 2-52 5-52 1-52 7-52 Don't Bother To Knock (76) Widmark-Monrde 9-52 Down Among the Sheltering Palms(T) Lundigan-G'reer Dream Boat (83) ....-...= Webb-Francis 8-52 Farmer Takes A Wife, The (T) Grable-Robertson 5 Fingers 1108) Mason-Rennie 3-52 Fixed Bayonets! (92) Basehart-O'Shea .....12-51. Girl Next Door, The IT) Haver-Dailey Girl on the Bridge, The (77) Golden Girl (T) (108) 213 203 215 205 222 224 223 208 140 I Don't Care Girl, The IT) I'll Never Forget You IT) (90) Japanese War Bride 191) Kangaroo (T) 184) Haas-Michaels ... 12-51 Day-Gaynor 11-51 Gaynor-Wayne 11-52 _.. Power-Blyth .12-51 __Yamaguchi-P. Taylor 1-52 O'Hara-Lawford 6-52 Lady in the Iron Mask (NO (781 L. Hayward-Medina 7-52 Leave Her to Heavend 10) (Reissue) Tierney-Wilde . 6-52 Les Miserables (104) ...Rennie-Paget 8-52 Lure of the Wilderness (T) (921 .Peters-Hunter 9-52 Lydia Bailey (T) (891 Robertson-Francis . 6-52 Monkey Business (97) Grant-Rogers 10-52 My Wife's Best Friend (101) Baxter-Carey 10-52 Niagara (T) Cotten-Peters Night Without Sleep (77) Darnell-Merrill Number, The Winters-Widmark 13? 136: 142 202 217 218 255 225 219 Outcasts of Poker Flat. The (811 O. Henry's Full House (117) 5 "hone Call From A Stranger 196) Pony Soldier (T) Baxter-Robertson 5-52 Crain-Granger ?-52 Merrill-Winters 2-52 Power-Edwards 12-52 FILM BULLET iwdtr River — id* of St. Louis 193) lint Came, The (95) Reissue d Skies of Montana IT) (98) turn of the Texan 187) te of Cimarron I NO 172) ows of Kilimanjaro, The IT) mething For The Birds ars and Stripes Forever IT) eel Trap i«f of Venice keasure of the Golden Condor Inight We Sing IT) „ |p Man — tt t Costello Go to Mars C vIPLETED A«ntt All Flags IT) . Bae of Apache Pass,. The IT) (85) ••(use of You »*! of the River (T) 191) •'4 Castle, The •o) Goes To College (791 lr»t Victory (97) _ •r :o Buster (T) (80) ... Ci Beneath the Sea IT) Ccnn South IT) On at Silver Creek, The IT) t Legion (T) fl< and Fury 183) Fr is Covers the Big Town «■ is Goes to West Point fc»n Horde, The IT) 1134) SUHand IT) ... ]i Anybody Seen My Gai IT) (89) He Comes The Nelsons (76) Hopns We*t lro^an 182) ]t jws On Trees H Hunter IT) (95) >»•■ Vcross the Street 79) Pays Off. The ISO) ... Hand (T) ' n Alaska Cast Ford-Adams Abbott & Costello Rel. No. Rev. Feb Flynn-O'Hara Chandler-Lund Young-Chandler Stewart-Kennedy McNally-Greene Perreau-Gwenn Sept Dow-Kennedy _ _.. Jan Lund-Brady May Ryan-Powers Murphy-Evans Apr .217 212 232 208 219 4-7 1-28 8-25 7-30 4-21 U Lo LO- M«id Pa Kettle at the Fair 187) Ma Ma Me d Pa Kettle in Waikiki >d Pa Kettle Go To Paris Country Me at the Fair of fhe Renegade IT) (81) MEMBER 8, 1952 Murphy-Domergue Ladd-Dahl Curtis-Sterling _ Donald O'Conn O'Connor-Nelso Blythe-Farrer . Hudson-Adams Colburn-Laurie Ozzie and Harriet ... Ryan-Adams Keyes-Chandler Dunne-Jagger Steel-Sheridan Sheridan-Lund Darnell-McNally ... McCrea-Hale Abbott-Costello Main-Kilbride Main-Kilbride Main-Kilbride Murphy-Drake ..Dailey-Lynn Montalban-Charisse Aug ...228 ....... Mar 214 July . 274 Oct 134... July .226 Feb 210 Aug June 130 221 6-30 -28 7-16 6-2 6-2 Nov 202.. Aug Apr 229 216 7-28 3-24 Aug 128 8-13 Meet Danny Wilson 188) Mississippi Gambler No Room for the Groom 182) Pool of London 185) Raiders, The IT) Red Ball Express Sally and Saint Anne Scarlet Angel IT) 181) . .. Seminole (T) Son of Ali Baba IT) I7SI Steel Town ITI 1851 The Redhead From Wyoming Treasure of Lost Canyon, The (T) 181 Untamed Frontier, The IT) Willie and Joe Back at the Front World In His Arms, Th* IT) _ _ Yankee Buccaneer IT) Sinatra-Winters Power-Laurie Curtis-Laurie Colleano-Shaw Conte-Lindfors Chandler-Cabot Blyth-Gwenn DeCarlo-Hudson Hudson-Hale Curtis-Laurie Sheridan-Lund O'Hara-Nicol W. Powell-J. Adams CottenWinters Ewell- Lembeck Peck-Blyth Chandler-Brady Feb 205 May 220 Nov 163 May 218 Julv 225 June 222 Sept 231 Mar 215 Mar 209 Sept. 230 Aug 227 1-28 5-5 6-14 8-25 2-25 WARNER BROTHERS 1951-52 Features Completed (52) In Production (7) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE— Running Time Cast Rel. No. Rev His Majesty O'Keefe IT) Lancaster-Rice Back to Broadway IWCI Mayo-Cochran Jazi Singer, The IT) Thomas-Lee Master of Ballantrae (T) - Flynn-Campbell By the Light of the Silvery Moon IT) Day-MacRae I Confess - - Clift-Baxter Come On, Texas IWC) Scott-Kirk COMPLETED Abbott and Costello Meet Capt. Kid Abbott-Costello About Face IT) 194) MacRae-Bracken April In Paris IT) Day-Bolger Big Jim McLain 190) Wayne-Olson Big Irees, lhe III 1 89 ) Douglas-Miller - Buqles in the AfternoSn IT) (85) R. Milland-H. Carter Captain Blood IReissuel (98) Flynn-DeHaviland Carson City IWC) Ifa7) Scott-Massey Captain Horatio Hornblower IT) 1 1 17) Peck-Mayo B. Lancaster Wilde-Cochran Grayson-MacRae Cooper-Alden Holden-Olson Crimson Pirate, The IT) I 104) Danger Forward Desert Song, lhe IT) Distant Drums ITI 1 101) Force of Arms 1 100) I'll See You In My Dreams (110) Day-Thomas Iron Mistress, The (T) . . Ladd-Mayo Jack and The Beanstalk ISC) 178) Abbott-Costello Lion and the Horse, The IWC) 183) Cochran-Teal Jim Thorpe, Ail-American 1105) .. Lancaster-Bickford Man Behind the Gun (T) Scott-Wymore Mara Maru 198) Flynn-Roman Miracle of Our Lady of Fatima I 1021 Gilbert Rowland North of the Rio Grande McCrea-Mayo Operation Secret Wilde-Thaxter Painting Clouds with S'hine IT) 187) Mayo-Morgan Retreat, Hell! 195) Lovejoy-Carlson Room For One More 195) ... Grant-Drake San Francisco Story, The (80) McCrea-DeCarlo She s Working Her Way Through College IT) 1101} Mayo-Reagan Springfield Rifle IW) Cooper-Thaxter Starlift (103) Cagney-Mayo _ Stop, You're Killing Me (WC) ..... Crawford-Trevor Story of Will Rogers, The IT) (109) Roger, Jr.-Wyman Streetcar Named Desire, A 1122) _ Brando-Leigh Tank Are Coming, The (90) _ S. Cochran-P. Carey This Woman Is Dangerous (97) Crawford-Morgan Tomorrow Is Another Day 190) Roman-Cochrar 3 For Bedroom C (NCI 174) Swanson-Warren Where's Charley? (T) (97) _ Bolger-McLerie Winning Team, The (98) Day-Reagan 5-3 1 122 4-21 8-30 201 3-29 117 2-2 S 3-8 1 16 3-10 12-5 1 10 6-14 123 5-19 8-1 1 030 7-2 9-27 202 12-29 1 1 1 12-17 9-15 102 _ 1-12 112 12-17 1-12 1 18 4-21 4-19 119 9-1 101 6-18 S-3 120 4-7 10-1 1 203 7-28 029 10-6 105 9-24 2-23 IIS 2-25 1-26 1 13 1-14 5-17 121 4-21 7-12 128 12-1 109 11-19 7-26 129. 7-28 3-22 104 1 1-17 108 1 1-5 2-9 1 14 2-11 9-22 103 8-27 6-21 124 . 6-16 8-16 130 7-14 6-28 125 4-2 Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St.. Phila. 3 — 1239 Vine St.. PhiU. 7 LOcust 4-0100 Member National Film Carriers 23 ft}.1!* your BQXOFFICE is (9%^ as GOOD as your SHOWMANSHIP! nftTI0nftL\T/^7 SERVICE T_y Ptt/if anar of mf tnousr/iY BULLETIN SEPTEMBER 22, 1952 MR. HUGHES' EXIT WILL NOT BE A MORTAL BLOW TO OUR INDUSTRY! O Will We Ever Get An Arbitration Plan? Viewpoints I DIRECTED BY FILMED IN HAWAII AND PRESENTED BY WARNER BROS. RODUCED BY OBERT FELLOWS • EDWARD LliDWIG « WAYNE-FELLOWS PRODUCTION • DISTRIBUTED BY OST OUTSTANDING PICTURE! FRANK QUINN, New York Mirror 4 N. y I johrf6rd'S"1HEQUC7 MAH Wm T*IB(JN[ , „:. ; r }■. 0 191 WAYNE ; fO* • FOR REHT I REtfT JOHN starring MAUREEN BARRY WAYNE -O'HARA- FITZGERALD WARD BOND • VICTOR McLAGLEN • MILDRED NATWICK • FRANCIS FORD ARTHUR SHIELDS and the IRISH PLAYERS Directed by JOHN FORD Screenplay by FRANK S. NUGENT • Story by MAURICE WALSH Produced by MERIAN C. COOPER • AN ARGOSY PRODUCTION look Those hilarious cartoon characters in another great army comedy to match their "Up Front" kind of business! a 10 day apart... «h Eldest oft-Umits ^ spree ■ n \rmy 15& History that lun-tamed W»* WWWiy*^ V rtBK-BJRW*1 comedy sensation hilarious new w-*- ..rn iCC D N tewpoints SEPTEMBER 22, 1952 # VOLUME 20, NO. 19 MEN AND MA TTERS Mr. Hughes Exit - JV© Traywly Howard Hughes must he a man of talents. He has achieved fame in the field of aeronautics and accumulated a considerable fortune from oil and building airplanes. In motion pictures, he has handled some big things, too, being credited with the production of such highly successful films as "Hell's Angels", "Scarface" and "The Out- law", as well as the discovery and de- velopment of stars Jean Harlow and Jane Russell. Having tasted the excitement of movie-making with an occasional nibble, Mr. Hughes yearned to have his own studio. The opportunity came when Floyd B. Odium and the Atlas Corp. decided to dispose of their RKO holdings some four years ago, at which time he acquired control of the studio. In 1950, he personally took charge of RKO production. Before long, it became evident that the RKO boss had to make a choice between his tool company and film production. The operation of a movie studio is not a part-time job, even for a man of Mr. Hughes' vigor, and Hughes Tool was getting most of his attention. All sorts of weird tales ema- nated from Hollywood about witch- ing hour conferences called to plan studio policies, of off-the-cuff decisions, BULLETIN FILM BULLETIN: Motion Picture Trade Paper published every other Monday by Wax Publi- cations, Inc. Mo Wax, Editor and Publisher. PUBLICATION-EDITORIAL OFFICES: 1239 Vine Street, Philadelphia 7, Pa., Rlttenhouse 6-7424; Barney Stein, Managing Editor; Leonard Coulter, New York Editorial Representative; Richard N. Newton, Publication Managar; Robert Heath, Circulation Manager. BUSINESS OFFICE: 35 West S3rd Street New York 19, N. Y., Circle 4-9159; HOLLYWOOD OFFICE: 659 Haverford Avenue, Pacific Palisades, Calif., Hillside 8183; Jay Allen, Hollywood Editor. Subscription Rates: ONE YEAR, $3.00 in the United States; Canada. $4.00; Europe, $5.00. TWO YEARS: $5.00 in the United States; Canada, $7.50; Europe, $9.00. of last-minute story changes and other evidences that the studio was being treated like a step-child. Naturally, such management was bound to be re- flected in the quality of the company's product, and the irregularity of re- leases certainly complicated the prob- lems of the RKO distributing organi- zation. It might be said that Mr. Hughes manner of operating his own company is his own business. But in two matters, at least, his conduct of RKO's affairs have been contrary to the best interests of the industry as a whole. One has been his personally prescribed type of advertising, with its undue emphasis on sex; the second, the as- persion he cast, by implication, on the other film studios in the statement he issued when shutting down his studio presumably to rid it of communists. There have been numerous reports that Mr. Hughes is selling out his RKO holdings. Late in the week a deal appeared on the verge of con- summation with a syndicate headed (Continued on Page 8) *Th<> Snows of Kilimanjaro* tioauty. Passion. Adventure Rates • • • + generally 20th Century-Fox 114 minutes Gregory Peck, Susan Hayward, Ava Gardner, Hildegarde Neff , Leo G. Car- roll, Torin Thatcher, Ava Norring, Helene Stanley, Marcel Dalio, Vicente Gomez, Richard Allen, Leonard Carey, Paul Thompson Directed by Henry King "The Snows of Kilimanjaro" con- stitutes a major production achieve- ment in every sense of that phrase. Here is beauty and passion, adventure, excitement and heart interest enacted by fascinating people against a broad, diverse tapestry of interesting places. This is the kind of Big motion picture that it is only conceivable to appreci- ate on the big screen of a theatre, the kind of movie that effectively points up the comparative physical inadequa- cies of the legitimate stage or the little television screen. It will do big busi- ness in film houses everywhere for two reasons: (1) it offers entertain- ment rewards for moviegoers of every stripe, and (2) it is being backed by a 21-gun promotional campaign by 20th Century - Fox's publicity - exploitation manpower. Not, mind you, that "Snows" is above critical reproach. There are weaknesses, the primary one being the overdrawing of Ernest Hemingway's short story, from which the film was adapted. This was the tale of a fa- mous and adventuresome author who lays nears death in Africa from an in- fected wound inflicted during a hunt- ing safari. In the flame of the fever, his memory rekindles the affairs of his heart and bemoans the desolation of what he regards as his wasted life. In amplifying the Hemingway story to feature length, screenplay writer Casey Robinson was required to add much incident, most of it good. But, to avoid the original's unhappy ending (the hero's death), he embroidered an anticlimatic and unconvincing episode in which the mortally stricken man is saved by and reconciled with his wife, for whom, up to this point, he has never indicated an ounce of affection. One wishes the scissors had been ap- plied to this sequence. It was, we must assume, intended as a concession to the "mass" movie audience, and, poetically, it might well be the very factor that will keep this picture from realizing its full boxoffice potential. But, up to this overlong denounce- ment, "The Snows of Kilimanjaro" abounds with absorbing elements of entertainment. It boasts some of the most spectacular and exciting wild animal scenes ever captured on film (Continued on Page 8) FILM BULLETIN September 22, 1952 J (Continued from Page 7) by Ralph Stolkin, wealthy young Chicagoan. We hope it is concluded, for Mr. Hughes has not contributed much that is useful to RKO or to our industry. His exit will not be a mortal blow. It might even benefit the movie business. /I rbitra it tut -II 7fr>#*. H Ever? "It is difficult for two men to reach a meeting of the minds on a contro- versial matter, h is more difficult for three men to agree. Certainly, the possi- bility of accord diminishes when thirty or 'orly minds have to be satisfied. "Arbitration for the motion picture industry is in jeopardy because too many cooks arc stirring and tasting the broth." Several months ago we issued this warning to the committee that had undertaken to devise an arbitration plan for this industry. It bears repeat- ing right now — and with even greater emphasis — in view of the hassle that arose between the two national exhibi- tor groups in Washington last week. The task of drafting a workable system of arbitration for a business as complex as ours is herculean. It can- not be done without patience, under- standing of the practical problems and expert legal advice. It WON'T be done if more than a few, a very few, men are assigned the job and given the complete confidence of their own or- ganizations and of the entire industry. The distributors appear to have put their confidence in William F. Rodgers. Allied States Association seems willing to go along with complete faith in A. F. Myers. The TOA's Herman Levy has been representing that organi- zation ably, but the fracas in Washing- ton must be taken to indicate that others in TOA are in disagreement with the arbitration proposals worked out thus far. There should be one, and only one, spokesman for each group. We repeat what FILM BULLETIN has said several times before: we face the danger of talking ourselves OUT of an arbitration system — and that would be tragic for the entire industry. The TOA Con ven tion While the accomplishments of the TOA convention did not include a solution of the arbitration problem, nor of action in the 16mm anti-trust suit, the 250 delegates, tackled — but briefly — trade problems, passed resolutions and elected a new president, Alfred Starr, to replace Mitchell Wolfson. The "principles" of arbitration, at least, were approved. The affair was climaxed by the Presidents' Banquet, at which Eric Johnston called for unity via arbitration, warned against multiple runs and urged exhibitors to exploit pictures "to the hilt". 'Sit <>it's of Kit I itt tt ttjjtt rtt * (Continued from Page 7) and there is a duel between the author- hunter and a wounded, wild-charging rhinoceros that is calculated to make even the steadiest heart skip a beat or two. It recounts with tender sympa- thy and heart-tugs the one love of the hero's life and its tragic despatch in the blood and turmoil of the Spanish Civil War of recent history. It treats in properly cynical, adult terms of his shallow affair with another woman, a wealthy countess into whose covetous arms he rebounds after his love leaves him. All these and the many minor in- cidents are played against a kaleido- scopic panorama that shifts, without fades or dissolves, as the author's mind wanders in delirium. You arc trans- ported rapidly from Africa's jungle to a jazz soiree in Paris, to the bull ring in Madrid, to the Riviera, and back to the jungle clearing in the shadow of snow-capped Kilimanjaro. It is a ver- itable feast for the senses, a feast made all the more alluring by deliberately ostentations splashes of Technicolor and by a superbly dramatic musical score. All these assets rebound to the credit of producer Darryl Zanuck and director Henry King. And for that wonderful music, Bernard Herrmann may take a bow. In the challenging role of the au- thor, Gregory Peck responds with a commanding performance, the sheer force of which gives continuity and a semblance of credibility to the scat- tered events recalled from 1 is past. He has never been better. Ava Gard- ner is beautiful, appealing and desir- able as the woman he loves. Susan Hayward, as the wife, suffers by com- parison, for her's is the least clearly defined part of all. Hildegarde Neff makes the most of her moments as the voluptuous, sophiscated and, finally, malevolent countess. Emerging from the background occasionally to offer some rather vague advice on the hero's course in life, Leo G. Carroll, as Peck's uncle, does it with the consum- mate skill of one of Hollywood's most polished character actors. Torin Thatcher, a jungle guide, and Marcel Dalio, a Parisian saloonkeeper, stand out among the supporting players. STORY: Attempting to rescue one of the natives in his African jungle sa- fari, Peck, a successfuul author, is wounded. When infection sets in, he expects to die and resists the minis- trations of his wife, Susan Hayward, taunting her with recollectoins of his past affairs. His mind wanders back through the years, starting with the day his uncle, Carroll, urges him to go out into the world to hunt and to experience life so that he might write realistically. He remembers meeting Ava Gardner in Paris and taking her as his woman. They travel from place to place although she yearns to settle down and have the security of his love. She becomes pregnant, but believing that he will resent the tie, she deliber- ately falls down a flight of stairs, losing the baby. Finally, convinced she- will lose him anyway, Ava walks out of his life, not knowing how deeply he loves her. Next, he recalls a brief affair with Hildegarde Neff, who takes him into her home on the Riviera and treats him like a personal possession. He leaves her abruptly when she brazenly tears up a letter to him from Ava. Again searching for his love, he joins the Loyalist forces in Spain, where Ava is serving as an ambulance driver, only to see her die before his eyes. Unhappy, disillusioned, he returns to Paris for the gay life and eventually staggers, drunk, into the arms of Su- san. All this in flashback. The fever at the crisis point, his wife now takes charge, opens the wound and saves his life. They look forward to a better life together. WAX 8 FILM BULLETIN September 22, 1952 ANNOUNCING THE SALES PLAN OF M-G-M's 5f I ./AST MAY at the "Seeing Is Believing-" meeting at our M-G-M Studios, IVANHOE was screened for the first time to more than 100 representative exhibitors in the country and members of the press. Their enthusiasm for its possibilities as one of the outstanding box-office attractions of all time was so great that before determining a sales policy, we decided to set up pre-release test engagements in the following cities: New York, San Francisco, Cleveland, Houston, Atlanta and Evansville. IVANHOE is now playing or has completed its engagement in the above mentioned cities to business that confirms the opin- ion of those who saw it at our Studios. From time to time through the medium of the trade press, we have kept the trade at large informed of the business IVAN- HOE was doing. The total attendance on IVANHOE exceeds the total attendance on QUO VADIS in five of the above situ- ations. The sixth, the engagement at the Radio City Music Hall, New York City (where QUO VADIS was not shown) has played to a greater gross than any other picture in the history of the theatre for the first five weeks of its run there and with one exception had a greater attendance than any other picture. Following our "Seeing Is Believing" meeting in California, the picture was trade shown in almost 100 theatres and again the enthusiasm upon the part of those who saw it was over- whelming. It is now apparent that if the first -run pre-release (contin ucd) r-oism of the Black Knight who fights fa love on the field of honor. Spectacular a on as man meets man in mortal com- b while thousands in the colossal arena * ch with bated breath. WKm& '...* {continued) exhibitions of IVAN HOE are handled generally as in the case of QUO VADIS, the results at the box-office will equal or even exceed the results on QUO VADIS. It is our intention to have a pre-release first- run exhibition of IVANHOE in each of the exchange centers across the country, then in each of the cities in the country of over approx- imately 100,000 population and after that in cities of under approximately 100,000. We expect that there will be approximately 500 of such pre-release first-run exhibitions. Within a reasonable time after these showings are com- pleted, IVANHOE will be made available for general release. Arrangements are now being made for the pre- release first- run showings of IVANHOE in each of the Exchange Centers. After this announcement appears, our attention will be directed to pre-release first-run exhibitions in the other cities of the country beginning, of course, with the larger ones. Any exhibitor who has a suitable theatre and is interested in the pre-release first -run exhibition of IVANHOE in his city should promptly and in writing advise our appropri- ate exchange office of his interest and we shall be pleased to afford him an opportunity of submitting an offer on the picture. (contin urd) (continued) We are confident that we shall receive the same wholehearted cooperation in the marketing of this great production as we did on QUO VADIS and that our customers w ill find our plan on I VAN HOE as much to their advantage as was the case with QUO VADIS. Loew's Inc. SUCCESS STORY: ADVERTISING On this and following pages are just a few of the big spectacular ads {shown in reduced size) that drew record crowds to "Ivanhoe," the Picture of the Century, in its first five pre-release engagements outside New York. These ads sell a BIG attraction with all its grandeur, importance and large-scale pictorial values. They spell MONEY'S WORTH ! GREATEST SCENE EVER FILMED! Just one of the many in the picture that tops "Quo Vadis" for thrills and romance ! / Rowenaand Rebecca are captured by the Norman henchmen of Prince John and imprisoned in Tor- quilstone castle! The mysterious Black Knight defeats the greatest cham- pions in the spectac- ular tournament at Ash by! Filmed in the actual locale of the novel! M-G-M presents Technicolor elizabeth _^ joan Taylor-Taylor-Fontaine _ GEORGE - ¥ r EMLYN Sanders -Williams -n pUy by I SPfClAi P»£-«»ASf INGAGtMCNT < Starts TOMORROW • DllKM b, RICHARD THORPE ■ Produced by PANDRO S. BERMAN Tho Aimed Font. N««d Your Blood — Giva lodaf' TOROUILSTONE CASTLE STORMED with Iw trading chou^jnJ". <■< brjvc juIicm (rum Sherwood ForeM i Aiming . ■ ...ii to n -. i,( thr prime*) Roncnj. TRIAL BY COMBAT bung* lv*nliO« K \*» into Utile with (lie Ictdcn of the Normint. Bmn 1 v Boit Guilbtfl A »unun'i life and a l.,ut: ■. throne tremble on the oimoflfcri , n, ROBERT TAYLOR -ELIZABETH TAYLOR JOAN FONTAINE • GEORGE SANDERS EMLYN WILLIAMS • < . . b, technicolor . s«™ noel langley- «.,..»» ►> m.*™. D..«i comes to H-G-* l"** ,i„,Ute . • ■ «n*'L of r.«»*S rld%enan0 c.tt b< Technicolor ■•• . cal Ut> as sss. gv « PW Sr NOEL LANGl RICHARD I H i ' f t T . r ■ '..[-, PANDRO S Bf R MAN EXPLOITATION! A Quolossal promotion campaign paves the way to your box-office. The nation's leading manufacturers have tied in their products with "Ivanhoe." Their national advertis- ing gives this title a readership in astronomical figures. The Lux Soap campaign alone hits the 150,000,000 readership mark. Similar national campaigns come from Lustre- Creme Shampoo, Sunbeam Bread, Wood bury Soap, Kendall Fabrics an countless others. Local dealers ar supplied with a wealth of mer chandising aids that assure every exhibitor, regardless of his situation, of neighborhood promotion that links together theatre, merchant and public. Full details in the regular and supplementary press-books. d ■e MAGAZINE ADVERTISING! "IVANHOE" is the most widely advertised picture of our time. For 3 consecutive months, full-color, full-page Calendar ads in leading magazines with readership in the hundreds of millions; plus many more millions of fan magazine readers; plus an additional multi-million readership of M-G-M's famed Lion's Roar and Picture- of- the- Month columns; plus countless more millions of readers of the special "page-and-a-half" magazine ad campaign in Life, Look, Collier's, Saturday Evening Post. America eagerly awaits "IVANHOE." FACTS YOU WILL WANT TO KNOW ABOUT "IVANHOE" M-G-M's production of Sir Walter Scotc's famous novel of romantic adventure is the first time this story has ever been brought to the screen. Ivanhoe" was two years in production. Many months of research at the British Museum preceded actual filming. Every detail of costumes and settings was painstakingly checked for authenticity M-G-M transported stars and technicians thousands of miles to the actual locales of the story in England "Ivanhoe" was filmed in its entirety amid ancient castles, famous battlefields and other historic sites. Among the scenes recre- ated was the storming of Torquilstone Castle with thousands of archers hur- ling themselves over the moats and against the battlements. The fabulous Ashby Tourney which tested the courage and skill of knights in battle is shown in all its fury and splendor. The armor worn by the knights was hand* wrought as in the medieval days. The gallant crusaders of Richard the Lion-Hearted and the Norman, legions of Prince John were trained in the use of their lances and broadswords by military experts for many months prior to the big battle scenes. "Ivanhoe" comes to the screen enriched by Technicolor and with thousands in the cast, including such great stars as Robert Tavlor, EUzfbedl Taylor. Joan Fontaine, George Sanders and Emlyn Williams. Out of a hundred Hollywoods has come Iran There are a hundred Hollywoods today in distant jungles, on tropic isles, in far-off ports of call. More than ever, troupes of stars and technical crews travel thousands of miles to capture a story on its actual locale. Thus, M-G-M's cameras roved to Africa for "King Solomon's Mines", to Rome for "Quo Vadis", and now; to England for one of the world's best-loved stories of romantic adventure, Sir Walter Scott's "Ivanhoe"! On the fabled battlefields, amid the moat-rimmed castles, in the green stretches of Sherwood Forest, "Ivanhoe" comes to life. Here, the heroic knights charge into combat, live and love, dare and die Around them surges the whole medieval pageant, the brilliant cavalcades of crusaders, of kings and conspirators, of troubadors and fair ladies. The storied characters throng across the screen, a masterpiece of fiction comes to life for the first time, and Technicolor makes it entertainment beyond description! M-G-M's production of Sir waiter Scott's novel, starring ROBERT TAYLOR ELIZABETH TAYLOR JOAN FONTAINE GEORGE SANDERS EMLYN WILLIAMS Colo by TECHNICOLOR Suten play by NOEL L ANGLEY. Adipuiion br AEneu MuKn Dureied by RICHARD THORPE Produced by PANDRO S.BEft.MAN An M-G-M Picture PLAN ACCESSORY NEEDS NOW! A big factor in local selling in the first 5 pre-release engagements was the show- manship accessories. A full line of stand- ard material was used. All is of highest quality. Additional special items are: Black Knight 1 -sheet, Cartoon herald, 3-color pennants, plastic stick-on, 1 1x14 color prints, Elizabeth Taylor postcards, Black Knight rings, Fan Photos and many others. The regular press-book and the supplementary campaign book carry full information enabling you to plan your selling ammunition far in advance. THE MERRY WIDOW COLORFUL, BUT DISAPPOINTING, OPERETTA Rates • • • — in metropolitan deluxers; less elsewhere M-G-M 104 minutes Lana Turner, Fernando Lamas, Una Merkel, Richard Haydn, Thomas Gomez, John Ab- bott, Marcel Dalio, King Donovan Directed by Curtis Bernhardt This is the third time (1925, 1934) that Metro has undertaken Franz Lehar's ro- mantic opcratta, and this latest version will be disappointing to many of those with fond memories of the previous films. Hut there is still plenty lure to entertain the old and the new generations. "The Merry Widow" will probably roll up handsome grosses in metropolitan deluxers, but it docs not figure to fare so well in subsequent runs and small town situations. Producer Joe Pasternak decided to give it plenty of sex appeal and a sophisticated tongue-in-check treatment. And, with the purse-strings wide open, lie has splashed a wealth of production values in stunning Technicolor throughout. The only entertainment factor missing is real heart appeal. The surface gloss often shows the wear and tear of time and reveals the corn foundation. The musical treatment, however, is a delicacy for eye and ear as half a dozen songs grace the sound track along with plenty of luscious beauties and colorful costumes daubing the screen. Lana Turner, in the title role, is an eye- tilling dish, but her real-life romantic vis- a-vis, Fernando Lamas, struck one spec- tator, at least, as something less than a screen idol. He does have a good voice. The comedy efforts of Una Merkel, as MisS Turner's personal aide; Richard Haydn as Baron Popoff, and Thomas Gomez, as the king of mythical Marshovia, fail to click as had obviously been anticipated by screen- play writers Sonya Levi en and William Ludwig. Curtis Bernhardt succeeds pro- duction-wise but fails to capture the senti- mental, romantic aspects of the oft-told tale. Lamas handles most of the vocal efforts, including group numbers. The "Merry Widow" waltz is a breathtakingly beautiful thing to see as the colorful dancers, swing around in the massive ballroom. Five other suii^s, all well padded with beauties, are: "Girls, Girls, Girls," "Can-Can," "Maxim's," "Yilia" and "Night". STORY: Lana Turner, wealthy American widow of a native of the mythical kingdom of Marshovia, is induced to come to her husband's country on the pretext that he is to be honored by a monument, but actually because the country is bankrupt and the king, Thomas Gomez, plans to milk her of her fortune. Fernando Lamas, playboy nephew of the king, is assigned to court Lana, but mistakes her companion, Una Merkel, for the widow. Learning of the plan, Lana convinces Una to continue the deception, leaves for Paris, but is followed by Lamas. Miss Turner pretends to be "l-'ii'i", an entertainer at Maxim's, to give Lamas some uncomfortable moments, but during the course of their relations they fall in love. After a series of on-again, off-again complications, Lana learns that he is due for execution because he failed to fulfill his mission. She uses her fortune to save his life and are reunited for keeps. PHIL RAINBOW ROUND MY SHOULDER' MUSICAL PROGRAMMER Rates • • + as dualler generally Columbia 76 minutes Frankie Laine, Billy Daniels, Charlotte Austin, Arthur Franz, Ida Moore, Lloyd Corrigan, Barbara Whiting, Ross Ford Directed by Richard Quine Modest, light and pleasant, "Rainbow 'Round My Shoulder' never pretends to be more than an acceptable musical program- mer— and registers satisfactorily in that vein. Roistered by the Frankie Laine and Billy Daniels names for the younger set, an ap- pealing Cinderella story with an equally ap- pealing newcomer, Charlotte Austin, in the feminine lead, and Technicolor, this should fit neatly into the dual bill slot in all situ- ations. Columbia's own studio lot serves as background for the tale of a talented youngster, yearning for a show business ca- reer and eventually making the grade through the good Samaritanisms of Laine and Daniels. There is also a good quota of romance, comedy, in addition to the musical portions to round it out as pleasant family entertainment. It won't be any great shakes at the boxoffice, but it should give any dual bill a lift. Laine, Daniels and Miss Austin do justice to an octet of tunes, both old and new, and one production number. Frankie does a pair of solos, "Wrap Your Troubles in Dreams" and "Girl in the Wood", teams with Char- lotte in "Wonderful Wasn't It" and the title tune, while Billy stylizes "She's Funny That Way" and "Bye, Bye, Blackbird". The young newcomer makes the most of "Last Rose of Summer" and "Ain't Misbehavin' ". STORY: An orphan, Charlotte Austin lives with her grandmother, Ida Moore and the family butler, Lloyd Corrigan. Although Charlotte wants to be in show business, her grandmother is dead set against it because she feels it ruined Charlotte's father's life. When the girl gets a job at Columbia studios as a messenger girl, she hides the fact from Miss Moore. When Charlotte, through a lucky mistake, gets an audition with Frankie Laine for a picture, Miss Moore clamps down and the girl is forced to withdraw from the movie, even though she makes the grade. Laine and Billy 1 )aniels, however, conspire to showcase Charlotte's talents at an affair for Miss Moore's favorite charity and, watching the girl perform, the proud grandma realizes that the youngster belongs in show business and gives her blessing. BARX MY WIFE'S BEST FRIEND' MILDLY AMUSING DOMESTIC COMEDY Rates • • as dualler on names 20th Century-Fox 101 minutes Anne Baxter Macdonald Carey, Catherine McLeod, Leif Erckson, Casey Adams, Cecil Kellaway, Francis Bavier, Mary Sullivan, Martin Milner Directed by Richard Sale This domestic comedy about the efforts of a wife to punish her husband for a con- fessed affair with another woman, will pro- vide only mild fun, and only for the not- so-discriminating. While it gets off to a fairly fast start, and while there are some genuinely hilarious sequences at times, the story is too weak to sustain the pace needed for really top-notch farce. Robert Bassler's screenplay traverses the same sophisticated comedy situations that have been covered much better many times before. The Anne Baxter-Macdonald Carey names may be of some help in exploitation, but for exhibi- tors, from the metropolitan first run to the Podunk nabe, this is little better than pro- gram fare. Nothing here for action houses. This is Anne Baxter's first attempt at comedy, and she gets' the most out of a pedestrian story. Macdonald Carey is ex- cellent as Baxter's beleaguered husband, and Leif Ericson and Catherine McLeod show well as the "other" man and the "other" woman. Some of the funniest bits are pro- vided by supporting actor Cecil Kellaway in the role of Baxter's minister-father. Di- rector Richard Sale and the cast, however, became mired in a story that slowed to a walk not very far from the opening frame. STORY: While on their second honey- moon, Anne Baxter and Macdonald Carey are led to believe that the plane on which they are passengers is about to crash. Carey- confesses to Baxter that once, years before, he had been slightly unfaithful to her. She forgives him, but when the plane doesn't crash and they return home, Anne begins making noises like an irate wife. He father and minister, Cecil Kellaway, convinces her it is far more noble to be forgiving. So Anne assumes the role of a persecuted, forgiving martyr and forgives Carey to the point of driving him out of his mind. When Carey finally lays down the law, and tells her to be just an ordinary housewife, she over-does that, too. Later, Carey brings Leif Erickson home to dinner, hoping to convince Erick- son he is well set financially and able to handle a million-dollar deal. The men find Anne scrubbing floors and windows and she does everything she can to convince Erick- son that her husband is merely putting up a prosperous front. These phases continue until a crisis is reached and eventually the happy ending is achieved. NEIL FILM BULLETIN September 22, 1952 U THE CRIMSON PIRATE' FULL OF FUN AND ACTION Rates • • • generally; more for action houses Warner Bros. 105 minutes Burt Lancaster, Nick Cravat, Eva Bartok, Torin Thatcher, James Hayter, Leslie Brad- ley, Margot Grahame, Noel Purcell, Freder- ick Leister, Eliot Makeham Directed by Robert Siodmak All concerned with this Technicolor thril- ler have allowed their imaginations to run amuck, making the "Crimson Pirate" an amusing;, s 1 a m - bang blood-and-thunderer reminiscent of Lancaster's "Flame and the Arrow." The star sets the mood for the fanciful events by asking the audience to "believe only half of what you see," and while it would be difficult to believe any of it, this Harold Hecht production gener- ates plenty of action and interest, as it bounds merily along with all jets wide open. "The Crimson Pirate" should also do a whale of a business generally, taxing re- cords to the limit in action houses. Director Robert Siodmak has megged this Roland Kibbee story with a tongue-in- cheek abandon that is responsible for the fast pace and humorous situations. In the starring role, Burt Lancaster — aided by Nick Cravat — displays a slick talent for comedy and his "acrobantics" are pulled off in the best Douglas Fairbanks tradition. All per- fromances are of the rough-and-ready varie- HURRICANE SMITH' FAMILIAR SEAFARING ADVENTURE Rates • • + for action houses and as dual Paramount 90 mniutes Yvonne De Carlo, John Ireland, James Craig, Forrest Tucker, Richard Aden, Lyle Bettger, Emile Meyer, Mike Kellin Directed by Jerry Hopper Nat Holt has re-shuffled all the old ele- ments of piracy and mutiny on the high seas — complete with treasure and an abundance of bloodletting — and the result is a familiar, albeit fairly exciting, Technicolor sea saga entitled "Hurricane Smith." Frank Gru- ber's routine screenplay, which is known by heart to adventure movie fans, is the chief draw-back to this actioner, for the pace is fast and the cast handles their melodramatic er elsewhere assignments in accepted swashbuckling fas- hion. Yvonne DeCarlo gives this Para- mount release fair marquee value. "Hurri- cane Smith" will realize its best returns in action houses; elsewhere it will be an aver- age dual bill attraction. There are several effective scenes, one in which John Ireland fights a shark, being the best. Ireland, with his cohorts, Forest Tucker and Richard Arlen, come up with rugged performances as they battle against the mutinous, cut-throat tactics of James Craig, Lyle Bettger, and Emile Meyer. As a Polynesian half-breed, De Carlo provides a stock romantic interest whenever there is a lull in the double-crossing, knife-sticking shennanigans. THE COLDEN HAWK' COLORFUL PIRATICAL ACTION YARN Rates • • + for action houses; OK dualler generally well as a dualler generally. Columbia 83 minutes Rhonda Fleming, Sterling Hayden, Helena Carter, John Sutton, Paul Cavanaugh, Mic- hael Ansara, Raymond Hatton, Alex Mon- toya, Poppy A. del Vando, Albert Pollet, David Bond, Donna Martell, Mary Munday Directed by Sidney Salkow Sam Katzman's contribution to the cur- rent collection of pirate yarns in Techni- color has a familiar story, but plenty of action and some spectacle. Spice is added by the amatory exploits of Sterling Hayden who has a line for the gals. Produced smartly, with plenty of extras in evidence, "The Golden Hawk" is an above-par attrac- tion for action houses, and it will serve 18 FILM BULLETIN September 22, 1 952 The script was developed from a novel by Frank Yerby and though the cast emotes flamboyantly, this is not out of place in such a plot. Rhonda Fleming — interestingly costumed— is a female pirate and she capably handles her end of the dramatics to find romantic fulfillment with Mr. Hayden, a French privateer. He turns in an effective interpretation. In lesser roles, Helena Car- ter, John Sutton, Paul Cavanaugh and Ray- mond Hatton round out the story to ad- vantage. The seagoing effects have the expert touch, and Sidney Salkow's direction keep this Columbia offering moving along at good speed. STORY: In the 17th century France is trying to gain control of the Caribbean from Spain and England. Operating as a priva- teer, Hayden prowls the Indies, preying on ty, spiced with off-hand comedy. Eva Bar- tok is pert and appealing as she becomes the object of many bits of derring-do. STORY: Lancaster is the captain of a pirate ship which captures one of the King's man-of-war. Finding no gold aboard, but plenty of powder and guns, Lancaster de- cides to sell the guns to island rebels who are trying to throw off the hand of tyranny. In true pirate tradition, Lancaster also plans to capture the rebel leader and turn him over to the King — for a price. This bit of treachery back-fires when Lancaster falls in love with the rebel leader's daughter, Eva Bartok. As a result of this, Lancaster's crew mutinies, and our hero is faced with innumberable death-defying situations as he escapes to lead the rebels to victory over their tvrannous government. NEIL STORY: Ireland, Tucker, and Arlen, who are stranded on an island, manage to steal the ship of Emile Meyer and plan to sail after a treasure Ireland has buried on an- other island. Seeking supplies, they set into Australia where they are approached by James Craig who wishes to charter the stolen ship. Needing the money, Ireland and his friends agree and Craig comes aboard with De Carlo and her father. It soon develops that Craig is also seeking Ireland's treasure and plans to lead the ship's crew in a mutiny against him. De Carlo falls in love with Ireland, and warns him of the plot. The hero manages to double-cross the double-crossers, however, and gains the girl and the gold. NEIL shipping. His vengeful purpose is to kill the man whom he thinks has murdered his mother. The culprit, John Sutton, actually turns out to be Hayden's father. At sea, Sterling saves Rhonda Fleming, who was en route to become a bride in Cartagena, against her will. She flees and identifies herself as "Rouge," a gal buccaneer. Next, Hayden captures Helena Carter, who is oh her way to marry Sutton. She is delivered for 10,000 pieces of ransom gold. Mean- while, Hayden plans an attack on Carta- gena. He goes ashore, tries to get the plans of the fort, but is captured and sentenced to hang. It is Rhonda, who saves his skin when Cartagena is attacked by Hayden's fleet. Sutton is captured. He reveals that Hayden's mother was killed accidentally. Peace descends and Hayden and Rhonda embrace. COULTER REPORT FROM THE STUDIOS Hollywood is currently embarking on one of the heftiest production binges in motion picture history, setting new records in both major studio and independent output. September set the tempo for the production upsurge, with 40 new features rolling at a total cost of over $25,000,000. The October slate of new starters will almost equal that record, with 31 features tentatively scheduled to go before the cameras. Considerable juggling is still underway on the November slate, but, on the basis of current announce- ments, it appears that there will be enough additional production get under- way, to boost the three-month fall output to nearly 100 pictures. 20th Century-Fox leads the pack for September, with a record of nine productions scheduled to roll by month's end. MGM, Columbia and Mono- gram-Allied Artists, follow with five each: Warners and Republic are launch- ing four apiece ; Universal-International three: RKO has one. and the inde- dependents account for an additional four. Backlogs of completed pictures are also above the usual fall levels, in- dicating that there will be no shortage of product in 1953, as was the case in the early part of this year. company lias three nnreleased period epics in the backlog, one more is in production, and nine are in active preparation. Grosses on "Ivanhoe" passed the $1,300,000 mark in its first 39 days of release, with only six theatres playing the feature. It esta- blished a new record at New York City's Music Hall, as the first picture ever to gross more than $1,000,000 in six weeks. Pictures in this category which are com- pleted and awaiting release, include: "Ply- mouth Adventure," "Rogue's March" and "Prisoner of Zenda." The one in produc- tion is "Julius Caesar," and those in prepar- ation include: "Young Bess" (Stewart Gran- ger-Jean Simmons-Deborah Kerr), "Ouentin Durward," "Captain Quicksilver," "Beau Brummel," "Robinson Crusoe," "Captain Bligh," "Moonfleet," "Captain Yaliant," and "All the Brothers Were Yaliant." o o Reports that Howard Hughes is disposing of his controlling stock in RKO continue to roll in from all parts of the country. Al- though each new report is met with vehe- ment denials, the general consensus of opinion in Hollywood seems to be — with all this smoke, there must be fire. A Chicago columnist broke the most recent and by all odds the most creditable story, linking Ralph Stolkin and Buzz Burke as prospective buyers. Stolkin is the wealthy young Chicago financier who tested his wings in the motion picture field a year ago, as a top backer for the Martin and Lewis comedy, "At War W ith the Army". o o Anson Bond, who ankled MGM slightly more than four months ago, has joined Columbia's producer roster, where he's slated to take over the reins on some top properties. Bond was formerly an indepen- dent producer, and served for a short time as a producer under contract at Universal- International. (Continued on Page 20) SOL C. SIEGEL Doesn't Want To Be Typed Sol C. Siegel has resigned his post as 20th Century-Fox producer in charge of musicals, after only four months, on grounds that he doesn't wish to be typed as a producer of tunefilms. Siegel will remain at Fox, how- ever, reverting to his straight producer status. Both Siegel and Fox execs deny that there are any hard feelings resulting from his withdrawal from the post. Moreover, it seems unlikely that there will be a succes- sor named to take his place, inasmuch as Siegel has already set up the framework for a streamlined musical department, patterned along the lines of the highly successful Ar- thur Freed unit at MGM. The tremendous grosses being racked up by MGM's "Ivanhoe" has spurred the studio to slant a heavy portion of its upcoming production toward such action-adventure costume films. At the present time, the Hctlijuocd Vctehck STA11 BRIGHT The annual polls which determine the in- dustry's top boxofiice stars, consistently point up the public's preference for male actors who possess a diamond-in-the-rough type of ruggedness. John Wayne, Gary Cooper and Randolph Scott, for example, have led the "big ten" list on almost every poll for the past decade. Among the current crop of newcomers, Dale Robertson seems most likely to follow in their footsteps. A robust, square-shoul- dered six-footer, Robertson has the same air of gallantry and soft, winning drawl, which have contributed so much to their continued popularity. His lack of sophistication can be traced, in part, to some advice he received as a very young boy, from an old family friend — Will Rogers. The late comedian once wanted to bring Dale to Hollywood, when he was first learning to rope and bulldog on his parent's ranch. I'm Mrs. Robertson insisted that he should get his schooling first. "Mother told Will she would give me dra- matic lessons," Dale recalls. "But Will grinned in that odd way he had and replied 'Mrs. Robertson, don't ever let him take a dramatic lesson. They want you natural in Hollywood. The drama coaches will put his voice in a dinner jacket. It's been my obser- vation that most people like their grits and hominy in every-day clothes.' " This guy is almost a cinch to be a top- ranker on tomorrow's boxoffice polls. Ex- hibitors can push along his career by giving him plenty of billing as a new star. They, as well as 20th Century, will reap the har- vest. FILM BULLETIN September 22, l?52 10 REPORT FROM THE STUDIOS (Continued from Page 19) Robert L. Lippert is disposing of his entire backlog of pictures to television, at a reported selling price of $3,000,000, and will soon merge with Jack L. Broder in a new distribution pool. The backlog dating back to 1946, comprises a total of 107 films, and will mark the largest outpouring of Hollywood product into the TV hoppers since the inception of the new medium. ROBERT L LIPPERT Sellout to TV No details of the distribution merger with Broder were available at this writing, al- though both parties have admitted to the negotiations. Broder is known to be great- ly expanding his production slate for the new year. He has been releasing his prod- uct through the R^alart states rights ex- changes, and it can be assumed that any Broder-Lippert films will be handled by the same outlets. The unexpected sale of the Lippert back- log to television is understood to stem from his prolonged hassle with the Screen Actor's Guild, which forced him to curtail produc- tion a year ago. o o Warner Brothers wrapped up one of the neatest packages of the year, with the sign- ing of a three-picture contract with Sid Luft which, among other things, calls for a Judy Garland performance in the musical version of "A Star Is Born." This is a project that has the elements of greatness. All three of the films included in the terms of the contract, are to be made in color. The first will be "Man O' War," story of the famous race horse. Whitfield Cook has already completed the script on the turf epic, and over 5,000 feet of film have been shot and processed on the exploits of the noblest of all thoroughbreds. This will be followed by the Garland starrer. Luffs third production will be "Snowcovercd Wa- gons," the story of the Donner Party from the bok by Margaret Altrocchi. Heard in Hqllywddd By JAY ALLEN David O. Selznick won't be selling his old pictures to television — at least, not for the nonce. A week's test run on "The Farmer's Daughter," in Minneapolis, convinced him there's still plenty of theater coin to be made on re- issues . . . Rock Hudson has joined Tony Curtis and Piper Laurie in U-I's exclusive $1,000 per- week circle — the new figure retroactive to June 2 . . . Warners has scheduled a re-make of the old 1930 Marilyn Miller starrer, "Sunny," and ^Jk e Sp ottifiLt The Hollywood spotlight focuses, this month, on actor-dancer Gene Kelly, whose currently-filming "Invitation to the Dance" promises to set a new high in musical "art" movies. According to MGM officials, Kelly will receive screen credit as star, choreogra- phy, director, and author of the story on which the picture is based. In addition, he is responsible for almost the entire casting of the film, having auditioned over 200 Euro- pean dancers before the production got underway. The picture, composed of four separate sequences, will have no dialogue or contin- uity of story line. Each sequence will fea- ture only dancing and music, and will at- tempt to tell its own story through the chor- eography. The first episode is set against the background of an 18th century European circus, in which Kelly serves as the featured dancer. He will direct the other sequences, including a children's story, an interpretation of eight popular songs, and a "La Ronde" type of story which bears the intriguing title of 'Ring Around the Rosv." DAVID O. SELZNICK He Wont Sell To TV turned over the production reins to William Ja- cobs . . . "Invaders From Mars," Edward L. Al- person's next production for Fox release, goes before the cameras at the Republic studio Sep- tember 24 . . . Robert Goldstein, Len's twin, has ankled his talent executive post at U-l, to keep the family ties intact. # ■ Betty Grable's latest suspension looks like ihe beginning of the end for her long and lucrative association with Fox . . . Also Ray gets the co-starring role with Jane Wyman in Colum- bia's love song . . . Will Rogers, Jr. has caught that old celluloid fever and will make acting his future career. He starts "The Boy From Oklahoma," next month, as his first com- mitment on a brand new four-picture pact at Warners . . . David O. Selznick and Vittorio De Sica are eyeing Marlon Brando and Mont- gomery Clift to share the billing with Jennifer Jones in their joint production of "Terminal Station," which rolls October 10, in Rome . . . Count Kathryn Grayson out as Gene Kelly's lead- ing lady in "Brigadoon," now that she's signed (Continued on Page 24) GENE KELLY A Record of Hits Stars and featured dancers for the picture were recruited from the Sadler's Wells ballet the Paris Ballet, and a half dozen other con-< tinental and English dance groups. Gene Kelly is a product of the Broadway stage, having gotten off on the right foot" (if you will pardon the pun) in the original- company of "Pal Joey." His record, since coming to Hollywood, is studded with out- standing musical hits, among them "An- chor's Aweigh," "The Pirate," "On thej Town," "An American in Paris," "Singing In the Rain" and, most recently, a non- musical, " The Devil Makes Three" — to mention but a few of his 24 screen credits. "An American in Paris" was voted 1951's "best production" by the Academy, and gar- nered seven awards. Kelly, himself, re- ceived one of the coveted "('scars" for his contribution to choreography. 20 FILM BULLETIN September 22, 1952 BLUE CHIP PRODUCTION 99 FEW PICTURES in recent years have attracted so much ad- vance interest as "Moulin Rouge", the Technicolor life istory of artist Toulouse-Lautrec, based on Pierre Lamurc's best- seller, which Director John Huston is currently filming in London and Paris. Jose Ferrer, who originally bought the rights to the book j for a Broadway play, portrays the role of the four-foot, six-inch dwarf, whose works of art are now among the most treasured in the world. Colette Marchand, the French dancer, makes her debut as a dramatic actress in the role of Marie Charlet, the Parisian trollop who had such important influence on the artist's life. And, according to reports from reliable sources. This scene behind the scene shows the de- formed artist walking down a street in Paris. Miss Marchand emerges as one of the greatest screen discoveries in motion picture history — a 1952-model Garbo. Zsa Zsa Gabor undertakes her first singing and dancing assignment in the pic- ture, as the glamorous Jane Avril. who rose to international stardom at the Parisian '"Moulin Rouge"'. From the moment that Ferrer was announced for the starring role, curiosity arose as to how the six-foot actor could play the dwarfed artist. For several weeks Ferrer and director Huston discussed and tried out innumerable devices. Finally it was decided that Ferrer would have to strap his legs behind him, and stumped false legs would be attached at the knees. This was the first time an actor had attempted such a feat since the days of LoruChaney, which, in itself, provides great potentiali- ties for theatre exploitation, when the picture is released. The sets for the picture promise to be among the most start- ling ever seen on the screen. In an attempt to mount the pic- ture as it might have appeared through Lautrec's own eyes, Huston signed the noted Hungarian artist, Marcel Vertes, to sketch each individual setting. Working in collaboration with designer Paul Sheriff. Lautrec colors were used through out. Vertes also served as "the hand of Lautrec" in the scenes which show Ferrer, as the artist, re-creating some of the Toulouse-Lautrec masterpieces. Anthonv Veiller collaborated with director Huston in adapt- ing the Lamure novel to the screen. John Somlyo is serving in the capacity of producer. Executives of United Artists, which will release the film, are so enthused over the early "rushes" that editing will be speeded up in order to qualify the production for this year's Academy Awards. The lovely Zsa Zsa Gabor and Jose Ferrer in the famous Parisian restaurant. Moulin Rouge. V. J. BEATTIE Calgary W. A. BRIANT JACK BURK New Orleans Seattle AL LEVY Pittsburgh G. L. CHERNOFF R. L. CONN J.M.CONNOLLY S. E. DIAMOND ABE DICKSTEIN Montreal Des Momes Boston Philadelphia New York R. C. McNABB Cincinnati J. R. NEGER M.W.OSBORNE J.E.PATTERSON C. F. POWERS Kansas City Oklahoma City Vancouver Portland J. B. ROSEN Washington NAT ROSEN Albany J. SCHMERTZ Cleveland TKere's Kb Business Like V.DUGAN J. M. ERICKSON T.R.GILLIAM G. F. HALLORAN J. E. HOLSTON J. H. HUBER lenver San Francisco Chicago St. Louis Charlotte Winnipeg W. T. KEITH Indianapolis 0 B. KOSCO Buffalo J. J. LEE Detroit testimonial Sept. 28 -Dec. 27 The men who are keeping a great big smile on the industry's face • . . with the happiest, biggest, most consistent line-up of hits in the history of 20th Century-Fox ! M KSHERIDAN PHIL SHERMAN Dallas Toronto ftentury-Fox Business ! Heard in Hdllywddd (Continued jrom Page 20) that four picture pact with Warners — complete with TV rights . . . Frank McDonald has been pacted by Monogram to direct "Son of Belle Starr" (Keith Larsen), Peter Scully production which rolls this week . . . Warners forked over 25 G's for a George Yates science-fiction yarn on the aftermath of the A-bomb tests at Yucca Flats ... On the same subiect, RKO-Pathe will release a special two-reeler titled "Operation A- Bomb," compiled from the 29,000 feet of color film shot by Marine cameramen during the early summer Nevada tests . . . Beverly Michaels can- celled her Columbia thespact and signed a long- termer at U-l . . . James Vaughn, former Eagle- Lion studio and production manager, has joined Edward Small as exec production chief. His first choice, "Storm Over the Caribees," goes before the cameras this week. MPA title registrations indicate there will be very few low-budget westerns made next year. That's bad news for thousands of action theatres in cities and small towns . . . Robert L. Lippert spent $4,200 for 32 TV spots during a single day, to plug the Los Angeles opening of "Hell- gate" . . . Lloyd Bacon moves to U-l on a one- picture deal to meg "Sioux Uprising," which Win, lose or draw in the hassle with Mario Lanza, MGM will pay U-l the $50,000 loan-out fee for Ann Blyth who was to co-star in "The Student Prince" . . . Our guess is that Lanza will say he's sorry and go back to work for Leo . . . Sol Lesser has organized W. H. Distributing Corp. to handle Latin American production and distribution for his set-up . . . Curt Siodmak will direct "Donovan's Brain," based on his own novel, for Producer Tom Gries, of Dowling Prod- ductions . . . Charles Coburn will co-star with John Wayne in "Alma Mater" which Mel Shavel- son will produce for Warners, starting October 15 . . . Jack Broder purchased "House of Dark- ness," an English film, to team with "Bela Lugosi Meets A Brooklyn Guerilla," as a Realart pack- age . . . Norman Taurog has been signed by Martin and Lewis to direct their next inde for Paramount release, "The Caddy." FLASH! TOP GROSSER ot Metropolitan Theatre, Washington, D, C. SOCKO BOXOFFICE at the Century Theatre, Buffalo, N. Y. THE Filmed entirely in mystic INDIA Rod CAMERON Cesar ROMERO Marie WINDSOR STANLEY KRAMER IV ill Sneak 'Time' rolls this week, with Faith Domergue starred . . . Coumbia is re-issuing its old 1930 Richard Arlen- Jean Parker starrer, "The Mine With the Iron Door" . . . Barbara Payton goes before the cameras next week, in Europe, as the star of a new Lippert release, "A Woman Is Trouble" — which sounds like it could be the story of some of her best "friends'" lives . . . Stanley Kramer plans to sneak preview "The Happy Time" in every major city in the U. S. to generate word- of-mouth advertising ... A good picture, there- fore, a good idea . . . Gordon Douglas has been assigned by WB as the director of "The Grace Moore Story," which rolls very shortly, with Kathryn Grayson starred . . . Paramount post- poned "Alaskan Seas" for three months, for lack of a leading man. DARRYL F. ZANUCK More Personal Productions Darryl F. Zanuck purchased film right to "The Egyptian" and will probably make it his big personal production of '53, despite his announce- ment a couple of months ago that he would no longer handle productions personally . . . Robert Buckner has been signed by Fox to screenplay an untitled drama which will serve as DFZ's next personal production . . . Hugo Haas has started preparations on "Blonde Poison," his next inde production, which rolls at Motion Pic- ture Center in November . . . Billy Wilder's first independent production will be "Oedipus," based on the Greek cassic. Tentative plans call for filming in late '53 . . . Wayne-Fellows Pro- ductions has set an October 27 starting date on "Plunder in the Sun" (Glenn Ford- Patricia Me- dina), their second of three films for Warner release . . . Sam Katzman, Columbia's consistent action film producer rolls along. He has just signed George Montgomery for two more Techni- color vehicles . . . Bob Hope's next will get a topflight cast. "G"rls Are Here To Stay" boasts Tony Martin, Arlene Dahl and singer Rosemary Clooney, in addition to comic. It's a musical satire, with Hope playing an old chorus boy. Making Money Everywhere! "OUTLAW WOMEN" Color by CINEC0L0R MARIE WINDSOR • RICHARD ROBER CARLA BALENDA . JACKIE COOGAN ALLAN NIXON • moS&uni FONTAINE A RON OSMOND Production READY NOW A Sinister Story ot Suspense! F""^ e^"j™ fjZJ if***'' \mm, jf starring Audrey Valentina Serge HEPBURN • C0RTESA • REGGIANI READY NOW PIRATE SUBMARINE TRUE! OARING! Filmed in the heart of the Mediterranean ! LIPPERT PICTURES, INC. 145 N. Robertson Blvd., Beverly Hills, Calif. Foreign Sales Dept., 723 7th Ave., New York Coble Address: Gildfilms— Lippfilms 24 FILM BULLETIN September 22, 1952 BULLETIN Exploitation & Merchandising UEVAimXEJST .Metro isn't missing a single bet on "Ivan- hoe". This week, Sept. 22, has been set as "Ivanhoe Week", in line with the all-out campaign on the film. Now having opened in practically every exchange center, M-G-M and National Screen branches will exclusive- ly display promotion material during the period, and in cities where the picture will be current, or will open soon, all ad ac- cessories will give the name of the theatre and the play-dates. It might be called a "grass roots" version of the NSS special ex- hibit on "Quo Vadis" held in New York several months ago, except that this time every NSS branch in the country has been notified to post "Ivanhoe" signs on windows fronting the street, where the eye-catchers will be especially effective. In addition, thea- tre owners, bookers, newspaper men and trade paper representatives in each of the branches have been invited to see the dis- plays. When Aletro goes, it goes all-out. The Pocket Book (Cardinal Edition) of ''Ivan- hoe'' shown above is one of several book tie-ups available on this big spectacle. Four others are listed in the press book. With typical Disney thoroughness, the producer's merchandising outfit has set up more than 14 million printed items for sale through theatres to tie in with the forthcom- ing "Peter Pan", released by RKO Radio next February. A good proportion are books, ranging in price from 10c to $1.50 and repre- senting the largest number of first printings ever inspired by a motion picture. The cate- gories include paint books, punch-outs, fun books, story classics, sticker fun books, sew- ing cards, boxed puzzles, big and little Gol- den Books, a Peter Pan Treasure Chest, etc. Early ads on Dafyl Zanuck's 1952 personal production for 20th-Fox, "The Snows of Kilimanjaro", reached this desk via trade press contact Ira Tulipan, who writes "we think (they) are something special." No doubt about it, Ira, they are something spe- cial. Charlie Kinfeld's ace staff of boxoflficers use art, cunningly combined with some of the most provocative (but always tasteful) copy, a high-powered cast including Gregory Peck, Ava Gardner and Susan Hayward, the Ernest Hemingway story and a teaser via the title — all of which makes for eyedvertis- ing a la king. The film is set for one of the biggest ad campaigns ever to grace a 20th- Fox film. Designed to saturate a reader group upwards of 130,000,000, the drive is timetabled to coincide with the Fall pre-re- lease engagements. The Hearst group will lead the parade with four color spreads in Cosmopolitan, Good Housekeeping, Harper's Bazaar, House Beautiful and Town and Country. Sunday supplements to feature full page ads include The American Weekly, Pic- torial Review and The Comic Weekly. More? 7500 newspapers will be serviced with a va- riety of mats and glossy stills; 1000 radio stations will receive a complete program based on the picture and 92 television sta- tions will be forwarded the regular Hearst "Fashion Show." Look Magazine, in the Sept. 23 issue, gives it the biggest layout the publication has ever awarded a movie. It adds up to quite a barrage — and there's more to come. The theory of evolution is working in re- verse at Universal. Maurice "Bucky" Harris, now observing his 30th anniversary as a movie "advance man", began his career by paving the b.o. way for Rudolph Valentino in 1922. Now, 30 years later, Harris is doing the same for Universal's fabulous chimpan- zee, Bonzo. Bucky will work in advance of the U-I troupe promoting the chimp's latest, "Bonzo Goes to College". Following him will be the simian star, his (Bonzo's) trainer, and Helen Carr, former Copa line girl. It's not the first time, however, for Bucky in exploiting stellar personalities from the ani- mal kingdom. He handled the original Bonzo film, the bally for the talking mule, Francis, and a canine star, "Flame." * * * Warner's is one company that has never underrated the value of junkets for news- paper people. They know that one column of these widely-read scribes can mean more than five columns of advertising. Their lat- est is carting a batch of the fourth-estaters to Quebec to witness the location shooting of 'I Confess," Alferd Hitchcock's thriller, to garner nationwide advance key city news- paper and magazine coverage. The process (Continued on Page 28) By BARN HARRY COHN President Pioneer [IT COULDN'T happen to a nicer guy. The selection of Nate Blumberg as Motion Pic- ture Pioneer of the Year was a natural. Cur- rently observing his 40th anniversary in the industry, the Universal board chairman was unanimously named as the Pioneer of the Year by the MPP board, Jack Cohn, presi- dent, revealed. In the announcement, Cohn called the veteran executive "a true Pioneer, having entered this business in 1912 when all the attributes of a real pioneer meant so much to the advancement of our industry . . . His rise from poster clerk to the chair- manship of the board of Universal Pictures Company is really a thrilling American suc- cess story." Blumberg's long-time friend, a (Continued on Page 28) N. J. BLUMBERG Pioneer of the Year FILM BULLETIN September 22, 1952 25 EXPLOITATION PICTURE THE NOT SO 'QUIET MAN Delicious Blend from Eire, Ford Both "critics and the public will love it," is the way FB reviewer Coulter describes John Ford's Technicolor production for Republic. "The Quiet Man." Want to hear more? "Among the very best from any studio in recent years . . . Will give the picture business a shot-in-the-arm . . . Will play to packed houses everywhere, and to every kind of audience." More. "Rich Irish humor, providing both chuckles and belly laughs, has a constant heart throb, is musically fascinating, scenically inspiring, acted produced and directed superbly . . . Never a dull second, tons of rough-and-tumble action and scores of little touches of direction." This usually reliable BULLETIN critic has been backed up universally by trade and lay press critics. There is little question of the film's intrinsic entertainment value, both in the lay and trade press. The exhibitor's job is to back up these opinions with real showmanship — and his tools are all carefully displayed in Republic's excellent press book on the film. The John Ford prestige, the wonderful performances, special promo- tions including a bonanza of music tie-ups, title tie-ups, John Wayne and Maureen O'Hara plugs, a special medal of merit from Parents' Magazine, con- tests— including an engrossing plant in newspapers, "Score \ ourself on Love" — and a host of other ideas are suggested in the abundant showmanship manual, including the fronts, lobbies and displays, as well as the ads, shown here. Exploit it and it will pay off — in spades! Shown at top arc the special series of stills which can be adapted to various blow-up uses for lobby dis- plays and fronts Some ire adapt- able for silhouette blow-ups. others for wallboard displays. The center still is striking for atop the marquee. The set is available from National Screen Service. At left, center, is a sample of the newspaper ads. They offer an ex- cellent variety, ranging from the dig- nified approach to the rough-and- tough action angle. Even the teasers (top right and bottom left) work on the principal that here is a film that can be sold to any type of theatre. At bottom, the posters and lobbies. These include insert cards, 22 x 28's. one-, three-, and six sheets. Also available are sets of 11 x 14's, a mat for flash circus herald (gratis), u window cards, a valance, 9' x 3' and, of course the 8 x 10 stills. TIE-UPS A gigantic music promotion has been set up by Republic, both wfth recordings and sheet music companies. RCA and Decca dealers have been alerted for a nationwide promotion tie-up with Men Griffin on the Rl \ album doing the vocals and Bing Crosby on the Decca label. Leeds Music Corporation has five songs in special movie editions and are offering a special recording of "The Isle of Innisfree" and "Galway Bay" gratis to theatres for use as entrance and exit music and/or in lobbies. Department stores can be utilized effectively in tie-ups for displays varied types of merchandies. The title is useful in a number of items, in eluding men's and women's clothing, furniture, fashions (with green as tlir natural fundamental 1 . PLANTS & POSTERS Newspaper plants are available in two very striking mats. One is a one-day strip that tells the story in pictures. Another is a "Love" question naire in which readers will inevitably find themselves engrossed. Then are 10 provocative questions on a true and false basis to score each iixli- \idual on their knowledge of love. In Parents' Magazine, the Special Merit Award for the film will reach more than 2.000,000 parents and teachers. A special one-sheet poster is available for use in lobby display and at organization meetings. EXPLOITATION PICTURE of the issue THE QUIET MAN When director John Ford took his stars and technical stafl to Ireland for "The Quiet Man", it w;b a labor of love. With Republic president Herbert J. Yates' blessing. Ford made the most of Erin's lovely landscapes. Technicolor and a fine cast of American and Irish players to conjure up one of the most de- lightful comedy-action-romance films in recent years. "The Quiet Man", which lord has declared his finest fdm. tells of an American boxer, blighted by the fact that he killed his opponent in a bout, seeking solace in the quietude of the Irish town in which he was born. But he is sadly disappointed. The village bully. Victor McLaglen. tries to urge him into battle, because he covets the land which Wayne has bought and because of Wayne's courtship of his sister. Maureen O'Hara. In the ensuing hassle. Wayne marries the spitfire Maureen, but is refused his nuptial rights because McLaglen withholds her dowrv. W hen the bully is shamed into delivering the dowry and Wayne deliberately dumps the shekels down a kiln, a roar- ing fight starts that ebbs and flows throughout the Irish Countryside, ending in a most satisfactory manner. The story couldn't be complete without mention of Barry Fitzgerald's impish, outlandish and thoroughly delightful behavior as the village bookmaker, who specializes in marriage brokerage. At right, the placidity of the Irish countryside contrasts with the splurges of action in some typical scenes from the film: the whirlwind courtship of Maureen O'Hara by John Wayne: Barry Fitzgerald's wal- lowing in a role as the toun's marriage broker that seems to have been molded to his ample talents, and. finally, the wild donnybrook between II oyne and Victor McLaglen that rolls and tumbles over half the Emerald Isle's countryside before it comes to its most satisfactory finish. Beloic. bride and groom face the fearsome photographer s camera for their wedding picture. +Sliort Subjects (Continued from Page 25) fellow by the name of George Jessel, will be toastmaster at the Jubilee Dinner on No- vember 25. AF MEN AND THINGS: United Para- mount's Leonard Goldenson takes bows Wednesday (24th) as guest of honor at New York's Cinema Lodge of B'nai B'rith on be- half of the entertainment industry. Golden- son will get the "Honor Scroll" for his years of service in the fight against intolerance and bigotry through the Anti-Defamation League and for his part in the Cereral Palsy cam- paign . . . Steve Broidy reveals that Mono- gram vice-president Harold Mirisch was named by the company's directorate to suc- ceed William Hurlbut, who recently sold his Detroit franchise, as a board member. All nine other members of the present board were also nominated to the board, pending approval by the stockholders' meeting in November . . . SMPTE prexy Peter Mole discloses that the David Sarnoff Gold Medal Award this year will be presented to A. G. Jensen, Bell Telephone Laboratories director of television research. The award is given for technical contributions to the art of tele- ANNIVERSARY A. J. Richard, second from left, receives a con- gratulatory handshake from Paramount president Barney Balahan. on the occasion of the 25th anniversary of Paramount newsreel. Looking on are board chairman Adolph Zukor (left) and Russell Holman, Eastern production manager. vision by the RCA chieftain . . . Leo Wilder, has been upped from head of the Warner home office still department to assistant fan and national magazine contact. Nat Garts- man moves into Wilder's spot in the still department ... A. J. Richard, editor of Para- mount News, was given a big blow-off by company execs to celebrate his (and Para- mount's) 25th anniversary as newsreel man at Paramount. Before that, he was with Pathe News for 17 years. THE MARCIANO-WALCOTT set-to to- morrow night (23rd) in Philadelphia should be a bonanza for RKO in New Eng- land, as well as in Philadelphia — if it is re- leased. Although the bout will go over the Theatre Television Network throughout the country, it will be blacked out in Philly, and, for the first time, in one of the participants' home areas, New England, thus setting up a natural for a film showing in that area. Whether RKO, which has the film rights, will release the subject won't be disclosed until after the contest, according to Sidney Kramer, short subjects sales manager. But he reports "heavy interest" in the fight film by exhibitors throughout the country and contends that there is "general feeling on the part of exhibitors that the fight should prove a big boxoffice attraction." A group of RKO top brass are going to the City of Brotherly Love to witness the match, among them, president Ned E. Depinet, sales v.p. Bob Mochrie, division managers Walter Branson, Nat Levy and Charles Boasberg. They'll decide afterwards on release of the reels. BT'S DRIVE TIME again and, for 20th Century-Fox, that means the annual Branch Managers Testimonial campaign, to run this year from September 28 through December 27. Al Lichtman, director of dis- tribution, revealed plans for the Testimonial, in which each of the company's division sales heads will act as captains during the 13- week period. CHICAGO FILM industryites, spearheaded by Allied Theatres of Illinois, paid tribute — in a most tangible way — to Hearst's Amer- ican Weekly for its outstanding treatment of the movie business, climaxed by the pub- lication's first annual movie edition. The Chicagoans kudoed the American Weekly a cooperative ad in the Sunday Herald Amer- ican, which carries the AW supplement. To our knowledge, it's the first time a publica- tion was so honored. It is to be hoped the example thus set will spur other areas to appreciation of the sorely needed support furnished by the press whenever and wher- ever it appears. WITH RELEASE of "Limelight," due be- fore the year's end, Charles Chaplin en- ters his fifth decade of movie-making. The United Artists release, Chaplin's first in five years, will be the 81st picture made by the maestro. The interim, from his first, "Mak- ing a Living", a Keystone comedy, to the present is virtually the living history of the greatest medium of mass entertainment the world has ever known. As has been his wont in recent years, Chaplin wrote, pro- duced and directed "Limelight", which will be touted as his "40th Anniversary Film," as well as starring in it. In the same vein, Chaplin's uncanny talent for mixing new beauty with classic comedy and tragedy bids fair to triumph again in the person of Claire (Continued on Page 29) Exploitation & Merchandising (Continued from Page 25) will go on for two weeks to ensure blanket saturation by the press. * * * What more fitting than a tribute to Blos- som Seeley and Benny Fields by the famed Friars Club, outstanding show business or- ganization, as part of the New York pre- miere of Paramount's "Somebody Loves Ale!" The Betty Hutton starrer goes into the Roxy as the first Paramount release to , play the huge showcase in more than a decade. The Friars' salute will be a celeb- rity-packed affair attended by every name in show business who can get there by land, sea, air and mule train. * * * That's quite a press book 20th Century- Fox has turned out for its series of seven one-reelers in Technicolor covering classic painters and their works. The group, a pet project of president Spyros Skouras, drama- tizes the works of Degas, Botticelli, Ver- meer, Renoir, Rembrandt, Raphael and the Renaissance painters. Special stress is laid THE MARINES LAND The recent opening of 20th-Fox's "W hat Price | Glory" at Buffalo's Century Theatre had the Marines out in force. More than 400 leathernecks 1 paraded down Main Street to the theatre as j thousands lined the streets. Adding to the at- traction was a lobby display of weapons used in Korea. l the educational aspect, with emphasis on schools and clubs. The highly successful Allentown (Pa.) campaign is cited in detail; there are plenty of publicity and exploita- tion angles given the exhibitor with which, to work and a series of /mats are availaWe| to tie in with the feature. With the increas- ing mass of discriminating moviegoers, 20th- Fox, with its art film productions, lias a good bet to draw the extra audience that| makes the difference between profit and loss. 28 FILM BULLETIN September 22, 1952 99 What the Newspaper Critics Sag About New Film? "QUOT6S Kids Will Love 'Crimson Pirate' — But So Do The Critics Warners' tongue-in-cheek treatment of this swashbuckling sea-film, with Burt Lan- caster as the star, gets some grudging ad- miration from the New York newspaper film critics. Kven as they point how "children I will love it," the blase Broadwayites reveal 1 that maybe at heart, that's just what they 'are as they decry the time-tried theme but [disclose their affection, wither in words or Iby implication, or the madcap presentation. [The most complimentary reaction is ob- I served in several of the critics' comparison [with the classic Doug Fairbanks movies of I Yesteryear. The Times' Abe Weiler finds this "slam- bang, action-filled Technicolored lampoon" a boon to "any viewer with a drop of red blood in his veins and with fond memories of the Douglas Fairbanks, Sr. school of derring-do." The World-Telegram's Alton Cook dubs ■ it a "wild, madcap exaggeration of the heroic feats of all movie swashbucklers" and the "best fun conjured up by these derring- do dramas since the days of the fabulous I elder Douglas Fairbanks." The Journal-American's Rose Pelswick I concurs that it is "the best adventure yarn of its kind since the days of Douglas Fair- | banks," and adds that it's a "bang-up swash- buckler loaded with action, romance and comedy." In the Post, Archer VVinsten recalls Lan- caster's previous starrer, "The Flame and I the Arrow" and finds that here is another in [the same vein, giving Lancaster to display I his prowess as "the swashbuckling acrobat." I Both children and adults with "minds twelve and under" will love it. "The rest of us, well, it just depends on how mature we're feeling at the moment of this boldly garbled I fairy tale of fancy and fury." In the same vein, Arthur Pollock, the I Compass' critic, describes the film as "all I sorts of mad and comical doings, mostly I acrobatic, all absurd." "Children," he adds, "should be spellbound by it." UNTAMED FRONTIER' UNIVERSAL-INTERNATIONAL "Should fool no one. This jazzed-up melodrama . . . spreads itself over some bountiful Technicolored scenery, and the stars sportingly submit to a physical and emotional workout that must have had them pining for more civilized chores . . . Sur- prisingly, the picture is rather convincing, in spite of the cut-and-dried format and garish predictability."— H. H. T., N. Y. Times. "Brings unusually fresh spirit and skill to a retelling of the sturdy old Western film tale . . . Very agreeable surprise package of lexcitement and tumult." — Cook, N. Y. World-Telegram & Sun. "Nearly everybody gets shot. Sure is rugged. In beautiful Technicolor . . . But the scenery is impressive. And there's plenty of action." — O'Connor, N. Y. Journal Ameri- can. "Hoary Western plot . . . Performances are good, the Technicolor rich, and the scenery is unusually well photographed . . . One western that is better than its fellows possessing the identical plot." — WitlSten, N. Y. Post. 'FRANCIS GOES TO WEST POINT' UNIVERSAL-INTERNATIONAL "Whatever humor there is to be found . . . — and there is very little — lies in the basic joke that the jackass (genus Asinus Loquacious) is a garrulous pundit . . . Foun- dation gag was curried pretty thin on the second lap. This third entry never gets away from the starting post . . . Aging and fa- miliar situations." — O. A. G., N. Y. Times. "You must know in advance what to ex- pect and you won't be very much surprised; just a little disappointed . . . Minor laugh riot . . . It's not exactly slapstick, but there's no sign of accepted whimsy. It's just plain ridiculouus, and if you're feeling right for it, it will make you laugh out loud more than just once." — Thirer, N. Y. Post. "The robust quality of Francis' humor is petering out, but the talking mule still re- mains a mildly entertaining companion . . Law of diminishing returns is already exert- ing a very serious influence." — Cook, X Y. World-Telegram & Sun. "May I suggest the novelty is beginning to wear a little thin? . . . Concentrate on Francis and Donald (O'Connor) and you'll have fun ... A laughing picture with the kick of a mule!" — O'Connor, N. Y. Journal- American. BEWARE, MY LOVELY' RKO RADIO "Clearly contrived and designed for no other positive purpose than to send shivers chasing up and down the spine ... Its success will depend entirely upon how sus- ceptible you are to illogic and little tricks of looming shadows and clutching hands." — Crowther, N. Y. Times. "The intrepid Ida Lupino has tried hard and not very successfully to make a thriller . . . out of the play "The Man" which had a moderate success on Broadway a season or two ago . . . There is no real story. The whole film is a single situation which ought to be packed with suspense, and isn't." — Wr. H., N. Y World-Telegram. "Not enough latitude or variety to keep the suspense from becoming repetitive . . . This one is an off-beat enterprise, not only in theme but in a climax which will prove unsatisfactory for many a movie-goer . . . Ryan and Miss Lupino give it fine perform- ance, despite the histronic limitations, and it has been suspensefully directed and photo- graphed."— Masters, N. Y. Daily News. "A picture of mounting tension but, con- sidering the number of stories, books and movies dealing with this psychiatric theme, it blazes no new trails . . . Mr. Ryan's acting alone warrants seeing the film." — Beckiey, N. Y. Herald Tribune. (Continued from Pugc 28) Bloom, the film's feminine lead. The new star has everything it takes to make the upper strata of screen personalities Featured in the cast is another combination of new and old: Nigel Bruce, Buster Keaton, Nor- man Lloyd, two of Chaplin's sons, Sydney and Charles, Jr., and a pair of the world's top ballet dancers, Andre Eglevsky and Melissa Hayden — with choreography by one Charles Chaplin. PARAMOUNT IS giving the branch man- agers the final say on the new title for the Nat Holt production currently known as "Adobe Walls". It was Holt's own idea. He wrote to the branch heads enclosing a list of proposed substitute labels, but wanted the area chiefs to make additional suggestions. Wouldn'*: hurt other producers to follow Holt's lead. Moreover, if it were spread out among exhibitors, it seems, in this corner, there'd be a lot more interest keyed up for the film once it gets into the selling stage. DEFORE HE launched into a most con- vincing discussion on censorship, RKO's Leon Bamberger got off some cuties in his address before the West Virginia Allied con- vention in Clarksburg. First he ribbed the conventioneers with an Arthur Godfrey story about a little girl who was getting ready to move with her family from California to West Virginia. The night before they were scheduled to leave, he related, the tot said her prayers as usual, finishing off with "God bless mommy, and daddy, and my little brother Tommy. And this is good-bye, God, we're moving to West Virginia." Before the yaks had subsided, he reversed the needle and told of an appearance he had made at a women's club meeting where the president wound up the introduction for Leon with: "Mr. Bamberger will be our only speaker today. The rest of the program will be en- tertainment." METRO TRADE press contact, Bill Orn- stein, who has made his mark in the lit- erary field as a short story writer, has really reached the heights — publication in book form. Twenty of his yarns have been com- bined in a tome published by Story Book Press of Dallas called "Ma and Me." The book is described by Martha Foley, editor of Best American Short Stories, as "a warm and touching series of stories ... a rare combina- tion of humor and poignancy ... a memor- able picture of simple lives enriched by love." That's the Metro staff for you — Howard Deitz, ad-publicity veep and top-notch musi- cal writer; Si Seadler, advertising head and cartoonist deluxe; and now, Bill Ornstein. FILM BULLETIN September 22, 1952 29 6XHIBITORS fORUm Opinions Culled from Organization Bulletins WHY TO CUT RENTALS Allied ITO of E. Penna. Many independent exhibitors will remem- ber that some years ago, during the war and even before that, the distributors moaned about their loss of the foreign market. Now, according to a full page story printed in MOTION PICTURE HERALD of August 23, distributor receipts from abroad will reach the record-breaking total of $135,000 this year. The I". S. Department of Commerce has just released the official figures of motion picture gross receipts for the top profit year of 1948. These figures are for commercially operated theatres which were open during the entire year: \2r/r of the number of theatres grossed less than $10,000. 19% of the number of theatres grossed between $10,000 and $25,000. 24% of the number of theatres grossed between $25,000 and $50,000. Therefore, 55% of all the theatres com- mercially operated grossed less than $1,000 per week. Obviously, exhibitors owning these theatres could not possibly build up sufficient cash reserves to take care of their vastly increased costs and to replace worn out equipment. Nor do they now have enough reserves to continue to pay film rentals based on precedent while at the same time their boxoffice receipts are being steadily reduced. Exhibitors should remember these figures when they deal with the film companies. Home office executives should keep these figures prominently on their desks and price their product directly in line with current grosses. The continued profitable existence of the American motion picture theatre, par- ticularly in the small towns and neighbor- hoods, is a "MUST" if the entire business is to regain its full prosperity. These theatres are the feeder roots of the business. When the roots die, the tree dies. Push relentlessly for film rentals which can yield you a fair profit. BOOKING SOLUTION Western Theatre Owners Every day the buying and booking of pic- tures is becoming more complex and difficult and if it is done properly accurate and up to the minute records must be maintained. To- day it is almost impossible to buy and book pictures a month ahead. I feel sorry for the exhibitors living away from the exchange centers . . . salesmen call less frequently and if an exhibitor has to wait until he goes in, the pictures have usualy passed his avail- ability. The mails are too slow, particularly now that New York must pass on all offers and, in some cases, even playdates. The indi- vidual exhibitor is just plain behind the 8- ball with too few pictures, too few prints, too few salesmen and too few working hours. It all adds up to trouble. As I see it, the only solution in buying and booking agencies. The small theatre cannot pay enough to interest any individual to take them on, yet these. out- of-town exhibitors are the group which needs help. I have always felt that the Exhibitor Associations should have a buying and book- ing department, run at cost, for the very small individual-theatre owners. I am not suggesting that Theatre Owners Associations should take away business from existing buying and booking agencies, which are doing a fine job, but I do feel that Associ- ations should step forward to help the small theatre owner on this vital problem. I do not believe it should be a free service but a service strictly at cost. The Distributors should welcome such a setup as it would cut sales expense and streamline operations. — ROTUS HARVEY MOVIES & NEWS Allied of la., Neb. & Mid-Central I'd like to have asked the news men some questions like these: When movies are un- questionably proven to be by far the greatest entertainment interest of the American people, why is so little space devoted to them in your columns? When the attendance each week at movies is greater from ten to a hundredfold than the total YEARLY at- tendance at any given sport, why is the movie interest covered so sparingly in pro- portion to the space given sports]1 It is because movies are looked upon as a private industry and sports are in the public domain' It couldn't be that. Sports are as commercial as any thing in our economy and this included the so-called amateur sports. Professional sport is simply private enter- prise. Newspapers spend not only columns, but pages and whole sections of each issue on sports thus lending to the advertising of the promotion of that sport. You never see much of an ad in the paper advertising a ball game of any kind. It's covered in the news columns. With the overwhelming force of facts and figures to verify the direction in which the average Americans interests lie in the field of entertainment — i.e. in movies — why doesn't this industry get the same interest coverage from the press which they give to sports in the interest of public ser- vice? Why isn't it just as interesting to report on the day to day events in movies as it is in sports? It would demand a new- style of reporting, a new style of writing, but the interest of the public is already proven to be there. It would be a service to cover the public's favorite form of entertainment. We're all for sports. We read 'em like a fiend, but we think the news people are miss- ing a bet in not covering a little better what has proven to be America's No. 1 favorite pastime interest — the MOVIES. MANPOWER WASTE Western Theatre Owners In every exchange center many theatres have closed which means, for every shuttered theatre some manager loses his job. What has become of them? The other day I asked several exhibitors if they had received very many applications for jobs, and every answer was a 'no'. It is apparent that these ex- managers are leaving our industry. Is it because they can make more money in other industries or is it because they believe what they have been reading in the many maga- zines, etc., and have concluded our business is on the way out? We need manpower and it costs money to train men, so perhaps we should give attention to this problem and try to find the answers. —ROTUS HARVEY PROFITS DIVISION AITO of la., Neb., S. D., Mid-Central We said to a distributor representative the other day that 1A towns should have amount of film rental for profit. He thought we were joking. Does it take a lot of grey matter to figure that a man in a small town with — we'll keep it low — say, a $15,000 investment and paying say, — we'll keep this low, too — 75-80 dollars per week film rental, then you pray tell me how he is going to be getting any return on his investment, replace any carpets, seats, buy groceries and all the over- head if he can't clear 75-80 per week. That means he should have film rental for profit. Industry is full of good jobs — with no investment. Only a fool would invest that much money in a little town and not make film rental in return. If you can't make that much, then by G-eorge, neither should the film companies make that much in your town. You can't make that kind of a profit on every picture. Nobody expects to. You should make it though, on top allocated pic- tures, or the allocation is wrong. If you play 50% pictures, or 70% pictures, in the case of "Quo Vadis," take your overhead out of your half and then see who makes the most money in your town — you or the film company. Maybe you've noticed a big re- duction in film rental all along the line in your town and feel that distribution is en- titled to a few 50 per centers. Most of us haven't noticed if it's been going on. WHAT'S BEHIND 'STREAMLINING' AITO of Eastern Pa. Several months ago Mr. Eric Johnson, President of the Producing-Distribution Organization, submitted a report which urgently suggested that distribution methods be streamlined. This is an old idea. It was first advanced by Sidney R. Kent many years ago. Exactly what it means nobody knows, but it carries implications of vast import- ance to independent exhibitors. Recently there have been meetings in New- York by home office distribution executives. There have been reports in the trade press that the idea of streamlining distribution is being seriously considered and might soon be tested in one of the exchange centers. Your organization will closely watch the development of streamlining, particularly from the viewpoint of its affect on inde- pendent exhibitors who are Allied members. If streamlining is designed to cut costs and reduce film rentals — fine; if not, let's find out what is behind it. FILM BULLETIN September 22, 1952 WST OFF THE PRESS! the Reference (juiafe to tfcur DhduAtfif This Book Gives You ALL THE ANSWERS Covering The Motion Picture Industry Over 1,000 Pages Beautifully Bound Morion Picture Industry Statistics A list of more than 25,000 feature motion pic- tures released since 1915, together with release date and review dates • Complete list of Theatres Theatre Circuits with Personnel Drive-ins with locations Negro Theatres — Art Theatres Personnel of all companies Important Company Financial Statements Labor Organizations Exhibitor Groups Complete section on Television and Stations Personnel of Equipment and Mfrs. and their product Serials released since 1920 CREDITS: Producers, Players, Directors, Photographers, Editors, Art Directors, etc. Laboratories, Exchanges, Film Carriers Non-Theatrical producers Independent distributors Foreign World Wide statistics to the entire industry THE 1952 FILM YEAR BOOK 34th Edition JUST OFF THE PRESS THE 1952 Y^AR BOOK OF MOTION PICTURES now being distributed to a" subscribers to the Film Daily at no extra cost will not only answer your .every question on motion pictures but will be found invaluable every day of the year to EXHI- BITORS, ADVERTISING AGENCIES, TELEVISION STATIONS, EQUIPMENT DEALERS, MANUFAC- TURERS, EXPORTERS, THEATRICAL EXECUTIVES PRODUCERS, DIRECTORS, WRITERS, etc. etc. This important volume of over 1000 pages covering the industry in its entirety has been published an- nually for the past 34 years and is the recognized standard reference book of the Motion Picture In- dustry and its Branches Throughout the World. The 34th Edition is NOW off the press. Fill in the coupon below and receive your copy of the book NOW along with the FILM DAILY— five days each week and all special editions. OVERNIGHT SER- VICE TO CALIFORNIA. A WEALTH OF INFORMATION Is yours when you become a subscriber to THE FILM DAILY. The 1952, 34th Edition of the YEAR BOOK surpasses all others. GET IT! Keep it handy for refer- ence! It's worth its weight in gold. Get Your Copy NOW! Hollywood Office Aumnm 4425 Hol|ywood Blvd- Hollywood 18, Calif. I DAILY l\ dwjy 34. N. Y. *nen: i enter my subscription to THE FILM DAILY, and send me my H>f THE 1952 FILM DAILY Year Book. I enclose $15.00 'in $20.00). This is Only A Part of What is Covered in This OUTSTANDING BOOK OF REFERENCE Film Daily Year Books are given at NO EXTRA COST to all paid subscribers to The Film Daily, the industry's Oldest and Most Widely Read Daily Trade Paper. Sign and Mail NOW H State: CO I Elt-TO-t O 1 ER There are substantial reasons why exhibitors all over America (and the subscribers in Canada, Europe, England, India and Iceland, too) are agreeable to pay more for their subscription to FILM BULLETIN than for the average trade paper. The answer is that thousands of theatremen do more than just subscribe to FILM BULLETIN . . . They absorb it from cover to cover . . . They buy product by it production information . . . They book by its frank reviews . . . They form their views of industry policies by its Viewpoints pages . . . They have faith in it . . . They regard FILM BULLETIN as the paper with something important to say! 32 FILM BULLETIN September 22, 1952 >RODUCTIOn < R€L€flS6 R6CORD COLUMBIA 1951-52 Features Serials Completed Completed (67) ( 3) Production (0) Production (0) IN PRODUCTION RELEASE CHART — 1951-52 — Cast Re No. Rev. TITLE — Running Tim* COMPLETED affair in Trinidad 198) Hay worth-Ford 9-52 7-28 All Ashore IT) Rooney-Lawrence Ambush At Tomahawk Gap Derek-Hodiak Apache Country 162) Autry-Buttram 5-52 Assignment — Paris 185) Andrews-Toren 10-52 8-25 iarbed Wire 161) - Autry-Buttram 7-52 soots Malone 1103) Holden-Clements 12-51 419 1-14 Irave Warrior (T) 173) Jon Hall 6-52 5-19 srigand The IT) (94) Dexter-Lawrence 7-52 California Conquest IT) 179) Wilde-Wright 7-52 6-30 Captain Pirate (T) 185) Louis Hayward 8-52 7-28 Clouded Yellow, The (89) Simmons-Howard 8-52 10-8 ;ongc Bill McGuire-Moore 3ripple Creek IT) 178) .. Montgomery-Booth 7-52 6-30 Jeath Of A Salesman [III) March-Dunnock 2-52 423 12-31 iJirty Doxen, The Colleano-Franz family Secret, The 185) ..Derek-Cobb 12-51 414 firefighters, Th e Williams-Reynolds . =irst Time, The 189) _ Cummings-Hale 2-52 424 2-11 5,000 Fingers of Dr. T., The Hayes-Healy :our Poster, The Harrison-Palmer 10-52 422 jolden Hawk (Tl 183) Fleming-Hayden Hangman's Knot (Tl Scott-Jarman Happy Time, The 194) Boyer-Driscoll Harem Girl, The (70) Davis-Castle 2-52 Hawk of Wild River, The 154) . Starrett-Burnett 2-52 Her Wonderful Lie . Kiepura-Eggerth _ ndian Uprising (SO (75) Montgomery-Long 1-52 417.. Jack McCall, Desperado (T) Montgomery-Stevens Junction City 154) Starrett-Burnette 7-52 Jungle Jim in the Forbidden Land (65) Weissmuller-Ryan 3-52 Jungle Safari Weissmuller-Greene (p212* Together, Showmen, We Can Keep It Going Forever ! Power-charged momentum has roared into our industry during recent months. Exhibitors, from the largest circuit groups to the smallest situations, are feeling it, I matching their energies to it. "The crowds are coming back!" is the happy word from theatre men everywhere! Paramount, in its more than 40 years of existence, has lived through many cycles and Paramount never lost faith and confi- dence that the tide would turn in our favor, as it now has. On February 23, we announced in the trade papers: "The general release of Cecil B. DeMille's THE GREATEST SHOW ON EARTH,' originally planned for the late fall of 1952, will be moved up to July, 1952, in response to demands from exhibitors . . . who have emphasized their need for big, big attractions during the summer months." This great picture spearheaded the box- office momentum which all of us in the in- dustry must now hold and extend. Evidence of that momentum is realistically reflected in the record-setting figures registered by "THE GREATEST SHOW ON EARTH," "QUO VADIS," "JUMPING JACKS," "IVANHOE," "WHERE'S CHARLEY?," "THE WORLD IN HIS ARMS," "AFFAIR IN TRINIDAD," "SUDDEN FEAR," "DREAMBOAT," "HIGH NOON," "THE QUIET MAN" and others. This upbeat established by Paramount with "THE GREATEST SHOW ON EARTH" was not just a flash in the box- office pan. It spanned the whole summer as we went all the way with big ones like "JUMPING JACKS," "CARRIE," "JUST FOR YOU" and "SON OF PALEFACE." And this upbeat by Paramount is con- tinuing with great pictures for the balance of 1952 . . . through 1953 and beyond, many of which we have already seen; many are now in production; and many are ready to roll. These pictures — and the many millions of dollars they represent — reflect our faith, our optimism, our enthusiasm, our determination to KEEP THE CROWDS COMING BACK TO THE BOXOFFICE. Paramount calls on showmen to continue to equal with their own enthusiasm and energies the confidence in the future expressed in its big business-producing product which is outlined here. :0M NOW THROUGH DECEMBER Cecil ST DeMille's T-: GREATEST SHOW ON EARTH Cx by Technicolor. Betty Hutton, C nel Wilde, Charlton Heston, D othy Lamour, Gloria Grahame, Jt es Stewart. SON OF PALEFACE Cor by Technicolor. Bob Hope, Jc: Russell, Roy Rogers and Trigger. CARIBBEAN Cur by Technicolor. John Payne, Ame Dahl, Sir Cedric Hardwicke. HURRICANE SMITH C pictures before the cameras. Others are "Man From the Alamo" (Glenn Ford-Juli; Adams-Chill Wills), directed by Bud< Boetticher and produced by Aaron Rosen berg; "Law and Order" (Ronald Reagan Dorothy Malone), Technicolor western di rected by Nathan Jones and produced b\ John Rogers: "Thunder Bay" (Jame: Stewart-Joanne Dru-Dan Duryea-Gilber Roland), color by Technicolor, directed b; Anthony Mann and produced by Aarot Rosenberg; "Sioux Uprising" (Jeff Chand ler - Faith Domergue - Stephen- McNally) Technicolor western directed by Lloyc Bacon and produced by Albert J. Cohen and "Night Flower" (Joyce Holden), di rected by Jack Arnold, and also producec by Albert Cohen. WARNER BROTHERS Biggest Production Splurge In 2 Years; 6 Biggies Rolling Warner Brothers is in the midst of it ; biggest production splurge in two yeara with six top-budget features now before th cameras. They are: "Sea Rouge" (Errol Flynn Beaturice Campbell), Technicolor swashj buckler shooting in Sicily, with Ralp Rrenton directing for producer Willian Keighley; "His Majesty O'Keefe" (Burj Lancaster-Joan Rice), also in Technicolor* also shooting on location in the Fiji Island Richard McWhorter directing for Byrof Haskin; "She's Back On Broadway (Virginia Mayo-Steve Cochran-Frank Love joy - Gene Nelson - Patrice Wymorel WarnerColor musical directed by Gordo Douglas and produced by Henry Blankr "The Jazz Singer" (Danny Thomas-Pegg Lee), color by Technicolor — Michael Curti directing for Louis F. Edelman; "By tli Light of the Silvery Moon" (Doris Da> Gordon MacRae-Rosemary deCamp), col' by Technicolor, directed by David Butlc and produced by William Jacobs; and " Confess" (Montgomery Clift-Anne Baxter Karl Maiden-Brian Aherne), an Alfre Hitchcock production directed by Robe Burke. Lou Costello and Bud Abbott have starte pre-production planning on two independeti pictures which will be filmed in 1953 fo WIS release. The pictures are: "Weddin of Tom Thumb" and "Who's On First' Joe DiMaggio is set for a role in the lattc on a 24 per cent participation basis. N casting has been set on "Tom Thumb", i special process will be used on the lattc to make all characters appear to be onl six inches in height on the screen. BULLETIN Exploitation & Merchandising (lin.'WMINf THE the THE THEATRE presents i SHOW GIRL III TECHNICOLOR MUSICAL SOMEBODY LOVES ME yj MARQUEE FLASH The Ro.xy's huge eye-catcher for the "Somebody Lores Me" premiere. The hep Texas COMPO, led by Col. H. A, Cole and Bob O'Donnell, have pulled off another sortie for their Movietime activities, which could serve as a model for the rest of the country, The Movietime theme will be the feature of the Adolphus Century Room Ice Show for eight weeks, beginning next month, and the Adolphus Hotel manage- ment is going to spend some $55,000 for the event. O'Donnell will select a picture from each of the studios and a scene will be de- picted in the ice extravaganza. A running commentary selling each of the forthcoming productions will interpret the scene, The Movietime motif will be displayed in the hotel lobby and famed Century Room. The whole business will he sold in newspapers and the airwaves. Each week Herman YValdman's Orchestra will feature musical numbers from a different studio. It's tough to top Texas, even in the movie business. It was a truly heartening experience to view- the huge turnout for the initial course sponsored by Associated Motion Pictures Advertisers, when, with Howard Dietz, Metro ad-publicity chief as keynoter for the series, the RKO screening room in New ^ ork had to be abandoned for larger quarters to accomodate the "students" who wanted to learn some showmanship. For- tunately, the value of AMPA's fruitful course won't be limited to those within the NY area. The organization will publish the text of the initial series, encompasing 12 sessions. Since the spoken word and dis- cussion is so much more explicit, AM PA president Harry K. McWilliams has de- cided to tape record the series for the benefit of exhibitors throughout the country. Walt Di sney s "Peter Pan" seems des- tined for the biggest promotion budget in the producer's history. Just on one depart- ment— book publishing — a staggering figure has been set. There will he some 14,000,- 000, yes fourteen million, "Peter Pan" books placed on sale, beginning next month. There will be 3,500,000 "first pressing" of "Peter Pan" records. There will be more than 30,000,000 readers for the "Peter Pan" comic strip, syndicated by King Features, which will appear in some 30 of the country's lead- ing newspapers. There will be "Peter Pan" merchandise hogging the windows and counter displays in department stores all during the holidav season, and subsequent- ly. And that's only the beginning. Perhaps it's the understatement of the year, hut we say the exhibitor who plays "Peter Pan" can be assured that he is getting a pre-sold picture. * * * Apparently both Samuel Goldwyn and RKO Radio, producer and distributor, re- spectively, of the Danny Kay starrer, "Hans Christian Andersen." are going whole hog on the merchandising campaign. A natural for tie-ups, the film has already set up co- ops with more than 40 manufacturers of clothing, fabric, accessories and toys, de- spit the fact that its release is still months away. In the meantime, RKO and Goldw^yn offices are developing a host of promotions in the music and book publishing fields. One of the tie-ups, arranged with the popu- lar boys' wear manufacturers. Chips & Twigs, calls for a special "Andersen" (Continued on Page 24) EDITORIAL in Th<> Fivhl Reld exploitation has often been the differ- ence between a money-maker and a boxoffice dud. Unfortunately, in these past couple years some of the movie moguls have slashed this phase of their companies' operations in the overall retrenchment, tossing to the winds the ancient and well-established maxim that the best way to overcome customer resistance is to sell harder. Such cuts in field exploitation staffs were perperly labeled as "false economy" by pro- ducer Jerry Wald, speaking before a group of theatremen and RKO people in San Antonio, Texas, recently. Giving proper recognition to the value of grass roots ballyhoo, Mr. Wald announced that he is adding ten field men to buttress RKO's regular staff in the handling of the new Wald release, "The Lusty Men". He made no bones about his faith in the force and effect of field exploitation and voiced some timely criticism of those companies that have pared their organizations to the point where an effective exploitation job cannot be done. "There is no question," Mr. Wald declared, "but that the reduction of personnel in the field deprives the film industry's selling mechanism of able men whose obligation and responsibility it is to provide new advertising methods, ex- plore new channels, break new ground and maintain aggressive sales measures as a live, moving force in the business end of show busi- ness." With all the legal problems besetting the in- dustry, too many distributors have lost sight of the fundamentals of showmanship, which built motion pictures into the world's greatest means of mass entertainment. Certainly, one of these fundamentals is ballyhoo on a local level. And it seems a damn shame to waste the talents and the know-how of the men who know their terri- tory and how to best sell a picture to its movie- goers. Wald's words, it would seem, should be heeded by those distributors who practice such "false economy". Star Nancy Olson, making a p.a. for WW* "Big Jim McLean" in Milwaukee, views the U arner Theatre lobby display showing scenes from the film in third dimension. FILM BULLETIN October i, 1 952 EXHIBITORS FORUm Opinions Culled from Organization Bulletins WORK FOR DISTRIBS? Allied Caravan, Iowa, Neb., Mid-Central Joe Bloe, exhibitor, buvs a picture WHO SHOT JOHN3 on a guarantee plus 40%, a not unheard of deal—. Joe books the picture in to play some six weeks from now. By the time the playdate rolls close Joe learns that WHO SHOT JOHN? is not exactly standing them up. So Joe calls on his reserve of showmanship ideas and comes up with some stunt of peculiar local interest that he uses in conjunction with the pic. Let's say he has a style show, or a baby show, or a freckle contest off some little stunt that in- terests a lot of people and their relatives re- sulting in a packed house for Joe, — and a 40% share for the distributor. Is Joe going to be dumb enough to use his own ideas, his house and his efforts for such a cut as that for a distributor who, in many cases where these types of idea work, should be selling flat?1 Of course not. That's what's happened to an awfully lot of theatres and men who used to be good showmen. Percentage buy- ing is to showmanship just like potassium cyanide is to a person. CONCLUSION. If you are in a No. 1 or 1A situation, or in a situation where this hypothesis fits your case, the only conclusion possible is DON'T BUY PERCENTAGE. If you have no showman- ship ideas, if you already have enough money, if you are too fined to work or if you have already thrown in the towel, then dis- regard above. EXHIBITORS, TOO Western Theatre Owners Just because of the nasty habit of double- hilling every picture, is it any reason to con- tinue the practice even though there are not enough new pictures made to continue the custom? Just because the distributors like and want bidding, is it any reason for two theatres, not in substantial competition, to bid against one another and cut each other's throats? Just because some have played fast and loose, just plain 'lied' to the public in the wording of their advertisements, is it any reason to continue? Just because exhibition, for many years, has been burdened with an unjustifiable, discrminatory Federal tax is it any reason not to demand and get a change? Yes, the exhibitor too must change, must look into his mirror and ask himself "Am I a credit to the Industry?", must ask himself whether he doing all in his power. NEWSMEN IN IOWA Allied Caravan, Iowa, Neb., Mid-Central One newsman's reaction to our meeting was that there should have been an expres- sion from the opposition on every question put up down there. We agree. We'd like to have heard from the newspaper people. We are getting so damn namby-pamby in this country. We read in today's paper that the people up there in Minnesota were sweating Page 22 FILM BULLETIN October 4, 1952 shingle nails lest they have an "awkward" situation should Ike and Stevenson happen to meet at the plow match. They didn't feel that way when Lincoln and Douglas met many times in debate. Are we so damned afraid that the other guy might have a point that we are afraid to look at sets of "facts" face to face? I don't think it was a matter of not wanting to hear the other side in Des Moines as it was just a shortage of time. We'd like to have heard about the newsman's attitude about the exhibitor who never runs a newspaper ad, but wants lots of publicity; who never gives his newsman a chance to print his calendars — oh, sure they might be a buck higher, but he's a local merchant whose friendship you need; who buys his station- ary, checks, etc. wholesale from a mail order paper company. I'd like to have heard from the news people. After each side listens to the other guy's troubles there should be a meeting of minds how there could be better cooperation for community betterment and coincidentally mutual betterment. H'WOOD AT THE FAIR AITO of I ndia na The "Hollywood At The Fair" motion pic- ture industry exhibit was successful beyond our fondest expectations. This was fortunate because it compensated for the hard work and expense that was also beyond our expec- tation. We perhaps made a mistake in not having some manner of clocking the crowd, but they were lined up in the morning when the tent opened and it was necessary to close the gate on many when the exhibit ended each day. In the five days of operation a very minimum of 100,000 visited the display and probably an estimate of 200,000 is closer to the actual number. Everyone who had any active part in staging this display was very enthusiastic about the good that it ac- complished. One thing that we noticed was that no- body entered the tent, made a slow 360 de- gree turn and walked out. Without being herded or coaxed, practically every viewer lined up in single file, took plenty of time to study every bit of material. At most times, a speaker lectured on the steps and phases in the production of a film from original idea to finished picture and described the significance of all the items in the tent. The Hollywood Stars who appeared each hour, on the hour, included Marjorie Main, Rex Allen, Forrest Tucker, Tony Romano, Bill Shirley and Charles Coburn. At these times the crowd was remitted to fill the tent to the very limit of its capacity. Not only the num- ber of people, but also the manner of their viewing, was proof that the public is ex- tremely interested in our industry. It is the job of the industry to feed that interrest and strengthen it. Costwise, this selling job for our business was done at no more than 5 cents per visitor — not more than the cost of postage and stationery for a direct mail piece, but certainly much, more effective in selling the motion picture indus- try than any other piece of advertising or publicity material could possibly be. TO RAISE OR NOT TO RAISE Allied of Indiana With HANS CHRISTIAN ANDERSEN and IVANHOE apparently headed for a policy of advanced admission prices, let's listen to a couple of advocates on both sides of the question of increased prices. In opposition is a recent editorial from an Indiana newspaper following a regular price engagement of QUO VADIS: '*. . . We feel that the huge attendance which was attract- ed to the theatre points up a busi- ness fact that while not lost has certainly strayed in these confused post war years. The fact that there is never much wronsr with business that giving people their money's worth won't cure ... In offering QUO VADIS at 50c per head, Mr. was simply levelling with his customers who have paid 50c in the past for a stinkaroo. Really, he wasn't gambling at all but simply asserting his faith in the good old American custom of doing volume business by operat- ing at the lowest possible mark-up. We are not going to argue now with some of this editor's presumptions with which we disagree, but we do give you this fact — the engagement referred to resulted in about a third better than the average engagement at advanced prices, and so this exhibitor prob- ably guessed right on how to get the most dollars into the till. Besides, it seems funda- mental that for the over-all and continuing good of his business it was smart when he had an outstanding piece of merchandise to have the greatest possible number of people sample it. Of course, many theatres just do not have the capacity to get that kind of a result at regular prices. On the other side of the argument, one of our members who had always steadfastly opposed any advance price pictures became a convert to the hiked scale. It followed a questionnaire we sent out regarding non- theatrical competition. It followed this ex- hibitor's analysis of what kind of attractions played his town, the tariff they got and the attitude of the local citizenry that these pro- moters were doing them a favor. If his patrons were happy to pay 3 or 4 times the regular price of a movie to see some third- rate wrestlers or some untalented live acts-, why shouldn't he get a little tilt in prices when he had an unusually big production on his screen that his patrons really wanted to see? Probably the only conclusion is that the wisdom of advanced prices can only be de- termined by local conditions and should be left entirely to the discretion of the exhibi- tor who knows his own community. We hope that the sales policies on IVANHOE and MAN'S CHRISTIAN ANDERSEN will permit this choice. ¥ S CINERAMA ARRIVES! (Continued from Page 13) Theatre is 63 feet across and 23 feet high— about six times normal size. It sweeps in an arc of 146 degrees across the auditorium, extending on each side slightly beyond the proscenium. At first, Mr. Waller used a solid screen, but found that it reflected pro- jected light from one side to the other. He finally solved that particular problem by SYNCRONIZED CAMERA Three Lenses. Three Reels evolving a slatted screen, like a giant Vene- tian blind which would deflect unwanted light. The image thrown on the , curved screen is provided by three separate projectors, carefully synchronized, through which passes the film taken with the Cinerama camera, which has three lenses exposing three separate reels simultaneously. Each of the projectors throws a separate image on the screen, providing one-third each of the picture seen by the audience. What Mr. Waller has tried to do is to provide some- thing which can be readily absorbed by the human eye, with its wide angle of vision. In a sense he has come as near as dammit to duplicating the way light falls on the curved retina of the eye. The horizontal range of the eye is about 16.5 degrees. Cinerama's range is about 146. Vertically, the eye can see through an arc of about 60 degrees. Cinerama's vertical range is 55 degrees. Thus, the process provides what is called "peripheral vision," which means that the eyes do not sec merely what is in front of them, but also the image on the left and right, as when "seeing out of the corner of the eye." It is this which gives Cinerama as some- what three dimensional effect — an illusion, of course, but an extremely clever one — which is heightened by making the sound appear to be originating from certain areas ?ift 24 FILM BULLETIN October 6, 1952 of the screen, or around and about the audi- ence. This is accomplished by using loud speakers carefully positioned throughout the theatre to duplicate the positions of the microphones on the set when the sound was recorded during film production. "Stereo- phonic sound," as Waller calls it, is, there- for, automatic and does not have to be man- ually produced during projection. What Are The Snags? The film being used in the present public demonstrations on Broadway is in Techni- color. It includes a ride on a roller-coaster, a ballet at La Scala, Milan, an eye-filling view of gondolas on canals in Venice, a trip in a helicopter over Niagara Falls, some con- certs, a bit of opera, some thrilling motor- boating — all carefully conceived to heighten the effect sought by the inventor. Whether that effect would be achieved for a conven- tional movie has yet to be proved, and it does not seem very likely that Hollywood would be eager to scrap existing production techniques in favor of methods especially suited to Cinerama projection. For all their enthusiasm, New York's cri- tics were not slow in recognizing these pos- sible snags. Bosley Crowther noted, "All the scenes were in long shots, with little or no use at all of montage — the cinematic means of expression and emphasis through cutting and juxtaposition of shots." Otis Guernsey remarked, "One is tempted to peek into the future and imagine airy navies from Hollywood bearing nothing but Cinerama reels to the four corners of Broad- way. Such speculation would be vague in- deed; this device has yet to show whether it can deal as acutely with people as it does with mountain ranges . . . whether it can adapt to intimacy as well as grandeur." Other comments: "As a novelty the whole thing is so strik- ing that it is difficult to evaluate correctly its permanent worth . . . There's too much space to handle dramatic focus . . . Why get this huge panoramic area if you want to use it only occasionally. It could then become a luxury too expensive to pay for itself." "The future role of Cinerama, with all its new technical and financial problems, be- longs in the realm of wild speculation." For what it is worh, that is the pro- fessional critics' praise and condemnation. We, at "Film Bulletin," feel rather differ- ently about it all at this moment. Upper- most in our minds is a sense of tremendous admiration for Fred Waller, a man who, withouut even a high school education, has produced something which staggered a first night audience in New York, than which there is none tougher. And we like column- ist Leonard Lyons' two-line contribution to the Cinerama debate: "So realistic is the effect of the new tri-dimension film that after the roller coaster episode on the screen Mrs. Laurence Rockefeller fainted." Any- one who can make a Rockefeller faint must have something! Exploitation & Merchandising i (Continued from Page 21) Christmas package for specified items, and a book of lyrics of all the film's songs to be given away with each product sold. The! Associated Merchandising Corp., which in- cludes Macy's and other leading depart-] ment stores using the film as their Christ- mas theme. Capezio is creating a special children's shoe with a "Hans Christian! Andersen" design on the toe, and a ballet! shoe, specially packaged, which will be pro-| moted through the 12,000 dance schools in the country. * * * This month's release of the 20th Century-j Fox's "Something For The Birds" will have plenty of ammunition for exhibitors in thcS $7500 showmanship contest the company] has set up for the film. Charlie Einfeld'sl staff has compiled an advertising, publicity1 and exploitation kit, free to theatremen who play the picture. The special compila-l tion will include topical publicity stories,) sample accesories, stills, ad proofs and a batch of publicity and exploitation stunts and suggestions. The kit available upon request from the home office. , * * * „. J Metro's "Plymouth Adventure ' is getting! a real Pilgrim send-off for its world pre-] miere. The Dore Schary production will) have its debut at the Old Colony Theatre,] Plymouth, Mass., on November 24. Preced-J ing the premiere will be four days of cere-j monies celebrating the 332nd anniversarj "Mayflower Compact Day" when the first American document was signed guarantee- ing fredom of speech and religion. With1! the press out in force, it's a good bet that] there will be plenty of coverage, both local-j ly and nationally, to rebound to the nationVj exhibitors' benefit. The "Ivanhoe" display in the MGM-NSS tieui featuring the picture is viewed by. from left, AV toppers George Dembow. Herman Rabbins ant circuit buyers Rase Deutsch. Elmer Hollander ort Subjects (Continued from Page 14) demonstration of the product they will eventually have to sell. On the other hand, the distributors — not only the Big Five who have continued the practice, but all the com- panies— should make more intensive efforts to draw the theatremen into the screening rooms so that an intelligent showmanship approach to their films can be accomplished by both buyer and seller. THAT RUMOR about a proposed merger between 20th-Fox and Metro was nailed down fore and aft — but good. Fox's Spyros Skouras branded the report as "completely untrue", adding that the company was "en- tering upon the most important era in its history." Loew's prexy Nicholas M. Schenck was even more emphatic: "It is ridiculous, absurd, untrue, never been thought of, a complete invention!" And that, it seems, settles that! THERE WERE many exhibitors who knew producer Harry Sherman as then friend, thousands more who benefited from the pictures he made and directed. His tra- gic death at 67, following a minor operation in Hollywood's Cedars of Lebanon Hos- pital, leaves a big hole in the ranks of moviemakers who produced the bread-and- butter product that was so essential, partic- ularly to the smaller theatres of the nation. He will be sorely missed. CINANCIAL: Despite a million-dollar tax increase, Universal topped its last year's 39-weeks net by better than $600,000. For the nine months ended August 2, 1952, the company's consolidated net earnings reach- ed an impressive $1,752,000, after provision of $2,650,000 for taxes and another $250,000 for contingencies. In the same period last |year, the net came to $1,127,000 after '$1,657,000 for taxes and $400,000 for contin- gencies. That means an equ'valent of $1.63 per share on the 961,698 shares of common stock as of August 2 this year, compared with 98c per share on 960,498 shares last year. THE SUGGESTION by actor Forrest Tucker that players on Movietime tours intertain was deemed welcome but not wel- :omed with enthusiasm by national Movie- :ime chairman R. J. O'Donnell and Holly- wood chairman Marvin Schenck. Tucker, who has done some yeoman work on the ours, made the proposal to COMPO on heir urging that stars who have appeared >n the tours offer suggestions for improv- ing the idea. COMPO'S position on leaving t with the players as to their desire — and ibility — to do an act was stated in a joint leclaration by O'Donnell and Schenck: COMPO feels that such a broad policy METRO'S SCHENCK & SCHARY President Greets Studio Chief in Vei* ) ork (asking the players to entertain while on tour) would be unfair to many players whose talents do not lend themselves to on- the-spot, off-the-cuff entertainment." ALLIED'S NATIONAL convention in Chicago next month will give exhibitors "ample oportunity" to get the low-down on their particular type of operation, according to convention chairman Jack Kirsch. The answer is the successful group of "Film Clinics" designed to handle each type of exhibitors' problems with experts conduct- ing the discussions. Kirsch notes that every exhibitor will find a "Film Clinic suited to his type of theatre, and it is our aim to de- vote the major portion of the Convention ALLIED'S KIRSCH Spotlight on Film Clinics at Convention to the all-imDortant subject of exhibitor-dis- tributor relations and the problems facing exhibitors in the buying and booking ol films." There is little doubt that these spec- ialized meetings is of considerable value to the Allied member. It might be worth the National organization's time to consider more frequent meetings of this sort in this period of rapidly changing conditions. jNFLATION HAS truly reached into every nook and cranny of the industry. All doubt was removed when the Motion Picture Pioneers' board voted to up the membership initiation fee for industry vet- erans of 25 years or more from $10 to $25, and the ticket price from $15 to $20 for the Jubilee Dinner, Nov. 25, which will honor N. J. Blumberg as Pioneer of the Year. The unusual factor is that, despite the in- crease, MPP president Jack Cohn reports that the volume of advance reservations for the dinner is biggest than ever before in tht organization's 13-year history. QF MEN AND THINGS: It's Spyros Skouras week beginning Oct. 12. The 20th Century-Fox drive that has been tradi- tionally the Branch Managers' Testimonial will honor the company president as he cele- brates his 10th anniversary as head of the company. Their goal is a 20th-Fox trade- mark on every screen in the nation . . . Technicolor president Herbert T. Kalmus will be the recipient of the coveted SMPTE Sam Warner Gold Medal award for 1952. The honorarium was created by the Warner Brothers to encourage the development of new and improved methods for sound-on- film . . . Eastman Kodak's John I. Crabtree gets the SMPTE highest technical award, the Progress Medal for the most valuable motion picture technological advances. He is the author of more than 150 technical papers and three books on photographic techniques (That splendid reproduction on your theatre screen, Mr. Exhibitor, is in no small measure due to John Crabtree's work) . . . Sam Shain, for many years exhibitor relations expert with 20th Century-Fox, has taken over the job of special representative for COMPO, to aid in the Movietime star tours, the campaign against the Federal ad- missions tax and other COMPO projects . . . Arthur Greenfield has been moved up to Seattle Branch Manager for Universal. He switches over from Portland, where Ernest J. Piro now heads the exchange . . . Lang- don C. (Butch) Wingham, manager of the Metro San Francisco exchange, succumbed to a heart attack Sept. 22. He was with M-G-M for better than a quarter of a cen- tury . . . Albert R. Glaubinger is the new Allied Artists branch manager in Indiana- polis, replacing Norman Linz who resigned following the company's recent purchase ol the Indianapolis and Chicago franchise from Irving Mandel. FILM BULLETIN October i. |952 Page 25 EXPLOITATION PICTURE 'Fa tint a' Unlimited1 When Warners made the story of "The Miracle of Our Lady of Fatima". the same douhters that shooks their heads ahout "Song of Bernadette" and "Going My Way" once again took up the cudgels against depiction of a religious theme in motion pic- tures. Apparently they never learn that such a picture's enter- tainment value is based on appeal to the heart, regardless of race, religion or creed. The earlier films proved them wrong, boxoffice-wise, and it is this corner's opinion that the current film, founded on an incident that took place in 1917 and has since brought millions to the village of Fatima in Portugal, will bring additional millions to the nation's movie boxoffices — with proper treatment. In the New York premiere, at two Broadway theatres, the Astor and the Bijou, the campaign stimulated a lusty boxoffice, with holdovers maintaining strong grosses, at the last report, through the fourth week. Here's how it was handled : There was an advance screening for clergymen of all de- nominations, most of whom urged their congregations and lay organizations to see the film. There were special student show- ings in mornings and early matinees. The religious publications were supplied with stills and information about the picture. There were radio spots between the Sunday morning church pro- grams, newspaper editorials were elicited as well as children's page copy, church pages and columnists. A man-on-the-street "Miracle" query was held, an essy contest in schools, recordings of the popular song. "Our Lady of Fatima". had plugs on disc jockey programs. Combined, it spelled out boxoffice. This is the sort of picture that obviously should have a dignified approach. A manager's letter to the patrons would be an ideal promotion piece, either by direct mail or as a trailer. The press book has an excellent format for such a letter, and it can be adjusted to meet the demands of various audiences. An- other means of promotion is a story-in-pictures for lobby dis- plays, similar to the depiction at right. The visual appeal of this, coupled with appropriate captions, should prove highly effective. The one thing for the showman to remember — don't try the usual ballyhoo stunts on this one. Keep it on a high plane and the grosses will correspond. Three children, Sherry Jackson Susan Whitney, and Sammy Ogg tending a herd of sheep in Fatima, are spellbound by a vision of a lady Recounting the details of their experience, in which the vision tctl\ them to appear on the same day for six months, they are warned to secrecw The word spreads, however, and the doubters attempt to hurt th children as thousands gather, but their friend, Gilbert Roland stops then The authorities of Portugal's anti-church government, have the childre' imprisoned, along with criminals, but the people force their release. At the end of the six months, some 70.000 converge on the scene arl witness the blazing sun drop towards the earth and then recede. The voices are lifted in a hymn of thanks and praise for the miracle. mm Huddled in their prison cell, the three children face a Portugese officer who demands that they stop "mal making up those ridiculous THE MIRACLE OF OUR LADY OF FATIMA Thirty-five years ago, in the little town of Fatima, Portugal, I series of incidents occurred that resulted last year in a million •eople from every corner of the earth making a pilgrimage to the own. Over the span of years, many more millions have visited he shrine of Our Lady of Fatima. It was a dramatic and heart- arming story of faith, and Warner Bros, felt it would have the ame effect on the millions of moviegoers of America. Brvan joy was assigned to produce, in WB's own WarnerColor, Crane Wilbur and James O'Hanlon were delegated for the screenplay nd John Brahm had the directorial chores. The result has been 'ubbed by the top New York newspaper critics "a good picture n the highest meaning f the word" (Journal-American); 'Tn- pirational ... An impressive spectacle" | Dailv News) ; "A hining tribute to the faith of the three youngsters" (Times) ; A rare emotional treat . . . Profoundly stirring" (Mirror). The tale begins with the faith of the people of the village of atima in Portugal, a faith that remained steadfast in its worship of God despite persecution by the then anti-church government. Three children, tending sheep in the fields, are suddenly en- veloped in a white mist and see a vision of a lady in the treetops. She tells them to return at the same time each month for the following six months. When they tell their mother and a vaga- bond atheist (Gilbert Roland) of the miracle, the youngsters are warned to keep quiet, but word spreads and soon thousands of pilgrims gather for the demonstrations. When the children are taken into custody by the police for causing the huge influx, the soldiers are forced to release them by the angry believers. Finally, on the sixth month's visitation, with 70.000 gathered to witness the miracle, the sun starts to hurtle toward the earth suddenly stops and then reverts to its usual position. The awe- stricken spectators, including the now converted Roland raise their voices in a hymn of praise and thanks for the miracle of Our Lady of Fatima. 'Snows' Not True Hemingway, But, Say Critics, 'See It' With one exception (Journal-American's Pelswick), five New York critics looked askance at 20th-Fox's biggest of the year, "The Snows of Kilimanjaro". Most indicated that here was a film worth seeing for the nonpareil animal sequences and the magnifi- cent Technicolor, while they leveled their barbs at the blow-up of the Ernest Heming- way tragic short story. The reviews, how- ever, were controversial enough in them- selves to stir up more than a modicum of audience interest. Perhaps the most representative of this group was the Post's Archer Winsten. While he spent most of the review comparing the film with Hemingway's tome, he admited that his criticisms "do not apply completely for those who neither have read the Hem- ingway story nor will care to experience its grim analysis". "Taken purely by itself," he notes, " 'The Snows of Kilimanjaro' pro- vides some excellent shots of African game, from plunging hippos to shots of the hyena sniffing timidly towards its human victim, and plenty of romance, somewhat less sac- charine than the average." The Times' Bosley Crowther is kinder. "A skillful combination of some sensational African hunting scenes, a musical score of rich suggestion and a vivid performance by Gregory Peck" results in a "handsome and generally absorbing film." He finds fault with the clarity and the credibility of the picture, but admits that it "constantly fas- cinates the eye and stimulates the emotions in small, isolated ways." In the Herald Tribune, Otis L. Guernsey, Jr., dubs it a "lumpy grab bag of adven- turous thrills and soul-searching loosely tied together by the wisps of Hemingway's original tale." He feels that despite "some interesting patterns in this kaleidoscope of blood and bitterness ... it sometimes re- quires patience as the lens turns slowly from a poor design to a better one." Alton Cook, in the World-Telegram & Sun, gets satirical in his viewpoint of the film. The expansion of the Hemingway story results in "a lot of fancy phrased ruminations on the hidden meanings of life," he ;idds, and the result: "In the welter of lengthy conversations was a notion that the screen's philosophic ponderings usually grow pretty tedious." The film comes to "vigorous life mainly during the moments when it switches its attention from Hollywood actors to African animals." Completely taken by the film was the Journal-American's Rose Pelswick. "A new high in entertainment . . . right out of the very top of the top drawer, a production that's distinguished on every count," declared the critics. She finds absolutely nothing wring with the picture, calls it a production "packed with romance, adventure and excite- ment." Filmed in the "lushest of Techni- color," says Miss Pelswick, "It's a glamorous recital." P«ge 28 FILM BULLETIN October 6, 1952 "QUOT6S" HOLIDAY FOR SINNERS' What the Newspaper Critics Sag Ahout New Films M-G-M "Morbid tale ... A little too ripe with plot so that like a pear left too long on the tree, it eventually succumbs to a natural softening of all fibers and falls almost sound- lessly to final dissolution." — P. V. 1!., Herald Tribune. "Another M-G-M R film above average in story . . . Director Mayer has given the sordid plot the grotesque costumery and parade of the Mardi Gras — and the effect created is more unusual than the derived from many extravaganza." — Thirer, N. Y. Post. "Error of allowing a basic situation to be dissipated in irrelevancies has resulted, as it often does, in a weakened total impression . . . While lacking solidity, is worth seeing." — O. A. G, N. Y. Times. "Glum tale of a set of characters all per- sistently plagued by anguish. This should dampen any unduly high spirits that might be stirred by this week's vaudeville on the Palace stage . . . Palace customers will have to depend strictly on vaudeville for their entertainment quota this week." — Cook, N. Y. World-Telegram & Sun. 'BIG JIM McLAIN' WARNER RROS. "Fiction which trails (a) rousing preface is such a vaporous and reckless romance that it might almost seem to the discerning to be a subtle travesty ... As straight entertain- ment fare, it merits a moderate rating in the classificiation of action-romance films . . . Rut the over-all mixing of cheap fiction with a contemporary crisis in American Life is irresponsible and unforgiveable. No one de- serves credit for this film." — Crowther, N. Y. Times. "Part travelogue, part documentary-type melodrama and part love story. It is pedes- trian in all of these phases . . . The net result of all this ... is a minor thriller padded out with some rather poor commercials for our most excellent product of American democ- racy."— Guernsey, N. Y. Herald Tribune. "John Wayne ... is the country's Number One boxoffice attraction, and I daresay 'Big Jim McLain,' . . . does nothing to lower his station . . . Blatantly calculated to stir angry resentment against Communists." — Shapiro, N. Y. Daily Compass. "As entertainment, a picture like this is routine to a degree indicating that criticism must simply stand aside and admit that such films have been well received on Saturdays in small towns." — Winsten, N. Y. Post. "Slick chase melodrama . . . (Wayne) has much less than his usual quota of fisticuffs . . . < )ccasional pontifical pronouncements about the Communist menace but nothing that is likely to help or hurt the whole situation."— Cook, N. Y. Wrld-Telegram & Sun. SOMEBODY LOVES ME' PARAMOUNT "Wealth of noted old tunes, a couple of new ditties and the obvious talents of the ebullient Betty Hutton . . . Story is hoary, both in theme and execution . . . The careers, as suggested by the story presented here, are barely worth singing about. Miss Hutton and her songs are." — Weiler, N. Y. Times. "There are 20 songs in 'Somebody Loves Me' and with the dances accompanying them they fill 55 minutes in a picture that doesn't run two hours. To be honest, it seems like forty songs with snippets of story tying them together . . . Pleasantly unobjectionable if you can go for songs, good songs, that come at you in a steady bombardment." — Winsten, N. Y. Post. "Mad romp for Miss Hutton . . . Most of the time she is cavorting in the bounding Hutton manner, capering all over the place with buoyant glee and high spirit . . . For us old Hutton fans, things are just as they should be." — Cook, N. Y. World-Telegram & j Sun. "It is Miss Hutton's radiant musical ; energy that lights up the screen at intervals . . . Routine piece of musical work except I as a showcase for Miss Hutton . . . She sparkles in it handsomely." — Guernsey, N. Y. 1 Herald Tribune. "Twenty song hits and Betty Hutton to i put them over make for grand entertain- ment . . . Engagingly sentimental biogra- J phy." — Pelswick, N. Y. Journal-American. 'BECAUSE YOU'RE MINE' M-G-M, "Best he's (Lanza) done yet . . . Stacks! up as a boxoffice bonanza, an entertainment' whiz-bang . . . You'll just have to claw your way into the Music Hall." — Winsten, N. Y.H Post. "The stirring Lanza voice plus 17 fine song numbers, excellent Technicolor pro- duction and an amusing story make 'Because You're Mine' a thoroughly enjoyable, musi- cal romance." — Pelswick, N. Y. Journal! American. "Excellent example of its vintage . . . A| one-man show built around the most fetch-i ing tenor voice of our time . . . Pretty, friendly and full of good fellowship." — 1 Cook, N. Y. Wrld-Telegram & Sun. "The Mario Lanza kind of screen enter-l tainment — a cheerful book, a wistful ro-| mance and a lot of songs . . .. Whole pro-! duction swings along happily under Alex4 ander Hall's direction, going no place irl particular except from song to song." —I Guernsey, N. Y. Herald Tribune. "Carefully arranged that Mr. Lanza shall sing throughout the picture . . . And that i'| both happy and intelligent . . . Should — ant will — attract attention." — Crowther, N. Y Times. PRODUCTIOD A R€L€flS€ R€CORD COLUMBIA 1951-52 Features Serials Completed (67) Completed ( 3) In Production (2) In Production (0) IN PRODUCTION TITLE — Runninq Time Juggler. The Red Beret. The (Tl COMPLETED Affair in Trinidad (?8) All Ashore IT) Ambush at Tomahawk Gap IT] Apache Country 162) RELEASE CHART — 1951-52 — Cast Douglas-Vitale Ladd-Andrews Rel. No. Rev. Assignment — Paris 185) ... Barbed Wire 161) Brave Warrior IT) 173) Brigand, The IT) 194) California Conquest IT) (79) Captain Pirate IT) 185) Clouded Yellow, The 189) Congo Bill Cripple Creek IT) 178) Death Of A Salesman 1 1 1 1) Dirty Doien, The Firefighters, Th e First Time, The 189) 5,000 Fingers of Dr. T., The Four Poster, The Golden Hawk IT) (83) Hangman's Knot IT) Happy Time, The (94) Hawk of Wild River, The 154) Her Wonderful Lie Indian Uprising (SO 175) Jack McCall, Desperado (T) .... Junction City (54) Jungle Safari Kid From Amarillo 156) Hayworth-Ford Rooney-Lawrence Derek-Hodiak _Autry-Buttram ... ..Andrews-Toren Autry-Buttram Jon Hall Dexter-Lawrence Wilde-Wright . Louis Hayward Simmons-Howard McGuire-Moore 9-52 7-28 _ 5-52 10-52 8-25 7-52 6- 52 5-19 7- 52 7- 52 6-30 8- 52 431 7-28 8-52 10-8 423 Montgomery-Booth 7-52 March-Dunnock 2-52 Colleano-Franz Williams-Reynolds Cummings-Hale 2-52 424 Hayes-Healy Harrison-Palmer ..Fleming-Hayden 10-52 Scott-Jarman „ _ _Boyer-Driscoll „ Starrett-Burnett 2-52 ..Kiepura-Eggerth 6-30 12-31 2-1 I 6-30 Kid From Broken Gun 156) - Konga, The Wild Stallion (65) Reissue Laramie Mountains (54) Last of the Comanches IT) Last Train From Bombay 172) Marrying Kind, The 193) Member of the Wedding, The „ Montana Territory (T) (64) Pathfinder, The (T) Paula 180) Prince of Pirates IT) Purple Heart Diary (73) Rainbow Round My Shoulder IT) 178) Red Snow (75) Riders of the Whistling Pines Rough, Tough West (54) Salome — Dance of the Seven Veils(T) Sniper. The 187) Storm Over Tibet 187) Sound Off ISC) 183) Ten Tall Men IT) 197) Target — Hong Kong Thief of Damascus, The (T) (78) Vatican, The IT) 142) Voodoo Tiger I Wagon Team (61) Walk East on Beacon (98) War Cry (C) _ Yank in Indo-China, A (67) Montgomery-Long 1-52 417 Montgomery-Stevens Starrett-Burnette 7-52. 486 Weissmuller-Greene Starrett-Barnett 4-52 Starrett-Burnette 8-52 Stone-Hudson 2-52 Starrett-Burnett 4-52 Crawford-Hale 8-52 Halll-Ferraday 8-52 . . Holliday-Harrison ... 4-52 425 ... Waters-Harris McAllister-Hendrix 6-52 Montgomery-Carter Young-Smith ...6—52 Derek-Rush F. Lanqford-T. Romano 12-51 Laine-Daniels 9-52 Madison-Mala 7-52 Autry-White S:arrett-Burnette . 6-52 Hayworth-Granger _ Meniou-Franz 5-52 Reagon-Douglas 7-52 Mickey Rooney 5-52 Lancaster-Lawrence 12-51 Denning-Loo Henreid-Sutton 4-52 Documentary Special Weissmuller-Burckhart Autry-Buttram 9-52 Murphy-Gilmore 6-52 Montgomery- Long Archer-Dick 5-52 8-1 5-5 6-30 5-19 421 487 434 428 413 427 426 435 5-5 1951-52 LIPPERT Completed (38) In Production (2) RELEASE CHART — 1951-52 — IN PRODUCTION A Woman In Trouble Payton-Wright irail Texan, The Bridges-Cobb TITLE — Running Time COMPLETED Captain Kidd IReissue) or Men Only 193) Gambler and the Lady _ -reat White Hunter IReissue) tellgate 187) .. I'll Get You ohnny the Giant Killer IT) ungle, The (74) oan Shark 179) . Nr. Walkie-Talkie >utlaw Women |C) 175) irate Submarine 169) . cotland Yard Inspector ecret People _ tolen Face, The (71) tronghold (73) 12-26 Cast Scott-Laughton ... P. Henreid Dane Clark ... Peck-Preston Hayden-Leslie George Raft Animation Feature .Cameron-Romero Raft-Hart _ ...Tracy-Sawyer . . Windsor-Rober _ Special Cast Romero-Maxwell —Cortesa-A. Hepburn Rel. No. Rev. romba, the Tiger-Man (63) alley of the Eagles 183) . Henreid-Scott Lake-Scott Special Cast Warner-Gray 'ings of Danger (72) ...........I Z. Scott 11- 14 I- 52 5102 II- 7 5204 I 1-14 9-5 5113 12- 12 5206 1 1-21 5205 7-4 5112 5-23 51 1 1 1 1-7 . 5203 _ 6-2 5105 7-18 5110 9-2 5202 5116 5109 5107. 5201 51 14 5106 1-28 8-25 6-16 2-52 1 0-3 4-25 .4-1 In the Release Chart, "Rel." is the National Release Date. "No." is the release Number. "Rev." is the issue in which the Review appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1951-52 programs unless otherwise noted. Listing of color pictures follows immediately after title: (T) Technicolor, (C) Cinecolor, (SO Supercinecolor, (TR) Trucolor, (AC) Ans- color, (NO Natural Color, (WC) WarnerColor. METRO-COLDWYN-MAYER 1951-52 Features Completed (102) In Production (7) Gassman-Sullivan Meeker-Forrest Grant-Kerr Skelton-Greer Taylor-Parker Roiand-Horton Lanza-Whitmore Astaire-Vera-Ellf.-n Stewart-Hagen Keel-Drake Kelly-Angeli Champ ion-O'Keefe RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Dangerous When Wet Julius Caesar Brando-Mason Invitation to the Dance IT) . . . Kelly-Youskevitch Vaquero (Ans) Cry of the Hunted Code 2 Dream Wife Clown, The COMPLETED Above and Beyond (123) Apache War Smoke Because You're Mine (T) 1103) Belle of New York IT) 181) Carbine Williams HOI) Desperate Search, The Devil Makes Three, The 196) Everything I Have Is Yours IT) (92) Fearless Fagan (79) Girl In White, The (93) Glory Alley 1791 Girl Who Had Everything, The Holiday for Sinners (79) Hour of Thirteen, The 179) I Love Melvin IT) Ivanhoe IT) (106) Jeopardy Lili (T) - Love Is Better Than Ever (81) Lovely To Look At IT) ( 112) Merry Widow, The (T) 1105) My Man and I 199) Million Dollar Mermaid IT) My Mother and Mr. McChesneylT) Naked Spur, Thje IT) Never Let Me Go Pat and Mike 193) Plymouth Adventure (T) 1105) Prisoner of Zenda IT) (101) Ouo Vadis (T) (171) Rogues March Scaramouche IT) 1115) See How They Run Singin' In The Rain (T) (103) Skirts Ahoy IT) (109) Sky Full of Moon 175) Small Town Girl IT) _ Steak for Connie Rel. No. Rev. 10-52 10-52 3-52 5-52 223 231 9-8 2-25 4-21 9-52 10-52 Leigh-Carpenter 8-52 Allyson-Kennedy 5-52 Caron-Meeker 6-52 Taylor-Lamas Young-Rule 7-52 Lawford-Addams I 1-52 O'Connor- Reynolds . R. Taylor-E. Taylor 8-52 Stanwyck-Sullivan Caron-Ferrer E. Taylor-L. Parks 4-52 Grayson-Skelton 7-52 Turner-Lamas 9-52 Winters-Montalban 9-52 Williams-Mature . 12-52 Garson-Pidgeon Stewart-Ryan Gable-Tierney Tracy-Hepburn Tracy-Tierney 241 232 234 8-25 7-14 239 6?30 6-30 225 237 Story of Three Loves (T) Talk About a Stranger (65) Time Bomb Tribute To A Bad Man Vaquero (Ans) Wahington Story (82) When in Rome (78) _ You For Me (70) Young Man With Ideas 184) 6-52 235 11-52 Granger-Kerr I 1-52 Taylor-Kerr 236 S. Grainger-E. Parker 6-52 S. Grainger-E. Parker 6?52 236 Dandridge-Horton Kelly-O'Connor 4-52 William-Blaine 5-52 Carpenter-Sterling 12-52 J. Powell-Grainger ... Johnson-Leigh 6-16 1-19 6-30 227 233 4-21 All-Star Cast . Murphy-Davis Ford-Vernon Turner-Dougles Montalban Johnson-Neal Johnson-Douglas 4-52 228 3-10 7-52 4-52 229 Lawford-Greer ... 8-52 240 Ford-Roman 5-52 230 7- 14 3-10 8- 1 1 3-10 MONOGRAM - ALLIED ARTISTS 1951-52 Features Completed (51) In Production (2) Westerns Completed (18) In Production (0) RELEASE CHART — 1951-52 — IN PRODUCTION Son of Belle Starr - Larsen-Castle - Tangier Incident Brent-Aldon TITLE — Running Time Cast Jungle Girl .....Sheffield-Sharpe COMPLETED African Treasure __ Sheff ield-Luez Arctic Flight Morris-Albright Army Bound ._ ....Clements Rel. No. Rev. Canyon Ambush Dead Man's Trail Desert Pursuit Elephant Stampede (71) .. Fargo Flat Top (C) Feudin' Fools Gold Fever Gunman, The Here Comes the Marines Hiawatha IC) _ Jungle Girl Kansas Territory 173) Lawless Cowboys (58) Man from Black Hills '781 ... Mexican Silver Montana Incident Night Raiders ... Northwest Territory 161) Rodeo (C) (71) __ Rose Bowl Story, The (C) .. Brown-Co ^tes ... Brown-Ei, .son ...Morris-Caruso Sheffield .Elliot Hayden-Carlson Gorcey-Hall Morgan-Calvert Wilson-Knight Gorcey-Hall Edwards-Dugay Sheffield-Sharpe -Elliott-Stewart . .Wilson-Knight _ Brown-Ellison Wilson-Clyde _ -Wilson-Stewart ... Wilson-Knight Grant-Chinook Jane Nigh Thompson-Miles 4- 52 5207 7-20 5210 10-52 5216 10-12 5244. . 7-6 5243 5- 52 5209 . 10-29 5 1 10_ 9-52 5226 .. 10-52 9-14 6-8 . 4-13 6-15 1 2-7 5201 5213 5220 ... 5252 5212.. 5202.. 5-4 5225. 1 1-7 5155. 3-52 ... 5242. 8-17 5253. 2-52 5251 . 12-9 3-9 .5104. 8-24 5204 FILM BULLETIN October 6, 1952 Page 2? Sea Tiger .. . No Holds Barred Texas City Timberwolf Trail Dust 170) Vicious Years, The (79) Waco 148) Wagons West IC) Wild-Stallion (C) Wyoming Roundup Squared Circle, The Yukon Gold 7-S2 5218 .Bowery Boys 12-52 5214 Brown-Elliscn „ 12-30 Curwood 12-28 5222 Albright-Winters 12-31 5107 Cook-Moore . 2-18 ..Elliott 2-52 Cameron 4-29 ... Johnson-Hyer 4-27 Wilson-Coates 11-9 Kirkwood-Gleason _ Grant-Hyer .... 8-52 ALLIED ARTISTS Battle Zone Hodiak-Christian 9-52 Disc Jockey 177) Simms-O Shea 8-23 Highwayman. The IC) 183) Hendrix-Coburn 9-8 Kansas Pacific IC) Hayden-Miller Torpedo Alley Stevens-Malone 5224 5203 5205 5254 5221 22 .21 20 12-52 24 11-52 23 4-30 4- IS 3-27 PARAMOUNT i 95 I -52 Features Completed (73) In Production (4) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Houdini (T) Curtis-Leigh Jamaica IT) Milland-Dahl Little Boy Lost Crosby-Dauphin Roman Holiday .... .. Peck-Hepburn COMPLETED Aaron Slick from Punkin Creek (T) 1 95 1 Shore-Young Anything Can Happen (107) Ferrer-Hunter ... Atomic City, The (85) _ Barry-Clarke Blazing Forest (T) (91) Payne-Moorhead . Rel. No. Sotany Bay IT) Caribbean IT) (95) Carrie (118) Come Back Little Sheba Ladd-Mason Payne-Dahl Olivier-Jones Lancaster-Booth O'Brien-Hayden Douglas-Parker . Maugham Stories Denver & Rio Grande (T) 189) Detective Story (103) Encore (90) _ Greatest Show On Earth (T) "( 15 1 1 ... Stewart-HuTton Green Gold of Nevada (T) Payne-Morrow 7"""'-anC. Srni* 'J) ........ ......DeCarln-lreland Jumping Jacks 98 Martin-Lewis Just ror You (T) (104) Crosby-Wyman Lo Alamos Barry-Carke Military Policeman Hope-Maxwell Mv Son John (122' ___ Hayes-Heflin Pleasure island (T) °cny Express (T) Rage of 'he Vulture, The Red Mountain IT) (84) Road to Bali (T) R'-ck Grayson's Women (T) Payne-Sterling ravage The (T) (95) Heston-Hanson . "™ ,V,lff Martin-Lewis lhan* |7' , — Ladd-Arthur . Somebody Loves Me IT) (97) .... _ Hutton-Meeker Something To Live For (90) Fontaine-Milland c?", °f ^leface I1' — . Hope-Russell St*iacl 17 Holden-Taylor 4-52 3- 52 4- 52 12-52 9-52 8-52 4-52 I 1-51 7-52 7-52 5119 5117 5120 3-10 3-10 10-52 7-52 .9-52 5202 5123 5115 5111 5122 5129 5204 5121 5201 4-14 4-7 10-3 1-14 4-14 8-11 Genn-Taylor Heston-Flemming Ladd-Kerr Ladd-Kennedy Hope-Crosby- La mour 4-52 5114 4-21 5-52 12-52 5113 1 1-52 • 5206! 10-52 3-52 8-52 5203 5105 5124 9-8 2-1 1 7-14 Stars Are Singing, The (T) Stooge. The Turning Point, The (85 ( Tropic Zone (T) War of the Worlds (T) _ Alberghetti-Clooney Martin-Lewis Holden-Smith — Reagan-Fleming Barry-Robinson I 1-52 10-52 5205 RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel COMPLETED Battles of Chief Pontiac (75) Barker-Wescott 11-52 Bela Lugosi Meets a Brooklyn Gorilla (74) Luskosi Mitchell 10-52 Breakdown (74) Richards-Bishop ... . 9-52 Cairo Road (85) Harvey-Portman 10-52 Cuban Pete 141) (Reissue) Arnez-Smith 11-52 Fame & the Devil (80) Auer-Buford 11-52 Geisha Girl 167) Hyer-Andrews 8-52 Hall of Death (82) Harvey-Shaw 9-52 House of Darkness (43) Harvey-Shaw 10-52 Inside Job 145) (Reissue) Curtis-Rutherford 12-52 Kid Monk Baroni 180) Cabot Knox 8-52 Lucy Goes Wild 190) (Reissue) Ball-Brent 11-52 Maytime in Mayfair IT) (74) Wilding-Nagle 8-52 Mug Town 140) IReissue) Dead End Kids 12-52 My Death is a Mockery 1471 D. Huston-Byron 12-52 Summer Storm (92) (Reissue) Darnell-Sanders 9-52 No. Rev. REPUBLIC 1951-52 Features Completed (21) In Production (0) Serials Completed ( 01 In Production (0) Westerns Completed (13) In Production (1) IN PRODUCTION TITLE — Runninq Time Fair Wind to Java ITr) Overland Trail Riders COMPLETED Bal Tabarin (90) 9lack Hills Ambush 'order Saddlemates Desperatoes Outpost (54) Fabulous Senorita, The 180) Fair Wind To Java RELEASE CHART — 1951-52 — Cast MacMurray-Ralston Allen-Hall Lawrence-Ching Lane-Waller Allen-Kay . . Allen Estelita-Clarke ....... MacMurray-Ralston Rel. No. 4-1 5129 Rev. 4-15 5143 10-8 5174 4-1 5125 Flight from Fury _. Gobs and Gals ... Hoodlum Empire (98) I Dream of Jeanie (Tr) (90) Lady Wants Mink, The (Tr) Last Musketeer, The (47) Leadville Gunslinger (54) _ Oklahoma Annie IC) (90) O.d Oklahoma Plains (40) Ouiet Man, The IT) (129) ._ Ranqers of the Golden Sage Ride Tiie Man Down ITr) South Pacific Trail _ Sun Shines Bright Sweetheart Time (Tr) Then You'll Remember Me Thunderbirds _ Thundering Caravans (54) Tropical Heat Wave Toughest Man in Arizona (Tr) WAC From Walla Walla Wild Horse Ambush _ Woman of the North Country (90) Wyominq Saddle Pals _.. Edwards-Clark 4-18 Downs-Hutton 5-52 Donlevy-Trevor 4-15 Middleton-Shirley 4-15.. Hussey-O'Keefe Allen-Kay _ 3-52 Lane-Riley 3-52 ..Canova-Russell 3-J4 ..Allen-Kay 7-25... .5128 5105 5104. 5 1 47 i '7| . 0122 5144 . Wayne-O'Hara 5108. ...Chapin-Janssen _ .... ... Donlevy-Tucker _ _ _ Allen-Estelita 10-20 Winninger-Whelan _. ,. Middleton-Cristy _ Middleton-Shirley . Derek-Barrymore Lane-Waller . Estelita-Hutton ... Monroe-Leslie „ . Canova-Dunne 10-10 . Chapin-Jansen 4-15... 5049 Cameron-Hussey 9-5 ..... 5 1 07 . ..Chapin-Janssen 7-14 4^21 5-19 7-20 10-1 5173 8-11 RKO RADIO Rev. I9H-52 Features Completed (74) In Production (0) RELEASE CHART IN PRODUCTION TITLE — Running Time COMPLETED Allegheny Upri; ng (81) (Re-issue Annie Oakley ul] (Re-issue) At Sword's Point (T) (81) Androcles and The Lion Beautiful But Dangerous Beware, My Lovely (77) Big Sky, The (140) Blackbeard the Pirate (T) ... Body Snatcher (Re-issue) Break-Up Captive Woman Clash By Night (105) Desert Passage (40) Difference, The _ Faithful City (84) _ Half-Breed, The IT) (81) Hands Across the Sea Hans Christian Andersen (T) I Walked With a Zombie (Re-issue).. Jet Pilot (T) 1118) _ King Kong I Re-issue) Leopard Man, The (Re-issue) Look Who's Laughing (79) Lusty Men, The Macao 181) Man Who Fooled Hitler Murder, The _. Narrow Margin (71) ... ... Never Wave At A Wac .. One Minute to Zero (105) Pace That Thrills. The 163) Rancho Notorious IT) (89) ... Rashomon (861 Road Agent (601 Somethinq for the Birds Story of Robin Hood (T) (84) Sudden Pear illO) Tarqet 160) Tarzan's Savaqe Fury (80) Too Many Girls (85) Whispering Smith vs. Scotland Yd. 177) Wild Heart, The (T) (82) — 1951-52 - Cast Rel. Trevor-Wayne 9-52 Stanwyck-Foster 9-52 Wilde-O'Hara 2-52 . Simmons-Young ..Simmons-Mitchum Lupino-Ryan 9-52... ..Douglas-Martin 8-52 Darnell-Newton Karloff ..Simmons-Mature Clarke-Field No. . 384 383 220 Rev. 302 361 8-11 .4-52 271 Douglas-Stanwyck 6-52 229 Holt-Dixon 5-52 230... O' Brien-Lovejoy _ J. Smith-Ramati 5-52 303.. Young-Carter 5-52 228 Rennie-Peters Kaye-Granqer „ Conway 4—52. Wayne-Leigh Cabot 6-52 O'Keefe _ 6-52. Ball-McGee 8-52 Havward-Mitchum 10-52 Russell-Mitchum 4-52 224 Werner 6-16 272 269 270 381 5-52 Mitchum-Simmons ... McGraw-Windsor _ Russell-Wilson Mitchum-Tallman 8-52 Williams-Balenda 3-52 Dietrich-Kennedy 3-52 Japanese 3-52 Holt-Martin 3-52 Neal-Mature Todd-Rice 7-52 Crawford-Palance 8-52 McGraw-White 4-52 Barker-Hart 4-52 Ball-Arnaz 8-52 Carlson-Gynt 3-52 Jennifer Jones 7-52.. 226 301 213 221 268 223 7-2 3-1 391 342 227 225 382 222 274 4? 8-1 3-2 20th CENTURY-FOX 1951-52 Features Completed (72) In Production (7) RELEASE CHART — 1951-52 — IN PRODUCTION Baptism of Fire Call Me Madam IT) Blaze of Glory Silver Whip The - Man On A Tightrope President's Lady, The Single Handed COMPLETED Belles On Their Toes (T) (89) Bloodhounds of Broadway (T) David and Bethsheba (T) (114) Deadline U. S. A. (87) _ Decision Before Dawn (119) Diplomatic Courier 197) _ Don't Bother To Knock (74) Down Among the Sheltering Palms(T) Dream Boat 183) — Farmer Takes A Wife, The (T) 5 Fingers (108) — Fixed Bayonets! (92) Girl Next Door, The (T) Girl on the Bridge, The (77) Golden Girl IT) (108) _ I Don't Care Girl, The (T) I'll Never Forget You (T) (90) ........ Japanese War Bride (91) Kangaroo (T) (84) Lady in the Iron Mask (NO 178) Leave Her to Heaven (110) (Reissue) Les Miserables (104) Lure of the Wilderness (T) (92) Lydia Bailey IT) 189) Monkey Business (97) Mature-Moore Merman -O'Connor Widmark-Peters Calhoun-Robertson March-Moore Hayward-Heston Hunter-Rennie Crain-Loy Gaynor-Brady Peck-Hayward Bog art-Barry more Merrill-Basehart ... Power-Neal Wid mark- Monroe Lundigan-Greer ... Webb-Francis Grable-Robertson Mason-Rennie Basehart-O' Shea Haver-Dailey Haas-Michaels Day-Gaynor Gaynor-Wayne Power-Blyth 5-52 I 1-52 2-52 5-52 1-52 7-52 9-52 213 203 215 205 222 224 8-2' 4-2 j 1-2 6- 1 7- 2 8-52 223 3-52 12-51 208 140 3-1 12-1 12-51 139 11-51 136 I 1-52 Yamaguchi-P. Taylor O'Hara-Lawford L. Hayward-Medina . Tierney-Wilde Rennie-Paget Peters-Hunter Robertson-Francis ... Grant-Rogers 12-51 1-52 4-52 7- 52 4-52 8- 52 9- 52 4-52 10-52 142 202 217 218 255 225 219 12-3 1-2 7- 1 8- 1 4-1 Page 30 FILM BULLETIN October 4, 1952 My Cousin Rachel deHavilland-Burton My Wife's Best Friend HOI) Baxter-Carey Niagara IT) — Cotten-Petcrs Night Without Sleep (77) Darnell-Merrill Number, The -Winters-Widmark Outcasts of Poker Flat, The 181] Baxter-Robertson . I.O. Henry's Full House (117) 5 Crain-Granger Pony Soldier (T) Power-Edwards Powder River Calhoun-Calvet ... Pride of St. Louis 193) Dailey-Dru j Rain s Came, The 195) (Reissue) Power-Loy i Rose of Cimarron INC) (72) Buetel-Powers 60 Saddles to Gobi (T) Widmark-Taylor (Snows of Kilimanjaro, The (T) (114) Peck-Hayward ISomething For The Birds 181) Mature-Neal 'Stars and Stripes Forever IT) Webb-Paget I Steel Trap (851 . Cotton-Wright Thief of Venice 191) - Montez-Christian ,|Tre.isure of the Golden Condor (T) Wilde-Smith ! Tonight We Sing (T) Pima-Peters nop Man Widmark-Dru f/iva Zapata 1113) M. Brando-J. Peters Wait Til The Sun Shines NellielTI I 1 03) Peters-Wayne taWay of a Gaucho IT) (91) Tierny-Calhoun (•We're Not Married (85) - Wayne-Rogers Iwhat Price Glory (T) HID Cagney-Dailey fflwith A Song In My Heart ID (117) Hayward-Calhoun 10-52 5-52 9-52 12-52 216 6-16 9-8 4-52 2 I I 6-52 256 4-52 212 I 1-52 11- 52 12- 52 10-52 12-52 12-52 3- 52 7-52 9-52 7- 52 8- 52 4- 52 206 2-25 220 5-19 221 7-14 226 7-28 210 2-25 Rel. 7-18 3-2 1 H-R Rev. 6-2 1-14 UNITED ARTISTS 1951-52 Features Completed (61) In Production (4) RELEASE CHART" — 1951-52 -— IN PRODUCTION TITLE — Running Time Cast |y the Beloved Country Lee-Poitier lincounter - Lorring-Muni [fighter, The 1781 Conte-Brown Finishing School Sernas-Laurent Class Wall, The Gassman-Grahame pold Raiders 1561 O'Brien-Ryan fereen Glove, Ihe 186) Ford-Brooks iuest Wife 1901 Colbert-Ameche Me Ran All the Way 177) Garfield-Winters High Noon 185) Cooper-Kelly Invasion U.S.A. O'Shea-Castle sland of Desire IT) (103) Darnell-Hunter It's in the Bag (87) Allen-Benny Kansas City 1-1-7 Payne-Gray f.ady Vanishes, The 185) Redgrave-Lockwood Limelight (143) Chaplin-Bloom 2-8 4-1 I 1-31 8-22 Asp Stone Got Ben 9-14 2-28 9-52 7-13 Reb 7-30 Kr 4-7 6-16 6-16 11-5 3-10 7-16 5-5 ss Hargreaves Katherine Hepburn lutiny II) 176) Stevens-Lansbury )ne Big Affair (80) . OKeefe-Keyes )utcast ot fhe Islands (C) (91) Richardson-Kerima Jutpost in Malaya Claudette Colbert .. ark Row _ Evans-Welch ed Planet Mars 187) Graves-King ed River (125) Wayne-Dru .1119. The 178) Rios-Moreno iver. The IT) (99) Swinburne-Shields ough Shoot McCrea-Keyes :oyal Journey (50) Color Feature carlet Spear, The (An) Archer-Hyer t. Benny, the Dip (80) Foch-Haymes trange World 180) Hauff-Schneider words Against the Mast Payne-Reed ale of Five Women, A 186) Bonar Colleano hief, The 185) Milland-Gam om Brown's Schooldays 193) ... Davies-Newton ulsa (88) Hayward-Preston wo Gals and a Guy (70) Paige-Alda Intamed Women (70) Jewel Productions /hen I Grow Up 190) Preston-Scott /itness, The Bergman-Brando 8-4 9-52 9- 52 10- 23 3-14 2-22 7- 1 I 8- 12 5-15 6-6 9- 25 2- 15 3- 15 8-24 3-28 3-7 10- 10 11- 2 6-6 8- 31 9- 52 4- 20 8-25 Chap KB Lop Hawks Ren Dan Gehn Pop Wan 3-24 5-19 8-25 7-16 4-7 Oct July Oct Aug Nov June June Nov Aug Apr UNIVERSAL 951-52 Features C ompleted (85) In Production (4) PRODUCTION TITLE — Running Time an From the Alamo w and Order (T) under Bay IT) ight Flowers OMPLETED bbott and Costello Go to Mars gainst All Flags IT) 3d Man Wi:h a Gun (T) ittle of Apache Pass, The (T) tceuse of You Jnd of the River IT) (91) ack Castle. The 3nio Goes To College 179) . 'onco Buster (T) 180) it¥ Beneath the Sea IT) olumn South (T) uel at Silver Creek, The esert Legion (T) esh and Fury (83) •ancis Covers the Big Town ■ancis Goes to West Point RELEASE CHART — 1951-52 — (85) (T) Cast Ford-Adams Reagan-Malone , Stewart-Dru Hardy-Freeman Abbott & Costello Flynn-O'Hara Hudson-Adams Chandler-Lund .Young-Chandler ..Stewart-Kennedy McNally-Greene ... Perreau-Gwenn Lund-Brady Ryan-Powers Murphy-Evans Murphy-Domergue Ladd-Dahl Curtis-Sterling Donald O'Connor O'Connor-Nelson Rel. No. Rev. Apr Feb Sept May Aug Mar July 217 212 232 219 228 2J4 224 4-7 1-28 8-25 4-21 Golden Horde. The IT) (134) Blythe-Farrer Has Anybody Seen My Gal IT) (89) Colburn-Laurie Horizons West IT) Ryan-Adams Iron Man (82) Keyes-Chandler If Grows On Trees Dunne-Jagger Ivory Hunter IT) (95) Steel-Sheridan Just Across the Street 79) Sheridan-Lund Lady Pays Off, The 180) Darnell-McNally Love H. nd (T) McCrea-Hale Lost in Alaska Abbott-Costello Ma and Pa Kettle at the Fair 187) Main-Kilbride Ma and Kettle in Waikiki Main-Kilbride Ma and "a Kettle Go To Paris Main-Kilbride Man's Country Murphy-Drake Meet Me at the Fair Dailey-Lynn Mississippi Gambler (T) Power-Laurie No Room for the Groom 182) Curtis-Laurie Pool of London (85) Colleano-Shaw Raiders. The (T) . Conte-Lindfors Red Ball Express Chandler-Cabot Sally and Saint Anne Blvth-Gwenn Scarlet Angel IT) 181) DeCarlo-Hudson Seminole (T) Hudson-Hale Son of Ali Baba IT) 175) Curtis-Laurie The Redhead From Wyoming O'Hara-Nicol Untamed Frontier, The IT) Cotten-Wirters Sept. Willie and Joe Back at the Front Ewell-Lembeck Oct World In His Arms. The !T) Peck-Blyth Aug Yankee Buccaneer IT) Chandler-Brady 134 226 235 UO 221 223 202 229 216 6- 30 7- 16 6-2 6-2 7-28 3-24 May Nov May Jul" June Sept Oct 220 183 218 225 222 231 230 233 227 234 5-5 6-16 8-25 WARNER BROTHERS 1951-52 Features Completed (53) In Production (6) RELEASE CHART — 1951-52 — Cast Lancaster-Rice Thomas-Lee Day-MacRae Cliff-Baxter IN PRODUCTION TITLE — Running Time His Majesty O'Keefe IT) Jazz Singer, The IT) By the Light of the Silvery Moon(T) I Confess She's Back on Broadway (WC) Mavo-Cochran Sea Rogue IT) Flynn-Campbell COMPLETED Abbott and Costello Meet Capt. Kid Abbott-Costello About Face IT) (94) MacRae-Bracken April In Paris IT) Day-Bolqer Big Jim McLain 190) Wayne-Olson Big Trees, The (T) (89) Douglas-Miller Bugles in the Afternoon (T) 185) R. Milland-H. Carter Carson City (WC) 187) Scott-Massey Come On Texas IWC) Scott-Kirk Crimson Pirate, The (T) (104) B. Lancaster Danger Forward Wilde-Cochran Desert Song, The IT) Grayson-MacRae Iron Mistress, The IT) Ladd-Mayo Jack and The Beanstalk ISC) 178) Abbott-Costello Lion and the Horse. The I WC! 183) Cochran-Teal Man Behind the Gun (T) ...Scott-Wymore Mara Maru 198) . Flynn-Roman Miracle of Our Lady of Fatima H02)Gilbert Rowland Operation Secret . Wilde-Thaxter Retreat, Hell! 1951 Lovejoy-Carlson San Francisco Story, The 180) _. McCrea-DeCarlo She's Workinq Her Way Through College IT) (101) ... Mayo-Reagan Springfield Rifle IW) Cooper-Thaxter Stop, You're Killing Me (WC) Crawford-Trevor Story of Will Rogers, The IT) (109) Roger, Jr. -Wyman ... Streetcar Named Desire, A 1122) Brando-Leigh Tank Are Coming, The 190) S. Cochran-P. Carey This Woman Is Dangerous 197) Crawford-Morgan 3 For Bedroom C INC) 174) Swanson-Warren Where's Charley? (T) (97) Bolger-McLerie Winning Team, The 198) Day-Reagan Rel. No. Rev 5-31 122 4-21 8-30 201 9-8 3-29 117 2-25 3-8 116 3-10 6-14 123 5-19 9-27 4-12 4-19 202 I 18 119 4-21 S-3 120 4-7 10-11 203 9-8 2-23 5-17 7-12 115 2-25 121 4-21 128 7-26 129 ... 7-28 3-22 104 1 1-17 108 1 1-5 2-9 114 2-11 6-21 124 6-T6 8-16 130 7-14 6-28 125 6-2 Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St., Phila. 3 — 1239 Vine St., Phila. 7 LOcust 4-0100 Member National Film Carriers FILM BULLETIN October 6, 1952 Page 31 SELL your SHOWS with FRAMED The new patron-pulling service . . . that provides colorful, eye-appealing ad- vertising for placement in • MERCHANTS' WINDOWS • STORE COUNTERS • HOTELS • TERMINALS See your NSS Salesman or write your nearest NSS Exchange GRAND THEATRE i NOW SHOWING CAPITOL NOW SHOWING GREGORY PECK SUSAN HAYW4RD AVACARPN'ER Made pttaa ■ ******* Start the New Year with a MILLION DOLLAR MERMAID Plan NOW because there is positively no attraction for the holidays to equal the spectacular TECHNICOLOR beauty, fun and music of M-G-M's Gala Show! M-G-M's MIRACLE MUSICAL Starring ESTHER WILLIAfI! VICTOR MATURE WALTER PIDGEON DAVID BRIAN with Screen Play by EVERETT FREEMAN * Directed by MERVYN LeROY * Produced by tewpoints OCTOBER 20, 1952 # VOLUME 20, NO. 21 D N MEN AND MATTERS Warning ia thv Distributors The blast issued a couple of weeks ago against certain film companies by Allied president W ilbur Snaper can be accepted as notice that the honeymoon between the major distributors and the organized independent exhibitors may soon end in one helluva spat. The industry has enjoyed something of a honeymoon, albeit a honey- moon of despair, if you will, for the past two years. The common pro- blems that beset both exhibitors and distributors brought them closer to- gether than they had been in twenty years. Arm-in-arm they faced the on- slaught of television and sought reme- dies for declining boxoffice figures. Now the old frictions and animosities again threaten to engulf our industry in strife. When Mr. Snaper declared that his office has been "overwhelmed by a deluge of exhibitor complaints" against sales practices, we can attest that he was not talking through his hat. In recent months, FILM BULLETIN, too, has been hearing what amounts to a profusion of squawks against certain distributors. Some of the complaints can be directly attributed to home of- fice policies, others apparently stem from the zealousness of the individual salesmen. In either case, however, the responsibility must be assumed by the ultimate authority in each company, for it was the companies, not the sales- men, who were charged with monopo- listic practices and who may have to account to the law for these alleged violations of the Supreme Court's de- cree. The kind of dissension that is again arising is fraught with peril. Not only does it endanger the most important cooperative actions ever undertaken by the industry — COMPO and the admis- sions tax repeal campaign — but it threatens to throw our business back into the courts. Lest there be some film executives with short memories who might pooh pooh the outcries of "little" exhibitors, they should be re- minded that it was the clamor of sev- eral hundred such small business men that brought on the Government's monopoly suit against the majors. How close this peril hangs can be gathered from the irate tone of the letter written to Snaper by Allied's veteran from Texas, Colonel H. A. Cole. One of the most active men in the affairs of COMP and a valiant fighter in the battle to repeal the ad- missions tax, Col. Cole has served no- tice that both he and his organization are about to go back to fighting the. film companies. Reciting a number of violations of the court decree, the Allied leader foresees a "sorry future" in intra- industry relations, and reports that exhibitor resentment is reflected in their attitude toward the Tax Repeal Drive. Continuing, Col. Cole says: "W ith the government monopoly suit back of them, Allied to some extent abandoned its traditional militant lead- ership. Our leaders thought the time had come when we should build rather than tear down. With that thought in mind, Allied gave its heartiest support to COMPO, which we believed could spearhead a general broad industry campaign directed toward the im- provement of our public relations, the increase in our boxoffice and general industry welfare. With that objective we have commandeered our best per- sonnel and the best brains in our group to do a job not only for our members but for the industry as a whole. Our General Counsel, Mr. Myers, was drafted and instructed by us to under- BULLETIN FILM BULLETIN: Motion Picture Trade Paper published every other Monday by Wax Publi- cations Inc. Mo Wax, Editor and Publisher. PUBLICATION-EDITORIAL OFFICES: 1239 Vine Street, Philadelphia 7, Pa., Rlttenhouse 6-7424; Barney Stein, Managing Editor; Leonard Coulter, New York Editorial Representative; Richard N. Newton, Publication Managsr; Robert Heath, Circulation Manager. BUSINESS OFFICE: 35 West 53rd Street New York 19, N. Y., Circle 6-9159; HOLLYWOOD OFFICE: 659 Haverford Avenue, Pacific Palisades, Calif., Hillside 8183; Jay Allen, Hollywood Editor. Subscription Rates: ONE YEAR, $3.00 in the United States; Canada, $4.00; Europe, $5.00. TWO YEARS: $5.00 in the United States; Canada, $7.50; Europe, $9.00. take the long, tedious job of formulat- ing a plan for arbitration. Our former president, Trueman Rembusch, with all of his capabilities, was drafted to become one of the three co-leaders of COMPO; and in that capacity for the first time he put over a finance cam- paign for COMPO that really has put that organization on its feet. For my- self, I received instructions from our Hoard of Directors last spring at Colo- rado Springs to undertake the drive for repeal of the 20% admission tax. Fol- lowing their instructions, I took the Co-chairmanship of National COMPO to head this drive and up to the present I think that the drive has progressed very well with much promise of relief from the Government. "I think the time has come that we in Allied must recognize the fact that we stand almost alone in an unselfish attempt to do an all-industry job and that in doing this we have sacrificed the interests of thousands of exhibi- tors because other elements in our in- dustry have taken advantage of our preoccupation and through one means or another are shortsightedly doing the industry a great disservice. "In view of all this, I have the fol- lowing recommendation: That Allied free its personnel from their obligation to do these outside jobs. That Allied recommend to those of its members who have unselfishly taken these vari- ous jobs and obligations that they withdraw from them and resign from such positions. This recommendation is made with the greatest of reluctance because those jobs have not been com- pleted and, while others probably can and will take over, the causes them- selves will inevitably suffer. How- ever, we can see no other conclusion.'" We hope the distribution leaders wi'.l heed this warning from the veteran Allied leader. The future of our in- dustry will, indeed, be a sorry one if a large body of exhibitors should again feel they must resort to the courts of the land for relief from trade abuses. Could the profit possibly justify the troubles that would befall the indus- try? MO WAX FILM BULLETIN October 20, 1952 Page 3 I there's big dough in WHY ARE SO MANY HOLLYWOOD PRODUCERS ASKING TO SEE IT IN ADVANCE? — because preview re- ports are simply sen* sational — because it's different, with a brand new twist in mystery stories ! See it immediately for your* self and come pre* pared to jump out of your seat! 8S take it from 20th! t starring JOSEPH g\ JOSEPH bOTTEN TERESA and directed by DIMITRI TIOMKIN Produced by BERT E. F Written and directed by ANDREW STONE A BERT E. FRIEDLOB Production Released by 20th Century-Fox Branch Managers' Teslimonial Sept. 28— Dec. 27 RALPH STOIM-Y fi a Big Job CxcluMHe $L BULLETIN feature by LEONARD COULTER At the age of 34, wisdom and experience seem unimportant to a man. The things that impress him are vigor, personal aggressive- ness, the spirit of adventure and conquest, and supreme self-confidence. Ralph Edward Stolkin has that youthful philosophy. What is more, the new boss of RKO Pictures can indulge his ideas to the full, being a multi- millionaire with a personal fortune estimated at between $30,000,000 and $40,000,000. What Stolkin will do with the company whose control has just passed into his hands from the other self-opinionated millionaire, Howard Hughes, has the motion picture in- dustry agog with speculation. Stolkin knows it, and revels in it. He is thoroughly enjoy- ng the uneasiness which his coup has caused. I asked him the other day whether he ealized that RKO's change of ownership, nd the possibility of the company moving nto the television field, had caused some onsternation. He laughed. "Sure, I know k" he said. "And it's about time some- ody shook the picture industry up. God mows, it needs a jolt." Physically, Stolkin is a big man — 6 ft. 3 ■., 225 lbs. dack hair uede >hoes, and an extremely rich father- n-law. It was the father-in-law, Abraham Leonard Koolish — now also a director of IKO — who set this thrustful young man off Ml his meteoric career with a $15,000 loan, t happened in Chicago, where Stolkin was iorn. In 1938, after leaving Illinois Univer- ity, he got a job with Strauss Securities, a ^ocal brokerage house. He was runner, ;alesman and customers' man. And then he net and fell in love with Ruth Koolish, who las since borne him three children. f/i's First Million j With his father-in-law's blessing and back- ing, young Stolkin, at the age of 27, launched • merchandising operation called the Monarch 'ales Corporation, distributors of the Rey- nolds ball point pen and a line of table adios. Within two years Monarch was do- ng a million dollar business. At its peak, I vhen it was selling 20,000 radios a week, lalph Stolkin decided to take a capital pro- tt. He sold his business to the Jewel Radio nd Television Corporation, New York, and ntered the ranks of America's new million- ires. is He has a full head and thick a fondness for striped suits and He was now able to plunge for himself. Witli Mr. Koolish, he organized a mail order house, Empire Industries of Chicago. He teamed up with Ray Ryan, Edward G. Burke, Jr., and Robert S. Hays to buy some oil properties in Scurry County, Texas. They struck it rich. He and Hays then bought a beef cattle ranch covering some 20,000 acres. JHe put money into the National Vide/') C orporation, which makes television tubes, into an adhesive label manufacturing busi- ness (Kleen-Stik), into the U-Arc Corpora- tion, makers of arc lamps and into the Postal Finance Corporation. With Ted R. Gamble, Ed Burke and Sherrill Corwin, he bought from the Marshall Field interests Radio Sta- tions KOIX and KOIN-FM in Portland, Oregon and KJR, Seattle. The price was $1,500,000. He purchased a share of Hal Wallis' "At War With the Army," the first Martin and Lewis starrer, on the recom- mendation of Sherrill Corwin, who was also a subscriber to the National Exhibitors Fi- nance Company. And he had investments in a television film producing company called Screen Associates, of Beverly Hills, of which he is president. Supreme Opportunist One thing is obvious from this record: Ralph Stolkin is an opportunist. It is that fact which makes other film industry leaders wonder whether he will cut the ground from under their feet in the television field. Stol- kin himself added to the feverish discussions by the wording of his statement, issued after the official announcement of his elec- tion as President of RKO Pictures. In that statement he said significantly: "Problems that have plagued the industry as a whole for a long time, such as the use of television as a film outlet, will be approached, analyzed, and determined with unprejudiced minds which will seek solutions looking to the future unbound by any dedication to the past, and such solutions which seem the best answer for the benefit of the corpora- tion will be adopted". This was quickly taken to mean that Stol- kin and his associates would sell RKO's picture backlog to television — or even its current production — if they believed it to be a sound business proposition. Some such deal might save RKO, which showed a net loss of $3,712,834 for the first six months of 1952. But it is not necessarily the answer to the company's problems — or the only- answer. If Ralph Stolkin and his friends were to throw the RKO backlog to the wolves, they would start a colossal devalu- OLD PRESIDENT & NEW Depinet and Stolkin ation of motion pictures. In self-defense, some of the other majors would have to fol- low suit and the pickings would be lean in- deed. That kind of mess doesn't seem to be the sort of thing Stolkin would get mixed up in. TV "Front"? "There are rumors," I said, "that you and your group are 'fronting' for one of the big television networks." Stolkin boomed with laughter again. "I can answer that one with- out any hesitation," he said. "It isn't true. We're not fronting for anyone, least of all one of the networks. We own a couple of radio stations of our own, and we're not too fond of the networks. 'W hat we aim to do is to make pictures — for ourselves. We're not interested in mere- ly providing facilities for independent pro- ducers. Of course, if independents come along with a worthwhile proposition, we'll think about it, but our primary intention is to make big, expensive, top-grade 'A' pic- tures of our own. We're looking for the best men we can get into the studio for that purpose." Arnold M. Grant, the company's new chair- man, and general counsel, added that the company had a backlog of pictures sufficient (Continued on Page 20) FILM BULLETIN October 20, 1952 Page 5. THE FOUR POSTER' DISTINGUISHED COMEDY-DRAMA Rates + for class houses; • • • for Columbia 103 minutes Rex Harrison and Lilli Palmer Directed by Irving Reis In every sense of the word, this is a dis- tinguished production. Stanley Kramer dis- played rare courage in undertaking a film version of Jan de Hartog's two-character stage hit, and it is a pleasure to report that he has carried it off with outstanding suc- cess. "The Four Poster" emerges as a great prestige picture, but, although it must be labeled a class film, there are elements that will appeal universally. While outwardly smart and sophisticated, it is basically a sen- sitive comedy-drama with some finely turned touches that reach the heart. For ballyhoo, there are angles that should make the show- man's job a delight. The pitch should be made straight and strong to adult audiences. It boasts the longest kissing scene in years and a seduction scene which probably was given censorial blessing only because the naborhoods; less for action and rural spots principals are real-life man and wife. It's delicious. Boxoffice performance, no doubt, will be mixed. Class houses and deluxe first runs will probably come close to record grosses, and it will roll along strongly in all nabor- hood situations. Rural locations are a ques- tion mark and it will be weakest for action houses. The cast of two consists of Mr. and Mrs. (Lili Palmer) Rex Harrison, and only a brave man would award the laurels for the better performance. Both are brilliant and they make something delightful and gay, something sad and tragic of this story of a bed, the four-poster that witnesses their nup- tial night, two births, two deaths and a good deal of animated conversation. "The Four Poster" will be much talked about. STORY: Rex Harrison and his wife, Lilli Palmer, share the milestones of their mar- riage with a four poster bed which is an anchor, a confidante and the embodiment of their laughter and heartbreak and abiding love. The story opens in 1897. Rex, who carries his bride across the threshold, is a poet and teacher. Under her influence, becomes a successful novelist and lecturi a bit vain, yet a devoted husband and fath of two. He becomes slightly involved wi another woman, but their ten years of m? ried wisdom help them weather that pro lem. In 1916, Rex finds a whiskey bot| hidden in his son's closet, and the son, ai 17, is not yet home at 4 a. m. He is cc cerned about his boy, but presently, Lilli mourning the death of that son, a victim war in France. Next, the couple are heari the sounds of Dixieland jazz wafted up it their room frm the daughter's wedding ception — in 1923. When the guests have h Lilli tells Rex she wants a divorce, psychoanalyzes her unhappiness as a lann for her lost youth and induces her to j' him on a belated honeymoon trip to Euro Now getting on in years, Rex and Lilli 1933 are toasting his new book when he veals that the doctor has told him she fatally ill. In the closing scene, he sits al throughout. The story of a man who t onlv looks like a king, but whom fate choses* to masquerade as king, has again been made into film which should be a top- flight boxoffice attraction in all situations. In the opinion of this reviewer, it will be runner-up to the fabulous "Ivanhoe" as a grosser. Director Richard Thorpe has set a lively pace from the opening frame down to a smashing duel-scene climax. Stewart Gran- ger, in the twin role of Rudolf Rassendyll and Kind Rudolf V, handles his assignment with verve and a nice romantic touch. As a princess who must choose between love and duty, Deborah Kerr is both appealing and convincing. James Mason is superb as the swashbuckling villian, dominating most of the scenes in which he appears. ECAUSE OF YOU' TEAR-JERKER HAS STRONC FEM APPEAL Ites • • • — generally I dversal • Minutes ■retta Young, Jeff Chandler, Alex Nicol, ances Dee, Alexander Scourby, Lynne ;.berts, Mae Clark, Gayle Reed, Billy ayne. Frances Karath rected by Joseph Pevney ll'he old, old mother-love theme, trickled it with some soap-opry melodramatics, gets igood going-over in "Because of You", i iue. it's corny, but it is the type of corn |it the ladies like to feast on, so exhibitors find this a strong attraction, especially ^family houses. There are enough elements ^suspense and action to make it good fare I all types of situations. This Universal- I'.ernational offering has been given a top- l:ht production by Albert T. Cohen and it •getting a strong exploitation campaign by (J- 1 that will kick it off to good grosses in first runs. Word-of-mouth should hold it up well enough in the sub-runs. Loretta Young, as the self-sacrificing mother with a past, turns in one of her best performances in years. Jeff Chandler han- dles the role of the husband with conviction. Gayle Reed, the child, is fine and Alexander Scourby again shows that he deserves more than a supporting role. Joseph Pevney's di- rection puts emphasis where it belongs — on the emotions. STORY: Blonde, brassy Loretta Young is caught with some dope, planted on her by her lover. Alex Nicol. She studies hard in jail, wins her diploma and while working as a nurse at a veterans' hospital, falls in love with wounded pilot Jeff Chandler. She is afraid to confess her past. After three years of blissful marriage Alex Xicol finds her and PERATION SECRET' CLOAK-AND-DAGGER ACTIONER I -res • • + for action spots; OK dualler 'larner Bros. * minutes t rnel Wilde, Steve Cochran, Phyllis Thax- 1 , Karl Maiden, Paul, Picerni, Lester Matt- Us, Dan O'Herlihy, Jay Novello, Wilton 'aff rected by Lewis Seiler 'Operation Secret" is another action-melo- ima built on the adventures of an Ameri- i soldier-of-fortune with the French un- •ground during World War II, but this niliar theme has been tricked up to be- ne a better than average cloak-and-dagger n. Produced by Henry Blanke from a eenplay by James Webb and Harold Med- d, the picture employs a flash-back tech- ;ue in a pseudo-documentary style. In- est is held throughout by action that hits "d and often, and entertainment values are ghtened by dubbing in film clips from >tured documentary reels. While some elsewhere of the story aspects are obscure and border on the fantastic, "Operation Secret" is tail- ored for action houses. Elsewhere it should serve as a fairly good dualler. The cast is an able one, with Cornel Wilde appropriately convincing as an Ameri- can man-of-the-world who aids the French Maquis during the war. Steve Cochran, Paul Picerni, and Karl Maiden are all up to their derring-do assignments, 'while Phyllis Thax- ter supplies the love interest without clut- tering up the action. Director Lewis Seiler starts the film in high gear and the momen- tum is fairly well sustained throughout. STORY: In investigating the murder of Maquis officer Paul Picerni during the war, the Fernch authorities call together former underground members Steve Cochran, Karl Maiden, and Phyllis Thavter for question- ing. Fach of them tell their stories, and in flash-back, the events leading up to the murder are shown. Maiden and Cornel STORY: Stewart Granger, an Englishman on vacation in a small European country, is met by the king (also Granger) and the two men are astonished to find they arc exact look-alikes. The king, whose corona- tion is the following day, takes Granger to his hunting lodge to celebrate the coming festivities. Plotting to sieze the throne, the king's half-brother, Robert Douglas, suc- ceeds in drugging the monarch and the king's supporters plan to substitute Granger in the coronation ceremonies to foil the plot. James Mason, cohort of Douglas, manages to kidnap the real king and Granger is forced to carry on the masquerade. Deborah Kerr, who is a princess engaged to the king, had little liking for the real monarch, but comes to love Granger, though she is unaware he is a fake. After some gripping melodramatics, the king is rescued and the plotters put down. Granger and Kerr reaffirm their love, but part when Kerr choses her duty to her country. I'll 1 1. blackmails her into driving him to the Mexi- can border on a smuggling job. They are chased bv the police, the car crashes spec- tacularly and Nicol is killed. Chandler, be- lieving the worst, has the marriage annulled. Loretta gets a job as a magicians' assistant. When, four years later, she sees her child again, she finds her sullen and unhappy. Jeff's sister, Frances Dee, invites her to stay in the house a short while until Jeff returns from a European trip. The child blooms un- der Loretta's influence, though unaware she is her mother. When Jeff gets back and turns Loreta out of the house, the little girl returns to her former morose condition. The doctor advises that she needs maternal love, just when Jeff decides to marry Lynne Rob- erts, an old friend, he realizes he loves Lo- retta after all. and finds her on her parents' farm, where they are re-united. COULTER Wilde first meet Picerni and Cochran during a final patrol skirmish after the fall of France. Maiden and Wilde are forced by the other men into a surrender which they consider dishonorable. Wilde later escapes to England where he joins the American Marine Corps. His first mission is to para- chute behind enemy lines and obtain secret information. He completes his assignment, but only escapes the Gestapo through the aid of Phyllis Thaxter. The couple make their way to France, where they are reunited with Picerni, Maiden and Cochran, who is now a Maquis leader. The group learns of a secret German jet plane and they manage to capture films giving specifications on the plane. Cochran shows his true colors and plans to give the films to Russia. In the resulting melee, Cochran kills Picerni. Wilde, though wonded disapears with the films. At the inquiry, Cochran is confronted by Wilde and justice is achieved. XEIL FILM BULLETIN October 20, 1952 Page 7 i 'WAY OF A GAUCHO' TECHNICOLOR WESTERN ON THE PAMPAS Rates >< + generally as dualler 20th Century-Fox 91 minutes Gene Tierney, Rory Calhoun, Hugh Mar- lowe, Richard Boone, Everett Sloane. Although favored with some exciting scenery (it was shot on location in Argen- tina), "Way of a Gaucho" fails to rise to its promise, due chiefly to a routine story. The story of a ga'ucho's resistance to the encroachments of civiliation on his beloved pampas kicks off to a rousing start, but the striking Technicolor photography of beau- tiful backgrounds fail to hypo the plot when it later slows down to a well-worn ending. The Philip Dunne production is in many ways reminiscent of "Viva Zapata," al- though "Way of a Gaucho" lacks the stark reality and conviction of that film. It boils down to a glorified western, but lacking the punch of a good horse opera. The savage action of the early reels should be sufficient to satisfy the action fans, but more dis- criminating audiences will find the plot want- ing. In most situations this should get a fairly good box office response as a top dualler. Until the film runs out of gas, Jacques Tourneur's direction is fast paced. In the title role, Rory Calhoun is rugged though not always convincing. Supplying the love- interest, Gene Tierney does little more than go through the motions of a high-born woman who joins Calhoun STORY: At a fiesta given by ranch owner Hugh Marlowe, gaucho Rory Cal- houn kills another gaucho in defense of Marlowe's honor. As an alternative to go- ing to prison, Calhoun is allowed to join the army, but his independent nature runs afoul of commanding officer, Richard Boone. During an attack on marauding Indian Calhoun deserts, deciding to join a band I gauchos hiding in the mountains. On l] way to the hills, Calhoun saves Gene Tiern from an Indian, only to find she is the fia^ cee of Marlowe. As he returns Tierney I the ranch, he is captured by the major aj tortured. With the aid of fellow soldiej Calhoun escapes after disabling Boone w| a knife. Once free, Calhoun forms a bafl of gauchos dedicated to turning back ll advance of civilization into the wild pamt| which he loves. Tierney joins him, and af I federal trops cut down Calhoun's band, 1 1> couple plan to leave the country. Tierrl is pregnant, however, and they are fonfl to return to Marlowe's ranch. In trying! protect Calhoun from Boone and m soldiers, Marlowe is killed and Calhct comes to learn and accept that the day the gaucho is over. NEIL THE BLAZING FOREST GOOD PINE-THOMAS LOGGING MELODRAMA Rates • • + in action houses; satisfactory dualler generally and Paramount 90 Minutes John Payne, Susan Morrow, William Dema- rest, Agnes Moorehead, Richard Arlen, Ros- coe Ates, Lynn Roberts, Jim Davies, Directed by Edward Ludwig. While it follows a familiar plot pattern, "The Blazing Forest" has enough action, in- terest and some surprisingly good by-play to make it a solid attraction for the action houses and a satisfactory dualler wherever else it plays. Filmed in excellent Techni- color, by William Pine and William Thomas, the story of a tough logging-boss, hampered by the elements and a black-sheep brother, and culminating in a rip-roaring forest fire, should appeal to audiences who aren't too fussy about credibility. The fire-fighting an- gle, as indicated in the title, has been done more creditably and excitingly before, but the logging scenes are excellent and tie in favorably with the fast-paced proceedings. There isn't much in the way of romance, as handled by John Payne and Susan Morrow, what there is comes off painlessly enough to prevent squirming by the action fans. The usual quota of humor finds its niche in the film, most of it in the loggers' gripes about their slave-driving boss. Weak on marquee value, best returns will come in action spots that exploit the rough and tough elements. Elsewhere, it should pro- vide adequate support for a topbill comedy or musical. John Payne, as the relentless logger boss, yells orders and strides manfuly through the the film with a scowl for the most part, then softens up miraculously toward the finale. Pretty Susan Morrow is pretty. Best per- formances are registered by Agnes Moore- head as a dowdy forest queen, William Demarest in the part of the old-timer who resents the young boss' authority, and Rich- ard Arlen as the black sheep brother, tough logging boss John Payne to cut down the timber in order to raise a fund to send STORY: Widowed owner of isolated for- est land in Nevada, Agnes Moorehead hires her orphaned niece, Susan Morrow, to the city. She assigns William Demarest to r£ a logging crew, which he will oversee, ij the job. There is grumbling when the n find Payne is their boss. Among them Richard Arlen, Payne's shiftless brotl who immediately makes a play for Su against Payne's wishes, though the girl set her cap for the boss. Payne works men hard to meet a deadline for deliver) the timber, and in a rainstorm, manages save a log avalanche from destruction, e< ing the respect of everyone. It becoi evident that Payne is driving so hard in der to pay off a theft by Arlen and to the family name and Arlen's wife, L Roberts, from disgrace. As the logging fort nears its end, Arlen and Demarest, sentful of Payne's supervision crash a b:| loaded truck in the forest when the br; I fail to hold and start a fire. In an heroic f- fort Payne and his men stem the bl I along with the forest rangers. Arlen die ■ the truck crash, but Payne saves Demastj from the flames and ends up with MonM BA i THE HOUR OF 13' SUSPENSEFUL PERIOD MURDER MELODRAMA Rates • • + as dualler Metro-Goldwyn-Mayer 79 Minutes Peter Lawford, Dawn Addams, Roland Cul- ver, Derek Bond, Leslie Dwyer. Directed by Harold French Although a rather odd mixture of stark melodrama and light comedy, "The Hour of 13" is nevertheless an interesting and sus- penseful film that should thoroughly satisfy audiences who go for blood-chillers tradi- tionally set in the dark, fog-bound alleys of London. Under the Hayes Goetz produc- tion banner, the action moves along spright- ly, despite the horror angle of a "Jack-the- Hipper" type story. The grimness is coun- ter-balanced by some light, amusing antics of a playboy-jewel thief, deftly portrayed by Peter Lawford. The Leon Gordon-Howard Rogers screenplay is solidly constructed and interweaves some laugh-provoking bits of dialogue into the fabric of the story. "The Hour of 13" will make a first-rate addition to any double-bill and could possibly satisfy better than a more pretentious film in thea- tres where this kind of entertainment is well received. Lawford gives just the right light touch to his role and is chiefly responsible for the zest with which the film moves. While there are no other known names in the cast, all performances are ably carried out. Dawn Addams is both appealing and effective in the role of a police commissioner's daughter who falls in love with the likeable rogue. STORY: Set in London at the turn of the century, the story begins with a phantom sworsdman who is methodically cutting down policemen in the back alleys of the city. At the same time, Peter Lawford is brilliantly engineering the theft of a valu- able necklace. Inadvertently, Scotland 1 connects the robbery with the series of ings. Lawford, therefore, cannot dispos the gem because the police would sus him of being the killer. In order to ha the capture of the Terror, he puts hir in the good graces of the Commissionti Scotland Yard, making friends with the i missioner's daughter, Dawn Addams | well. Addams falls in love with Law and thinking she is helping him to (I the Terror, she gives him police informa With Scotland Yard hot on his trail, 1 ford decides to capture the Terror hin He masquerades as a policeman and 1 the killer strikes, Lawford manages to him over to the police. Meanwhile, land Yard realizes there is no conn between the killer and jewel thief, and ford is also led away to pay for his Paqe 8 FILM BULLETIN October 20, 1952 MARILYN MONROE s voted op "Star ) Tomorrow" bitors throughout the try have chosen lyn Monroe as the number 'Star of Tomorrow" i te 12th annual poll )ructed by Motion ic re Herald. Everybody loves that gal ! Wait till you see her in Technicolor in 'NIAGARA'!" ere's No Business Like c_£o), Century-Fox Business! REPORT FROM THE STUDIOS Hollytvootl Answering TV triih Higher Butigets Hollywood's record October production of 64 films, represent a total expenditure of slightly more than $38,000,000, according to a rough check of budgets, just completed by FILM BULLETIN'S Hollywood staff. This is an average of nearly $600,000 per picture. One well-informed authority on Hollywood production costs, who had previously estimated that the average cost-per-film this year would not exceed $400,000, in- terprets this cost upsurge as a trend toward bigger and better pictures. This, he now says, is the way Holly- wood believes it can combat the inroads which television has been making. Certainly, it is one important part of the answer to TV ; another important factor is imagi- nation. Among the more important productions now in front of the cameras are: Stanley Kramer's "The Juggler" ( Kirk Douglas-Milly Vitale), Warwick Productions "The Red Beret" (Alan Ladd-Leo Genn), Columbia's "L Song" (Jane Wyman-Ray Milland), Metro's "Drd Wife" (Cary Grant-Deborah Kerr) and "Young bJ (Jean Simmons-Stewart Granger-Deborah Kerr), Pi mount's "Little Boy Lost" (Bing Crosby) and "Foil Female" (Ginger Rogers-William Holden), Republ "Fair Wind to Java" (Fred MacMurray-Vera Ralstd 20th-Fox's "Call Me Madam" (Ethel Merman-Dod O'Connor), U-I's "Flame of Timberline" (Ann Sherid Sterling Hayden), Warner's "I Confess" (Montgon] Clift-Anne Baxter), and John Huston's "Moulin Rod (Jose Ferrer-Collette Marchand). Technicolor plays a very important role, also, in| current peak production. According to a spokesman' the Technicolor Corp., there are now 28 color pict shooting, 32 in preparation, 45 in release, and an ditional 45 in distribution backlogs. RKO's new owners will completely reverse the Howard Hughes policy of relying on outside production deals to make up the major portion of its releasing slate. Produc- tion is the order of the day for the com- pany's own studios, with only Samuel Gold- wyn Productions and Walt Disney scheduled to play an important part in the field of in- dependently produced product. RKO's pro- duction program will include a minimum of 26 high-budgeted films for the coming year, with still further expansion allowable if the situation warrants. Ralph Stolkin, the company's new presi- dent, is displaying the blazing enthusiasm of youth in realigning the company. Sources close to him tell FILM BULLETIN that he is planning some radical departures from the long established policies of selling motion pictures, and, toward that end, he is shop- ping around for bright, young merchandis- ing talent. One of Stolkin's first moves, after accept- ing the presidency of the company, was to dispatch Sherrill Corwin to Hollywood, to start screening studio personnel. Although few changes have as yet been made, it is understood that much of the old deadwood will be cleared out, to make room for a more progressive crew of young bloods. o o Don Hartman, Paramount's production chief, in a new move to cut down waste in picture-making, is instituting a new policy of closer editing of scripts, in order to elim- inate excess film footage. Hartman describes his new policy as "a scientific method of fit- tiny the story to the desired length of the picture." "We have determined that 90 minutes is the desired running time for most pictures," Hartman says, "and every effort will be made to avoid overshooting, through the proper writing and editing of scripts. We believe this will result not only in great savings to the company, but also in tighter scripts and better pictures." No doubt about it, we say. 0 0 On the heels of Allied Artists' announce- ment that it will employ bigger names and higher budgets in turning out future product, company toppers have also started expand- ing the outlay on publicity and advertising of AA's product. With four top pictures going into release this fall, additional field men are being taken on to ballyhoo the product. Although most of this field force will be hired on a temporary basis, some of them will eventually become a part of Allied Artists' permanent staff. The four top fall releases, believed to be the strongest boxoffice lineup in the com- pany's history, are: "Flat Top" (Sterling Hayden-Richard Carlson), "Torpedo Alley" (Mark Stevens-Dorothy Malone), "Battle Zone" (John Hodiak - Stephen McNally - Linda Christian), and Hiawatha" (Vincent Edwards-Yvette Dugay). 0 o Universal-International is currently sitting on its biggest backlog of pictures in more than three years, with 22 features either in the editing stage or awaiting release. Four- teen of the 22 are in Technicolor. In addi- tion, five more pictures are presently before the cameras — all but one of them in Techni- color. The completed color films include: "Horizons West," "Against All Flags," "The Raiders," "The Lawless Breed," "City Be- neath the Sea," "Meet Me at the Fair," "A Man's Country," "The Redhead from Wyo- ming," "Mississippi Gambler," "Seminole," "Desert Legion," "Column South," "Law and Order," and "Lone Hand." Black-and- white features are: "Back at the Front," "Ma and Pa Kettle Go to Paris," "It Gnr Trees," "Abbott and Costello Go to "Because of You," "The Black Castle," and Pa Kettle at Waikiki," and "Fr Covers the Big Town". 0 o After five yaers of preparation, n mention innumerable postponements, public will finally launch production on Alamo" late in November. The pic1 which stars John Wayne, will also mar debut as a director. Ward Bond has set for a top role, and Montgomery CV available, will take over the other le male character. Filming will be done in Texas or Panama. The budget is exp to approach the two-million-dollar mar 0 0 20th Century-Fox has changed the on three- of its up-coming releases, most startling switch is "Pick-up onl Street," as the new title for "Blaze of G (Richard Widmark-Jean Peters). TheJ two are: C. S. Forester's "Single Ha" now "Sailor of the King" (Jeffrey Hi! Michael Rennie), and "Gobi Outpost "Sixty Saddles for Gobi" (Richard mark). 0 0 For the first time since "Gone Wi Wind," MGM is investing capital in side production. The picture is "Main to Broadway," which is now being fil Cinema Productions, a new unit form some of the country's top exhibitors, film is being made in association wil Council of the Living Theater, and one of the most impressive casts tCf] any picture in recent years. Anion stars are Tallulah Bankhead, Marlon B Olivia de Havilland and Dana Andre mention but a few. Metro, naturall the release on the project, in return 50-50 budgeting of the $1,110,000 prod Paq* 10 FILM BULLETIN October 20, 1952 Paramount Continues Your Box- Office uild-Up With Its Power-Charged Story Of The Big Crackdown On Big-Time Crime ! i POWERFUL' - Hollywood Reporter r "Where'd I get the money. . . from fellers... where else?" The bold, arrogant mobsters. . .and their brazen women! The ^witnesses who wouldn't talk ... the ones who didn't dare! . . . Now you see the story of how they got away with anything until they killed a cop. That was "THE TURNING POINT" WILLIAM EDMOND ALEXIS HOLDEN O'BRIEN SMITH THE TURNING POINT Produced by IRVING ASHER • Directed by WILLIAM DIETERLE ^ Screenplay by WARREN DUFF • Based on a Story by Horace McCoy • A Paramount Picture jPH Hollywood's legion of independent pro- ducers, and even the major studios, have been forced to sit up and take note of an ambitious newcomer to the ranks of movie- makers, who, in one short year, has become the town's biggest volume producer of inde- pendent pictures. He is Jack Broder, a one- time successful exhibitor, and more recently the head of his own national distribution or- ganization— Realart Pictures. During his first year as an independent producer, Broder has turned out eight films, including "Basketball Fix," "Two-Dollar Bettor," "Bride of the Gorilla," "The Bush- wackers," "Bela Lugosi Meets a Brooklyn Gorilla," "Kid Monk Baroni," "Breakdown," and "Battles of Chief Pontiac." I >uring the next 12 months, Broder ex- pects to equal that output, and possibly even attain his eventual goal of ten personal pro- ductions per year. At the same time, he hopes to corral a half-dozen outside pictures. More and more, Broder expects to enter into profit-sharing deals with "name" stars and directors, in order to give the product added lustre without involving prohibitive cash outlays. Moreover, he will continue to invest his own money in outside productions for Realart release, but only in cases where well-established stars head up the casts. Broder tells FILM BULLETIN that no- thing definite has been worked out on the rumored merger of his company with Lip- pert Productions. "Ever since the sale of the Lippert exchanges," he said, "Mr. Lip- pert has been using some of Realart's field representatives. However, any discussions of a merger are temporarily at a standstill." Tlie success of the Realart distribution company led Broder to dispose of most of his theatres, and when the re-issues began to slow down at the boxoffice in the early 'SO's, he embarked on his current program of producing new pictures. Jack Broder lets no grass grow under his feet. JACK BRODER Paq« 12 FILM BULLETIN October 20, 1952 Heard in Hollywood By JAY ALLEN Merian C. Cooper has signed a five-year contract as general manager in charge of pro- duction for Cinerama, and tees off within the next 30 days on a four-picture slate — all to be filmed in Technicolor. To show what can be done with the new three-dimensional process, he'll run the gamut in the four films: a western, a musical, a Civil War epic and a King Kong type chiller . . . And doesn't L. B. Mayer's future lie in Cinerama? Else why is he trying to buy all of the stock? . . . Pathe Lab is in- vesting 600 G's in independent production. Most of the properties in which they're showing interest look like good bets for TV re-runs . . . Metro was only too happy to give Peter Law- ford and Ralph Meeker their requested releases, and may force the issue if a half-dozen others don't take the initiative . . . Wow! Sam Gold- wyn gets 90 per cent of the take on the first four weeks' showings of "Hans Christian Ander- sen," both in New York and Los Angeles . . . Tab Hunter drew a top role in Edward Small's "Johnny Ringo" for UA release. Richard Thorpe and Pandro Berman are a new permanent producer-director combo at Metro . . . Alex Nicol asked for and received his release from U-l, after two and a half years on the lot . . . Joe Manckiewici' four-picture pact at Metro will enrich him by an even million bucks . . . Six new two-reel shorts went before the RKO cameras last week to launch production under the studio's new regime . . . And Georgie Jessel is going to be calling his ma any day now to tell her he's RKO's top musical producer . . . Moe Kerman, Mutual Productions' prexy, is the new owner of Bob Lippert's N. Y. exchange . . . "Nuthin" But the Blues," U-I's first big musical A.D. (After Deanna), will roll in Janu- ary— Donald O'Connor starred . . . Wayne- Fellows Productions trek to Mexico City, October 29, to film interiors on "Plunder of the Sun" (Glenn Ford-Pat Medina) at the Chere- busco Studios . . . Maureen O'Hara backed out of "Prince of Bagdad" for U-l, with the starting date only three weeks away. They're saying that Jack Gross may be re- turning to RKO to head up a unit of young pro- ducers for his old pal Sherrill Corwin, the studio's new v. p. . . . Inde producer William J. O'Sullivan has been handed a Republic pro- ducer pact and draws "The Golden Tide" as his first assignment ... A record 36 writers are working at U-l . . . Ray Enright will direct "Cairo" (George Raft) for Lippert release. Bernie Luber produces . . . Howard Duff has been set to star in another Lippert release, "Space Ways," to be filmed in Europe . . . Ted Richmond is prepping a musical re-make of the old Barbara Stanwyck starrer, "The Lady Gambles", for U-l . . . Raoul Walsh will direct William Cagney's long-delayed "Lion in the Streets," with brother Jimmy starred, for Warner release. STAR BRIGHT ROSEMARY CLOONEY Judy Garland and Betty Hutton will h to move over to make room for another gr new singing star when the movie audien get their first glimpse of Rosemary Cloo in Paramount's "The Stars Are Singing.1 That's not one man's opinion, but the g eral consensus of everyone in Hollvw who's had a chance to see this new scr personality at work. She has It, Mr. E: bitor, with a great big capital "I". Some of the wiser heads around mc town are freely predicting that Rosen Clooney will generate the kind of hyste mob idolatry that has marked the eai careers of such singing stars as Bing C by, Frank Sinatra, and the Misses Garl and Hutton. Rosemary was born in Marysville, tucky, on May 23, 1928. At 13, she m with her family to Cincinnati, Ohio, w she and her sister, Bettie, got their sta show business. As a vocal team, the youngsters sang for many months on r station WLW. Bandleader Tony F> heard one of their shows and immedi signed them as featured vocalists with orchestra. Three years later, while she still in her teens, Rosemary decided branch out on her own, and moved to \ York City, where she landed a contracj cording for Columbia Records. Then 0 her one big hit, "Come On-A My Hot which launched her on the stratospr career that led to a Paramount contract. Exhibitors would be wise to pull on of the stops in selling this young lady. Hctlijucc4 tlotefock BLUE CHIP PRODUCTION **Th<> Jusz Singer" (Of the pictures in production t/ii.s month, FILM BULLETIN nominates Warner Brothers "The Jazz Singer'% starring Danny Thomas and Peggy Lee. as the one with the greatest boxofjice potential.) It was just twenty-six years ago that Warner Brothers made motion picture history by introducing sound to motion pictures. The vehicle was "The Jazz Singer." which, as every- one remembers, skyrocketed Al Jolson to new heights in his already soaring career. The current re-make of that popular classic, recently com- pleted on the Warner lot, promises to establish not one, but two bright new stars in the Hollywood heavens. For Danny Thomas, as with Jolson, it will be a case of securing a star's spot in the stellar constellation. But for Peggy Lee, it will he a bright new burst of glory. About a year ago, Danny swept into the movie limelight with a heart-warming role in the WB musical, "I'll See You in My Dreams". Playing the role of Gus Kahn, he made the famous song writer a deeply sympathetic character, played it with what is known as "shmaltz". With "The Jazz Singer", Danny Thomas should definitely "arrive". As for Peggy Lee, seldom has a new musical personalitv kicked up quite the fuss in Hollywood that this young lady has on the basis of a film's rushes. Like Rosemary Clooney, who is featured elsewhere in this issue of FILM BULLETIN, this Warner starlet has the movie town agog and, if the word is true, filmdom has another new star. The story of "The Jazz Singer", you will recall, centers around the inner conflict that tears a talented young Jewish singer, who must decide between his father's wish that he be- come a cantor and his own burning ambition to be an enter- tainer in the show world. Michael Curtiz is directing the picture for producer Louis F. Edelman. The father is played by Eduard Franz, the mother by Mildred Dunnock. FILM BULLETIN October 20. 1952 Page 13 .Short Subjects By BARN ANYONE WHO considers this industry old and worn-out should take a gander at the way applications for membership in the Motion Picture Pioneers are coming in. Only those industryites who have been in the industry 25 years or more are eligible for membership. As those who serve their 25 years in some phase of the movie in- dustry keep growing, applications for membership are coming in at a much more rapid pace than in any previous years since the Pioneers was founded, according to president Jack Cohn. The acceleration of 25-year veterans of movies is a credit to the Pioneers' growth and a significant com- mentary on the comparative youth of our industry. BEFORE YOU BUY your Christmas ** cards this year, take a look at the card put out by the Motion Picture Relief Fund for the exclusive use of people in the in- dustry. Entitled "Christmas at the Bijou", it is being offered for sale exclusively to exhibitors and personnel of the distributing companies. It shows, in full color, a typical American picture house elaborately deco- rated for the holidays. It was added to the series of Chistmras cards sold by the fund, including "Madonna and Child," "Little Old New York," "Closed Set" and "The Clown" — all by famed painters — in response to re- quests from exhibitors and other industry people outside of Hollywood. The exhibitor who places his order with the MP Relief Fund can rest assured that he will have a beautiful card, one he can be proud to send to all his friends and patrons. And, at the same time, he will know that the money spent for that card will help the sick, aged and needy industry members who are aided by the Fund. Sounds like an unbeatable parlay. P.S. The cards may be ordered from the Motion Picture Industry Fund, Inc., 335 North La Brea Avenue, Los Angeles, 36. ALLIED ARTISTS was so inspired by the recent sales meeting and its array of product that the Morey "Razz" Goldstein testimonial drive, originally scheduled for the month of November, has been extended nine weeks. It will now run through January 30. In the three sales-division set-up, with 10 branches in each, the leading branch manager in each division will get an auto- mobile (or equivalent in value), with hefty salary bonuses going to salesmen and bookers. A cool grand in special prizes will go for best sales performances of the Little Rascals shorts series. COMETHING NEW in movie-house pres- J sentations is being attempted by the Warner circuit. The London Opera Com- pany's stage presentation of Verdi's "Rigo- letto" was offered in nine Warner houses, beginning October 13, for one evening's performance in each spot on a reserved-seat basis. In addition to three key houses in the Philadelphia area, the opera was offered in Gettysburg, Chester, Reading, York, all in Columbia's Paul Lazarus, Jr., as he addressed the second session of the popular AMPA school in showmanship. Pennsylvania, and in New Jersey's Atlantic City and Camden. The production consists of a company of 85 and a symphony or- chestra of 25. It should be interesting to note the results of this unique experiment in leading, regularly operating movie houses. JENT TOPICS: The tireless Jack Beresin, Variety International Chief Barker, is on a whistle-stop tour to stimulate interest in the coming mid-winter meeting Nov. 21-23 in Pittsburgh. Last week, he was in Cincin- nati on Tuesday (14); St. Louis, Wednes- day; Chicago, Thursday and Detroit, Friday . . . All of the 11 founders of Variety will be on hand for the 25th Anniversary Banquet, Nov. 23, in Pittsburgh. Only the now-grown foundling, Catherine Variety Sheridan, who inspired the inception of the organization, won't show. Her whereabouts is kept a secret to this day by the two Variety mem- Outgoing and incoming presi dents of SMPTE arc (left) Peter Mole congratulating his successor, Herbert Barnett. Movies' first all-industry baby, Moviei U. S. A. celebrated its one-year birthday month. The proud 50-year-old parents, rv Production-Distribution and Papa Exhibi may have had some rough times with the in especially when the cooing and billing surrounded the new-born last year turner grunts and grumbles when the kid turned oi be quite the all-over genius that was expe by many of the relatives. Apparently, eac the latter felt that they should have more with the baby than any of the others, grumbled when they were barely able to gr look at the infant, while others held hir their arms and proudly showed him off. C< Milwaukee, for instance couldn't see cousin Dallas should have the smiling chi while Mil. barely got a good look at the dis ing procedure. But by and large, the infant did himselfM his parents proud. Despite the early colicM has grown into a healthy one-year-old. Fee a good idea to pick him up, pat him on it popo and hear him laugh. bers who are her guardians . . . The Ijfcj neapolis Star lauded that city's Tent ortti 18th birthday with an editorial, which n>W after commenting on the $1,500,000 ra:d by VC for charity and the building of ie Heart Hospital on the U. of Minneta campus, "A book would be needed to st) all of their other deeds. May the orgi- zation never cease to help the needy, n :r cease to provide congeniality for its M members." . . . Milwaukee's Tent 14 tuJI (Continued on PuevBm P<>qe 14 FILM BULLETIN October 20, 1952 BULLETIN Exploitation & Merchandising IJFJMJtnifV I The Okefenokee Swamp, sloshing through New York state, have the natives rubbing [heir eyes and doing double takes all the Lay from New York city to Buffalo and loints west. Spanish moss, alligators, Luakcs and assorted characters of the L'lorida marshes, displayed in gruesome Lealitv on a 40-foot, flat-bed truck, paved Bhe way for openings of 20th Century-Fox's LLure of the Wilderness" throughout the northeast area. Of course, the alligators Uere papier mache, the snakes didn't exactly lart, the moss had to be recolored every so Jiften. But the effect — voila! By the time } he striking display is dismantled, more than 138 communities will be visited during a 19- llay period of intensive hawking for the film. Star Celeste Holm picks the fabulous door \rize of a cruise to Argentina at 20th-Fo.x's "Way 1/ a Gaucho" premiere aboard the S.S. Argentina. Universal's promotion staff under David -ipton has inoculated another industry with he press book idea — Golden Guernsey, Inc., rade association of the Guernsey milk pro- ucers. Working together, the cooperating air have developed what appears to be one f the most far reaching national promotion ampaigns on a British picture in the set- |p for J. Arthur Rank's "Island Rescue". he plan will provide, in addition to special [romotional pieces for the 600 main branch Guernsey dealers in the U. S., some 25,000 lopies of a special eight-page, three-color Iress book which contains a complete cam- laign manual to help dealers tie in with Ixhibitors showing the picture. There will jlso be special ads in five milk industry rade journals. I * * * I Hat Holt's practice of the theory that ex- ploitation planned before a picture goes into Jroduction, and activated months before re- lease, is the best way to assure top box- office results, has been accorded "Pony Ex- press", Paramount release. Although the film is not due to be premiered until next April, Holt has already set up a presenta- tion to the (J. S. Postal Service of a memorial statue in bronze of a Pony Ex- press rider to be presented in the nation's capital on April 3rd. The plans include a "whistle-stop" train junket from Salt Lake City, where the statue is to be cast, to W ashington, carrying the statue, Utah dig- nitaries and stars of the picture. At each stop along the route, both Utah (where the location filming took place) and Hollywood will display their respective products — in the bag, as well as in the flesh. Appropriately enough, Xew England newspaper editors, state and municipal big- wigs and members of the General Society of Mayflower Descendants, will ride on "The One of several Goubaud de Paris windows in Xew York for tieup with "Merry Widow" at the Loew's State. Mayflower," Nov. 24, as a special feature of the five-day cermony celebrating the 332nd anniversary of the 1620 signing of the "Mayflower Compact," first American document of democratic principles. It's all part of the elaborate affair spotlighting M-G-M's "Plymouth Adventure", which has its premiere at the Old Colony Theatre in Plymouth. "The Mayflower", only craft of the name plying the Atlantic Ocean today, is on ferry service between Boston and Xantasket, Mass. Studio chief Dore Senary was on hand personally in Boston and Ply- mouth to lay the groundwork for the affair. The ceremonies will mark one of Metro's top efforts this year, with stars and execu- tives of both I.oew's and M-G-M partici- pating. EDITORIAL Spiitiny 00 ai When a film company toots its own horn, that's to be expected. But when a company extols the boxoffice prowess of pictures released by other distributors — brother, that's news! We had an example of that startling pro- cedure recently when Paramount, in a trade paper advertisement, proclaimed the imposing array of films that have been doing standout business in the past month or two. The ad mentioned Metro's "Quo adis," "Ivanhoe." Re- public's "The Quiet Man." United Artists' 'High Noon", Universal's "The World in His Arms", Columbia's "Affair in Trinidad," Warners' "Sudden Fear," as well as Paramount's "Great- est Show on Earth" and "Jumping Jacks". Paramount's motive was not to make news, although it did. It was to maintain and further the spirit of optimism, enthusiasm and hope for the future that these pictures have brought fo all segments of the industry. "Let's Keep Up the Boxoffice Momentum" was the theme of the ad — as it should be the theme of the in- dustry. In the words of Jerome Pickman, Paramount vice-president in charge of advertising, pub- licity and exploitation, it is his company's "hope that other companies will do likewise, and that our faith, optimism and enthusiasm will spill out beyond the limits of our own industry and let people know that their best entertainment is still on the motion picture screen." Mr. Pickman has something there. First and fo remost, the man who operates the theatre must be infused with faith in the goods he has to sell to his customers. With belief comes action; with action comes showmanship — and with showmanship comes boxoffice. David Brian walks under the Arch of Sabres at the Springfield. Mass.. premiere of Warners' "Springfield Rifle". Springfield, Mass., had its first full-scale Hollywood style world premiere with Warners' "Springfield Rifle". David Brian, who co-stars with Gary Cooper and Phyllis Tliaxter, made the cross-country trek for the klieg-lighted debut, along with Guinn "Big Boy" Williams and eyeful Phyllis Kirk to give the Xew Englanders a big batch of heart-throbs. The two-theatre premiere, re- (Continued on Page 16) FILM BULLETIN October 20, 1952 Page 15 Exploitation and Merchandising (Continued from Page 15) quiring two showings at each house to ac- comodate the crowds, was featured by a festive two-day program of special events, climaxed by a gala parade to the theatres. More of these will be an invahiahle boost to the movie industry's slock, as well as those of the stars who participate. It's sur- prising how many players come back from such jaunts, electrified by the never-known — or forgotten — thrill of audience adulation they experience in these personal appear- ances. * * * The Roxy's stunt for the premiere of "The Thief" was a showmanship coup on the giveaway theme that drew plenty of attention and talk. Amateur — and perhaps an occasional professional — safe-crackers were offered the opportunity of opening a Meilink Safe. They were given the first two numbers of the combination and if they suc- ceeded in cracking the safe, they were given A pet contest at the Colonial Theatre in Poughkeepsie, won by the boxer in lower right foreground, hypoed business at the house. a choice of one of a batch of envelopes in- side. Each listed a gift prize, with the selection ranging from television sets to cigarettes, from radios to perfume, from wristvvatches to tires. The list was a verit- able treasure box of gifts in virtually every category. And for good measure, the prizes included Meilink home safes for the would- be safe-crackers to practice on in their spare time at home. Many of the prizes were the result of UA's coast-to-coast tie- ups with the manufacturers, which had passed the 20-mark by October 10. * * * Always one of the most friendly (to the film industry) of the nation's newspapers, the Chicago Herald- American once more goes all-out to aid in the promotion of a movie. The Hearst publication last week ran a full-week serial and storv, with pic- ture layout, on Warners' "The Miracle of Our Lady of Fatima". Earlier the paper heralded the feature with teaser boxes in the news section and sent letters to 6000 members of the clergy and religious groups in the Chicago area advising them of the "Fatima" serial. With its million-circulation Sundays and more than half that daily, the Herald- American's promotion assures the film of a tremendous sendoff throughout the midwest area. The same promotion, it seems, should be suitable for newspaper co- ops in other territories. * * * The technique of advance screenings for key groups, so often touted but too rarely activated, is being applied with a vengeance by Universal-International. A two-w-eek series of special screenings at the U-I home office will encompass such groups as the General Federation of Women's Clubs; personnel of leading women's department stores in New York; beauty salons such as Elizabeth Arden, Helena Rubinstein and Peggy Sage; operators of the New York telephone company; stewardesses of do- mestic and foreign air lines; editorial staffs of NY newspapers, syndicates, magazines, fashion press and fashion executives. And, oh, yes, members of "The Woman Pays," 30-year-old club of career women. From this nucleus, a network publicity will spread out over the nation to plug "Because of You" to America's females in the two most effective publicity media yet devised — the lips and the pen of the female of the species. * * * Charlie Einf eld's 20th-Fox crew has turned out a honey of a press-book on "The Snows of Kilimanjaro". It's a jumbo-sized, 28-page packaging of showmanship material, including the Roxy campaign ads and a breakdown of the national magazine adver- tising and breaks, that should afford any type of theatre plenty of ammunition for a top-flight campaign. The ad mats run the gamut from teasers to more than thousand- line special displays. An important ad- junct is the wealth of point-of-playdate sug- gestions. Also available are a series of three- color door panels, an oversize rotogravure herald, auto bumpers banners, usher's badges and other specials to the usual line of accessories. * # * Some exhibitor is going to get $500 and five more will receive $100 apiece for the best jobs of retail cooperative tie-in adver- tising in connection with 20th-Fox's "Snows of Kilimanjaro". While the prizes are not exactly peanuts, the big news about this is that it is being offered not by a film com- pany, but by American Weekly, the nationally circulated Sunday supplement, which will extend its cooperation to exhibi- tor-, for tie-ins on a local basis. (Continued from Page 14) over $16,000 to the Marquette Unive School of Medicine for their Variety t Center . CINANCIAL: Monogram Pictures C took a half-million dollar dip in net the fiscal year ended June 28, 1952, deJ a gross that maintained the figure for ke year before. Earned surplus at the entf '52 period, however, made up the differed, increasing by approximately the s lie amount. The totals for each year: Net p jh for 1952, $589,000; for 1951, $1,061,000. G|a for '52, $9,223,000; for '51, $9,311,000. Eai surplus for '52, $546,000; for '51, $43 The company's net working capital $1,979,000, including cash of $522,000. AF MEN AND THINGS: It was a ti'l ^ celebration for Spyros P. Skouras as 20th-Fox clan gathered to honor the pany president at a special home ot luncheon: it was his 10th anniversary is president; it was an advance bow to Skojfl whose name was given to the key weeibfi the company's current Branch Manajrsl Testimonial drive; and it was bon vc^tei Spyros P. Skouras, 20th-Fox president, wl celebrated his 10th anniversary as head o/Mb company and is currently in the Far East. on the eve of his five-week trip to the W < East and Australia . . . Paramount be'd 1 chairman Adolph Zukor, nearing his I'M year of service to the industry, found n e than 100 leading exhibitors throughout e mid-west area on hand to pay him tribe i at the Bismarck Hotel in Chicago . . . M I- (Duke) Clark, former Paramount diviiin j manager, was named special represent^'* for COMPO, to cover the South and Wt 5 His chores will include the Movietime tc'S and the campaign for repeal of the Fedil admissions tax . . . UA veep Max You,:- stein and the missus planed to London * . a European tour that will take him to O- tinental capitals, including Paris and Ro:. In London, Youngstein supervised f« » preparations for Charles Chaplin's "Lif"f light," attended by Princess Margaret I other royalty, as well as the hoi polloi Page 16 FILM BULLETIN October 20, 1952 6XHIBITORS FORUfTI Opinions Culled from Organization Bulletins THOSE 70-30 DEALS Gulf States Allied When Metro projected their lavish QUO KDIS into the laps of the exhibitors, their onomical goals were base but conspicu- sly successful. The terms, very remun- Ltive for the distributor, were 70% leaving theatre owner the amazing balance of 'o out of which possibility of a profitable agement dropped into a completely un- ichable accomplishment. Today, as a result of the absence of ified opposition to Metro and their 70% les policy, exhibitors are now faced with Blew and infinitely greater dilemma. Other itributors marking time while Metro cried olf" and achieved their goal, have picked the bravado, and are screaming a volu- nous 70% for certain pictures about to be eased. As would be expected, Metro is arging off again with the same sales licy and this time the picture is IVAN- OE. 20th Century-Fox who did a cinemia ortion of Ernest Hemmingway's SNOWS F KILIMANJARO already denounced by veral of the top-drawer critics in a few riodicals, is 70% sales-policy conscious out SNOWS. Since competition between stributors is a war of no mean proportions, Burners is planning on sending out their IRACLE irade. OF FATIMA in this 70% This attack by distributors upon exhi- tion and its economy is avaricious and op- essive. It can be met and conquered only ' the same tactical measures. Theatre rners must unite in the strengthening use of survival and turn their ears stone- af to those unjust demands of distributors, e can all survive without the 70%-ers — \ one, two, three, or six pictures are vital I the theatre's operation — and once the dis- ibutors are convinced that such a feeling I unanimous in the army of exhibition, one I our major buying-problems will be al- viated. Stand firm! You cannot realize a profit on hy engagement for which you pay 70%. BITING THE HAND 1 Allied Caravan of la., Neb. & Mid-Central IBITING THE FEEDING HAND AND AKING 'EM LIKE IT: We recently re- lived a page taken from the Omaha World- erald containing the movie ads and a Iview of current pictures playing in that |ty. This is the first time we have seen hs paper for a number of years and know [tie about their policy of treatment of the lotion picture industry, but we hope this hge is not a sample of their customary [eatnient. They reviewed several pictures I a one column review and did their level fcst to avoid trying to influence anyone ''>m getting any kind of an impression from current movies other than that they were strictly in the comic book category. We don't know if this is common policy or not. We hope it isn't. But, we'd like to ask them just why in hell they want to bite the hand that feeds them? Just what have they served in knocking the product of one of their most dependable advertising accounts? Do they also write articles telling what a louzy lemon the 1951 Pordolct is? What a stinking job Tiedojoy does in comparison with real roap? What poor quality the shirts from Vanarrow are when you hold them up alongside Monty & Sawbucks? The newspapers don't bite those hands, but when it comes to matters aesthetic they too often take their critic's license so literally that they end up doing untold damage to one of their clients who bears them nothing but good will. It beats me! Just who is so superior that they can tell their fellow man that he will or will not like a certain pic- ture? We grant anyone the right to their opinion, but we doubt that newspapers arc performing any great public service in print- ing a review that does its best to convince the public that only a sub-moronic mind would want to take the time to watch the picture. We must have criticism to have advancement and improvement, but if there are so damn many newspaper people who know how to make movies so much better, then they're leaking away a lot of dough down the drain, because they could really roll in the jack if they'd get into a pro- ducers swivel chair in Hollywood. SHAMEFUL SITUATION Allied of Iowa-Nebraska Over in Friend, Nebraska, exhibitor "Wally" Johnson, one of our Directors, has closed his theatre. Reason — "Poor business caused in part by lack of selected, suitable product at prices in line with business, and decent playing time. No attempt by any local distributor representative to offer proposition whereby theatre could be kept open." For our money, there is hardly any theatre in these territories that cannot be kept open by a little consideration and co- operation by the distributors. And we say a-jain this Friend, Nebraska situation is a damn, dirtv shame! REVEALING BIDS ITO of Ohio We recently advised that United Artists would reveal to the losing bidders what the winning bid was in any situation where competitvie bidding takes place. 20th Century-Fox has announced that it will do the same under certain conditions. We quote from a letter from Al Lichtman, General Sales Manager, 20th Century-Fox, "No offer or bids will be opened until this date (14 days after invitation date); at th.it time all offers and bids will be opened and will be disclosed at the office of the distri- butor to which the offer was mailed. Then, ONLY on the date the offers are opened they shall be disclosed providing any affect- ed exhibitor or his accredited representative has requested in writing at the time of making the offer that such procedure be followed. We, therefore, suggest that when making a bid that the request for disclosure at the time of award be included. Thus, win or lose, you will know what the other bids were. While this offer is hedged with restric- tions, it is nevertheless a step in the right direction. NEW TACK FOR 16MM SUIT Allied Theatre Owners of Indiana Most exhibitors attack the government suit that would force the sale of old movies to TV on the basis of the unfairness to the motion picture industry. Rut one of our members makes an attack from a new angle — how the public will be adversely affected if the government is successful. He writes: "Why doesn't our industry get smart, quit howling with pain, and appeal directly to the American people pointing out the manner in which Television network mo- nopolies have conspired with the politicians in P.ig Government to keep FRESH, NEW entertainment OFF TV screens!" "By forcing the sale of OLD movies of the 16mm. 'free show' variety to TV, the set owners face the inevitable prospect of sitting at home night after night and view- ing entertainment they already have seen at movie theatres. Not only that, but the re- ception will be poor and the TV screen too small to capture vividly all the action. "The public has cried long and loud about the ancient films now being shown over TV. If Big Government and their co-conspira- tors, the TV network moguls, win this suit, TV set owners might as well face the pros- pect of fewer and fewer LIVE shows, NEW faces and FRESH entertainment. In place of NEW, LIVE shows the}' will see hour and hour upon end of OLD movies interrupted every 15 minutes with a hopped- up huckster selling beer, wine and ciga- rettes. "Why doesn't Big Government outlaw OLD, SECOND RUN movies on TV and force the TV network monopolies to give the American people more LIVE, NEW programs? Why can't the TV moguls dig down in their bulging pockets, fat with Big Advertisers coin, and produce their own shows with their own talent and with their own money?" FILM BULLETIN October 20, 1952 Page 17 EXPLOITATION PICTURE SO SOAP OPERA ISN'T B.O.^ Tradition Backs 'Because of You' WELL-ROUNDED ENTERTAINMENT As a magician's aide, Loretta Young displays pertinent assets. THE SO-CALLED "soap opera" has en- dured for so many years that it has now hecome a piece of Americana, firmly es- conced in the hearts of the nation's woman- hood. Why has it maintained its popularity despite continual sniping, ridicule, and all the other adversities it has encountered in its weepy course? Perhaps the answer is "misery loves company". Perhaps it is largely due to the identification that the handkerchief hrigade — and their escorts — assume with the troubled players, and cry off their woes in the movie house. Or maybe it's that people like to see some- one more miserable than they are so that their own troubles will seem lighter. A psychologist might give yo answer, but the boxoflice has given controvertible reply to the cynics sneer at such offerings. Look back "Stella Dallas," "Imitation of Life," "Back Street," "Mildred Pierce" and the count- less others that have left their lachrymal — and lucrative — mark on the screens over the years. Many, perhaps most, were panned unmercifully by the big-city critics, and then tossed the pans down the scribes' throats with the huge public response at the boxoflice. And what's more, some were re-released years after they reaped the shekels and did the same — sometimes better — in their reissue. That, sir, should be the foremost factor in your selling of LJniversal-International's "Because of You." Here is a tale of "fast" girl who innocently becomes i volved in a crime, serves a jail term, anj after a happy marriage, finds her pa| catching up with her. It has the sure-fi elements of drama, mother-love, sympatli for the harassed girl trying to regenera herself, the "is it a sin?" angle — all of tl choke-up elements that made the earli pictures so popular. For the star, produc Albert J. Cohen named Academy Awai winner Loretta ^ oung, with a sterlir supporting cast including Jeff Chandle Alex Nicol and Frances Dee. The campaign, of course, will be anglt at the women. The press book has mar worthy suggestions for doing this: Matin* promotions, tie-ups with women's shop and other outlets that cater to the femai trade. And. with the full-blooded romant angle, there are naturals with jewelers f( engagement - wedding ring promotion florists, parfumeries, etc. All of these are valuable aids to the b angle. Make your audiences remembt those other great "women's pictures" ar there is little doubt that they will flock f more of the same. NEWSPAPER ADS Below, some of the striking newspaper displ ads designed to lure the feminine audience. i JEFF ~- THEATRE ,. 1934 IMITATION OF LIFE 1937 STELLA DALLAS EXPLOITATION PICTURE 1941 BACK STREET of the issue Among I In- soup-opera classics of past years, at left: (from top) Claudette Col- bert and screen daughter Rochelle Hudson in ''Imita- tion of Life" ; Barbara Stan- wyck and John Boles in "Stella Dallas"-; Charles Boyer and Margaret Sulti- run in ''Buck Street": Joan Crawford in "Mildred Pierce". Belou. Loretta Young, in the brassy blonde role she finds to be her nemesis in her later attempt to find happiness as a uife and mother. Her dancing partner is Alex Nicol. BECAUSE DF YDU Down through the years have come a series of jis that inevitably have some things in mmon : the Wronged Woman : the Guy \^ ho Lne Her Wrong; the Good Man she truly loves; Child she leaves to save her from the dis- hce of the mother's past; the final recognition the regenerated Mother. One other factor aracterizes this pattern — it brings people into p theatres. "Because of You" is in the tradition at made the type of films noted above a Ionian's picture" — and boxoflice. Beginning with Loretta \oung as a brassy fyden, unwittingly tied up with a dope peddler, e\ Nicol, the film shunts them both into jail ght at the outset. Subdued by her experience, pss \ oung makes the most of her educational tportunities in prison, then goes out to study irsing. In a veterans" hospital, she meets and prries Jeff Chandler. Their idyllic home life, tw replete with a three-year-old child, is dis- rbed when Nicol turns up, reveals the past and the split-up. Loretta loses custody of her child, he takes a job with a magician, and. years Ler, meets her daughter, now a strange and pbittered child. She ingratiates herself with e girl while Chandler is away and remodels e youngster's outlook into a happy one. The ther s return, his initial anger w ith the situa- »n and the ultimate realization that both father d daughter love and need Loretta. rounds out |e tale w ith tears, laughs and a happy ending. Formula? Yes, b.o. formula. 1945 MILDRED PIERCE 1952 BECAUSE OF YOU RALPH STOLKIN (Continued from Page 5) to tide it over in the domestic market for about nine months, and in foreign markets for about "a couple of years," but no early decision was likely on the thorny question of whether any of RKO's "oldies" would be released to TV. Grant, explaining how the new board came to be elected, said that at the decisive meeting all RKO's existing di- rectors were asked to retire one by one, the vacancies being filled as they fell due. "We ilidn't need to have all the seats on the board filled by our nominees," he said. "Five seats would have been sufficient for our purposes. But now that we have the thing completely under our control, we are free to move in whatever direction we choose. I mean, we will be able to appoint one of two indepen- dent directors before the next stockholders' meeting. We think it is a good thing in business to have some independents on the board." Ned DepineVs Future There was no other very big single stock- holding in the company, Grant said, except that controlled by David Greene, Wall-street figure who leads the group of dissidents who were so long a thorn in Howard Hughes' side. "We've seen Greene," added Grant, "and we're very glad to know he's decided to throw in with us." What about Ned E. Depinet, whose re- moval from the Presidency of RKO came as the biggest shock of all? "Ned will have an office in the building," Ralph Stolkin ex- plained, "and will act as consultant and ad- viser. I personally have very great respect for him. I admire both his ability and his integrity. We plan to keep him much busier than he knows. Ned has told us he's quite happy with the new arrangement." Perhaps, however, Stolkin's character and business methods were best revealed when I asked him how it came about that Howard Hughes had sold his controlling interest in RKO to his group rather than to other in- terests which had offered at least as good terms. "What's Half a Million More or Less?" "The whole secret was that I dealt with Howard through people whom he knew and trusted," Ralph Stolkin said. "I didn't meet him for months. Our discussions took place, almost until the very last, over th>e telephone through intermediaries. Howard is mis- trustful of people in general. He has a par- ticularly meticulous mind. He'd i found in his negotiations with other groups that when the basis of a deal had been reached, they'd start to haggle over some minor detail. He detested that sort of thing. So we didn't haggle over anything. We didn't go through the balance-sheet item by item, evaluating this and estimating that. On a deal of this magnitude, half a million dollars .here or there isn't necessarily vital." Hughes, he pointed out, was still very much in the picture business as a stock- holder of RKO theatres. "And he's free to make pictures whenever he wants to. I hope, if he does want to, he'll make them with us and let us distribute them." He'd spent several hours with Samuel Goldwyn, he added, and hoped RKO would continue to handle both Goldwyn and Disney produc- tions, though there had been no renewal yet of the distribution contract with Roy Dis- ney, which terminates with the forthcoming "Peter Pan." Altogether, the impression Stolkin and his associates gave on first acquaintance, was of a group of young men in a hurry. They seamed to be little interested in motion pictures except as an avenue of economic progress and financial gain, and still less in- him. Wm FILM BULLETIN'S Leonard Coulter inter- viewing Gordon Youngman, new member of RKO board of directors, at press conference. terested in tradition. They were obviously not industry do-gooders, as such. They seemed yet uncertain of the path they would ultimately tread in lifting the RKO com- pany out of the red. They were sure of only one thing: the motion picture industry had begun to pull out of its deep depression, and this was the time for alert minds to move in. The Lightning Strikes Since then they have shown something of their thrustful business methods. They have unloosed a flash of lightning by discarding some of RKO's top executives. They have also begun to realize that they need to de- velop more than a little industry goodwill if their investment is to pay off. And yet they have no time to dally on the way. Behind them stands the figure of Howard Hughes, who is by no means out of the RKO picture yet — and won't be until Stol- kin and his comrades have paid off, or re- financed, the nearly $8,000,000 revolving credit granted them by Hughes at the time they assumed control of RKO's manage- ment. The new board's first move, after replac- ing the entire board with Stolkin men, was to hire an executive vice-president. They chose Arnold Picker, who has been in charge of United Artists foreign operations. UA released Picker from his contract, and his participating interest, issuing a stater which oozed friendship from every cor Picker's choice as executive vice-presic was followed swiftly by the dismissal! Bob Mochrie, general manager, Don Prij publicity chief, the recall of Phil Reisr head of the foreign department, and ot| changes. The Stolkin group, however, smart enough to make some of the repl;| ments from within the organization, insti of going to other companies. Charles B.| berg, who has been with the company sj 1937, was appointed general mana Walter Branson, Western division s| manager since 1941, was named as Bd berg's assistant. Bill Zimmerman, long RKO's legal department, became its hi Dick Condon, a former Disney publi | director, was brought in by Picker to over advertising, publicity and exploitat With these changes came a softening tread. The board announced them ii statement which "regretted that a thorc consideration of the company's affairs | quires the elimination of persons who 11 served the company faithfully. It i| source of satisfaction, however, that Board has been able to promote many ployees from within the ranks ..." was a smart thing to do, for with announcement a great wave of relief s\ through the RKO offices. Exhibitors, Warning There was a slight retreat to s ground, too, on the television issue members' bulletin, Allied Theatre Ow of Indiana had noted: "Mr. Stolkin m pick up a few fast bucks by selling his pictures to free TV, but he will find action will ruin his company's good exhi relationship ..." Arnold Grant, R chairman, commented, "If 'Snow W and 'King Kong' can go out and do heavy repeat trade in the theatres, wou we be foolish to unload to TV? . new sales force under Charlie Boasberg Walter Branson is keyed to exhibitor g will and strong theatre relations." That there is a great deal more new flow from the RKO building in the co month is obvious. The reorganization only begun. The studio position also haj be cleared up, and new product found needs a weekly billing of at least a mi dollars before it is out of trouble — and getting nothing like that. Undoubtedly s| of the present directors will be unloade The operation of a movie studio is not that requires business acumen alone successful industrialist like Mr. Hughes learned. It takes talent and a keen fed for what the public wants in the wai entertainment. M oney, by itself, cannot (luce this. However, Mr. Stolkin might very wel a man of talent and he might be a showr too. The intuitive shrewdness that brought him so far financially in so years could quality him to hoist RKO of the slough into which it slipped, duction-wise, during the Hughes reg While theatremen will be watching w; certainly they will be rooting for the yc Mr. Stolkin to deliver the goods. of Page 20 FILM BULLETIN October 20. 195;'. RODUCTIOn «R€L€flS€ R6CORD II COLUMBIA |il-52 Features Serials Completed (67) Completed ( 3) In Production (2) In Production (0) RELEASE CHART — 1951-52 — Cast Douglas-Vitale Ladd- Andrews I PRODUCTION TITLE — Running Time J jier The ft Beret, The (T) CMPLETEO Bir in Trinidad 198) Hayworth-Ford » Ashore IT) Rooney-Lawrence >,ush at Tomahawk Gap IT) Derek-Hodiak Ache Country 142) Autry-Buttram ... Rel. No. Re. 9-S2 7-28 5-52 iliqnment — Paris 185) -Andrews-Toren 10-52 I ed Wire 16 1) Autry-Buttram 7-52 I e Warrior IT) 173) Jon Hall 4-52 land, The (T) (94) Dexter-Lawrence 7-52 Cfornia Conquest IT) 179) Wilde-Wright 7-52 Ctain Pirate IT) 185) _ Louis Hayward 8-52 Cided Yellow, The 189) Simmons-Howard 8-52 C90 Bill -. McGuire-Moore . C'ple Creek IT) 178) Montgomery-Booth 7-52 D'h Of A Salesman HID March-Dunnock 2-52 0/ Doien, The - Colleano-Frani _ f lighters, Th e Williams-Reynolds '§>■ Time, The 189) Cummings-Hale 2-52 5 0 Fingers of Dr. T., The Hayes-Healy F Poster, The Harrison-Palmer _ Mien Hawk IT) 183) -Fleming-Hayden hqman's Knot IT) F py Time, The (94) __ Boyer-Driscoll f*>k of Wild River, The 154) Starrett-Burnett 2-52 F- Wonderful Lie ._ Kiepura-Eggerth Iran Uprising ISC) 175) ... J< McCall, Desperado IT) JJ:tion City (54) 4 )le Safari K From Amarilla (54) 8-25 5-19 4-?0 431 7-28 10-8 423 424 6-30 12-31 2-1 I _ 10-52 Scott-Jarman 1 1-52 4-30 1-52 Montgomery- Long Montgomery- Stevens Starrett-Burnette 7-52 Weissmuller-Greene Starrett-Barnett 4-52 K From Broken Gun (54) Starrett-Burnette 8-52 Kja, The Wild Stallion 165) Reissue Stone-Hudson 2-52 417 486 Limie Mountains 154) L of the Comanches (T) I Train From Bombay (72) .. Brying Kind, The 1931 knber of the Wedding, The Mana Territory IT) (64) ....... Pifinder. The IT) Pi 180) Starrett-Burnett _ . 4-52 Crawford-Hale 8-52 Halll-Ferraday 8-52 Holliday-Harrison 4-52 Waters-Harris -McAllister-Hendrix 6-52 .. Montgomery-Carter Young-Smith 6-52 Derek-Rush F. Langford-T. Romano 12-51 425 8-1 5-5 6-30 Pee of Pirates IT) •Pile Heart Diary 173) ft bow Round My Shoulder IT) 178) Laine-Daniels 9-52 I Snow 175) _Madison-Mala 7-52 Nirs of the Whistling Pines ... Autry-White rftgh, Tough West (54) Starrett-Burnette Sime — Dance of the Seven Veils IT) Hayworth-Granger Pier, The (87) Menjou-Franz 5-19 421 •S m Over Tibet 187) (Snd Off (SO (83) .... I Tall Men IT) (97) Tget — Hong Kong Reagon-Douglas Mickey Rooney Lane aster- Lawrence Den ning- Loo . 6-52 Z 5-52 ... 7-52 __ 5-52 12-51 487 434 428 413 I f of Damascus, The IT) (78) Henreid-Sutton . 4-52 427 . Wean, The IT) 142) Ndoo Tiger 167) Ngon Team 161) Documentary Special Weissmuller-Burckhart 11-52 ...Autry-Buttram East on Beacon 198) Murphy-Gilmore r Cry IC) Montgomery-Long ik in Indo-China. A (67) ... Archer-Dick i Canadian Rockies (58) ... Autry-Buttram .. inge Fascination (80) Moore-Haas 9-52 6-52 5-52 11-52 426 435 5-5 10-6 LIPPERT '51-52 Completed (38) In Production (2) RELEASE CHART — 1951-52 — I PRODUCTION I Blonde Teian, The TITLE — Running Time MPLETED • stain Kidd (Reissue) ... I Men Only 193) . . '■nbler and the Lady !at White Hunter (Reissue) Ugate 187) — I Get You Wnny the Giant Killer IT) Wgle, The 174) In Shark 179) - *J Walkie-Talkie J law Women IC) (75) ._ _ lite Submarine 169) Jtland Yard Inspector ... Jret People Jen Face, The (71) Smghold 173) 'Tiba, the Tiger-Man 163) ' ey of the Eagles 183) ' gs of Danger 172) ...Payton-Wright ...Bridges-Cobb Cast ...Scott-Laughton P. Henreid Dane Clark Peck-Preston Hayden-Leslie George Raft Animation Feature Cameron-Romero Raft-Hart Tracy-Sawyer ..Windsor-Rober Rel. -9 5207 No. Rev. Special Cast Romero-Maxwell Cortesa-A. Hepburn Henreid-Scott ..... Lake-Scott ...Special Cast Warner-Gray . Z. Scott _ I 1-14 1-52 5102 12-12 5204 11- 14 9-5 5113 12- 26 5206 11-21 5205 7-4 5-23 I 1-7 _. 6-2 7-18 1-28 9-2 8-25 4-14 2-52 10-3 4-25 4-1 5112 511 I 5203 5105 5110 5202 5116 5109 5107 . 5201 5114 5106 In the Release Chart, "Rel.' is the National Relea. Daie. "No." is the release Number. "Rev." is the issue in which the Review appeared. There may be variations in the running i -e in States where there is censorship. All new productions are on 1951-52 programs unless otherwise noted. Listing of coloi pictures follows immediately after title: (T) Technicolor, (CI Cinecolor, (SO Supercinecolor, (TR) Trucolor, (AC) Ans- color, (NO Natural Color, (WC) WarnerColor. METRO-GOLDWYN- MAYER 1951-52 Features Completed (102) In Production (7) IN PRODUCTION TITLE — Running Time Band Wagon, The Dangerous When Wet Julius Caesar Invitation to the Dance (T) _ Remains to Be Seen Young Bess IT) RELEASE CHART — 1951-52 — Cast Rel. No. Rev. Brando-Mason Kelly-Youskevitch Taylor-Parker Roland-Horton Lanza-Whitmore Astaire-Vera-ElUn Stewart-Hagen Meeker-Forrest Dream Wife Grant-Kerr Clown, The Skelton-Greer COMPLETED Above and Beyond 1123) Apache War Smoke 167) Battle Circus Because You re Mine IT) (103) Belle of New York IT) 181) - Carbine Williams 1 101 ) Code 2 - Connie — Cry of the Hunted Desperate Search, The Devil Makes Three. The 196) Everything I Have Is Yours IT) 192) Fearless Fagan 179) Girl In White, The 193) Glory Alley 179) Girl Who Had Everything, The Holiday for Sinners (79) Hour of Thirteen, The (79) I Love Melvin IT) Ivanhoe IT) 1106) - Jeopardy Lili IT) 10-52 10-52 3-S2 S-52 223 231 10-6 9-8 2-2b 4-21 Gassman-Sullivan Keel-Drake Kelly-Angeli 9-52 Champion-O'Keefe 10-52 Leigh-Carpenter 8-52 Allyson-Kennedy 5-52 Caron-Meeker . _ 6-52 Taylor-Lamas Young-Rule 7-52 I 1-52 241 232 234 239 8-25 7-14 4?30 8-52 Love Is Better Than Ever 181) Lovely To Look At IT) 1112) M«rry Widow, The IT) (105) My Man and I 199) Million Dollar Mermaid IT) My Mother and Mr. McChesneylT) Naked Spur, The IT) Never Let Me Go - Pat and Mike 193) Plymouth Adventure IT) (105) Prisoner of Zenda (T) (101) Quo Vadis IT) (171) Rogue's March Scaramouche IT) 1115) .... See How They Run Singin' In The Rain IT) (103) Skirts Ahoy IT) 1109) Sky Full of Moon 175) Small Town Girl (T) Sombrero — Steak for Connie Story of Three Loves (T) Talk About a Stranger 145) Time Bomb 177) Tribute To A Bad Man Vaquero lAns) Vicki Wahington Story 182) When in Rome 178) _ You For Me 170) Youno Man With Ideas 184) Lawford-Addams O Connor- Reynolds .R. Taylor-E. Taylor . Stanwyck-Sullivan Caron-Ferrer E. TaylDr-L. Parks 4-52 Grayson-Skelton — 7-52 Turner-Lamas 9-52 Winters-Montalban ... 9-52 Williams-Mature 12-52 Garson Pidgeon Stewart-Ryan Gable-Tierney Tracy-Hepburn 6-52 Tracy-Tierney 1 1-52 Granger-Kerr . . I 1-52 Taylor-Kerr S. Grainger-E. Parker 6-52 S. Grainger-E. Parker 6752 Dandridge-Horton Kelly-O Connor 4-52 William-Blaine 5-52 Carpenter-Sterling .12—52 ..J. Powell-Grainger 6-30 225 237 235 6-16 236 236 I 1-19 6-30 227 233 4-21 Johnson-Leigh All-Star Cast Murphy-Davis Ford-Vernon Turner-Dougles Montalban 4-52 228 3-10 Johnson-Neal Johnson-Douglas Lawford-Greer Ford-Roman 7- 52 4- 52 8- 52 5- 52 229 240 230 7-14 3—10 8-11 3-10 MONOGRAM - ALLIED ARTISTS 1951-52 Features Westerns Completed (51) Completed (18) In Production (2) In Production (0) RELEASE CHART — 1951-52 — IN PRODUCTION Son of Belle Starr Larsen-Castle Tangier Incident - Brent-Aldon Jungle Girl -.Sheffield-Sharpe TITLE — Running Time Cast COMPLETED African Treasure Arctic Flight Army Bound Battle Zone ... Rei. Canyon Ambush Dead Man's Trail Desert Pursuit Disc Jockey (77) Elephant Stampede (71) Fargo Flat Top IC) Feudin' Fools Gold Fever Gunman. The — — Here Comes the Marines .. Hiawatha IC) Highwayman, The IC) 183) Jungle Girl _ — Sheffield-Luei Morris-Albright Clements Hodiak-Christian Brown-Cofltes Brown-Ellison Morris-Caruso _ Simms-O1 Shea Sheffield .-..Elliot _ Hayden-Carlson Gorcey-Hall _ Morgan-Calvert ..Wilson-Knight Gorcey-Hall Edwards-Dugay Hendrix-Coburn Sheffield-Sharpe 4_52 7- 20 .10-52 9 52 . 10-12 ... 7-6 . 5-52 8- 23 10-29 9- 52 I 1-52 9-14 4-8 4-13 6-1": . 12-7 9-8 No. 5207 .5210.. ... 5216 ... _ 22. _5244.. 5243 . . 5209 ... 21 5 1 1 0_ 5224.. Rev. 6-18 5201 .5213 ... 5.'20 5252 -5212 _5202 20 8-27 FILM BULLETIN October 20, 1952 Page 21 Kansas Pacific (C) Kansas Territory 173) Lawless Cowboys 158) Man from Black Hills '78) Mexican Silver Montana Incident Night Raiders Northwest Territory 161) Rodeo ICI 171) ...Hayden-Miller 13-52 M. Elliott-Stewart S-4 S22S Wilson-Knight 1 1-7 . .. 5 1 55 . ... Brown-Ellison _. 3-52 5242 . ..... Wilson-Clyde Wilson-Stewart 8-17 5253 5251 . 5104. 5204 ... 52 IS 5214 . vVilson-Knight 2-52 Grant-Chinook 12-9 Jane Nigh 3-t Rose Bowl Story, The (C) Thompson-Miles _ 8-24 Sea Tiger 7-52 No Holds Barred _ Bowery Boys 12-52 Texas City Brown-Elliscn 12-30 Timberwolf Curwood 12-28 5222 Torpedo Alley Stevens- Ma lone M-52 - 23 Trail Dust Albright-Winters 12-31 5107 Vicious Years, The 179) Cook-Moore 2-18 Waco (48) Elliott 2-52 Wagons West (C) (701 Cameron 6-29 Wild-Stallion id .. Johnson-Hyer 4-27 Wyoming Roundup Wilson-Coates II-? Squared Circle, The Kirkwood-Gleason Yukon Gold Grant-Hyer 8-52 5224 5203 5205 5254 5221 •-30 PARAMOUNT 1951-52 Features Completed (73) In Production (4) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. No. Rev. Houdini IT) ........... Curtis-Leigh Jamaica (Tl Milland-Dahl Little Boy Lost .. Crosby-Dauphin . Roman Holiday . Peck-Hepburn COMPLETED Aaron Slick from Punkin Creek IT) (951 Shore-Young Anything Can Happen 1107) Ferrer-Hunter Atomic City, The 185) Barry-Clarke Blazing Forest IT) (91) Payne-Moorhead Botany Bay IT| Ladd-Mason Caribbean (T) (95) Payne-Dahl Carrie (118) Olivier-Jones Come Back Little Sheba Lancaster-Booth Denver & Rio Grande (Tl (8?) O'Brien-Hayden . Detective Story (103) Douglas-Parker .... Encore 190) Maugham Stories Greatest Show On Earth (T) (151) Stewart-Hutton Green Gold of Nevada (T| Payne-Morrow Hurricane Smith (T| DeCarl-vlreland . Jumping Jacks (981 .... Martin-Lew.s Just For You (T) (1041 Crosby-Wyman _ Barry-Carke Los Alamos Military Policeman Hope-Maxwell My Son John (122) _ Hayes-Heflin Pleasure island (T) Genn Taylor Pony Express (T) _ Heston-Flemming „ Raqe of , Ladd-Arthur Somebody Loves Me (Tl (97) _. Hutton-Meeker Something To Live For 190) Fontaine Milland Son of Paleface (Tl Hope-Russell |!aldQ'7 r. . Holden-Taylor Stars Are Singing, The IT) Alberghetti-Clooney Stooae, The Martin-! owls Turning Joint, The (85 ( Holden-Smith 4-52 5119 3-10 i-52 5117 3-10 4-52 5120 12-52 9-52 5202 8-52 5123 6-16 4-52 5115 11.4-7 11-51 5111 10-8 7-52 5122 7-52 5129 1-14 10-52 .5204 .... 7-52 5121 76-16 9-52 5201 8-11 4-52 5116 4-21 5-52 12-52 I 1-52 5113 5206 10-52 3-52 8-52 5203 5I0S 5124 10-6 9-8 2-1 1 7-14 Tropic Zone (T) War of the Worlds (T) Reagan-Fleming Barry-Robinson 11-52 10-52 5205 10-6 IN PRODUCTION TITLE — Running Time COMPLETED Battles of Chief Pontiac (75) RELEASE CHART — 1951-52 — Cast Rel. No. Rev. Barker-Wescott 11-52 Bela Lugosi Meets a Brooklyn Gorilla (74) Breakdown 176) Cairo Road 185) Cuban Pete 141) (Reissue) Fame & the Devil (80) Geisha Girl (47) Hall of Death 182) House of Darkness (431 Inside Job (45) (Reissuej Curtis-Rutherford Kid Monk Baroni 180) Cabot-Knox Lucy Goes Wild (90) (Reissue) . Ball-Brent Maytime in Mayfair (T) (74) Wilding-Nagle Mug Town (40) (Reissuel Dead End Kids My Death is a Mockery (67) D. Huston-Byron Summer Storm (92) (Reissue) Darnell-Sanders Luskosi-Mitchell Richards-Bishop Harvey- Portman Arnez-Smith Auer-Buford Hyer-Andrews Harvey-Shaw Harvey-Shaw REPUBLIC 1951-52 Features Completed (21) Serials Completed ( 0) Westerns Completed (13) RELEASE CHART — 1951-52 — Cast MacMurray-Ralston Allen-Hall 10-52 9-52 10- 52 1 1- 52 11- 52 8- 52 9- 52 10- 52 12- 52 8-52 11- 52 8- 52 12- 52 12-52 9- 52 In Production (0) In Production (0) In Production ( I ) IN PRODUCTION TITLE — Running Time Fair Wind to Java (Tr) Overland Trail Riders COMPLETED Bal Tabarin (90) Ri^ck Hills Ambush Border Saddlemates .. Rel. No. Rev. Lawrence-Ching 6-1 5129 Lane-Waller Allen-Kay 4-15 5143 -Desperatoes Outpost (54) ra buious Senonta, Tile (80! Fair Wind To Java Flight from Fury Gobs and Gals _ Hoodlum Empire (98) I Dream of Jeanie ITr) (90) Lady Wants Mink, The ITr) La.- Musketeer, Ihe (67) Leadville Gunslinger (54) Oklahoma Annie Id (90) Oid Oklahoma Plains (60) Ouiet Man, The IT) (129) Rangers oi the Golden Sage Ride the Man Down ITr) South Pacific Trail _ Sun Shines Bright _ Sweetheart Time (Tr) Then You'll Remember Me ..... Thunderbirds - Thundering Caravans (54) Tropical Heat Wave Toughest Man in Arizona (Tr) WAC From Walla Walla Wild Horse Ambush Woman of the North Country (90) Wyoming Saddle Pals Allen ..Esfelita-Clarke MacMurray-Ralston Edwards-Clark Downs-Hutton Donlevy-Trevor .... Middleton-Shirley . Hussey-O'Keefe Allen-Kay Lane-Riley Canova-Russell Allen-Kay Wayne-O'Hara Chapin-Janssen . Donlevy-Tucker __ Allen-Estelita Winninger-Whelan . Middleton-Cristy .... ..Middleton-Shirley Derek-Barrymore .... Lane-Waller Estelita-Hutton Monroe-Leslie Canova-Dunne . Chapin-Jansen Cameron-Hussey . Chapin-Janssen 10-8 4-1 5174 5125 6-18 b-52 5128 4-15 5105 6-15 5106 3-52 3-52 3-24 7-25 5147 bl7l . S I 22 5144 5108 10-20 7-20 1 0-1 5173 10-10 4-15 5069. 9-5 5107 IN PRODUCTION TITLE — Running Time COMPLETED Allegheny Uprising (81) (Re-issue) Annie Oakley |9I) (Re-issue) At Sword's Point (T) (81) Androcles and The Lion Beautiful But Dangerous Beware, My Lovely (77) Big Sky, The (140) Blackbeard the Pirate (T) Body Snatcher (Re-issue) Break-Up Captive Woman _ Clash By Night 1105) Desert Passage (60) Difference, The Faithful City 186) Half-Breed, The (T) (81) Hands Across the Sea Hans Christian Andersen (T) I Walked With a Zombie (Re-issue) Jet Pilot IT) 1118) King Kong (Re-issue) Leopard Man, The IRe-issue) Look Who's Laughing (791 Lusty Men, The 1113) Macao 181) Man Who Fooled Hitler Murder, The Narrow Margin (71) Never Wave At A Wac One Minute to Zero (105) Pace That Thrills, The (63) Rancho Notorious IT) (89) Rashomon 186) — Road Agent 160) Somethinq for the Birds Story of Robin Hood (T) (84) Sudden Fear (110) Target (40) — 1951-52 - Cast Rel. No. Tarzan's Savaqe Fury (80) Too Many Girls (85) Under the Red Sea (47) Whispering Smith vs. Scotland Yd. (77) Wild Heart. The (T) (82) Trevor-Wayne Stanwyck-Foster Wilde-O'Hara ...... Simmons-Young ... Simmons-Mitchum Lupino-Ryan Douglas-Martin Darnell-Newton ... Karloff Simmons-Mature Clarke-Field Douglas-Stanwyck .Holt-Dixon O'Brien-Lovejoy ... J. Smith-Ramati Young-Carter Rennie-Peters Kaye-Granger Conway Wayne-Leigh Cabot O'Keefe . Ball-McGee Hayward-Mitchum Russell-Mitchum Werner Mite hum- Simmons McGraw-Windsor Russell-Wilson . Mitchum-Tallman Williams-Balenda Dietrich Kennedy Japanese Holt-Martin Neal-Mature Todd-Rice Crawford-Palance McGraw-White Barker-Hart Ball-Arnaz Hass-Berl Carlson-Gynt Jennifer Jones 9-52 9-52 2-52 9-52 8-52 4-52 6-52 5-52 5-52 5-52 4-52 6-52 6-52 8-52 10-52 4-52 5-52 8-52 3-52 3-52 3-52 3- 52 7- 52 8- 52 4- 52 4-52 8-52 Oct 3-52 7-52 384 383 220 302 361 271 229 230 303 228 272 269 270 381 304 224 226 301 213 221 268 223 391 362 227 225 382 305 222 274 5-52 11-52 2-52 5-52 1-52 7-52 9-52 213 236 203 215 205 222 224 RKO RADIO 1951-52 Features Completed (74) In Production (Oj RELEASE CHART Rev 3-1 »-l 3-2 6' 20th CENTURY-FOX 1951-52 Features Completed (72) In Production (7) RELEASE CHART — 1951-52 — IN PRODUCTION Baptism of Fire - Mature-Moore Call Me Madam (T) Merman-O'Connor Blaze of Glory Widmark-Peters Silver Whip, The Calhoun-Robertson Man On A Tightrope - March-Moore President's Lady, The - Hayward-Heston Sinqle Handed - Hunter-Rennie COMPLETED Belles On Their Toes (T) (89) Crain-Loy Bloodhounds of Broadway (T) (90) Gaynor-Brady David and Bethsheba IT) (116) Peck-Hayward Deadline U. S. A. 187) Bogart-Barrymore .... Decision Before Dawn (119) Merrill-Basehart Diplomatic Courier (97) Power-Neal Don't Bother To Knock (76) Widmark-Monroe Down Among the Sheltering PalmsIT) Lundigan-Greer Dream Boat (83) Webb-Francis Farmer Takes A Wife, The (T) Grable-Robertson .... 5 Fingers (108) Mason-Rennie Fixed Bayonets! (92) _ — Basehart-O'Shea Girl Next Door, The IT) Haver-Dailey _.. Girl on the Bridge, The (77) Haas-Michaels Golden Girl IT) (108) Day-Gaynor I'll Never Forget You IT) (90) Power-Blyth Japanese War Bride 191) Yamaguchi-P. Taylor Kangaroo IT) 184) O'Hara-Lawford Lady in the Iron Mask (NO (78) L. Hayward-Medina . Leave Her to Heavend 10) (Reissue) Tierney-Wilde Les Miserables (104) _ ...Rennie-Paget Lure of the Wilderness IT) (92) Peters-Hunter Lydia Bailey IT) 189) Robertson-Francis ... Monkey Business (97) Grant-Rogers 8-2 4-2 1-2 6- 1. 7- 21 8-52 223 3-52 12-51 208 140 3-1 12-1 12-51 I 1-51 12-51 1-52 6- 52 7- 52 4-52 8- 52 9- S2 4-52 10-52 139 136 142 202 217 218 255 225 227 219 230 12-1 11- l 12- 3 1-2 8-1 6-1 Page 22 FILM BULLETIN October 20, 1952 y Cousin Rachel y Wife's Best Friend (101) agara IT] — ,ght Without Sleep (77) _ jmber, The deHavilland-Burton Baxter-Carey 10-52 . Cotten-Peters 231 utcasts ot Poker Flat, The 181) Henry's Full House (91) .ny Soldier IT) iwder River ide of St. Louis 193) Came, The I9S) IReissue) »se of Cimarron INC) (72) _ Saddles to Gobi IT) J ows of Kilimanjaro. The IT) (114) Peck-Hayward ..mething For The Birds (81) ars and Stripes Forever (T) eel Trap IBS) , ief of Venice (91) _ easure of the Golden Condor ITI Wilde-Smith night We Sing (T) _Pinia-Peters | p Man Widmark-Dru Jva Zapata 1113) M.Brando-J.Peters ait Til The Sun Shines Nellie (T) [ 1 08 ) Peters-Wayne Darnell-Merril 11-52 .Winters-Widmark Baiter-Robertson 5-52 Crain-Granger 9-52 Power-Edwards 12-52 Calhoun-Calvet _ Oaiiey-Dru 4-52 Power-Loy 4-52 Buetel-Powers 4-52 Widmark-Taylor 10-52 Mature-Neal 10-52 Webb-Paget 12-52 Cotton-Wright I 1-52 Montez-Christian 12-52 235 216 228 237 211 254 212 4-14 238 Tierney-Calhoun ay of a Gaucho (T) 191 ) e're Not Married 185) - - nayne-noijeii ... ,hat Price Glory (T) (III) Cagney-Dailey ith A Song In My Heart IT) (117) Hayward-Calhoun 12-52 3-52 204 2-25 7-52 220 5-19 9-52 229 7-52 221 7-14 8-52 224 7-28 . . 4-52 210 2-25 UNITED ARTISTS 951-52 Features Completed (61) In Production (4) RELEASE CHARf — 1951-52 — I PRODUCTION TITLE — Running Time •turn to Paradise (T) oulin Rouqe (T) — elba - ndits of Corsica, The OMPLETED i:tors and Sin 194) ijrican Queen IT) 1 104) bes in Bagdad - — . ffalo Bill in Tomahawk Territory 144) iptive City 191) oudburst (83) onfidence Girl (81) Cast Rel. No. Cooper-Hayes ... .-Ferrer-Marc hand Munsel-Morley Greene-Raymond Rev Robinson-Hunt 7-18 6-2 Bogart-Hepburn 3-21 HR l-lo Goddard-Lce .. • • - - •• Moore- Andrews 2-8 Forsythe-Hall 4-11 •y the Beloved Country counter - - ghter. The (78) lishlng School ass Wall, The 3ld Raiders (54) reen Glove, The 184) jest Wife 190) (103) t Ran All the Way (77) igh Noon 185) vasion U.S.A. land of Desire (T) Is in the Bag (87) _ insas City 1-1-7 idy Vanishes, The (85) melight (143) - iss Hargreaves utiny (T) 174) ne Big Affair (80) _ utcast ot fhe Islands (C) (91) utpost in Malaya _ irk Row sd Planet Mars (87) id River (125) -.- - ng, The (78) v»r. The IT) 199) >ugh Shoot - jyal Journey 150) :arlet Spear, The lAn) . Benny, the Dip 180) — range World 180) words Against the Mast . lie of Five Wemen, A 184) _.. lief. The 185) _ Preston-Sellars ..Conway-Brooke _ Lee- Poi tier Lorring-Muni ... Conte-Brown Sernas-Laurent Gassman-Grahame O'Brien-Ryan Ford-Brooks Colbert-Ameche . Garfield-Winters .Cooper-Kelly -..O Shea-Castle ..Darnell-Hunter .Allen-Benny Payne-Gray Redgrave- Lockwood Chaplin-Bloom ►Catherine Hepburn Stevens-Lansbury _6'Keefe-Keyes Richardson. Kerima Claudette Colbert ... ...Evans-Welch „ Graves-King Wayne-Dru — Rios-Moreno Swinburne-Shields McCrea-Keyes Color Feature Archer-Hyer _ _ Foch-Haymes _ Hauff-Schneider -Payne-Reed — Bonar Colleano 1-31 8-22 Asp Stone Got 4-7 6-16 6-16 9-14 2-28 9-52 7-13 7-30 Ben Reb Kr I 1-5 3-10 7-16 5-5 8-4 9-52 8-25 9- 52 10- 23 3-14 2-22 7-11 Chap KB Lop 3-24 5-19 8- 12 5-15 4-4 Hawks 9- 25 2-15 Ren 8-25 >m Brown's Schooldays (93) ■It* 188) vo Gals and a Guy (70) ntamed Women 170) hen I Grow Up 190) 'itness, The 3-15 8-24 3-28 3-7 Milland-Gam 10-10 Davies-Newton 11-2.. Hayward-Preston 6—6 -Paige-Alda 8-31 .. Jewel Productions 9-52 Preston-Scott 4-20 Bergman-Brando - - Dan Gehn Pop 7-16 4-7 10-6 Wan UNIVERSAL 951-52 Features Completed (85) In Production (4) RELEASE CHART — 1951-52 — 1 PRODUCTION TITLE — Running Time an From the Alamo iw and Order (T) hunder Bay (T) ight Flowers OMPLETED bbott and Costello Go to Mars gainst All Flags IT) lawless Brood, The IT) Jttle of Apache Pass. The IT) (851 :cause of You and of the River (T) (91) ack Castle. The .. onzo Goes To College 179) Ironco Buster IT) ISO) i ity Beneath the Sea (T) lolumn South (T) uel at Silver Creek. The (T) esert Legion (T) ... liesh and Fury 183) j'antis Covers ihe Biq Town ■ancis Goes to West Point Cast Ford-Adams ... Reagan-Malone Stewart-Dru Hardy-Freeman Abbott & Costello Flynn-O Hara Hudson-Adams Chandler-Lund .„ Young-Chandler Stewart-Kennedy McNally-Greene Perreau-Gwenn . Lund-Brady Ryan-Powers Murphy-Evans Murphy-Domergue Ladd-Dahl Curtis-Sterling . Donald O'Connor O'Connor-Nelson Rel. No. Rev. Apr Nov Feb Oct Sept May Aug Mar 217 212 232 219 4-7 1-28 8-25 4-21 _ July 228 214 274 Golden Horde The IT) I 1341 Has Anybody Seen My Gal IT) Horizons West IT) 181) Iron Man 182) It Grows On Trees Ivory Hunter ITI 1951 Just Across the Street 79) Lady Pays Off. The 1801 Lone Hand IT) LOS1 in Alaska Ma and Pa Kettle at the Fair 187) Ma and Pa Kettle in Waikiki Ma and ''a Kettle Go To Paris Man's Country Meet Me at the Fair Mississippi Gambler (T) No Room for the broom 182) Raiders. The IT) Red Ball Express Sally and Saint Anne Scarlet Anqel IT) 181) Seminole IT) Son of Ali Baba IT) 175) Curtis-Laurie The Redhead From Wyominq O'Hara-Nicol Untamed Frontier. The IT) Cotten Winters Willie and Joe Back at the Front 1 87) Ewell-Lembec k World In His Arms. The (T) . Peck-Blyth Yankee Buccaneer IT) Chandler-Brady Bl, the-Farrer 189) Colburn-Laurie Ryan-Adams *•) et chandler Dunne-Jagger Steel-Sheridan Sheridan-Lund Darnell-McNally McCrea-Hale Abb;tt-Costello Main. Kilbride Main-Kllbride Main-Kilbride Murphy-Drake .Dailey-Lynn Power-Lauri* __ Curtis-Laurie Conte-Lindfors Chandier-Cabot Blyth-Gwenn DeCarlo-Hudson ..Hudson-Hale Oct July Oct Auq Nov June June Nov Aug Apr 134 226 235 I jU 221 223 202 229 216 6- 30 10-6 7- 16 6-2 6-2 7-28 3-2-1 May Nov May Jul" June Sept Sept. Oct Aug Oct 220 218 225 222 231 230 233 227 234 5-5 6-16 8-25 10-6 No. Rev WARNER BROTHERS 1 951-52 Features Completed (53) In Production (6) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. His Majesty O'Keefe (T) Lancaster-Rice Jan Singer, The IT) Thomas-Lee By the Light of the Silvery Moon(T) Day-MacRae I Confess — Clift-Baxter She's Back on Broadway IWC) Mayo-Cochran Sea Rogue IT) Flynn-Campbell COMPLETED AbDoit and Costello Meet Capt. Kid Abbott-Costello About Face (T) 194) April In Paris IT) Big Jim McLain 1904 Big Trees, The IT) 189) MacRae-Bracken 5-31 Day-Bolqer Wayne-Olson Douglas-Miller Bugles in the Afternoon ITI 185) R. Milland-H. Carter Carson City IWC) 187) Scott-Massey Come On Texas IWC) . Scott-Kirk Crimson Pirate. The IT) 1104) B. Lancaster Danger Forward Wilde-Cochran Desert Song, The IT) Grayson-MacRae Iron Mistress, The IT) ... - Ladd-Mayo Jack and The Beanstalk (SO 178) Abbott-Costello 4-12 Lion and the Horse, The IWC) 183) Cochran-Teal Man Behind the Gun (T) Scott-Wymore Mara Maru 198) - - Flynn-Roman Miracle of Our Lady of Fatima 1 102) Gilbert Rowland Operation Secret 1108) - Wilde-Thaxter Retreat. Hell! 195) Lovejoy-Carlton — San Francisco Story, The 180) ... McCrea-DeCarlo She s Working Her Way Through College (T) 101 Mayo Re-gan Sprinfield Rite, (W) (93) ...... . _ Cooper-Thaxter Stop, You're Killing Me (WC) ..Crawford-Trevor Story of Will Rogers, The IT) 1 109) Roger, Jr. -Wyman 7-26 Streetcar Named Desire, A 1122) Brando-Leigh 3-22 Tank Are Coming, The 190) _ .. _. S. Cochran-P. Carey 11-17 This Woman Is Dangerous 197) Crawford-Morgan 2-9 3 For Bedroom C INC) 174) Swanson-Warren 6-21 Where's Charley? IT) 197) Bolger-McLerie 8-16 Winning Team, The (98) ..... _ Day-Reagan 6-28 122 8-30 201 3-29 117 3-8 116 6-14 123 4- 21 9-8 2- 25 3- 10 5- 19 9-27 202 118 119 5-3 120 10-11 203 11-8 205 2-23 115 5-17 121 7-12 128 10-25 204 4-21 4-7 9-8 129 104 108 1 14 124 130 125 2-25 4-21 10- 6 7-28 11- 5 2-11 6- T4 7- 14 4-2 Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St., Phila. 3 —1239 Vine St., Phil*. 7 LOcust 4-0100 Member National Film Carriers FILM BULLETIN October 20, 1952 Page 23 I Operation An Undercover U. S. Marine - and the 7-year manhunt that zigzagged across the globe! SET TO FOLLOW SPRINGFIELD RIFLE AT THE PARAMOUNT, N. Y. -AND NATIONALLY ON „ ARMISTICE DAY CORNEL WILDE- KARL MALDEN STEVE COCHRAN PHYLLIS THAXTER PAUL PfCERNI - LESTER MATTHEWS - DAN O'HERLIHY - 1ATI JAMES R WEBB .„„ HAROLD MEDFORO p.oouccd HENRY BLANKE o«crc| screen p BULLETIN NOVEMBER Lessons of The RHO Crisis Cxclu^iDe BULLETIN Jeature Page 5 STUDIO SIZE-UPS Does Jerry Wald's Entrance Mean Changes at the Columbia Studios? . . . MCM's Efficient Economy . . What About the Zanuck Rumors? More Holiday Playing Time \i And Paramount Has The Picl limber Than Any Other Month That Can Cash In On It Best ! Fill it THE TURNING POINT THE SAVAGE Color by Technicolor DeMille' THE GREATEST SHOW ON EARTH JUST FOR YOU Color by Technicolor Perlberg-Sea ton's olor by Technicolor SON OF PALEFACE Color by Technicolor JUM OR ROAD TO BALI Hi: HRST IN Color by TECHNICOLOR. J WHAT HAVE j GOT THAT NOBODY ELSE HAS?' (Exhibitors know the answer. "Here's what you've got, Leo!") You've got "IVANHOE" fT«*j ! The Picture of the Century! You've got "THE MERRY WIDOW (Tech) The saucy musical that gets the gravy! You've got "BECAUSE YOU'RE MINE" (Tech) The show for which they stand on line! You've got "PLYMOUTH ADVENTURE" (Tech.) The Thanksgiving spectacle for a holiday clean-up! And "MILLION DOLLAR MERMAID" (tech) The Miracle Musical to celebrate New Years! You've got "THE PRISONER OF ZEN DA" (Tech ) Another Action-Attraction from the "Ivanhoe" company! And THE BAD AND THE BEAUTIFUL The All-Star Triumph headed for the 10-Best list! You've got "LI LI" (Tech.; The Picture of Enchantment! You've got "ABOVE AND BEYOND" The love story behind The Billion Dollar Secret! You've got "THE NAKED SPUR" and "THE STORY OF THREE LOVES" and "SOMBRERC and "NEVER LET ME GO" and more BIG ONES than there's space for! YES LEO, YOU'VE GOT WHAT IT TAKES Lessons ol the RKO Crisis What Ate the Chance* Jet Ihti £ick Cwpahif Tc Regain JJU Health? CxciuJtie BULLETIN feature By LEONARD COULTER The crisis which pitchforked Ralph lwanl Stolkin unceremoniously from his wly acquired presidency of RKO Pictures, d which swept with it his father-in-law, praham Leonard Koolish, and William prman, 'Texas oilman Ray Ryan's nominee i the board, carries some handy lessons. It emphasized the industry's status as a iblic service — one of its greatest sources of her strength. This manifested itself in ute and widespread anxiety at the pros- ct of a major film company being ex- oitcd by commercially-minded outsiders laware of industry tradition. It discloses the existence of people anxious , safeguard the industry's reputation, and 1 protect it from the slings and arrows of [trageous fortune. And it demonstrates that wealth is no bstitute for mature judgment. For Mr. olkin and his friends contracted to pay oward Hughes a highly-inflated figure for 5 29 per cent controlling stockholding. In nsecpience they had to sacrifice numerous lployees at the altar of economy. Stolkin d refused to haggle with Hughes, and us found himself obliged to get even at the pense of the company's employees. Where might have saved half-a-million, he now Id to scrimp half a dollor. Some were dis- ssed for inefficiency — inefficiency possibly used by the capricious nature of their rmer boss in Hollywood. Others had to got rid of because their minds were not [nditioned to the type of business done in 2 mail-order world from which Ralph olkin had come. All these high-speed ings made it virtually impossible to give 2 RKO organization cohesion, esprit de rps and that other precious ingredient to bcess — industry goodwill. Without good- 11 the difficulties of re-financing the com- ity were aggravated. Monday morning quarterbacking is a Ling pastime, but it is difficult to resist the servation that had he been a little older d wiser, Ralph Stolkin would have post- |ned his own coronation. He would, for p time being, have kept in the background, aining the invaluable services of Ned •pinet as the company's President. He >uld have paid as much attention to the man factor as to the efficiency quotient, ven time, he may have learned that a eat motion picture company cannot be ated like a brewery or a chewing-gum hory. Mr. Stolkin made an error of judgment in believing that because of his spectacular business successes in the past, and his rapidly-acquired personal fortune, a trium- phant entry into motion pictures was auto- matically assured. Other people have made the same mistake. We consider that RKO's crisis arose as much from that blunder as from the Wall Strkkt Journal's probings into the past business methods and dubious associations of some of the collaborators in the deal. Had the circumstances been only slightly different, and had Ralph Stolkin's ambition been tempered by patience, he might have ridden out the blizzard and brought to the industry a welcome new driving force and enthusiasm. There are, it is true, some blemishes on the records of Messrs. Stolkin and Koolish. They had made money from the sale of punchboard devices. They had got into the bad books of several Better Business Bureaus, and of the Federal Trade Com- mission. Koolish had survived a Federal Grand Jury indictment. Raymond J. Ryan, one of Stolkin's co- purchasers of RKO, had inadvertently, he says, participated in an oil venture in which gambler Frank Costello and racketeer Frank Erickson were concerned. Sidney Korshak, who introduced Stolkin to Grant, organized an early parole for "Cherry Xose" Gioe, the Capone mobster convicted of participating in the million dollar Browne-Bioff movie industry extor- tion plot a decade ago. These discoveries about the new owners of RKO were unpleasant, but need not necessarily have been fatal. They became fatal when combined with the ill-will gener- ated by the breakneck reorganization of staff, the new group's unashamed desire for power, and a fear that they were business opportunists interested solely in turning a quick dollar. RKO shares dropped on the New York Exchange from a recent high record of $4.87 hoisted others before him. Her impact H the screen is considerable. I put how does all this stack up as enter- Wiment suitable for the great masses of inierican moviegoers? Will they "go" for •aicture, British as kippers, set in 1917 Lon- don, the city where the great comedian first saw the light o' day? Are they so modern, So sophisticated in their tastes, that they will miss the mood of the film, despite the fact that it deals with the most basic, elementary tragi-comedy situations, and carries every emotional cliche known to Hollywood? A personal triumph it undoubtedly is. There is probably no one else alive today who could even begin such a mammoth task as Chaplin essays in this film. As a job of motion picture production it is far from spectacular; as a matter of fact, it is drab and technically it's backward. The direction, on the other hand, is as competent as anyone could wish. The story moves along smooth- ly, though at slow speed. It is a long time developing a climax, but when it comes the climax is a howl of laughter and packs quite an emotional wallop. A great picture? Not really, but an inter- esting one. A moneymaker? That's a big question mark. It will do well in class houses. This is a wet handkerchief picture, which means women will enjoy it. In city areas it cannot but be an outstanding attrac- tion. And because its theme is as simple as that of any classic tragi-comedy, it will move audiences in the wheatland areas, too. Def- initely for adults, it will not mean much to the kids, the science fiction fans, the western ad diets. STORY: Chaplin, a fading British music- hall star, comes home drunk one afternoon and sniffs gas in a first-floor room of the England, the film reveals that the captain of the vessel, Spencer Tracy, a bitter and ruth- less man, had taken a bribe from the spon- sors of the trip to deliver the passengers to New England, instead of their original des- tination, the Virginia colony. The first at- tempt at the crossing is aborted when their consort vessel is damaged and both ships are forced to return. They try again, this time alone, even knowing that they arc run- ning into the storm season. Tracy is at- tracted from the start by Gene Tierney, wife of Leo Genn, a leader of the Pilgrims. Tracy makes some passes at Tierney, but she continually reuffs him. During a violent storm which almost demolishes the ship, Tracy saves Genn from the sea when the latter is washed overboard. As the days pass and rations run low, starvation and fever belabor the Pilgrims, and just as the situ- ation seems hopeless, land is sighted. Genn and some others go ashore to explore the area for a few days and the relationship be- tween Tracy and Tierney deepens. They declare their love and Tracy pleads with her to return to England with him. Torn by her love for the captain and her affection for her husband, Tierney jumps overboard to her death. Tracy decides to keep the ship offshore as shelter for the Pilgrims, despite the threat of mutiny by the crew, until they can build their homes. As this is accomplished, Tracy earns the love of the settlers. BARN boarding house. He finds Claire Bloom on the bed unconscious, clutching a poison bot- tle. The shock sobers him almost, and he gets the young girl into his own room and calls a doctor, who advises rest. When the girl regains consciousness, she finds she is paralyzed in the legs. Chaplin pawns his violin to buy her food. He nurses her to mental health, all the time impressing on her the fact that life is wonderful and worth fighting for. He gets his own chance at a comeback, but fails dismally. Slowly Claire Rloom recaptures her physical health and resumes her dancing career. Inexpressibly grateful to Chaplin, she tells him she loves him, but Charlie recognizes her feelings as pity. So he tries to "date" her with Sydney C haplin, the young composer of the new show for which she is rehearsing, and with whom she is unknowingly in love. On the great day, she finds herself suddenly famous, the prima ballerina of a new show. She gets C harlie a job as a clown. But he, alas, cured of drunkenness, can no longer command an audience. He loses his job, and walks out of Claire's life, sinking into obscurity with a group of itinerant street musicians who work the taverns of London. One day she finds him and arranges a benefit concert on his behalf. Charlie, scared stiff, hits the bot- tle hard just before he goes on stage. He scores a tremendous success — and then, in the hour of triumph, has a heart attack and dies in the wings watching his protege danc- ing like a goddess out in front. COULTER FILM BULLETIN November 3, 1952 Page 7 20m. DELIVERS KJ>OUBLE-Bi TO HELP YOUSELL A-G* NATIOMAL MAGAZINE ADS! ROBERT HAGGIAG presents "THE THIEF OF VENICE" starring MARIA MONTEZ • PAUL CHRISTIAN • FAv HAGGIAG • Directed by JOHN BRAHM • Screenplay by JESSE L. LASKY, JR. • From original story by MICHAEL PERTWEE • MusiH There's No Showmanship Like 2^Cenfw| Uf£)SHOWMANSHIP PUNCH HOWMANSHIP PICTURE! 3 ERATO • Produced by ROBERT *l Released »hro 20th Century-Fox w man sh ip I i FREE 10-DAY, AL1-EXPENSE TRIP FOR TWO -TO ITALY! for the best and most productive advertising, publicity and exploitation campaign on "THE THIEF OF VENICE/ You'll be flown to Venice via Italian Airlines! Live like a king! See the celebrated Bridge of Sighs ... re- lax on a gondola on the famous canals of this romantic city! This contest is open to all theatres playing "THIEF OF VENICE" before June 7, 7 953. START PLANNING YOUR PRIZE- WINNING SHOWMANSHIP CAMPAIGN IMMEDIATELY! In the event of ties, duplicate prizes will be awarded. send your co SEME--'"* h°w 'o am,. , , wnww" * c:*" b^«« °"o',,,';:r!r,oM P°Per (ear fc Su*>mif a w PWn "leofrei, The committee of ; a ave n° beor.no ? *0,e«- b* notified by telho se'«* the best * , ■ Wh°"Ver «" DON'T FAIL TO ATTEND lit hie SHOT Ol | NOVEMBER 17-18-19, 1952 | 1952 NATIONAL ALLIED CONVENTION COMBINED WITH TESMA TRADE SHOW MORRISON HOTEL • Chicago, Illinois FOR RESERVATIONS: Write or Wire JACK KIRSCH, General Convention Chairman 1325 So. Wabash Ave., Chicago 5, III. • Telephone HArrison 7-7425 £ekin4 the £cehe* c$ O'dtn Ptcducthn STUDIO SIZ6-UPS Cxclu^e $L BULLETIN feature By JAY ALLEN Volume uud Budgets High for November November promises to equal, if not actually surpass October's peak production record of 64 films. As of this writing, 59 pictures are either shooting or scheduled ro go before the cameras by December 1, with a half dozen more probable starters due to be placed on the schedule as soon as casting difficulties can be ironed out. Most impressive aspect of the current production lineups is the emphasis on higher budget films. It has been distinctly apparent of late that Hollywood's execu- tives are fully cognizant of the fact that our industry's only effective answer to television and other competition for the public's entertainment time is topflight motion pictures. A real, intensive effort is being made to deliver such quality films. 20th-Fox's November production will probably be the most costly, with a half dozen pictures in the million dollar budget class. "Gentlemen Prefer Blondes'' (Marilyn Monroe-Jane Russell), which rolls on Novem- ber 10, represents an investment of upwards of two million dollars by itself, and "Nearer My God to Thee'' (Clifton Webb-Barbara Stanwyck), which rolled October 25, is scheduled for seven weeks of shooting — one of the longest shooting schedules for a non-musical in recent years. MGM and Paramount will run Fox a close second in the budget department, followed by Universal-Inter- national which is investing heavily in off-the-lot talent to head up a half-dozen of its productions. Paramount, with "Little Boy Lost" (Bing Crosby), "Houdini" (Tony Curtis-Janet Leigh) and "Forever Female" (Ginger Rogers-William Holden), shooting since early last month, has just added one of its biggest and costliest musicals in recent years. It is "Here Comes the Girls", which is being filmed in Technicolor, and which boasts a top-flight cast headed by Bob Hope, Tony Martin, Rosemary Clooney and Arlene Dahl. Metro's big pic- tures shooting in November will be: "Young Bess" (Jean Simmons-Stewart Granger), "Dream Wife" (Cary Grant-Deborah Kerr), "The Band Wagon" (Fred Astaire-Cyd Charisse) and "Years Ago" (Spencer Tracy- Debbie Reynolds). U-I, with a total of eight pictures in work, will employ six outside stars to add marquee luster to its product. James Stewart, Loretta Young, Farley Granger, Ann Sheridan, Glenn Ford and Victor Mature all will be working on the lot, at salaries which will un- doubtedly force budgets well above normal for the studio. COLUMBIA ild Entry to Columbia ly Resolve Cohn Activity -s was predicted in these columns over months ago, Jerry Wald has moved r to Columbia from RKO. The surprise s his being named vice-president and zutive producer of Columbia Productions vidently there was some brisk bidding Mr. Wald's services and Harry Cohn to make the offer as enticing as pos- . 20th Century-Fox and the new RKC igement were both after the 40 year- >roducer, who has carved quite a niche limself in Hollywood, first as a screen- writer, then as producer, cculation now arises as to Harry Cohn's future activities. There have been re- nt rumors for the past year that the mbia president plans to reftire from e direction of the studio. It appeared i a few months ago that Stanley Kramer heir apparent to the top spot here, but it looks now as though he will just contir.uf as head of his own inde unit. And the question arises: Will Kramer stay on at Columbia ? Unhappy boxofnee JERRY WALD An Enticing Offer returns on some of his productions (we hear "Four Poster" is disappointing) are under- stood to have cooled Cohn's ardor for the Kramer unit, and it is quite possible that he will move on to another lot. Columbia has cleared the decks for pro- duction of motion pictures for television, by signing a pact with the Screen Actor's Guild, guaranteeing full compliance with the guild's demands for residual payments to actors appearing in films used on TV. Co- lumbia, along with Universal-International, is the first major studio to thus indicate plans for television production. The new pact calls for additional payment to actors for all subsequent re-runs of tele- vision films, as well as further compensation to the thesps if films, originally made for" TV, are released for theatre showings. Co- lumbia had previously signed a basic agree- ment with the SAG for making its current series of TV shorts under the Screen Gems aegis — a Columbia subsidiary. Whatever the answer to that may be, there can be no doubt that Columbia is trying to meet theatre demands for better (Continued on Page 12) FILM BULLETIN November 3. 1952 Page 11 STUDIO SIZ6-UPS (Continued from Page 11) uqality product. This is reflected not only in Columbia's own current production, but in that of the independent companies who release through the company. All of the three pictures now shooting are budgeted above normal for this outfit. "Love Song" (Jane Wyman - Ray Milland - Aldo Ray), which Oscar Saul is producing and Al Hall directing, is one of the most expensive Tech- nicolor productions undertaken by Columbia company in recent years. The Warwick production of "The Red Beret" (Alan Ladd- Leon Genn) should provide another Class A release. The latter, which is also in Tech- nicolor, is being filmed in England, with Irving Allen and Cubby Broccoli as co- producers and Terence Young directing. Also filming, but on a lower budget, is "Posse" (Broderick Crawford-John Derek- Charles Bickford), produced by Harry Joe Brown and directed by Alfred Werker. LIPPERT PRODUCTIONS Lippert Denies TV Deal For Oldies, Cites Reissue Value Robert L. Lippert has again emphatically denied to FILM BULLETIN that there is any truth to the report that he is planning to sell all of his old pictures to television. "The current backlog of my films will have re-issue value in the theatres for some time to come," Lippert says, "and for that reason, I intend to hang on to them." He further disclosed that he has agreed to supply recent purchasers of his many ex- changes around the country, with approxi- mately 20 features per year for the next three years. By far the greatest percentage of these films will be packaged by Lippert for production by independent producers, both in Hollywood and in England. How- ever, he is in the market for good product from the various independents who finance their own films. Lippert is known to be highly pleased with the recent pictures which he has pro- duced cooperatively with Exclusive Films of London, and is now negotiating with the James Carreras outfit for further film ven- tures. Several packages are now being com- pleted, with Lippert supplying either the star or director for the producing firm. Next to roll will be "Spaceways" (Howard Duff), for which the American cast is already en route to England. Eight Lippert releases have been set for November and December. They are: "Scot- land Yard Inspector" (Cesar Romero-Lois Maxwell), "Tromba, the Tiger Man" with the entire cast of the Krone circus; "Mr. Walkie Talkie" (William Tracy - Joe Sawyer), "Gambler and the Lady" (Dane Clark), "I'll Get You" (George Raft-Sally Gray), "The Tall Texan" (Lloyd Bridges- Lee J. Cobb-Marie Windsor). The other two are re-issues, "Great White Hunter" (Gregory Peck-Joan Bennett-Robert Pres- P«g« 12 FILM BULLETIN November 3, 1952 MGM'S SCHARY Efficiency ton and "Captain Kidd" (Randolph Scott- Charles Laughton). METRO-COLDWYN-MAYER Schary Brings 'Em in Under Schedule in Economy Campaign The economy drive set in motion by MGM early this summer, is really beginning to pay off, with nearly every picture coming in under schedule and — in more cases than not — under budget. This is high tribute to the efficiency of studio boss Dore Schary and his crew of producers and directors. Two outstanding examples are: "The Clown" (Red Skelton-Jane Greer), which director Robert Z. Leonard wound late last month, three days ahead of schedule, and "Dangerous When Wet", which Chuck Walters brought in in seven days and $138,000 below the original estimates. Moreover, we hear that daily rushes on both pictures in- dicate there is no evidence of short-circuit- ing production values for the sake of economy. Meanwhile, Metro's top-heavy talent roster continues to dwindle, as more and more players are dropped from contract, in an effort to tighten the purse string. To date, Peter Lawford, Sally Forrest, Dean Miller, Ralph Meeker, Dawn Addams and Janice Rule have been released from con- tract, with still others expected to follow. In spite of these cutbacks, however, Metro at this moment continues to lead the pro- duction parade both in quality and quantity. At present seven features are before the cameras, of which four are being filmed in Technicolor. The tinters are "Invitation to the Dance" (Gene Kelly-Igor Youskevitch- Tamara Toumanova), which Kelly is per- sonally directing for Arthur Freed; "Young Bess" (Jean Simmons - Stewart Granger - Deborah Kerr-Charles Laughton), a Sidney Franklin production, directed by George Sidney; "The Band Wagon" (Fred Astaire- Cyd Charisse - Nanette Fabray - Oscar Levant), directed by Vincente Minnelli and produced by Arthur Freed, and "Give A Girl A Break" (Marge and Gower ChampionU Debbie Reynolds), directed by Stanley Donen and produced by Jack Cummings. Black and white features in production: are: "Dream Wife" (Cary Grant-Deboral Kerr -Walter Pidgeon - Bette St. John), ; Dore Schary production, directed by SidneJ Sheldon; "Remains to be Seen" (June Ally] son - Van Johnson - Luis Calhern - Angela Lansbury), directed by Don Weis for pro | ducer Arthur Hornblow, Jr., and "Fast Com | pany" (Howard Keel-Polly Bergen-Nin;| Foch-Marjorie Main), John Sturges direct ing for Henry Berman. Next to roll will be "Years Ago" (Spence: Tracy-Debbie Reynolds), which directo: George Cukor and producer Lawrence Wein garten expect to place before the cameraslj on November 10. MONOGRAM— AA AA Sets Technicolor Deal; Broidy Names Four for '53 The Allied Artists' negotiation for a Tech nicolor commitment, reported here last issue, has been successfully concluded, pavj ing the way for the company's first ust the color system on the 1953 program. AA president Steve Broidy says his comj pany will make three pictures in Technil color next year, in addition to one alread;) completed in England. The three cominni up are: "Wichita," a story of the old wesl built around the life story of Wyatt Earpj "The Annapolis Story," a drama of th' U. S. Naval Academy; and "The Blacll Knight", a romantic swashbuckler. All three are on executive producer Waltclj Mirisch's slate. The English picture il; "Affair in Monte Carlo" (Merle Oberon-Leil Genn-Richard Todd), produced by Associl ated British-Pathe in affiliation with Allied Artists. The use of Technicolor in the 1953 pro) gram marks AA's further break-away fronj low-budgeters, and marks a full-scale entrj into the realm of major, quality production! Already the company has been emphasizing important names in the casting of its picj tures. However, not all of Allied Artists produc will be big stuff. They will continue to turn out the profitable programmers. Jerr Thomas, who has produced the BoweH Boys pictures for the past 18 months, rcj signed last month, and is being replaced oi| the series by Ben Schwalb. Schwalb joined AA as a producer three years ago and most recently has been making the quickies wit! Stanley Clements — which he will continue] in addition to his Bowery Boys comedies i Thomas has announced that he plans t enter independent production, following short vacation. Two pictures are currently shooting hen with a pair more set to roll later this monl " The Roar of the Crowd" (Howard Duff| (Continued on Page /3 STUDIO SIZ6-UPS mtinued from Page 12) t away on October 29, following a brief Stponement to iron out casting snarls, iilliain Calliban is directing for producer chard Hcrmance. On October 30, pro- cer Vincent Fennelly launched "Star of jxas" (Wayne Morris), with Thomas Carr acting. On November 24, "Jalopy" and "Murder ithout Tears" are set to go before the neras. The former is a Bowery Boys job, ich Ben Schwalb will produce, and the ter is a William F. Broidy production. PARAMOUNT osby Film, Three Others !iooting; Rome Outfit Signs I 'our pictures are currently shooting on HTamount's home lot, headed by "Little ■y Lost" (Bing Crosby-Claude Dauphin), li ich returned to Hollywood in late Oc- ■>er, after three weeks of shooting in Paris. H)ducer William l'erlberg and director Morge Seaton expect the final shooting in rj'llvwood will require about three weeks. Ilfhe three other Paramount features before U cameras are: "Houdini" (Tony Curtis- ;Jiet Leigh), in Technicolor which George il rshall is directing and George Pal pro- Being; "Forever Female" (Ginger Rogers- Wlliam Holden-Paul Douglas), a Pat Hggan production, directed by Irving Bpper; and "Here Come the Girls" (Bob Hpe - Tony Martin - Rosemary Clooney - Ljlene Dahl), in Technicolor, Claude Htyon directing, Paul Jones producing. I k pair of newcomers have been set for jfltured roles in Nat Holt's "Arrowhead" Miarlton Heston-Katy Jurado-Jack Pal- ■le), which rolls November 8. They are: Hbert Keith, Jr. and Richard Shannon, both ■K Paramount pactees who are getting the !S - build-up under Paramount's "new faces" Unpaign. Charles Marquis Warren will Meet the picture. I lilso rolling in November will be a Martin Ml Lewis comedy, which has not been ijid, as yet. Norman Taurog will direct Jfj Paul Jones. paramount is the latest major studio to Her into a multiple-picture co-production R with a foreign producing company. Dr. Krlo Ponti and Dr. Dino De Laurentis, of ttl Ponti-De Laurentis company of Rome, Wcluded arrangements late last month in Hlywood, for a slate of four pictures to be ■lie in Italy with Paramount participation. t least one of the quartet of pictures will fc| Silvana Mangano, who is Mrs. De Ijirentis, in private life. Others will star «jilarly prominent Italian actors and messes and possibly even some top Holly- M>d names. At this writing, no details had Mn worked out on the assignment of di- ll ors, alhtough it is quite ilkely that here mm American personnel will be used in P . REPUBLIC Studio Hypoes Production As Wayne Exit Hits Republic Republic suffered a serious blow when John Wayne terminated his future commit- ments with the studio and moved off the lot. He was certainly the biggest grossing star in this company's history. This means that the up-coming production of "The Alamo," which figured to be one of Republic's big- gest grosser's will not be made— at least as a Wayne - Republic co-production. "The Alamo" has been in the planning stage for three years, and was scheduled to be filmed in Texas late this year on a top budget. However, even though Wayne is gone, Republic appears to be getting up steam for an exceptionally heavy production splurge during the winter months ahead. Several new story properties have been acquired by the studio during the past month, and a few old properties have been activated for pro- duction. "Fall On Your Knees," a Martha Cheavan original about a Protestant minis- ter, has just been bought by the studio and turned over to producer-director John Auer for an early start on a budget. Rights were also acquired late last month to Homer Croy's book, "Jesse James Was My Neigh- bor." An original prizefight story, "One For the Road," has been activated and placed on the agenda for William Seiter to produce and direct late this year. Only one picture is before the cameras at the present time, although another is set to roll on November 5. "South Of San Antone" (Rod Cameron-Arlene Whelan-Katy Jurado- Forrest Tucker-Harry Carey, Jr.), which rolled on October 15, still has several days more of shooting, under the producer-direc- tor guidance of Joseph Kane. The Novem- ber 5 starter is "The Woman They Almost Lynched," which Allan Dwan will produce and direct. No casting has been announced. RKO Grant Leadership Bolsters Morale of RKO Personnel Amidst all of the furore and disillusion- ment at RKO these days, the faith in one man has somehow managed to hold studio morale together, with hopes of better times to come. That man is Arnold Grant, the new chairman of the board, whose display of integrity and leadership in demanding the resignation of the new owners from key spots, has instilled a spirit of confidence in the rank and file of studio personnel which has been noticeably lacking for a good many years. Not only at RKO, but all over Hollywood, there is a feeling that Grant is the man who can eventually put this studio back on a sound operating basis. Even the independent producers who release through RKO, are beginning to take a more cheerful outlook on their future relationship with the com- pany, after spending a few very fretful weeks. There are still a lot of important ques- tions which everyone wants answered, such as who will be the new production head at the studio, and what will the future policy be toward independent product. W ith the passage of Jerry Wald from this scene over to the Columbia lot, the studio leadership problem is more wide open than ever. Wald, incidentally, has agreed to assist, in an ad- visory capacity, on two RKO productions, "Size Twelve" and "High Heels". Those closest to the situation are of the opinion that the studio will adopt a produc- tion policy patterned along the lines of that which has proved so successful for Univer- sal-International. Probably the contract list will be held to a minimum, in lavor of par- ticipation deals with all I; pes o£ creative talent. Production is expected to be heavy, possibly reaching as high as 30 to 40 pic- tures per year. Budgets, however, will likely be moderate — perhaps in the $400,000 to $500,000 class— with the emphasis on highly exploitable subject matter. Oddly enough, with all this confusion, production has resumed on the lot, with the start on October 26 of "Split Second," an Edmund Grainger production. Alexis Smith, Keith Andes, Jan Sterling and Steve Mc- Nally head the cast, with Dick Powell direct- ing. The new management has also okayed the resumption of production by Filmakers. No definite starting date for their next picture has been set, pending negotiations to secure Robert Mitchum for a starring role, but it is expected that work will begin on the pic- ture by late November. 20TH CENTURY-FOX Zanuck Denies, But Rumors Of His Leaving Still Persist Darryl F. Zanuck has again firmly denied the rumors that he is at odds with the board of directors of 20th Century-Fox and branded as "completely false" reports that he will devote a portion of his future efforts to independent production. "As the largest single stockholder in the company, it is not likely that I would be in- terested in any deviation for the seventeen years that my contract calls for," he said. He did confirm a report by the New York Times, however, that the board of directors has demanded a slackening off in the num- ber of musicals produced by the studio. Zanuck is in accord with such a policy, in- asmuch as musicals are the most costly type of filmfare to produce and frequently fail to recoup their costs. Since 20th Century production has been in a slump for the past year, the rumors will continue to smolder until a couple more like "Snows of Kilimanjaro" come along to prove that Zanuck has his old touch. He would be a mighty tough man to replace. Production is under full steam here this month, with eight pictures scheduled to be in work during the period. Five films are (Continued on Page 14) FILM BULLETIN November 3, 1952 Page 13 STUDIO size-ups (Continued from Page 13) in work at the present time, and three more are scheduled to roll simultaneously on No- vember 10. Now shooting are: "Call Me Madam" (Ethel Merman-Donald O'Connor-George Sanders-Vera Ellen), Technicolor musical being directed by Walter Lang and produced bv Sol C. Siegel; "The President's Lady" (Susan Hayward - Charlton Heston - Fay Bainter), also a Siegel production, being di- rected by Henry Levin; "Baptism of Fire" (Victor Mature-Alvy Moore), Robert Webb directing for producer William Bloom; "Sailor of the King" (Jeffrey Hunter-Michael Rennie), filming in England, with Roy Boulting directing for Frank McCarthy, and "Nearer My God to Thee" (Clifton Webb- Barbara Stanwyck-Thelma Ritter-Richard Basehart), directed by Jean Negulesco and produced by Charles Brackett. The trio of November 10 starters are: "White Witch Doctor" (Susan Hayward- Robert Mitchum), to be directed by Roy Baker and produced by Walter Lang; "Des- ert Rats" (James Mason), a Robert L. Jacks production, to be directed by Robert Wise; and "Gentlemen Prefer Blondes" (Marilyn Monroe-Jane Russell-George Winslow), Sol C. Siegel to produce, Howard Hawks to direct. Filming was completed late last month in Germany on "Man On A Tightrope" (Fred- eric March-Gloria Grahame-Terry Moore- Cameron Mitchell), which Elia Kazan di- rected. The picture was filmed in six weeks — all on locaiton. UNITED ARTISTS Krim Hunts New Product; Several New Deals In Work UA prexy Arthur Krim is in Hollywood at the present time, prowling new independ- ent product for his company's releasing out- let. Several deals are reported near the signing stage. While here, Krim revealed that UA will release four pictures during November and December. The quartet includes: Edward Small's "Kansas City Confidential," Shane* Tors' "The Glass Wall," Film Group's "Monsoon," and J. Arthur Rank's "Outpost in Malaya." One independent fim definitely committed for UA release is now before the cameras. It is "Melba" (Patrice Munsel-Robert Mor- ley-Martita Hunt), a Technicolor musical which has been working since September 1. Lewis Milestone is directing the Horizons production for producer S. P. Eagle. Samuel Fuller has announced that he is abandoning all plans for future production. Fuller reportedly has been so disappointed over the grosses on "Park Row" that he has closed down shop completely, dispensing with his entire staff. He was to have started work within a few weeks on "Verb«ten," which he planned to film in Germany. DARRYL ZANUCK Tough To Replace UNIVERSAL-INTERNATIONAL Loan-Out Stars Feature Fall Production at U-l Universal-International is again going off the lot to acquire top name players for a considerable portion of its fall production^ With James Stewart, Ann Sheridan and Glenn Ford heading up the casts of three pictures now in production, and Loretta Young, Victor Mature and Farley Granger due to start work in a trio of other films later in the month, over 75 per cent of the total pictures in production during Novem- ber will feature outside talent. A total of eight productions are scheduled to be in work during the month, of which six will be filmed in Technicolor. This is two above the October level for this year, the highest November peak since the war. "Man From the Alamo" (Glenn Ford-Julia Adams-Chill Wills), which was closed down for three weeks due to Glenn Ford's injury during a chase scene, resumed work late in October. Budd Boetticher is directing the Technicolor outdoor action feature for pro- ducer Aaron Rosenberg. "Thunder Bay" (James Stewart-Joanne Dru-Gilbert Roland- Dan Duryea), another Technicolor feature, is on location at Morgan City, Louisiana, with Anthony Mann directing for Rosen- berg. Shooting on the home lot are "Night Flowers" (Patricia Hardy-Joyce Holden- Glenda Farrell), an Albert J. Cohen produc- tion, directed by Jack Arnold; "Sioux Upris- ing" (Jeff Chandler-Faith Domergue-Lyle Bettger), being filmed in Technicolor, with Lloyd Bacon directing for Cohen; and "Flame of Timberline" (Ann Sheridan-Ster- ling Hayden-Philip Reed), also in Techni- color, with Ross Hunter producing and Dougas Sirk directing. On November 8, producer Cohen and di- rector Albert J. Cohen will launch "Prince of Bagdad" (Victor Mature-Mari Blanch- ard). On November 14, shooting is sched- uled to start on "The Golden Blade" (Farlev Granger), with Nathan Juran directing fot Richard Wilson; and on November 20, the cameras are set to roll on "It Happens! I Every Thursday (Loretta Young), witrB Joseph Pevney directing and Anton Leadei producing. The first two are set to be filmec in Technicolor. There is a strong possibility that still < fourth picture may be added to the Novem ber schedule, if Jeff Chandler is available t< take over the starring role in "East o Sumatra," an Albert J. Cohen production Budd Boetticher will dorect. WARNER BROTHERS WB Launches Heaviest Hue Program; 22 Tinters in '53 Warners is launching its heaviest prograi of color production in the company's histor with 12 features on the 1953 slate schedule for WarnerColor lensing, and an addition ten to be tinted by Technicolor. Starting January 1, Eastman Kodak w: deliver to Warners its Mazda-type negati' for use in all future pictures filmed WarnerColor. This is the same type of neg tive utilized by Technicolor and makes po sible more subdued lighting. Thus far, seven films have been completi by the studio in its own color system. Thi are: "Lion and the Horse," "Miracle Fatima," "Springfield Rifle," "Stop, You' Killing Me," "Carson City" and Come Texas." Two pictures are currently shooting f Warner release. They are: Wayne-Fellow "Alma Mater" (John Wayne-Donna Ree Charles Coburn) and "His Majesty O'Keef (Burt Lancaster-Joan Rice), filming in t Fiji Islands. Michael Curtiz is directing t Wayne-Fellows production and Melvi Shavelson is producing. Byron Haskin rects "O'Keefe", assisted by Richard M Whorter. One new production rolls today (Novo ber 3), with a pair more set to go later the month. Wayne-Fellows Productioi "Plunder of the Sun" (Glenn Ford-Dia Lynn-Patricia Medina) is today's start John Farrow directing. Next to go will "Don't Cry Baby" (Steve Cochran-Fra Lovejoy-Phyllis Kirk), Andre De Toth recting for producer Byran Foy. And co pleting the November slate will be "So Bi (Jane Wyman), a Henry Blanke producti to be directed by Robert Wise. John Wayne's deal with Warners portedly gives the actor $750,000 per pictu After that figure is recouped, he splits remainder of the gross on his pictures, 50- Two interesting productions which he been activated within the past few days filming later in the year are: "End of Rainbow," the old Vincent Youmans op etta, which will star Virginia Mayo Gordon MacRae, and "Mile. Modiste," wh will star Claude Dauphin, who has just b signed by the studio to a term pact. Page 14 FILM BULLETIN November 3, 1 952 HE'S OFF--- m ■ I _~ . adcat start IV ;1 HE'S OFF. TO ft 6RW START " THE ROXT THWTRE, H.T.! BIGGEST HON HOyOW ^OfTOEVEMH all op«ni«t ««P>SemeP,$: LOSftNGELES-Chmese,Rfc L ' SAN FRftNClSCO SftLTLAKEOT-Center-URWFlC- is* iaga if Kit 1" ChucKMe.ven.m^de.ph.a Daily Ne*s, says -t for us _ ^ „u haven't *■* **J JT* » for !!ilr3li^<^,,,,,,,," space as this one! dates coming "P"™*™, heading for the biginonoy. Harry M. Popkin presents RAY MILLAND as "THE THIEF" with Martin Gabel and introducing Rita Gam Executive Producer Harry M. Popkin • Written for the screen by Clarence Greene & Russell Rouse • Music by Herschel Gilbert • Produced by Clarence Greene • Directed bv Russell Rousa ■ A Ham, M Pnnkm I BIG ONE thru N« lot many weeks ago there passed away from the motion picture industry a man who had devoted half his adult life to the victims of modern plagues; cancer, heart disease and tuberculosis. During the war he dedicated himself to the blind veterans. In peace-time he spent most of himself for the people in the amusement industries who were stricken with tuberculosis and whom he helped back to health at the Will Rogers Memorial Hospital in Saranac Lake. HIS NAME WAS HAROLD RODNER H Le had a dream about the Hospital. He wanted to see it equipped with a Research Section where scientists could develop speedier methods for returning to normal life, those suffering from tuberculosis. We have undertaken to convert this dream into reality. I, Ln the beginning this was a modest venture by a small group of Harold's friends. But as the word of what they were planning spread out, many men and women to whom he had given hope and life, insisted upon the opportunity to share in converting Harold's idea into a real Laboratory. Therefore, we are extending an invitation to everyone in the amusement industries to participate. L if you have been helped by Harold Rodner, or if he opened the doors of the hospital to one of your employees or friends, or even if you didn't know Harold and the selfless work he did, and would like to perpetuate the spirit of such a man, then join this project with us to keep alive and warm the kindly, sympathetic help he gave to the needy and the suffering. Wee ^€W- the Harold Rodner Research Section at the WILL ROGERS MEMORIAL HOSPITAL s*r»n»c lake n.v. COMM ITTEE Samuel Schneider, chairman Harry M. Kalmine • Ben Kalmenson • Herman Starr • M. B. Blackman, see.-treas. MAKE ALL CHECKS PAYABLE TO HAROLD RODNER FUND. 321 W. 44TH ST.. N. Y. 36 BULLETIN Exploitation I Merchandising ntrw \\L\i If a theatreman has one or more groups in his town that are members of the General Federation of Women's Clubs — and it would be hard to miss having one since there arc 700 district groups— he can get a big assist in his merchandising of "Because of You." IThe Federation's motion picture chairman, Mrs. Dean Gray Edwards, has notified each oi the 700 district chairladies that "Because of You" was a film the Federation would recommend highly for its fine entertain- ment as well as for its emotional appeal." We remember, faintly, being dragged to a neeting of one of these groups. Frankly, ive were rather surprised with the interest (our own included) and efficiency of the neeting. One of the orders of business was he reading of important correspondence — ncluding a letter from the Federation's novie advisor. There was a hush during the •eading, then a considerable nodding of leads when the recommended film was men- ioned. It was evident that many of the lad- considered the recommendation their ible for moviegoing. Exhibitors fail to be constant contact with their local groups .re missing out on one of their most impor- ant word-of-mouth publicity outlets. As the adio announcer said, giving the details of a ontest: "Men! Write in 25 words or less thy you like Bloop-O . . . Ladies, 50 words ir less." * * * The ever-popular radio quiz-show format las been paying off handsomely, both for he Fanchon & Marco-St. Louis Amusement ompany chain, and for its patrons. The ickpot prize in the circuit's "Know Your ovies" quiz dumped S3, 775 into the lap of lOviegoer Edith Bryant, the second time in lore than 20 weeks that the show has been existence that the jackpot has been hit. his is how it works: The radio show consists of seven tele- hone calls daily on the top disc jockey- hows, every day except Sunday. A qualify- g question (Who was the male star of Son of Paleface?"), worth $25 and a pair f guest tickets to one of the chain's four rst-run houses in St. Louis is offered. The ackpot question is only slightly tougher. In this case, it starts at $500 and builds, if not answered, $250 per week. All of this, of course, with commercials on the movie pro- grams. A special 15-minute show Sunday evening consists of reviews and previews of current and fothcoming pictures, and one phone call is made on this show, also. F & M general manager Edward Arthur notes that the show has proven a "definite stimu- lant." opflight grosses registered by "The Thief in its oxy run were helped no little by the striking ont and rolling display which carried jour odels to publicize Rita Gam. Street bally used by E. M. Loew's for Hartford shotting of Columbia's "The Golden Hank" had this pair of lovelies parading down the central area, causing many heads to turn. The well-known House of Westmore cos- metics line will give some other well-known lines — those of Marilyn Monroe — a featured spot in its advertising. Advance credits to 20th-Fox's forthcoming "Niagara," starring Monroe, Joseph Gotten and Jean Peters, are being scored nationally in key magazines as part of a tie-up effected with the Westmore outfit. Promotion was launched with a full- page color ad in the Oct. 13 issue of Life, continues this month with large-scale ads in the Dell group and in fan mags Modern Screen and Screen Stories. It won't stsp with magazine ads, however. There will be an extensive window and in-store campaign by Westmore's thousands of outlets nation- wide. A veritable waterfall for "Niagara." * * * Scattering its advertising buckshot where it will do the most good via the national magazines, RKO has accorded "Blackbeard, the Pirate" a general and specialized ad cam- paign that should reach a 50,000,000 circula- tion. While the bulk, numerically, is in the big circulation weeklies including Life, Look, Colliers, Time and Newsweek, as well as newspaper supplements, the youth maga- ( Continued on Page IS) EDITORIAL Heflin's Campaiqn Personal appearances by stars in the hinter- lands are, of course, one of the fundamentals in boosting movie business. A star's p. a. in the town, on the radio, on television, plus the news- paper interivews that are grabbed up by the dailies whenever the glamour gal or guy comes on the local scene in the flesh, has brought many a picture into the limelight that might have slipped by in the darkness of showmanship, lethargy. What a wonderful opportunity to plug pic- tures, as well as their own picture careers, falls to those stars who take time off from Holly- wood to star in legitimate road shows? What- ever their reason for taking to the road — either to find out or to relive the satisfaction of per- forming before a live audience, or to fill in between pictures, or to bolster a slipping popu- arity — theirs is the golden chance to boost Hollywood, its pictures and their own fan rating. Van Heflin's example in this direction can serve as a model. Heflin recently began a 20- city road tour in the stage hit, "The Shrike." It also happens that Heflin is one of the stars of "Shane," a Paramount 1953 release. Working with special Paramount field representatives in each of the 20 cities, Heflin is interspersing his stage appearances with newspaper interview:, radio broadcasts, and addressing civic groups. He is carrying a suitcase full of promotion and publicity material for "Shane," including stills and mats. He ends the tour three full months of continuous publicity for "Shane" and a bon- anza of good will for himself and for Hollywood. A great many of the stars who put in their two or three months of film making during the year, then spend the rest of their time lolling at cocktail parties, night clubs and yachting to Timbuctoo may realize too late the fable of the grasshopper and the ant. When the winter of audience forgetfulness comes, there will be pretty slim pickin's. And the helluvit is that they — as well as the industry that gave them their yachts — would have been a lot happier basking in audience adulation, giving satisfaction to others, and, of course, adding to their bank ac- counts, if they would follow Van Heflin's ex- ample . Timely is the word for Metro's stunt in Toronto. During one of the big football games, these young spectators, with sweat shirts supplied by MGM, gave ''lvanhoe" a ballylulu. FILM BULLETIN November 3. 1952 Page 17 Exploitation and Merchandising (Continued from Page 17) zine group also is embraced in the campaign. Publications appealing to school students, like Boy's Life, Scholastic Magazine, and such, are getting the ad treatment, too. * * * Universale stress on personal appearance by stars, particularly those newcomers who have demonstrated their potentialities as the stellar lights of tomorrow, continues apace. Alex Nicol, who co-stars with Loretta Young and Jeff Chandler in U-I's "Because of You" is the latest to aid in the key city promotions. Accompanied by eastern pub- licity manager Phil Gerard, Nicol spent a very full day in Philadelphia for TV and radio appearances and press interviews as part of the events that led to the world pre- Cleveland's RKO Palace make a striking display in this Pan American window for "Assignment Paris". A feature of the tie-in was a 7-day trip to Paris, courtesy of Pan American. miere at Bill Goldman's Randolph Theatre, Oct. 29. Without halt, he hopped to New York for magazine and syndicate interviews, whence he will cross the country for further key city promotions. If you see an aircraft carrier coming up Main Street, don't go right out and take the pledge. It's part of the Allied Artists promo- tion for "Flat Top", which gets its San Diego premiere Nov. 11 aboard the U. S. S. Princeton. In a tie-up with the Naval Air Forces, AA's John C. Flinn has arranged for five 45-foot scale miniatures of the Prince- ton-type aircraft carriers, mounted on wheels, to tour the country in connection with the film. Their exhibition will be han- dled by the recruiting branch of the NAF, which will work closely with AA on both the premiere and subsequent showings else- where. Quite a stunt, we would say, and right in line with Flinn's recent promise of all-out promotion. Universal-International has set a "satura- tion television spot advertising campaign", claimed to be the first of its kind, for the world premiere of "It Grows On Trees" at the Paramount Theatre in New Haven, Nov. 5. The spots, which range from 20 seconds to one minute, will be used during station breaks on New Haven's one television sta- tion. How much more saturated can you get? * * * Young George Winslow, the frog-voiced youngster who is spotlighted in 20th-Fox"s "My Pal Gus", is getting a huge buildup in what distribution chief Al Lichtman has de- scribed as "unusual distribution handling." The company considers the film a natural for holiday release between the Thanksgiv- ing and Christmas season. More than a dozen individual publicity breaks, featuring the lad whose deep voice has convulsed radio audiences, have already been set in leading fan publications, as the initial phase of the national campaign planned by the company. The youngster is headed for one of the big- gest kid buildups in recent years. * * * Columbia's release of Stanley Kramer's "The Happy Time" in New York and sur- rounding communities gets a boost from Herb Sheldon's WNBT show in a deal which will send a complete family on a full- week's all-expense vacation to Miami Beach. Sheldon is running a contest for two weeks until Nov. 7 to find the "happiest family in town." The broadcaster is asking for "no box tops, coupons or other gimmicks." Just a letter in 50 words or less telling why the writer's family is the happiest in town. For the winner, the tie-up includes a complete beach ensemble from Nat Lwis, a set of streamlined Dale's luggage, Eastern Airlines Passage to Miami Beach, a stay at the Lord Tarleton and pocket money of $150— and of course, a "Happy Time." "0. Henry's Full House" was a natural for dis\ tribution of 0. Henry candy bars by 20th-Foo star Ava Norring at a special screening for Neu York City high school editors. 20th Century-Fox's opening of "Snows oj Kilimanjaro" at Detroit's United Artists Theatre was a full-scale Hollywood-type perj miere — and better. Kleig-lights, thousand^ of spectators jamming the area, a half-dozer models in "Kilimanjaro White" gowns as hostesses, notables galore, African masks and ritualistic articles for the guests to b(, mugged against, and a dirigible flying overj head for the occasion. When was the last time a dirigible flew over your theatre, Air. Grauman, to herakj the premiere of a movie? * * * 20th-Fox's exploitation arsenal for the $7500 exhibitor's showmanship contest proj motion for "Something For The Birds" inj eludes a record total of 11 special accessories as campaign tools. Among them are: a complete showmanship kit; two free tran-^ scriptions for radio spots and interviews; a full-color plastic stick-on for mounting ot\ lobby doors, store windows, etc.; a post card in full color of star Patricia Neal; free 24i sheets for showmen guaranteeing to post them, and a two-column Edmund Gwenn color-in throw-away mat. Climax of the 16-week drive by Alliance Theatres for showmanship, vending and other extra revenue was the fall meeting Oct. 15 in the Indianapolis' Hotel Severin.. Above, left to right, are Irving Long. Tom Harme son, Matt Welsh, Sam Neall, Dee Long, S. J. Gregory. execu- tive vice president and general manager, William Welsh, president P. J. Dee, J. B. La Plante and Robert George. Page II FILM BULLETIN November 3, 1952 ^liort Subjects THE NEW RKO Radio advertising publi- ' city-exploitation department finalizes as follows under chief Richard Condon: Ben Grimm replaces Barret McCormick as ad- vertising manager; Grimm had been assistant tor several years to McCormick who served in his RKO post for 20 years. Leon Brandt, former Eagle-Lion and Lopert ad-publicity director, becomes exploitation manager, succeeding Terry Turner. Kay Norton, who has handled press agentry and special cam- paigns for several of the film companies, is the new RKO publicity manager. New ap- Dointments in her department include Fred joldberg from Goldwyn, Murray Segal from Paramount and Ruth Cosgrove, formerly with Eagle-Lion. EXHIBITORS' AVOWED desire for more ^ local level handling of their problems with listributors is reflected in Universal's re- dignment of its sales districts. General ales manager Charles J. Feldman, in dis- closing the reallocation, feels that the change 'will enlarge the responsibilities of sales pol- icies in line with the Company's grass roots lolicies" inaugurated two years ago. Former Cleveland branch manager Lester Zucker leads a new district which will include the Cansas City, Omaha, Des Moines, Salt Lake City and Denver branches as part of the Western division, now enlarged to three dis- ricts under Foster M. Blake. The other two 're Barney Rose's west coast group of ex- hange3 and Manie M. Gottlieb's midwest iranches. The Southern division under F. J. \. McCarthy maintains its two districts, and |J. T. Dana's eastern division has three. FINANCIAL : Columbia's net for the year ended June 30, 1952, showed a dip of close io $700,000 from the preceding year. The >rofit after all charges and taxes came to 803,000, compared with $1,498,000 last year, bhe tax bite this year was $760,000, last j ear, $1,170,000. Earnings per share of com- mon stock dropped proportionately more be- cause of the larger number of shares out- jtanding last June, 80c per share on 670,669. n June 1951, there were outstanding 634,311 hares, calculated at $1.81 per. I Republic Pictures profit increased for the |9 weeks ended July 26, as the company re- \ orted a net after taxes of $807,000, com- |ared with $728,000 in the preceding year's |9 weeks. Estimated taxes this year are ;870,000, about $240,000 higher than last ear's period. One of the most precipitous drops in its et was reported by United Paramount The- itres at the three-quarter mark this year. The company slipped to a nine-month net of | >,435,000, after all taxes and including a jipital gains net of $1,465,000. In the previ- Us year's three-quarter mark, UPT reported >,537,000, including a capital gains net of 1,483,000. The third quarter of '52 netted ,927,000, compared with the '51 quarter of | -.688,000. However, almost $2,000,000 of is drop was the difference in capital gains :t, $300,000 this year, $2,297,000 in the '51 larter. WHICH IS THE GENERAL? 2flth-Fox president Spyros P. Skouras looks cap- able of stepping into Gen. James A. Van Fleet's (left) shoes in his visit to the second U. S. Di- vision front in Korea. « UATIONAL ALLIED conventioneers will get a special closed-circuit demonstration of RCA large screen theatre television on the second day of the exhibitors' organization conclave in Chicago, Nov. 17-19, at the Mor- rison Hotel. The demonstration, to be tele- vised into the Terrace Casino of the Mor- rison, will originate from a local TV studio and will consist of a round-table panel dis- cussion of theatre TV. The stars? Nathan L. Halpern, president of Theatre Television Network, and the Allied TV Committee, Trueman Rembusch, Jack Kirsch, Leon R. Back, Wilbur Snaper, John Wolfberg and Nathan Yamins. 25-YEAR MEN Holding the bowls symbolizing their quarter century service with Columbia are (from left) B. C. Marcus, mid-west division manager: Harry E. Weiner, E. Pa.. S. New Jersey division manager, and Luster ff'urtele, Phila. branch head. By BARN EDITORIAL Plan The Work - Work The Plan! With all the valuable advice available to the- atremen from COMPO's National Tax Repeal Campaign Committee, headed by Col. H. A. Cole and Pat McGee, it is surprising how often the Committee's carefully worked out procedures are disregarded by exhibitors. The repeal of the Federal admissions tax is undoubtedly one of the most vital tasks facing the industry ;n gen- eral and exhibitors in particular. To the latter, it could mean the difference in keeping their theatre open, representing the house's margin of profit. As for the distributors, they can't get film rentals from a shuttered theatre. It must be obvious that a half-hearted cam- paign to be rid of the discriminatory tax, or in- dividual action by single exhibitors without re- gard for the COMPO Committee's advice on how best to accomplish this purpose, cannot be effective. More than that, it could even be damaging to the success of the campaign. A case in point was brought up by Robert W. Coyne in a bulletin from the Committee. Citing one of the state reports, he noted that an exhibitor "who thought he was so friendly and so well-acquainted with his Congressman that he could do the job by himself contacted that Congressman in person and received a com- plete pledge for repeal of the 20 per cent ad- mission tax. "Several weeks passed and then another ex- hibitor made contact with that same Congress- man. He found that the Congressman had changed his mind, saying that it couldn't be very important or he would have heard from other exhibitors ..." Thus, instead of helping the repeal cause, the campaign was hurt because the Congressman re- ceived an impression of indifference by exhibi- tors to this matter. Perhaps the damage was not irreparable. A group meeting is being planned for 20 exhibitors to get the Congress- man to go on record in writing, Coyne adds, but the unorganized action was both a waste of val- uable time and a potential monkey wrench in the machinery set up by COMPO. As Bob Coyne puts it: "Let's plan our work — and work our plan!" AF MEN AND THINGS: Columbia's big brass turned out en masse to honor three 2i-year men at a luncheon at "21" in New York. Representing three-quarters of a cen- tury of service with Columbia, the guests of honor were Harry E. Weiner, E. Pa. and S. New Jersey division manager; B. C. Mar- cus, mid-western division manager, and Les- ter Wurtele, Philadelphia branch manager . . . Also at Columbia, Ben Feldscher was upped to branch manager of the Buffalo ex- change, moving over from Philadelphia, where he was city salesman . . . James Rick- etts, acting branch manager of Paramount's (Continued on Page 23) FILM BULLETIN November 3. 1952 Page 1? EXPLOITATION PICTURE THIEF HAS PRIZE GIMMICK & GAM Every once in a while a picture comes along with a special gimmick that lends itself to exploitation. Much rarer is the picture with a couple of special gimmicks. But how truly unusual is the film where each of these gimmicks can be handled sensationally either singly or in com junction, depending on the trade which patronizes the various types of theatres. "The Thief" is that kind of movie. Long before "The Thief" even started shooting, angle No. 1 was hitting the syndicated columns with the startling fact that for the first time since the movies found its voice, a full-length picture was being made deliberately without a single word being spoken — the first "talkless talkie". There would be sound, of course, but no dialogue. It was surpris- ing how the word got around to virtually everyone even vaguely interested in movies before the film was completed, and aroused a tremendous anticipa- tion. Then came the "tow" of the one-two punch. The immortality of a Life Magazine cover and three more pages were devoted to the film generally and to a young TV actress, Rita Gam, particularly, who STUNTS RAY MILLAND RITA GAM that lend themselves to a high-powered campaign on the local level. Nationally, Max Youngstein and his United Artists boxofficers have lined up no less than 17 national promotions, most of them described in the press book with suggestion as to how they can be combined with local promotions. One of them, the Meilink Safe tieup used at the Roxy opening with excellent success, tied in with merchants supplying free — and valuable — prizes to those amateurs who can find the last number of the combination and open the safe display in the lobby. And exhibitors, incidentally, can benefit additionally with their in- dividual campaigns on this facet. Meilink is offer- ing 10 home-size safes to thcatrcmen putting on the most effective Meilink tie-up campaigns. A host of other ideas are presented in the excel- lent press book, including a brilliant array of ads involving principally the two major angles — the "talkless talkie" and the Gam glamor. With these factors as the hub, "The Thief" could be the ex- ploitation picture of the year. appears briefly but strikingly in a cheap rooming- house sequence. Dubbed by Life as "silent and sexy", Miss Gam immediately was propelled into national prominence — and from the stills, and ac- cent on glamor these days, bids fair to play an in- creasing role in the movie business. The amount of comment she has incited, including Louella Parsons' description of her as "the most exotic girl I've seen on the screen," assures her of a huge want-to-see value. These are the two big selling angles, primarily the first of its ability to stimulate word-of-mouth, and the Gam girl for visual effect. Perhaps not quite as saleable, but fundamentally sound, exploi- tation factors are: the casting of Ray Millard in the key role of the spy harried by his conscience, a role that demands as much as he so effectively de- livered for his Academy Award-winning perform- ance in "Lost Weekend"; the engrossing chase formula among natural backgrounds, winding up with a thrilling pursuit up to the Empire State Building tower; the ingenuity of the spire in trans- mitling the secrets, and a raft of stunts and ballvs SECRET I No. 000000" With the puhlic consciousness of atomic seer spies, newspapers should be eager to latch on the variety of stunts to keep "The Thief" in tl News. Candid camera, secret document stuni a search for "The Thief", are only a few of tl ideas suggested in the press book. In India apolis, for instance, the tried and true circula- tion builder of news photos taken around town with heads circled as the newspaper "cap- tives" to identify them- selves and receive awards did a bang-up pro- motion job. Teasers as throwaways, stickers, inserts, etc. will build additional interest. A provocative "lucl number" throwaway (above) should arou interest. A Catch-"The Thief" idea is suitabl also, tied in with the newspapers. SECRET SAFE STUNT Hiding out from the FBI, atomic scientist spy Ray Milland com js face to face uith an enticing tenement denizen, Rita Gam. THE THIEF Perhaps one of the most provocative ideas in years is the Harry M. Popkin production of "The Thief". After 25 years of words with movies, Mr. Popkin hired Clarence Greene and Russell Rouse as scripters and producer-director to do a film feature completely devoid of dialogue, reverting to the movie fundamental of telling a story with pictures. He chose a spy story for the basis of the film, obviously one of the most adaptable for wordless delineation. He named Ray ("Lost Weekend") Milland, than whom there is no more anguished-expressionist, for the key role of the atomic scientist delivering secret information to a spy network. And then, inspirationally, hit upon a young television actress, sexy Rita Gam, for a bit part to give the film an additional exploitation wallop, one on which a bally-minded exhibitor could really hang his hat. The United Artists exploiteers, with an assist from Life Magazine, featuring Miss Gam on the cover, and the picture inside, did the rest. The results were reflected in the early returns in every area where "The Thief" has opened. Without a single spoken word, only the sounds that would normally accompany the action, ringing telephones, patter of feet, drawers closing, etc., and a powerful musical score by Herschel Gilbert, the story details the workings of an atomic scientist, Ray Milland, who is supplying secret formulas to a spy network. When the spy's activity is sus- pected, the film follows the trail, as the FBI closes in, from a Washington office to a cheap rooming house in New York, to the Empire State television tower, where Milland kills his pursuer. Then, badgered by his conscience, Milland, though free to escape, gives himself up to the authorities. EXHIBITORS FORUfTl Opinions Culled from Organization Bulletins PERCENTAGEITIS Allied Caravan of la.-Neb. & Mid-Central You can't argue with the facts. The facts are that business is not setting any records despite the exuberance of the ad-writers for the distributors. The facts are that the June and July Excise Tax returns are more than somewhat behind the same months for last year. In the light of this we are getting n dose of percentageitis that is threatening to become a flood. Now, if production had been making such tremendous pictures, such barn- burners as they claim, such "seeing is be- lieving" better pictures, such "saying it with pictures— not slogans" better pictures, such "no business like 20th-Fox business" better pictures, wouldn't you think that the excise tax would be on the up-trend instead of con- stantly getting lower? It looks to us like somebody doesn't have their finger on the public pulse nearly as well as they'd have us believe. There have been but a few really big grossing pictures out for several months. There have been a few with the potential to do outstanding business and it looks like there are a few coming up. It is somewhat more than ironic that the majority of them have all the way from a "must" percentage to a 70 per cent tag placed on them. This leaves the exhibitor the tasty choice of either "taking his own adjustment" or raising his admission prices. Or you could just pass them. BUT, we need good pictures. Distrib- utors know this. They should also know that in order to have a market for their "mid-weakers" they have got to let us make some money on some of their product, or there will be another outbreak of the theatre closings that hit us last spring— OR IS THIS WHAT THE DISTRIBUTORS WANT? Allied has predicted for the past year that the bait takers on these percentage deals in little towns was going to bear an ill fruit. It looks like the predictions are com- ing true. You can expect nearly everything with the potential of getting some of the big money that you need to make up for some of the losses that you've been taking to have a percentage tag on it or in an un- bearably high flat bracket. It's about time Distribution takes some notice of these small towns.— And then they say there is no need to arbitrate film prices. NOT MUCH!— They want to blame it all on a lack of show- manship. We even have a tendency some- times to place too much of blame there. It is more than that. It is a lot prices. And the most ungodly and unfair are those deals that force percentage up to as high as 70 per cent. It looks to us as though Allied is going to have to get even tougher. FRESH ADS ATO of Iowa-Nebraska While most industries seem to have turned their advertising over to specialists in that game the movie industry stands pat with the same old adjectives, superlatives, litho- graphs, repeated and repeated and repeated mats, sam old standard "grind-'em-out-like- s-uisage" press releases and always toss in a little sex_even on JOHN FELL OFF THE PLOW. Advertising, how much and what kind has always been the bug-a-boo of the small exhibitor. That is each theatre's in- dividual problem. A fresh approach is badly needed in this industry both on a national and local level. The different, the novel, the thing that's out of the ordinary is worth twice as much its cost in standard ads. Notice how QUO VADIS was handled in the state, papers. Just like every other pic- ture. (We're talking about advertising, not selling policy.) There was nothing in the ads other than blown up size to make it look different than any other biggee. And the public has just about been told enough that all pictures are biggees. Look at Kellogg's Corn Flakes ad in the latest issue of LIFE (or is that word taboo) if you want to see a different ad. It's fresh, different and we'll bet a buck you'll look at it for a full minute. This industry, which was the origi- nator of clever advertising, had better sharpen its pencil and get out of the rut. As a horrid example, take Meto's ANGELS IN THE OUTFIELD. Here we have a swell comedy, oodles of baseball, a cute title,. The three sheet has a pseudo-sug- gestive pose by Janet Leigh and a hideously contorted face of Paul Douglas with a small scene of a fight with people in civilian clothes. Where's the suggestion of base- ball? Where's the appeal to comedy? In fact, where's the appeal? But, we don't want to blame it all on the press book makers. Advertising on the local level with the right gimmick is still the thing that gets 'em talking. TAXES DOWN, B. 0. TOO Allied of E. Pa. Federal admission tax returns are about two months behind because as you all know the admission tax is paid the end of the month following the period of the tax. Figures for the first six months of this year show that the 1952 figures are still below 1951 even though there are signs of a summer pick up. You are again, reminded of this nation-wide condition of the box- office to alert you to the importance of close supervision of your expenses, particularly film rentals. LAUGHS NEEDED Allied of E. Pa. A recent Caravan bulletin bears re-print- ting— "WE THINK: We agree with the small town exhibitor who writes that 'There is a crying need for laughter in the theatres'. The people are worried. Some have boys in Korea and nearly all boys face military service. The people are being taxed to death and they can't figure out what it is all about. They want to laugh and forget, at least for a little while. Let Hollywood forget sophis- tication and make pictures with belly laughs. The MA & PA KETTLE pictures were a howling success for the patrons, for Uni-j versal and for the theatres. And Oh foi some of those great comedy teams likJ Marie Dressier and Wallace Beery. Ever Abbott & Costello reissues gross more tharj most of the new product." America wants to laugh. Let Hollywooc do its part in making it laugh — with pic- tures, not antics! If Caravan members agree, let them "tel the salesman". Maybe the word will hi passed on to the Doleful Darryls who mala the pictures. TIP ON OATERS Allied Caravan of la.-Neb. & Mid-Central Who besides me is getting a little tirecl of seeing some land-lubber star, or star (My God, it just dawned on me there is ncl I feminine word for a woman star) on ;| | stuffed hobby-horse, showing only th<|| arched, rocking back-bone of the critter af the hero or heroine chases the villian oil tames the wiley bronc? They're coming! close out there, to making that rocking Dobbin look like the real McCoy, but they're not foolin' many people yet. Either make the stars learn to ride, or avoid the close ups in the chase. Most of the people jusl' snicker. This tip is offered gratis to all pro- 1 ducers who make everything from equiiu operas to super "oatdoor" masterpieces!!' There's a limit to how much you can foo! 'em, Hollywood. OUR COMIC BOOK PUBLIC J Allied Caravan Cinerama is making quite a splash acrosij the pages of both the trade and public pressS Lowell Thomas as Chairman of the Boarcjl of Cinerama is doing a good job getting publicity for it even if it is impractical foijl anyone outside of New York to think about We keep wondering about this guy over it* Indiana who claims he really has 3rd dim mension. Wasn't he supposed to make M showing in November? Personally, for ou$ money, it wouldn't hurt a bit to shoot a fev& more pictures without all those cute, artisti'i photographic effects that puts only thil character who happens to be at the cente of attraction in focus and leaves all thiH backgrounds, or foregrounds, as the cas^ may be, out of focus and "de-emphasized" Know what I mean? I've got Rood lenses but sometimes the artistry of the camaraj man overshadows the scene, story and char acters. How artistic do you need to be John Q. Public knows and cares little abou photographic artistry.. We played a pictunl the other night where everything was ill focus — just like the old box camera set al infinity. It might not have been artistic but we thought for a minute we had 3RT DIMENSION. (There we go telling tech1 nicians how to run their business. Forgiw us please, we just don't appreciate it J guess — besides we are playing to a comi', book, cartoon loving public these days. The;' like it simple.) A helluva way to progr«S|B isn't it. Pag* 22 FILM BULLETIN November 3, 1952 essons of the RKO Crisis HA NEW RKO PEOPLE trnold Grant, chairman of the RKO board of directors, speaks to the press about the company's uture plans. Also seen are Kay Norton, publicity manager; Harry Pimstein, assistant to Grant, nd Richard Condon, director of advertising, publicity and exploitation. mntinued from Page 5) Ithe full realization of it? great potential. V recognize that a volume of unfavorable l)licity directed against us as individuals ||, or can be, damaging to the company, sistent with our original intent of doing which is best for the company, and for reason only, we have submitted our gnations." heir departure did not answer the much- ated question of who had inspired the L Street Journal's onslaught. Henry imill, managing editor, said it was just curiosity got the better of him. Hear- that Stolkin, who had just assumed O's presidency, was a mail-order execu- Mr. Gemmill wondered whether it por- led some kind of link-up between motion ures and mail-order, and instructed his ths to investigate. He had no desire to ck RKO, he protests, only to report s and, he added, all the personalities rerned had been given an opportunity to : statements for publication, ch was the chain of events which ended kin's brief reign. Unhappily, it has left RKO organization in a worse mess than re. A lot of those who have been gloat- over Stolkin's discomfiture are already nning to regret their glee. Were the pany to fail, or fall back into the hands r. Hughes, it would be' a bad advertise- t for the industry and a sad blow to pendent producers. lose who are left to wrestle with the i problem of pulling the company back the black will, we hope, profit by the >ns of the past few weeks. What RKO s more than anything else at this lent is an injection into the board — at :nt overweighted with non-film people progressive, experienced men known ie picture industry and conscious of its. tical operations. Next, the board must find a topflight production executive to»re- vivify the studio and to turn out the kind of quality product needed in today's market. There should be a positive statement of policy on television, not an arm's-length negative leaving everyone in doubt as to whether the exhibitor is going to be sold down the river when his back is turned. And there must be a greater measure of con- sideration— if goodwill is to be earned, and enthusiasm won — of the human element in business affairs. It is difficult, at this moment, not to feel slightly sorry for Air. Stolkin. His own worst enemy is his inexpereince. He remains a stockholder in RKO. So do A. L. Koolish and Ray Ryan. All three of them might gather a certain amount of genuine sym- pathy if, now that they have stepped off the board of directors, they disposed of their stock, and played' no further part in the affairs of the company they unwittingly brought so close to disaster. The present state of RKO was aptly summed up by board chairman Grant last Monday (October 27) in these words: "Having had three hectic weeks with the company, having met its personnel, investi- gated its contracts, financial statements, history and all relevant documents, it is my considered judgment that RKO, while a sick company, need not die from its illness. There is no cancer. There is no heart disease. It is suffering from a multiplicity of ills, from a number of dark blotches on the skin, a little dandruff, and it has got some trouble from sugar in the blood. Basically, however, it has a strong, healthy body. It is in a good financial position, except for the fact that it is currently losing. It has suffered a little mentally — perhaps through not being sure of its position, or perhaps because of its knowledge that its major organ, the heart — the studio in Hollywood ^Itort -Subjects (Continued from Page 19) Denver exchange, was rid of the "acting" part of the title by Paramount Distributing chief A. W. Schwalberg to become a full- fledged branch head . . . Former WB thea- tres district head Max Melincoff has been added to Allied Artists publicity department under John C. Flinn . . . Astor Pictures' up- state New York distribution will be handled by Sylvan Leff, head of the Albany Realart Pictures exchange. That gives Astor presi- dent Bob Savini 31 franchise distributors . . . THE MAN with the first names, we regret to learn, is leaving M-G-M. John Joseph, eastern publicity manager for Metro these past four years, is leaving the company at the end of the year. The soft-spoken box- officer came to Leo's organization from Uni- versal, where he had been national director of advertising and publicity for 12 years. THAT INDUSTRY baby, COMPO, is re- acting very favorably to the intensive diet furnished by the membership drive under the leadership of Trueman Rembusch, Sam Pinanski and Al Lichtman since August. The total has swelled close to the 12,000 mark, based on the report of the three co- chairmen. They called the job done by the COMPO Finance Committee and the vari- ous exhibitor committees and sales person- nel that conducted the drive a "magnificent" one, "an unprecedented example of what can be done by industry organization and co- operation." The trade press also came in for kudos for its cooperation in the membership drive and hte tax repeal campaign. — has not been pumping blood into the sys- tem. Basically, the only point I really want to make is this; the patient will live for many years. When it dies, it will not die from the ailments from which it suffers now." While the supply of blood being pumped into RKO's "heart" certainly hasn't been sufficient in recent months to give the com- pany a robust look, the line-up of features to be released within the next five months, as announced by general sales manager Charles Boasberg last week, has enough red cor- puscles in it to give hope. Exhibitors will receive Goldwyn's "Hans Christian Ander- sen" (Danny Kaye), Disney's "Peter Pan", Gabriel Pascal's "Androcles and the Lion" (Jean Simmons-Victor Mature), Jane Rus- sell in "Montana Belle", "Blackbeard the Pirate" (Linda Darnell-Robert Newton), Rosalind Russell in "Never Wave At A WAC", "Beautiful But Dangerous" (Jean Simmons-Robert Mitchum), "Face to Face" (James Mason) and "The Bystander" (Simmons-Mitchum). There is nothing anemic about product of this caliber; all that is needed is a steadier flow. Well, having survived the almost shatter- ing blows of the past four weeks, it is quite possible that RKO will, indeed, grow into one of the powerful assets of our industry. Let's hope. FILM BULLETIN November 3. 1 9S2 Page 23 Some Raves, Some Pans for Crosby Starrer 'Just For You' "QUOT6S" What the Newspaper Critics Saq Ahnut New Fill l The concensus on Paramount's "Just For You", Technicolor feature starring Bing Crosby and lane Wyman, while ranging from left to right, left little doubt that the company had another top-flight audience picture. The New York critics lavished praises on the film — with two exceptions, the Times' Rosley Crowther, and the Herald Tribune's Otis L. Guernsey, Jr. The latter obviously was disappointed in the film after an expectancy of matching it with "Here Comes the Groom," the last Crosby-Wyman starrer. Crowther blamed the direction and the script for the picture's failings. Of the others, the limitations placed on Crosby's nonchalant humor with the principal gripe. In the Post, Archer Winsten found a "perfect equilibrium between the customary splendor of the movie musical and the eternal entertainment requirement that a story maintain some reality and emotion." He feels the film "has just about everything in gocd proportions, which means that it should be tolerable to the fastidious while winning popularity with the mob." W hile everything is "large, lavish and luscious," says the World Telegram's Alton Cook, and the film is "likely to have the same quick success as its musical herald, 'Zing a Little Zong' ", he decries the dearth of Crosby's casual comedy. "The trouble is," he adds, "when Bing comes along we expect to see him in something special." "A honey of a picture" is the opinion of the Journal American's Rose Pelswick. It's "spun out with charm and humor as well as melody," with the star "at his best". Charging direction and script for the film's failure "to come off entirely," the Times' Crowther, uses such phrases as "rigid and uninspiring" for the staging and pacing, "stiff and conventional" for the script. He credits some musical numbers, but for the most part, he adds, "the ideas are worked out in pretty tedious talk." Even more condemnatory, perhaps, was the Herald Tribune's Guernsey, who blamed the "mediocre musical comedy script." Neither story, nor tunes, nor Crosby's presence, he feels, "lift 'Just For You' up to the mark of lively amusement." He des- cribes it as having the "air of a summer musical which has wandered upon the movie scene too late for its own good and with too little equipment to sustain it in the autumn season." HURRICANE SMITH' PARAMOUNT "Pretentious affair . . . Ambitious but in- consequential action . . . keyed to the very juvenile trade."— Thirer, N. Y. Post. "Moderate program show in which a great deal of muscular action occurs exactly as you expect it."— Crowther, N. Y. Times. "A field day for leering oglers watching Yvonne DeCarlo stroll around in low-cut gowns . . . Jumbled story . . . The Palace vaudeville comes as a welcome contrast." — Cook, N. Y. World-Telegram & Sun. Page 24 FILM BULLETIN November 3, 1952 "Only occasionally is the usual routine interrupted by some startling action . . . Mutiny shown herein is one of the tamest coups ever put on film . . . Fair program filler." — Pihodna, N. Y. Herald Tribune. 'LURE OF THE WILDERNESS' 20th CENTURY-FOX "Conventional story of love and murder under picturesque conditions . . . What there is to be seen of the swamp steals the show from an otherwise pedestrian movie." — Guernsey, N. Y. Herald Tribune. "With all the chill menace of the swamp- lands that Fox has got into this film, it hasn't got into it a story or acting that carries any conviction at all." — Crowther, N. Y. Times. "Plenty of wilderness . . . but no discern- able lure ... As an outdoor adventure film, (it) fulfills the primary requirements . . . Violent action . . . Arouses the audience to participation." — Winsten, N. Y. Post. "Naive excursion into a story that has fascinated many a moviegoer in a multitude of variations . . . Romantic trifle emerges . . . Neither wilderness nor picture lives up to the lure of the title." — Cook, N. Y. World-Telegram & Sun. "Colorful shots of the swamp and its wild life provide an unusual background . . . Script works up a good measure of sus- pense."— Pelswick, N. Y. Journal American. NIGHT WITHOUT SLEEP' 20th CENTURY-FOX "Psychological twister that somehow fails to stoke up the interest necessary to sustain the spectator throughout its long search for the answer ... So ponderously devious that it has outsmarted itself." — Winsten, N. Y. Post. "Without spark, without inspiration, with- out intelligence and without suspense, this bleak exercise in morbid mooning moves slowly and barely, if at all." — Crowther, N. Y. Times. "The drunken fog hanging over the pic- ture is so dense that sober members of the audience may share the dazed bewilderment of their alcoholic friend." — Cook, N. Y. World-Telegram & Sun. "Slick cast and an unusual story . . . pro- vides a good bit of tension." — Pelswick, N. Y. Journal American. "Fair-to-middling thriller of the time- bomb suspense variety . . . Has the right, unpretentious touch through most of its nervy footage and it holds up fairly well." — Guernsey, N. Y. Herald Tribune. YOU FOR ME' METRO-GOLDWYN-MAYER "Delightful bit of tomfoolery . . . Plot could have seemed silly if it had not been backed up by such clever acting and almost continuously sharp dialogue." — P. V. B., N. Y. Herald Tribune. "Neither romantic nor humorous . . . Empty and listless tale." — A. O. G., N. I Times. "Hollywood films frequently haggle til topic, always with the same result. Tf argument this time has even less point th I. usual . . . fGig Young's) stolid mood seemil to be matched by the response of the op(jl ing-day audience." — Cook, N. Y. Worj Telegram & Sun. "There is a strong feeling in this depa ment that (Peter) Lawford is capable < much better things. Still, he does adej these little bits of thistledown better th anvone else could." — Winsten, N .Y. Pel BEWARE, MY LOVELY' RKO RADIO "A picture of mounting tension but ccj sidering the number of stories, books a] movies dealing with this psychiatric then] it blazes no new trails." — Beckley, N. | Herald Tribune. "Not enough latitude or variety to kel the suspense from becoming repetitive . I Offbeat enterprise, not only in theme H in a climax which will prove unsatisfactc|i for many a moviegoer." — Masters, N. I News. "Clearly contrived and designed for J other positive purpose than to send shiv<| chasing up and down the spine ... I success will depend entirely upon how si] ceptible you are to illogic and little tricks i looming shadows and clutching hands.Y Crowther, N. Y. Times. SON OF PALEFACE PARAMOUNT "Wild farce that comes so close to fl style of those old 'Road to ■ " pictii' of Mr. Hope, Bing Crosby and Dorot, Lamour . . . Mr. Hope's comment on \j Let's see 'em beat this on television!' — taj the whole show." — Crowther, N. Y. Tim, "Barrel of fun ... as joyfully unpredil able as a stroll through an amusement p;j: fun house . . . Every bit as good as 'If Paleface' was, and it should laugh 1 customers dizzy." — Guernsey, N. Y. HerJ Tribune. "Another hilarious hit . . . Efforts of 9 Hope and his cohorts this time are 1 strenuous that the perspiration occasiona'l drips soggily on the funny business. M< often, however, the picture is sweeping audience up in gales of mirth. The hunf I is impudent, nonsensical and infectious. 'rJl Cook, N. Y. World-Telegram & Sun. "If you howle dat . . . 'The Paleface', flj till you see its Technicolored follow-up .1 Hope is tops, and the piece fashioned arou him is nothing short of hilarious . . . N< once lets down." — Pelswick, N. Y. Jour American. "Collection of ingenious insanities . . . stage revue with comic sketches as good most of the bits and pieces of 'Son of Ps face' would be a wow." — Pollock, N. Compass. RODUCTIOn R€L€fiS€ R€CORD COLUMBIA 951-52 Features Serials Completed Completed 168 3) In Production Production (3) (0) RELEASE CHART — 1951-52 — I PRODUCTION TITLE — Running Time fve Song IT) d Beret. The IT) OMPLETEO (fair in Trinidad 198) , I Ashore IT) Cast ..Wyman-Milland Crawford-Derek Ladd-Andrews Rel. No. Rev Hayworth-Ford Rooney-Lawrence nbush at Tomahawk Gap IT) D»'=--1-<^Hiak >ache Country 621 Autry-Buttram ... signment — Paris (85) -Andrews- 1 oren rbed Wire 161) Autry-Buttram _ avt Warrior IT) 173) Jon Hall gand, The IT) 194) Dexter-Lawrence 9-52 7-28 Wilde-Wright Louis Hayward Simmons- Howard McGuire-Moore Montgomery- Booth March-Dunnock Colleano-Franz Williams-Reynolds Cummings-Hale Fleming-Hayden Scott-Jarman Boyer-Driscoll Starretf-Burnett Kiepura-Eggerth Montgomery- Long Montgomery- Stevens Douglas-Vitale i lit or n la Conquest IT) 179) eta n Pirate IT) (85) Bouded Yellow, The 189) ■ngo Bill tipple Creek IT) 178) f ath Of A Salesman HID -ty Doien, The ' efighters, Th e st Time, The 189) 1)00 Finaers of Dr T., The Hayes-Healy fur Foster, The 1103) Harrison-Palmer den Hawk IT) 183) ■ngman's Knot (T) ■ ppy Time, The (94) |iwk of Wild River, The 154' » r Wonderful Lie _ [jian Uprising ISC) (75) ... Ick McCall, Desperado IT) Iggler, The . Inction City (54) _.. Starrett-Burnette Ingle Safari Weissmuller-Greene n From Amarillo 154) Starrett-Barnett [d From Broken Gun 154) _ Starrett-Burnette nga. The Wild Stallioni65) Reissue Stone-Hudson ramie Mountains 154) Starrett-Burnett 1st of the Comanches (T) Crawford-Hale _ (st Train From Bombay 172) Hall l-Ferraday irrying Kind, Ihe i»3) Holliday-Harrison hmber of the Wedding, The Waters-Harris "tana Territory IT) 144) _ McAllister-Hendrix Ithfinder, The IT) Montgomery-Carter j l a 180) Young-Smith nee of Pirates IT) Derek-Rush j-ple Heart Diary (73) ... F. Lanaford-T. Romano inbow Round My Shoulder IT) 178) Laine-Daniels Id Snow (75) Madison-Mala Hers ot the Whistling Pines Autry-White jugh, Tough West (54) Starrett-Burnette home — Dance of the Seven Veils (T) Hayworth-Granger I per, The (87) Menjou-Frani |>rm Over Tibet (87) ... Reagon-Douglas jnd Off ISC) 183) . Mickey Rooney n Tall Men IT) (97) Lancaster-Lawrence get — Hong Kong Denning-Loo lef of Damascus, The IT) (78) Henreid-Sutton rican, The ITI 142) Documentary ijdoo Tiger 147) Weissmuller-Burckhart fcgon Team (41) Autry-Buttram 5-52 10-52 7-52 8-25 4-52 7-52 7- 52 8- 52 8-52 431 5-19 4-30 7-28 10-8 7-52 2-52 423 4-30 12-31 2-52 424 2-11 10-52 I 1-52 2-52 1-52 4-30 417 7-52 484 4-52 8-52 2-52 4-52 8-52 8-52 4-52 425 8-1 5-5 4-52 4-30 4-52 5-19 12-51 9-52 .7-52 421 4- 52 5- 52 7-52 5-52 12-51 487 434 428 413 hlk East on Beacon 198) |r Cry (C) ._ Ink in InrWChina A (A7> |e Canadian Rockies 158) 1 ange Fascination (80) Murphy-Gilmore _ Montgomery- Long Archer-Dick Autry-Buttram _Moore-Haas 4-52 Special 11-52 9-52 _ 4-52 11-52 427 426 435 5-5 10-6 •51-52 LIPPERT Completed (40) In Production (0) PRODUCTION TITLE — Running Time I Woman IMPLETED 1 stain Kidd (Reissue) . \ Men Only |V3| Jnrtbler and the Lady •sat White Hunter (Reissue) ....... • Igate 187) I Get You _. Jnny the Giant Killer IT) 4oJe. The 174) In Shark 179) _. _ I Walkie-Talkie _ J law Women (C) (75) I ite Submarine 149) 1 tland Yard Inspector . | ret People _ en Face. The 171) |>nohold '73) Texan. The _ ___ RELEASE CHART — 1951-52 — Cast Payton-Wright Rel. No. tiba. the Tiger-Man 143) ey of the Eagles 183) Scott-laughton P. Henreio Dane Clark Peck-Preston Hayden-Leslie George Raft .Animation Feature Cameron-Romero Raft-Hart Tracy-Sawyer ..Windsor-Rober Special Cast Romero-Maxwell -Cortesa-A. Hepburn Henreid-Scott Lake-Sco»* _Bridges-Cobb _Special Cast .._Warner-Gray gs of Danger 172) Z. Scott 12-12 1- 52 5102 _ 12-24 5204 _ 12—12 . 9-5 SII3_- _ 1-14 5204 . 5205 . 7-4 5112. 5-23 51 1 1 .. I 1-28 5203... _ 4-2 5105 7- 18 _ 5M0 ..... 1 0— 3 1 5202 8- 25 51 14 ... 4-14 .5109 2- 52 S'n7 1-23 5207 . 11- 14 .5201 4-25 51 14 _ 4-1 5104 Rev. 1-28 In the Release Chart, "Rel." is the National Release Date. "No." is the release Number. "Rev." is the issue in which the Review appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1951-52 programs unless otherwise noted. Listing of color pictures follows immediately after title: (T) Technicolor, (C) Cinecolor, (SO Supercinecolor, (TR) Trucolor, (AC) Ans- color, (NO Natural Color, IWCI WarnerColor. METRO-COLDWYN - MAYER 1951-52 Features Completed (106) In Production (7) IN PRODUCTION fllLc — Running Time Band Wagon. The (T) Clown. The Dream Wife Give A Girl A Break ITI Invitation to the Dance IT) Main Street to Broadway Remains To Be Seen Young Bess (Tl COMPLETED RELEASE CHART — 1951-52 — Cast Astaire-Charisse Skelton-Greer Grant-Kerr Rel No Rev. Bankhead-deHavilland Kelly-Youskevitch Above and Beyond 1123) Apache War Smoke (47) Allyson-Johnson Sommons-Granger .Taylor-Parker Roland-Horton Because You're Mine IT) (103) _ Lanza-Whitmore Belle of New York IT) 1811 Astaire-Vera-EII*n Carbine Williams 193) Stewart-Hagen Code 2 . Meeker-Forrest Connie .lnhntnn-1 citjh . Gassman-Sullivan Williams-Lamas Keel-Greer Kelly-Angeli 10-52 305 10-6 10-52 304 9-8 3-52 223 2-25 5-52 2jI 4-21 Cry of the Hunted Dangerous When Wet Desperate Search. The Devil Makes Three, The (901 Everything I Have Is Yours IT) (92) Champion-O Keefe Fearless Fagan 179) _ leioh-Carpenter Girl In White. The 193) Allyson-Kennedy Glory Alley 179) . Caron-Meeker Girl Who Had Everything, The Taylor-Lamas Holiday for Sinners 172) ... . Young-Rule Hour of Thirteen, The 179) Lawford-Addams I Love Melvin IT) Ivanhoe IT) 1104) Jeopardy Julius Caesar Lili (T) O'Connor-Reynolds R. Taylor-E. Taylor _ Stanwyck-Sullivan Brando-Mason Caron-Ferrer Grayson-Skelton 9-52 302 8-25 10-52 304 10-20 8-52 241 7-14 5-12 232 4-52 234 7-52 239 4730 1 1-52 309 10-20 8-52 4-30 Lovely to Look At 1 102) Merry Widow, The IT) (105) _ Turner-Lanas My Man and I 199) Million Dollar Mermaid IT) ... Naked Spur. The IT) Never Let Me Go Pat and Mike 193) ... _ Plymouth Adventure IT) (105) Prisoner of Zenda (T) 1101) ... Ouo Vadis IT) (148) Rogue's March Scaramouche IT) 1115) See How They Run Singin1 In The Rain IT) 1 1031 Skirts Ahoy (Tl 1 109) Sky Full of Moon 175) Small Town Girl IT) Sombrero Steak for Connie Story of Three Loves (T) Talk About a Stranger 145) Time Bomb 177) Tribute To A Bad Man Vaquero [Ans) Vicki IT) Wahington Story 182) When in Rome 1781 You For Me [78) v Man With Ideas 1841 Winters-Montalban Williams-Mature Stewart Ryan . Gable-Tierney _ Tracy-Hepburn Tracy-Tierney Granger-Kerr Taylor-Kerr Lansford-Rule S. Grainger-E. Parker Dandridge-Horton _ Kelly-O'Connor William-Blaine Carpenter- Sterling . _J. Powell-Grainger 7-52 9-52 9-52 12-52 6-52 I 1-52 I 1-52 4752 237 301 303 312 235 310 308 218 234 4-14 10- 20 11- 19 4- 52 5- 52 12-52 227 233 4-21 Johnson-Leigh All-Star Cast Murphy-Davis 4-52 228 3-10 Ford-Vernon Turner-Dougles Gardner-R. Taylor Garson-Pidgeon Johnson-Neal Johnson-Douglas Lawford-Greer Ford Rom- in 7- 52 4- 52 8- 52 5- 52 229 240 230 7- 14 3-10 8- 11 3- 1 0 MONOGRAM - ALLIED ARTISTS 1951-52 Features Westerns Completed (53) Completed (18) In Production (0) In Production (0) IN PRODUCTION TITLE — Running Time COMPLETED African Treasure Arctic Flight _ Army Bound Battle Zone _ Canyon Ambush _ Dead Man's Trail Desert Pursuit Disc Jockey 177) Elephant Stampede 171) Fargo Flat Top IC) Feudin' Fools Gold Fever Gunman. The Here Comes the Marines Hiawatha IC) _ - _ Highwayman, The (C) 183) Jungle Girl Kansas Pacific (C) Kansas Territory (73) Lawless Cowboys 158) Man from Black Hills (78) ... RELEASE CHART — 1951-52 - Cast Rel. No. Rev Sheffield-Luei -Morris-Albright Clements _Hodiak-Christian .. Brown-Coates .. Brown-Ellison _ Morris-Caruso Simms-O' Shea Sheffield . Elliot _ Hayden-Carlson . Gorcey-Hall .... ..Morgan-Calvert Wilson-Knight Gorcey-Hall Edwards-Dugay Hendrix-Coburn ...Sheffield-Sharpe Hayden-Miller -Elliott-Stewart . Wilson-Knight _ Brown-Ellison 12-52 5-4 1 1-7 3-52 . 24 5225. 5155. 5242. FILM BULLETIN November 3, 1952 Page 25 Mexican Silver Wilson-Clyde Montana Incident _ ...Wilson-Stewart _ Night Raiders Wilson-Knight Northwest Territory It I) Rodeo IC) (71) _ . 8-17 .. 2-52.. rant-Chinook 12—9.. _ iane Nigh 3-t... Rose Bowl Story, The (C) Thompson-Miles ... 9-24.. Sea Tiger 7-52... Son ef Belle Starr Larsen-Castle - -- No Holds Barred Bowery Boys 12-52 Tangier Incident Brent-Aldon Texas City Brown-Ellison 12-30 Timberwolf Curwood 12-28 Torpedo Alley Stevens-Malone 11-52 Trail Dust Albright-Winters 12-31 Vicious Years, The (7?) Cook-Moore 2-18 Waco 1681 .......Elliott 2-52 Wagons West ICI (70) Cameron 4-2? Wild-Stallion (C) Johnson-Hyer 4-27 Wyoming Roundup Wilson-Coates 11-9. Squared Circle, The Kirkwood-Gleason Yukon Gold Grant-Hyer 8-52 5253. 5251- .5104. 5204.. 5218 ... 5214 5222 23 5107 5224 5203 5205 5254 4-30 5221 PARAMOUNT Rel. 4- 52 5- 52 6- 52 12-52 No. 5119 5117 5120 Rev. 3-10 3-10 10-20 6-16 4-7 1-14 1951-52 Features Completed (75) In Production (4) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Forever Female Rogers- Holden Here Comes the Girls (T) Hope-Martin Houdini (T) Curtis-Leigh Little Boy Lost Crosby-Dauphin COMPLETED Aaron Slick from Punkin Creek(T) (95) Shore-Young Anything Can Happen (107) Ferrer-Hunter Atomic City, The 1851 Barry-Clarke Blazing Forest IT) (91) Payne-Moorhead Botany Bay (T) Ladd-Mason _ Caribbean (T) (95) - Payne-Dahl 9-52 5202 . Carrie (118) Olivier-Jones 8-52 5123 . Come Back Little Sheba Lancaster-Booth Denver & Rio Grande IT) (89) O'Brien-Hayden 4-52 5115 Encore (901 ...Maugham Storiei 7-52 5122 Greatest Show On Earth IT) (151) Stewart-Hutton 7-52 512? Green Gold of Nevada (T) Payne-Morrow Hurricane Smith IT) DeCarlo-lreland 10-52 5204.. Jumping Jacks (98) Martin-Lewis 7-52 5121. Jamaica IT) Milland-Dahl Just For You (T) (104) Crosby-Wyman 9-52 5201 Los Alamos _ Barry-Carke _ Military Policeman . . Hope-Maxwell ._ Mv Son John (122) Hayes-Heflin 4-52 5114 Pleasure Island (T) Genn-Taylor Pony Express (T) Heston-Flemming Rage of the Vulture, The Ladd-Kerr Red Mountain IT| (84) Ladd-Kennedy 5-52 Road to Bali IT) _ Hope-Crosby-Lamour 12-52 Rock Grayson's Women (T) Payne-Sterling Roman Holiday Peck-Hepburn Savage, The IT) (95) Heston-Hanson Scared Stiff Martin-Lewis Shane (T) Ladd-Arthur Somebody Loves Me (T) (97) Hutton-Meeker Something To Live For (90) Fontaine-Milland Son of Paleface (T| Hope-Russell Stalag 17 Holden-Taylor Stars Are Singing, The (T) Alberghetti-Clooney Stooge. The Martin-Lewis 11-52 Turning Point, The (851 Holden-Smith 10-52 . 5205 Tropic Zone (T) Reagan-Fleming War of the Worlds (Tl Barry-Robinson Desperatoes Outpost IS4) Allen Fabulous Senorita. The (80) Eitelita-Clarke T Fair Wind to Java (Tr) MacMurray-Ralston Flight from Fury Edwards-Clark Gobs and Gals Downs-Hutton Hoodlum Empire (98) Donlevy-Trevor I Dream of Jeanie (Tr) (90) Middleton-Shirley . Lady Wants Mink, The (Tr) Hussey-OKeefe Last Musketeer, The (47) Allen-Kay Leadville Gunslinger 154) .._ Lane-Riley Oklahoma Annie IC) (90) _ Canova-Russell Old Oklahoma Plains 140) Allen-Kay Overland Trail Riders Allen-Hall Ouiet Man, The (T) (129) Wayne-O'Hara Ranqers of the Golden Sage Chapin-Janssen Ride the Man Down (Tr) _ Donlevy-Tucker South Pacific Trail Allen-Estelita Sun Shines Bright Winninger-Whelan Sweetheart Time (Tr) _.. Middleton-Cristy ... Then Tou'll Remember Me Middleton-Shirley Thunderbirds Derek-Barrymore Thundering Caravans (54) Lane-Waller Tropical Heat Wave Estelita-Hutton Toughest Man in Arizona (Tr) Monroe-Leslie WAC From Walla Walla Canova-Dunne Wild Horse Ambush Chapin-Jansen Woman of the North Country (90) Cameron-Hussey Wyoming Saddle Pals Chapin-Janssen 6-14 8-11 4-21 5113 11-52 5204 10-52 3-52 8-52 5203 5105 5124 1 0-4 9-8 2-1 1 7-14 10-4 M RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. COMPLETED Battles of Chief Pontiac (75) Barker-Wescott 11-52 Bela Lugosi Meets a Brooklyn Gorilla 174) Luskosi-Mitchell 10-52 Breakdown (76) Richards-Bishop ... 9-52 Cairo Road 185) Harvey-Portman 10-52 Cuban Pete (611 (Reissue) Arnez-Smith 11-52 Fame & the Devil (80) Auer-Buford 11-52 Geisha Girl (67) Hyer-Andrews 8-52 House of Darkness (63) Harvey-Shaw 10-52 Inside Job (65) (Reissue) Curtis-Rutherford 12-52. Kid Monk Baroni (80) Cabot-Knox 8-52 Lucy Goes Wild (90) (Reissue) Ball-Brent '. 11-52 Maytime in Mayfair (T) (74) Wilding-Nagle 8-52 Mug Town (601 (Reissue) Dead End Kids 12-52 My Death is a Mockery (67) ... D. Huston-Byron 12-52 Summer Storm (92) (Reissue) Darnell-Sanders 9-52 Wall of Death 1821 Harvey-Shaw 9-52 No. Rev. REPUBLIC 1951-52 Features Serials Westerns Completed (21) Completed ( 0) Completed (14) In Production In Production In Production (0) (0) (1) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast South of San Antone ..Cameron-Whelan COMPLETED Bal Tabarin (90) Lawrence-Ching 6-1 . 512? Slack Hills Ambush Lane-Waller Border Saddlemates Allen-Kay 4-15 5143 Rel. No. Rev. 10-8 4-1. _____ .... 5-52 4-15 4-1 5 3-52 3-52 3-24 7-25 10-20 7-20 1 0-1 5174 5125 5128 .5105 5106.. 7-1 5142 ~ 5171 5122 4- 5144 5108 ' 5- 5173 10-10 4-15 5069 9-5 5107 RKO RADIO 1951-52 Features Completed (74) In Production (2 RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. No. Re' Split Second McNally-Smith Tarzan and the She Devil Barker-MacKenzie COMPLETED Allegheny Uprising (81) (Re-issue) Trevor-Wayne 9-52 Annie Oakley |9I) (Re-issue) Stanwyck-Foster 9-52 Androcles and The Lion Simmons-Young Beautiful But Dangerous Simmons-Mitchum Beware, My Lovely (77) Lupino-Ryan 9-52 Big Sky, The 1140) Douglas-Martin 8-52 Blackbeard the Pirate (T) Darnell-Newton Body Snatcher I Re-issue) Karloff 4-52 Break-Up ...Simmons-Mature Captive Woman Clarke-Field Clash By Night (105) Douglas-Stanwyck 6-52 Desert Passage (60) ...Holt-Dixon 5-52 ... Difference, The „.., O'Brien-Lovejoy Faithful City 186) J. Smith-Ramati 5-52 Half-Breed, The (T) (81) Young-Carter 5-52 Hands Across the Sea Rennie-Peters Hans Christian Andersen (T) Kaye-Granger I Walked With a Zombie (Re-issue) Conway 4-S2 Jet Pilot IT) 1118) _ Wayne-Leigh King Kong (Re-issue) Cabot 6-52 Leopard Man, The (Re-issue) O'Keefe 6-52 Look Who's Laughing (7?) - Ball-McGee 8-52 Lusty Men, The (113) ...Hayward-Mitchum 10-52 Macao 181) Russell-Mitchum 4-52 Man Who Fooled Hitler Werner Murder, The Mitchum-Simmons Narrow Margin (71) McGraw-Windsor 5-52 Never Wave At A Wac Russell-Wilson One Minute to Zero (105) Mitchum-Tallman 8-52 Pace That Thrills, The (63) Williams-Balenda 3-52 Rancho Notorious IT) (8?) Dietrich-Kennedy 3-52 Rashomon (86) Japanese 3-52 Road Agent 160) Holt-Martin 3-52 Somethinq for the Birds Neal-Mature Story of Robin Hood (T) (84) Todd-Rice 7-52 Sudden Fear (110) Crawford-Palance 8-52 Target 160) McGraw-White 4-52 Tarzan's Savaqe Fury 180) Barker-Hart 4-52 Too Many Girls (85) Ball-Arnaz 8-52 Under the Red Sea (67) Hass-Berl Oct Whispering Smith vs. Scotland Yd. (77) Carlson-Gynt 3-52 Wild Heart, The (T) (82) Jennifer Jones 7-52 384 383 302 361 271 22? 230 303 228 272 26? 270 381 304 ... 224 226 301 213 221 268 223 391 362 227 225 382 305 222 274 20th CENTURY-FOX 1951-52 Features Completed (74) In Production RELEASE CHART — 1951-52 — IN PRODUCTION Baptism of Fire Mature-Moore Call Me Madam (T) Merman-O'Connor Man On A Tightrope March-Moore - Nearer My God to Thee Webb-Stanwyck President's Lady, The Hayward-Heston Sailor of the King Hunter-Rennie - COMPLETED Belles On Their Toes (T) (89) Crain-Loy 5-52 213 Bloodhounds of Broadway (T) (90) Gaynor-Brady 1 1-52 236 David and Bethsheba IT) (116) Peck-Hayward 2-52 203 Deadline U.S.A. (87) Bogart-Barrymore 5-52 215 Diplomatic Courier (97) Power-Neal 7-52 222 ... Don't Bother To Knock (76) Widmark-Monroe 9-52 Down Among the Sheltering Palms(T) Lundigan-Greer Dream Boat (83) - Webb-Francis Farmer Takes A Wife. The (T) „ Grable-Robertson 5 Fingers 1108) ...Mason-Rennie 3-52 Girl Next Door. The (T) Haver-Dailey _ Gobi Outpost IT) Widmark-Taylor Golden Girl (T) (108) Day-Gaynor 11-5 36 Japanese War Bride (91) Power-Blyth 12-51 142. Kangaroo (T) 184) O'Hara-Lawford . 4-52 Lady in the Iron Mask (NO (78) L. Hayward-Medina 7-52. Leave Her to Heaven (110) (Reissue) Tierney- Wilde _ 4-52 Les Miserable* (104) Rennie-Paget 8-52 Lure of the Wilderness (T) (92) _ Peters-Hunter - 9-52 Lydia Bailey IT) [891 Robertson-Francis 4-52 Monkey Business (97) Grant-Rogers 8-52 223 208 218 255 ... 225 227 219 10-52 230 Page 26 FILM BULLETIN November 3, 1952 235 2U 228 237 4y Couiin Rachel . deHevillend-Burton 4y Pal Gus _ Widmark-Dru 12-52 4y Wife's lot Fritnd (101) _ _ laiter-Carey 10—52 211 liagara IT) Cotten-Peters light Without Sleep 177) Darnell-Merril I I-S2 lumber, The Winters-Widmerk , Outcasts of Poker Flat, The 1811 Baxter-Robertson 5-52 |>. Henry's Full Houie (91) Crain-Grenger 9-52 ickup on South Street Widmark-Peters ony Soldier IT) 182) Power-Edwards 12-52 owder River _ Calhoun-Calvet | ride ot St. Louis 193) . _ . Daiiey-Dru 4-52 2M ains Came. The 195) (Reissue) Power-Loy 6-52 256 o>e of Cimarron (NO 172) Buetel-Powers 4-52 212 I ilver Whip, The .Calhoun-Robertson ingle Handed Hunter-Rennie rows of Kilimanjaro, The IT) (114) Peck-Hayward 10-52 omething For The Birds 181) Mature-Neal 10-52 tars and Stripes Forever IT) Webb-Paget 12-52 reel Trap 185) _ ... Cotton-Wright 11-52 hief of Venice (91) . . Montez-Christian 12-52 reasure of the Golden Condor (T) Wilde-Smith anight We Sing (T) Pinza-Peters iva Zapata 1 1 1 3 1 M. brando-J. Peters 3-52 206 j'ait Til The Sun Shines Nellie ( T ) I 1 08 1 Peters-Wayne 7-52 220 /ay of a Gaucho IT) 191) _ Tiemy-Calhoun 9-52 229 /e're Not Married (85) Wayne-Rogers . 7-52 221 /hat Price Glory IT) (III) Cagney-Dailey 8-52 226 run A Song m My Heart |D (117) Hay ward-Calhoun 4-52 210 6-16 238 2-25 5-19 10-20 7-14 7-28 2-2d 119) Francis Goes to West Point Golden Horde The IT) 1134) Has Anybody Seen My Gal IT) Horitoni West IT) III) It Grows On Irees Ivory Hunter |TI 1951 Just Across the Street 79) Lady Pays Oft. Ihe 110) Law and Order IT) Lone Hand IT) cost in Aiasko Ma and Pa Kettle at the Fair 187) Ma and r*a Kettie in Waikiki Ma and 'a Kettie Go To Paris Man's Country Meet Me at the Fair Mississippi Gambler [T) No Room tor ine broom Raiders. The IT) (82) Red Ball bxpress Sally and Saint Anne Scarlet Angel IT) 181) Seminole (T) Son of AM Baba (T) 175) 182) O'Connor-Nelson Bly trie-Ferrer Colburn-Laurla ... Ryan-Adams Dunnc-Jegger Steel-Sheridan Sheridan-Lund Darnell. McNeil/ Reegan-Maione McCrea-Hele Abbott Costello Main K lbride Mam Kilbride Main-Kilbride Murphy-Drake DaileyLynn Power-Laurie Curtis- Laurie Conte-Lindfors Chander-CaPot Blyth-Gwenn DeCarlo-Hudson Hudson-Hale Curtis-Laurie O Hara-Nicol Cotten WVters The Redhead From Wyoming Untamed Frontier, The IT) Willie and Joe Back at the Front 1 87 1 Ewell-Lembec k World In His Arms. The IT) . PeckBlyth Yankee Buccaneer IT) Chandler-Brady July Oct 134 July 11% 6-30 Oct 235 10-4 Nov 303 June June 221 223 6-2 4-2 Nov 202 Aug Apr May Nov Mar Jl'l" June Sept Sept. Oct Aug Oct 229 216 7-28 3-24 7 C 301 hi 222 231 230 233 227 234 5-5 6-16 8-25 10-6 UNITED ARTISTS WARNER BROTHERS 951-52 Features Completed (64) In Production (I) 1951-52 Features Completed (58) In Production (2) 4 PRODUCTION TITLE — Running Time elba OMPLETED ctors and Sin 194) ifrican Queen IT) 1 104) ibes in Bagdad indlts of Corsica, The jffalo Bill in Tomahawk Territory 164) aptive City 191) _ onfidence Girl 181) RELEASE CHART — 1951-52 — Cast Munsel-Morley Robinson-Hunt Bogart-Hepburn Goddard-Lee Greene-Raymond Moore-Andrews Forsythe-Hall Rel. Rev. 7-18 6-2 3-21 H-R 1-14 ry the Beloved Country counter khter, The (78) nishing School yal Journey 150) Redgrave- Lock wood Chaplin-Bloom 10-23 Chap Katherine Hepburn .. Ferrer- Marc hand Stevens-Lansbury 3-14 KB Richardson-Kerima 7-11 Lop Claudette Colbert _ .Evans-Welch . 8-12 Graves-King 5-1 S Wayne-Dru 6-6 Hawks Cooper-Hayes Rios-Moreno 3-24 5-19 arlet Spear, The (An) . Benny, the Dip 180) range World 180) 'ords Against the Mast lie of Five Women, A 186) ief, The (85) m Brown's Schooldays 193) llsa (88) _ |'o Gals and a Guy (70) jitamed Women (70) pen I Grow Up (90) fitness, The Swinburne-Shields McCrea-Keyes ..Color Feature Archer-Hyer Foch-Haymes Hauff-Schneider Payne-Reed _ . Bonar Colleano Milland-Gam Davies-Newton 9-25 2-15 Ren 8-25 3-15 8-24 3-28 3-7 10-10 .11-2 Hayward-Preston 6-6 . Paige-Alda _ 8-31 Jewel Productions 9-52 Preston-Scott 4-20 Bergman-Brando Dan Gehn Pop Wan" 7-16 4-7 10-4 UNIVERSAL 951-52 Features Completed (86) In Production (5! RELEASE CHART — 1951-52 — I PRODUCTION TITLE — Running Time ime of Timberline IT) pn From the Alamo ._ _ ght Flowers >ux Uprising (Tl _ lander Bay IT) OMPLETED I'bott and Costello Go to Mars liainst All Flags IT) wless Brood, The (T) jftle of Apache P»ss, The IT) 185) :ause of You 195) . Wd of the River (T) (91) ck Castle. The . no Goes To College (79) hnco Buster ID 180) _ V Beneath the Sea IT) llumn South (T) _ el at Silver Creek, The (T) _ jsert Legion IT) I sh "and Fury 183) incis Covers the Big Town Cast Sheridan-Hayden Ford-Adams ...Hardy-Freeman Chandler-Domergue .. Stewart-Dru Rel. No. Rev. Abbott & Costello Flynn-O'Hara Hudson-Adams Chandler-Lund Young-Chandler _ -Stewart-Kennedy McNally-Greene Perreau-Gwenn _ Lund-Brady Ryan-Powers _. Murphy-Evans . Murphy-Domergue Ladd-Dahl * Curtis-Sterling Donald O'Connor Apr 217 .... 4-7 Nov 302 10-20 Feb 212 1-28 Oct Sept 232 8-25 May 219 4-21 Aug 228— _ Mar 214 RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Alma Mater His Majesty O'Keefe IT) COMPLETED Abbott and Costello Meet Capt. Kid About Face IT) (94) _ April In Paris IT) Big Jim McLain 190) Big Trees. The IT) 189) Cast Wayne-Reed Lancaster-Rice Rel. Re. Bugles in the Afternoon IT) 185) By the Light of the Silvery Moon IT) Carson City IWC) 187) Crimson Pirate, The (T) 1104) Danger Forward Desert Song, The (T) I Confess _ Iron Mistress, The (T) ( 110) Jack and The Beanstalk I SO 178) Jan Singer, The IT) Lion and the Horse, The IWC) 183) Man Behind the Gun IT) Mara Maru 198) ... Miracle of Fatima (WC) (1021 _ Operation Secret 1108) Raiders of the Southwest (WC) _ San Francisco Story, The (80) _ Sea Rogue IT) She's Back on Broadway (WC) ..... She s Working Her Way Through College IT) 1 101) _ Springfield Rifel (WC) (93) Stop, You're Killing Me IWC) Story of Will Rogers, The IT) (109) Streetcar Named Desire, A (122) 3 For Bedroom C INC) 174) Where's Charley? (T) (97) Winning Team, The 198) Abbott-Costello MacRae-Bracken Day-Bolger Wayne-Olson Douglas-Miller R. Milland-H. Carter Day-MacRae Scott-Massey B. Lancaster Wilde-Cochran Grayson-MacRae Cliff-Banter Ladd-Mayo 5- 31 8- 30 3-29 3-8 6- 14 9- 27 Abbott-Costello Thomas-Lee Cochran-Teal .Scott-Wymore Flynn-Roman Roland-Clark Wilde-Thaxter Scott-Kirk McCrea-DeCarlo Flynn-Campbell Mayo-Cochran Mayo-Reagan Cooper-Thaxter Crawford-Trevor Roger, Jr.-Wyman Brando-Leigh Swanson-Warren Bolger-McLerie Day-Reagan I 1-22 4-12 4-19 5-3 10-1 I I 1-8 122 201 117 I 16 123 202 206 1 18 I 19 120 203 205 4- 21 9-8 2- 25 3- 10 5- 19 4-21 4-7 9-8 10-20 5-17 121 4-21 Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St., Phila. 3 —1239 Vine St., Phil*. 7 LOcust 4-0100 Member National Film Carriers FILM BULLETIN November 3, 1952 Page 27 S3 per Year 25c per Copy BULLETIN NOVEMBER 17, 1952 ALLIED FACES TOUGH PROBLEMS 0 One Man Con id Save RKO \W/ DARRYL ZANUCK SPIKES THE RUMORS M-G-M's NEW BOX-OFFICE GIANT! The producers of the screen's greatest spectacles have done it again! Tke puhlic which has packed theatres to see the wonders of "Quo Vadis," tke magnitude of "Ivanhoe," now will revel in the spectacular excite- ment of the great adventure-romance THE PRISONER OF ZENDA." In presenting this masterpiece of intrigue, love and daring for the first time in TECHNICOLOR, M-G-M stands ready to electrify the nation S movie-goers again with the hind of attraction they 1 ovel ★ M-G-M presents In Color By Technicolor "THE PRISONER OF ZENDA" starring STEWART GRANGER DEHORAH KERR • Louis Calhern ■ Jane Greer • Lewis Stone • Robert Douglas • and J AMES MASON as Rupert of Hentzau • Screen Play by John L. Balderston and Noel Langley • Adaptation by Wells Root from the novel by Anthonu Hove and the dramatization by Edward Rose 'Directed by Richard Thorpe 'Produced by Pandro S. Berman te wool nts NOVEMBER 17, 1.9 52 # VOLUME 20. NO. 23 DN MEN AND MATTERS A I list's Tough M*rabt€*nt Allied States Association stands at the crossroads in its relations with the film distributors. The independent thcatremen's convention in Chicago this week faces some difficult de- cisions, but none is tougher, nor more vital, than the attitude it will adopt toward future intra-industry cooper- ation. To meet acute industrywide prob- lems during the past two years, Allied put aside much of its militancy. De- spite some opposition in the ranks (and some defections), the organi- zation's leaders, acting in statesman- like fashion to meet current exigen- cies, insisted that problems of general industry welfare take precedence over all other issues. Thus it was. We know that Allied's leaders have been subjected to steadily increasing pressure from the rank-and-file, who argue with their old belligerence that the distributors are "making hay" at their expense in this sunny atmosphere of cooperation. The tone of this attitude by the membership is set in the following remarks by Jack Kirsch, general convention chairman, in his welcoming address to the delegates: "The exhibitors have shown the ut- most good will and good faith in co- operating with other industry branches in revitalizing COMPO, in fighting the admissions tax, in trying to set up arbitration machinery and in opposing censorship and adverse legislation. Their cooperation has been welcomed by the other branches on the time- worn theory that 'we are all in the same boat' and must 'unite in the common cause'. But when it comes to raising film rentals to theatres already in distress, when it comes to pre-release, must percentages, ad- vanced admission prices, extended playing time and preferred playdate?, our friends, the. distributors, quickly leap from the common rowboat to the decks of the Queen Mary and refuse to throw the exhibitors a lifesaver. "We in Allied have known for some- time what is going on in the minds of most of the exhibitors in this regard. We know that the exhibitors arc worked up about the terms now being demanded for pictures more than any other subject. We also know that some of them have been wondering what has become of the old militant, fighting Allied that used to fight ;;t the drop of the hat when the inde- pendent exhibitors were being hurl. "Now we know that no matter how 'constructive' we may be in regard to the problems of the producers and tin distributors, they are not interested in problems peculiar to the exhibitors and, very definitely, they are not in- terested in the exhibitors' welfare — not, at least, to the extent of exer- cising a little self-restraint in regard to pricing their products. "Well, you can stop worrying con- cerning Allied's altitude in this matter. Allied stands right where it has always stood— on the side of the independent exhibitor. Allied never has deviated one inch in its loyalty to those exhibi- tors. It may have changed its methods a little bit in order to arrive at the same results. In this it may have been premature because the millennial is not yet here. But Allied today is doing business at the same old stand." Allied has contributed real leader- ship to the industry's major problems. Myers' labors on arbitration; Cole in the tax fight; Rembusch on COMPO; Martin Smith in the censorship struggle — these stalwarts have been working for the industry as a whole and every segment of the industry will suffer if their services are lost. BULLETIN FILM BULLETIN: Motion Picture Trade Paper published every other Monday by Wax Publi- cations Inc. Mo Wax, Editor and Publisher. PUBLICATION-EDITORIAL OFFICES: 1239 Vine Street, Philadelphia 7, Pa., Rlttenhouse 6-7424; Barney Stein, Managing Editor; Leonard Coulter, New York Editorial Representative; Richard N. Newton Publication Managsr; Robert Heath, Circulation Manager. BUSINESS OFFICE: 35 West 53rd Street New vork 19, N. Y., Circle 6-9159; HOLLYWOOD OFFICE: 659 Haverford Avenue, Pacific Palisades, Calif., Hillside 8183; Jay Allen, Hollywood Editor. Subscription Rates: ONE YEAR, S3. 00 in the United States; Canada, $4.00; Europe, $5.00. TWO YEARS: $5.00 in the United States; Canada, $7.50; Europe, $9.00. The distributors must realize that co- operation is a two-way street. Some of the film executives seem to be run- ning down a blind alley. A Letter Front tPurryt Zatttteli For several months rumors hare persisted that alleged friction be- tween Darryl F. Zanurk and home office executives of 20th Century- Fox might lead to the resignation of the studio boss. In our Studio Size- Ups department. FILM BULLETIN issue of November 3, our Hollywood Editor. Jay Allen, stated: "Since 20th Century production has been in a slump for the past year, the rumors will continue to smolder until a couple more like 'Snows of Kilimanjaro' come along to prove Zanuck has his old touch. He would be a mighty tough man to replace." In the following letter. Mr. Zanuck i omments on Allen's observation and the various rumors: November 5, 1952 M y dear Allen: Many thinks, to a certain degree, for straightening out some of the rumors about the possibility of my "retire- ment" from Twentieth Century-Fox. I am sincerely pleased that you con- sider me "a tough man to replace". In all frankness and honesty I want you to know that the question of my quitting the studio has never at any- time come up for discussion before the Board of Directors. The minutes of the Board meetings are available in accordance with the law. So much for that. The Board of Directors has never instructed me at any time as to the type of picture I should make. My original contract signed in 1935 clear- ly defines my authority in this regard. I have always continually welcomed suggestions from the Board and from our Distribution and Exploitation De- partments. More than this I have continually sought advice. I decided to cut down on the number of musicals due to the fact that they (Continued on Page 18) FILM BULLETIN November 17, 1952 Page 3 II ~ B "One for the money! "— FUm Daily "Solid boXOffke attraction!"— Motion Picture Daily "Suspense-laden! Exploitation material and marquee value a-plenty!"— Boxof^ce "The suspense is breathtaking!"— Motion picture Herald "Gripping suspense mounting to the breaking point!1 — Daily Variety "Tense, faSt-mOving ! "— Hollywood Reporter "Terrific, nerve-wracking tension!"— showmen's Trade Review JOSEPH COTTEN and TERESA WRIGHT in THE STEEL TRAP with Jonathan Hale • Walter Sonde • Music written and direjd DIMITRI TIOMKIN • Written and directed by ANDREW STONE • A BERT E. FRIEDLOB Production • Released by 20th CenipH MILLION DOLLAR MERMAID' ESTHER WILLIAMS B. O. WINNER ates • • • except for action hoases I etro-Goldwyn-Mayer 5 minutes ! sther Williams, Victor Mature, Walter iidgeon, David Brian, Donna Corcoran, Use White, Maria Tallchief, Howard Free- an, Charles Watts, Wilton Graff, Frank prguson, James Bell, James Flavin lirected by Mervyn LeRoy | A natural for Esther Williams, "Million Jollar Mermaid", based on the career of fnnette Kellerman, is another boxoffice Lick for Metro's water nymph. The story \ the Australian girl who licked a childhood ralysis to become t lie most celebrated trimmer of her era and an idol of millions s been embellished with a lush production Arthur Hornblow, Jr. A powerful cast, hich includes three top male star-, Victor ature, Walter Pidgeon and David Brian, us the gorgeous color, breathtaking pro- ction numbers and a good quota of com- y should bring this into the higher b.c. ackets. By far the most spectacular water sequence in screen annals is the Busby Berk- eley scene, wherein Miss Williams and a Corps of male and female swimmers work wonders for the Technicolor cameras as they disport in multicolored, undulating fountains and smoke. Unfortunately, however, this impressive spectacle is inserted in the mid- dle of the picture and, while it will be talked about, would have been immensely more ef- fective at the finish to send 'em out raving. Instead, the film peters out to a hospital bed ending in a trite climax. Aside from this handicap, however, there is enough to sati- ate the eye and funnybone to put the film well into the big boxoffice class. Never has Miss W illiams been seen to bet- ter advantage than as the champion of the one-piece bathing suit. Her variety of swim suits is a feast for the eyes, the way she fills 'em, and never has she been accorded more complimentary scenery in which to reveal them. Victor Mature, as a fast-talking pro- moter; Walter Pidgeon as her music-teach- ing father, and David Brian as a Broadway impressario, all deliver in fine style. STORY: The crippled daughter of a mu- sic teacher, the 10-year-old Annette Keller- man (Donna Corcoran) overcomes her han- dicap by swimming and develops into an expect. After winning cups as an amateur, the now grown-up Annette (Esther Wil- liams) sails wtih her father (Walter Pidg- eon) to London, where he is to take a teach- ing job. A shipboard meeting with Victor Mature, who is promoting a boxing kanga- roo, leads to an offer to swim in his act as an added attraction to the kangaroo. When Pidgeon's job falls through, Williams takes up Mature's offer and swims 26 miles down the Thames to get international recognition. Mature takes her to New York, and after some disappointing experiences, she legal- izes the one-piece bathing suit in a couit trial and lands in the famous Hippodrome. Mature and Williams part after a quarrel, and she goes to Hollywood. While filming a swimming sequence in a tank, the glass breaks and Williams is hurtled through the jagged glass. She and Mature are reunited in the hospital. BARN CROWS ON TREES' AMUSING COMEDY FOR FAMILY TRADE ites • • • for family houses; weak for iversal minutes e Dunne, Dean Jagger, Joan Evans, chard Crenna, Edith Meiser, Sandy Des- r, Dee Pollock, Les Tremayne, Malcolm- Beggs, Forrest Lewis, Frank Ferguson, ib Sweeney ected by Arthur Lubin This lightweight comedy, based on a Cos- •politan Magazine story, should go very 11 with family audiences. Bolstered by e presence of Irene Dunne (after too 101114 absence) and a plot gimmick that is {hi y exploitable, "It Grows on Trees" ures to do above average business, except action spots. It should roll up strong osses in the naborhoods and small town nations, especially. The idea of money- aring trees in the back yard of a typical ily is given a whimsical and laugh-pro- king treatment in the script by Leonard action spots Praskins and Barney Slater, and a well- balanced cast gets the most out of the daffy situations that arise. Despite a sag about mid-way in the film, Arthur Lubin's di- rection maintains a neat comedy pace and provides plenty of human interest, too, which should satisfy the older members of the audience. Miss Dunne is delightful as the slightly screwball mother of the family and Dean Jagger scores solidly as her husband. Lively- contributions are turned in by daughter Joan Evans, Richard Crenna, her fiance, and Dee Pollock and Sandy Descher, the youngsters. Leonard Goldstein's production is economical, but effective enough. STORY: The Baxter family is hard- pressed to pay its bills, but the mother, Irene Dunne, buys two trees and plants them in the backyard. Surprisingly, they do not grow blossoms, but five and ten dollar bills. Irene is all for using the HUNDER IN THE EAST' STRONG CAST, SCRIPT NOT SO tes • • + generally; slightly more in action spots . It builds to a predictable, but iramount minutes an Ladd, Deborah Kerr, Charles Boyer, >rinne Calvet, Cecil Kellaway, Leonora omblow, Mark Cavell irected by Charles Vidor [Set in present-day India, "Thunder in the 1 ist" begins with a promise of hard-hitting jiysical and emotional impact, but never I alizes its potential due to a meandering [3t and a too-talky script. With a topflight st, headed by Alan Ladd, this Paramount :ering should get off to a strong start in pst situations, but cool word-of-mouth fig- es to cut into grosses in subsequent runs. Swerling'4 screenplay about an Indian cifist leader who attempts to hold in check irauding insurgents by nonviolent persua- | >n will fail to convince discriminating audi- ences, it builds to a predictable, but effec- tive, climax that will please, at least, the action fans. Substituting talk for action most of the way, director Charles Vidor has allowed the film to wander, with little suspense or ex- citement being sustained. Charles Boyer manages to be convincing in the role of the pacifist adviser to a Maharajah whose prov- ince is under rebel attack. As an American gun-runner, Alan Ladd's assignment is typi- cally unsympathetic and he plays it in his usual stolid manner. Deborah Kerr, as the blind girl, is appealing. Corinne Calvet lends a touch of sex appeal in her brief role. STORY: With a plane load of guns, Alan Ladd lands in the province of Ghandahar and attempts to sell the arms to the Maha- rajah, who is faced with an insurrection. The Maharajah's adviser, Charles Boyer, ab- money, but husband Dean Jagger has qualms. So she writes to Washington. Of- ficialdom thinks the letter is a gag, and writes back saying the money is okay and please to send a few cuttings for the White House garden! Irene Dunn refurnishes the home and pays off the mortgage — and then the bank finds that the money which grows on trees disintegrates like dry leaves. The story becomes a national scandal. Govern- ment experts, newsmen and nosey parkers besiege the house. Finally Irene is vin- dicated when, to the experts' astonishment, the now dying tree yields one last piece of fruit — a crisp ten dollar bill. The tree is confiscated, the sightseers depart, and the household returns to normal. But, we guess, not for long. As the picture closes Miss Dunne is shown opening a box of oddments she has bought at a blind auction. Among the articles is a lamp shaped suspiciously like Aladdin's. COULTER hors violence and not only thwarts Ladd's attempt to sell the weapons, but confiscates the shipment. W;hen the rebels burn a neigh- boring town, the small English colony — left over from the days of British rule— decide to evacuate to safe ground. Among them is Deborah Kerr, a missionary's blind daugh- ter. She meets Ladd and they fall in love. When the rebels cut off all escape, Ladd of- fers to fly the refugees to safety— for a price. Kerr is alienated by this display of calous- ness and refuses to leave. In a rage, Ladd attempts to escape alone, but the plane is destroyed and he is stranded with the rest. When the rebels attack, Boyer tries to pacify them, but events make him realize that sometimes violence is the only way to bring peace. Behind blazing machine guns, Ladd and Boyer cut down the rebels and the safety of all is assured. NEIL FILM BULLETIN November 17, 1952 Page S PONY SOLDIER' TEPID MOUNTIE MELLER Rates • • + for action houses; less elsewhere 20th Century-Fox 83 minutes Tyrone Power, Cameron Mitchell, Thomas Gomez, Penny Edwards, Robert Horton Directed by Joseph L. Newman This is spotty entertainment ami it will have a spotty boxoffice record. The enter- tainment values of "Pony Soldier" hinge on striking Technicolor outdoor scenes and only occasional flashes of action. The story revolves on the familiar theme of one man's efforts to keep marauding Indians from going on the warpath. It is garbed this time, however, in the colors of the Royal Northwest Mounted Police, with one Mountie being substituted for the usual regiment of U. S. Cavalry. Based on a Saturday Evening Post story by Garnelt Weston, the John C. Higgins screenplay contains hard-hitting action in early and late reels, but for the most part the pace slows to walk and talk, and there is no romantic interest to take up the slack of these lulls. A good bit of the dialogue is of the juvenile variety. A cute side-story of an Indian boy who "adopts" the Mountie should increase the appeal of this Samuel Engel production for children. The Tyrone Power name will help grosses generally, but word-of-mouth will not be favorable. Best returns will be realized in action houses. Joseph L. Newman is effective in the several action sequences, but unimaginative otherwise. The performances are hampered by the weak script, but Thomas Gomez, in the role of a comic halfbreed, and Anthony Numkena, as the Indian boy, manage to create sympathetic roles. A one-man cavalry, Tyrone Power checks in with a stock por- trayal of a rookie in the Royal Mounted. STORY: The Canadian Cree Indians, faced with starvation, move across ttj border into Montana to illegally hunt buf alo. Before long, they are met by the U. Cavalry and a battle ensues. Defeated, tlj Crees go back to Canada, but refuse return to their reservation. In their retrea they capture Penny Edwards and Robe Horton. Halfbreed Thomas Gomez acc dently learns of the kidnapping and repod it to the newly organized Royal Nortl western Mounted Police, known to tt Indians as the Pony Soldiers. Rookie Tj| rone Power is assigned to go among tr Crees, obtain the release of the captives, an persuade the tribe to go back to the resei vation. Negotiations are complicated Cameron Mitchell, a minor chief who hate the whites, and Horton, who is actually a escaped bankrobber. After much talk and little action, Power succeeds in his assign ment and peace is secured. NEIL BLOODHOUNDS OF BROADWAY' LIVELY, ENTERTAINING RUNYON MUSICAL Rates • • + generally 20th Century-Fox 90 minutes Mitzi Gaynor, Scott Brady, Mitzi Green, Marguerite Chapman, Michael O'Shea, Wally Vernon, Henry Slate, George E. Stone, Edwin Max, Richard Allan, Sharon Baird, Ralph Volkie, Charles Buchinski Directed by Harmon Jones I >amon Kunyon's story of a backwoods lass and a big-city gambler serves as the foundation for a lively, tuneful and easy-to- takc musical comedy that should satisfy everywhere it plays. What has come to be known as the "Kunyonesque" flavor is al- most obscured in this George Jessel Techni- color production even though the familiar characters that are the writer's trade mark abound in the picture. Counterbalancing that factor, however, is the emergence of Mitzi Gaynor as a full-fledged star, one that should prove an important addition to the 2()th-Fox musical roster. Her vivacity, sOng-and-darice talents and personality are brought out in all their eye-and-ear pleasing SKY FULL OF MOON' MINOR Rates ® • as second dualler Metro-Gold wyn-Mayer 72 minutes Carleton Carpenter, Jan Sterling, Keenan Wynn, Robert Burton, Elaine Stewart, Em- mett Lynn, Douglas Dumbrille, Sheb Wool- sey, Jonathan Cott Directed by Norman Foster Strictly for the lower half, this Metro programmer barely manages to maintain in- terest during its brief running time. Strad- dled with a far-fetched screenplay by Nor- man Foster, who also directed, concerning a young cowboy bit by the rodeo and gambl- ing bug on his first visit to Las Vegas, it manage- to evoke a couple of chuckles, but, for the most part, lays an egg as movie entertainment. Only the most naive — much like the nitwit character played by Carleton ' titer — can be expected to derive any ■ tiofl from this quickie. The gambl- glory and it's something to see. The story of the shady gambler who is reformed by the gal from the sticks is saved from plung- ing into triteness by some good dialogue, a hefty dose of comedy, and above all, the excellent production which highlights the Gaynor talents. The supporting cast, while light on marquee draw, is heavy on per- formance in all departments, dishing out the laughs, the musical portions and even a bit of drama in generous and tasty portions. It's pleasing, pert and lively entertainment that will appeal to young and old alike. Properly exploited in the initial showings, it should build on word-of-mouth to above average returns. Miss Gaynor runs the musical gamut, dancing comic style, hillbilly, interpretive, ballet and ballroom with equal assurance. Her singing, too, is on a high plane. And to round out the performance, turns in a well-tailored performance under Harmon Jones' fast-paced direction. Brawny and handsomely masculine Scott Brady contrasts well with the diminutive Mitzi as the gambl- QUICKIE FROM M-G-M ing aspects make it unsuitable for the youngsters. Best that can be expected of this one is a nethe slot on the duallers. There is some interest in the Las Vegas locale in which the film was shot, for the most part, but the stilted and ridiculous story negates even this asset. Carleton Carpenter gawks through the role of the cowpoke in a broad fashion that should be a little nauseating to all but the most undiscriminating and those with strong stomachs. More appetizing are the perform- ances of Jan Sterling as the sexy gambling- house girl, and Keenan Wynn as the opera- tor of the den. The latter, however, is once again sloughed off in a bit role. Sidney Franklin, Jr.'s production is strictly in the tight pursestring category — and just as well. It could have been a waste of just that much more money. STORY: A young cowboy, never off the range, lights out for Las Vegas to enter a ing ring's leader. Comedy is ably handle by the assortment of Runyon character STORY: Running into seclusion when h gambling activities are threatened with committee investigation, Scott Brady an his aide, Wally Vernon, end up in hillbill country. They run afoul of moonshine and when a young mountain girl's life threatened, they take her back to New Yorl along with her pet bloodhounds. The las Mitzi Gaynor, unveils some amazing soi and-dance talent sand Brady primes her a debut in his nightclub, which doe please his girl friend, Marguerite Chap the current attraction. Detective Mic O'Shea starts hounding Brady, and, throu Mitzi, who is unaware of Brady's illicit de ings, gains evidence to reopen the inve gation. The jealous Chapman also deci to tell all, and Brady runs off again Mitzi, with the aid of the bloodhounds, tin- him and persuades him to return with understanding that he will pay his debt society with a year in jail. She tells him s will wait for him. BARN rodeo. Unable to meet the entry fee, goes to a slot machine club owned Keenan Wynn and hits the jackpot. Tl jingle attracts change-girl Jan Sterling wh< takes him under her wing and in a round 0 gambling houses, his uncanny luck piles uj quite a roll. Grateful to Sterling, anr charmed by her appearance, he gives hei half his winnings, then tries once more- loses his pile. Returning to Wynn's em- porium, he carries a drill to ensure hittint the jackpot. Although he wins legitimately the drill is discovered and he and Jan rur off, panic-stricken. She leaves him strande in the desert to run away with the mone; but, conscience-stricken, returns. He pri poses marriage, but Sterling sees that h would be better off without her. Carpentei returns to Las Vegas, enters the rodeo an is immediately eliminated. A man of experi ence now, he returns to his range, deter mined to try again next year. PHIL is 6 FILM BULLETIN Novembtr 17. I9SJ WITH ECHNICOLOR JOSEPH CAUEIA SCREEN PLAY Br JAMES R. WEBB "OM THE NOVEl BY PAUl I. WEUMAN MfS\ MUSIC BY MAI ST UN E B PROOUCEO BY |) [ \\ ftf B LA N K E DIRECTED BY GORDON DOUGLAS This week the World Premiere chicago theatre.chicago! over 400 HOUSES FOR THANKSGIVING! AGAINST ALL FLAGS MISSISSIPPI GAMBLER HOT B.O.SEEN BY U-l TOPPERS "We are a company of optimism and en- thusiasm," said the Universal chief execu- tives who have promised exhibitors to keep their winter boxoffices warm, Milton R. Rackmil, president, X. J. Blumberg, board chairman. These two and their departmental chiefs form a combination of initiative and experience that lend credence to the fore- going pronouncement. Bulwarking their faith is a line-up of ten films during the next four months, with eight of the pictures in Technicolor; the Universal-International studio, headed by William Goetz, that is concentrating on keeping its product tuned to the public- taste; a distribution organization under the or "experimental" films. Under Goetz and L'-I studio general manager Edward Muhi, the garnering of big boxofhce names in con- junction with the new star development pro- gram bodes well for the future. Executive vice-president Daff and general sales manager Eeldman, in outlining the product, are just as definite in their belief of the "continued need to make pictures that appeal to the masses rather than to specialized audiences." For December, the big one will be the Christmas release, "Against All Flags" ( Errol Flynn-Maureen O'Efara), in Techni- color, and "The Black Castle" (Richard Greene-Stephen McXally-Boris Karloff-Lon in March. Two more Technicolor films, both in the big outdoor extravaganza category, go out in March. "Seminole" (Rock Hudson-Bar- bara Hale-Anthony Quinn-Richard Carlson) and "Gunsmoke" (Audie Murphy-Susan Cabot-Paul Kelly). The combination of national promotion and point of salu merchandising will be "extended ?.nd intensified" for this ambitious program, according to ad-publicity vice- president Lipton. Providing the additional promotional opportunities, Lipton notes, are the record use of Technicolor, name person- alities and new stars. The campaign set for 1953, both on a national and a local level, dynamic leadership of Alfred Daff and Charles J. Eeldman, and an extension of the successful pattern followed by ad-publicity chief David A. Lipton to sell these pictures to the public. Rackmil and Blumberg, aware of the problems that have plagued the industry, nevertheless declared their faith "that the future of the motion picture business can be a brilliant one." And, to their theatre cus- tomers, a pledge that U's objective is to "design its program of pictures so that thea- tres of this country can prosper with us." The down-to-earth attitude of production chief Hill Goetz — "It is not a case of antici- pated trends, but merely conforming to the type of films the public wants and supports" — tends to allay the fears of many an exhibi- tor who has been slapped down with "art" Chaney), which had a Hallowe'en pre- release. January has been set as U-I's "All-Techni- color Month" with Raoul Walsh's "Thej Lawless Breed" (Rock Hudson - Julia Adams), "Meet Me at the Fair" (Dan Dailey-Diana Lynn) and "The Redhead from Wyoming" (Maureen O'Hara-Alex Nicol). February gets the Technicolor "Missis- sippi Gambler" (Tyrone Power - Piper Laurie-Julia Adams), one of the biggest in the company's history; "Girls in the Night", similar to the popular "City Across the River", which introduces a comer, Patricia Hardy; "City Beneath the Sea" (Robert Ryan-Mala Powers-Anthony Quinn), a Technicolor novelty which gets its pre- release in February and regular openings will tackle all the media previously used — only more so, according to the ad-publicity chief. Xational magazines, newspapers, trade press, commercial tie-ups, radio and television — with special emphasis on the latter due to the wider TV audience— will all be featured in the accelerated program. Star appearances, special events and terri- torial saturation advertising are also to be spotlighted in the extensive promotional planning, with an expanded use of field men to effect point-of-sale promotion. "No effective promotional medium will be overlooked in U-I's determination to pro- vide the greatest possible sales impact for its pictures both in advance of their release and during their playoff," Lipton averred. Yes, U-I looks like a good bet to warm those winter boxoffices. SEMINOLE THE LAWLESS BREED CITY BENEATH THE SE/ REPORT FROM THE STUDIOS Jerry Wald's appointment this month as vice-president and executive producer of Columbia Pictures Corp. can very well be the vital coj; in the company's studio set-up that will bring it right in line with the top production companies. Reliable sources tell FILM BULLETIN that Wald, before sign- jing the long-term contract, demanded the JERRY WALD Vital Cog ght to bargain for strictly top flight prop- rties and talent in executing future produc- on. In order to acquire the talent he wants, is believed that Wald will initiate profit- irticipation deals, similar to those which -I has been negotiating with such out- anding success. Already, talks have started |ith James Stewart to star in "Wood lawk," which producer Vincent Sherman ill roll next month. | In addition to his supervisory duties at e studio, Wald will personally produce ie of Columbia's top productions annually, which he will have a financial participa- >n as added compensation. o 0 Paramount is launching its most ambitious ogram of overseas production during 1953, |th a total of five films set for shooting road. Two and possibly three others are pected to be added to this line-up, before 2 end of the year. William Dietcrle has pt been set to direct Irving Asher's Tech- •olor production, "Elephant's Walk" in ylon, starting early in February. Others Iw set for foreign filming are: "Legend of j: Incas," Mel Epstein Technicolor pro- • ction to be lensed in Peru; a pair of I >eph Sistrom productions, "Wings Across lp Sea," to be made entirely in Britain ling a Technicolor commitment, and I ersian Gulf," to be filmed in the actual locale; and "Rhapsody," a Bernard Smith production to be directed by Charles Yidor on location in Zurich, Switzerland. 0 0 Republic is in the midst of establishing a record high in fall production, with four pictures rolling over a six week period. This is in addition to "South of San Antone" (Rod Cameron-Arlene Wheclan), which has been shooting since mid-October. The No- vember starters are: "The Woman They Al- most Lynched," which producer-director Allan Dwan placed before the cameras on November 5; "Spoilers of the Pacific," which John Auer has been directing since Novem- ber 14; and "One For the Road," a William Seiter production set for November 28. "Sea of Lost Ships," producer Joseph Kane's drama about the U. S. Coast Guard, is set for a December 15 start. <0 0 United Artists' president Arthur Krim, during a recent visit to Hollywood, revealed that his company is now concentrating on its 1954 program, having already amassed a record backlog, sufficient to carry the slate through 1953. He pointed out that his com- pany is liquidating films faster than ever before, "High Noon", for instance, piled up a $2,000,000 gross during the first 14 weeks in release. "The African Queen," which has now been playing for 34 weeks, has racked up a total of $3,500,000. Largely on the suc- cess of these two pictures, Krim expects his company to gross betwen 50 and 60 per cent more this year than they did in 1951. UA will maintain a releasing schedule of three-pictures-per-month during 1953, with additional extras expected to be added from time to time. Of the total of 36 to 40 films for the year, Edward Small will contribute 12 — three of which are already completed. O 0 With an even half-dozen features awaiting release, and three more being edited, Lip- pert Productions' slate will get a big boost during November and December, with the start of four new films. Robert L. Lippert, the releasing company's president, says this stepped-up production will be maintained in the months ahead, in order to meet the quota of 20 releases annually, which he has prom- ised to deliver to his new franchise holders. "Cairo" (George Raft), which Ray Enright will direct, and "Spaceways" (Howard Duff- Eva Batrok), get underway this month. De- cember starters will be: "Project X," pro- duced and directed by Arthur Hilton, and "Hangtown," to be produced by a former exhibitor, Matt Freed. Features ready for release are: "Scotland Yard Inspector," "Tromba, the Tiger Man," "Mr. Walkie-Talkie," and a re-release com- bination, "Great White Hunter" and "Cap- tain Kidd." iir Hcllifuccd flctefock STAR BRIGHT KEITH ANDES Keith Andes appears to be one of the best bets for top stardom during the coming year. The 32-year-old actor has already scored an impressive hit in Wald-Krasna's "Clash By Night," and appears to be headed for even greater recognition in his currently- filming "Split Second." Actually, this is not Andes' first hitch in Hollywood. During the war he played an important role in the famed Army Air Force show, "Winged Victory," and as a result of that appearance, was signed to a motion pic- ture contract by David O. Selznick. This contract materialized into a long period of waiting, broken by only one brief picture role. That was in "The Farmer's Daughter," with Loretta Young and Joseph Cotton. Following that, Andes went east and made a name for himself on the Broadway mu- sical stage. After a national road tour and a New York success opposite Ann Jeffreys in "Kiss Me Kate" he was signed to his sec- ond film contract — this time with RKO. Andes possesses a resonant baritone sing- ing voice which marks him as a definite pos- sibility for Hollywood musicals. Currently, MGM is negotiating for a loan-out on his services from RKO to play a starring role in the movie version of "Kiss Me Kate." However, he has proved that he also pos- sesses acting talent which should make for a well-rounded career. That added boost exhibitors can give in spotlighting a new star could pay off hand somely with a personality like Keith Andes. FILM BULLETIN November 17. 1952 Page 9 Heard in Hdllywddd Samuel Goldwyn has boldly told the movie industry that his next picture, known only as "Production 89," may be made available to Phonevision, or one of the other pay-as-you-go TV mediums, if they are ready . . . Selznick Releasing Organization is about to be revived for re-issue of some of the old D. O. S. hits . . . Burt Lancaster moved around behind the camera to direct final scenes of "His Majesty O'Keefe," when director Byron Haskin had to fly back from the "Fifi" location to prep his next assignment . . . Vera Ralston will be backed by the strongest cast in Republic history for her upcoming "The Golden Tide" . . . RKO s short subjects department just completed six two-reelers in 12 days — a record for any studio . . . Danny Thomas looks so good in "The Jazz Singer" that Jack Warner decided to rush him into "The Singing Fool," another Al Jolson hit . . . 20th has activated Christine Weston's old novel, "Dark Wood," and assigned it to pro- ducer Otto Preminger and director Henry Hath- away for a December start . . . Columbia made the winning bid to distribute Wisberg-Pollexfen's recently canned "The Velvet Cage" . . . Merion Cooper is rushing plans to produce a drawing room comedy in Cinerama to confound the critics who say the process won't work on in- door plots . . . Arnold Grant says positively there'll be no RKO pix released to television. Smart, those Texas exhibs. They're screening filmed prayers to bring rain to their parched, drought-stricken state. And the audiences are beating a path to their doors like the Moslems to Mecca . . . Pathe is doing some of the bank- rolling as well as the tinting on Albert Zug- smlth's new Pathecolor comedy, "Female of the Species" . . . Edward G. Robinson will star in "Harness Bull," which producers Jules Levy and Arthur Gardner will make, starting November 28 . . . The Paramount co-production deal with Ponti-De Laurentis is for 10 pictures annually, for a two-year period — all of them to be filmed in Italy . . . Alan Ladd remains on in Europe after he completes "The Red Beret," to start a second Warwick Production for Columbia re- lease. It's titled 'The White South," and it rolls in Munich, around February I . . . Paramount is really concentrating on building of new talent. Production chief Don Hartman considers it's a "must" . . . Fox picked up Michael Rennie's contract for another term . . . Abbott and Costello dropped that $5,000,000 suit against U-l over the release of their old pix to Realart. And about time, too . . . Barbara Stanwyck re- ports to U-l for the starring role in "Stopover," a Ross Hunter production . . . Jose Ferrer goes into partnership with Collier Young and Ida Lupino to produce his Broadway hit, "The Shrike," for RKO release . . . Lex Barker optioned the Johnston McCulley novel, "Sword of the Viking" for inde production. What odds that Jack Broder bankrolls it for a Realart re- lease? . . . George Marshall checks off the Paramount lot with the completion of "Houdini" to prep his inde production of "Texas to Tomb- stone," in which Bill Holden will star. By JAY ALLEN RKO releases nine features between now and March I — three in Technicolor and one in Tru- color . . . Latest gross on "The Greatest Show On Earth" is now $9,000,000. They're predict- ing $15,000,000 . . . Edward Small is going all- out on participation deals with producers, di- rectors, actors and writers to fulfill his 12- picture slale for the next year . . . Gary Cooper will star in Milton Sperling's "Blowing Wild," a Mexican oil story which rolls in February . . . It took them better than four years to get around to it, but RKO finally previewed Jane Russell's "Montana Belle" for the Hollywood press . . . Kathryn Grayson's last on her MGM pact will be "Kiss Me Kate" . . . Warners ordered 400 Technicolor prints of "The Iron Mistress" for blanket booking between Thanks- giving and Christmas . . . The House Un-Ameri- ! can Activities Committee cancelled its return engagement to Hollywood next month . . . Dick Powell has been set to meg a second feature at RKO, following "Split Second" . . . U-l dropped ' Scott Brady when he balked at playing the second lead to Rock Hudson in "The Golden Blade" . . . H arry Cohn's $201,400 yearly salary' hasn't been cut, despite the impression left by the SEC report from Washington . . . Producer Jules Schermer ankled 20th-Fox upon completion of his two-year pact . . . Walt Disney says his "Peter Pan," which is now on the last lap of production after three years of work, will costl $4,000,000. THE SPOTLIGHT John Wayne is commanding even more attention than usual in Hollywood these days. With his partnership production com- pany operating at full tilt, his bow-out from Republic Pictures to devote himself to a second production outfit, and half a dozen producers angling for his services to star in important upcoming films, Wayne is one of the busiest men in Movietown. In the four months since Wayne formed Wayne-Fellows productions, in partnership with Robert Fellows, he has taken on con- siderable new stature in the industry as a man who can produce motion picture hits as well as star in them. "Big Jim McLain," the first of the Robert-Fellows productions is a hot boxoffice bet. And "Plunder in the Sun," which has just gone before the cam- eras in Mexico, with Glenn Ford starred, appears to have equal potentialities as a real money-maker. Future plans call for two pictures per year from Wayne-Fellows, one in which the actol will star, and the other he will produce anoj direct. In addition, he is now making plans to sej up a completely independent company lJ produce "The Alamo," the picture whicll was the basis of his rift with Republic. Thil has been a pet property of the actor's fol over ten years, and will probably be hil next chore. It has been juggled back and] forth on the Republic slate for at least tw.j years, with the result that Wayne finallj withdrew the commitment and decided t<" make it on his own. He will assume thj triple-threat responsibilities of producer, dil rector and star of the picture. It is not yd known whether he will release "The Alamol through Warner Brothers, as he has all el the Wayne-Fellows Productions, or distritl ute through one of the other major releasinl companies now angling for the property. In addition to Wayne's personal produc- tion, he retains two outside acting commil ments per year — one with Warner Brother! and the other with RKO. There is also a unwritten agreement with John Ford, whJ gave him his start in pictures way back i|| 1929, that he star in any Ford productio picture for which his services are desire* Wayne began his movie career as a pro man for the now-defunct Fox Film Corpora tion. Through the intervention of For' Raoul Walsh gave him his first acting jc in " The Big Trail." Although he attractc nationwide attention in the picture, his c.j reer did not actually begin to prosper Utii ten years later when again Ford came his rescue by persuading producer Walt Wanger to star him in "Stagecoach." The rest is history. In 1950 he became tH number one boxoffice star on all of the ml jor movie polls and continues to rank rinl at the lop. On the record, he should hal comparable success as a producer. P«g« 10 FILM BULLETIN Novembor 17, 1952 %L BULLETIN Exploitation & Merchandising l)EVM\Ti\\ENT One of the biggest showmanship drives 1 any one area by a theatre chain gets nderway December 1 to run for a solid ix months under the auspices of W arner tos'., Philadelphia zone. During a two- ay meeting in the Quaker City, zone lanager Ted Schlanger, flanked by home |ffice executives from New York and dis- ibutors, told the assemblage of circuit jrsonnel of a "Showmanship Crusade" that ids fair to top any theatre ballyhoo that iwn has ever seen. A budget of $125,0(10 is been set for the drive, including prizes 'i theatregoers and cash to theatre man- ners. The campaign will encompass a vast nount of giveaways in an effort to make ie community "Motion - Picture - in - e-Theatre Conscious". A jackpot prize of a full furnished ranch >me with a 1953 car in the garage, heads j: array of moviegoer awards which in- iides cars, mink cots, television sets, dish ishers, gas ranges, and others too numer- ds to mention. The promotions will em- lice every known method of merchandis- i:, with every age of moviegoer from lldies to the mink-coat set on the receiving Ji. Additional incentive to the theatre man- firs will be some $3700 in bonds for the i ividual campaigns that realize the best ijrease in grosses over last year, plus an- il er $1000 from the distributors for the <| standing campaign on each company's ipase. Lhe initial meeting, Oct. 28, brought a 'N3 circuit home office delegation headed b president Harry Kalmine, in addition to ljamount ad publicity head Jerome Pick- fln, publicity executive Stirling Silliphant <3|l representatives of all distributors. The ■ublic and gain new fans. ADMISSION TAX receipts in the first nine nonths of 1952, as reported by the Treasury department, took a whopping $18,323,000 Irop from the same period total last year. Vith approximately 75 per cent of the ,;eneral admission tax receipts coming from UA IN FULL DRESS It took a presentation to England's Princess Margaret to get Arnold Picker and M'ix Youngstein out of shirtsleeves and into the fancy togs. Above, the L A executives at the grand premiere of "Limelight" in London. THE CINERAMA showing at the Broad- way Theatre in New York is beginning to take on the aspect of an "Oklahoma" or "S.-utli Pacific". Sold out for months in ad- vance, orders for tickets are being taken and filled for dates through April 26, 1953. TALK ABOUT guts. Jerry Wald gets the nomination for the bravest man in the in- dustry. The producer, as part of the promo- tion for "The Lusty Men", which premieres in Texas next month, will personally select the Lone Star State's "prettiest cowgirl." As RKO exploitation head Terry Turner, who set the promotion, puts it, "In the state where all women are beautiful, he (Wald) hasn't got a chance. All he can do is point and then run." ROBERT MOCHRIE In Familiar Territory OF MEN AND THINGS: Robert Moch- rie's appointment as vice-president of Samuel Goldwyn Productions, Inc. keeps him in familiar territory. As RKO's dis- tribution v.p., Mochrie handled the Goldwyn product . . . Karl Herzog has resigned as president, treasurer and a director of Cine- color Corp. . . . B. Bernard Kreisler's wide and varied experience in the movie industry has garnered him the presidency of I FA-TV Corp., distributors of foreign films to TV . . . Leo Jaffe has been upped to vice presi- dent of Columbia International, but main- tains his post of assistant treasurer in the parent company . . . Big sales coupled with print limitations have prompted Allied Artists to extend the Morey "Razz" Gold- stein sales drive for two more months through January 30 . . . Paramount's trade press contact succeeding Maurice Segal is Charles Franke, formerly with the Motion Picture Dailv. (Continued on Page 14) FILM BULLETIN November 17, 1952 Page 13 Exploitation and Merchandising (Continued from Page 11) ballyhoo the classic. The big campaign, which started last summer in the two major Sunday supplements with two-page spreads. Beginning next month, and stretching out through March, the schedule covers virtual- ly all the top national and fan magazines, plus the leading juvenile publications. The radio, TV and record company campaign is equally extensive. The airwave kickoff started last Friday (14th) when the entire "Peter Pan" score was introduced on the 292 CBS stations carrying Bob Crosby's Club Fifteen show. The next night the popular Sid Caesar Show of Shows and the Paul W'hiteman program heralded the video campaign, marking, incidentally, the first time three featured shows have introduced the score of a movie within two days. With the huge waxing program by record com- panies, with top artists doing the songs, the disc jockey shows will be flooded with fodder for plugs throughout the day. And this doesn't even take into consideration the ad program, which in itself is scheduled to reach some 50,000,000 readers. * * * There will be one less "turkey" in the nation this Thanksgiving if M-G-M has anything to do about it. To ensure a top audience penetration for its Thanksgiving release of "Plymouth Adventure", Metro has set up a series of special ads during the week of November 23 in 106 news- papers with some 50 million circulation. Every area opening they picture will be covered by the newspaper campaign, with most of the ads used in special sections of the various news groups decked out in four colors. * * * That 20th- Fox "Something For the Birds" showmanship contest currently underway has set a record high for exhibitor response. The competition, which started last month and will continue through January 31, with $7500 in prizes to be awarded, has already garnered 837 campaign kits requested by exhibitors. The kit is truly a beaut, in- corporating newspaper ads, feature stories, scene mats, ad art, 8 x 10 stills, herald, counter card, plastic stick-on, and pretty nearly everything else a theatreman needs to thump up a winning drive. If the exhibi- tor guarantees to use them, he can get a teaseT trailer and 24-sheets gratis. After that bang-up start, it's up to the showman, and anyone who plays the picture would be a sucker not to take advantage of this ma- terial. Even if he doesn't win the $1,000 Defense Bond or any of the other prizes, he's bound to build his grosses with that material. Three national mags are set to plug Para- mount pictures and stars, and, the company says, more are being plotted. Parade's No- vember 23 issue cover will spotlight William Holden, star of "The Turning Point", as well as a feature on both star and picture. The January issue of "See" also gives cover and inside treatment to Dean Martin and Jerry Lewis, with the comics, who are due soon in "The Stooge", pounding and ex- pounding on American night clubs. Round- ing out the trio is a full color layout on "Pony Express", the Charlton Heston- Rhonda Fleming - Jan Sterling - Forrest Tucker starrer. The much-publicized Rita Gam, who lends a visual kick to "The Thief" without saying a word, is doing a turnabout in the unique campaign currently underway for the film. Instead of being seen and not heard, Miss Gam's voice is the only part of her apparent to film critics of leading newspapers 1 NO I LEFT > HI 1 1 1 mm THIEF PROMOTION No Left But Plenty Right throughout the country. From New York, Miss Gam blanketed the East, Mid-West and South with long distance telephone calls to the scribes directly to their desks and in the first five days of the campaign 32 key cities had been covred. Seems almost like putting Dagmar off camera, but, well, it's a switch, anyway — and enough to warrant notice. Warner's "Springfield Rifle" got a special boost in Cleveland for its Allen Theatre engagement via a tie-up with Newman- Stern, leading sporting goods store in the city. A co-op newspaper ad and a huge window display featuring star Gary Cooper as "The Right Man for the Right Gun!", spotlighted the store's gun stock as "The Right Gun for the Right Man!". The thea- tre also arranged, with cooperation of the Army, a lobby display of Springfield rifles showing evolution of the weapon from its 1903 inception to the present. SL-t •Subjects By BARN (Continued jrom Page 13) FINANCIAL: In contrast to its erstwhile theatre subsidiary, which dropped almost 40 per cent in its nine-month net for 1952, Paramount Pictures Corp. estimated its net profit for the same period at a 10 per cent increase over the 1951 three quarters. The increase in the third quarter jumped to almost 25 per cent over the corresponding period in '51. Estimated earnings after all taxes and capital gains for the nine months this year were: $4,663,000, including $500,- 000 of non-recurring capital gains, and for the third quarter, $1,878,000; in 1951, nine- month net was $4,205,000 and quarter net was $1,373,000. The half-million capital gains was all reported in the '52 third quarter. Figures do not include Paramount's share of net undistributed earnings of partially owned non-consolidated subsidiaries. These are estimated at $340,000 for the '52 nine months, $179,000 for the '51 period; $123,000 for '52 third quarter, $183,000 for '51. UNITALIA FILM MAGAZINE reports better than a 100 per cent increase in the of Italian-made films in that country with corresponding decreases in Hollywood-pro- duced pictures. The American pictures have dropped from 76% last September to 53% as of May, 1952. French films have also de- clinevi, from 9% in September to 3% in May. On the whole, however, American pic- tures decreased from 65.30% in the 1950-51 season to 64.02% in the 1951-52 schedule. THE GREAT institution that cares for the industry's own who are ailing, the Variety Clubs Will Rogers Memorial Hospital, will be the recipient of a new series of annual benefits that should swell the coffers of this Samaritan cause considerably: the world premiere of a top film during the course of the November campaign. Columbia vice- president Abe Montague, president of the organization, disclosed this as an annual event, announcing also that G. S. Eyssell, president of Rockefeller Center, Inc., will be chairman of the inaugural premiere, Sam- uel Goldwyn's "Hans Christian Andersen." It was Sam Goldwyn who gave Will Rogers his first job in films. It is particularly fitting that the first world premiere to benefit the Hospital comes as another contribution by Goldwyn. A SERIES OF promotions in the 20th Century-Fox advertising-publicity depart- ment has elevated: Edward Solomon as assistant to Abe Goodman, advertising manager; Ira Tulipan as newspaper publi- city contcat in Edward E. Sullivan's pub'i- city department, with Harold Rand moving up to trade paper contact, the post formerly held by Tulipan; and Leo Pillot as assistant to exploitation manager Rodney Bush. 14 FILM BULLETIN Nov.mb.r 17, 1952 €XHIBITOR$ FORUm Opinions Culled from Organization Bulletins MUST PERCENTAGE Allied Caravan of la., Neb., Mid-Central They conic thicker and faster! "Ivanhoc," ■Inews of Kilimanjaro" and "Fatima" are ie latest releases we've heard of on must- •rcentage! Three at once! Just about all the :cent pictures released lately! Well — did iu ask for it, or, did you not? By going ■r "Quo Yadis" and "Greatest Show"? ver & out! Except for this — one young, nail exhibitor in our territory, population •00 wrote us that he has solved the must- rrccntage problem, "by not playing "Great- it Show" it has become the greatest veragc for film buying I could possibly »ve, and the salesmen who have a percent- ce picture don't even call on me anymore", 'ell, more power to this lad. Hut isn't is a lame that today, when we need every good icture to keep going at all, we can't have (em all because of impossible sales policies. !nd have you noticed releases lately, the 1st month or two: Brother, they stink! ven some with the percentage hook on em — which is natural progress; it's hap- ■ned before! Hut I did go up to the booth, int out the "Pictures Are Better Than ver" trailer and threw it way! I just don't ivc the heart to lie to my people any nger! LEO F. WOLCOTT. Board Chairman 'MISTRESS' MISTAKE Allied Caravan To prove to what ridiculous extremes dis- ibution can go to gouge exhibitors is now oven by Warner Brothers in their demand special terms over and above their normal p allocation on "The Iron Mistress", ere's a picture that the kindliest reviewers ys is "gory" "violent in all its stark alism" and a picture that will "cause OSe with weak stomachs to turn their ads away from the screen". The only >x office potential of the picture is the arring of Alan Ladd. What do you expect Paramount to do th their next Ladd picture if members go r these silly terms being asked for "The on Mistress". GAMBLE WONT Western Theatre Owners 'Digest' Any one, in any line of business, who uld rise from an assistant manager's job sixteen, to having an investment cf ,500,000 twenty-seven years later certainly ,'es that business something better than r. Ted Gamble 'dished out' before the deral Communications Commission in ashington, D. C. on October 7th. In Mr. Gamble's testimony, during an in- view on his application for a Denver TV annel, he stated that "the impact of tele- 'ion would eventually force the closing of >m 6,500 to 10,000 motion picture theatres in the country." He further testified that as early as 1949 he made up his mind of that fact and decided "he might as well get out". Consequently, he stated, he had liquidated all but $400,000 of his interests and expected to completely liquidate this balance within six months. (Certainly Mr. Gamble didn't just close up his houses and so he must be chuckling up his sleeve at the 'poor suckers' who bought his theatres.) Such condemnation of the Industry is like a man who kills his hen because it can't lay during its moulting season! Perhaps it is just as well that the Ted Gambles in the business liquidate their hold- ings for there is no room for those whose policy is 'take all, give nothing, and the devil take the hindpart'. There were other such 'skim the cream' boys back in the days before the advent of sound, when radio was supposed to 'kill off the theatre business', but in spite of them, cream rose again on the milk, and the busi- ness grew beyond even the most optimistic dreams. And, so it will again. Fifty years has given this business a toughness which can withstand competition, and it will sur- vive— survive to grow beyond any hopes and dreams of today's optimists. The Editor MAILING LISTS Allied Caravan of la., Neb. & Mid-Central In a recent letter we asked for any ideas any of you had in what you were going to do, if anything, about the raise in postal rates and how it effected your advertising budget. Have some replies. One exhibitor is simply eliminating part of his mailing list. Another is putting out two months calendar on one sheet. Another is using a local "free" sheet once a month, taking a full page once a month for printing his pro- grams. Another is a mimeographed sheet, thus cutting down on printing costs. Each plan has its advantages and drawbacks. We wondered about cutting our mailing lists. Certainly we know we send a lot more calendars than do their job. However, you can't expect to sell them if you've eliminated telling them. Two months at a time has been used by a number of places as a regular policy for a long time now. Only disad- vantage is disrupting the printed schedule should something hot arise available for booking during the 2nd month, and the ad- vantage of a "Fresh" calendar in the home at the first of each month. We recall as a kid that the day the show bills came out was always a day of anticipation to look over all the wonderful shows coming this month — they all look good at first glance (just like they do to us when we see them in the trade papers). To make it once every two months halves the anticipation and al- lows some pictures to start looking very old before they arrive. However, it's prob- ably the best solution for small places who do not feel they can increase their calendar costs 50%. Of course, the best bet for all of us is to keep this organization working and collectively bring the pressure to reduce mailing costs back to their former basis. This should be organized at our first op- portunity. BUSINESS' STAKE Allied ITO of Indiana After the movie theatre in Forest City, Iowa, burned down, during the next nine months that the theatre was closed tax collections (2% state sales tax) increased Z..V/r. In nearby Lake Mills, the increase was 19.5%. At Garner, another adjacent town, the increase was 10.7%. After the Forest City theatre was reopened, sales tax collections in that city increased 5.5%. Lake Mills and Garner then both dropped 7%. Do you think business men in Forest City were glad to see the motion picture theatre back in business?. MARCH OF DIMES North Central Allied You recall several years ago we had thea- tre collections for the March of Dimes. The theatre industry has been vitally interested in the March of Dimes campaign since it is for the purpose of fighting that very serious disease, polio. The theartc owners have all been charitably inclined and responded wonderfully to every requost in matters such as the March of Dimes. In addition to that, please remember, that when polio hits a community, it hurts a theatre greatly; therefore, it behooves us to do everything we can to support this campaign. While we do not request that you make theatre col- lections ,we do hope that you will cooperate with your County Chairman by either allow- ing him to put a trailer on the screen, or making collections in the lobby as patrons come in or go out, or placing a box near your candy case. Please cooperate with this worthwhile project. UA ON BIDDING North Central Allied Many of us have long suspected the bids are not fairly awarded. At least in the case of one company you can now determine for yourself what the winning bid is. Bill Heine- man, Vice President, United Artists, has announced "that losing bidders, by making application in person or in writing to the local branch within seven days of the dead- line for bids, may see the winning offer." This is a step in the right direction and we hope other distributors will follow suit (and we don't mean the law suit kind of suit). Nobody likes competitive bidding but as long as this evil must be endured, let's have it conducted fairly. As we "go to press" we hear that Fox is going to follow the same procedure — with certain limitations. FILM BULLETIN November 17, 1952 Page 15 EXPLOITATION PICTURE PROBE FILM PACKS B.O. PUNCH Here's one that will pay off anywhere if it is properly handled. The FILM BULLETIN review called it "a natural for action houses, but in any situation where the exhibitor does a ballyhoo job, 'The Turning Point' will turn in a surprisingly good gross." It was also termed "the most realistic and hard-hitting treatment yet to be inspired by the Kefauver inquiries." subject, tying in the "clean-up" theme with the title. The latter, incidentally, opens up a huge vista for exploitation purposes. It can be used in a safety campaign for motorists and pedestrians with traffic stan- chions placarded, as well as garages, gas stations, etc. And, of course, the news- papers, if supplied with news and photo releases, should be willing to go along Another excellent idea supplied by the press book is a program to enlist city-wide help. Screenings for officials of such or- ganizations as the 'Y', Elks, Women's Clubs, the D. A.'s office, American Legion, etc., can be held without fear of disappoint- ment because the film has the stuff to keep them engrossed and send them out talking it up. Get the leaders' to tell their people about the film and you have a tremendous boost for your audience potential. v~ ■■■...■.-tm* And there it is — timely, exciting exploit- able entertainment that should engross any type of audience. A glance at the ads below reveal the principal tacks in the exploitation picture — (1) the striking scene of a man's body on the City Hall steps, killed in an attempt to prevent disclosure of a crime syndicate, and (2) the intriguing shot of a flashy blonde with an equally interesting line, "Where'd I get the money? From fellers . . . where else?" It's the story of the big crackdown on big-time crime after a cop was killed, told in punch-packed action and dialogue. Its timeliness gives it a particular pull with the newspapers as a medium to grab mass interest with special editorial on the STUNTS & LOBBIES Among the several ideas advanced for speciiL handling, all practical and inexpensive, are: (ll a blonde •■informer" gimmick for the lol)hy| (2) a masked girl sidewalk stunt; a tie-up witf department stores; (3) an injuiring reporteij (4) a letter from the manager, and (5) a 40 60 lobby board, all of these either illustrated adequately described. The blonde stunt, similar to the scene picture! above, guarantees an interest in the film. Seatel at a good vantage point in the lobby, with a sigl nearby: "Take a good look at me! I know plentl about organized crime and I'll be telling thf (playdate) in 'The Turning Point'," there is litt| doubt about the draw of such a bally. It caj also be worked in railroad stations, hotels, etl For the sidewalk bally, a girl in a black vel with a sign on her back: "I KNOW TOl MUCH. Organized Crime Has Me on the Spoj But I'm telling all in 'THE TURNING POINT) at the Blank Theatre Thursday." Department stores can be utilized for windffl counter and interior displays keyed to the m line: "Prices have reached THE TURNINl POINT and (name of store) is bringing the! down!" Then credit for the picture, theatre aif olaydate. Stills, blow-ups, etc., should be incd porated in the display. The same theme coul be used in a co-op newspaper ad. At top, newspaperman William Hidden finds his search fur a witness to testify against the crime ring brings an interesting encounter. At left, below, the fatally wounded Holden is consoled by Alexis Smith. THE TURNING POINT There have been other films based on the Congressional investi- gation of crime syndicates, a topic that proved its audience appeal by emerging as television's greatest individual attraction, but "Tlic Turning Point" seems to have come closest to the fascination found in uncovering the crime empires. Warren Duff's dramatic screenplay, under William Dieterle's direction, gives a stark and compelling picture of an average Ameri- can city caught in the grip of a $200,000,000 crime octopus. The protagonists of the drama are Edmond O'Bried as chief of the special investigating comittee; William Holden. his cynical newspaperman pal who reluctantly — and, finally fatally — aids his cleanup; Alexis Smith as O'Brien's girl Friday; Tom Tully as the investigator's father, a policeman involved in the syndicate, and Ed Begley as the head of the crime ring. As the investigation progresses, various characters are brought into the camera's focus — members of gangland, a brassy blonde, witnesses terified by fear of reprisal — but the story hurtles into its top drama when Tully is killed to prevent him from testifying. That becomes the "turning point" in the investigation, as the criminals are relentlessly tracked down and a key witness puts an end to the syn- dicate's activities. Holden, however, also meets the gangsters' ven- geance in the process and is killed. lewpotnts (Continued from Page 3) are generally not successful in th; foreign market and thus you auto- matically lose a great source of in- come. I decided to make only musi- cals that had pre-sold exploitation values, such as John Philip Sousa's "Stars and Stripes Forever," Irving Rerlin's "Call Me Madam," "Gentle- men Prefer Blondes" and our great all-star musical "Tonight We Sing". To this list I must also add Irving Berlin's "There's No Business Like Show Business". From time to time we will announce other musicals that can fit into this top category. Your article states that we have been here at the studio in something of a "slump" for the past year. I do not believe the quality of our mer- chandise has deteriorated — the facts at least speak otherwise. Our total world gross at this point in the year is slightly ahead of our total world gross at this time last year. I am sure we are all aware of what "The Snows of Kilimanjaro" is doing at the box office across the nation. Add to this "My Cousin Rachel," "Niagara," "Stars and Stripes For- ever," "Farmer Takes A Wife," "To- night We Sing," "The President's Lady," "Gobi Outpost," "Man On the Tightrope," "The Desert Rats," "Call Me Madam," "Titanic," "Gentlemen Prefer Blondes," "White Witch Doctor" and "The Robe" and I believe it must be conceded that if we were in a slump or if our luck was bad, then certainly we are out of the slump by a wide margin and our luck has certain- ly changed for the good. One cannot forget that not so long ago this studio practically single- handed kept the exhibitors away from the red ink. For three straight years when some of the other major com- panies were "gasping for breath" Twentieth Century-Fox saved the day. This is not a boastful assertion on my part. It came to me from hundreds of exhibitors all over America. With confidence I predict that the balance of this year and all of next year will clearly reveal when the "take" is counted that our studio will be second to no other studio when it comes to box office hits and to the gross. The credit for this certainly does not belong to me alone. I am not silly enough to believe that. If I am lucky it is because I have been lucky enough to surround myself with a lot of good people. Best always, Darryl F. Zanuck RKO's One Man "RKO Pictures Corp., with new men in charge, may be entering upon the most exciting days of its life." The Wall Street Journal had no idea, we're sure, how prophetic were those words, written one month ago in the first of its series of sensational articles on the Stolkin syndicate, which had just taken over control of the company from Howard Hughes. Well, RKO's days certainly have been excit- ing, to say the least, since then. Late last week, more excitement, a new RKO melodrama in four (or more) reels. New sequences were being added so fast as the week drew to a close that the RKO story prob- ably will be of epic length by the time this is in print. REEL ONE: From Chicago, home base of the Stolkin group, came word that negotiations were under way for transfer of RKO stock control to a new syndicate headed by Matty Fox. Mr. Fox had participated in the re- organization of United Artists little over a year ago and, of late, he has been active in production of films for television. REEL TWO: Three minority stock- holders filed a petition in New York Supreme Court asking a temporary receivership "to protect and preserve the business enterprises from loss and destruction and to prevent it from be- coming insolvent." The petition also charges Howard Hughes with having "saddled unfair commitments" on the company and interfering with its "growth and development". The de- trimental acts of which Mr. Hughes is accused range from letting Dore Schary go to requiring RKO to pay his Hughes Tool Company $100,000 for the services of- Jane Russell ("a waste of corporate funds"). REEL THREE: Last Thursday afternoon, Arnold Grant resigned as chairman of the board and was fol- lowed promptly by Arnold Picker, whose resignation preceded by one day his assumption of duties as execu- tive vice-president. Mr. Grant had been trying to organize a board of directors by filling the vacancies left by the withdrawal of Ralph Stolkin, A. L. Koolish and William Gorman. In a lengthy statement, the erst- while chairman declared that he had nominated two reputable business ex- ecutives from outside the movie in- dustry to the board, but that they were not acceptable to the other two board members, Sherrill C. Corwin and Edward G. Burke, Jr., who are reputed to be representing, in some degree, at least, the Stolkin group interests. "The action of the board," Grant stated, "manacles my hands. It is evi- dently impossible to reconstitute the board at this time with persons of sufficient calibre to meet the corpo- ration's problems. This in turn makes it impossible to have within the cor- porate structure the atmosphere of strength and integrity which is so necessary to attract and hold em- ployees of outstanding calibre; to interest the investing community in acquiring the stock and participating in the future of your corporation; to justify banks in extending or enlarg- ing credit to the corporation, and to obtain and maintain the faith and friendship of the industry in which we work, the theatres that buy our products, and the competitors with whom we are interdependent for friendly business intercourse." REEL FOUR: On Friday, Novem- ber 14, what must be regarded as an interim board of directors was elected, including Messrs. Corwin and Burke. The three new members, chosen "in accordance with the company's policy of developing its leaders from the ranks", are: Charles Boasberg, general sales manager; William Zimmerman, general counsel, and Ross Hastings, assistant secretary, who is in charge of studio operations. This board, it may be presumed, will sit and await the outcome of the negotiations be- tween Matty Fox and the Stolkin syndicate. Thus far, the RKO story of the past two months has been a tragedy. How sad, for instance, that Mr. Grant, in his search for manpower of "suf- ficient calibre to meet the corporation's problems" . . . "To attract and hold employees of outstanding calibre" . . . "to maintain the faith and friendship of the industry", failed to look right under his nose. The one man who has these quali- fications, the one man who has the knowledge of RKO's problems, the experience and the prestige to conquer them is Ned E. Depinet. Through practically all the years of the com- pany's existence, Ned Depinet has been RKO's bulwark, guiding it through several emergencies, once warding off almost certain bankruptcy. RKO is an important segment of our industry. Resumption of its full- scale operations is vital to the industry at large; certainly to all theatres. We are certain that we speak for an over- whelming majority of America's ex- hibitors in this plea to those who con- trol RKO's destiny today that they turn to Ned Depinet to set their cor- porate ship back on the right course. He is the one man who can save RKO now, the one man who can give this tale a happy ending. Paq* II FILM BULLETIN November 17, I9S2 N. Y. Critics Differ On Merits Of Columbia's 'The Happy Time' New York reviewers greeted, with mixed emotions, the opening of "The Happy Time", a Stanley Kramer production for Columbia. It was generally agreed the film is an entertaining comedy, but there was some disagreement as to the quality and quantity of mirth. Comments ranged from "bright and cheerful," to "harmless off-color joke". One critic considered it a hoked up show, while another believed it contained "charm and warmth". Said Otis L. Guernsey, in the Herald Tri- bune, " 'The Happy Time' is a patchwork quilt of many colors, but most of them are bright and cheerful, and they blend into a smooth pattern of amusement". He com- promised with "it has no great fund of wit, satire, or cleverness, but it is an entertain- ing piece of comic legerdemain." According the film a Good Movie Meter 'Rating, the Post's Archer Winsten thought hat it "seems always a fun-loving show, noked for maximum entertainment, and hit- :ing the mark half the time." i In the World-Telegram & Sun, Alton Cook waxed enthusiastic with "the film surges happily through episode after epi- sode of unbridled hilarity or warm senti- nent". He topped that praise with "(it) akes you on a fling of mischief, laughter nd generous kindness that will make you ove yourself in the morning". | The Time's Bosley Crowther was some- ivhat disappointed and commented that the ilm "has been permitted to develop as a ort of harmless off-color joke . . . rather iian as a sensitive boyhood tale". He felt (he potential of the picture was not fully • chieved and it was "allowed to drift off in ne direction of rambunctious family farce". "A persistent hit on Broadway has been •anscribed to the screen . . . and there is no ;ason to doubt that it will be less of a jrowd pleaser," penned Fred Rayfield in he Daily Compass. Tagging it with a [ lood rating, he observes the film as "sheer lirth, merriment and Home, Sweet Home". "HE THIEF' INTTED ARTISTS II" Interesting movie . . . wonderfully ef- :ient game of charades, and perhaps an ' pject lesson on the prudent substitution of I .mera for hackneyed expression." — 1 napiro, X. Y. Daily Compass. I "Trick overpowers the material . . . but » e trick itself is a fascinating novelty." — uernsey, N. Y. Herald Tribune. . "Feature-length chase, occasionally repe- ious, in which suspense is only inter- ittent . . . Novelty ... is this melodrama's sic virtue." — Weiler, N. Y. Times. "Ingenious, fascinating stunt and round stirring excitement. It should keep . . . 1 Itrons in a steady state of harried sus- nse." — Cook, X. Y. W orld-Telegram. 'Good (Movie Meter Rating) . . . Medium j" . . . story telling ... is effective, which inot to say that the picture couldn't have j;n equally forceful, utilizing the usual Jthod of filming an FBI thriller." — Thirer, Y. Post. 'QUOT6S" What the Newspaper Critics Sag About New Film* THE GOLDEN HAWK' COLUMIil A "A deal of the sort of blood and thunder that is standard in sword-and-romance films is spewed in this Technicolored gce-gaw." — Crowther, V V. Times. "Must have been made to give Hayden a warm-up for something mure important, such as a class B production." — Pihodna, N. Y. Herald Tribune. "Poor plus (Movie Meter Rating) . . . Not much worse than other pictures known as swashbucklers." — Winsten, N. V. Post. "One of the high-flown novels of Frank Yerby ... it seems unlikely that he will take much pride in this latest version of his brainchild." — Cook, N. Y. World-Telegram. "Good escapist stuff ... A lively swash- buckler."— Pelswick, N. Y. Journal- Ameri- THE PRISONER OF ZEN DA' M KTRO-GOLDW YN-M AYER "Good escapist adventure . . . All done up with the proper flamboyance and spun out against glittering backgrounds." — Pelswick, X. Y. Journal-American. "Blazing with color and bristling with the arrogance of high romance . . . Streamlined just a little, down to the essentials of the plot . . . More of an amusement than an excitement, but it is good of its kind." — Guernsey, X. Y. Herald Tribune. "As 'Prisoners' go, the new one rates pretty well. Big money has been poured all over place in its large scale castles, cere- monial halls and hunting lodges." — Cook, X. Y. World-Telegram. "Looks quite as youthful and unblushing as if it bore not the slightest trace of age . . . The sort of play-acting that defies the solemnities of time, the smirks of sophisti- cation and the rigidities of age." — Crowther, X. Y. Times. "Good plus (Movie Meter Rating) . . . Bound to be a terrific hit, and it deserves to be ... A load of action-packed, gorgeous- ly mounted fun." — Thirer, X. Y. Post. BREAKING THROUGH THE SOUND BARRIER' UNITED ARTISTS (LOPERT) "Thoughtful and informative as well as exciting film . . . Remarkable simulation of reality in both sound and sight has been achieved." — Cook, X. Y. World-Telegram. "Excellent (Movie Meter Rating) ... A picture with subject matter of such terrific dramatic impact that director, writer and performers have only to keep calm to pro- duce explosive excitement." — Winsten, X. Y. Post. "Exciting semi-documentary . . . with a trace of human element to give it the form of a drama . . . Picture gives off a tension as keen as the whistle of jet motors when- ever it takes to the air." — Guernsey, X. Y. Herald Tribune. "As documentary and pedantic as that lengthy and tedious title may sound, we urge you to overlook it and not let it stand in your way." — Crowther, N. Y. Times. O. HENRY S FULL HOUSE' 20TH CENTURY- FOX "Adequate but unstimulating Memories attached to the name O. Henry promise more than this film performs." — Guernsey. N. Y. Herald Tribune. "Compact and varied entertainment . . . brisk, direct and tricked with the element of surprise." — Crowther, N. Y. Times. "Adding extra stuffing to (J. Henry's airy whimsical structures is a dangerous under- taking. The workers on (the film) have not surmounted the perils very effectively." — Cook, N. Y. World-Telegram. "This is good O. Henry . . . But don't make the mistake of assuming . . . that these shorts are up to the level of . . . 'Ouartet,' ' Trio,' and 'Encore'." — Winsten, N. Y. Post. "FOUR POSTER" COLUMBIA "Good (Movie Rating) ... A thin play and a thin movie. None of it is extra- ordinary, but all of it ... is very honest . . . Drama without bathos, comedy without burlesque, performed by two people who know their business." — Shapiro, N. Y. Daily Compass. "Good (Movie Meter Rating) . . . With the alternating sorrows and gladnesses, the bursts of anger and the sweetness of recon- ciliation, you may say that marriage is ex- ploited for entertainment quite successfully and emotionally." — Winsten, N. Y. Post. "Amazing that a two-character, one-set stage play should have been considered ma- terial for the movies, and even more amaz- ing that the results are excellent." — Pihodna, N. Y. Herald Tribune. "Picture that at times runs exceedingly thin . . . Regardless of plausibility, they are pleasant company, being graciously do- mestic people and blandly and winsomely droll." — Crowther, X. Y. Times. "Film falls victim to the entertainment lulls that come when screen players talk- endlessly about doing things instead of actually doing them." — Cook, N. Y. World- Telegram. SPRINGFIELD RIFLE' WARNER BROS. "Fair plus (Movie Meter Rating) . . . Story, setting, action and acting are all in the cactus tradition . . . Rifles . . . are so small a part of the story that you wonder why the name was used." — Winsten, N. Y. Post. "Routine outdoor drama . . . steps along so smartly that there is hardly time to notice the thinness of the material or the film of dust on the characters." — Guernsey, N. Y. Herald Tribune. "Has more of an aspect of familiar screen dramatics than of historical actuality . . . Even the rugged outdoor scenery is pretty much of the same old thing." — Crowther, X. Y. Times. "Apparently the same horses as well as the same plot that Westerners have given us time after time." — Cook, X. Y. World- Telegram. FILM BULLETIN November 17, 1 952 Page If COVER-TO-COVER There are substantial reasons why exhibitors all over America (and the subscribers in Canada, Europe, England, India and Iceland, too) are agreeable to pay more for their subscription to FILM BULLETIN than for the average trade paper. The answer is that thousands of theatremen do more than just subscribe to FILM BULLETIN . . . They absorb it from cover to cover . . . They buy product by it production information . . . They book by its frank reviews . . . They form their views of industry policies by its Viewpoints pages . . . They have faith in it . . . They regard FILM BULLETIN as the paper with something Important to say! P»qe 20 FILM BULLETIN November 17, 1952 RODUCTIOn , R€L€flS€ R6CORD 951-52 Features Westerns ALLIED ARTISTS Completed (53) Completed (18) In Production (0) In Production (0) N PRODUCTION TITLE — Running Time COMPLETED vfrican Treasure krctic Flight tunny Bound _ lattie Zone .anyon Ambush lead Man s Trail Jesert Pursuit RELEASE CHART — 1951-52 -• Cast Sheffield-Luez )isc Jockey 177) _ ■lephant Stampede (71) hat Top IC) ■eudin' Fools iold Fever Gunman. The Here Comes the Marines Hiawatha Id Morris-Albright Clements ______ — Hodiak-Christian Brown-Co*tes _ _ Brown-Eilison _ — Morris-Caruso _ Simms-O'Shea _ Sheffield Elliot - _ Hayden-Carlson - Gorcey-Hall Morgan-Calvert Wilson-Knight _ Gorcey-Hall Edwards-Dugay Highwayman, The IC) 183) Hendrii-Coburn ungle Girl Sheffield-Sharpe .ansas Pacific (C) Hayden-Miller '.ansas Territory 173) Elliott-Stewart awless Cowboys 1581 Wilson-Knight _ •Han from Black Hills '781 Brown-Ellison _ Pelican Silver Wilson-Clyde Ret. 4-S2 7-20 10-52 9-52 . 10-12 7-4 S-S2 8-23 10-29 9-52, 11-52 9-14 6-8 . 4-13 A- 1 5 . 12-7 9-8 . No. Rev. 5207 5210 _ 521* 22 _ 5244 . 5243 _5209 21 6-18 51 10 _ 5226 _ 5201 5213 . -5.20 _ 5252 -5212 _5202 -20 8-27 12-52 - 24 5-4— 5225 11-7 5 1 55 _ ___ 3-52_ 5242 . Montana Incident light Raiders lorthwest Territory 161) odeo IC) 171) os« Bowl Story. The (C) (73) ea Tiger 171) ! on of Belle Starr lo Holds Barred .. angier Incident ______ eias City Kmberwolf torpedo Alley 'rail Dust icious Years, The (79) Vaco (68) . _ _ •vagons West (C) (70) Vild-Stallion (C) jVyoming Roundup 'quared Circle, The ukon Gold --Wilson-Stewart _ Wilson-Knight _ .Grant-Chinook — Jane Nigh Thompson-Miles Archer-Chapman _ Larsen-Castle -Bowery Boys . Brent-Aldon Brown-Elliscn _ Curwood Stevens-Malone Albright-Winters . Cook-Moore — Elliott Cameron lohnson-Hyer „. ... . Wilson-Coates . Kirkwood-Gleason - Grant-Hyer . 8-17 - 5253. 2-52.- 5251 - 12-9 3-9 5104. 8-24 7-52 5204 5218 . 12-52 5214 12-30 12-28 5222 11-52 23_ 12-31 5I07_ 2-18 _ 2-52 5224 . 6-29 . 5203 _ 4-27 -5205 - II-?— 5254 _ 6-30 8-52 5221 COLUMBIA 951-52 Features Serials Completed (68) Completed ( 3) In Production (3) In Production (0) N PRODUCTION TITLE — Running Time ove Song (T) ■seta led Beret. The IT) OMPLETED Iffair in Trinidad (98) 1 1 • Ashore IT) RELEASE CHART — 1951-52 — Cast . Wyman-Milland Crawford-Derek Ladd-Andrews .. Rel. No. Rev. Imbush at Tomahawk Gap (T). oache Country (62) Issignment — Paris 185) ,-rbed Wire (61) _ . — I ue Canadian Rockies (58) ;-eve Warrior IT) (73) i-igand. The IT) (94) lelifornia Conquest (T) (79) aptain Pirate IT) (85) louded Yellow, The (89) aego Bill _ _ ripple Creek (T) 178) •eth Of A Salesman (III) ght Iron Men 180! . ... . refighters, Th e rst Time, The 189) 000 Fingers of Dr. T., The r >er Foster, The (103) olden Hawk IT) (83) angman's Knot (T) .. appy Time. The (94) . tr Wonderful Lie > ick McCall, Desperado IT) _ 'ggler, The Hayworth-Ford Rooney- Lawrence Derek-Hodiak Autry-Buttram — -Andrews-Toren — Autry-Buttram — Autry-Buttram _ —Jon Hall Deiter-Lawrence Wilde-Wright — Louis Hayward . -Simmons-Howard McGuire-Moore _ -Montgomery-Booth — March-Dunnock CoMeano-Franz _ Williams-Reynolds — Cummings-Hale — Hayes-Healy — Harrison-Palmer — Fleming-Haydn .. — Scott-Jarman _ Boyer-Driscoll — Kiepura-Eggerth 9-52 7-28 5- 52 10- 52 7-52 11- 52 6- 52 7- 52 7- 52 8- 52 8-52 _ 8-25 5-19 431 6-30 . 7-28 10-8 7-52 2-52 I 1-52 423 6-30 12-31 11-3 -2-52 424 2-11 10- 52 1 1- 52 10-52 508 506 6-30 ■action City (54) ngle Safari d From Broken Gun (56) ■ ramie Mountains 154) st of the Comanches (T) list Train From Bombay (72) - tarrying Kind, The 193) _ lember of the Wedding, The ontana Territory IT) (64) It-finder. The IT) I ula (80) _ ___ nee of Pirates (T) Montgomery-Stevens — Douglas-Vitale — Starrett-Burnette — Weissmuller-Greene Starrett-Bunett Starrett-Burnett — Crawford-Hale Hall-Ferraday — Holliday-Harrison _ Waters-Harris __ McAllister-He ndrix Montgomery-Carter . _ Young-Smith Derek-Rush inbow Round My Shoulder (T! (78) Laine-Daniels 7- 52 .... 486 8- S2 " 481 4-52 485 8-52 8- 52 504 4-52 425 ~6-5? 438 * 6-52 436 5 9- 52 ZI 503! In the Release Chart, "Rel." is the National Release Date. "No." is the release Number. "Rev." is the issue in which the Review appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1951-52 programs unless otherwise noted. Listing of color pictures follows immediately after title: (T) Technicolor, (CI Cinecolor, (SO Supercinecolor, (TR) Trucolor, (AC) Ans- color, (NO Natural Color, (WO WarnerColor. Red Snow 175) .Madison-Male Riders of the Whistling Pines Autry-White Rough. Tough West 154) Starrett-Burnette . . Salome — Dance of the Seven Veils (T) Hay worth-Granger Sniper. The 187) Meniou-Frem Storm Over Tibet IB7) Reagjon-Douglas Sound Off ISC) (83) Mickey Rooney Target — Hong Kong Denning-Loo Thief of Damascus. The IT) (78) - Henreid-Sutton Vatican, The IT) 142) . Documentary _ Voodoo Tiger (47) — Weissmuller-Burekhart Wagon Team (61) Autry-Buttram Walk East on Beacon 198) Murphy-Gilmore War Cry IC) — Montgomery-Long Yank in Indo-China. A 147) Archer-Dick Strange Fascination 180) — Moore-Haas 8-1 5-5 ■30 7-S2 6- 52 5-52 7- 52 5-52 4- 52 Special I 1-52 9-S2 6-52 5- 52 9-S2 439 487 434 428 427 476 426 435 436 505 5-5 10-6 1951-52 LIPPERT Completed (40 Production (0! IN PRODUCTION TITLE — Running Time COMPLETED * Bad Blonde . Captain Kidd (Reissue) For Men Only 193) Gambler and the Lady Great White Hunter (Reissue) Hellgate 187) , I II Get You RELEASE CHART — 1951-52 — Cast Rel. Johnny the Giant Killer (T) Jungle, The 174) , Loan Shark (79) Mr. Walkie-Talkie Payton-Wright Scott-Laughton P. Henreid -Dane Clark _Peck-Preston Hayden-Leslie _George Raft Animation Feature Cameron- Romero Raft-Hart 12-12 I-S2 12-26 12-12 _ 9-5 1-16 Outlaw Women IC) 175) _ Pirate Submarine 169) Scotland Yard Inspector — Secret People Stolen Face, The (71) Stronghold 173) ... Tall Texan, The Tromba, the Tiger-Man 163) Valley of the Eagles (83) — Wings of Danqer 172) Tracy-Sawyer . -Windsor-Rober Special Cast . Romero-Ma.well _Cortesa-A. Hepburn .. Henreid-Scott Lake-Scott . .Bridges-Cobb .Special Cast -Warner-Gray Z. Scott _ 7-4 5- 23 I 1-28 _ 6-2 7- 18 10-31 8- 25 6- 16 2-S2 1-23 I 1-14 4-25 4-1 No. S2I0 5102 5204 5209 5113 5206 5205 5112 5IM 5203 5105 51.10 5202 51 16 .5109 5107 5207 5201 5114 5106 Re». 1-28 METRO-COLDWYN-MAYER 1951-52 Features Completed (106) In Production (7) IN PRODUCTION TITLE — Running Time Band Wagon. The IT) Clown, The ____________ Dream Wife Give A Girl A Break IT) RELEASE CHART — 1951-52 — Invitation to the Dance (T) Main Street to Broadway Remains To Be Seen Young Bess IT) COMPLETED Above and Beyond (123) Apache War Smoke 167) Bad and the Beautiful, The Because You re Mine (T) (103) Belle of New York IT) (82) Carbine Williams (93) Code 2 — Connie Cast Astaire-Charisse _Skelton-Greer _Grant-Kerr — . Bankhead-deHavilland — Kelly-Youskevitch -All-Star . Allyson-Johnson Sommons-G ranger Rel. No. Rev. Cry of the Hunted Dangerous When Wet Desperate Search, The Devil Makes Three, The 190) .Taylor-Parker Roland-Horton Turner-Dougles _ Lania-Whitmore Astaire-Vera-Ellen Stewart-Hagen Meeker-Forrest .-Johnson-Leigh _Gassman-Su Hi van . Williams-Lamas Keel-Greer 10-52 305 10-52 . 304 3-52 . 223 5-52 231 10-4 9-8 2-25 4-21 Kelly-Angeli Everything I Have Is Yours IT) 192) Champion-O'Keefe Fearless Fagan 179) Leigh-Carpenter Girl In White, The 193) _ Allyson-Kennedy Glery Alley (79) _ _ Caron-Meeker Girl Who Had Everything, The Taylor-Lamas . Holiday for Sinners (72) Hour of Thirteen, The 180) I Love Melvin (T) Ivanhoe (T) (106) Jeopardy . Julius Caesar ■ Lili IT) Lovely to Look At 1 102) Merry Widow, The IT) 1105) My Man and I 199) Young-Rule Lawford-Addams O Connor-Reynolds _ R. Taylor-E. Taylor Stanwyck-Sullivan __~ Brando-Mason - Caron-Ferrer Grayson-Skelton Turner-Lomas Winters-Montalban _ Williams-Mature Stewart-Ryan — Gable-Tierney Tracy-Hepburn 9-52 .. 302 e-25 10-52 _ 306 . 10-20 8-52 _ 241 —7-14 5-52 232 6-52 234 7-52 _239 -__4?30 1 1-52 309 10-20 8-52 307 6-30 7-52 9-52 9-52 Million Dollar Mermaid IT) Naked Spur, The (T) Never Let Me Go Pat and Mike (93) Plymouth Adventure IT) < 104) — — Tracy-Tierney Prisoner of Zenda IT) 1100) Granger-Kerr Quo Vadis (T) 1168) Taylor-Kerr Rogue's March Lansford-Rule 12-52 237 301 303 312 6-52 235 11-52 310 I 1-52. _ 308 216 4-16 11-3 10-20 I 1-19 Scaramouche IT) 1115) See How They Run _ S. Grainger-E. Parker Dandridge-Horton , 6?52 FILM BULLETIN November 3, 1952 Page 25 Siaqin' In The Rain IT) 1103) Skirt. Ahoy (T) llOfl „ Sky Full of Moon I7S) Small Town Girl (T) .... Sombrero Steak for Connie Story of Three Love. (T) Talk About a Stranger 1*5) Time Bomb (77) . . Vaquero (An.) . ... Vicki IT) Wahington Story |82) When in Rome 178) You For Me 170) Young Man With Ideas [84) . Kelly-O'Connor 4-52 ... William-Blaine 5-52 .. Carpenter-Sterling 12-52 J. Powell-Grainger _ _ ._ Montalban-Angeli Johnson-Leigh ... .._AII-Star Cast Murphy-Davi. 4-52 ...Ford-Vernon _ ....Gardner-It. Taylor 227 ... 233 4-21 228. 3- 10 Garson-Pidgaon Johnson-Neal 7-52 . 238 7-14 Johnson-Douglas 4-52 _ 229 3-18 Lawford-Greer ..... 8-52 240 t-l 1 Ford-Roman 5-52 230 3-10 PARAMOUNT 1951-52 Features Completed (75) In Production (4) RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. No. Rev. Forever Female Rogers- Holden _ Here Comes the Girls IT) Hope-Martin _ Houdini IT) Curtis-Leigh Little Boy Lost Crosby-Dauphin COMPLETED Aaron Slick from Punkin Creek(T) 195) Shore-Young Anything Can Happen 1107) Ferrer-Hunter Atomic City, The 1851 _ Barry-Clarke Blazing Forest IT) 191) Payne-Moorehead Botany Bay IT) Ladd-Mason _ Caribbean (T) (95) Payne-Dahl Olivier-Jones Colbert-Wilcoxon Lancaster-Booth O Brien-Hayden ... ..Maugham Stories Stewart-Hutton Carrie 1 1 181 Cleopatra (1041 Reissue) Come Back Little Sheba [99) Denver & Rio Grande IT) (89) Encore 190) Greatest Show On Earth IT) (151) Green Gold of Nevada (T) Pavne-Morrow Hurricane Smith ITI DeCarli-lreland Jumping Jacks [98) Martin-Lewis Jamaica IT) Milland-Dahl Just For You (T) (104) Crosby-Wyman Los Alamos ... Barry-Carke Military Policeman Hope-Maxwell My Son John (122) Hayes-Heflin Pleasure island IT) Genn-Taylor Pony Express (T) ... Hesfon-Flemming _ Red Mountain (T| 184) Ladd-Kennedy Road to Bali IT) 191) Hope-Crosby-Lamour Rock Grayson's Women (T) ......... Payne-Sterling Roman H'Midav Peck-Hepburn Savage, The (T) (95) Heston-Hanson Scared Stiff Martin-Lewis Shane IT) Ladd-Arthur Somebody Loves Me IT) 197) Hu'ton-Meeker Something To Live For (90) Fontaine-Milland Son of Paleface IT) Hope-Russell Stalaq 17 Holden-Taylor Stars Are Sinqinq, The (T) . Alberghetti-Clooney S*ooge. The (1001 Martin-Lewis Thunder in the East 198) Ladd-Kerr Turning Point, The (851 .... Holden-Smith Tropic Zone IT) 1941 Reagan-Fleming War of the Worlds IT) Barry-Robinson 4- 52 5- 52 6- 52 12-52 9-52 8-52 1 2-52 2-52 6- 52 7- 52 7-52 5119 5117 5120 5207 3-10 3-10 10-52 7-52 5202 5123 5208 5213 5115 5122 5129 5204.' 5121 10-20 ,.6-1 4 4-7 Z 1-14 9-52 5201 4-16 8-1 1 4-52 3-53 5114 5215 4-21 5-52 12-52 ?l 13 5209 11-52 5204 10-4 10-52 3-52 8-52 5203 5105 5124 . 9-8 .. 2-11 7-14 3-53 2-53 5214 5212 1-53 5210 10-52 5205 10-4 1-53 521 1 IN PRODUCTION TITLE — Running Time COMPLETED Battles of Chief Pontiac 175) .... Bela Lugosi Meets a Brooklyn Gorilla (74) Breakdown (741 . Cairo Road [85) Cuban Pete 141) (Reissue) Fame & the Devil (80) Geisha Girl 147) House of Darkness (43) If This Be Sin 1741 Inside Job [45) [Reissue) „ _ Kid Monk Baroni 180) Lucy Goes Wild (90) (Reissue) Maytime in Mayfair (T) (74) ... Mug Town 140) (Reissue) My Death is a Mockery (47) Summer Storm (92) (Reissue) .... Wall of Death 1821 RELEASE CHART — 1951-52 — Cast Rel. No. Rev. Barker-Wescott 11-52 . Luskosi-Mitchell Richards-Bishop Harvey-Portman Arnez-Smith Auer-Buford Hyer-Andrews Harvey-Shaw Loy-Greene ... Curtis-Rutherford Cabot-Knox Ball-Brent Wilding-Nagle Dead End Kids D. Huston-Byron Darnell-Sanders Harvey-Shaw 10-52 9-52 10- 52 11- 52 I 1-52 8-52 10- 52 I 1-52 12- 52 8-52 1 1- 52 8- 52 12- 52 12-52 9- 52 9-52 6 REPUBLIC 1951-52 Features Serials Westerns Completed (21) Completed ( 0) Completed (14) In Production In Production In Production (0) (0) < 1 1 IN PRODUCTION TITLE — Running Tim* South of San Antone COMPLETED Bal Tabarin 190) Black Hills Ambush 154) .... . . oorder Saddlematat _ Desperatoes Outpost 154) Fabulous Sanorita, The (80) Fair Wind to Java ITr) Flight from Fury RELEASE CHART — 1951-52 — Cast Cameron-Whelan Rel. No. Rev. Lawrence-Ching Lane-Waller Allan-Kay Allen ..E.telita-Clarke MacMurray-Ralston Edwards-Clark 4-1 5129 5-20 5172 4-15 5143 10-8 5174 4-1 5125 jHt, „.,■■,'. Gobs and Gals _. _ Hoodlum Empire (98) I Dream of Jeanie ITr) (90) Lady Wants Mink, The (Tr) Last Musketeer, The (47) Leadville Gunslinger (54) Oklahoma Annie (C) (90) .... Old Oklahoma Plains (40) Overland Trail Riders Quiet Man, The IT) (129) . Downs-Hutton . Donlevy-Trevor .... M idd I e ton - Sh i r ley ...Hussey-O'Keefe _ Allen-Kay Lane-Riley ...Canova-Russell Allen-Kay ..Allen-Hall 5-52 5128 .4-15 .5105 4-15 ... 5104.. .7-1 3-52 5142 3-52 5171 . 3-24 5122 7-25 5144 Rangers of the Golden Saae Ride the Man Down (Tr) (90) South Pacific Trail Sun Shines Bright Sweetheart Time (Tr) Then You'll Remember Me Thunderbirds Thundering Caravans (54) Toughest Man in Arizona ITr) 190) Tropical Heat Wave WAC From Walla Walla . Wild Horse Ambush Woman of the North Country (90) Wyoming Saddle Pali . Wayne-O'Hara . Chapin-Janssen __ Donlevy-Tucker 1 1-52 5108 10-20 Allen-Esfelita Winninger-Whelan .... Middleton-Cristy ...Middleton-Shirley . Derek-Barrymore Lane-Waller .7-20 Monroe-Leslie 10-10 Estelita-Hutton 1 0— I . Canova-Dunne 10-10 . Chapin-Jansen 4-15 Cameron-Hussey 9-5 -Chapin-Janssen 5-1 II- 5173 5109 5123 5049 5107 8-1 : RKO RADIO 1951-52 Features Completed (74) In Production (2 RELEASE CHART — 1951-52 — IN PRODUCTION TITLE — Running Time Cast Rel. No. Rev Split Second McNally-Smith Tarzan and the She Devil Barker-MacKenzie COMPLETED Allegheny Uprising (81) (Re-issue) Trevor-Wayne 9-52 Annie Oakley (91) IRe-issue) . Stanwyck-Foster 9-52 Androcles and The Lion Simmons-Young 10-52 Beautiful But Danqerous Simmons-Mitchum 2-53 Beware, My Lovely (77) ... ...» Lupino-Ryan 9-52 Big Sky, The (140) Douglas-Martin 8-52 Blackbeard the Pirate (T) Darnell-Newton 12-52 Body Snatcher IRe-issue) Karloff ... 4-52 Break-Up Simmons-Mature Bystander, The Mitchum-Simmons Captive Woman (45) Clarke-Field 10-52 Clash By Night 1105) . Douglas-Stanwyck 4-52 Desert Passage (40) ..Holt-Dixon 5-52 Difference, The O'Brien-Loveioy Face to Face 1921 Mason-Preston 11-52 Faithful City 184) J. Smith-Ramati 5-52 Half-Breed, The (T) (81) Young-Carter 5-52 Hands Across the Sea Rennie-Peters Hans Christian Andersen IT) 1120) Kaye-Granger 11-52 I Walked With a Zombie IRe-issue) Conway 4-52 Jet Pilot IT) (118) Wayne-Leigh King Kong IRe-issue) Cabot 4-52 .... Leopard Man, The IRe-issue) O'Keefe 4-52 ..... Look Who's Laughing 179) Ball-McGee 8-52 . Lusty Men, The (113) .Xayward-Mitchum _ 10-52 Macao (81) Russell-Mitchum 4-52 Man Who Fooled Hitler Werner Montana Belle IT) (81) Russell-Brent 11-52 Narrow Margin (71) McGraw-Windsor 5-52 Never Wave At A Wac Russell-Wilson 1-53 One Minute to Zero (105) Mitchum-Tallman 8-52 Peter Pan (T) Disney Cartoon Feature 2-53 Rancho Notorious IT) (89) _ Dietrich-Kennedy 3-52 Rashomon [841 Japanese 3—52 — 384 383 302 341 271 304 229 230 303 228 272 249 270 381 304 224 6-1 224 301 Road Agent 140) _ Story of Robin Hood (T) 184) Sudden Fear (I 10) Target (40) Tarzan's Savage Fury (80) Too Many Girls (85) Under the Red Sea (47) Wild Heart, The IT) (82) Holt-Martin ... 3-52 ...Todd-Rice 7-52 ...Crawford-Palance 8-52 ..McGraw-White 4-52 Barker-Hart 4-52 Ball-Arnaz 8-52 Hass-Berl 10-52 Jennifer Jones __. 7-52 221 ... 248 223 391 342 227. .225 382 305 274 I0H 4- 17-2] 3-1 8- 3-; 20th CENTURY-FOX 1951-52 Features Completed (74) In Production (6! IN PRODUCTION Baptism of Fire Call Me Madam (T) ...Merman-O'Connor Man On A Tightrope March-Moore RELEASE CHART — 1951-52 — Mature-Moore Nearer My God to Thee President's Lady, The ■■ Sailor of the King Webb-Stanwyck Hayward-Heston Hunter-Rennie _ COMPLETED Belles On Their Toes IT) (89) Crain-Loy Bloodhounds of Broadway IT) 190) Gaynor-Brady David and Bethsheba IT) [114) Peck-Hayward Deadline U. S. A. 187) Bogart-Barrymore Diplomatic Courier 197) Power-Neal _. Don't Bother To Knock (74) Widmark-Monroe Down Among the Sheltering PalmsIT) Lundigan-Greer Dream Boat 183) Webb-Francis ... Farmer Takes A Wife, The IT) Grable-Robertson 5 Fingers 1108) _ Mason-Rennie 5-52 I 1-52 2-52 5-52 7- 52 9-52 8- 52 213 234 203 215 222 224 223 8-2 7-2 3-52 208 3-1 Haver-Dailey Girl Next Door, The (T) Gobi Outpost IT) Widmark-Taylor Golden Girl (T) (108) Day-Gaynor Japanese War Bride (91) Power-Blyth Kangaroo IT) (84) O'Hara-Lawford Lady in the Iron Mask (NO (78) ... L. Hayward-Medina Leave Her to Heaven (110) (Reissue) Tierney-Wilde — Lai Miserable. (104) Rennie-Paget Lure of the Wilderness (T) 192) Peters-Hunter Lydia Bailey IT) (89) - Robert.on-Franci. . Monkey Business (97) _ Grant-Rogers My Cousin Rachel . - deHavilland-Burton My Pal Gus 183) Widmark-Dru My Wife's Best Friend (101) Baxter-Carey Niagara (T) Cotten-Petert _. -11-51 ... 134 iM 12-51 .142 12-11 4-52 217 7-52 .... 218 JM 4-52 255 8-52 ....... 225 ' 1-1 9-52 _ 227 4-52 _ 219 10-52 230 12-52 233 10-52 231 "age 22 FILM BULLETIN November 17. 1952 Niqhl Without Sleep (77) Number, The _ . Dernell-Merril Winters-Widmark Outcasts of Poker Flat, The 181) Baiter-Robertson 0. Henry's Full House (91) - . . Crain-Granqer Pickup on South Street Widmark-Peters »ony Soldier IT) 1821 Power-Edwards Powder River _ Calhoun-Calvet 'ride of St. Louis 193) Dailey-Oru Rains Came. The 195) (Reissue) _ Power-Loy *ase of Cimarron INC) 172) Buetel-Powers Sailor of the King Hunter-Rennie Silver Whip. The Calhoun-Robertson Snows of Kilimanjaro. The IT) (114) Peck-Hayward Something For The Birds 181) Mature-Neal Stars and Stripes Forever IT) 1891 Webb-Paget Steel Trap 185) Cotton-Wright Thief of Venice (91) . . . Montei-Christian Treasure of the Golden Condor IT) Wilde-Smith Tonight We Sing IT) Pinia-Peters Iva Zapata 1113) M. 8rando-J. Peters Vait Til The Sun Shines Nellie IT) I 108) Peters-Wayne vVay of a Gaucho (T) (91) _ ... . . Tierny-Calhoun tfe're Not Married 185) Wayne-Rogers ... vVhat Price Glory (T) (III) Cagney-Dailey Golden days ahead for RKO's exhibitor friends. . .with the new RKO unfurling, its biggest array of boxofflce dynamite in time for the big holiday business and^ beyond! Just look . . . RKO NAtK)NAl«UASf I I NATIONAL KUASi NOV. If ' Walt Disney's A New Achievement in Cartoon Entertainment Color by TECHNICOLOR key-city pre-release in f IB. "mm m Samuel Goldwyn's T^TrTTaTTTT Howard Hughes presents Robert Mitchum • Jean Simmons • Arthur Hunnicutt in "BEAU- TIFUL BUT DANGEROUS" with Edgar Buch- anan • Wallace Ford ♦ Raymond Walburn NATIONAL RELEASE FEB. 27 Howard HUlrh 1 1 WMiai / pR£.«i£ASf MOV. 24 ANDKOCUs m • With El" iLZ *?? YJM? s? '""I"*!"' "/ uauuei ras Zr ******* #44. "atSQlt Titles and Release Dotes subject to change. AT THE MUSIC HAL WHICH PLAYS THE BIGGEST PICTURES- 75% OF THE PLAYING TIME THIS YEAR a™r) IS M-G-M! Next at the Music Hall "MILLION DOLLAR MERMAID "A solid hit! A big M-G-M Technicolor class show! It will clean up!" — HOLLYWOOD MKMTHT M-G-M presents "MILLION DOLLAR MERMAID" starring Esther Williams • Victor Mature • Walter Pidgeon • David Brian • with Donna Corcoran • Color by Technicolor • Screen Play by Everett Freeman Directed by Mervyn LeRoy • Produced by Arthur Hornblow, Jr. And next thereafter at the Music Hall THE BAD AND THE BEAUTIFUL M-G-M's great drama, a sensation at this week's Trade Shows! Watch for the trade press raves! M-G-M presents Lana Turner • Kirk Douglas • Walter Pidgeon • Dick Powell in "THE BAD AND THE UK A UTI FUL" co-starring Barry Sullivan • Gloria Grahame • Gilbert Roland • with Leo G. Carroll • Vanessa Brou n • Screen Play by Charles Schnee • Based on a story by George Bradshaw • Directed by Vincente Minnelli Produced by John Houseman StQrt*eNewYe M A"'°c»ons of DN MEN AND MATTERS Arbitral ion— Ms Mi Dead? It had become increasingly evident over the period of the past three months or so that prospects of achiev- ing a workable, generally acceptable arbitration system were diminishing with every passing day. We knew it from the volume and the rising tenor of exhibitor squawks that were cross- ing our desk. We knew that leaders of Allied States Association were being pressured by members to "stop playing footsie" (as one of our reader> picturesquely put it) with the distribu- tors on arbitration and, instead, to start swinging against certain sales policies, which, the theatremen claim, are plaguing them. Allied's action in withdrawing from further negotiations in search of an arbitration plan came as no surprise to us. Neither, we understand, did it surprise at least one prominent dis- tribution executive, who had hoped foi and worked to establish a system of handling industry problems out of the courts. Sad is the fact that not more of the film executives have come to realize that their relations with exhi- bitors have been deteriorating precip- itously. The weakness in the reasoning of the film men on this issue is their failure to recognize, or to acknow- ledge, that they, far more than the exhibitors, need an arbitration plan. The courts have established certain rules for our industry, and redress is available to exhibitors who are in- jured by violations of those rules. It was only because far-seeing exhibitor leaders understand that court actions will hurt the entire industry in the long run that they have fought for an arbitration system, but the rank and film theatre man would be content to sue till the cows come home to pro- tect or improve the status of his busi- ness. The film men should have leaned over backwards to make arbi- tration possible. Arbitration was struck a heavy blow at Chicago. It may be dead or not; we do not believe it was buried. Whether life can still be breathed into it remains to be seen. But this much is certain: if arbitration is to be revived, it will have to be done by the film companies — in a spiri t dictated by sincere good will and their own wel- fare. MO WAX MGM Bidding The following statement by Charles M. Reagan, general sales manager of M-C-M. was issued the day [trior to Allied" s withdrawal from further negotiations on an arbitration sys- tem. It explains Metro's attitude on competitive bidding. "While we have every reason to be- lieve that our system for handling bids has worked well and has gained the confidence and recognition of exhibi- tors generally, we have no objection to the disclosure of bids after Jthe deadline date, and before the award is made if this is desired by our cus- tomers. But we believe that since a specific detailed plan along this line is provided for in the proposed arbi- tration agreement, it would be prefer- able to await the final approval of the arbitration plan rather than to insti- tute in the meantime an individual plan of our own. "Metro-Goldwyn-Mayer has been striving to further its policy of limit- ing its competitive bidding situations only where necessary to meet legal re- quirements and it has to some extent been successful in reducing the number of bidding situations. Natural- ly, bidding situations present many complicated problems at times not easy to solve. Where performance in a given case points to a division of product as a practical solution, we have done this where agreeable to all concerned. We have little doubt that the theatre-going public prefers to have a theatre identified with a par- ticular producer's product rather than the confusion which results when the public does not know which theatre will play a picture — particularly our type of pictures. "We shall continue to exert our efforts to confine competitive bidding BULLETIN FILM BULLETIN: Motion Picture Trade Paper published every other Monday by Wax Publi- cations, Inc. Mo Wax. Editor and Publisher. PUBLICATION-EDITORIAL OFFICES: 123? Vine Street, Philadelphia 7, Pa., Rlttenhouse 4-7424; Barney Stein, Managing Editor; Leonard Coulter, New York Editorial Representative; Richard N. Newton. Publication Manag3r; Robert Heath, Circulation Manager. BUSINESS OFFICE: 35 West 53rd Street New York 19, N. Y., Circle 4-915?; HOLLYWOOD OFFICE: 459 Haverford Avenue, Pacific Palisades, Calif., Hillside 8183; Jay Allen-, Hollywood Editor. Subscription Rates: ONE YEAR, $3.00 in the United States; Canada, $4.00; Europe. $5.00. TWO YEARS: $5.00 in the United States; Canada, $7.50; Europe, $9.00. to those situations where there is no other alternative, as we are fully aware of the feelings of the rank and file of exhibitors on this subject. "In the meantime, we are hopeful of the adoption of the proposed arbitra- tion and conciliation plans upon which so much time and attention have been given by all parties. I sincerely hope and do believe that the conciliation system to which I shall personally devote myself, will effectively deal with many of the exhibitor-distributor problems now confronting all of us, and that it will in fact make arbitra- tion in many cases unnecessary." Clarifies A rather strange statement was attributed to Samuel Golduyn re- cently by one of the \ew York dailies. Mi. Golduyn has protested that he was misquoted. Following is the text of the official statement clarifying his previous remarks. Because of the wide interest ap- parently created by a story quoting me which appeared in a New York newspaper the other day. I would lik.- to make clear my position regarding subscription television and motion pic- ture theatres. I did not predict "that within five years 50 per cent of the nation's thea- tres will be closed and the motion pic- ture market will be shared equally by pay-as-you-go television and thea- tres". Nor did I say with respect fo my next picture that if when it is finished "pay-as-you-go television is a reality, as I think it may be, that"> where my next picture will be seen". I doubt very much that subscrip- tion-TV will be anything like a reality when my next picture is completed s<> there can be no question but that it will be seen in the theatres. What I actually said was that in my judgment, it would be at least five years before subscription television was commer- cially feasible and that then pay-as- you-go TV would have a share of th" motion picture market, not that the market would be shared equally be- tween subscription TV and theatre-. Although I have been unaware of the potential of subscription TV for a long time, it lias always been — and still is — my judgment that theatres will continue to be the main source of motion picture exhibition and reve- nues. FILM BULLETIN December I. 1952 Page 7 ALLIED FLEXING ITS MUSCLES AGAIN A4tance4 A4mtiAhnA Policies (jet Hot Jin It was a big convention and, in many ways, a constructive convention, but, above all, the Allied States Association of Motion Picture Exhibitors' meeting in C hicago on November 17-18-19 was a righting conven- tion, it served forceful notice on the in- dustry that Allied is rapidly losing its mood for cooperation and returning to the wars against the distributors. Allied is mili- tant again and it is flexing its muscles. THe headline news from the Chicago con- fabs, which boasted a record-breaking at- tendance, was the organization's walk-out on arbitration (see Viewpoints on preceding page), but that action was pushed into the background by the howl that was raised against certain sales practices of the film companies. The feeling was so vehement and so angry that it took some strong control by the leadership to prevent th delegates from cut- ting their noses to spite their boxoffice re- ceipts by withdrawing from COMPO and sabotaging the vital fight against the Federal admissions tax. The board of directors had voted for renewal of Allied' s membership in COMPO for one more year. Following a report on the board's action by Truemau Rembusch, a minority report was issued by Xate Vamins, which he described as repre- senting the views of a "strong minority" on the board. Yamins declared it was this group's opinion that COMPO had been used by the distributors as a facade behind which they were imposing inequitable sales terms oil exhibitors. Exhibitors he said, should not "break bread" with the distributors in COMPO as long as they continue to violate the court decree issued in the monopoly suit. The minority report advocated that Allied limit its COMPO membership only to ac- tivity in the tax fight. When national president Wilbur Snapor threw the subject open to discussion on the floor, S. G. Goldberg, of Wisconsin Allied, declared that the operators of the 300 thea- tres in his unit arc "tired of sleeping with th distributors right now". He offered a motion that the convention go on record to withdraw from COMPO. Rembusch rose to warn that adoption of such a resolution would do "untold harm" to the tax repeal campaign. This position was given strong vocal support by national treasurer Ben Marcus, Jack Kirsch, head of the hosting Chicago unit, Charles R. Blatt, Western Pennsylvania and Elmer G. Huhnke, Iowa. Goldberg later asked that his motion be withdrawn. It was. The core of the ill feeling toward the film companies was exposed when the convention plunged into its detailed exploration of the findings of the various "film clinics" held on the opening day. Half of Tuesday's (18th) session and practically the entire Wednesday meetings were devoted to dis- cussions of the problems found and con- clusions reached in the clinics. \\ illiam A. Carroll, executive secretary of the Indiana unit, acting as coordinator of the clinics, categorized the findings in a list that in- cluded asS the principal points of -contention : advanced admissions pictures, competitive bidding, film rentals, tie-in sales (forcing), MARCUS & SNAPER Led Discussions print shortages and the "silent or absent treatment". The latter complaint alleged that hundreds of smaller accounts are not being solicited by some distributors these days. The loudest squawk was levelled at ad- vanced admissions pictures. Apparently, this had drawn the hottest fire in the clinics, but the delegates suddenly became tight- lipped when the subject was introduced at the open meeting by Hen Marcus. It took some prying by the leaders to loosen up those who had talked freely in the closed clinic sessions. John Wolfberg told the delegates, "We've got the distributors cold on the issue of ad- vanced admissions", which he termed a clear-cut violation of the court decree against price-fixing. Wilbur Snaper said that the practice can be licked only if exhibitors will take affi- davits charging the guilty distributors with requiring increased admissions as a con- dition of deals on certain pictures. "We don't want to use the courts — but what else is left""" he asked. Charles Xiles urged the delegates to pufl their complaints down "in black and white" so that appropriate legal action can be taken. Xiles demanded: "Do the distributors think they are more powerful than John L. Lewis — who was held in contempt!" A report on the progress of the tax right was made by Col. H. A. Cole and Pat McGee., co-chairmen of the COMPO com-J mittee, who both expressed confidence that the tax can be repealed if exhibitors give- the campaign their full support. Another highlight of the convention was] a demonstration of theatre, television by RCA. A panel composed of exhibitors Rem- busch, Wolfberg, Yamins, Leon R. Hack, A. R. Hlocher, and X. L. Halpern. head of Theatre Xetwork Television, were seen and heard by the delegates in a discussion of the pros of theatre TV from a local station. Pdqe 8 FILM BULLETIN D*certib»r I, 1952 Here's the Big Winter News from Universal -International . . .proudly proving once again that all year . . . every year . . . U-l delivers the pictures with the consistent Boxoffice power! Tyrone!^ Dower' >cf * I L. 0* Down the lusty, rolling river he rode . . . staking his fortune or his life ... to win the taunting lips of the New Orleans' temptress who forever lured him on ! xssxssxppi Gambler CO-STARRING PIPER LAURIE • JULIA ADAMS LOOKING FOR LOVE IN THE SHADOWS' lU^i BUYING DREAMS WITH CASUAL KISSES! ""^^j^J . . they room ffie streets offer dork like cats — in a big city m GIRLS f IN THE Ji JOYCE HOLDEN GLENDA FARRELL HARVEY LEMBECK LEONARD FREEMAN PATRICIA HARDY NrGHT >/ i t THE FIGHTIM STORY OF CHIEF OSCEOLA MB THE CHEAT EVERGLADES Mm WARS! y HUDSON HALE QUINN ARLSON RICHARD GREENE BORIS KARLOFF STEPHEN McNALLY PAULA CORDAY ION CHANEY ROAD TO BALI' RANKS WITH BEST OF THE ROAD SHOWS Rates • • • + everywhere except for act Paramount 90 minutes Bob Hope, Bing Crosby, Dorothy Lamour, Murvyn Vye, Peter Coe, Ralph Moody, Leon Askin. Directed by Hal Walker The long-awaited resumption of the fabu- lous "Road" shows turns out to be one of the very best of this bo.xofhce batch. En- hanced by Technicolor, using that wonder- ful off-the-cuff delivery that distinguished the others in the series, exploding surprise shots that turn into side-splitting gags, "Road to Bali" is mass entertainment that should roll up one of the top — if not the big- gest— grosses of the year. Its nonsense, typical of the others in the series, blasts with such rapidity that even the most discrimin- ating will finally give up and let the trio play on their funnvbone. One dares not take his eyes oft' the screen lest a gag be lost. There is corn, subtlety, gorgeous girls, beau- tiful color and laughs galore, all mixed into a platter that is a sure to tickle the enter- tainment palate of the moviegoing public. Such assorted personalities as Jane Russell, Humphrey Bogart, Martin & Lewis, Bob Crosby, among others, turn up without ion houses warning. The zany doings begin with the pair as a song-and-dance act in Australia, then on the run to a South Sea island en route to Bali and finally in the midst of a volcanic explosion. The hilarious ending will send them out laughing and talking it up. Bing and Bob exchange their barbs with apparent utter disregard for the camera, then do a turnabout and talk right to the audience. When Ming sings one of the sex- tet of excellent tunes by Johnny Murke and James Van Heusen, Hope turns to the lens and advises the audience to buy their pop- corn now. Such gags, scattered throughout what was originally a screenplay, are addi- tional bonuses to a comedy that would have been funny enough without them. It's hilar- ious, sure-fire entertainment that can't miss. The trio of stars were never better. They romp through the proceedings with their customary ease. Hope, as always, gets the short end of the stick, getting strung up on a tiger trap, caressed by a gorilla, enmeshed with a squib, and assorted other mayhem. A running gag of a beautiful girl emerging to life size from a basket like a cobra as each of the boys plays the tunc is climaxed with the emergence of Jane Russell, as Hope plays while Crosby walks off with Lamour, only to have Jane join Ming as Bob des- perately tries to prevent the picture from cmling. Lamour has plenty of opportunity to strut in eye-filling costumes as well as a swimming sequence. Harry Tugend's pro- duction is the most lavish accorded the "Road" series, sparing neither purse nor pulchritude in the settings. STORY': As a pair of American vaude- ville entertainers in Australia, Bing and Mob are forced into a hurried exit when threat- ened with a shotgun wedding. They land on a South Sea Island, are hired by a Mali- nese prince to dive for sunken treasure, with Hope almost devoured by a giant squib be- fore they run off with the treasure and the princess, Lamour. Set adrift, they land on a headhunters' island, are captured and pre- pared for the shrunken head ceremony. Each believes, however, that they are going through the process of marrying Lamour as they don masks and robes, then find themselves married to each other. A vol- canic eruption sends the natives fleeing, frees them and Crosby walks off with La- mour and Jane Russell, whom Hope had conjured from a basket, as Mob frantically seeks to ke^p "The End" title from the screen. MARN STARS AND STRIPES FOREVER' Rates • • • generally 89 minutes 20th Century-Fox Clifton Webb, Debra Paget, Robert Wag- ner, Ruth Hussey, Finlay Currie, Richard Garrick, Benay Venuta, Walter King, Romo Vincent, Roy Roberts Directed by Henry Koster This lively and ingratiating biography of John Philip Sousa, set amid colorful turn- of-the-century Americana, filmed in Tech- nicolor and vibrating to the famous com- poser's music, is the kind of movie that will send patrons marching to theatre boxoffices everywhere. "Stars and Stripes Forever" is not a serious biography, just a good-natured sketch of the "March King's" career, but it is loaded with human interest and humorous incidents that should capture the imagina- tion of audiences, as did Sousa himself when COLORFUL, MUSICAL SOUSA BIOGRAPHY he wrote and played his way into the pages of American history. To strengthen the film's appeal to the younger generation, writer-producer Lamar Trotti added a youthful romance between a young Marine and a burlesque dancer. "Stars and Stripes" should roll up handsome grosses in all situ- ations. Under the guiding hand of director Henry Koster, the film moves at a snappy and tune- ful pace. Performances are good through- out, with Clifton Webb turning in a shrewd portrayal of Sousa. The music might be considered the real star of the film, for it is during the vibrant band sequences that the peak of entertainment is reached. Highspot of the picture is the "Battle Hymn of the Republic" scene, which effectively displays the emotional feeling Sousa's great band was able to produce. STORY: Clifton Webb is the leader of the Marine Corps Band in Washington, D. C. when he is apporached by Robert Wagner, who has invented a revised version of the tuba called the Sousaphone. Already a success at writing marches, Webb's main wish is to write a successful ballad. Wagner tricks Webb into going to a "concert" where Wagner's girl, Debra Paget, is appearing. The place is raided by police, but the three manage to escape to Webb's home, where Paget reveals she wants Webb's help to be- come a professional singer. Soon after, Webb leaves the Marines to form his own band, obtaining the best musicians from all over the world. Before long, the March King's name is a household word through- out the nation and abroad. There follows a number of scene's picturing Sousa's great- est triumphs, climaxed with the writing and playing of his immortal march "Stars and Stripes Forever." XEIL AGAINST ALL FLAGS' A ROLLICKING SWASHBUCKLER! Rates • • • generally, with a plus for action spots Mackenzie's 18th Universal-International 83y2 minutes Errol Flynn, Maureen O'Hara, Anthony Quinn, Alice Kelley, Mildred Natwick, John Tully, John Alderson, Harry Cording, Michael Ross, Paul Newlan. Directed gy George Sherman Here's a terrific concoction of swashbuck- ling drama and provocative sex-appeal, the former supplied by Errol Flynn in one of his most roisterous roles and the latter by Mau- reen O'Hara, who is surely the most Tech- nicolorful gal on the screen today. This film will more than satisfy the public's ap- petite for adventure. It looks like a sure- fire hit in all situations, and a bonanza for action houses. Aeneas century story about the pirate lair of Diego Suarez is simple, direct and forceful. Pro- ducer Howard Christie has assembled a fine crew of cutthroats and dressed the picture up in handsome Technicolor. Direction by George Sherman keeps the action flowing at a swift and steady pace. STORY: In 1700 a British merchantman sails towards the pirate stronghold of Diego Suarez, Madagascar and sets ashore a young officer, Erol Flynn to lay a trap for a band of cut-throats led by Anthony Quinn. The Captains, of the Coast, as the pirates call themselves, include a woman. Maureen O'Hara, who falls in love with Flynn, to Quinn's disgust. Quinn suspects Flynn, but the latter wins the pirates' confidence after a bloody hand-to-hand fight with a huge seaman accused to stealing booty. On a mis- sion with Quinn, the pirates seize a ship be- longing to the Emperor of India and take captive a dozen harem girls. One of them, Flynn discovers, is the Emperor's daughter. Flynn conceals her identity, and puts her under his protection. This angers O'Hara. Accidentally, the princess reveals who she is. Flynn is condemned to death, but O'Hara saves his life, Flynn spikes the pirates' con- cealed guns and signals the British man o' war, which successfully enters the harbor and takes control. Once more aboard the British ship, Flynn secures a pardon for Maureen. COULTER FILM BULLETIN December I, 1952 Page 17 ABOVE AND BEYOND' POWERFUL STORY OF FIRST A-BOMB ATTACK Rates • • • generally Metro-Goldwyn-Mayer 122 minutes Robert Taylor, Eleanor Parker, James Whit- more, Larry Keating, Larry Gates, Marilyn Erskine, Stephen Dunee, Robert Burton, Hayden Rorke, Larry Dobkin Produced and Directed by Melvin Frank and Norman Panama "Above and Beyond" is a deeply engross- ing story based on the career and the per- sonal life of Col. Paul Tibbets, pilot of the plane that dropped the first atom bomb. Going behind the scenes of this earth-shak- ing event for the first time, it portrays in effective dramatic terms the emotional up- heaval Tibbets experiencs in assuming one of the gravest responsibilities ever assigned a single mortal. Written, produced and di- rected by Melvin Frank and Norman Pan- ama, the production has good pace, although some of the technical sequences showing the training of the atom bomb crew are over-drawn and could be scissored to ad- vantage. There is plenty of powerful heart- interest throughout in the conflict between Tibbets' duty and his obligations to his wife and child. Some of the scenes are deeply stirring. The climactic scenes of the bomb- ing of Hiroshima are charged with suspense and a sense of history-making impact. Cer- tainly, this is a man's picture, but the empha- sis given the wife's role makes it also a fine attraction for the fern trade. Boxoffice re- sults should be well above average generally. Magnificent performances by Robert Tay- lor and Eleanor Parker in the principal roles give this M-G-M film real conviction. Larry Keating turns in a topflight job as the gen- eral who selects Tibbets for the assignment. James Whitmore has a straight role as a security officer. STORY: While flying bombing missions in Europe during World War II, Robert Taylor (as Col. Tibbets) is chosen to help FACE TO FACE' TWO-STORY OMNIBUS HAS FAIR APPEAL Rates • • + as dualler; • • • for class spots to generate sufficient action or suspense to RKO-Radio Pictures 92 minutes James Mason, Michael Pate, Gene Lock- hart, Albert Sharpe, Sean McClory, Alec Harford, Robert Preston, Marjorie Steele, Minor Watson, Dan Seymour, Olive Carey, James Agee — Directed by John Brahm and Bretaigne Windust This two-story "omnibus" film fashions Joseph Conrad's 'The Secret Sharer" and Stephen Crane's "The Bride Comes to Ye- low Sky" into a feature that will have fair appeal to mass audiences. The former is set on a sailing ship and deals with man's judgment of man, while" the latter is a comedy-satire on the last days of the old West. The casts are excellent, and produc- tion good, but both stories are over-loaded with talk and played in a low key that fails satisfy the average movie goet- This Hunt- ington Hartford production should be good art house fare, but, "Face to Face" will be dualler material in most situations. In Conrad's story, director John Brahm has failed to hypo a wordy, slow moving script. James Mason is also mired by this Aeneas MacKenzie screenplay as he por- trays a young English merchant officer who has assumed command of his first ship. Al- ready faced with the prospect of proving his ability as a master to a hard-bitten crew, Mason has thrust upon him the added re- sponsibility of judging a man's life. While awaiting a favorable wind, the ship is boarded by an exhausted swimmer, effec- tively played by Michael Pate. He is a mate from a ship anchored nearby and reveals that he is sought for killing a mutinous sea- man during a storm. From these events grows a character study of Mason, who de- test and perfect the new B-19. Arriving in the States, he is met by wife Eleanor Parker and son whom he hasn't seen for two years, but the meeting is brief, as Taylor is ordered to proceed to the test base. Months of dan- gerous flying follow, with Parker constantly fearing for Taylor's life. When he finally obtains a leave, it is interrupted by orders to report back to the base. There he learns he has been chosen to train personnel and coordinate activities for a proposed atomic attack. Weeks of preparation follow in the utmost secrecy, with not even the base per- sonnel knowing what the real objective is. All families are brought to the base, and Parker notes a change in Taylor. Unable to tell her of his assignment and wracked by the tensions of his responsibilities, he quar- rels with her and eventually sends her home. The time comes when all elements are ready for attack and it is up to Taylor to say when. Shouldering his tremendous decision, the mission is successfully carried out and Tay- lor returns to be reconciled with his wife. PHIL cides Pate was justified in his action, and in the process of setting Pate free, Mason gains' the respect of his crew. Director Bretaigne Windust has been con- tent to allow Crane's tale to meander rather aimlessly. The James Agee screenplay has provided material for good characterizations by Robert Preston and Minor Watson, but the pace is slow and the comedy never pro- duces more than a few chuckles. Preston is sheriff of a peaceful Western town that once bristled with lawlessness. Watson is a throw-back to those days and still shoots up the town whenever drunk. While Preston is away being married, Watson goes on a rampage. The sheriff and his bride arrive in town and Watson confronts them with loaded guns. When Preston tells the old outlaw he is now married and is not armed, Watson realizes his last link with the past is over and throws his weapons in the dust. PHIL ABBOTT AND COSTELLO MEET CAPTAIN KIDD' AND CHARLES LAUCHTON Rates • • + as dualler Warner Bros. 70 minutes Bud Abbott, Lou Costello, Charles Laugh- ton, Fran Warren, Hillary Brooke, Bill Shir- ley, Leif Erickson Directed by Charles Lamont To a typical Abbott and Costello farce has been added Charles Laughton and Su- percinecolor, with the result that it is an improvement over their "Jack and the Bean- Stalk." While the formula is not new, the settings are, and there is no dearth of hokey action. Six musical numbers, scattered through this Alex Gottlieb production, and soniiMrc— Fran Warren's appearance heighten entertainment values. Being no better nor worse than other A & C comedies, and with an exploitable marquee, "Abbott and Costello Meet Captain Kidd' should do above average business in the nabes and country houses. Directed by Charles Lamont from a script by Howard Dimsdale and John Grant, the film has been geared to the talents of the slapstick duo. Charles Laughton, as Captain Kidd, checks in with a performance that rivals A & C at their zaniest. He's the "ham" to end all "hams." In the role of a lady pirate, Hillary Brooke provides a dec- orative foil for the antics of Costello, and Fran Warren's vocalizing of "North of No- where" and "Speak to Me of the Tall Pine " are entertaining interludes in this whirlwind of buffoonery. STORY: Sailing into a pirate coastal town, Charles Laughton and his brigands seek a holiday from their chores of pirating. Entering a tavern where Abbott and Cos- tello are employed as waiters, Laughton meets woman pirate chief Hillary Brooke. Accusing Laughton of stealing from her, she demands the map of his personal island where his loot is stored. Costello accidently takes the map and Abbott talks him into making a deal with Laughton for part of the treasure in return for the map. They all set sail in Laughton's ship for the island. Enroute, they capture Fran Warren from a Spanish Galleon. After reaching the island, LaiiKhton tries to double-cross Brooke and A&C, but Brooke's pirates show up to save the day and they all go sailing home with Laughton hanging by his toes from a yard- arm. NEIL Page 18 FILM BULLETIN December I, 1952 JENNIFER JONES' GREATEST SMASH SINCE "DUEL in the SUN The story of a flame named Ruby. ..who wrecked a whole town... SIN BY SIN... JENNIFER JONES CHARLTON H KARL MALDEN DATE 'RUBY' FOR THE HOLIDAYS! roduced by JOSEPH BERNHARD and KING VIDOR • Directed by KING VIDOR ■ Screenplay by SILVIA RICHARDS • Story by ARTHUR FJTZ-RICHARD THE THIEF OF VENICE' PERIOD MELLER NEEDS HEAVY EXPLOITATION Rates • • as dualler; more if exploited 20th Century-Fox 91 minute9 Maria Montez, Paul Christion, Massimo Serato, Faye Marlowe, Aldo Silvano, Louis Saltaemerenda, Guido Celano. Directed by John Brahm Ranging from a woeful deficiency in tech- nical aspects, such as photography, dubbing and editing, to some lavish scenes employ- ing thousands of extras, "The Thief of Ven- ice" is notable principally for its exploita- tion values. Made in Italy with an all-Ital- ian supporting cast and only one principal known to Americans, this will have to lean heavily on special showmanship and the now rather doubtful marquee value of the late Maria Montez to register at the boxoffice. The photography is spotty and murky for the most part, the dubbing obviously poorly synchronized. The screenplay is a wild con- coction of intrigue in 16th Century Venice, confusing in the welter of accents that plague the dialogue and helped none what- soever by the hamminess and inept por- trayals of the large cast. On the debit side, however, there is plenty of action, some striking backgrounds and hordes of ersatz Renaissance Venetians to maintain interest. And, of course, there is Miss Montez wear- ing off-the-shoulder blouses, revealing plenty fo cleavage and disporting in a couple of passionate romantic interludes. With the kind of exploitation 20th-Fox is furnishing, this may garner those extra dollars to make it worth playing. Without it, well, it could wall flatter than a two-day-old pancake. Since most moviegoers are familiar with the untimely demise of Maria Montez, they may not feel too comfortable watching her portrayal of a saucy, fiery hoyden. Iron- ically, it is probably her best role, and, with the handsome Paul Christian in the title role as her romantic partner, pulls off some hot clinches that make her former American- made films pall by comparison in this de- partment. STORY: Returning from a disastrous en- gagement with the Turkish armada, the wounded Venetian admiral and his aide, Paul Christian, promise freedom to the gal- ley slaves if the>r take the ship back to Ven- ice within two days. They arrive with the deadline, but the Grand Inquisitor, Massimo Serato, has the slaves thrown into prison. When the popular admiral and Christian voice their objections, Serato sets his thugs upon them. The admiral is killed, but Chris- tian escapes. The latter falls into the hands of the slaves, but convinces them of his good faith, and with the aid of one of their leaders, Maria Montez, takes charge of their cause. Leading forays against the Inquisi- tor, who aims to marry the admiral's daugh- ter, Faye Marlowe, to ensure his domination of Venice, Christian plunders the treasury to get arms for the rebels. During a masked ball, he kidnaps Marlowe and holds her hos- tage in return for Montez, who had been captured and tortured by the Inquisitor. In the exchange, Serato sets a trap for Chris- tian. He eludes the snare, but Montez, real- izing Christian has fallen in love with Mar- lowe, leaves their ranks. During the wed- ding procession down the Grand Canal, Christian and his men attack the Inquisi- tor's barge, and with the repentant Montez diverting the head of the Royal guard, suc- ceed in overthrowing the dictatorial reign. Christian and Marlowe clinch as the tearful Montez looks on. BARN DESPERATE SEARCH' DISAPPOINTING PROGRAMMER Rates • • as dualler 73 minutes Metro-Goldwyn-Mayer Howard Keel, Jane Greer, Patricia Medina, Keenan Wynn, Robert Burton, Lee Aaker, Linda Lowell, Michael Dugan, Elaine Stew- art, Jonathan Cott, Jeff Richards, Dick Sim- mons) Directed by Joseph Lewis "Desperate Search" is an ordinary, low- budget suspense-drama, that produces little suspense and less drama. Involving an air search for two small children aboard a trans- port plane that crashes in the Canadian North woods, the Matthew Rapf production begins well. But it soon slows disappoint- ingly to a weary display of emotion, punc- tuated with sporadic action that limps to an easily predicted conclusion. The film, writ- ten by Walter Doniger and based on a novel by Arthur Mayse, will be best received in family houses, but then only as program and dualler fare. Nothing here for action houses. Director Joseph Lewis seems to have done little more than just let the cameras grind as most of the cast carry out their assign- ments in routine manner. The two children, Lee Aaker and Linda Lowell, do achieve some semblance of reality and the film is at its best when dealing with their plight. Howard Keel and Patricia Medina, parents of the children, and Jane Greer, second wife of the divorced Keel, never overcome the inadequate script. STORY: Howard Keel, divorced from the mother of his children, Lee Aaker and Linda Lowell, and remarried to Jane Greer, is a hush pilot in the Canadian Northwest. Al- lowed to have the children but six weeks every year, Keel puts them on a transport plane for the flight back to their mother, Patricia Medina. The plane crashes in a mountainous region and the children are the only survivors. Medina, who is also a pilot, flys north to aid in the search. She seems to have some influence over Keel and Greer fears he still loves her. When the organized air search is started, Keel feels they are flying in the wrong area. He is over-ruled by others in the search team and the hunt is unsuccessful. Keel finally plays his hunch and decides to search another area. Medina uses her influence and has him grounded. Greer intervenes, but is powerless against Medina. Finally turning on his ex-wife, Keel ignores orders not to fly, and he and Greer take off on the flight which eventually locates the children. NEIL CATTLE TOWN' MINOR LEAGUE WESTERN Rates • • for action spots Warner Bros. 71 minutes Dennis Morgan, Philip Carey, Amanda Blake, Rita Moreno, Paul Picerni, Ray Teal, Jay Novello, George O'Hanlon, Bob Wilke, Sheb Wooley Directed by Noel Smith This Bryan Foy western for Warners has little to recommend it. Made on a minor league budget and photographed in low key, it gives little indication that it is a product of a major studio. A fair amount of action will get it by in theatres where westerns are in demand, but elsewhere "Cattle Town" rates only the lower slot on dual bills It's definitely not for better class houses. The script by Tom Blackburn is as tired and familiar as one could imagine, and Noel Smith's direction does little to help matters. Dennis Morgan struggles manfully with the role of a singing cowboy who is sent by the Governor of the new state of Texas to settle the differences between an unscrupu- lous rancher and the squatters on his land. The two fern leads, Amanda Blake and Rita Moreno, are treated rather sketchily in their brief romantic encounters with hero Morgan. Sheb Wooley, Morgan's sidekick, works hard for a few snickers. STORY: The scene is Texas in the 188()'s. Ray Teal, wealthy rancher, complains to the governor that squatters are occupying part of the land he had purchased from the state. The governor sends Dennis Morgan and his pal, Wooley, to prevent bloodshed and to persuade the squatters to quit the land. Morgan quickly antagonizes Teal's hench- men when he rescues Philip Carey, one of the squatters, from their pursuit. Morgan obtains arms for the squatters, but warns them not to use them. He tricks Teal's men, disarms them and sends them back to town on foot. In a showdown, Teal causes a stam- pede of the squatters' cattle, aimed at de- stroying! their wagons. When he realizes that his own daughter, Amanda Blake, is in one of the wagons, Teal rushes to her and is killed. Morgan and Amanda, who hardly knew each other, ride off together. I'll IL *aq» 20 FILM BULLETIN December I, 1 952 Rek'm4 the £ceheJ ctf Jiltn Prcjuctbn STUDIO SIZ6-UPS CxcluMe 'Mm. BULLETIN Jettun By JAY ALLEN Production cut l*vuk* Awdwl Prestige Films Skimpy Production continues at peak level in most studios this month, although there would seem to be a slacken- ing off in the number of top quality or "prestige" pictures which are apt to offset the inroads which television has been making into theatre receipts. As a matter of fact, a year-end, pre-holiday slump in overall production quality seems to have settled on the Hollywood studios at this time. The point is that there happen to be few pictures before the cameras which rise above the level of the others. There are no great spectacles of the calibre of "Quo Vadis," "Scaramouche," "Ivanhoe," "Greatest Show On Earth" or "Samson & Delilah". Nor are there any dramas which are likely to excite the public's interest such as did "The Best Years Of Our Lives," "All About Eve" or "Snows of Kilimanjaro". Or comedies like "Born Yesterday," "The Egg and I" or "The Awful Truth". Only in the realm of musicals is there anything before the cameras which would seem to have a box- office potential comparable to "An American In Paris," "Cover Girl" or " Meet Me In St. Louis". Giving them the benefit of the doubt, there is a good chance that Metro's "Invitation to the Dance" (Gene Kelly), and 20th-Eox's "Gall Me Madam" ( Ethel Merman-Donald O'Connor) and "Gentlemen Prefer Blondes" (Jane Rus- sell-Marilyn Monroe) may be the exceptions which will hypo the public's lethargy toward movie-going. These are times when the industry can't afford medi- ocrity or even just good pictures. Every studio in town should have at least one or two tremendously exciting films in production at all times — outstanding pictures which will whet the public's appetite and not allow it to lag for so much as a few weeks. With 56 productions due to be in front of the cameras at some time during the month, it would seem that more than a meager three should be worthy of singling out as potential shots-in-the-arm for moviegoing. ALLIED ARTISTS Wanger, Goetz Pacted In New AA 'A' Film Project In line with president Steve Broidy's an- nounced policy of higher-budget production, Hayes Goetz, who checked out of MGM late last month, has been signed to a long- term producer pact at Allied Artists, and Walter Wanger has inked a new contract with the company, replacing his original deal made with the studio a year ago. At least two other producers are known to have held preliminary talks with AA executives, as the company prepares to expand its con- tract roster for executing the heaviest pro- duction slate of Class A pictures in the studio's history. Goetz was associated with Metro for over 15 years, although he has functioned in the capacity of a producer for only two years. Nevertheless, he has given an excellent ac- count of himself during those two years, having handled the reins on such creditable, if modest, productions as "Apachei War Smoke" and "The Hour of 13". His last assignment at Metro was "A Lady Named George^" which was completed only last month. Wanger's first assignment under his new pact with AA will be "Hajji Baba," based on an adventure novel of Persia at the beginning of the last century. During the past year , Wanger made four films for Allied Artists — "Aladdin and His Lamp," 'Battle Zone," "Fort Vengeance" and "Kan- sas Pacific". He will be permitted to make outside films, under terms of the new con- tract. Four pictures have been in various stages of shooting since the last Size-Ups report on Allied Artists. The most recent, "The Copperheads" (Wayne Morris), started today (December 1), with Vincent M. Fen- nelly producing. "Jalopy" (Bowery Boys) got away on November 28, under the pro- duction guidance of Ben Schwalb. "White Lightning" (Stanley Clements - Barbara Bestar), and "The Homesteaders" (Wild Bill Elliott-Rick Vallin) have both been shooting since November 14. COLUMBIA Activity at High Pitch; Kramer on Specials Only The appointment of Jerry Wald as vice- president and executive producer appears to have teed off an ambitious program of re- vitalization for this studio. Within the brief period since Wald took over his post, Co- lumbia has embarked upon a full-scale search for new talent, lined up a half dozen important new story properties, pacted some topnotch producers and directors, and moved several old properties on the active production list. Lewis Rachmil, Robert Arthur and William Fadiman have been signed to new Columbia producer contracts. Curtis Bern- hardt, William Dieterle and Billy Wilder have all inked director commitments. Mean- while, Columbia talent scout Max Arnow took off for New York in the company of president Harry Cohn to search for new players to bolster the studio's contract roster. Cohn's mission was to discuss Stanley Kramer. As was reported in this department a few weeks ago, Columbia officials are under- stood to have become dubious about the Kramer unit. Boxoffice returns on his pro- duct have been disappointing. It appears now that they have come to the realization that the fault lay in Kramer's attempting to turn out a large volume of pictures, rather than concentrating on a few choice proper- ties. The purpose of Harry Cohn's trip to New- York was to arrive at some conclusion about Kramer's future plans. In a meeting with the producer and other Columbia executives, it was decided to curtail sharply the number of films on Kramer's schedule and to have him devote himself to the important pro- duction of "The Caine Mutiny", adapted from Herman Wouk's best seller. Prior to (Continued on Page 22) FILM BULLETIN December I, 1952 Page 21 STUDIO SIZ6-UPS (Continued from Page 21) that undertaking, Kramer will turn out "The Cyclists' Raid", starring Marlon Brando. All this seems to be to the good. Stanley Kramer is not a mass production executive. He can be counted on for one or two top- flight films per year, and Columbia will find far more profit in one Kramer special an- nually than in a half dozen programmers hearing his name. The new producers and directors were signed for the purpose of launching im- mediately a program of 22 top "A" features for the studio's 1953 production slate. Rach- mil and Fadiman both resigned posts at RKO during the current management hassle, and Arthur was a Warner pactee up until last May, having turned out such WB pro- ductions as "Starlife" and "The Story of Will Rogers". Prior to that, Arthur was under contract to Universal-International, where he made "The Egg and I" and the first of the "Francis" series. Wilder's deal calls for him to write and direct "Pal Joey", which rolls in mid-1953. This is his first commitment away from the Paramount lot since the early 1940's. Ne- gotiations are now underAvay to borrow Gene Kelly to co-star with Rita Hayworth in the production. Dieterle's director pact also for a single picture, has not yet been designated. Bernhardt will meg a pair of Columbia's 1953 productions, one of which is the Rita Hayworth starrer, "Miss Sadie Thompson", a musical version of Maughan's "Rain". Sam Katzman, whose Columbia contract recently was revised from 15 to 20 pictures a year for a seven-year period, also will play an important role in the company's rapidly- expanding slate for 1953. He has just agreed to turn out 17 features and three serials during the coming year. Meanwhile, only one picture is currently in production for Columbia release. It is "The Red Beret" (Alan Ladd). Two films completed in November, "Love Song" (Jane Wyman-Ray Milland) and "Posse" (Brod- erick Crawford-John Derek), are now being edited. LIPPERT PRODUCTIONS Lippert Nears % Mark In Pledged 20-Pic Program With ten pictures already completed, two more now in production, and still another pair scheduled to go before the cameras between now and December 31, Robert L. Lippeti already has 14 releases lined up for his first group of 20 films annually which he baa pledged to deliver to his new franchise holders. Currently shooting are: "Spaceways" (Howard I hi fT- Eva Rartok), which started shooting in England on November 16, and "Cairo" (George Raft), filming since No- vember 28, in Italy. Terence Fisher is di- recting the former for producer Anthony Hinds, as an Exclusive Films production. Ray Enright is handling the megaphone on Page 22 FILM BULLETIN December I, 1952 STANLEY KRAMER No Mass Producer "Cairo," with Bernie Luber producing. The 10 completed features are: "Scotland Yard Inspector," "Mr. Walkie-Talkie," "Tromba the Tiger Man," "The Tall Texan," "Gambler and the Lady," "I'll Get You," "Bad Blonde," "Johnny the Giant Killer," and the reissue combination of "Great White Hunter" and "Captain Kidd". The two productions scheduled for shoot- ing between nw and the end of the year are: "Project X" and "Hangtown". "Project" will star Howard Duff, and is scheduled to start immediately following completion of his currently shooting "Spaceways". Malt Freed will produce "Hangtown", and is cur- rently lining up a cast. METRO-COLDWYN-MAYER Schenck Takes Hand in Studio Disputes with Stars Metro is continuing its policy of cracking down on stellar temperaments in an effort to keep the studio on a sharply defined path of economy. Toward that end, Nicholas Schenck paid a surprise visit to the studio in late November for the express purpose of taking a personal hand in the growing list of contractees on suspension. While here, he had lengthy talks with Mario Lanza, Michael Wilding and Carleton Carpenter, all on sus- pension for nixing roles. Moreover, he has reportedly gone on record with Dore Schary as favoring the release from contract of any player who will not accede to studio as- signments. We'll hazard the opinion that the conflict between Metro and Lanza will be ironed out within a short time. The studio and the singing star need each other and Mario the Magnificent probably realizes by this time that no studio can afford the extravagance of money-wasting temperament in these crucial times. Two interesting contract developments turned up during the past month. -First was Arthur Hornblow, Ir's announcement was he would not re-sign with Metro upon the completion of his current producer pact, which expires in March. The other was the signing of Frank Sinatra to a one-picture pact. Sinatra terminated a term pact with this studio more than a years ago under anything but amicable terms. The emphasis continues to be on musicals on this lot, with Arthur Freed, the com- pany's unofficial executive producer of tune- films, currently toiling on his biggest slate in 13 years with the company. Freed has two musicals before the cameras and five more in various phases of pre-production planning. "The Band Wagon" (Fred Astaire-Cyd Charisse-Nanette Fabray-Oscar Levant) and "Invitation to the Dance" (Gene Kelly-Igor Youskevitch-Tamara Tou- manova) are both currently before the Tech- nicolor cameras. "Brigadoon" is being readied for a Spring start, in Scotland. "Huckleberry Finn" follows here during the summer, and later in the year filming will start on "Girl of the Golden West," "New Orleans" and "The Romberg Story". In addition to the two musicals currently shooting, the MGM cameras are now rolling on: "Give A Girl A Break" (Marge & Gower Champion-Debbie Reynolds), "Mo- gambo" (Clark Gable-Ava Gardner), and "Slight Case of Larceny" (Mickey Rooney- Eddie Bracken). All but one of the five, "Larceny", are being filmed in Technicolor. "Mogambo" is being made abroad. PARAMOUNT Plans Afoot to Set Up TV Film Subsidiary at Par Paramount Pictures is the latest Holly- wood film company to chart an entry into the telepix field with a subsidiary to be set up for the express purpose of turning out films for television. No definite details arc as yet available on the plan, but FILM BULLETIN understands that the subsidi- ary will be fashioned along the lines of those already set up by Universal-International, Columbia and Republic. Paul Raibourn, president of Paramount Television, visited Hollywood in November to discuss the pro- posed TV film production with local studio toppers. Plans for entering the television field, however, will not curtail Paramount's thea- tre picture production. The 1953 budget of $30,000,000 for theatre films has been ap- proved to cover the slate of 22 to 24 pic- tures. More than half of the films will be lensed in Technicolor, for which the studio has already received 11 tinting commit- ments. A major talent drive is also shaping up, in order to cast a majority of the 1953 pro- ductions from the company's own roster of players. Don Hartman, Paramount's produc- tion chief, is known to be dissatisfied with the use of free-lance talent for his product, inasmuch as such a policy inevitably results in costly snarling of starting dates. "In using free-lancei players," Hartman says, "we are constantly at their mercy in setting starting dates, which makes an economical flow of production almost impossible". At the present time, Paramount's star (Continued on Page 23) r STUDIO SIZ6-UPS ( Continued from Page 22) rostcd consists of less than a lialf dozen names. Only Bing Crosby and Bob Hope can be considered in the upper strata of Hollywood "name" talent. Hanman ordered a big build-up for some promising newcomers, including Rosemary Cloonev, Audrey Hepburn, Pat Crowley, Mary Sin- clair, Michael Keith, Joanne Gilbert, Yul Brynner, Don Taylor, Audrey Dalton, Mary Murphy, Joan Taylor, Joan Elan and Dorothy Bromilcy. The company currently has four pictures before the cameras: Perlberg-Seaton's "Little Boy Lost" (Bing Crosby-Claude Dauhpin); "Here Come the Girls," (Bob Hope-Tony Martin-Arlenc Dahl-Rosemary Clooney), Claude Binyon directing for Paul Jones, in Technicolor; "Arrowhead" (Charl- ton Heston-Jack Palance-Katy Jurado), a Nat Holt Technicolor feature directed by Charles Warren, and an untitled comedy starring Dean Martin and Jerry Lewis, with Norman Taurog directing for producer Jones. REPUBLIC Yates Explains Reasons For Break with John Wayne Republic prexy Herbert Yates has taken exception to FILM BULLETIN'S report that his company suffered a serious blow when John Wayne terminated his future commitments with the studio and moved off the lot. In an interview with FB's west coast editor, Mr. Yates declared: "Republic started making pictures before Wayne came to us and we will continue to do so. Any statement that Wayne's bow-out from the studio is a blow to us does not take into consideration that profits depend upon the cost of pictures, and when the costs are ex- cessive, it is impossible to recoup with a profit. When one talks about grosses, one must also talk about profits." He declared with indisputable logic that many of Hollywood's so-called "big" names have become meaningless in the present world market, when the cost and income of their films are considered. In discussing the split with Wayne, the Republic prexy went out of his way to point out that he, at least, bore no malice. "After seventeen years of building up a friendship," he declared, "I'm certainly not one to throw it over. But business is business. Wayne has not made a picture with us for over a year, despite the fact that we held commit- ments with him. Nevertheless, for the record, it must be pointed out that he did make three outside pictures during that time. Moreover, he started his own inde- pendent production company. And it is be- cause of this independent production that I, as. president of Republic, must be deeply concerned. Whenever a star enters inde- pendent production, there is always a big question as to whether his reputation may suffer from an inferior quality of pictures. REPUBLIC'S YATES Speaks of Grosses & Profits Only when a star is working for a major studio, can we feel any assurance that he will be appearing in pictures which will maintain his drawing power." Yates also expressed disapproval that Wayne should have released his independent picture, "Big Jim McLain" at the same time that Republic was circulating "The Quiet Man," in which he had starred for the valley studio. "There can be no question," he con- cluded, "but that the simultaneous release has hurt the boxoffice on our picture." In so far Mr. Yates is concerned, it is evident that hq does not consider their relationship completely and finally ended. "We still have commitments for three more pictures from Wayne," he said, "and that contract is not terminated". Asked what would become of "The Alamo," the property which reportedly brought on Wayne's walk-out, Yates de- clared: "The story still helongs to us and we will undoubtedly make it ourselves, at some future date." Republic will wind up 1953 with one of its biggest production spl urges of the year, both from the standpoint of quantity and budget investments. A total of five new features will roll this month, with a fifth carrying over from November. Forrest Tucker arrives in England on De- cember 5 to star with Margaret Lockwood in "Laughing Ann," Joseph Conrad's story of Malaya, to be filmed under the recently announced production-distribution contract with Herbert Wilcox of England. "A Perilous Voyage" (formerly titled "Spoilers of the Pacific") is slated to roll this week, with Vera Ralston and Scott Brady. William J. O'Sullivan is producing, with R. G. Springsteen directing. Later this week, "One For the Road" is due to get away, with William A. Seiter producing and di- recting. No cast had been announced, as of this writing. On December 10, "City That Never Sleeps" is scheduled to go, no cast listed, with John H. Auer producing and directing. Winding up the heavy slate of December starters will be "Sea of Lost Ships," to go before the cameras on De- cember 15. Seiter' will serve as associate producer, with Joseph Kane directing. Carrying over from last month is "Woman They Almost Lynched" (John Lund-Brian Donlevy-Audrey Totter-Joan Leslie). Allan Dwan is producing and directing. Republic has exercised its option on Ray Middleton. The new deal calls for two pic- tures from the singer-actor over a one year period. Under his old contract, Middleton made two pictures for this studio, "I Dream of Jeannie" and "Sweetheart Time". RKO It Looks Like RKO Is Headed Back To Hughes RKO's wheel of fortune continues to spin round and round, with no definite indication of who will hold the winning chips when it finally stops. Rumors of further transfers of ownership are as numerous as bit players in Hollywood, and most of them not half as reliable. Nevertheless, it is perfectly evident that Howard Hughes is far from out of the pic- ture, and, that he will play a definite part in determining the company's future policy. After all, he is a mortgage holder and a man who enjoys holding the strings. Moreover, Hughes is believed to have held Ralph Stol- kin in Hollywood for further discussions on the sale of the company at a time when the latter was due in Chicago to discuss an offer from Matty Fox. As of this writing, a new executive set-up is at least on the verge of being confirmed. Noah Dietrich, Hughes' right hand man, is now believed to be in line for the presidency of RKO with Ned C. Depinet, formerly president of the company, now moving in as chairman of the board. Such an arrangement apparently meets with the approval both of the Stolkin group and Hughes. Dietrich has long been Hughes' personal representative in various business matters. Roy Disney and Sherrill Corwin are expected to become the other members of the board of directors under the new pro- gram. Such a settlement of the executive issue is expected to ward off the threatened re- ceivership action which was recently insti- gated by a group of minority stockholders. However, it seems inconceivable that this liroup. would have continued to press its demands anyway, when all of the facts are known. For example, RKO's biggest inde- pendent contributors, Sam Goldwyn, Walt Disney and Sol Lesser, all have receivership clauses in their releasing contracts which would permit them to pull their pictures out of RKO distribution the minute a receiver- ship is granted. That, it would seem, would be fatal to the interests of everyone con- cerned with the company. During all of this hassle, naturally, pro- duction has been at a near standstill. Shoot- ing has gone ahead on Edmund Grainger's "Split Second" (Stephen McNally-Alexis Smith-Jan Sterling-Keith Andes), which rolled on Oct. 27. Dick Powell is directing. (Continued on Page 24) FILM BULLETIN December I, 1 952 Page 23 DIO SIZ6-UPS (Continued from Page 23) 20TH CENTURY-FOX $100,000,00 Budget Bodes Big Year; 24 in 9 Months 20th Century-Fox will release a total of 24 films during the first nine months of 1953, according to word just received at the studio from home office executives. More- over, the company is planning on spending upwards of $100,000,000 during the coming year for operation of its vast production and distribution business. A sizeable por- tion of this tremendous budget will go to- ward advertising the Fox product, under a new intensified program of local level sell- ing, outlined recently by veepee Charles Einfeld. Of the 24 releases scheduled for the nine- month period, 13 — or slightly more than half of the total — will be in Technicolor. The first quarter releases, including the big ex- ploitation specials for the holiday season in- clude: "Stars and Stripes Forever," "My Cousin Rachel," "Ruby Gentry" and "The I Don't ( are Girl." The latter three are being offered for special pre-release engage- ments. The balance of the releases for the remaining six months include six musicals, eight dramas, seven adventure films and two comedies. Topping the list of releases will be "The Robe," which Darryl F. Zanuck has scheduled for a January start and a Sep- tember release. Hugo Fregonese has just been signed by the studio to a long term deal calling for his services to direct two pictures per year. He has the right to do at least one outside film annually. Another interesting development here during the past few days was Bert Fried- lob's announcement that he has picked up his option on Kette Davis for a second film, which will roll next June, for Fox release. At the present time, seven films are in work. The most recent starter, "White Witch Doctor" (Susan Hayward-Robert Mitchum) went before the Technicolor cam- eras only this morning (December 1), with Henry Hathaway directing for producer Otto Lang. The remaining six, three in Technicolor, are: "Call Me Madam" (Ethel Merman-Donald O'Connor-George Sanders- Vera-EHen), shooting before the Technicolor cameras since September 10, under Walter Lang's direction and produced by Sol C. Seigel; "Sailor of the King" (Jeffrey Hunter- Michael Rennie), filming in England, with Roy Moulting megging for producer Frank McCarthy; "Nearer My God to Thee" (Clif- ton Webb- Barbara Stanwyck-Thelma Ritter- Richard Ba8€ hart), Jean MeguleseO direct- ing, Charles lirackett producing; "Desert Rats" (James Mason-Richard Burton-Rob- efl Newton), Robert Wise directing for pro- dticer Rdberl L, Jacks; "Gentlemen Prefer Blondes" (Jane Russell-Marilyn Monroe) another Sol C. Scigcl Technicolor produc- tion, with Howard Hawks directing; and an untitled western, starring Jeanne Crain and Dale Robertson, also in color. UNITED ARTISTS New Financing Seen Added Lure For Top Inde Product United Artists added new lure for top in- dependent product by arranging financing through the Chemical Bank and Trust Com- pany for initial backing on at least 10 fea- ture pictures to be made for UA release dur- ing the coming year. The agreement calls for UA executives to clear the proposed production packages before passing them on to the bank for final approval. At the same time, company officials re- vealed that a new subsidiary, to be known as United Artists Pictures Corp., has been formed under a charter filed in Albany. Executives hasten to point out that the new corporation was not formed for the purpose of directly engaging in production, but rather as a convenience for paying stars on percentage deals. Three major productions have been sched- uled for December release by the company. They are: "Babes in Bagdad," December 7; "Monsoon," December 14, and "Breaking the Sound Barrier," December 21. Three pictures are currently in production for UA release. They are: "Melba" (Patrice Munsel-Robert Morley-Martita Hunt), in Technicolor, with Lewis Milestone directing for producer S.P. Eagle; "Rough Shoot" (Joel McCrea-Evelyn Keyes), Robert Stross producing and Robert Parrish directing; and an untitled western being produced by Ed- ward Small, starring George Montgomery and Tab Hunter. Ray Nazarro is directing. Humphrey Bogart and Jennifer Jones have been signed for the stellar roles in "Deep Sea Devil," to be directed and produced by John Huston in Italy and Greece, starting in late January. Although there is no defin- ite release set for the picture, it is expected that UA will do the honors, inasmuch as Huston is known to be happy with the com- pany's handling of his past productions. UNIVERSAL-INTERNATIONAL Tint Program May Surpass New Season's Color Schedule LTniversal-International launched the first of the 36 pictures scheduled! on the new 1952-53 slate on November 14 with the start of "The Golden Blade" (Rock Hudson- Piper Laurie-Gene Evans). Richard Wilson is producing and Nathan Juran directing. Next to go on the new slate were two Albert J. Cohen productions, "The Prince of Bagdad" (Victor Mature-Mari Blanchard), which rolled on November 19, and "East of Sumatra" (Jeff Chandler-Marilyn Maxwell- Anthony Quinn), a November 20 starter. All three are being filmed in Technicolor, indicating that the company may exceed the 26 Technicolor films previously announced for the new year's program. As a matter of fact, 14 of the last 17 features completed at the studio have been printed in the tint process. Ten top films, eight in Technicolor, have just been set for release by the company during the four-month period starting today, December 1. They are: December - "Against All Flags" and "The Black Castle"; January - "Tha Lawless Breed," "Meet Me at the Fair" and "The Redhead from Wyoming"; February - "Mississippi Gambler," "Girls in the Night," "City Beneath the Sea," and March - "Seminole" and "Gunsmoke." Bud Abbott and Lou Costello have just signed a new pact with U-I, calling for four pictures to be made for the company be- tween now and 1955. This replaces their previous pact calling for only two pictures during that period of time. Three new pictures are scheduled to go before the cameras later this month. They are: "Apache Landing" (Stephen McNal'y- Julia Adams-Richard Carlson), in Techni- color, to be directed by Lee Sholem and produced by William Alland; "It Happens Every Thursday" (Loretta Young-John For- sythe), with Joseph Pevney directing for producer Anton Leader, and "Drifting" (Tony Curtis-Joanne Dru), a Ted Richmond production, to be directed by Rudolph Mate. WARNER BROTHERS Tunefilms in Spotlight; WB Buys 'High Button Shoes' Warner Brothers will continue to place heavy emphasis on musical productions in 1953, in what company toppers believe is one sure way to combat the inroads of tele- vision. Toward that end, the studio has ac- quired the film rights to "High Button Shoes," one of the top Broadway hits of recent years. Lyrics and score for the mu- sical were written by Jule Styne and Sammy Cahn, and the book was by Stephen Long- street. The show also contains the now- famous "Keystone Kop Ballet" by Jerome Robbins. Filming is scheduled to start around mid-year. Many of the musicals for 1953 will bear the titles of standard song hits — a policy which Warners have followed for better than a year. For example, "Down Bv the Old Mill Stream" has just been activated by the studio and assigned to Leonard Stern for scripting. William Jacobs, who produced "On Moonlight Bay" and "By the Light of the Silvery Moon," will handle the produc- tion reins. Raoul Walsh checked in two weeks ago to start his directing stint on "A Lion Is I" the Streets" (James Cagney). William Cag- ney is producing the Technicolor feature, which is expected to roll within the next few days. Four pictures are currently in production: "Trouble Along the Way" (John Wayne- Donna Reed-Charles Coburn), Michael Cur- tis directing and Melville Shavelson produc- ing; Wayne-Fellows' production of "Plunder in the Sun" (Glenn Ford-Diana Lynn-Pa- tricia Medina), which John Farrow is directing; "The System" (Frank Lovcjoy- Victor Pcrrin-Joan Welton), Lewis Seilcl directing for producer Samuel BischoT; and Bryan Foy's "The City Is Dark" (Gene Nelson - Sterling Hayden - Phyllis Kirk), Andre De Toth directing. fog* 24 FILM BULLETIN December I, I9S2 DOING SMASH A Bert E. Friedlob Production-Released by 20fh Century- Fox Short Subjects TRIBUTE TO A 40-YEAR MAN Universal Pictures executives at the luncheon to honor board chairman A. /. Blumberg's 40th anni- versary in the motion picture industry: Adolph Schimel. Leon Goldberg. If iliam Goetz, Blumberg, Alfred E. Dafj. Milton R. Rackmil. Americo Aboaf and David A. Lipton. THE GREATEST collection of 25-year men in motion picture history paid tribute last week to N. J. Blumberg, at the annual Motion Picture Pioneers' Jubilee Dinner, where the Universal board chairman was honored as the "Motion Picture Pioneer of 1952". The stirring affair, chairmanned by Xed E. Depinet, with George Jessel\ as toastmaster, was highlighted by addresses by Father Patrick Peyton, eminent Catholic clergyman; Jack Colin, president of the Pioneers: Harold Fitzgerald, Fox-Wisconsin Theatres, who gave the Universal topper his start 40 years ago; Danny Kaye, and Jesse Block. As 58 new members of the 25-year club were inducted by Judge Ferdi- nand Pecora, it was evident that this was not exactly an infant industry, but certainly one in which a man entered to stay. As Nate Blumberg said, in dignified humility for the honor accorded him and a plea for care for those who have long labored in the movie business, "It is my feeling that the real Pioneers are yet to come." No better ex- pression of faith in the future of this in- dustry could have been made. ANOTHER CHAPTER in theatre tele- vision history will be written on December 11, when the full presentation of the Metro- politan Opera Company's "Carmen", directly from the Met stage, will be seen simul- taneously on at least 27 theatre picture screens, and, possibly, as many as 38 thea- tres may carry the program. In New York, t'le 450-seat 50th Street Guild sold more than 100 of its seats at $7.20 (sic) the first week the sale started. The price is double t' at for any previous theatre TV attraction. The TV performance, set up Theatre Net- work Television, will be under the direction r[ Henry Souvaine as producer and Clark Jones as director for TNT, with the Metro- politan bowing to progress and permitting s-ecial TV lighting for the occasion. The ;,'i^w will star Rise Stevens in the title role, it'i Nadine Conner, Richard Tucker and Robert ("Aaron Slick from Punkin' Crick") Merrill featured. The production is a coup for Nathan L. Halpern, TNT president. It had to be cleared with the Metropolitan Opera, with Petrillo, with IATSE and with the American Guild of Musical Artists. After all these are taken care of, net proceeds go to the Met. MONEY TALK: That last RKO financial statement was a sight to make eyes sore. Operations as reported by the company for the three months ended Sept. 27, 1952, sank $1,064,000 into the red, compared with a net profit of $588,000 for the same quarter last year. For the nine months ended same date, the net loss was— hold tight— $4,777,000. In the 1951 three quarters, the company showed a respectable loss of $145,000. SAMUEL GOLDWYN, who earned in- dustry bows for his donation of "Hans Christian Andersen" for the gala world pre- miere to benefit the Variety Clubs' Will Rogers Memorial Hospital, added more luster to his fine gesture. Upon being thanked for the premiere, Goldwyn disclosed that he was adding his own personal check for $25,000 to the Hospital and had made an additional provision in his will for that purpose. Then at a luncheon in his honor by the N. Y. Federation of Women's Clubs and the Motion Picture Councils of Greater New Yorlr, Gcldwyn disclosed that he has arranred for the nicture to be shown free EDITORIAL Variety Must Live The circus is a wonderful institution. In its spectacular way it brings happiness to millions, e~ploying the essence of showmanship in its presentation. The mid-winter meeting of Variety in Pittsburgh had the same wonderful trappings, in keeping with the tradition that a quarter of a century ago inspired the small group of men in that city to establish the show business charity organ:zation. There was a huge tent erected in t'.e ballroom of the William Penn Hotel, which converted its I 7th floor into a great midway with caged animals, pink lemonade and pop- corn. There were even aerial acts in the Big Tent to maintain the atmosphere. But, also in keeping with the tradition that inspired the founders, when a foundling started Ihe Great Heart beating, a few simple words from International Chief Barker Jack Beresin told the story of those 25 years and the many more to come: "Charity is our purpose. Charity is our life. Show me a Tent without a fine Charity and I will show you either a Social Club or a Tent that is failing even in fellowship. Get a Great Charity and you will have a Great Tent. This does not take from the necessity of fine fellow- ship. It is vitaliy necessary for every Tent to afford an opportunity for association of show- men with each other. Out of that grows the plans and the accomplishment of fine charities." In these words, the Chief Barker expressed the essence of Variety — its aim to help others. By its numerous charities, this great organi- zation, founded and supported by men of movie- dom, has brought to our industry higher honor and wider respect than any of its many other notable accomplishments. Variety's Great Voice and its Great Heart must never be allowed to die. STEIN of charge to special audiences of children throughout the world who might normally not have the opportunity to see the film. Underprivileged children, newsboys, shut- ins, orphans and others in such categories were named by Goldwyn. And so, another deep bow. PROPERLY PRESENTED, the industry campaign against the Federal admissions tax has a good chance of victory. This was demonstrated when a group of 23 Colorado (Continued on Page 28) AT VARIETY'S MID Top Variety International cxecutites at. the Pitts Harris, liig Ross: Rob O'Donnell. Ringmaster, an -WINTER MEETING burgh meeting: Marc Wolf. Main Guy: John II- 7 Jack Beresin. International Chief Barker. F--;< 26 FILM BULLETIN D< comber I. I9S2 BULLETIN Exploitation & Merchandising DHUHMttM Paramount presented a demonstration of practical low-cost showmanship, that should open the tear-filled eyes of every exhibitor in the country. In the modest, 600-seat Bijou on West 45th Street, the company played host to a full house of exhibitors, theatre managers, newspapermen and rep- resentatives of the trade press for a display of promotion possibilities and a screening of "The Road to Bali," the Hope-Crosby- Lamour starrer. The lobby, full of tropical flora, fauna and animal life, was splashed with eye-catching color, gaily plumaged birds, a chattering monkey, coconuts, sea- shells and sand, all supplied by cooperating merchants, who were properly credited. Minute Maid dispensed "Bali Brew" juice to the guests; a pair of sarong-clad models from the Conover Model Agency greeted the arrivals as they entered the theatre; doubles of the stars, chosen in city-wide contest were an additional welcoming com- mittee. One of the Paramount exploiteers estimated the cost of the entire shindig at less than $200 — and that's for a big-city premiere that would bring in that much more in admissions, probably, within a few hours. It was an eye-opening demonstra- tion of full-fledged exploitation at low cost and should be an object lesson to those exhibitors who have forgotten that show- manship is ingenuity, not cost. * * * Just plain showmanship produced the biggest opening day gross since 1948 at Fanchon & Marco's Fox Theatre in St. Louis. Playing an independent picture, "Wakamba", the all-out F & M exploitation push recorded a $5345.05 gross on the initial EXHIBITOR & PRODUCER Fanchon & Marco's Harry C. Arthur, left, and inde producer Edgar M. Queeney. at the premiere of "Wakamba" . Queeney's jungle epic which tvas oarlayed into a top grosser by F & M show- nan ship. 'BALI' PROMOTION Paramount shows how exploitation can be util- ized without high cost at the Bijou Theatre screening. At top. a portion of the lobby. Bottom. Bing. Bob and Dottie doubles with the Minute Maid juice dispenser. day. It made the newspapers with the Globe-Democrat reporting "one of the largest waiting lines any St. Louis Theatre has known in years". No stars, no national ballyhoo, no big studio label — just plain, old-fashioned showmanship. * * * Metro, which has maintained the largest permanent staff of field promotion men, has added a quartet of press representatives to bring its total field staff to 27. The MGM policy of active cooperation with exhibitors in the field has concentrated the local level promotion. With the additions by ad-pub- licity chief Howard Dietz, even more pin- pointing of on-the-spot exploitation is now in effect. The four are John L. John, Thomas Letcher, Alan Wiedner and Jack Weiner. Wieder will concentrate on the Seattle and Portland exchanges, Weiner in New Orleans and Memphis, both territories formerly covered by press reps from other areas. Letcher has been assigned to the Minneapolis exchange and John to Indian- paolis. The six divisional press reps, named by Dietz last March, will continue to handle special advance work and will operate in advance of the regular field staff under ex- ploitation director Dan Terrell. * * * There will be plenty of march music played, heard and written about in the next month or two. Some 1500 magazine and (Continued on Page 28) EDITORIAL Einfeld's PlaD Charles Einfeld's declaration of emphasis by 20th Century-Fox on point-of-playdate pro- motion is the answer to many a showman s prayer. Not discounting the value of national advertising, publicity and exploitation, whether in newspapers, magazines, radio or television, the 20th-Fox vice-president's revelation that the ad-exploitation segment of the $100,000,000 production-distribution budget for 1953 will be channeled for the most part into the local level should be most gratifying to those enterprising theatremen wha have attempted to do an ex- ploitation job without the valuable aid that local fieldmen could offer. In his message to the division managers in the recent home-office meeting, Einfeld stressed the importance of the field officers to local exhibition, working cooperatively with the ex- hibitor to gauge exploitation methods appro- priate to local conditions, and even to the in- dividual theatre. This "specialized" handling of pictures, he noted, is the key to obtaining the utmost from the picture. This procedure, ap- plied to "Lure of the Wilderness" in its regional showings, resulted in record-breaking grosses, the Fox ad executive averred. It seems logical to assume that the exploita- tion technique applied successfully to the "Lure of the Wilderness" showings in, say, a small Horida town, would be varied, or completely altered for a city like Chicago, or Boston. And, within these cities, for the type of audience that frequents the theatre playing the film. Exploitation itself is largely knowing the people you are asking to see your product, what will interest them and how best to invoke their interest. The man behind the home office desk may not be aware that a bank robbery in Tus- caloosa has fertilized the exploitation soil for a picture he is selling to that town's theatres with its timeliness. The man on the scene, how- ever, is aware of the possibilities but may not have the knowledge or funds to capitalize on it. Working with company field man and aided by company funds, the exploitation effort could pay off — and has — in manifold proportion. EINFELD & LICHTMAN The 20th-Fox ad-publicity chief expounds his plan of local level promotion at the division managers' meeting in \ew York. At right is distribution head Al Lichtman. FILM BULLETIN December I, 1952 Page 27 Exploitation and Merchandising (Continued from Page 27) newspaper reviewers, syndicated writers, disc jockeys and music scores were on ilic receiving end of a mailing piece, together with an album of the songs from the sound track of "Stars and Stripes Forever"'. The literature was from MGM Records Disc Data, which headlines the Technicolor musical about John Philip Sousa, detailing his career, his compositions and the filming of the biography. The album, first 20th-Fox filmusica] package on the MGM label, is getting one of the strongest national and local level campaigns in MGM Records' histor v. NOVEMBER 27 Jjkifi} PtN! MODELS & MODEL In Pittsburgh, the model of the Mayflower tour- ing the country gets the added benefit of a pair of models in original costumes. Stunt was orig- inated by William Elder and Herb Read of Loew's Penn. New England had probably its most in- tensive coverage of any movie when motion picture editors and critics from New Eng- land newspapers converged at the Old C olony in Plymouth, Mass. for the special invitational showing prior to the mass New England openings Nov. 25. With the blue- bloods of the Mayflower Society as sponsors, citizens of the town, in Pilgrim costume, reenacted the historic signing of the May- flower Compact in a pageant before the screening, The replica of the Mayflower, now on tour, was also present for the ceremonies. Helen Dcutsch, Metro screen writer who did the script for the Dore Schary production, was on hand in Boston and Plymouth, meeting the press and being interviewed on radio, to do a bang-up pub- licity job for the big do. * * * A free ad in Collier's and Look is avail- able to exhibitors booking 20th Century- Pox's showmanship contest picture, "The Thief of Venice}" — if the booking is set early enough. Fbk is running a two-page spread in the January 31 issue of Colliers, due on the newsstands Jan. 23, and in the Feb. 10 issue of Look, out Jan. 27. Theatres who book the picture to play before March 1 and set the booking before Dec. 20 will l ave the name of the theatre, city and state in the spread in both magazines with a combined readership of some 35,000,000. The mags are soliciting all exhibitors to get the free billing, asking them to notify 20th-Fox of their intention to play the film before the Dec. 20 deadline. The three key cities on the Mississippi as well as scores of other towns on Old Man River, will be the beneficiaries of Universal- InternationaPs plani for the debut of its biggest of the year, "Mississippi Gambler". The Mississippi River saturation premiere was set in motion last week when U-I Eastern ad-publicity manager Charles Simonelli trekked to the three keys, St. Louis, Memphis, and New Orleans, to stai t the machinery. Simonelli is meeting with executives of the Fanchon & Marco chain in St. Louis, the Malco circuit in Memphis and the RKO network in New Orleans for the elaborate plans involved in the week of premieres along the Mississippi. Three more stores have been tied in with the New York showing of Samuel Gold- wyn's "Hans Christian Andersen". Follow- ing the co-ops for all of Macy's Broadway Yvindows for the film and Bonwit TelleCs six Fifth Avenue windows, Mark Cross and Gsorg Jensen are also giving their valuable Fifth Avenue space to displays on the pic- ture. In Brooklyn, Abraham & Straus dis- plays the ballet wedding gown worn by Jcanmaire in . their fourth floor restaurant which, serves more than 16,000 people a week, with posters calling attention to the ('isplay in all of the store's elevators and windows. 20th-Fox has a sure-fire gimmick in its nationwide high school and college hand contest to focus interest on its film story of John Philip Sousa, "Stars and Stripes Forever". In keeping with the Sousa tra- dition of big bands, the competition will be open to all school bands of 50 or more pieces, with two national winners to be selected — one from high schools, the other from colleges. Judging will be on the basis of each band's recording of the March King's "Stars and Stripes Forever" and one optional Sousa composition. These will be sent to the Marine Corps recruiting repre- sentative nearest to the school. A pair of state winners- will be named and the 96 finalist records go to New York for final judging. Sousa's long association with the U. S. Marine Band has ensured the lull co- operation of the Marine Corps Reserve Dis- tricts and Recruiting branches throughout the country. *Sliort Subjects (Continued from Page 26) exhibitors, many of whom had traveled hundreds of miles for the purpose, met with congressman Wayne N. Aspinall to present facts and figures showing the unjust nature of the tax. The meeting was held prior to election and the congressman, after hearing the exhibitors' plea, not only pledged him- self to vote for repeal, but advised the thea- tremen how the industry should proceed after Congress convenes to get the tax killed. In a statement, Rep. Aspinall termed motion picture entertainment "one of the integral parts of our civilization" and promised that "if this tax means the closing of large and small theatres, you're going to see this tax taken off". Kudoes to exhibitor Robert Walker of Fruita, Colo., for organiz- ing the meeting, gathering facts and figures and doing the leg work OF MEN AND THINGS: J. Arthur Rank, G. I. Woodham-Smith and Robert Benjamin have resigned from the Universal board of directors. Benjamin takes his portfolio to UA as chairman of the board . . . The in- dustry mourned the passing of Isaac E. PIONEER OF THE YEAR Nate Blumberg (center) accepts the plaque as Pioneer of 1952 from Ned Depinet as Pioneer president Jack Cohn looks on. Chadwick, 68, president of tne Independent Motion Picture Producers and Distributors Association, in tnat post since 1924 . . . Arnold M. Picker, who resigned as execu- tive vice-president of RKO Radio before taking office, continues with United Artists as a stockholder and v. p. in charge of foreign distribution . . . UA v. p. Max Youngstein has accepted the post of public relations chairman of the 25th anniversary committee of the National Conference of Christians and Jews . . . 20th Fox president Spyros P. Skouras has '.een named honor- ary chairman of the annual American Fund for Israel Institutions' dinner concert, which pays tribute to impressario Sol Hurok next month in the Waldorf's Grand Ballroom. fage 28 FILM BULLETIN December I. 1952 your heart danced Wheatheydance, y«ur Heart siags! 6ufW Warner Bros: musical Spree am rn COLOR BY Technicolor CLAUDE DAUPHIN^ ™-M m]-f^ um-Jam^ima mum raffs yj-ix 3.\jxsxj xja w x x Arm Musica, Numbe(S staged and Djrected by LeRoy Pfmi , Song ..Apn| n i>rcs t ^ Ha[bu irara Music by Vernon Duke- Original Songs, lyrics by Sammy Calm. Music by Vernon Duke . Musical Direction by Ray Hemdorl ^ooo«o ^WILLIAM JACOBS- o.recteo by QAVIO BUTLER 6XHIBITORS FORUfTl Opinions Culled from Organization Bulletins COMEDY CRUSADE Allied of la., Nebraska Maybe it's not crusading, maybe it's not art, maybe it's not progress, but it could be that it's box office if we'd have a few less art and message pictures and a few more comedies. Somebody recently made a stir in the trade press by demanding more comedies. This is just an echo of the same sentiment. This question has been urged as long as there have been movies — whether or not to sell the people what they want, or crusade an artistic cause and raise the public taste. The latter is highly commendable. We hope there are always crusaders, but of late the army of artistic crusaders has been calling up more draftees than the Depart- ment of Defense. Is it just that people are more sophisticated today? It is because people are tired of name-personalities? Is it because the comedy well has run dry? Or is it because in these troubled times the writers, producers et al think it is time for the people to take a little more sober look at things0 Agreed, that the biggest piece of propaganda to ever hit the American scene in the past thirty years was the old song "Life is Just a Bowl of Cherries", and we shouldn't expect to tell people that there is no beauty, no virtue, no honor, no patriot- ism, none of the higher principles of life — just goofy laughter. But, the cost of cru- sading the art may be campaigning us into a popcorn business that merely shows films as a sideline. TRAILER OSCAR Allied Caravan It is probably too big a project to line up a committee of exhibitors, and the project i> probably too important to be handled by such an "august" body, but shouldn't we award some kind of an "Academy of Blunders and Guesses" award for the best and worst trailers of the year? (At least this is something new in the industry.) For fear this momentous program may never be accomplished, either from lack of funds or united action in the industry — neither un- heard of circumstances — we will shoulder the burden of picking the winner this year for the best trailer and award the sock full of warm mush to Metro-Goldwyn-Mayer for the fine trailer on "Carbine Williams". (National Screen Service should fork over -1 Vice-Presidents and the revenue from this year's dated Christmas trailers for the use of the guy who made that trailer.) We'll dispense with picking the booby prize trailer — there are so many of them. 'FAIR' TREATMENT ITO of Ohio The exhibit cost us much more than wc ever anticipated it would. In an effort to recoup some of the losses, we asked each company to refund to us the cost of ship- ping the material back to the studios. First to respond was Universal, for which we owe l irote of thanks to Maurice Bergman. We have also just received1 word from Para- mount with a check and the following com- ment : "While your request for reimbursement in connection with the return of the material to Paramount was not anticipated, I agree that the burden of such a deficit should not be borne entirely by you. I know that a great deal of good-will and public relations for the motion picture industry ensued from your Fairs and for that reason I believe that we are warranted in reimbursing your or- ganization for the expense you went to in returning Paramount's part of the exhibit. ' Teet Carle, pub. mgr. M-G-M, RKO and Disney have turned us down. Warner Bros, are still considering. PRESSURE COOKER ITO of Ohio Many an exhibitor has made a deal against the dictates of his good business judgment because one group or another has been maneuvered to use their influence. Allied of Iowa-Nebraska shows how to combat such pressure. The Most Reverend H. P. Rohlman Archbishop of Dubuque Dubuque, Iowa Your Excellency: Many of the members of the Allied Inde- pendent Theatre Owners of Iowa and Ne- braska have brought to my attention a matter that could cause bad relations be- tween ourselves and the Catholic Church. A great many members of the clergy of Iowa and Nebraska, and in all probability yourself, have received invitations to see the new Warner Brothers' motion picture "The Miracle of Fatima". You and they were led to believe at that time that this picture would be available for showing in the thea- tres in the very near future. Many of the Priests and church organizations have been asking our member exhibitors when they were going to show "The Miracle of Fatima"; The Warner brothers, producers of this motion picture, have either not made it available to the theatres of Iowa and Ne- braska or where it has been made available the Warner brothers have assessed such terms for showing it that our members can- not make a profit. Be assured, Your Excellency, that the theatre owners of Iowa and Nebraska wish to do everything reasonable within our power to show "The Miracle of Fatima". In the Parishes where this picture is not exhibited, the blame rests entirely upon the Warner brothers. Sincerely, Charles Niles Anamosa, Iowa Copy sent to every Roman Catholic Bishop in the area. NEWSPAPER ADS Allied ITO of E. Pa. One of the most encouraging phases of the Philadelphia tax campaign is the atti Hide of the daily newspapers. Thus far, the Evening Bulletin, which is very influential, and the Daily News have printed editorials in favor of Admission Tax repeal. The Bulletin said, in one of the paragraphs of the editorial : "Amusements are subject to a levy of 30 per cent on their gross receipts, two-thirds of which goes to the Federal Government and the remainder to the City. Our mer- chants correctly represent that a two per cent sales tax would adversely affect the volume of their sales. It is reasonable to as- sume that a sales tax 15 times as great is a contributing factor in diminished attendance at amusements whose patrons have to pay it." "... No group of Philadelphia business men ought to be obliged to bear excessive taxation to make up for other groups' de- linquencies." One of the paragraphs of the Daily News editorial is as follows: "The amusement tax originally was levied as a 'luxury' impost, just as many excise taxes were placed on so-called 'luxury' mer- chandise items. But the amusement tax, just as the excise levies, has outlived its useful- ness. There are too many ways of obtaining entertainment today, without paying a tax for such a levy to be effective. The returns are diminishing so rapidly that, unless it is repealed, the injury it has caused the amuse- ment industry will become more serious and it actually can cost the city money to collect it." LOCAL PROGRAM Allied of la., Nebraska One of Allied's better showmen and owner of Iowa's most beautiful theatre, Jim Watts at Osage, reports on his experience with the running of "The Osage Story" — a 60 minute 16mm feature that is made in the home town and later projected from the theatre screen. Jim did very outstanding business with this program for three nights and am sure would recommend any town or county seat size to tie up with the same program. Ted Menden- hall in Des Moines is promoting the picture. We saw his program in Osage and it is a sure-fire money-maker. The nice part of it is — the film is yours and you can re-show it every few years — and if you think that can't be done, we did it here in Elma last winter and with it 20 below zero with a film ol home town stuff from 8-12 years old and packed 'em in for two nights. These home town movie deals are always sure fire if you don't over do them. HOUSEKEEPING CHEAP Allied Caravan of la., Neb. Reminder on the importance of good housekeeping. It's always a pleasure to walk into a neat, attractive and well-groomed theatre. It's always a let-down to walk into one that is dark, dusty, littery and run down. We might not be able to afford renovation, but good housekeeping is cheap. Remember that your are selling romance. There is nothing romantic about an un-romantic looking theatre. 12 FILM BULLETIN December I, 1952 PRODUCTIOn & R€L€flS€ R6CORD 1951-52 Features Westerns ALLIED ARTISTS Completed (53) Completed (18) In Production Production I ) I I In the Release Chart, "Rel." is the National Release Date. "No." is the release Number. "Rev." is the issue in which the Review appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1951-52 programs unless otherwise noted. Listing of color pictures follows immediately after title: (T) Technicolor, (C) Cinecolor, (SO Supercinecolor, (TR) Trucolor, (AC) Ans- color, (NO Natural Color, (WC) WarnerColor. RELEASE CHART — 1952-53 — IN PRODUCTION TITLE — Running Time Cast White Lightining Clements-Bestar Homesteaders, The Elliott-Vallin COMPLETED African Treasure Sheffield-Luei Rel. No. Rev. Arctic Flight Army Bound Battle Zone Canyon Ambush . Dead Man's Trail Desert Pursuit Disc Jockey (77) Fargo Flat Top IC) Feudin' Fools Gold Fever Gunman, The ..Morris-Albright Clements Hodiak-Christian Brown-CO'ites Brown-Ellison Morris-Caruso ... Simms-O'Shea Elliot Hayden-Carlson Gorcey-Hall ■ Morgan-Calvert Wilson-Knight Here Comes the Marines Gorcey-Hall Hiawatha IC) Edwards-Dugay ... Highwayman. The IC) (83) Hendrix-Coburn .... Jungle Girl Sheffield-Sharpe .... Kansas Pacific IC) Hayden-Miller Kansas Territory 173) Elliott-Stewart Man from Black Hills (78) Brown-Ellison Mexican Silver Wilson-Clyde Montana Incident Wilson-Stewart ...... Night Raiders Wilson-Knight Northwest Territory 1611 ...Grant-Chinook Rose Bowl Story, The (C) (73) Thompson-Miles ... Sea Tiger (71) Archer-Chapman Son of Belle Starr .... Larsen-Castle No Holds Barred Bowery Boys Tangier Incident Brent-Aldon Texas City Brown-Elliscn Timberwolf Curwood Torpedo Alley Stevens-Malone ... Trail Dust Albright-Winters Vicious Years, The (7?) Cook-Moore Waco 168) Elliott Wagons West IC) (70) Cameron Wild-Stallion (C) ...Johnson-Hyer Wyoming Roundup Wilson-Coates Squared Circle, The Kirkwood-Gleason Yukon Gold Grant-Hyer -52 5207 ■20 5210 •52 5216 -52 22 -12 . 5244 r-» ... 5243 _ -52 5209 ... -23 21 6-1 8 -52... 5226 -52 5201 -14 .5213, ,-8 . .5220... -13 5252 -15.. 52 1 2 ... !-7 .. 5202... 1-8... 20 8-27 -52 24 5-4 5225 3-52 5242 8-1711 5253"™' 2-52 ...... 525 1._ 1 2-? _.. 8-24 5204 7-52 5218 12-52 5214 12-30 12-28 5222 11- 52 23 12- 31 5107 2-18 2-52 5224 4-29 5203 4-27 5205 11-9 5254 - r8-52'Z'522iZZIII'' 4-30 COLUMBIA 1951-52 Features Serials Completed Completed (70) ( 3) In Production I I ) Production (0) RELEASE CHART — 1952-53 — IN PRODUCTION TITLE — Running Tim* Cast Red Beret, The IT) Ladd-Andrews COMPLETED Affair in Trinidad 198) Hayworth-Ford All Ashore IT) Rooney-Lawrence . Ambush at Tomahawk Gap (T)...._ ...Derek-Hodiak Apache Country 142) Autry-Buttram Rel. No. Rev. 9-52 7-28 . 5-52 10-52 8-25 Assignment — Paris 185) _ —Andrews-Toren Barbed Wire (41) Autry-Buttram 7-52 Blue Canadian Rockies (58) Autry-Buttram 11-52 Brave Warrior (T) 173) Jon Hall 4-52 5-19 Brigand, The IT) (94) Dexter-Lawrence 7-52 California Conquest (T) (79) Wilde-Wright 7-52 4-30 Captain Pirate IT) (85) Louis Hayward 8-52 431 .......7-28 Clouded Yellow, The 189) Simmons-Howard 8-52 10-8 Congo Bill McGuire-Moore ._ Cripple Creek IT) (78) ...Montgomery-Booth 7-52 4-30 Death Of A Salesman (III) March-Dunnock 2-52 423 12-31 Eight Iron Men (80) Colleano-Frani 12-52 11-3 Firefighters, Th e ... Williams-Reynolds First Time, The (89) _ Cummings-Hale . 2-52 424 2-11 5,000 Finqers of Dr. T., The (T) Hayes-Healy . Four Foster, The 1103) — Harrison-Palmer ._ _ Golden Hawk (T) 183) _Fleming-Haydn 10-52 .....508 Hangman's Knot IT) (81) Scott-Jarman 11-52 Happy Time, The 194) -Boyer-Driscoll 12-52 504 4-30 Her Wonderful Lie __ Kiepura-Eggerth Invasion, U.S.A. (74) Mohr-Castle 12-52 Jack McCall, Desperado (T) Montgomery-Stevens Juggler, The ..Douglas-Vitale Junction City (54) Starrett-Burnette 7-52....- 484 Jungle Safari ...Weissmuller-Greene Kid From Broken Gun (54) Starrett-Bunett 8-52 481 Ladies of the Chorus (41) (Reissue). Monroe-Jergens 11-52... Laramie Mountains (54) Starrett-Burnett 4-52 Last of the Comanches (T) Crawford-Hale 8-52 Last Train From Bombay (72) _.Hall-Ferraday 8-52 Love Song (T) — Wyman-Milland Marrying Kind, The 193) Holliday-Harrison 4-52 Member of the Wedding, The Waters-Harris Montana Territory (T) (64) ...McAllister-Hendrix 4-52 Pathfinder, The IT) Montgomery-Carter - — — Paula (80) Young-Smith 4-52 434 485 504 I-H5L 438 8-1 _____ .4-30 5-19 Prince of Pirates (T) Posse ...Derek-Rush Crawford-Derek Red Snow (75) ...Madison-Mala 7-52 439 Riders ot the Whistling Pines Autry-White Rough. Tough West 154) Starrett-Burnette . . 6-52 487 Salome (T) Hayworth-Granger Sniper, The (87) — Meniou-Frani 5-52 434 Storm Over Tibet 187) . Reagon-Douglas 7-52 Sound Off ISC) 183) . Mickey Rooney 5-52 428 Target — Hong Kong ...Denning-Loo Thief of Damascus, The IT) 178) Henreid-Sutton 4-52 427 Vatican, The IT) 142) Documentary Special Voodoo Tiger (67) _._ _._Weissmuller-Burckhart 11-52 Wagon Team 141) Autry-Buttram 9-52 476 Walk East on Beacon 198) Murphy-Gilmore 6-52 426 War Cry IC) - Montgomery-Long 435 Yank In Indo-China. A 167) Archer-Dick 5-52 435 Strange Fascination (80) _ - Moore-Haas 12-52 505 5-5 10-6 1951-52 LIPPERT Completed (40) In Production (I) Cast Duff-Bartok RELEASE CHART — 1952-53 — IN PRODUCTION TITLE5— Running Time Spaceways - COMPLETED Bad Blonde Captain Kidd (Reissue) 189) Gambler and the Lady Great White Hunter IReissue) 189) Hellgate 187) - I'll Get You Johnny the Giant Killer IT) Jungle, The 174) - Loan Shark (79) Mr. Walkie-Talkie Outlaw Women (C) (75) Pirate Submarine (69) — Scotland Yard Inspector Secret People - - Stolen Face, The (71) — Stronghold 173) — Tall Texan, The — Tromba, the Tiger-Man (63) — Valley of the Eagles 183) Wings of Danger 172) -. Rel. No. Rev. Payton-Wright Scott-Laughton Dane Clark Peck-Preston Hayden-Leslie George Raft Animation Feature Cameron-Romero Raft-Hart Tracy-Sawyer Windsor-Rober Special Cast Romero-Maxwell Cortesa-A. Hepburn Henreid-Scott Lake-Scott Bridges-Cobb Special Cast Warner-Gray Z. Scott 12-12 5210 12-26 5204 12-12 5209 9-5 5113 1- 16 5206 5205 7-4 ... 51 12 5- 23 Sill.. 11-28 5203 _ 6-2 5105 7- 18 5110. 10- 31 5202 8- 25 5116 . 6- 16 5109 2- 52 ... 5107 .... 1-23 5207 11- 14 5201 4-25 5114 . 4-1 5106 Rel. No. Rev. METRO-COLDWYN-MAYER 1951-52 Features Completed (IIP) In Production (5) RELEASE CHART — 1952-53 — IN PRODUCTION TITLE — Running Time Cast Band Wagon, The IT) Astaire-Charisse Give A Girl A Break IT) _. Bankhead-deHavilland Invitation to the Dance IT) Kelly-Youskevitch Main Street to Broadway All-Star Mogambo (T) Gable-Gardner Remains To Be Seen - Allyson-Johnson Slight Case of Larceny P.ooney-Bracken Young Bess IT) - Sommons-Granger COMPLETED Above and Bevond (122) Taylor-Parker Apache War Smoke (67) ...Roland-Horton 10-52 Bad and the Beautiful, The (118) Turner-Dougles Because You're Mine IT) (103) Lania-Whitmore 10-52 Carbine Williams (93) Stewart-Hagen 5-52 Clown, The - __ Skelton-Greer Code 2 Meeker-Forrest Connie - lohnson-Leigh 4-53 Cry of the Hunted Gassman-Sullivan 305 10-6 304 231 9-8 4-21 Williams-Lamas Dangerous When Wet Desperate Search, The (71) Keel-Greer Devil Makes Three, The 190) (T) Kelly-Angeli Dream Wife - Grant-Kerr 9-52 302 8-25 Everything I Have Is Yours IT) |92).Champion-O Keefe 10-52 306 10-20 Fearless Fagan (79) Leigh-Carpenter 8-52 241 7-14 Girl In White, The (93) . Allyson-Kennedy 5-52 232 Glory Alley (79) Caron-Meeker 6-52 234 Girl Who Had Everything, The Taylor-Lamas ._ Holiday for Sinners (72) Young-Rule 7-52 239 6?30 Hour of Thirteen, The 1801 Lawford-Addams 11-52 -. 309 10-20 I Love Melvin IT) .... O'Connor-Reynolds 3-53 »_ Ivanhoe IT) (106) .-_ ...... R. Taylor-E. Taylor 8-52 307 6-30 Jeopardy - Stanwyck-Sullivan 2-53 Julius Caesar - Brando-Mason •• Lili (T) - - Caron-Ferrer -■■ - Lovelv to Look At 1102) IT) Grayson-Skelton 7-52 . 237 Merry Widow, The IT) 1105) -. Turner-Lomas 9-52 301 My Man and I (99) Winters-Montalban 9-52 . 303 Million Dollar Mermaid IT) 1115) Williams-Mature 12-52 312 Naked Spur, The IT) Stewart-Ryan 2-53 Never Let Me Go - Gable-Tierney - -~- Pat and Mike (93) Tracy-Hepburn 11-17 Rainbow Round My Shoulder (T) 178) Laine-Daniels 9-52 503 Plymouth Adventure IT) 1104) Tracy-Tierney I 1-52 Prisoner of Zenda IT) (100) Granger-Kerr 11-52 Quo Vadis IT) (168) - Taylor-Kerr Rogue's March Lansford-Rule 3-53 Scaramouche IT) (115) S. Grainger-E. Porker 6752 See How They Run — Dandridge-Hof ton — 310 308 218 6-16 I 1-3 10- 20 11- 19 236 FILM BULLETIN December I, 1952 Page 33 Skirts Ahoy [Tl (1091 Sky Full of Moon 175) Small Town Girl IT) Sombrero IT) Steak for Connie Story of Three Loves (T) ... Talk About a Stranger 165) Time Bomb (77) Vaquero (Ans) Vicki IT) Wahington Story 182) When In Rome 178) You For Me 170) Young Man With Ideas I84i William-Blaine 5-52 Carpenter-Sterling 12-52 J. Powell-Granger 4-53 Montalban-Anqeli 3-53 Johnson-Leigh All-Star Cast _ Murphy-Davis 4-52 Ford-Vernon Gardner-R. Taylor Garson-Pidgeon JofmsonNeal 7-52 Johnson-Douglas 4-52 Lawford-Greer . 8-52 Ford-Roman 5-52 233 228 4-21 11-17 3-10 238 22? 240 230 7- 14 3-10 8- 1 1 3-10 PARAMOUNT 1951-52 Features Completed (77) In Production (4) RELEASE CHART — 1952-53 — i IN PRODUCTION TITLE — Running Time Arrowhead (T) Here Comes the Girls (T) Little Boy Lost Untitled COMPLETED Anything Can Happen (107) Atomic City, The 185) . Blazing Forest (T) (71) Botanv Bay IT) Caribbean (TJ (95) Carrie 1118) Cleopatra 1 1041 Reissue) Come Back Little Sheba (99) Denver & Rio Grande IT) (89) Encore 1901 Forever Female Greatest Show On Earth IT) 1 151). Green Gold of Nevada IT) Houdini IT) Hurricane Smith IT) _.. Jumping Jacks (98) ......Z.ZI Jamaica IT) Just For You (T) (104) ..Z...ZZZ Los Alamos Military Policeman Mv Son John 1122) Pleasure island IT) ... Pony Express (T) ... . Red Mountain IT| 184) Road to Bali IT) 191 ) Rock Grayson's Women (f) Roman Holiday Savage. The (T) 195) . " Scared Stiff Shane (T) Somebody Loves Me (T) (97) Son of Paleface (T) Stalag 17 Stars Are Sinqinq. The (T) S'ooge. The 1 1001 Thunder in the East 1981 Turning Point, The (85 ( Tropic Zone IT) 194) War of the Worlds IT) Cast Heston-Palance Hope-Martin Crosby-Dauphin Martin & Lewis Rel. No. Rev. Ferrer-Hunter 5-52 5117 3-10 Barry-Clarke 4-52 5120 Payne-Moorehead 12-52 5207 10-20 Ladd-Mason Payne-Dahl 9-52 5202 Olivier-Jones 8-52 5123 6-16 Colbert-Wilcoxon 12-52 5208 Lancaster-Booth 2-53 5213 O Brien Hayden 6-52 5115 . 4-7 Maugham Stories 7-52 5122 Rogers Holden Stewart-Hutton 7-52 5129 1-14 Payne-Morrow Curtis-Leigh DeCarl->-lreland 10-52 5204 Martin-Lewis 7-52 5121 6-16 Milland-Dahl Crosby- Wyman 9-52 5201 8-1 1 Barry-Carke Hope-Maxwell Haves-Heflin Genn-Taylor 3-53 Heston-Flemming UddK»nn«dy s.c? Hope-Crosby-Lamour 12-52 Payne-Sterling Peck-Hepburn Heston-Hanson 11-52 Martin-Lewis Ladd-Arthur . Hu" ton-Meeker Hope-Russell H^lden-Taylor Alberqhetti-Clooney Martin-Lewis Ladd-Kerr Holden-Smith Reagan-Fleming Barry-Robinson 5215 4-21 cut 5209 5206 10-6 10-52 8-52 5203 5124 9-8 7-14 3-53 2-53 1-53 5214 5212 5210 11-17 10-52 5205 10-6 1-53 5211 RELEASE CHART — 1952-53 — IN PRODUCTION TITLE — Running Time Cast Rel COMPLETED Battles of Chief Pontiac (75) Barker-Wescott Bela Lugosi Meets a Brooklyn Gorilla (74) Luskosi-Mitchell Breakdown 176) Richards-Bishop Cairo Road 185) Harvey-Portman Cuban Pete (61) (Reissue) _„... Arnez-Smith Fame & the Devil (80) Auer-Buford Geisha Girl (671 Hyer-Andrews House of Darkness (63) ... Harvey-Shaw If This Be Sin 1741 Loy-Greene Inside Job 165) (Reissue) ... Curtis-Rutherford Kid Monk Baroni 180) _ Cabot-Knox Lucy Goes Wild 190) (Reissue) Ball-Brent Maytime in Mayfair (T) (74) Wilding-Nagle Mug Town 160) (Reissue) Dead End Kids My Death is a Mockery (67) D. Huston-Byron Summer Storm (92) (Reissue) Darnell-Sanders Wall of Death (82) Harvey-Shaw No. Rev. I 1-52 10-52 9-52 10- 52 1 1- 52 11-52 8-52 10- 52 11- 52 12- 52 8-52 1 1- 52 8- 52 12- 52 12-52 9- 52 9-52 REPUBLIC 1951-52 Features Completed (21) In Production (1) Serials Completed ( 01 In Production (0) Westerns Completed (15) In Production (0) Rel. No. RELEASE CHART — 1952-53 — IN PRODUCTION TITLE — Runninq Time Cast Woman They Almost Lynched. The Lund-Leslie COMPLETED f,*1 Ja.k??rin 1,01 . . Lawrence-China 6-1 5129 Black Hills Ambush 1541 Lane-Waller 5-20 5172 Border Saddlemates (67) Allen-Kay 4-15 5143 Desperatoes Outpost (54) Allen ... 10-8 5174 Fabulous Senorita, The 180) Estelita-Clarke 4-1 5125 Fair Wind to Java ITrl MacMorray-Ralston Rev. Gobs and Gals 1861 Hoodlum Empire 198) I Dream of Jeanie ITr) 190) Lady Wants Mink, The (Tr) Last Musketeer, The 167) „ZZ... Leadviile Gunslinger 154) Marshal of Cedar Rock Oklahoma Annie IC) 190) Old Oklahoma Plains (60) Z..ZZZZ Overland Trail Riders Ouiet Man. The IT) 1129) Ride the Man Down ITr) (90) South of San Antone South Pacific Trail 1601 Sun Shines Bright ., Sweetheart Time (Tr) Thunderbirds 198) Thundering Caravans 154) Toughest Man in Arizona (Tr) 190) Tropical Heat Wave (74) Valley of Mlssinq Men WAC From Walla Walla 183) Wild Horse Ambush Woman of the North Country (90) Downs-Hutton .Donlevy-Trevor Middleton-Shirley Hussey-O'Keefe Allen-Kay . Lane-Riley Lane-Waller Canova-Russell Allen-Kay ..Allen-Hall Wayne-O'Hara Donlevy-Tucker Cameron-Whelan Allen-Estelita Winning er-Whe Ian Middle ton -Norman Derek-Barrymore Lane-Waller Monroe-Leslie . Estelita-Hutton Lane-Waller Canova-Dunne Chapin-Jansen Cameron-Hussey 5- 52 .5128 4-15 5105 6- 15 5i06 7-14 3-52 5142. .Z..." 3-52 5171 3-24 5 122 4-21 7- 25 5144 ..'5108 5-19 11-52 11-3 10-20 izzzzzzzim 11-27 5201 7-20 5173 10-10 5109 10-1 10-10 5123 4-15 5069 9-5 5107 IN PRODUCTION TITLE — Running Time Split Second RELEASE CHART — 1952-53 — Cost McNally-Smith ..... Rel. No. COMPLETED Allegheny Uprising (81) (Re-issue) Trevor-Wayne Annie Oakley |9I) IRe-issue) Stanwyck-Foster Androcles and The Lion 198) Simmons-Young Beautiful But Dangerous Simmons-Mitchum Beware, My Lovely (77) Lupine-Ryan Big Sky, The (140) Douglas-Martin Blackbeard the Pirate IT) Darnell-Newton . Body Snatcher IRe-issue) Karloff Break-Up Simmons-Mature Bystander, The Mitchum-Simmons Captive Woman 1651 Clarke-Field Clash By Night 1105) . Douglas-Stanwyck Desert Passage (60) .Holt-Dixon Difference, The O'Brien-Loveioy Face to Face 192) Mason-Preston Faithful City 186) J. Smith-Ramati Half-Breed. The IT) 181) Young-Carter Hands Across the Sea Rennie-Peters Hans Christian Andersen IT) 1120) Kaye-Granger I Walked With a Zombie IRe-issue) Conway Jet Pilot IT) 1118) .Wayne-Leigh King Kong (Re-issue) Cabot Leopard Man, The (Re-issue) O'Keefe Look Who's Laughinq (79) Ball-McGee Lusty Men, The 1113) .... -Hayward-Mitchum Macao 1811 Russell-Mitchum Man Who Fooled Hitler Werner Montana Belle IT) 181) Russell-Brent Narrow Margin 171) McGraw-Windsor Never Wave At A Wac Russell-Wilson One Minute to Zero (105) Mitchum-Tallman Peter Pan IT) Disney Cartoon Feature Rancho Notorious IT) 189) Dietrich-Kennedy Rashomon 186) Japanese Road Agent (601 Holt-Martin Story of Robin Hood (T) (84) Todd-Rice Sudden Fear (110) —Crawford-Palance Target (60) McGraw-White Tarian and the She Devil Barker-MacKenzie ... Tarzan's Savage Fury (80) .. Barker-Hart Too Many Girls (85) Ball-Arnax Under the Red Sea (67) Hass-Berl ... Wild Heart, The IT) 182) Jennifer Jones 9-52 9-52 I 1-52 2-53 9-52 8-52 12-52 4-52 384 383 368 302 361 ... 271 10-52 306 6-52 229 5-52 230 11-52 309 5-52 303 5-52 228 I I-S2 4-52 272 6-52 269 6-52 270 8-52 .. 381 10-52 304 4-52 224 I 1-52 5-52 1- 53 8-52 2- 53 3- 52 3-52 3- 52 7- 52 8- 52 4- 52 308 226 301 221 268 223 391 362 227 4-52 225 8-52 382 10-52 305 7-52 274 8-11 RKO RADIO ^95 I -52 Features Completed (75) In Production (I) Rev. 8-11 6-16 4- 7 5- 5 IO-< 4-7 7-28 3-10 8-11 3-24 6?2 20th CENTURY-FOX 1951-52 Features Completed (77) In Production (6) RELEASE CHART — 1952-53 — IN PRODUCTION Call Me Madam (T) ...Merman-O'Connor Desert Rats Mason-Burton 4-53 Gentlemen Prefer Blondes IT) Russell-Monroe Nearer My God to Thee - Webb-Stanwyck Sailor of the King .Hunter-Rennie Untitled Western IT) Crain-Robertson COMPLETED Baptism of Fire Mature-Moore Belles On Their Toes IT) 1891 Crain-Loy 5-52 213 Bloodhounds of Broadway IT) (90) Gaynor-Brady 11-52 236 11-17 Deadline U.S.A. 187) Bogart-Barrymore 5-52 215 4-21 Destination Gobi IT) Widmark-Taylor 4-53 Diplomatic Courier 197) Power-Neal 7-52 222 6-16 Don't Bother To Knock (76) Widmark-Monroe 9-52 224 7-28 Down Among the Sheltering Palms(T) Lundigan-Greer Dream Boat (83) _ Webb-Francis 8-52 223 Farmer Takes A Wife. The (T) Grable-Robertson 2-53 307 Girl Next Door, The IT) Haver-Dailey I Don't Care Girl IT) Gaynor-Wayne 1-53 302 Kangaroo IT) (84) O' Hara-Lawford ... . 6-52 217 Lady in the Iron Mask (NO (78) L Hayward-Medina 7-52 ... 218 7-14 6-52 .... 255 8- 52 .225 . 8-11 9- 52 227 _ 6-52 219 Leave Her to Heaven! 1 10) (Reissue) Tierney-Wilde Les Miserables (104) Rennie-Paget Lure of the Wilderness (T) 192) .... Peters-Hunter Lvdia Bailey IT) (89) Robertson-Francis Man On A Tightrope ................. March-Moore Monkey Business (97) Grant-Rogers 10-52 230 My Cousin Rachel deHavilland-Burton 1-53 301 My Pal Gus (831 . . Widmark-Dru 12-52 233 My Wife's Best Friend (101) Baxter-Carey 10-52 231 Niagara IT) . Cotten- Peters 2-53 306 Pago 34 FILM BULLETIN December I, 1952 Night Without Sleep (77) . Darnell-Merril Number. The Winters-Widmark Outcasts ot Pok.r Flat. The 181) Ba.ter-Robertson O Henry s Full House (91) . Crain-Granger Pickup on South Street Widmark-Peters Pony Soldier IT) 1821 Powder River President s Lady The Pride of St. Louis 193) Rains Came, The 195) (Reissue) Ruby Gentry Power-Edwards Ca Ihoun-Cal vet Hayward-Heston Daiiey-Dru Power-Loy J. Jones-Heston I 1-52 S-S2 9-S2 12-52 235 216 228 4-16 237 I 1-17 Sailor of the King Hunter-Rennic Silver Whip The Calhoun-Robertson Snows of Kilimaniaro. The (T) [114) Peck-Hayward Something For The Birds 181) Mature-Neal Stars and Stripes Forever IT) 189) Webb-Paget Steel Trap (85) Cotton-Wright H?' ;•••»•••;• Daley-Smith Thief of Venice (91) ..... Montez-Christian Treasure of the Golden Condor IT) Wilde-Smith J"!?r-, ^e y,n% |T> Pinza-Peters wait lil The Sun Shines Nellie I T) 1 1 08 ) Peters-Wayne Way of a Gaucho (T) 191) . Tierny-Calhoun Were Not Married 185) ... Wayne-Rogers ... What Price Glory (T) (III) . Cagney-Dailey With A Song In My Heart IT) (117) Hayward-Calhoun 4-52 211 6-52 256 1-53 303 309 3-53 10-52 10- 52 235 12-52 239 11- 52 232 2- 53 305 12- 52 304 3- 53 308 _ 11-3 7-52 9-52 7- 52 8- 52 4-52 220 5-19 229 10-20 221 7-14 226 7-28 210 2-25 UNITED ARTISTS 1951-52 Features Completed (64) In Production (I) IN PRODUCTION TITLE — Running Time Melba _ COMPLETED Actors and Sin (94) African Queen IT) 1 104) _ Babes in Bagdad ______ ______ Bandits of Corsica, The Breaking the Sound Barrier Buffalo bill in Tomahawk I erritory 164) Captive City (91) Confidence Girl 181) Cry the Beloved Country Encounter _ Fighter, The (78) ... _ Finishing School Glass Wall, The Guest Wife 190) High Noon (85) Invasion U.S.A. Island of Desire (T) (103) It's in the Bag (87) _ Kansas City Confidential Lady Vanishes, The 185) _ Limelight 1143) Miss Hargreaves Monsoon _ Moulin Rouqe (T) Mutiny IT) 176) Outcast ot the Islands (C) (91) _ Outpost in Malaya Park Row 183) Red Planet Mars (87) Red River (125) Return to Paradise (T) Ring, The 178) River, The IT) (99) ._ _.._ Rough Shoot Royal Journey (50) Scarlet Spear, The (An) ... Strange World 180) Swords Against the Mast Tale of Five Women, A (86) Thief, The (85) _ Tom Brown's Schooldays (93) Tulsa 188) (T) Two Gals and a Guy (70) Untamed Women (70) When I Grow Up 190) . - Witness, The RELEASE CHART — 1952-53 — Cd it .. Munsel-Morley Rel. No. Rev. Robinson-Hunt Bogart-Hepburn Goddard-Lee Greene-Raymond Todd-Richardson Moore- Andrews Forsythe-Hall ..Conway-Brooke _ . Lee-Poitier Lorring-Muni . Con'e-Brown __ Sernas-Laurent ... . Gassman-Grahame Colbert-Ameche Cooper-Kelly . O Shea-Caslle .Darnell-Hunter ..Allen-Benny Payne-Gray Red grave- Lock wood Chaplin-Bloom Katherine Hepburn Thiess-Douglas ..Ferrer-Marchand . Stevens-Lansbury Richardson-Kerima Claudette Colbert Evans-Welch Graves-King Wayne-Dru Cooper-Hayes Rios-Moreno Swinburne-Shields . McCrea-Keyes Color Feature Archer-Hyer Hauff-Schneider Payne-Reed Bonar Colleano . Milland-Gam Davies-Newton Hayward-Preston . Paige-Alda Jewel Productions Preston-Scott . Bergman-Brando 7-18 3-21 12-7 4-2 H-R 1-14 12-21 . 2-8 4-11 Asp Stone 8-22 4-7 6-14 Got ... 4-14 9-52 7-30 Kr 8-4 S-5 9-52 11- 28 9- 52 10- 23 Chap 12- 14 ZZ 8-25 11-3 3-14 KB _ 3-24 7- 11 Lop _ 5-19 I 1-24 8- 12 - 5-15 6-6 Hawks 9-25 2-15 Ren 8-25 3-15 3-28 Gehn 4-7 Pop 3-7 10-10 1 1-2 _ 6-6 Wan 8- 31 9- 52 __ _ 4-20 10-6 UNIVERSAL 1951-52 Features Completed (91) In Production (3) RELEASE CHART — 1952-53 — IN PRODUCTION TITLE — Running Time Cast Rel. No. Rev. East of Sumatra (Tl Chandler-Ma-well _ — Golden Blade, The IT).. . Laurie-Hudson ..... Prince of Bagdad IT) - Mature-Field - COMPLETED Abbott and Costello Go to Mars Abbott & Costello Against All Flags (T) Flynn-O'Hara Battle of Apache Pass, The (T) 185) Chandler-Lund Because of You (95) _ _ Young-Chandler Black Castle. The McNally-Greene Bonzo Goes To College (79) Perreau-Gwenn Bronco Buster (T) 180) - Lund-Brady - City Beneath the Sea IT) _ _ Ryan-Powers Column South (T) Murphy-Evans Duel at Silver Creek, The (T) Murphy-Domergue .. Desert Leaion (T) _ . __ Ladd-Dahl Flame of Timberline (T) — Sheridan-Hayden Francis Covers the Big Town Donald O'Connor ... Francis Goes to West Point O'Connor-Nelson Girls in the Night. Holden-Farrell Gunsmoke IT) _ . . Murphy-Drake Has Anybody Seen My Gal (T) (89) Colburn-Laurie Man From the Alamo ._ Ford-Adams Horizons West IT) (81) Ryan-Adams It Grows On Trees 184) Dunne-Jagger Dec 305 Apr _ 217 _ 4-7 Nov 302 10-20 Dec 304 Sept 232 __ 8-25 May 219 4-21 Mar Aug 228 July 224 Feb Mar July 226 4-30 Oct 235 10-4 Nov 303 11-17 Ivory Hunter IT) (95) Sfeel-Sheridan iwu'y numsi !■# Just Across the Street 79) Sheridan-Lund Lady Pays Off, The 180) Law and Order IT) Darnell-McNally Reagan -Ma lone June 221 June 223 Nov 202 4-2 4-2 Law ana .luei in _ — _._... Lawless Breed, The ITI Hudson-Adams Lone Hand IT) - - - McCrea-Hale Lost in Alaska Abb.tt-Costell Ma and Pa Kettle in Waikiki Main-Kilbride Ma and Pa Kettle on Vacaion . . Main-Kilbride Meet Me at the Fair IT) . Dailey-Lynn Mississippi Gambler IT) - Power-Laurie No Room for the Groom 182) Curtis-Laurie Raiders. The ITI (82) Red Ball Express Redhead From Wyoming. The IT) Sally and Saint Anne Scarlet Angel IT) 181) Seminole IT) Sioui Uprising IT) Son of Ali Baba (T) (75) ... Thunder Bay (T) Untamed Frontier, The IT) Conte-Lindfors Chandier-CaOC O'Hara-Nicol Blyth-Gwenn DeCarlo-Hudson Hudson-Hale Chandler-Domergue Curtis-Laurie ... Stewart-Dru Cotten Winters ... Jan > ... .Au9 — 229 7-28 Jan Cab May Nov 220 5-5 301 t May Jan 21. Julv J>jne Mar 222 Sept 231 4-14 8-2 5 Willie and Joe Back at the Front 1 87) Ewell-Lembeck World In His Arms. The IT) Yankee Buccaneer IT) Peck Blyth Chandler-Brady Sept. Oct Aug Oct 230 233 227 234 10-4 WARNER BROTHERS 1951-52 Features Completed (591 In Production (4) RELEASE CHART — 1952-53 — IN PRODUCTION TITLE — Running Time City Is Dark. The Plunder of the Sun System, The Trouble Along the Way Cast Nelson-Hayden Ford-Lynn Lovejoy-Perrin Wayne-Reed Rel. No. Rev COMPLETED Abbott and Costello Meet Captain Kidd ISCI (70) About Face (T) 194) April In Paris IT) Big Jim McLain 190) Big Trees, The IT) 189) Bugles in the Afternoon IT) 185) By the Light of the Silvery Moon IT) Carson City IWC) 187) - Cattle Town 1711 Crimson Pirate. The (T) (104) Danger Forward Desert Song. The IT) His Majesty O'Keefe IT) ... I Confess Iron Mistress. The IT) 1 1 10) Jack and Tne Beanstalk I SO (78) Jazz Singer, The (T) ... - Lion and the Horse, The IWC) 183) Man Behind the Gun (T) Mara Mar. 198) _ Miracle of Fatima (WC) 1102) _ Operation Secret 1 1081 Raiders of the Southwest (WC) __ San Francisco Story, The (80) Sea Rogue IT) She's Back cn Broadway (WC) - She s Working Her Way Through College IT) 1101) Springfield Rifle IWC) 193) . . Stop, You're Killing Me IWC) — Story of Will Rogers, The IT) 1 10?) Streetcar Named Desire, A (122) 3 For Bedroom C INC) 174) Where's Charley? (T) 197) Winning Team, The 198) Abbott-Costello MacRae-Bracken Day-Bolger Wayne-Olson Douglas-Miller - R. Milland-H. Carter Day-MacRae Scolt-Massey Morgan-Carey B. Lancaster 12-27 5-31 208 122 8-30 201 3-29 . 117 3-8 114 4-14 123 12-6 207 9-27 202 4- 21 9-8 2- 25 3- 10 5- 19 Wilde-Cochran Grayson-MacRae Lancaster-Rice Clift-Baxter _ Ladd-Mayo Abbott-Costello Thomas-Lee Cochran-Teal .Scott-Wymore Flynn-Roman Roland-Clark Wilde-Thaxter Scott-Kirk McCrea-DeCarlo Flynn-Campbell Mayo-Cochran I 1-22 4-12 4-19 5-3 10-11 I 1-8 206 I 18 I 19 120 203 205 4-21 4-7 9-8 10-20 5-17 121 4-21 7-12 10-25 Mayo-Reagan Cooper-Thaxter Crawford-Trevor Roger, Jr.-Wyman _ 7-26 Brando-Leigh 3-22 Swanson-Warren 6-21 Bolger-McLerie 8-16 Day-Reagan 6-28 128 204 10-6 129 104 124 130 125 7-28 6- 16 7- 14 6-2 Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St., Phila. 3 —1239 Vine St., PhiU. 7 LOcust 4-0100 Member National Film Carriers FILM BULLETIN December I, 1952 Page 35 BULLETIN DECEMBER 15, 1952 Don't Want 20% Tax Repealed! Give 9Em a Gimmick! 3-DIMENSION MOVIES ROCKING BOXOFFICES THE WARNER CHAIN PASSES TO TOPFLIGHT THEATREMEN <4P THE STORY OF A FLAME NAMED RUBY.. .WHO WRECKED JENNIFER JONES CHARLTON Produced by JOSEPH BERNHARD and KING VIDOR • Directed by KING VIDOR • Screenplay by SILVIA RICHARDS • Story t A e town... SIN BY SIN... TON ' KARL MALDEN lj • A BERNHARO-VIDOR PRESENTATION • Released by 20th Century-Fox \ 1 1 GIFT SUGGESTION! "G/ve them M-G-M Pictures!" "BECAUSE YOU'RE MINE'ctw—m Mario Lanza, Doretta Morrow, James Whitmore. "EVERYTHING I HAVE IS YOURS' (Technicolor) Marge & Gower Champion, Dennis O'Keefe, Monica Lewis, Dean Miller. "THE PRISONER OF ZENDA (Technicolor) Stewart Granger, Deborah Kerr, James Mason, Louis Calhern, Jane Greer, Lewis Stone, Robert Douglas. "PLYMOUTH ADVENTURE' (Technicolor) Spencer Tracy, Gene Tierney, Van Johnson, Leo Genn, Dawn Addams, Lloyd Bridges. MILLION DOLLAR MERMAID* (Technicolor) or Williams, Victor Mature, Walter Pidgeon, David iirian, Donna Corcoran. * "ABOVE AND BEYOND' Robert Taylor, Eleanor Parker, James Whitmore, Marilyn Erskine. "THE BAD AND THE BEAUTIFUL' Lana Turner, Kirk Douglas, Walter Pidgeon, Dick Powell, Barry Sullivan, Gloria Grahame, Gilbert Roland, Leo G. Carroll, Vanessa Brown. THE NAKED SPUR* (r««r, James Stewart, Janet Leigh, Robert Ryan, Ralph Meeker, Millard Mitchell. LILI (Technicolor) Leslie Caron, Mel Ferrer,Jean Pierre Aumont, Zsa ZsaGabcr, Kurt Kasznar. "THE STORY OF THREE LOVES' (Technicolor ) Pier Angeli, Ethel Barrymore, Leslie Caron, Kirk Douglas, Farley Granger, James Mason, Agnes Moorehead, Moira Shearer. D N \Jiewpoints DECEMBER 15. I9 5 2 # VOLUME 20, NO. 25 MEN ANIJ MATTERS #>Off V > OH \\ Hut thv Tax For the past several months, a small, valiant contingent of men have been devoting themselves to a monu- mental task — the campaign for repeal of the Federal 20 percent admissions tax — the outcome of which might very well spell economic life or death for hundreds, or possibly thousands, of theatres in America. It is a fight against great, but not insurmountable odds that has been undertaken by this COMPO com- mittee headed by Col. H. A. Cole and Pat McGee, two men who have put aside their own important self- interests to handle the job. Despite a discouraging lack of help in some areas from the very people they are fighting for. Cole and McGee and their co-workers have gone right ahead, fired by the realization of what their work means to the entire industry. The chances at this stage of the fight appear to be slightly better than even that repeal will be won, but . . . But it is not yet won, and those experienced in such dealings with pol- iticians and with congressional com- mittees know that there is many a slip twixt cup and lip. This is no time for toasting victory. Constant, persis- tent, thorough campaigning must be carried on by everyone in the industry who is affected by this prejudicial tax right down to the day the issue is decided by a final vote. It is shocking and appalling to hear from the COMPO tax repeal com- mittee that theatre owners in some sections of the country seem to be completely oblivious to their stake in this struggle. There are a few terri- tories where hardly a finger has been lifted to aid the campaign, where no effort has been made to contact Congressmen and Senators to bring to their attention the plight of our hard-stricken industry and the inequity of the 20 percent levy on movie. tickets. What a pity that so vital and so valiant a fight may be lost by a half dozen congressional votes, because the exhibitor leaders in your territory were too cynical, too lazy, or too stupid to do their share. Of course, if you don't wtmt the 20 percent admissions tax repealed, just do nothing about it! MO WAX Moves Forward Theatre television gingerly took a step forward on Thursday night, De- cember ll. with the presentation of the full three and a half hour Metropolitan Opera production of "Carmen". It was the first offering of a stage pro duction on the large screen theatre TV network — and, while the event can be tated a successful novelty, the future of such attractions must, be termed moot. The flaws found with the presenta- tion in the 31 theatres in 27 cities that showed the opera were those that might have been expected. Deadning or sudden blare-up of sound, fuzziness in the long shots of the stage, dark reception in some sequences, even with special lighting and make-up for the television cameras, was very much in evidence. Audience reaction, generally, was favorable. Many who had never seen an opera were thrilled with this in- sight into the famed Metropolitan Opera House, and those who had were treated to some of the top talent in the opera world. Spontaneous ap- plause was the response of the theatre audiences to some of the popular arias. For the most part, the movie tech- nique was used by the three T\ cameras, one in the orchestra pit, two along the Diamond Horseshoe. Opera enthusiasts were given close-ups of the artists they could never get from their seats in the Met. Perhaps the most important defect, however, is the lack of color. "Carmen" just cried for it. The sumptuous product put on by the Metropolitan's Herman Bing would have gained im- mensely in Technicolor, or by means BULLETIN FILM BULLETIN: Motion Picture Trade Paper published every other Monday by Wax Publi- cations, Inc. Mo Wax, Editor and Publisher. PUBLICATION-EDITORIAL OFFICES: 123? Vine Street, Philadelphia 7, Pa., Rlttenhouse 4-7424; Barney Stein, Managing Editor; Leonard Coulter, New York Editorial Representative; Richard N. Newton, Publication Managar; Robert Heath, Circulation Manager. BUSINESS OFFICE: 35 West 53rd Street New York 19, N. Y., Circle 6-9159; HOLLYWOOD OFFICE: 459 Haverford Avenue, Pacific Palisades, Calif., Hillside 8183; Jay Allen, Hollywood Editor. Subscription Rates: ONE YEAR. S3. 00 in the United States; Canada. S4.00; Europe. S5.00. TWO YEARS: $5.00 in the United States; Canada, $7.50; Europe, $9.00. of Spyros Skouras' Eidophor system of theatre color television. Moviegoers, accustomed to the rich hues >uch ex- travaganzas on film normally employ, will be loath to accept the t;rays. There can be no doubt that theatre- television took a step forward by this presentation of "C armen". The tech- nical kinks that manifested themselves in la-t Thursday's opera are certainly not insurmountable. It would be in- teresting, now, to see a Broadway hit musical or dramatic play presented in movie theatres by this medium. The important thing about theatre television at this stage of its develop- ment is the tremendous amount of publicity it is bringing to our industry. And, of course, it is fraught with vast possibilities for the future. In the words of one prominent exhibitor ex- ecutive; "This opens a wide new hori- zon for the movie house, bringing added attention to our theatres as the focal point of entertainment and cultural activities in the community." Able Shou-men Got II It Chain Since the Warner brothers were re- quired by the consent decree in the anti-trust suit to make a choice be- tween film production-distribution or exhibition, they have wisely chosen to remain with that branch of the busi- ness in which their experience and their ambition best suits them. With the same wisdom, they have seen fit to turn over control of their theatre circuit to lespected, veteran showmen. It has been told us by a reliable source that the Warners turned down another offer of one million dollar- more than the $6,000,000 that is to be paid them by S. H. Fabian and Samuel Rosen, because they felt that in the hands of these able theatremen the interests of the industry at large would be best served. The three- Warner brothers value their industry and their own pride that dearly. The acquisition by Fabian Enter- prises of 350 theatres at this time certainly attests, as Si Fabian says, to their "complete faith and confidence in the future of the motion picture ex- hibition industry." We wish them well and happily join them in their faith and confidence. FILM BULLETIN December 15. 1952 Page 5 torr,dwith Romance The redhead knew what her kisses could make any man do. HOT 1 It's Paramount'* ACTION super-hit for January-* Road to Bali" ^ Q O) and the ADM ction I BLAZING WITH Color TROPIC ZONE COLOR BY TECHNICOLOR starring with Written for the Screen and Directed by NOAH BEERY -GRANT WITHERS • LEWIS R. FOSTER Based on a novel by Tom Gill • Produced by William H. Pine and William C.Thomas :h you get the- COMEDY super-hit I E super-hit, "Thunder In The East" STOP, YOU'RE KILLING ME' MILDLY HUMOROUS Rates • • + as dualler Warner Bros. 70 minutes Broderick Crawford, Claire Trevor, Virginia Gibson, Bill Hayes, Charles Cantor, Sheldon Leonard Directed by Roy Del Ruth "Stop, You're Killing Me" is a lightweight comedy that generates a few hilarious mo- ments, but much of the situation humor is well-worn and lustreless. Filmed in Warner- Color, this Louis F. Edelman production is based on "A Slight Case of Murder" by Damon Runyon and Howard Lindsay, in- volving a racketeering beer baron forced to go straight by the repeal of Prohibition. But any similarity between James O'Hanlon's adaptation and Runyon's original is purely coincidental. The action, for the most part, is robust, though it is left to Broderick C rawford to galvanize a cast often tangled ill the inanities of the script. A couple of LeRoy Prinz musical numbers have been tossed in to hypo the entertainment value, but "Stop, You're Killing Me" stacks up as i nly fair fodder for the double-bill. Director Roy Del Ruth gets the story off to a promising start, but the action soon lapses into a familiar pattern of racketeering antics done with a light touch. Broderick Crawford, as a bootlegger going legitimate, is greatly responsible for whatever flashes of worthwhile entertainment are to be found. In the role of his wife, who is happy with Crawford's reformation, Claire Trevor is provided with disappointing material. STORY: A racketeering beer baron dur- ing the Prohibition era, Broderick Craw- ford is faced with the prospects of running ;> legitimate brewery. His wife, Claire Trevor, is happy to see him go straight, but Crawford's henchmen are shocked at the prospect of earning an honest living. Find-, ing the honest methods of doing business a handicap, Crawford is soon in debt to the bank for a half-million dollars. Hoping to put the bite on his old racketeering friends, he rents a house in Saratoga for the racing season. With his hoods for servants, and daughter Virginia Gibson home from finish- ing school, Crawford and Trevor start for Saratoga to set up open house. Meanwhile, a holdup gang robs a big bookie of a half- million dollars and uses Crawford's Sarat<<_ house for a hide-out. They fight among themselves, and when the smoke clears, four of them sit very dead, while the fifth takes the money and hides in the attic. The rest of the story involves Crawford's efforts to keep the bank from foreclosing, and Gibson's efforts to make a match with blue-blood Bill Hayes, all being complicated by the four corpses and the stolen money. NEIL NO TIME FOR FLOWERS' ANTI-RED PROGRAMMER IS EXPLOITABLE Rates • • as dualler; more if exploited and 20th Century-Fox 83 minutes Viveca Lindfors, Paul Christian, Ludwig Stossel, Adrienne Gessner, Peter Preses, Manfred Inger, Peter Czeyke Directed by Don Siegel Despite some excellent photography and performances, an implausible and incongru- ously comic screenplay makes this Mort Briskin anti-Red production, filmed over- seas, no more than program fare. It does have however, several exploitables. The heavy-handed attempts at levity in terrify- ing situations, as well as a comic exaggera- tion of the Communist ideology, destroys whatever credibility accrues from the sus- pense portions of the film. The title, too, indicates a comedy, whereas the theme is essentially a serious one. Base*l on the Czechoslovakian secret police attempts to tempt a young girl with American entice- ments to discover her ability to live in the U. S. as a loyal Red agent, the promising in art nouses theme is continually compromised with broad attempts at comedy relief. It is par- ticularly disappointing in that the makings of a truly convincing anti-Red piece are dis- sipated in the screenplay. The recent inter- est in the Czech situation lends added ex- ploitation value to the American vs. Com- munist angle, and there is a homespun qual- ity about the characters that should attract European-born Americans and art house patrons. Generally, however, it won't mean much boKoffice-wise without special treat- ment. Viveca Lindfors and Paul Christian, both now familiar to American moviegoers, de- liver solid performances as the girl being tested and the secret agent assigned to the pleasant chore. As the girl's father, Lud- wig Stossel does a good caricature of an old-country citizen resentful of the Red domination, and Peter Preses is a click in an unusual portrayal of the secret police chief. Aside from some foggy lapses, the photography is especially noteworthy. STORY: A loyal young Communist worker in Czechoslovakia, Vivieca Lindfors, is selected by secret police chief Peter Preses to be tested as a candidate for a mission to America. She is assigned to work for Paul Christian, ostensibly a Red who had been to the U. S. and was impressed with American luxuries, but who is actually a secret police agent. He plies her with such treasures as nylons, champagne, eve- ning gowns and night clubs, but she con- tinues to report his "blasphemous" words and actions to Preses. Her father, who ha> railed against the reds, finds her in an ac- tually innocent bubble bath in Christian's apartment, gets drunk and is imprisoned Preses has him released and gives Chrisiari a plan for Viveca and her family to get out of the country to see if she will succumb Christian, who has lost stomach for the as- signment, sees her endangered and usin l the plan ingeniously/ actually succeeds h getting them over the border. She and Pall clinch in the American zone. BARN MEET ME AT THE FAIR' ENGAGINC MUSICAL AIMED AT FAMILY Rates • • + for family houses Universal 87 minutes Dan Dailey, Diana Lynn, Hugh O'Brien, Carole Mathews, "Scat Man" Crothers, Rhys Williams, Russell Simpson, Thomas E. Jackson, George Chandler, Doris Packer, Chet Allen Directed by Douglas Sirk Pleasant entertainment for the entire family, with some outstanding high spots in individual sequences, "Meet Me At the Fair" is due for a generous reception in all except the houses where action and heavy drama are the big draws. The Albert J. Cohen Technicolor production is engagingly per- formed by the popular Dan Dailey and a cast that introduces some promising new- comers to the screen, notably young Chet Allen of the Columbus Boychoir School who has already made his mark in television, "Scat Man" Crothers and Carole Mathews. The mushy little story about a carnival man and an orphan boy is run-of-the-mill, but under Douglas Sirk's direction, and the talented players, the film rises far above it. The several well-known songs, including an angelic rendering of "Ave Maria" by young Allen, receive fine treatment by Dailey, Miss Mathws and Crothers. The sound track also is enlivened by "I Was There", "Bill Bailey, Won't You Come Home", "Sweet Genevieve" and several spirituals as well as popular numbers. It's happy entertainment that should give everyone a lot of fun, in- cluding the family house exhibitors who will benefit at the boxoffice. Dailey is at his usual engaging par, and co-star Diana Lynn keeping pace in the looks and thespic department, the show gets a hefty bonus from the above-mentioned trio, Crothers, Miss Mathews and the Allen boy. The latter is an appealing personality, not a bit camera-conscious, as well as pos- sessing a splendid set of vocal chords. Pro- ducer Cohen has given this full-blown values in sets, color and production numbers. STORY: Dan Dailey, travelling medicine! man, and his assistant, "Scat Man" Crothers] befriend young Chet Allen, who has escapedl from an orphanage. Rhys Williams, the; town's crooked political boss, has purloined! the money voted for the orphanage, and| fears the lad's escape will lead to exposure! Dan parks the kid with an old flame, enter, tainer Carole Mathews, but is tricked into disclosing the boy's whereabouts. Daq blames Diana Lynn, a welfare representativ< who is engaged to district attorney Hug!| O' Brian. When she discovers she has alsc been deceived, she smuggles the youngster out of the orphanage to which he has beet, returned. At an election banquet Dan exj poses Williams, and O' Brian's corruption They are sacked by the governor, Chet :j returned to Dan's care, and the two of then| go off with Diana to an obviously brighj future. LFON Page 8 FILM BULLETIN December 15. 1 952 MY PAL CUS' WILL BUILD ON WORD-OF-MOUTH Rates • • + or better generally 20th Century-Fox! 83 minutes Richard Widmark, Joanne Dru, Audrey Tot- ter, George Winslow, Joan Banks, Regis Toomey, Ludwig Donath, Ann Morrison, Lisa Golm Directed by Robert Parrish "My Pal Gus" bids fair to build into * real "sleeper". An unpretentious comedy- drama, this 20- Fox offering has all the en- tertainment ingredients to please audiences of every strip, particularly the family trade. While it never develops any side-splitting comedy or tear-jerking drama, "Gus" glows with warmth and humor from start to finish. The story about a father's efforts to raise his son, deserted by a greedy and callous mother, holds one's attention throughout. The real star of this Stanley Rubin produc- tion is an 8-year old lad, frog-voiced George Winslow, who gives every indication of be- coming the new Hollvwood child sensation. Screenplay writers Fay and Michael Kanin have developed a pleasant romantic flavor between the father and the attractive teacher who takes the boy in hand. The Richard Widmark name should get this off to a fair start in most situations and word-of-mouth is bound to push grosses upward in the sub- sequent runs. Director Robert Parrish has given this a light touch, and though the film has some serious moments, it avoids the taint of "soap opera." Richard Widmark, as the harried father, seems at home in a role that is for- eign to his usual assignments. In providing an appealing answer to Widmark's parental problems, Joanne Dru leaves little to be de- sired. STORY: After becoming a financial suc- cess the hard way, Richard Widmark is faced with the problem of raising his son, George Winslow, who is rapidly becoming a brat because of a lack of parental attention. The boy's money-hungry mother had left Widmark during a business failure. Unable to hire a nurse for Winslow, W idmark en- rolls Joanne Dru's nursery school. Dru has a reforming influence on the boy and a ro- mantic effect on Widmark. Just as it be- comes evident that Dru will soon be Wins- low's new mother, Widmark's first wife, Audrey Totter, shows up declaring their Mexican divorce was invalid and for a nom- inal sum, she will get another. Widmark decides to fight her in court, and though he wins the case, he loses the custody of Wins- low, and the love of Dru who is alienated by Widmark's display of vegence on his wife. Totter, it turns out, doesn't want the boy, but will only give him up in return for everything Widmark owns. He accepts, and broke, but happy, he regains his son and Dru. NEIL LAWLESS BREED' COOD ACTIONFUL WESTERN IN TECHNICOLOR Rates • • + as dualler generally; better for action spots Universal 83 minutes Rock Hudson, Julia Adams, Mary Castle, John Mclntire, Hugh O'Brian, William Pullen, Glenn Strange, Lee Van Cleef, Michael Ansara, Dennis Weaver, Bobbie Hoy, Richard Garland, Race Gentry, Forrest Lewis, Bob Anderson, Stephen Chase Directed by Raoul Walsh A well made Technicolor western, with plenty of action and an unusual quota of romance and dramatic factors, Raoul Walsh's production of "The Lawless Breed" rates well above average as a dualler gen- erally, with its biggest returns due to come of course, in the action spots. Aided by Universal's exploitation campaign tying it in with the 50th anniversary of westerns, and the rising star value of Rock Hudson and Julia Adams, local level exploitation could bolster returns considerabl v. Based on the career of John Wesley Hardin, one of the Old West's reformed gunmen and gamblers, Bernard Gordon's flashback screenplay re- sults in a clean, easy-to-follow story with j twist ending. Properly handled, it should return satisfactory grosses in all situations. Walsh, as producer-director, has given the film a production quite adequate to the demands of the screenplay and handles the players with equal finesse. Rock Hudson's fast-mounting popularity is given an added boost with his portrayal of the gunman who settles down to a peaceful existence only to find his son following in his footsteps. Julia Adams, in the femme lead, is quite an eyeful as well as delivering an adequate perform- ance. At the head of a good supporting cast, John Mclntyre contributes a top-notch stint in a dual role. STORY: Preacher's son Rock Hudson, tired of his stern father's beatings, packs a gun and quits his Texas home, promising to return for Mary Castle when he's made enough at poker to buy a ranch. During the game he's compelled to kill one of the players, whose brothers vow vegeance. His uncle, John Mclntire, helps to conceal him, but Hudson is again obliged to kill in self- defense. His father talks him into returning to face trial. At the races he wins enough money to hire lawyers, but before the hear- ings open a sheriff's posse arrives at the house to arrest him. Hudson is shot in the back. His girl is killed. He is saved by Julia Adams, a saloon girl who is in love with him. They travel the country, gambl- ing, dodging the Texas Rangers, and hoping to settle down on their own farm. They do and Julia becomes pregnant. But Hudson's happiness is short-lived. He is trapped and sentenced tc 25 years in jail. After serving 16 years he is released and for the first time sees his son. The boy toys with a six-gun. Scared, Hudson strikes him. The boy makes for the nearest saloon and gets involved in a brawl, during which Hudson is shot, bring- ing the boy to his senses and reuniting the family. COULTER BLACKBEARD THE PIRATE' FANTASTIC, GORY ADVENTURE YARN Rates • • perhaps slightly more for action houses down everything but the sound stage in his RKO release 99 minutes Robert Newton, Linda Darnell, William Bendix, Keith Andes, Torin Thatcher, Irene Ryan, Alan Mowbray, Richard Egan, Skel- ton Knaggs, Dick Wessel, Anthony Caruso, Jack Lambert, Noel Drayton, Pat Flaherty Directed by Raoul Walsh Purely for action fans and for the young- sters, Edmund Grainger's Technicolor pro- duction of the fabulous pirate, Blackbeard, is definitely not for the discriminating fans. It's a wild and gory affair, but has exploita- tion values, what with the bloodthirsty ac- tion "and the Linda Darnell glamor, both of which get ample footage. In the title role, the British star, Robert Newton, chews hammy portrayal of the wicked buccaneer. He and his mates are cast in sadistic mould, especially in the torture scenes and where Blackbeard is buried neck-deep in the sand with the tide rolling in. Action fans will go for it, but it's not for anyone with a weak stomach or strong mind. Edmund Grainger has given it a lavish enough production, but Raoul Walsh finds the complicated and unwieldy screenplay too much to cope with for any degree of credibility. STORY: Torin Thatcher, reformed pirate Sir Henry Morgan, is sent by the King of England to destroy Robert Xewton who is the 17th century's biggest sea-scoundrel, Blackbeard. Keith Andes, a young fortune- hunter, suspects that Thatcher is secretly in league with Blackbeard's buccaneers and tries to prove it. He lets himself be shang- hied aboard the pirate ship, where Thatcher's lovely adopted daughter, Linda Darnell, is being held captive. In her bag- gage, Newton finds some stolen treasure; Andes finds a letter which, he thinks, proves the partnership between Thatcher and New- ton. The latter meanwhile sets up an am- bush for Thatcher on a lonely island. Thatcher emerges victorious from the bloody battle. By this time Andes and Linda are in love. They reboard the ship to sail hap- pily home, only to find Newton has recap- tured it. Thatcher gives chase, but is com- pelled to withdraw. When Newton and his men fall-out over the division of the plunder, Andes and Linda escape and the pirates bury their infamous leader alive. COULTER FILM BULLETIN December 15, 1952 Page ' Wrteltif ojf ykree-kiwMfoiiti CxciteA Public* guana fati!/ tike Ciheratna, &ckih$ foxttfficeJ Cxclu^e $L BULLETIN ?e*htte W A GIMMICK! Novelty is not new. This seeming paradox has been in exist- ence ever since Eve, against her better judg- ment, accepted that strange new fruit from the serpent, just to try something different. Fortunately, novelty doesn't always have the same consequences. In show business, par- ticularly, novelty has been one of the basic crowd-drawing factors. Give 'em a gimmick and they'll come flocking. The drawing power of the gimmick has been displayed in the movie business time and again and very often has become an institution. The nickelodeon was a gim- mick that was the beginning of a great new industry. Then within that industry came the "gimmicks": hour-length movies, color, talking pictures, all of them eventually taking over as the norm. Now, it's three- dimensional films. Evidence that novelty is still one of the moving forces of boxoffice draw was pro- vided in most dramatic fashion with the un- veiling of Cinerama in New York at the Broadway Theatre. Corroboration was fur- nished when Arch Oboler's "Bwana Devil", a feature length film in Natural Vivion 3- Dimension, opened in two Hollywood thea- tres about three weeks ago with eye-popping results. $96,000 Gross in Week At Two Hollywood Theatres Wide-screen Cinerama took the public by storm, has been playing to sold-out houses ever since it opened and tickets are un- available for weeks in advance. They're selling seats for performances well into next year. The opening of "Bwana Devil" is even more fantastic. Where Cinerama had huge- critical approval and Broadway's vast visit- ing crowds from which to draw, the Natural Vision film received an uncomplimentary press and an unfavorable reaction from the premiere audience, yet rolled up a $96,000 gross in the first week at the Paramount, Page 10 FILM BULLETIN December 15, 1952 NATURAL VISION PROJECTOR Just Like a Pair of Eyes Hollywood and Downtown theatres, total seating capacity 5,000. It has been playing to long waiting lines since, and, significantly, the customer reaction has been much less critical of what they saw than were the pro- fessional critics and Hollywood opening night's intelligentsia. The first-nighters com- plained about the inferior script, that the special Polaroid glasses required to be worn for the viewing annoyed them and caused eye-strain. Strangely, these grumblings were not in evidence among the ticket-buyers. From OBOLER DIRECTING 'BWANA' A Notorious Gtidgeteer the long lines that continued, it was evident that they were recommending it to their friends. There wasn't any talk about th.; quality of the script, or any other faults. Filmed in Africa by Oboler, with stars Robert Stack and Barbara Britton, the fan- tastic story tells how a pair of man-eating lions prevented the building of a railroad, killing 200 human beings before the beasts were destroyed. The factor that brought the amazing crowds was the gimmick — third dimension. And, of course, a sock ballyhoo campaign. Just what is this gimmick that has caught fire, that is hot enough to set bookings within two weeks in first-run houses in 225 cities and towns? Projection Requires Two Machines in Position of Eyes Without resorting to technical language, it is simply what the title implies — natural vision, the old-time stereoscope. Natural Vision applies the principle of human vision, of seeing with two eyes. Two cameras, cor- responding to each of the human eyes, photograph the image. The projection, con- sequently, requires two machines similarly placed, projecting both images on the screen in the positions that the human eye would see them individually. The Polaroid glasses worn by the viewer block out conflicting images in each of the lenses and the two pictures merge into one. The difference between this and ordinary motion pictures is simply that between looking at a photo- graph and looking through a window. "Bwana Devil" is the fascinating result oi a meeting between Arch Oboler, who was famous in radio for years before he moved into the movie field, and M. L. Gunzburg, an enterprising young man who persisted in the development of a practical 3-dnnen- sion photographic technique. Gunsburg, together with his brother, Dr. Julian Gunsburg, eminent eye specialist, joined up with Friend Baker', one of Holly- wood's top camera engineers, and spent two (Continued on Page 19) I Hcllifuccd 7jcte(fcck REPORT FROM THE STUDIOS Volume of M*ro€tuvt Above M*ur for lh>< <„,!><>, Practically every studio in I lolly wood is operating above average this month, with only RKO, Columbia and Allied Artists lagging behind. All other studios, have between four and eight pictures in production, the high- est December peak since 1947. By the end of the month, a total of 45 productions will have been in some stage of filming, of which 15 are slated for Technicolor processing. Metro leads the production parade with eight, all but Metro is on the verge of launching one of s heaviest production periods in history, rith 15 pictures scheduled to go before the imeras in a three-month period. This de- ision evolved from the series of studio con- ibs held earlier this month, in which both ist and west coast executives participated. The company is currently sitting on the aaviest backlog of films in its long and 'osperous history. In all, there are 27 com- eted productions awaiting release — 13 of lem having been canned since September 1 There are 52 story properties in work at Hie present time, from which the heavy slate production for the rest of December, Jan- liry and February will be drawn. Releases |r the year will reach the near-record level \ 40. ' Included in the three-month production tjie-up are: "Latin Lovers" (Lana Turner- :jicardo Montalban), "Blue Goddess" (Red celton-Cara Williams) and "Years Ago" •pencer Tracy-Jean Simmons), which have st gone before the cameras. Others on lie slate aref: "Easy to Love," "All the fothers Were Valiant," "Take the High •ound," "Interrupted Melody," "Kiss Me hte," "Jefferson Selleck," "Affairs of )bie Gillis," "One More Time," "I Mar- id West Point," "Flight to the Islands," lig Leaguer" and "Scarlet Coat." Unfortunately, this production boost did It occur quite in time to forestall a heavy j'-off of Metro employees during late No- mber and early December. Although the ' '-off s are largely temporary in nature, y.y nevertheless had a very demoralizing meet on the studio personnel as a whole. JLM BULLETIN hears that nearly 500 i ployees received their pink slips — a fig- t: which Metro denies, but one which can't 1 too far afield. two of them in Technicolor; 20th-Fox has six, half tinted; rniversal-International has five, all but one in color, while Republic, Paramount and Warners account for four each. Columbia will have only two films in front of the cameras this month, Allied Artists has one, and possibly another on tap, while RKO is without any production whatsoever, pending settlement of the current manage- ment hassles. Perilous Voyage" (Vera Ralston - Scott Brady-David Brian), and "Woman They Almost Lynched" (John Lund-Brian Don- levy-Audrey Totter). 0 0 COLUMBIA'S WALD Will Supervise 22 Features 0 o Columbia continues its prowl for new I ry properties and new producers, in its fpped-up operations under the production • dance of Jerry Wald. Sources close to I top declare there will be a total of 61, Ml possibly even more, films produced tiler Columbia's releasing banner next year. I, this materializes, it will mean almost c ible the output thus far in 1952. •am Katzman is committed to 20 pictures annually for Columbia release: Stanley Kramer has a commitment for three (of which only one may materialize); six are due from Armand Schaefer and Gene Autry; Robert Cohn will have six, and Wald him- self has agreed to supervise a total of 22 films. This does not take into account such independents as Irving Allen and Cubby Broccoli, Aubrey Wisberg and Jack Pollex- fen, and Louis De Rochemont, whose dis- tribution pacts call for a combined total of five additional films. Nor does it include the features to be turned out by newly con- tracted Columbia producers Robert Arthur, Lewis Rachmil and William Fadiman. 0 0 Republic president Herbert J. Yates is setting a new holiday production record for his company with the start of three top- budget features this month, in addition to a pair carrying over from November. "City That Never Sleeps" (Mala Powers), with John H. Auer doubling as director and asso- ciate producer, rolled December 8; "Sea of Lost Ships," a Joseph Kane producer-direc- tor chore, goes late this week, and "One for the Road" starts December 22, with Wil- liam A. Seiter as producer-director. Those carrying over from November were: "A Julian Blaustein has dropped his super- visory duties at 20th Century-Fox, under terms of a new contract signed with the Westwood studio. Darryl Zanuck announced last week that Raymond A. Klune has been named to the post of executive producer, replacing Blaustein. Michael Abel is Rhine's assistant. Producers operating under Klune are: Robert Bassler, Wiliam Bloom, Otto Lang, Frank McCarthy, Frank Rosenberg and Stanley Rubin. Blaustein assumed his supervisory role 18 months ago, but asked to be relieved of this additional chore under the new contract to devote his full attention to producing. Among the Fox hits turned out by Blaustein are: "Mister 880," "Don't Bother to Knock," "Broken Arrow," "The Day the Earth Stood Still," and "Take Care of My Little Girl." O O With the start on December 15 of "It Happens Every Thursday" (Loretta Young- John Forsythe) and "Drifting" (Tony Cur- tis-Joanne Dru), Universal-International will have six pictures before the cameras— three of which started this month. "The Stand at Apache Bend" (Stephen McNally-Julia Adams) teed off the month's program on December 4. All of the films except the two starting the 15th are in Technicolor. 0 0 A deal appears to be near the inking stage for Joe Harris, one of the executives of Motion Pictures for Television, to finance a slate of 26 theatrical films for release by Lippert Productions. Total cost of the films would probably not exceed $800,000 per year. Production is scheduled to start around the first of the year, barring some last minute break-down in the negotiations. The Harris syndicate would own the product outright FILM BULLETIN is told, with Lippert merely handling the distribution. Following the pictures' run in theaters, Harris would turn them over to television. FILM BULLETIN December 15, 1952 Pag e 11 I Above, Ginger Rogers, a fading stage star, is greeted by a columnist in Sardi's famous restaurant, while her ex-husband and producer, Paul Uouglas, looks on. At the left, starlet Pat Crowley appeals to playwright William Holden. BLUE CHIP PRODUCTION * * Forever JFent u le 99 (Although 41 productions are scheduled to be in jront of the cameras this month, less than a half dozen have the potenti- alities of real boxoffice winners. Among the latter is "Forever Female", now in process of being edited on the Paramount lot.) "Forever Female", which went before the cameras early in October, is one of Para- mount's most important pictures in recent years. A modern-day comedy about Broad- way show people, it stars Ginger Rogers, William Holden and Paul Douglas, and in- troduces Pat Crowley, Hollywood's newest C inderella girl. She was signed for a key role in the film after a long and costly talent search, during which more than 750 young girls were interviewed. After viewing her work in the rushes, production chief Don Hartman signed her to a long-term contract. The principal set in the film is a full-scale, authentic replica of New York's famous restaurant, Sardi's, the well-known meeting place of show-business celebrities. The story concerns an ambitious young writer whose first play, the dramatic story of a 19-year-old girl and her domineering mother, is taken up by ace legit producer Paul Douglas;. He agrees to produce the play, provided his ex-wife, Ginger Rogers, a mature stage star who insists on playing young romantic leads, is cast as the youti ful daughter. Much against his better jud mcnt, author William Holden consents this casting. To complicate the situatid both Miss Rogers and a young BroadwJ hopeful, Pat Crowley, who tested for t part, fall in love with the playwrigj Realizing that Miss Rogers' interest | Holden only represents her fight to ret: her youth, Douglas, who is still in love w his former spouse, devises! a scheme break up the romance. How he aeconiplisl this makes the amusing climax of "Fore\ Female". Irving Rapper, whose long list of Hoi wood hits include "Now Voyager", "'I Glass Menagerie" and "The Corn I-. Greet drew the assignment as director of the fil his first for Paramount. The screenplay w written by Julius and the late Philip E stein. Pal Duggan, who made his debttl :i Paramount producer with "Just For Y (I'.ing Crosby-Jane Wyman), is the prod t ion helmsman. Heard in By JAY ALLEN The axe is about to fall on a half dozen more contractees at Metro who failed to pay their way during the run of their contracts. Save for Debbie and Fernando, none of the others made the grade as star stuff . . . Jack Warner ordered Gordon MacRae off "The Railroad Hour" when the sponsors switched from radio to TV . . . Maxwell Shane and Ivan Tors yanked their "The Glass Wall" away from United Artists and gave it to Columbia. * * * Ralph Stolkin may be a litt'e groggy from having been RKO'd, but he's dreaming of in- vesting more dough in another Martin and Lewis comedy . . . Glenn Ford inked a two-picture pact with U-l, first to be "Wings of the Vul- ture," rolling in February . . . Stanley Kramer is tossing "Member of the Wedding" into the Oscar Derby with a Christmas Day opening in Beverly Hills. * T * Ann Blythe bye-byes U-l for a fancy-figured MGM termer . . . Dore Schary says he only wants to break even on "The Hoaxters," and is asking only a nominal rental on the 37-minute anti-Commie short, as a public service . . . Columbia bought "Enchanting Rebel," story about Ada Menken, the first woman to wear black tights, as a Rita Hayworth vehicle . . . Eliot Hyman and Associates will finance the five pictures Alex Gottlieb produces for Warners Juring the next 18 months. Mark Robson has been signed by Cubby Broc- I col i and Irving Allen to direct Alan Ladd in a | second Warwick Productions feature, "The • White Mantle," which rolls right after the wind- lup of "The Red Beret" . . . William Callihan I nas been upped from unit director to producer itatus by Walter Mirisch at Allied Artists . . . THE SPOTLIGHT JOSE FERRER Now that Oscar Derby time is rolling Bund again, the spotlight in Hollywood HOLLYWDDD We have it on good authority that the pend- ing fall-oul between Stanley Kramer and Colum- bia is due to some personal differences. As of now, almost the entire Kramer staff is off the Columbia payroll. That, of course, accounts for the heavy layoffs Kramers has been making . . . Clyde Beatty signed a deal with Robert L. Lip- pert for release of his "Perils of the Jungle" . . . John Houseman draws the plum producer assignment on MGM's "Victoria Regina," based on the Laura Housman play, which won Helen Hayti immortality. It rolls in '53 . . . Herman Cohen, former v. p. of both Realart and Jack Broder Productions, has formed his own Abtcon Pictures company, with William L. Abt. They'll produce a quartet of action-exploitation pix in the next 1 5 months. * * * Metro is loaning Fernando Lamas to Pine- Thomas to co-star with Arlene Dahl in "San- garee" . . . Fox is reported considering a re- vival of its 50-millimeter system, as a result of th e big Cinerama splash . . . Walt Disney has activated "The Highland Rogue," Daniel DeFoe classic, as a Richard Todd starrer, to be filmed in Scotland . . . Stanley Kramer's going ahead with "The Caine Mutiny" after he finishes "Cyclist's Raid" — and with the approval of Navy brass . . . Paramount wants Jack Palance for the lead in "South Sea Story," which Joe Sistrom expects to roll late this month. * * * They're guessing that the various companies will spend upwards of $175,000 between now and Academy Award time to exploit their en- tries . . . Edmund Grainger will produce "Gam- bler's Moon" for RKO, starting in February, with Robert Mitchum and Robert Ryan starred . . . Moss Hart is scripting Judy Garland's musi- cal re-make of "A Star Is Born," and she's dreaming of Cary Grant for her leading man. once again is focusing on Jose Ferrer, who appears to be a likely prospect to join that ultra-exclusive group of two-time award winners. Those who have seen some of the footage from "Moulin Rouge;," say that Ferrer's portrayal of the dwarfed French artist, Henri Toulouse-Lautrec, ranks with the finest performances in all screen history. They say it surpasses his role of "Cyrano de Bergerac," which won him an Oscar in 1950. Actually, winning awards is nothing new for Ferrer, who is one of the most versatile- personalities in show' business. As actor, producer or director, he is at home in what- ever medium he tackles. Last season on Broadway, for example, he had, at one point, four productions on the boards at the same time. He won the critics award as the best director and actor for his double chore in "The Shrike"; was a runner-up to himself for his direction of "The Fourposter", and won wide, critical acclaim for his direction and production of "Stalag 17" and "The Chase". Perhaps the reason behind all of Ferrer's HcllifMed ttctebeck STAR BRIGHT MARI BLANCHARD The head men at the I'niversal-Inter- national studio are perfectly willing to admit that a Marilyn Monroe conies along only once in a long, long while. They know, too, that a starlet creates the kind of sensation Marilyn has only as the result of a shrewd and costly exploitation build-up. But they're willing to bank just that kind of an expen- sive campaign on 25-year-old Mari Blan- chard, who appears to need only such breaks to hit top stardom. Miss Blanchard has been kicking around Hollywood for the past four or five years, having appeared in such pictures as "On the Riviera," "Ten Tall Men," "The Brigand," "Willie and Joe Back at the Front," and "Abbott and Costello Go to Mars". But, like Miss Monroe, she had to wait until a major studio put her under a long-term con- tract to get her career under full steam. U-I, after parting her, has awarded .her the starring role opposite Victor Mature in "Prince of Bagdad", and has opened up a powerful publicity barrage that will have the public talking. Theatre showmen can help create a new star in Mari I'.lanchard. She looks like she has the goods. critical acclaim is his penchant for perfec- tionism. As a fencer, dancer, singer, lin- guist, tennis player and showman, he has allowed few competitors to become his peer. "Moulin Rouge" was produced on location in France, with Colette Marchand, the French dancer, and Zsa Zsa Gabor appear- ing as two of the women in Lautrec's life. FILM BULLETIN December 15, 1 952 Page 13 4 Something Happened t< Y. Critics Hans Christ Color K X X K Highest rating from KATE CAMERON, Daily New$: A charming, delightful, tuneful, amusing, touching, colorful, lavish, eye-filling enter- tainment. All this and more is 'Hans Christian Andersen'. " ROSE PELSWICK, Lovely to look at and enchanting to hear. Made with taste and skill, a blend of charm and romance and humor, of beautiful ballets, rhythmic songs, glowing colors and gorgeous sets. It's delightful entertainment!" imencant nine: OTIS GUERNSEY, h«m im. "Big, merry and tuneful! Samuel Goldwyn has created a Hollywood fairyland. There is so much spread across the screen that one hardly knows where to begin. A bona fide Goldwyn dazzler!" FRANK QUINN, Mirror: "Hurrah for Goldwyn!! Everything about this film is laudatory. Rich humor, great war th and delightful charm. Frank Loesser contributes a score that will have you humming when you leave!" Monderful f out of they saw ECHNICOLOR BOSLEY CROWTHER, r,w. 44 As pretty and graceful a picture as has come down the rocky pike this year. Samuel Goldwyn's reputation as a maker of quality films, full of exquisite production and painstaking craftsmanship should receive further elevation !" ALTON COOK, WorhUTelegram & Sun: The masterwork of the long producing career of Samuel Goldwyn. Danny Kaye leaves an audience with the feeling that everyone in the place has just had some- thing as nice as a birthday party. Good feeling radiates from the screen. Probably the most enduring songs in the memory of man!" IRENE THIRER, r ,,,, lt% out of this world! A new star is born — Jeanmaire, who is enchanting and a charming actress, besides being grace personified. The underwater ballet is breath- takingly lovely, the production is lavish and grand and replete with melodies. A resplendent song and dance show!1 DISTRIBUTED BY RK0 RADIO PICTURES. INC. Ql bulletin Exploitation & Merchandising EDITOR A L Showmanship, essentially, is that twist to the standard exploitation procedure. It was exemplary in the stunt engineered by Louis Krasnow of the Astor Theatre in Boston. Normally, a life-size blow-up of the very at- tractive Linda Christian, set up in the lobby, would have served as ample ammunition for the promotion of Columbia's 'The Happy Time", in which she stars. But Krasnow decided he would parlay the stunt into real b.o. lure. How? He took the blow-up of Linda in a kissing pose through town, pro- moted the use of a Polarioid camera which delivers prints in 60 seconds, and offered a copy to anyone who would be photographed kissing the star (in effigy of course). There were so many takers that a television station requested — and Krasnow quickly agreed — the use of the cutout and the camera on one HAPPY TIME BALLY At top, the life-size cutout of Linda Christian in action in Boston (described above); bottom, the Washington Trans-Lux uses a play on the theme. of its shows. So, in addition to all the at- tention garnered on the streets, a vast audi- ence of TV viewers were exposed to the campaign. But that wasn't enough for this showman. He promoted a radio contest, offering a defense bond for the best essay on "Why Mine Is the Happiest Family in Town". He worked out multiple tie-ups with the Dell pocket edition of the book. He promoted a "Happy Time" sundae in more than 30 drug stores with window posters, menu and fountain displays. To highlight the newspaper publicity, Krasnow even persuaded Robert Fontaine, author of the book and a local resident, to write several features. Lou Krasnow knows the meaning of showmanship. "Stars and Stripes Forever" is really get- ting the showmanship treatment from 20th Century-Fox. After veep Charles Einfeld talked about the local level planning at the divisional managers meeting, he swiftly im- plemented the planning with action. The Sousa film is being heralded for the key- city engagments with a series of teaser ads in local newspapers three pre-opening Sun- days in a row. More than 700 lines of "S & S Forever" advertising will call readers' at- tention to the openings in the local teaser setup. But Einfeld isn't holding back on any of the other angles. On the TV slate is a full-hour salute to the picture on Ed Sullivan's "Toast of the Town". The top- rated CBS video show will be televised directly from the Roxy stage, December 21, when it reopens after its refurbishing of stage and orchestra facilities for the huge Ice Colorama Pageant, starring Sonja Henie, and the film will be premiered on the following evening. The pressbook is an- other masterpiece of planning, with a nine- page section devoted exclusively to the ever- popular music and how to merchandise it. There will be no less than 8 record albums of Sousa marches placed on the market, with special dealer-exhibitor contests on the MGM sound-track album. Co-ops have been set up with disc jockies and music stores by the various album producer's, and special at- tention is devoted to the college and high school band contest, designed to rake in the younger element, as well as their parents. The pressbook, has been made available a full month ahead of the first playdate to ensure every opportunity for advance sell- ing. It's a "must" for every exhibitor. * * * Metro's "Million Dollar Mermaid" is being boosted with six starlets who appear in the Esther Williams Technicolor extrava- ganza. Each of the half dozen lovelies, swimming specialists, took a two-week tour of the country appearing in 50 cities, meet- ing with newspaper critics (and photogra- ( Continued on Page 24) That Texas Touch Texas has a reputation for doing things on a big scale, and the latest stunt engineered by the moviemen of the Lone Star State maintains that illustrious record. It seems that Texas COMPO is going to take its Motion Picture World Exposition, due to be presented at the 1953 State Fair of Texas, to all parts of the country via a 22-car special streamlined train. The white streamliner, carry- ing the industry's "Movietime" banner on each car, will present the motion picture's history from the nickelodeon to Cinerama — actual cos- tumes, props, settings, all of which will come to the staggering total of 11,000 items. One of the cars will have a miniature movie studio for screen tests, in line with Leonard Goldenson's idea for a national talent search, to be con- ducted by Hollywood directors and writers aboard for that purpose. The Motion Picture Industry, it is estimated, will parade before some 50 million people in the Texas COMPO cross-country tour, in addi- tion to the 2,500,000 that will see what makes it tick at the State Fair. That's a lot of popu- lation. The Exposition won't be ready for its unveil- ing before the end of 1953, maybe longer than that. It is, however, the thinking behind it that makes this industry the showmanship leader of the world. To the Texas COMPO co-chairmen, Bob O'Donnell and Harry Cole; to Paul Short, who created and designed the Exposition, and to the studios, all of whom are cooperating, must go a vote of thanks by the entire industry for the tremendous boost in public relations and the resultant boxoffice this cavalcade will evoke. STEIN k ^ * \ W • , TECHNICOLOR ^ ' j -CLIFTON * WEBB is , 'J STARS & STRIPES HERALD The cover and inside spread of the special jumbo roto herald, measuring liy2 x 17 inches, described I in tli<' press book. »agi U FILM BULLETIN Dec.mb.r IS, 1952 sis-* Thunderous adventures of the swashbuckling Sons of Satan... produced by hit-after-hit maker Edmund Grainger, who gave you "Wake of the Red Witch," "Sands of Iwo Jima," "Flying Leathernecks," "One Minute to Zero" and more! f7 J** \ m co/or 6y TEC/fNICOZOJi ROBERT NEWTON LINDA DARNELL WILLIAM BENDIX with KEITH ANDES ALAN MOWBRAY an EDMUND GRAINGER production Directed by RAOUL WALSH • Screenplay by ALAN LeMAY • Prodaced by EDMUND GRAINGER FULL-COLOR ADS SPEARHEAD GIANT NATIONAL CAMPAIGN! Full-pages and fractional-pages in top-circulation weeklies, Sunday newspaper supplements and others for a sensational 50,000,000 circulation coverage! Short Subjects THE FORTHCOMING tribute to Adolph Zukor, inspired by Texas theatreman Robert J. O'Donnell at Variety International's mid- winter meeting, is reaching monumental proportions. Exhibition, distribution and production leadership have accorded their full cooperation to the around-the-globe cele- bration^ O'Donnell, who is chairmanning the affair on behalf of Variety, advises. It will begin in Hollywood with the movie pioneer's 80th birthday on January 7. Gov- ernor Warren and other high state and civic dignitaries, as well as Hollywood's famed figures, are due to be on hand for the occa- sion. To commemorate Mr. Zukor's 50th anniversary in the industry, a similar setup is scheduled for March 4 in New York. O'Donnell's action generated a landslide for an all-industry Zukor Golden Jubilee Cele- bration at the convention. From an industry standpoint, he said, it was "the most excit- ing and still dignified event that could pos- sibly be thought of for the over-all good of the industry." He wired Paramount, whose toppers had originally been planning a com- pany celebration of the anniversaries, that it would be "selfish" of the company to "con- fine not only Mr. Zukor's birthday, but also his Golden Jubilee, to merely a Paramount activity." The resounding echo to O'Don- nell's sentiments from every part of the in- dustry bodes a tribute that will surpass that of any honor paid to a man of moviedom. ANOTHER MILESTONE in large screen theatre television was reached last week when the first inter-city simultaneous busi- ness meeting was held in 18 theatres in 17 cities. Utilizing the same facilities that had carried previous theatre entertainment shows, the James A. Lees & Sons carpet company inaugurated this new use of thea- tre television in a nationwide simultaneous merchandising meeting on their products. With specially invited dealers, decorators, stockholders and the press in the various theatres, Lees brought its 1953 line of car- pets into bigger than life-size reality for a full hour through Theatre Tele-Sessions, a division of Theatre Network Television. Re- ports from the various cities indicated that the inaugural was a success. The full line wasi displayed in still and motion picture form, selling methods were detailed, and the advertising campaign fully outlined. The theatres, with deals made on flat rental basis, were ready for their regular matinee show- ings in ample time. It was an auspicious beginning that opened another new vista for use of theatre television. The next Tele- Session will be held by Bendix on Decem- ber 30. UA's BERNIE KRANZE, formerly assis- tant to distribution vice-president William J. Heineman, is now the company's domestic sales manager for the United States and Canada. Kran/.e, who started his industry a- career in- 1921 at the Paramount studios in Ptg. II FILM BULLETIN D.r.mb.r 15, 1952 ADOLPH ZUKOR Honor For The Dean Astoria, has served in executive capacity with RKO, the J. Arthur Rank Organiza- tion, Film Classics and Eagle Lion Classics before joining UA last year. THE FILM companies' trend toward the local level was further emphasized when Paramount distribution head Al Schwalberg disclosed plans for division sales meetings adapted to the specific needs of each indi- vidual regional territory. The mountain will come to Mohammed in each of the di- vision headquarters as Schwalberg, Ted O'Shea and ad-publicity veep Jerry Pickman trek to the regional offices for the meetings. "Individual division managers and branch managers' are so much more closely con- nected with the needs of theatres through- out the country than we can possibly be in the Home Office," Schwalberg declaimed. No program can have any value unless it provides a direct benefit to the exhibitor at his own boxoffice. This is our aim — to do everything we can to stimulate boxoffice rev- enue to the individual theatre." DAN S. TERRELL, Metro's ace exploita- tion director, was rewarded by Howard Dietz, veep in charge of ad-publicity-exploi- tation, with a promotion to Eastern publicity manager. He took on the new post last week. MONEY TALK: A $27,000,000 drop in admission taxes for the first 10 months of 1952, compared with the same period last year, still leaves the government with a take of $260,564,000 from the amusements indus- tries. Considering that the tax revenue from movies represent approximately three-quar- ters, it's going to take an all-out fight by the industry to lop off that $150,000,000 that comes from moviegoers and represents many EDITORIAL Plug Shorts Theatremen who know programming realizo the value of attractive short subjects to round out a movie show. The realization, however, that so many of them are dissipating the po- tential boxoffice benefits from not letting the public know about their short subjects program was brought home forcefully by Oscar Morgan, Paramount short subjects and newsreel manager. All of us have heard, and most of us have participated in, the whoosh of delight when a "Tom & Jerry", a Pete Smith, or a "Popeye" subject flashes its title on the screen. It might be surprising to learn how many undecided moviegoers would be paying customers if they saw that "Little Lulu" was also on the show. Morgan, on his field trip throughout the two countries, conferring with exhibitors and branch- men on business conditions, has found more ex- hibitors emphasizing their shorts, with a result- ant upswing in boxoffice when these subjects are advertised specifically, instead of using the line "Also Selected Short Subjects." Movie the- atres must not "overweigh" their programs with features, says Morgan, and must advertise their added attractions to gain the utmost benefits from wise programming. Morgan's field work over the past years has been the basis for determining what short sub- jects Paramount will make, via talks with ex- hibitors and fieldmen. It will pay the theatre- man to make an intelligent appraisal of his pro- gramming and the advantages to be gained from advertising the auxiliary reels. In that way he will et more and more of these subjects that elicit cheers from his audience and less and less of those that evoke groans. He could even get more and more of an audience. STEIN of the theatres' margin of profit . . . Mono- gram netted $125,897 for the 13 weeks ended Sept. 27, a dip from the $150,465 for the same period in 1951. President Steve Broidy points out, however, that last year's figures included income from licensing a group of additional pictures for TV showing, a policy which has since been discontinued. OF MEN AND THINGS: George T. Shup-j^ ert is the new UA veep and general managei of the wholly-owned TV subsidiary, United Artists Television Corp. . . . Edwin J. Smith, Jr., took over Dec. 8 as RKO's assistanl foreign sales manager, a new post created by the resignations of B. D. Lion and Ne< Clarke, foreign division managers . . . Ber Shlyen, publisher of Boxoffice, replaces Jack Alicoate, publisher of Film Daily, as tradi press representative on COMPO's executivi committee . . . Western Pennsylvania Alliecj ' has named Richard P. Morgan as executiv< secretary. THE GROSSERS: From all indications Allied Artists' "Flat Top" looms as a wird fall for theatres and the company, report: Morey Goldstein, AA distribution v.p Broken house records in the midwest ani (Continued on Puge 24 GIVE 'EM A GIMMICK! Hatural VtihH JfnMaHatich CeJtJ Jracthn c$ Cinerama; 'Sutana ' heab £einy tfiade at SO-SO How Natural Vision Functions PROJECTORS POLAROID FILTERS V O #1? train , 0«.p,tol ' ¥.n.« )lmogai an photogrophad Irom two dlHar.rrl point, of ,j.w, M <" lha. ■>'• wan in notura. Each lam. fociMing end con varging on on objact okw practtaly o. do th, human P-o.id.. o Mparola ond complata } dlmantionol pltliai. In lha Ihaolra. tha normal two projacton in o booth p.o,«ci ■ha two laporoto pictvrai onto lha xraan In wparimpoution. mach 01 in nolvra lhar ara projactad onto lha "broin (kaa diogrom). 'Tha r.ghi and I.H Imog*. pou through Poloto.d light Chart plocad In tha portholai o» lha projaciton booth. ©Th. ora wparlmpoaad olmo.i o. on. on o rafWc- h*a typa tcraaa. ©The '"««ai ora r.fWtad bod to th* riewer who ,. equipped -rfh f olorotd glOMM. whkh ■OTV. ,0 OCC.CH th, COCreCt tmag. •Mandad for aoch ay., while rafacting tha imoga not tnt.nd.d m thot aya. PROJECTORS CAN BE SYNCHRONIZED FOR SMALL OUTLAY (Continued from Page 10) years on the project. The major film com- panies, although excited by and interested in Natural Vision, were not able to move quickly enough for Gunsburg. On the other hand, Oboler, a one time engineering stu dent and a notorious gadgeteer, was not only immediately impressed by Gunzburg's process, but as an independent producer, was able to move rapidly ahead. Combining their resources, the pair pro- ceeded with plans fpr "Bwana Devil", an African adventure story, based on a real life incident, that Oboler felt would allow i Natural Vision wide range in its presenta- , tion. The shooting of the first Natural Vision 3-D picture meant, of course, moving ontu pioneer ground. The technical crew was . carefully hand picked from the standpoint of getting men who would go outside of the r usual motion picture methods and practices. I Every frame of the film's shooting was an I experiment, one that called for plenty of I ingenuity on the part of everyone concerned. Photography in NV Found Fast and Easy The camera was mounted on the "Blue Goose", a four-wheel drive weapons-carrier with a hydraulic platform on the front of it. By mounting the Gunzburg Natural Vision equipment on this platform, it was possible lo move anywhere on the location with the camera. Doing just this — up mountains, down valleys and into streams — went the "Blue ■Goose", carrying the precious Natural Vision :amera. In other words, nothing had to be jstaged, because the camera could go right II nto the action on the four-wheel drive ,veapons-carrier. Photographing in Natural Vision proved Ho be as fast and as easy — and sometimes | aster and easier — than the conventional J notion picture photography. One of the principal advantages of Natural • |/ision over Cinerama is the matter of cost. |\ccording to producer representative George . Schaefer, who is presently handling the jlistribution (a deal will probably be, made vith a national distributor soon), the thea- ■ re's regular projection equipment can be used, with cost of synchronization running between $10(1 and $350. It is understood from theatremen who are preparing to in- stall NV that the overall costs run approxi- mately $1200. Cinerama requires an outlay of many thousands for alterations, plus special projection and sound equipment and a huge screen. The deal for "Bwana Devil" is a 50-50 split, with advertising split the same way. Cost of the polaroid glasses, at 10c each, is deducted from the gross. Perhaps Natural Vision won't be a "gim- mick" that will develop into an institution. It has many difficulties to overcome — the annoyance of the spectacles, the need to produce special films that utilize most dra- matically the three-dimensional effect, the physical readjustment required for projec- tion of such films. Of course, there will be further develop- ments that will eliminate some of these flaws. But most important is its value as a new gadget to draw people into movie houses at a time when such an implement is sorely needed. As George Schaefer so aptly puts it: "The showman's always got to be offering something new. You can ballyhoo an old idea until you're blue in the fafe and it won't get you anywhere. The great Barnum started a two-ring circus when he found a single ring no longer gave him enough ex- ploitation value. When that failed to draw, he had a three ring circus, and so on." The ordinary no longer interests the public, no matter in what industry it is dis- pensed. With the film business facing greater competition than ever from other fields of diversion, each vying vociferously for the public's dollar, and, of course, the "free" entertainment offered by television as the biggest of all, it is the "outstanding", the "different", the "new", or the "gimmick" that will pull the strongest. True, great motion pictures are still the No. 1 answer to our problems, but novelty is an irresist- ible factor in the amusement world. Let's have more of these "gimmicks". They give new hope to our industry, and they contain the potential of giving the movie business new life. FILM BULLETIN Dactmber IS, 1952 Pa9. If EXHIBITORS FORUfTl Opinions Culled from Organization Bulletins COOPERATION? Western Theatre Owners When Col. Cole of Texas, my good friend of many years, blew off steam a few weeks ago my first impression was he did not mean quite all he said and that he would 'cool off' and go ahead with his usual, fine industry cooperation. At this writing, I have changed my mind about the Colonel's attitude and I whole- heartedly agree with him! What changed my mind' Well, I started reviewing the years and all the effort which had been put forth by exhibition in an attempt to build better understanding between exhibition and distribution. The more I thought, the madder I got. My own blow-off came this morning when I had to decide whether or not to close a theatre which had, up to two years ago, been a successful operation. Uncle Sam takes 20% off the top; the film ex- changes take the next 40% and as I cannot cut the rent, taxes or salaries all I have left is LOSS. This theatre used to have a steady flow of pictures but not now because of all the pre-releasing and forced (by terms) raised admission pictures and the unneces- sary bidding. Over the years our industry has been suc- cessful in spite of, not on account of, dis- tribution. That branch has continually used all the 'gimmicks' in the book to extract every dime they could, far in excess of good business practices. They violated the laws of the land in their eagerness to 'get it all' until finally, through exhibition pressure, the Department of Justice sued them and the Courts found them guilty. No one went to jail but they were told to behave and to con- duct their business legitimately. I leave it to you, what have they done? They have twisted the rules and regulations laid down by the Court to such an extent they are now extracting a GREATER percentage of the boxoffice dollar than ever before. They have resorted to new 'gimmicks', all legal, in the opinion of their large staff of attorneys. Law- suits, and there is going to be an even greater flood of them, will have to test the legality of their new methods. I do not be- li«ve in going to court, but no exhibitor can be pushed to the point of bankruptcy, so maybe I'll start one too. No matter how fine are the pictures pro- duced, and production is producing more fine pictures than ever before, they are just so much film and valueless unless shown in theatres. Unless we can get the pictures into our theatres when they are saleable, we cannot keep people coming. Going to the movies is a habit and if the habit is broken we are all going broke, and every time a theatre closes, production's revenue is gone forever. I repeat, no theatre can live with- out a steady flow of product, nor can a the- atre be kept open without ALL of the good pictures. More and more exhibitors are finding it impossible to buy pictures at a price which will enable them to break even, let alone make a profit. It's not TV that's killing us! It is the 20% tax and the distributors EXORBI- TANT EI LM RENTALS coupled . with their short-sighted, asinine releasing system and, were I in charge of a production studio responsible for the making of pictures, I would be worried to death over the actions and poor business judgment of my distribu- tors. — Rotus Harvey TV COMPETITION Allied Caravan of la., Neb., Mid-Central On TV: It hurts. It isn't going to hurt any less until improvements are made tech- nically and artistically in the movies. Sev- eral film companies are making short mov- ies for TV and will continue. Probably other companies will get on the wagon. However, production knows that TV cannot commence to furnish the revenue to keep them in prosperous business. Production knows the lion's share comes from and will always come from theatres. There is a strong suspicion that production and distri- bution is not a damn bit concerned about small theatres — their revenue would not be affected appreciably if there werr only about 4000 big theatres (instead of 18,000 small ones) in existence. For example, now get this, Iowa furnishes only about 2% of the income in the over-all picture. Chicago furnishes 6%. What is so serious about a 2% loss? Next time you think you are in- dispensable just remember that your whole damn state is expendable as far as produc- tion is concerned. Love thy neighbor is wonderful, but in a battle of existence in a constantly shrinking market and a constant- ly gouging supplier it is high time that Allied took the action that was taken. And it is high time you gear for battle and supply the ammo. Nothing much can be done about TV. Live with it, use it and time will tell whether our industries can work together. We think they can. 1 he TV suit is in the hands of the court and defendants. Con- tinue the flow of objections to this vicious thing to the appropriate officials, congress- men and hope for the best. All the things you are asked to do are meant sincerely. We are on a brink and the man who doesn't fight to avoid being pushed off is either just too damn lazy or a fool. ALLIED POLICY Allied Caravan of la., Neb., Mid-Central By the time you read this you will have read a general report of the convention cov- ered by the trade press, but we will give you a sketchy summary of the accomplishments of the convention in these paragraphs and follow with a detailed amplification later in this and succeeding letters. Let it not go unsaid that this Chicago con- vention in conjunction with TESMA was the largest trade convention in the history of the industry. Large representation from every section of the country was present with a determination to make this the year nt' decision to correct many of the trade practices that have been slowly strangling the lite from our business. Without .a doubt, a spirit of combat prevailed among all pres- ent and it was clearly demonstrated that Allied is tired of pussy-footing the things that can be done to correct many current evils. Allied discarded the olive branch and threw down the gauntlet in no uncertain terms to notify all and sundry that we are tired of playing "footsie" with anyone who is not willing to show a reciprocal interest in correcting the wrongs that are afflicting its members. A Statement of Policy was formulated at the convention and adopted unanimously by the convention body which leaves no doubt about the attitude of Allied exhibitors in these times. This statement will undoubt- edly reach this office shortly in its complete text. It will be passed on to you at that time. Generally it covers the idea that Allied wants nothing more to do with the industry cooperative plans and ideas unless they are directly beneficial to Allied; that Allied im- mediately start on an accumulation of facts that will justify litigation; and that appro- priate appeals be made to the proper com- mittees of Congress to make the necessary corrections to bring this industry into line with itself. The new policy is strong, aggressive and can bear a fruit that could make this con- vention the turning point in industry affairs for the future. It cannot be fortified and consummated by a limited few who have always stood by the policies of their asso- ciation. It takes the united action of all the members of Allied, or it will be just an- other resolution and laughed out of exist- ence. IT IS NOT A RESOLUTION. It is a POLICY. It has teeth that will bite deep, but it demands your backing. The best brains in our organization and your elected representatives have labored long and ardu- ous hours to formulate this policy. It will work big things for this industry, but it will take your cooperation and backing. This is just to notify you that if you want changes, the changes can be made. It's up to yon. FOR NEXT HALLOWE'EN Allied Caravan of la., Neb. In our minds we'll give you a little story about how the Strand Theatre of East Moline, 111., handled his Halloween show. The police department, schools, theatres and Commercial C lubs unite and distribute about 2500 boxes of popcorn which is paid for by the Tavern Owners Ass'n of that city to the kids roaming the streets. The kids receive a pledge card with the popcorn that they must sign promising no vandalism on Hallow'en and return it to their teacher, j They then receive a free movie ticket. It | worked so good last year that not a single case of vandalism was reported to the police. Just another one of the ways a I theatre can be something more than just a I place of amusement. We imagine most of the theatres worked out something alon^; the same line this year. We did, and know of several others up this way that did like- wise. Just passing this along for you to PC* member to use next year. Pdqe 20 FILM BULLETIN December IS, 1952 UGHN MONROE (/ nash,smash,smash i every one! -ley hold over, ey move over, tley're bowling in over with I LAN ADD IRGINIA flAYO Earner Bros. (ITm SCREEN PL»Y BY OSEPH CALLEIA 'JAMES R WEBB / 7 V THE PRODUCED B* HENRY BLANKE GORDON DOUGLAS Exploitation and Merchandising (Continued from Page 16) phers), and radio and TV contacts at each of the cities' most prominent swimming pool. One intrepid scribe even went under water to do his interview. The fieldmen in charge of the various areas supplied water- wings and even underwater fountain pens, for the stunts. A contrast between the bath- ing costumes worn before Annette Keller- man (the Esther Williams role) introduced the one-piece bathing suit, and the 1953 models (with Cole supplying the itsie- hitsies), featured the promotion. What about a stunt like that in YOUR town? * * * When a film is described as being filmed in "darkest Africa", or in "dangerous peril" to the makers and players, it's usually di- vided by ten and a dash of salt added. Newspaper headlines, however, have given the John Ford production troupe in Mau Mau, with Clark Gable, Ava Gardner and Grace Kelly in "Mogambo'', a pretty solid basis for such description. The recent out- break of violence in that area failed to pre- IVANHOE STUNT Highlighting the classic novel as well as the film, this "walking book" was used in downtown Rochester for five days prior to the opening. vent Ford, who had arrived in Nairobi in South Africa, from starting production. After a 14,000 mile telephone conference with producer Sam Zimbalist, Ford took his company of more than 100 on location, under armed protection of the Lancashire Fusiliers and Queen's African Rifles oi location. When they got into the mountains, the escort took off, since it was felt that a i^roup of that size would not be harmed. However, the company was armed against possible attack and daily reports are carried in the newspapers. When the film is finally completed and the world-renowned stars re- turn, Metro should have plenty of clippings to back those oft-used, but not too often- accepted, claims. It should provide plenty of exploitation fodder for the MGM show- bovs. The pre-selling on Walt Disney's "Peter Pan", claimed by RKO to be the biggest advance campaign on any film, will include more than 17,000.000 individual pieces of "Peter Pan" merchandise. The Simon & Schuster and Dell & Whitman publishing houses, and RCA Victor will be responsible for most of the crop in the form of books and records. Republic received full-scale National Guard cooperation for its "Thunderbird" premiere in Oklahoma City and the subse- quent 1 12-theatre saturation booking through Oklahoma. A statewide radio program pro- claimed "Thunderbirds Thanksgiving Week", in the van of a governmental proc- lamation, following the dropping of three million leaflets from the air, plugging the picture. Arrangements were set up through Major General Roy W. Kennedy, Adjutant General of the Oklahoma National Guard by Republic branch manager David Hunt. General Kenney sparked the local cooper- ation throughout the state in his directive ordering National Guard cooperation via use of displays of equipment and personnel. It wound up with a city and state co-op, stage presentations to local Guardsmen, p.a.'s of former and present Thunderbird airmen, pa- rades, window displays and a host of other civic and merchant promotions. The best-seller, "From Here To Eternity", to be made by Columbia early next year, is getting a unique assist. The publishing house of Charles Scribner's Sons has as- signed its advertising manager, Julian Ded- man, to sit in on all casting and production phases of the picture, which already has Montgomery Clift in the starring role. Working with Columbia, the publishing house will explore every possible angle of exploitation on a cooperative basis and effect the tie-ups. Among the possibilities are bookstore window displays, ads and displays in department stores, radio and TV appear- ances by the author, James Jones, Book- of-the-Month Club tie-ins, library displays with layouts from the picture, special screenings for book editors and radio and TV round table debates on controversial sections of the book and its screen treat- ment. There's only one hitch in the impres- sive list of the proposed exploitation. Author Jones is on an extended vacation, touring the southwest by trailer and even his editor doesn't know where to reach him. Columbia hopefully notes, however, that "he will be contacted as soon as he completes his trip next year". *Sliort -Subjects (Continued from Page 19) outstanding business throughout the earl runs, he feels, should make the film th company's top grosser of the last five year . . . "Hans Christian Andersen" ended it fisrt week's New York two-theatre run wit! new house tops at both the Criterion an Paris Theatres. According to RKO, dis tributor of the Goldwyn film, the Criterio: rolled up $64,000, bettering by four thousan its 16-year high, and the comparatively nev Paris was far and away above its best gros with $24,400 . . . RKO's Sol Lesser docu mentary, "Under the Red Sea", topped th Beekman Theatre's b.o. record for the sec ond consecutive week of a scheduled lonj run in New York. The first week beat th all time house record. MILTON R. RACKMIL In JT est Coast Huddles THE U-I distribution top brass were in week-long huddle with the studio biggie to plan production, sales policy and promo tion for the coming year's product. Amonj the principals involved in the west coas confab were president Milton R. Rackmi board chairman N. J. Blumberg, executiv vice president Alfred E. Daff, productioi chief William Goetz, studio general manage Edward Muhl, general sales manage Charles J. Feldman and ad-publicity vie president David A. Lipton, as well as divi sion and district sales and promotion head' The toppers will see five of the recentl; completed tinters, as well as a special Tech nicolor two-reeler, "The World's Most Beau tiful Girls," and the exploitation specia "Girls in the Night." DON'T BE startled if you walk into a Para mount exchange and find your booker — an everyone else making like a hula dancet All branch employees have been instruc.e to wear leis as a reminder to exhibitors t' book the Crosby-Hope-Lamour "Road t> Bali." The adornments were provided b the National Souvenir Company for ever exchange in the country. P«q« 24 FILM BULLETIN December IS. 1952 CIM Abo$td with the Country's TOP Booked "FLAT TOP" for Their TOP ,„ .„„.,« LOEWS STATE Los Angeles.... and EGYPTIAN Chicago UNITED ARTISTS PALM STATE San Francisco .... ST. FRANCIS Held Over 2nd Week >) Kansas City PARAMOUNT Memphis MALCO San Dieco F0X- STATE Minneapolis STATE Moved over to lyric) New Haven PARAMOUNT Indianapolis INDIANA Cincinnati RKO GRAND Buffalo PARAMOUNT Showmen Who've First Run Houses! Pittsburgh STANLEY St. Louis FOX Washington, D.C WARNER and AMDASSADOR Doston PARAMOUNT and FENWAY Denver DENVER & ESQUIRE and LOMA (Moved over to Adami) Milwaukee Fox WISCONSIN Des Moines PARAMOUNT Oklahoma City CENTER Salt Lake City UTAH "FLAT TOr • A WALTER 'MIRISCH Production IN COLOR starring STERLING HAYDEN and RICHARD CARLSON with Keith Larsen • Bill Phipps • Phyllis Coates • John Bromfield • Directed by LESLEY SELANDER • Written by STEVE FISHER The New BOXOFFICE Power is the New ALLIED ARTISTS ! EXPLOITATION PICTURE U-l Celebrates 50 Years of Western THE GREATEST GUNFIGHTER OF THEM ALL! Wes Hardm, the preacher's boy—no faster draw, no fieadiier shot in all the violent history of the West. 40 race died bpfore his guns and even BPJ Hickock feared his fury. Thw is the story uf the lift? he led, the \xvm he took and the women he loved! RAODL WALSH'S Tfea Ortttw wis lift res Tit *cr!# la rtii Rum3* Based on his own original atitobiographica5, manuscript' ffTHE LAWLESS BREED ROCK HUDSON -JULIA ADAMS The *cr.salional yotr.g &qr% of "Ber.ij of xka Itiv . MART CASTLE • JOBS MdNTffiE - HUGH O BRIAN THEATRE The career of John Wesley Hardin, probably the greatest gunfighter of all tint" the man who never drew his gun until the other man reached for his — is the bas^s for this I niversal-International Technicolor western. The story of the boy who learned to shoot, drink and gamble early, killed some 40 men before he landed in jail, only to emerge and find his son embarking on the same path, has every element that has characterized the movie western for the last half century — and has made it the most sustained popular form of movie entertainment. The up and coming youngsters who made a successful bid for stardom in "Bend of the River"*. Rock Hudson and Julia Adams, were chosen by producer William Alland and director Raoul Walsh for the key roles, aided by a sterling supporting cast that includes Mary Castle, the girl whose resemblance to Rita Hayworth gave her the op- portunity to make good on her own in Stanley Kramer's "Eirtht Iron Men". Universal demonstrated its faith in the film's quality by tying it up with the 50th anniversary of the movie western. David Lipton's boxofficers have prepared a special exploitation kit, in ad- dition to the press book, that has a wealth of ideas. The story of 50 years of westerns makes fascinating reading and listening and would be a natural for newspaper, television and radio spotting. Among the excellent ideas conjured up by the U-I flackmen for the kit are suggested lead stories on the golden anniversary of the western: tie-ups to promote the theme: lobby dis- plays that utilize the western motif — candy- counter as a chuck wagon, ushers in western out- fits, etc.: a youngsters" cowboy party: outdoor stunts like a chuck-wagon tour with promoted giveaways, block parties and square dances; a tie-up with golden wedding anniversaries. 50- year-olds, half-century business concerns, and much more. Star Rock Hudson offers another a\enue for showmanship techniques. Either as a plug for the "new star", or tying in with the anniversarv the greatest mmum^:: them all; ROCK HUDSON fe- JULIA ADAMS BAOTJL WALSE mapsst ADVANCE SET-PIECE Page 26 FILM BULLETIN December 15. 1952 MARY CASTLE -JOHN M J.NTIKE K'JGH OBRIAN™ § SIX-SHEET concerning the "discovery" of big stars in wes- tern pictures over the past 50 years the star discovery angle could stimulate interest. The stills are exciting and varied, as are the ads and the posters. Both the importance of the him and its vivid action are caught in the copy and art. Some striking lobby displays, such as the one shown at left can be rigged from the Mills and are supplied by U-I. The possibilities continue to expand with each suggestion. U-I has even tossed in the idea that the exhibitor wear a cowboy outfit whenever he visits the newspapers, TV stations, department Stores, super markets, or even when he knows he is to be interviewed in his own theatre! The warning about this, however, is contained in the heading— FOR SHOWMEN ONL1 ! But remember this also — you're selling the kind of picture that made the movie industry a leader ii, showmanship, Gambling and gunfighting, young John Hardin (Rock Hudson) begins a notorious career as his father (John Mclntyre) grimly disapproves. His childhood sweetheart (Mary Castle) is killed in a brawl that occurs when he re- turns to marry her. Hunted by the police, Hardin and a danca hall girl (Julia Adams), whom he married find their idyll ended when he is sent to jaill After 16 years in prison, the chastened gun fighter (Race Gentry) finds his son followini his footsteps, finally convinces the boy of folly of gunfighting. EXPLOITATION PICTURE mm of the issue THE LAWLESS BREED The motion picture has come a long way since "The Great Train Robbery" had the nickelodeon customers gasping fifty years ago. That first "western" spawned a brood of movies that released awesome forces. The great masses of city dwellers received their first visual impres- sion of sagebrush, cowboys and indians; the munitions industry found a windfall in the millions of shots that were fired on celluloid, film companies grew great and holes in the wall blossomed into grand palaces. The in- fluence of the "western" film extended beyond America. Immigrants who arrived on U. S. soil expected to find redskins behind each tree and Colts blazing away in th;- streets. The tremendous impact of the "western", certainly, is undeniable. Its staying power and popularitv. even under the most strident ridicule. The "western" has come a long way since "The Great Train Robbery". It grew with the movie industry and reached a maturity where limitations are onlv scenerv and costumes — even to the point that now the heroes are per- mitted to kiss women instead of horses. And with "The Lawless Breed". I niversal believes it has the film worthv of celebrating the golden anniversarv of this American institution. Based on the career of gun fighter John Hardin, it tells of a preacher"< son whose life was devoted to gunplav and gambling, but never killed a man who didn't shoot first. After a lifetime of violence and penitence in jail, the gun- fighter desperately prevents his son from taking the same course. There are no old homestead and mortgage, blood- thirsty indians or kissless heroines. "The Lawless Breed"' >s a lustv modern western, and mature entertainment. I O I rE. it- TO-€ 0 1 EH There are substantial reasons why exhibitors all over America (and the subscribers in Canada, Europe, England, India and Iceland, too) are agreeable to pay more for their subscription to FILM BULLETIN than for the average trade paper. The answer is that thousands of theatremen do more than just subscribe to FILM BULLETIN . . . They absorb it from cover to cover . . . They buy product by it production information . . . They book by its frank reviews . . . They form their views of industry policies by its Viewpoints pages . . . They have faith in it . . . They regard FILM BULLETIN as the paper with something Important to say! Page 28 FILM BULLETIN December 15, 1952 PRODUCTIOD « R€L€flS€ R6CORD 1951-52 Features Westerns ALLIED ARTISTS Completed (54) Completed (18) In In Production (0) Production ( I ) IN PRODUCTION TITLE — Running Time Homesteaders, The Jalopy COMPLETED African Treasure Arctic Flight _ Army Bound Battle Zone Canyon Ambush Dead Man's Trail Desert Pursuit Disc Jockey (77) Fargo . Flat Top (C) " Feudin1 Fools Gold Fever Gunman, The RELEASE CHART — 1952-53 — Cast Elliott-Vallin Gorcey-Hall Rel. No. Rev. Here Comes the Marines Hiawatha (C) Highwayman, The (C) (83) Jungle Girl Kansas Pacific (C) Kansas Territory (73) Man from Black Hills 178) Mexican Silver Montana Incident Night Raiders Sheffield-Luei Morris-Albright Clements Hodiak-Christian Brown-Co*tes ...Brown-Ellison Morris-Caruso Simms-O'Shea ...Elliot Hayden-Carlson Gorcey-Hall _ Morgan-Calvert Wilson-Knight 4-52 7-20 5207 5210 . 10-52 5216 9-52 22 .. 10-12 5244 7-6 5243 Northwest Territory (61) Rose Bowl Story, The (C) (73) Sea Tiger (71 ) Son of Belle Starr __ No Holds Barred Tangier Incident _ Texas City Timberwolf Torpedo Alley Trail Dust Vicious Years, The (79) Waco (68) Gorcey-Hall Edwards-Dugay Hendrix-Coburn ...Sheffield-Sharpe ... Hayden-Miller — Elliott- Stewart Brown-Ellison Wilson-Clyde Wilson-Stewart ... Wilson-Knight __ ....Grant-Chinook Thompson-Miles Archer-Chapman — ...Larsen-Castle - Bowery Boys 5- 52 8- 23 9- 52 . 11-52 .9-14 . 6-8 . 4-13 6- 15 ... 12-7 - 9-8 5209 . 21 6-18 5226 . 5201 5213 5220 _ 5252 5212 5202 — 20 _ 3-27 12-52 5-4 _ 3-52 8-17 _ 2-52 . ...... 12-9 8-24 7-52 24 _ 5225 . 5242 ..... 5253 5251 5204 5218 Brent-Aldon Brown-Elliscn -Curwood Stevens-Malone - Albright-Winters Cook-Moore Wagons West (C) (70) Cameron White Ughtnmg Clements-Bestar W.ld-Stalhon IC) Johnson-Hyer Wyoming Roundup Wilson-Coates Y2kUo„reGoC|dC,.!:..Ih!. Kirkwood-Gleason 12-52 5214 12-30 _ 12-28 5222 11- 52 23 12- 31 5107 2-18 2-52 5224 ..... 6-29 5203 6-30 4-27 11-9 5205 5254.. Grant-Hyer 8-52 5221 COLUMBIA 1951-52 Features Serials Completed (70) Completed ( 3) In Production ( I ) In Production (0) IN PRODUCTION TITLE — Running Time Red Beret, The (T) COMPLETED Affair in Trinidad (98) All Ashore (T) RELEASE CHART — 1952-53 — Cast Ladd-Andrews Rel. No. Rev. Ambush at Tomahawk Gap (T) Apache Country (62) Assignment — Paris (85) Barbed Wire (61) Blue Canadian Rockies (58) Brave Warrior (T) (73) Brigand. The (T) (94) _ California Conquest (T) (7?) Captain Pirate (T) (85) _ Clouded Yellow, The (89) Congo Bill _ _ Cripple Creek (T) (78) Hayworth-Ford Rooney-Lawrence Derek-Hodiak „. _ -Autry-Buttram — -Andrews-Toren — Autry-Buttram .....Autry-Buttram - Jon Hall ... . Dexter-Lawrence . Wilde-Wright ..-Louis Hayward Simmons-Howard . McGuire-Moore .... Montgomery-Booth March-Dunnock 9-52 7-28 5- 52 . 1 0-52 7-52 11-52 6- 52 7- 52 . 7-52 _ 8-52 _ 8-52 8-25 5-19 431 _ 6-30 .7-28 . 10-8 ... 7-52 2-52 ..... Death Of A Salesman (III) Eight Iron Men (80) Firefighters, Th e First Time, The (89) _ _ 5,000 Fingers of Dr. T., The (T) Four Foster, The (103) Golden Hawk IT) (83) Fleming-Haydn" ~ 10-52 Hangman's Knot (T) (81) Scott-Jarman ... |_52 Happy Time The (94) Boyer-Driscoll 12-52 Her Wonderful Lie Kiepura-Egqerth rVV'f:>UnSA- 1741 - Mohr-Castle jlSnUr^J! '■ De$perad0 1T) Montgomery-Stevens Juggler, The Douglas-Vitale Junction City (54) Sta^r.tt-BurneVe Jungle Safari ... Weissmuller-Greene 423 6-30 12-31 Colleano-Frani 12-52 1 1-3 Williams-Reynolds Cumminqs-Hale _ 2-52 424 2-1 1 Hayes-Healy 12-52 Harrison-Palmer 508 506 6-30 12-52 7-52. . 486 Kid From Broken Gun (56) _ Starrert-Bunett Lad.es of the Chorus (61) (Reissue) .Monroe-Jergens Laramie Mountains (54) Starrett-Burnett Last of the Comanches IT) Crawford-Hale Last Train From Bombay (72) Hall-Ferraday Love Song (T) . _ Marrying Kind. The (93) _ -Umber of the Weddinq, The Montana Territory (T) (64) 'athfinder, The IT) 'aula (80) _ 'rince of Pirates IT) „ 0S5e — - Crawford-Derek Wyman-Milland Holliday-Harrison _ Waters-Harris McAl lister- Hendrix Montqomery-Carter Young-Smith Derek-Rush 8-52 I 1-52 . 4-52 8-52 8-52 4-52 481 485 504 8-1 425 5-5 6-52 438 6-30 6-52 436 5-19 ainbow Round My Shoulder (T) (78) Laine-Daniels 9-52 503 In the Release Chart, "Rel." is the National Release Date. No." is the release Number. "Rev." is the issue in which the Review appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1951-52 programs unless otherwise noted. Listing of color pictures follows immediately after title: (T) Technicolor, (C) Cinecolor, (SC) Supercinecolor, (TR) Trucolor, (AC) Ans- color, (NO Natural Color, [WCI WarnerColor. Red Snow (75) Riders of the Whistling Pines Rough, Tough West 154) Salome (T) Sniper, The (87) Storm Over Tibet 187) . _ Sound Off ISC) 183) Target — Hong Kong Denning-Loo Thief of Damascus, The (T) (78) . Henreid-Sutton Madison-Mala 7-52 Autry-White Starrett-Burnette . . 6-52 Hay worth-Granger -Menjou-Franz Reagon-Douglas Mickey Rooney 439 487 Vatican, The IT) 142) Voodoo Tiger 167) Wagon Team (61) Documentary . — Weissmuller-Burckhart 11-52 Autry-Buttram 9-52 Walk East on Beacon 198) Murphy-Gilmore 6-52 War Cry |C) Montgomery-Lonq Yank in Indo-China, A 167) . Archer-Dick 5-52 Stranqe Fascination 180) _Moore-Haas 12-52 476 426 435 435 505 5-5 10-6 ~ 1951-52 LIPPERT Completed (40) In Production (I) IN PRODUCTION TITLE — Runninq Time Cairo Spaceways COMPLETED Bad Blonde Captain Kidd (Reissue) (89) Gambler and the Lady Great White Hunter (Reissue) Hellgate 187) I'll Get You Johnny the Giant Killer IT) Jungle, The 174) Loan Shark (79) Mr. Walkie-Talkie Outlaw Women (C) (75) Pirate Submarine 169) Scotland Yard Inspector _. Secret People ._ Stolen Face, The (71) Stronghold 173) Tall Texan, The Tromba, the Tiger-Man (63) ... Valley of the Eagles 183) _ Winas of Dancer 172) RELEASE CHART — 1952-53 — Cast George Raft Duff-bartok Rel. No. Rev. (89) Payton-Wright Scott-Laughton Dane Clark Peck-Preston Hayden-Leslie George Raft Animation Feature Cameron- Romero Raft-Hart Tracy-Sawyer Windsor-Rober Special Cast 12-12 12-26 12-12 9-5 1-16 7-4 5-23 I 1-28 6-2 7-18 Romero-Maxwell 10-31 -Cortesa-A. Hepburn 8-25 Henreid-Scott 6-16 Lake-Scott 2-52 Bridges-Cobb 2-13-53 - Special Cast 1 1-14 Warner-Gray 4-25 Z. Scott a_i 5210 5204 5209 5113 5206 5205 5112 5111 . 5203 5105 51 10 5202 5116. 5109 5107 . 5207 5201 5114 'in Rel. No. Rev. METRO -COLDWYN -MAYER 1951-52 Features Completed (IIP) In Production (5) RELEASE CHART — 1952-53 — IN PRODUCTION TITLE — Running Time Cast Band Wagon, The (T) _ Astaire-Charisse Give A Girl A Break (T) Bankhead-deHavilland Invitation to the Dance IT) Kelly- Youskevitch Main Street to Broadway __ All-Star Mogambo IT) Gable-Gardner Remains To Be Seen . . Allyson-Johnson Slight Case of Larceny Rooney-Bracken Young Bess IT) ... . _ Sommons-Granger COMPLETED Above and Beyond (122) Taylor-Parker Apache War Smoke (67) Roland-Horton Bad and the Beautiful, The (118) Turner-Dougles Because You're Mine IT) (103) Lama-Whitmore Carbine Williams 193) ... Stewart-Hagen Clown, The ...... . _ Skelton-Greer Code 2 ...... Meeker-Forrest Connie . — Johnson-Leigh 1-53 10-52 305 10-52 5-52 304 231 12-1 10-6 9-8 4-21 Cry of the Hunted ..Gassman-Sullivan Williams-Lamas 4-53 Dangerous When Wet Desperate Search, The (71) Keel-Greer Devil Makes Three, The 190) (T) ... . Kelly-Angeli 9-52 Dream Wife Grant-Kerr 302 12-1 8-25 306 241 232 234 10-20 7-14 Everything I Have Is Yours IT) |92)..Champion-0'Keefe Fearless Fagan 178) Leigh-Carpenter Girl In White, The (93) Allyson-Kennedy Glory Alley 179) _ Caron-Meeker Girl Who Had Everything, The _ Taylor-Lamas Holiday for Sinners (72) Young. Rule Hour of Thirteen, The (80) Lawford-Addams 11-52 309 10-20 Love Melvm IT) . O'Connor-Reynolds Ivanhoe (T) 1106) R.Taylor-E.Taylor Jeopardy _ Stanwyck-Sullivan Julius Caesar __ Brando-Mason . Caron-Ferrer 10-52 8-52 _ 5-52 ... 6-52 7-52 3-53 8-52 2-53 239 307 6?30 6-30 Lovely to Look At 1102) IT) Merry Widow, The (T) 1105) My Man and I (99) Grayson-Skelton . Turner-Lomas -Winters-Montalban Million Dollar Mermaid (T) 1 1 15) Williams-Mature Naked Spur, The IT) _ Stewart-Ryan 2-53 Never Let Me Go . Gable-Tierney Pat and Mike (93) Tracy-Hepburn _ 6-52 7-52 . 237 . 9-52 301 9-52 _303_ 12-52 312 11-17 Plymouth Adventure IT) (104) Tracy-Tierney Prisoner of Zenda IT) (100) Granger-Kerr Ouo Vadis (T) (168) Taylor-Kerr Rogue's March Lansford-Rule 3-53 216 6-16 11-52 . 310 11-3 1 1-52 308 . 10-20 218 ......... I 1-19 Scaramouche IT) 1115) See How They Run S. Grainger-E. ParLer Dandridge-Horton 6 752 ... 236.. FILM BULLETIN December 15, 1952 Page 29 / Skirts Ahoy IT) (109) William-Blaine 5-52 233 Sky Full of Moon (75) Carpenter-Sterling 12-52 Small Town Girl IT) J. Powell-Granger 4-53 Sombrero IT) Montalban-Angeli 3—53 Steak for Connie — Johnson-Leigh .- Story of Three Loves (T) _ _ . All-Star Cast ... -.- Talk About a Stranger 1*51 Murphy-Davis - 4-52 22» Time Bomb 177) . .... ..... Ford-Vernon — Vaguero lAns) . Gardrer-R. Taylor Vicki IT) _..„.._„..„ Garson-Pidgeon ..... . Wahington Story 1821 .... Johnson-Neal 7-52 . 238 When in Rome 178) Johnson-Douglas ... 4-S2 2Z»_ You For Me 170) Lawford-Greer - 8-52 240.. Young Man With Ideas 184) Ford-Roman 5-52 230 4-21 11-17 3-10 7- 14 3-10 8- 11 3-10 PARAMOUNT 1951-52 Features Completed (77) In Production (4) RELEASE CHART — 1952-53 — IN PRODUCTION TITLE — Running Time Arrowhead IT) Here Comes the Girls IT) Little Boy Lost Untitled . Cast Heston-Palance Hope-Martin Crosby-Dauphin Martin ft Lewis Rel. No. Rev. COMPLETED Anything Can Happen (107) Atomic City, The (85) Blaiing Forest IT) 1911 Botany Bay IT) Caribbean (T) (95) Carrie 1 1 181 Cleopatra 1104) Reissue) Come Back Little Sheba 199) Denver ft Rio Grande IT) (89) Encore (901 Forever Female Greatest Show On Earth IT) (151) Green Gold of Nevada (T) Houdini (T) _._ Hurricane Smith (T) Jumping Jacks (98) _ Jamaica IT) Just For You (T) ( 104) Los Alamo* _ Military Policeman My Son John (122) Pleasure island IT) Pony Express (T) Red Mountain (T) (84) _ Road to Bali IT) 191) Ferrer-Hunter 5-52 5117 Barry-Clarke 4-52 5120 Payne-Moorehead 12-52 5207 Ladd-Mason _ - Payne-Dahl 9-52 ...... 5202 ... Olivier-Jones 8-52 5123. Colbert-WilcoKon 12-52 5208 Lancaster-Booth 2-53 5213 O'Brien-Hayden 4-52 5115 Maugham Stories _ 7-52 5122 Rogers-Holden • - Stewart-Hutton 7-52 5 1 29 Payne-Morrow Curtis-Leigh DeCarl'i-lreland Martin-Lewis Milland-Dahl Crosby-Wyman . Barry. Carke 3-10 10-20 4-14 4-7 1-14 10-52 . 5204 7-52 5121 4-14 9-52 5201 8-1 1 Rock Grayson's Women (T) Roman Holiday . Savage, The (T) 195) Scared Stiff Shane IT) Somebody Loves Me IT) (97) Son of Paleface IT) . Stalag 17 _ Stars Are Sinaing, The IT) S'ooge. The (100) Thunder in the East 198) Turning Point, The (85 ( _ Tropic Zone (T) 194) _ _ War of the Worlds (T) _ Hope-Maxwell — . Hayes-Heflin 4-52 5116 4-21 Genn-Taylor 3-53 5215 Heston-Flemming — Ladd-Kennedy 5-52 5113 Hope-Crosby-Lamour 12-52 5209 12-1 Payne-Sterling .._ _. Peck-Hepburn ..— — . Heston-Hanson 11-52 5204 10-4 Martin-Lewis Ladd- Arthur __ . Hutton-Meeker 10-52 5203 9-8 Hope-Russell 8-52 5124 7-14 Holden-Taylor Alberghetti-Clooney 3-53 5214 __ Martin-Lewis 2-53 5212 Ladd-Kerr 1-53 5210 11-17 _ Holden-Smith 1 0-52 S20S 10-4 Reagan-Fleming 1-53 5211 _ Barry-Robinson RELEASE CHART IN PRODUCTION TITLE — Running Time COMPLETED Battles of Chief Pontiac (75) _ Bela Lugosi Meets a Brooklyn Gorilla 1741 Breakdown (74) Cairo Road 185) Cuban Pete 161) (Reissue) Fame ft the Devil 180) _ Geisha Girl (47) House of Darkness (43) If This Be Sin 174) _ Inside Job 165) IReissue) Kid Monk Baroni (80) ... Lucy Goes Wild (90) (Reissue) Maytime in Mayfair (T) (741 . Mug Town (40) (Reissue) My Death is a Mockery (47) Summer Storm (92) (Reissue) .. Wall of Death 182) 1952-53 — Cast Rel. No. Rev. Barker-Wescott 11-52 Luskosi-Mitchell . 10-52 Richards-Bishop 9-52 Harvey-Portman 10-52 Arnez-Smith 11-52 Auer-Buford ... 11-52 Hyer-Andrews 8-52 Harvey-Shaw 10-52 Loy-Greene 1 1-52 Curtis-Rutherford 12-52 Cabot-Knox . __, 8-52 Ball-Brent 11-52 Wilding-Nagle 8-52 Dead End Kids 12-52 D. Huston-Byron 12-52 Darnell-Sanders 9-52. Harvey-Shaw 9-52 ... REPUBLIC 1951-52 Features Serials Westerns Completed (21) Completed ( 0) Completed (15) In Production In Production In Production (3) (0) (0) IN PRODUCTION TITLE — Running Tim* City That Never Sleept Perilous Voyage Woman They Almost Lynched, COMPLETED Sal Tebarin (901 ■lack Hills Ambash 154) •order Seddlemetes (67) Desperatoes Outpost 154) Fabulous Senorita, The (10) Fair Wind to Java ITr) RELEASE CHART — 1952-53 — Cast Young-Powers Raltton-8rian The Lund-Leslie Rel. No. Rev. Lawrence-Ching .... Lane-Waller Allan-Kay . Allen Estalita-Clarke MacMurray-talston 4-1 5129 5-20 5172 4-IS ..... 5143 JO-t— 5174 4-1 5125 .7-14 4-21 Gobs and Gals 184) Downs-Hutton S-52 5128 Hoodlum Empire 198) Donlevy-Trevor 4-15 ..5105 I Dream of Jeania (Tr) (90) Middleton-Shirley 4-15. 5104. Lady Wants Mink, The (Tr) Hussey-O'Keefe Last Musketeer. The (47) Allen-Kay ._ _.. 3-52 5142 Leadville Gunslinger (54) .._ Lane-Riley .3-52 .5171 Marshal of Cedar Rock Lane-Waller Oklahoma Annie (C) (90) Canova-Russell 3-24 5122 Old Oklahoma Plains (40) Allen-Kay 7-25 5144 Old Overland Trail Allen-Hall _ .. ... Ouiet Man, The IT) (129) Wayne-O'Hara 5108 . 5-1? Ride the Man Down ITr) (90) Donlevy-Tucker 11-52 11-3 South of San Antone Cameron-Whelan ... South Pacific Trail (60) Allen-Estelita 10-20 Sun Shines Bright Winninger-Whelan Sweetheart Time (Tr) Middle ton- Norman Thunderbirds (98) Derek-Barrymore 11-27 5201 Thundering Caravans 154) Lane-Waller 7-20 5173 Toughest Man in Arizona (Tr) (901 Monroe-Leslie 10-10 5109 Tropical Heat Wave (74) Estelita-Hutton 10-1 Valley of Missing Men Lane-Waller WAC From Walla Walla 183) Canova-Dunne 10-10 5123 Wild Horse Ambush Chapin-Jansen 4-15 5069 Woman of the North Country 190) Cameron-Hussey 9-5 5107 8-11 RKO RADIO Cast McNally-Smitb Rel. No. Rev. Page 30 FILM BULLETIN December IS. 1952 384 383 368 1951-52 Features Completed (75) In Production (I) RELEASE CHART — 1952-53 — IN PRODUCTION TITLE — Running Tim* Split Second COMPLETED Allegheny Uprising (81) (Ra-issue) Annie Oakley |9I) (Re-issuel Androcles and The Lion (98) Beautiful But Dangerous Beware, My Lovely 177) Big Sky, The (140) Blackbeard the Pirate (T) Body Snatcher IRe-issue) Break-Up Bystander, The Captive Woman 165) Clash By Night (105) _ Desert Passage (60) Difference, The Face to Face 1921 Faithful City (86) Half-Breed, The (T) (81) Trevor-Wayne 9-52 Stanwyck-Foster 9-52 _. Simmons- Young 11-52 Simmons-Mitchum 2-53 Lupino-Ryan 9-52 Douglas-Martin 8-52 Darnell-Newton 12-52 Karloff 4-52 Simmons-Mature Mitchum-Simmons 302. 361 8-1 1 271 Clarke-Field 10-52 Douglas-Stanwyck .4-52 Holt-Dixon . 5-52. O'Brien-Lovejoy 304 229 230 4-14 Hands Across the Sea Hans Christian Andersen (T) (120) I Walked With a Zombie IRe-issue) Jet Pilot (T) 1118) _ King Kong (Re-issue) Leopard Man, The IRe-issue) .... Look Who's Laughing (79) Lusty Men, The 1113) Macao (81) Man Who Fooled Hitler Montana Belle IT) (81) Narrow Margin (71) Never Wave At A Wac One Minute to Zero (105) Peter Pan (T) Rancho Notorious (T) (89) Rashomon (84) Road Agent (40) Story of Robin Hood IT) (84) Sudden Fear (110) Target (40) 309 303 228 272 249 270 Mason-Preston I 1-52 J. Smith-Ramati 5-52 .... Young-Carter 5-52 Rennie-Peters Kaye-Granger 1 1-52 Conway 4—52 Wayne-Leigh _.. Cabot 4-52 O'Keefe 4-52... Ball-McGee . 8-52 381 .Hayward-Mitchum 10-52 304 Russell-Mitchum 4-52 __ 224 Werner Russell-Brent 11-52 308 McGraw-Windsor 5-52 224 Russell-Wilson 1-53 . Mitchum-Tallman 8-52 301 Disney Cartoon Feature 2-53 Dietrich-Kennedy - 3-52 Japanese 3—52 Holt-Martin 3-52 12-1 4- 7 5- 5 10-4 4-7 7-28 221 248 3-10 Tarian and the She Devil . Tarzan's Savage Fury (80) Too Many Girls (85) _ Under the Red Sea (47) . Wild Heart, The IT) 182) .-Todd-Rice 7-52 -Crawford-Palance 8-52 ...McGraw-White 4-52 Barker-MacKenzie - Barker-Hart _ 4-52 225 . Ball-Arnaz . 8-52. .. 382 ..Hass-Berl 10-52 305 Jennifer Jones 7-52 . 274 223 391 342 8—11 227 3-24 6?2 20th CENTURY-FOX 1951-52 Features Completed (77) In Production (6) RELEASE CHART — 1952-53 — IN PRODUCTION Call Me Madam (T) Merman-O'Connor Desert Rats Mason-Burton 4-53 Gentlemen Prefer Blondes (T) Russell-Monroe Nearer My God to Thee Webb-Stanwyck Sailor of the King Hunter-Rennie Untitled Western (T) Crain-Robertson COMPLETED Baptism of Fire . Belles On Their Toes IT) (89) Bloodhounds of Broadway IT) (90)... Deadline U. S. A. 1871 Destination Gobi (T) Diplomatic Courier 197) Don't Bother To Knock (74) Down Among the Sheltering Palms (T) Dream Boat (83) Farmer Takas A Wife, Tha (T) Girl Next Door. Tha IT) I Don't Care Girl IT) Kangaroo (T) (84) _ Lady in the Iron Mask (NO 171) ... Leave Her to Heaven ( I 1 0) I Reissue) Las Miierablas 1104) Lura of tha Wilderness (T) 192) __ Lydia Bailey IT) (89) _ Man On A Tightrope . Monkey Business (97) _ My Cousin Rachel My Pal Gus 183) . . My Wife's Best Friend (101) Niagara (T) Mature-Moore Crain-Loy 5-52 Gaynor-Brady 11-52 Bogart-Barrymore 5-52 Widmark-Taylor 4-53 Power-Neal 7-52 Widmark-Monroe 9-52 Lundigan-Greer - Webb-Francis 8-52 Grable-Robertson 2-53 _Hever-Dailey Gaynor-Wayne 1-53 OHara-Lawford ._ 4-52 L Hayward-Medina 7-52 Tiarney-Wilde 4-52 Renni*. Paget 8-52 .Paters-Hunter *-S2 Robertson-Francis 4-52 March-Moore .Grant-Rogers _ - — 10-52 deHavilland-Burton 1-53 Widmark-Dru 12-52 Baxter-Carey 10-52 Cotten-Peters 2-53 Night Without Slttp (77) Number, The ' Outcasts of Pok»r Flat. The (81) O. Henry's Full House (91) Pickup on South Street Pony Soldier IT) 182) Powder River President's Lady. The Pride of St. Louis 193) Rains Came. The I9SI (Reissue) _..Pow.?-Loy Ruby Gentry ■ ■ T, . Sailor of the King Hunt " R.-nf Silver Whip TheV CaTho n^b/rtson - Dernell-Merril 1 |_52 -Winfers-Widmark Baxter-Robertson 5-52 Crain-Granger 9-52 Widmark-Peters Power-Edwards 12-52 Calhoun-Celvet Hayward-Heston -Oailey-Dru 23S 214 221 4-14 237 11-17 4-52 4-52 1-53 211^ 254 303 Something For The Birds III) Stars and Stripes Forever (T) Steel Trap IIS) . Taii 1891 Thief of Venice 191 ) Treasure of the Golden Condor IT) Tonight We Sing |T) Mature-Neal Webb-Paget Cotton-Wright Oaley-Smith Montei-Christian Wilde-Smith Pinia-Peters 3-53 10-52 10-52 12-52 I 1-52 2- 53 12-52 3- 53 Wait Til The Sun Shine. Nellie I T) 1 1 01) Peters- Wayne W_V. 0N^GUUCh°JT,).i?,) • Ti.rny-Calhoun We re Not Married 15) w.„.. »„„.,, W G!°rZ ,T) lUlr- CaVn^.te W,th A Song In My Heart IT) 1117) Hay ward-Celhoun 7-52 9-52 7-52 1-52 4-52 309 23B 239 232 305 304 301 220 229 221 224 210 11- 3 12- 1 12-1 5-19 10-20 7-14 7-21 2-25 UNITED ARTISTS 1951-52 Features Completed (64) In Production (I IN PRODUCTION TITLE — Running Time Melba COMPLETED Actors and Sin 194) African Queen IT) 1 104) Babes in Bagdad 1791 Bandits of Corsica. The RELEASE CHART — 1952-53 — Cast Munsel-Morley Rel. No. Rev. Robinson-Hunt Bogart-Hepburn Goddard-Lee .Greene-Raymond Todd-Richardson Breaking he Sound Barner (1151 , uuu-^c^ra., Buffalo Bill in Tomahawk Territory 144) Moore-Andrews Captive City 191) Forsythe-Hall Confidence Girl 181) Conway-Brooke Cry the Beloved Country Encounter Fighter. The (78) . 1". Guest Wife (90) High Noon 185) Invasion U S A _ Island of Desire (T) (103) _ It's in the Bag 187) Kansas City Confidential Lady Vanishes. The 185) Limelight 1143) Luxury Girls Miss Hargreaves Monsoon Moulin Rouge (T) Mutiny |T) 174) _ Lee-Poitier _. Lorring-Muni — Conte-Brown - Colbert-Ameche . Cooper-Kelly _ OShea-Castle _ — Darnell-Hunter — Allen-Benny Payne-Gray _ Redgrave-Lockwood Chaplin-Bloom Sernas-Laurent Katherine Hepburn 9-52 7-30 Got 4-14 Kr 9-52 11-28 9- 52 10- 23 5-5 8-25 Chap 11-3 Thiess-Douglas Ferrer-Marchand - — - Stevens-Lansbury _ Outcast ot the Islands (C) (91) Richardson-Kerima Outpost m Malaya Claudette Colbert . 7 *ow Evans-Welch Red Planet Mars (87) Graves-King Red River (125) Wayne-Dru 12-14 Return to Paradise IT) Ring. The (78) River. The IT) (99) Rough Shoot Royal Journey 150) Scarlet Spear. The (An) Strange World 180) Swords Against the Mast . Tale of Five Wemen, A 184) Thief, The (85) Tom Brown's Schooldays 193 Tulsa 188) IT) Two Gals and a Guy (70) Untamed Women 170) When I Grow Up 190) Witness, The Cooper-Hayes _ — Rios-Moreno . Swinburne- Shields McCrea-Keyes Color Feature . Archer-Hyer — Hauff-Schneider _ . Payne-Reed — Bonar Colleano — Milland-Gam Davies-Newton Hayward-Preston . _ Paige-Alda ..Jewel Productions Preston-Scott 3-14 7- 11 1 1-24 8- 12 5-15 . 4-4 KB _ 3-24 Lop 5-l» Hawks 9-25 2-15 Ren 8-25 3-15 3-28 Gehn 4-7 3-7 10-10 1 1—2 Pop 10-4 Bergman-Brando 8-3 1 - 9-52 4-20 4-4 . Wan UNIVERSAL 1951-52 Features Completed (91) In Production (3) IN PRODUCTION TITLE — Running Time East of Sumatra IT) Golden Blade, The (T) Prince of Bagdad (T) COMPLETED Abbott and Costello Go to Mars Against All Flags 183) Battle of Apache P^ss, The IT) I8S) Because of You 195) Black Castle. The Bonio Goes To College (79) Bronco Buster IT) 180) City Beneath the Sea (T) ______ Column South (T) Duel at Silver Creek, The (T) Desert Leoion (T) ... Flame of Timberline IT) RELEASE CHART — 1952-53 — Cast Chandler-Maxwell Rel. No. Rev. Laurie-Hudson .Mature-Field Francis Covers the Big Town Francis Goes to West Point 'G'rls in the Night ounsmoke (T) Has Anybody Seen My Gal IT) Man From the Alamo Horiions West (T) (81) t Grows On Trees 184) (89) Abbott 4 Costello Flynn-O'Hara Dec Chandler-Lund Apr Young-Chandler Nov_ McNally-Greene Dec .. Perreau-Gwenn Sept ..Lund-Brady May Ryan-Powers _ Mar ..Murphy-Evans Murphy-Domergue Ladd-Dahl Sheridan-Hayden Donald O'Connor O'Connor- Nelson Holden-Fa>rell _ Murphy-Drake Colburn-Laurie Ford-Adams 305 217 302. ... 304 232 - 219 12-1 4-7 10-20 8-25 4-21 Aug .... 228 224 July Feb Mar -July _ 224 ...Ryan-Adams . Dunne-Jagger Oct Nov 23S 303 4-30 - 10-4 11-17 Ivory Hunter IT) 195) Just Across the Street 79) Lady Pays Off. The 180) Law and Order (Tl Lawless Breed. The IT) Lone Hand IT) . . . Lost in Alaska Ma and Pa Kettle in Waikiki Ma and Pa Kettle on Vaceion Meet Me at the Fair IT) Deiley-Lynn Steel-Sheridan Sheridan-Lund Darnell- McNelly Reegan-Malone Hudson-Adams McCrea-Hale Abbctt-Costello Main- Kilbride Main-Kilbride Aug 229 7-28 Mississippi Gambler (T) No Room for tne Groom 82 Raiders. The IT) (121 Red Ball Express Redhead From Wyoming, The (T) Sally and Saint Anne Scarlet Angel IT) (II) Seminole (T) Sioux Uprising (T) _____________ Son of Ali Baba (T) 175) Thunder ley IT) Power-Laurie Curtis-Laurie Conte- Lindfors Chandier-CaDot O'Hara-Nicol Blyth-Gwenn DeCarlo-Hudson Hudson-Hale Chandler-Domergue Curtis-Laurie Stewart. Dru Cotten- Winters Jan Feb May 220 5-5 Nov 301 May 218 Jan Jul- J-jne Mar 225 222 4-14 Sept 231 B-2S Untamed Frontier. The IT) Willie and Joe lack at the Front|l7)Ewell-Lembeck World In His Arms. The IT) Peck-Blyth Yankee luccaneer IT) Chandler-lrady Sept. Oct Aug Oct 230 233 227 234 10-4 WARNER BROTHERS 951-52 Features Completed (59) In Production (4) RELEASE CHART — 1952-53 — IN PRODUCTION TITLE — Running Time Cast City Is Dark. The Nelson-Hayden Plunder of the Sun Ford-Lynn System, The Lovejoy-Perrin Trouble Along the Way Wayne-Reed COMPLETED _ Abbott and Costello Meet Captain Kidd ISC) 170) Abbott-Costello About Face IT) 194) __ MacRae-Bracken .. . April in Paris IT) 1 101) Day-Bolger . Big Jim McLain 190) - Wayne-Olson Big Trees, The IT) 189) _ _ _ _ Douglas-Miller Bugles in the Afternoon IT) (85) . R. Milland-H. Carter By the Light of the Silvery Moon IT) Day-MacRae Carson City IWC) 187) _ Scott-Massey Cattle Town (71) . Morgan-Carey Crimson Pirate, The IT) (104) ..... . B. Lancaster Danger Forward Wilde-Cochran Desert Song, The IT) _ _ . Grayson-MacRae His Majesty O'Keefe (T) Lancaster-Rice I Confess Cliff-Baxter Iron Mistress, The IT) (110) Ladd-Mayo Jack and Tne Beanstalk (SO 178) Abbott-Costello Jan Singer, The (T) ..Thomas-Lea Lion and the Horse. The IWC) (83) Cochran-Teal Lost Patrol. The IWCI _ Scott-Kirk Man Behind the Gun (T) Scott-Wymore Mara Maru (98) . Flynn-Roman Miracle of Fatima IWC) (102) _ Roland-Clark Operation Secret (108) . Wilde-Thaxter San Francisco Story, The (80) McCrea-DeCarlo Sea Rogue IT) Flynn-Campbell She's Back on Broadway |WC)_— __Mayo-Cochran She s Working Her Way Through College IT) MOD ... Mayo-Reagan Springfield Rifle IWC) 1931 .. . Cooper-Thaxter Stop, You're Killing Me (WC) _Crawford-Trevor _ Story of Will Rogers, The IT) 1109) Roger, Jr. -Wyman Streetcar Named Desire, A 1122) _ Brando-Leigh 3 For Bedroom C INC) 174) Swanson-Warren Where's Charley? (T) 197) Bolger-McLerie _ Winning Team, The 198) _ Day-Reagan Rel. No. lev 12-27 5-31 1-3 8-30 3-29 3-8 208 122 209 201 117 114 12-1 4-21 9-8 2- 25 3- 10 4-14 12-4 9-27 123 207 12 202 5-19 I I 1-22 204 4-12 118 4-21 4-19 I 19 5-3 _ 120 4-7 10-11 203 9-8 I 1-8 20S.__. 10-20 5-17 121 4-21 7-12 128 10-25 204 7- 24 129 3- 22 I04_ 4- 21 124 8- 14 130 4-28 125 10-4 7-28 4-14 7-14 4-* Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't pat your return film in the lobby until all year patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St., Phila. 3 — 1239 Vina St., Phil.. 7 LOcust 4-0100 Member National Film Carriers FILM BULLETIN December 15, 1952 Page 31 "CLEO' OBVIOUSLY HAS WHAT IT TAKES!" — reports OBVIOUSLY for here's her success story in BALTIMORE Keith's — Right up there with the toppers! FORT WAYNE Paramount —Ahead of "Detective Story" by 128%! PITTSBURGH Warner — " Fast pace-setter!" says Variety SPRINGFIELD .... Paramount — Big opening, big weekend, big week! HOUSTON Majestic — Crowds loved her ! OKLAHOMA CITY .Criterion — Matches 1952's leaders! BUFFALO Center — Held over! DENVER Denham — Strong opening — and sixth day topped it I TOLEDO - Princess — Sturdy business ! AKRON Palace — From opening right thru week — big! TULSA Ritz — Solid draw ! TUCSON Paramount — Second day tops big opening gross I KANSAS CITY' Paramount — Equalling today's new color hits! A PARAMOUNT RE-RELEASE ■ ■ The New Year brings a wonderful surprise, a screenful of \ emotion in a funny, touching, brilliant motion picture, a truly great attraction, M-G-M's w THE CLOWN It happens only occasionally that a picture comes to the screen so rich in all the values of audience appeal, story, performance, humor, action, heart-throb, background that one may truthfully say: "Everything clicked!" THIS IS BOX-OFFICE! This is the story of a comic, once a Ziegfeld star, who is lifted from the low estate to which he has fallen by the faith and love of his young son. Red Skelton contributes to the Screen Hall of Fame a masterful performance, a role that ranges from hilarious to heart-breaking, a characterization which takes him from the category of screen comedian to actor extraordinary. And as though inspired by this history-making delineation, a youngster named Tim Considine delivers in his first screen appearance a job that will zoom him to fame and stardom. This picture truly has everything. It is a great show to see and to hear. It combines heart appeal with uproarious fun; it is a triumph of showmanship for showmen who know and understand that THIS IS BOX-OFFICE! M-G-M presents "THE CLOWN" starring Red Skelton • Jane Greer • with Tim Considine • Screen Play by Martin Rackin • From An Adaptation by Leonard Praskins • Story by Frances Marion Directed by Robert Z. Leonard • Produced by William H. Wright A date to remember: Brotherhood U eek\ Sitter Anniversary, Feb. 15-22. 1953) Grant that the light of wisdom shine upon the statesmen of the world that they may guide Mankind upon the road to Peace Grant us an era of tranquility in which freedom can flourish and in which men will build, rather than destroy. Give us the reason to understand what is right and the courage to heed the dictates of our conscience. Grant that the people of the earth may come to know that Love is God's blessing upon those who love, hate his curse upon those who hate. Breathe into our hearts the spirit of Good Will, that we may always and forever do unto others as we would have them do unto us. Preserve, in Thy infinite wisdom, the bounties with which Thou hast endowed our wonderful land, and, above all else, perpetuate the greatest of these bounties, our Freedom. Grant unto the people of the motion picture industry an ever deeper sense of responsibility in their roles as creators and exhi- bitors of this wondrous medium of entertainment and enlighten- ment. Reveal to the makers of motion pictures the ways by which they may pursue their art with good taste and integrity. To those whose theatres provide enchantment upon silver screens, show the way to conduct their business with dignity. Grant that the motion pic- x ture flourish this new year, while earning applause for the happiness and surcease from cares that it brings to the people of the world. Amen. To Our Thousands of Friends and Readers FILM 8ULLETIN December 29. 1952 Page 3 MORE THAN 2000 CITIES AND TOWNS GET ALL OUT PROMOTION FOR THUNDERBIRDS! National Guard Units coast to coast ready to give active support to your theatre engagements! 4 CHECK YOUR REPUBLIC BRANCH MANAGER FOR DETAILS OF THIS GREAT BOX OFFICE TIE-UP! MOULIN ROUGE' IS TRES MACNIFIQUE Rates • • • generally; • • • • for art and class houses UA release 123 minutes Jose Ferrer, Colette Marchand, Suzanne Flon, Zsa Zsa Gabor, Katherine Kath, Claude NoUier, Muriel Smith, Georges Lannes, Walter Crisham, Mary Clare, Harold Gasket, Lee Montague, Jill Bennet, Maureen Swanson Directed by John Huston Here is Paris — the real, authentic Paris of the 80's, gaudy, bawdy, passionate. Here is romance and despair, wealth and squalor, drabness and color. Here are life and death — the life and death of Henri de Toulouse- Lautrec, the ugliest dwarf and the greatest Parisian painter of his day, whose heart was ruled by two women, both of whom he lost, one of them a street walker, the other a model. Here is a picture in the classic tra- dition, beautifully fashioned, wonderfully photographed in Technicolor, magnificently acted, with a heart-throb in every chord of its wild Parisian music. Here is the soul of that fabulous Paris cafe, the Moulin Rouge, and of its Can-Can girls, and here is the slime of the Montmartre gutter where most of its women were born and to which, sodden and diseased, they returned. Hert is an exploitation picture par excellence — a job which will slay the critics with its poignant realism and may dismay the cen- sorious by the beauty of its earthiness. A class picture, to be sure, but one that has • POOR • • FAIR • • • GOOD • • • • TOPS all the elements of general popular appeal. A Romulus production, it has been directed by John Huston with a richness rarely found on the screen. It is as eagerly buoyant as a paper boat on a swollen millstream, throh- hing and pulsating to every ripple. It recks of cognac, stinks of stale cigar haze. It is downbeat, but it is a film which deserves — and should get — capacity houses everywhere but in the oatlands. Jose Ferrer's portrayal of the great painter is outstanding. Colette Marchand, as the prostitute who breaks his heart, shares the honors witli him. Suzanne Flon, the only woman who really loves him, is excellent, and even the curvesome Zsa Zsa Gabor has the kind of flippant part which best suits her talents. There's not a discordant per- formance in the whole thing. STORY: Anthony Veiller's screenplay, based on a novel by Pierre La Mure, opens with Jose Ferrer at a table in the Moulin Rouge cafe sketching the Can-Can girls and swallowing brandy by the pint. The cafe- owner, H-irold Gasket, promises him free liquor for .a month if he will draw a poster. Ferrer laughs away the suggestion. As he picks his way slowly homeward that night through the cobbled streets of Paris he dreams of his childhood with his titled parents in their magnificent chateau, of the fall which turned him from a healthy boy into a stunted monstrosity. His thoughts are interrupted by Colette, a streetwalker for whom the police are searching. He be- friends her and a tcmpestous love affair develops — the first in the artist's life. He becomes obsessed with her, but discovering her unfaithfulness, puts her out of his life. He stops painting, and goes into a decline. When his willpower finally snaps and he goes searching for Colette, he discovers she has been living with him merely to support her lover. Stunned, Ferrer goes back to the Moulin Rouge and his friends Jill Bennct, I lie earthy barmaid, Katherine Kath, the dancer and Zsa Zsa Gabor, the fickle singer. Ferrer becomes world famous as an artist and the Moulin Rouge becomes the most fashionable rendezvous in Paris. Suzanne Flon, a model who takes pity on Ferrer, fails to pierce the armor of self-defense which the artist has thrown around himself after his loss of Colette. In the end she sends him a letter saying she is going to marry someone else. Ferrer goes into a drunken orgy. He tries to gas himself, but is won from the effort by the call of his palette and brushes. One night he collapses, falls downstairs and dies with the music of the Can-Can girls ringing in his"' ears. COULTER ' letters which he receives from John Sutton, his beloved foster father, young Richard Burton is led to believe that Sutton's wife, Olivia de Havilland, who is Burton's cousin, is trying to poison her husband. Burton goes to Italy to find Sutton is dead, but that he has left everything to Burton. Al- though Burton's guardian, Ronald Squire, is convinced that Sutton died of a brain tumor, Burton suspects Olivia on the basis of the letters. When she arrives in England, and visits him, his doubts are overcome, by her charm and gentleness and he falls deep- ly in love with her. Coming into possession of the estate on his 25th birthday, he signs over the entire estate to her, then asks her to marry him. When she refuses, he be- comes infuriated and tries to kill her. She escapes to her room and he lapses into a fever. In the ensuing weeks, she nurses him back to health, but little bits of evidence convince him she is trying to poison him, just as he believed she did Sutton. A letter, however, indicates that she is innocent and he strives desperately to prevent her from walking over an unsafe foot bridge. He finds her broken body under the bridge and is forever left with the question: Was she a murderess or a madonna? BARN FILM BULLETIN December 2?, 1952 ' Pag* S MY COUSIN RACHEL' ALMOST ANOTHER REBECCA' Rates # • • generally; more where exploited """ — ""— "— ~~ ~~~ ~~~ whether a definite conclusion should have 20th Century-Fox 100 minutes Olivia de Havilland, Richard Burton, Aud- rey Dalton, Ronald Squire, George Dolenz, John Sutton, Tudor Owen, J. M. Kerrigan, Margaret Brewster, Alma Lawton Directed by Henry Koster Daphne du Maurier, author of "Rebecca", has supplied another fascinating story for the screen in "My Cousin Rachel," and Nunnally Johnson, as both producer and scenarist, has given it the treatment it de- serves. Poured into the mold that made "Rebecca" a boxoftice winner as well as an artistic triumph, and deftly handled by di- rector Henry Koster, "My Cousin Rachel" can boast two of the finest performances of the year in those delivered by the long- absent Olivia de Havilland and Richard Burton, principals in this tense drama of a woman who could be a saint or a murderess. It is this very indecision — and the only blemish on an otherwise splendid production —that lessens the impact of a picture that builds its audience to a high point^of emo- tion, then leaves it there. On the other hand, this factor may emerge as a blessing in dis- guise. It is sure to raise controversy as to been reached and the provocative ending should stir up plenty of word-of-mouth. On all other counts, the production is flawless. Koster's direction is beautifully paced, build- ing the story's suspense almost imperceptib- ly as the events ebb and flow in a mounting tide, against a brooding background that re- constructs the Cornish scene in a fine and lavish detail. The photography is magnifi- cent, heightening the mood of the film under Joseph La Shelle's lens wizardry. Highly reminiscent of "Rebecca," which it parallels in virtually every department, this should come close to the outstanding grosses registered by that eminent film. While Miss de Havilland's performance is another Oscar contender, Richard Burton's portrayal of her harried young lover is the top role in the film and overshadows even Miss de Havilland's artistry. The British star, noted for his stage performances in England, makes his American screen debut a most auspicious one in a brooding, emtion- ful portrayal of a man torn between love and suspicion. The supporting cast is par excellence, too, right down the line. STORY: The scene is laid in Cornwall, England, in the early 19th Century. In RUBY GENTRY' STRONG, GRI Rates • • • or better generally 20th Century-Fox 82 minutes Jennifer Jones, Charlton Heston, Karl Maiden, Tom Tully, Bernard Phillips, James Anderson, Josephine Hutchinson, Phyllis Avery, Herbert Heyes, Myra Marsh, Charles Cane, Sam Flint, Frank Wilcox Directed by King Vidor A morbidly fascinating and often shock- ing drama, "Ruby Gentry" is a highly charged adult film dealing in sex and vio- lence. The story of a woman's fight against the social prejudices of a small town, this Joseph Bernhardt production follows the hyperemotional pattern reminiscent of a past Jennifer Jones starrer, "Duel in the Sun". The action is tense throughout and moves in low key, with the Silvia Richards screenplay and Miss Jones hammering out a forceful characterization of an intriguing woman. While the Legion of Decency may look askance at some aspects of the film — es- pecially the violent climax which, like "Duel", wallows in frenzied passions — "Ruby PPING DRAMA Gentry" should be a much-talked-about pic- ture and a big grosser. The strong sex im- plications may make this questionable for small-town family spots. Gearing all elements to achieve the maxi- mum in emotional excitement, director King Vidor has fashioned a compact, fast-moving film with all those little touches that are the hallmarks of a craftsman. Jennifer Jones, in the title role, is the kingpin on which the drama turns, and she provides a memorable portrayal of a woman guided only by her passions. Heading an excellent supporting cast, Charlton Heston, on a smaller scale, matches Jones' performance in the role of the man who motivates Ruby into running the gamut of sin. STORY: Living in a North Carolinian coastal town, Jennifer Jones is a girl from the wrong side of the tracks in love with Charlton Heston, a member of the town's snobbish society. Her father, Tom Tulley, owns a farm outside of town, which some of the local bigwigs use for hunting. Jones usually accompanies the men on their hunt- ing parties, and although she is something of a spitfire, is considered "one of the boys". On one of these trips, Heston tries to seduce her, but she repels and threatens to kill him. Her father, knowing she loves Heston, en- courages her pursue to the romance, but her psalm-shouting brother condemns her for leading a sinful life. Jones believes Heston will marry her, despite the fact she is from the wrong side of the tracks. He marries one of his own class, however. In despair, Jones marries the richest man in town, Karl Maiden, who is old enough to be her father. Maiden is killed in an accident, but the town, learning of a fight between Maiden and Heston, thinks Jones murdered him. Jones on finding that she now holds mortgages on half the businessmen in town, sets out to ruin them and regain Heston for herself. She succeeds, but on a hunting trip with Heston, they are ambushed by Jones' fan- atical brother who wants to shoot them both because of their sins. The end comes with Heston being killed and Jones killing her brother. NEIL MEMBER OF THE WEDDING' LONG-HAIR OFFERING Rates • • as dualler generally; more for Columbia 91 minutes) Ethel Waters, Julie Harris, Brandon de Wilde, Arthur Franz, Nancy Gates. Directed by Fred Zinnemann Somewhere in the translation from stage to screen this Broadway hit has changed from a sensitive study of a motherless girl's adolescence into an unsympathetic exhibition of juvenile tantrums. Nor are the entertain- ment values of this Columbia release ad- vanced by Stanley Kramer's production. It is almost a photographed stage play, with long, tedious sequences offering no change in scenery. Neither does Fred Zinnemann's direction contribute much to quicken the film's pace. The characters go through their motions, nearly always in semi-close-up, as though they are still playing "live" and wait- ing for the applause. "Member of the Wed- art and class houses ding" is strictly "long-hair" and will have tough sledding boxofficewise in most general situations. It should pick up nice returns in the art and class houses, however. The original Broadway cast gives all it's got, but doesn't overcome the deficiencies. Ethel Waters, around whom the story re- volves, comes out of the job well, but Julie Harris' stage technique isn't . right for movies. The youngster, Brandon de Wilde, is almost equally unreal. STORY: Twelve year-old Julie Harris lives in the deep south with her father and his wise, warm-hearted colored maid, Ethel Waters. Julie has only one playmate, her young cousin, Brandon de Wilde, who lives next door. The neighborhood kids dislike her. When Julie's brother Arthur Franz is engaged to Nancy Gates, the youngster suffers an emotional tidal-wave and plans to run away from home and live with the young couple, where she feels she can "belong". After the marriage ceremony she finds the newlyweds don't want her to share their honeymoon. Julie runs away into the night. At home, unaware of her disappear- ance, Ethel Waters learns that her no-good half-brother, James Edwards, has just killed a man with a stolen automobile. In the thick of these troubles little Brandon is taken ill. Julie is also in trouble. In a cheap cafe a drunken soldier tries to kiss her. Despair- ing, miserably unhappy, she goes home. Two days later Brandon dies, but the shock of Miss Water's problem, the death of her own playmate and the affair in the Blue Moon cafe have helped straightened the girl out. She quickly makes friends and begins a new kind of life. And as she does so Ethel Waters, her half-brother in jail, Brandon dead, and Julie growing up at last, sobs out her heart as, no longer needed in the house, she waits for the truck to take her and her belongings away. COULTER TROPIC ZONE' ACTION, ROMANCE & BANANAS IN TECHNICOLOR Rates • • + for action houses and as dualler generally is more talk than is desirable, particularly Paramount (Pine-Thomas) 94 minutes Ronald Reagan, Rhonda Fleming, Estelita, Noah Beery, Grant Withers, John Wengraf, Directed by Lewis R. Foster The tropics, a pair of pretty girls and how to run a banana plantation vie with occasion- al bursts of furious action in this Pine- Thomas Technicolor melodrama. While there isn't much to attract the discriminating moviegoers in the trite and obvious story, several bang-up action sequences in the latter half of the picture should give the action fans a run for their money. The backgrounds, graced by Rhonda Fleming in various costumes that are easy on the eyes, and Estelita in periodic song-and-dance sinu- ousities, won't be hard to take, either. There in the fore portion of the film, but after that it settles down to some rugged displays of slugging action as an entire native colony rebels against a monopolistic exporter and lugs thousands of stems of bananas to make a deadline on the dock. With proper ex- ploitation, ' Tropic Zone" should make an adequate dualler generally and could stand alone in the action spots with satisfactory results. Ronald Reagan handles his chores as a fugitive beachcomber, who takes over and saves ravishing Rhonda's banana plantation in his rehabilitation process, with a likeable nonchalance. STORY: Following her father's death, Rhonda Fleming takes over the banana plan- tation in Puerto Barranccs, not knowing that her imbibing foreman, Grant Withers, is in league with John Wengraf, chief exporter, to run down the farm so that he can take control. Fleming hires Ronald Reagan, who had run, a plantation in a country over- thrown by revolution, to run the farm. When his efforts increase production, Wengraf forces Reagan, who is attracted to Fleming, to attempt sabotage at the plantation under threat of deportation. Reagan, however, learns that he is no longer endangered by return to the country, rallies all the local growers- and their crews and, in a heroic effort, manages to bring in the quota of bananas to an incoming ship to insure a con- tract with a reliable exporter, and remove Wengraf's domination. Reagan and Flem- ing are free to marry, leaving Estelita, who had been carrying a torch for Reagan, to be taken care of by his pal, Noah Beery. BARN *eg« 4 FILM BULLETIN D»r.«mbor 29, I9S2 THERE'S PLENTY OF The story of a flame named Ruby... who wrecked a whole town... SIN BY SIN! JENNIFER JONES CHARLTON HESTON Produced by JOSEPH BERNHARD and KING VIDOR • Directed by KING VIDOR Screenplay by SILVIA RICHARDS Story by ARTHUR FITZ-RICHARDS A Bernhard-Vidor Presentation Released by 20th Century-Fox MOOLA . . . CABBAGE . . . GREENBACKS . . . SKINS . . . THERE'S REAL MONEY IN YOUR DATE WITH RUBY! behind the £ceneJ cj[ Jitm Production STUDIO SIZ6-UPS Xxcltah* BULLETIN Jeature By JAY ALLEN ALLIED ARTISTS Switch In Company Name Has Not Hypoed AA Product While Monogram has put its entire slate of films under the Allied Artists banner, there has been little evidence thus far that the change is resulting in a higher quality of pictures. Merely putting the AA label on a Bowery Roys film doesn't make it an "A" picture. A quickie by any other name still grosses the same. Currently, the studio is shut down, with only a skeleton staff operating. The shutter- ing has been announced as an expansion pro- gram move in preparation for the speed-up in production due to get under way Febru- ary 1. The building program will include a 2100 square-foot, sound-proof planing mill, to be constructed at a cost of $25,000; ad- ditional star dressing rooms; new facilities for the make-up departments, and, possibly, new offices lor a larger writer staff. This can be accepted as evidence that AA has definite plans for a step-up in its pro- duction program for 1953. The company executives say that many of the properties are being revised to enhance their produc- tion values, even though it will undoubtedly entail an increase in budgets. The good re- action to such pictures as "Flat Top", "Battle Zone," "Hiawatha" and "Torpedo Alley", they say, prompted the revision. Among the properties undergoing revision are: "The Annapolis Story," "Wichita," "Pocahantas," "The Black Knight," "Hajji Baba," and "Fighter Command". Hayes Goetz, incidentally has just been given "Poc- ahantas" as his first assignment for AA under the long-term producer contract he signed with the company, following his recent exit from MGM. It will be filmed in color. "The Annapolis Story" and "Wichita", for which top stars are being sought, have been given Technicolor commitments. There arc indications also, that AA may invade the field of musical production during 1953 — a radical department for the company. Executive producer Lindslcy Parsons has been conferring with Joanne Gilbert and Tom Douglas, producer of the Windmill Reveue, currently playing a Las Vegas nightclub, with an eye toward basing a movie on the revue. Page 8 FILM BULLETIN December 29, 1952 HARRY COHN Cites Big Ten COLUMBIA Prospects For 1953 Best Since War Years for Columbia Columbia faces the new year with the brightest prospects, production-wise, since the lush war boom. And from the stand- point of quality of production, it appears to be shaping up as one of the greatest in company history Harry Cohn, Columbia president, has singled out 10 productions from the 60-odd planned for the year, which he contends will be among the most important ever turned out by the studio. In this select group, he lists "Salome," "Miss Sadie Thompson" and "The Gay Girls," all starring Rita Hay- worth; "From Here to Eternity," which is currently being cast from the ranks of Hollywood top name talent; "The Life of Casanova," "The River of the Sun," "Let's Do It Again" (Jane Wyman-Ray Milland), "The Red Beret" (Alan Ladd), and an un- til led Judy llolliday comedy. it is the general concensus in Hollywood, that Columbia's '53 program, to be produced under 1hc executive supervision of Jerry Wald, will see a decrease in secondary features, and a marked increase in the ex- ploitable type of "A" films with which Wald's name has long been associated. To- ward this end, Cohn has added four pro- ducers to the roster — Robert Arthur, Wil- liam Fadiman, Lewis J. Rackmil and Wald's old side-kick at Warner Brothers, Ranald MacDougall. In addition, Maxwell Shane has been signed to a writer-director pact. Winding up the old year, Columbia has two features in production: Sam Katzman's "Conquest of Cochise" (John Hodiak- Robert Stack-Joy Page) and "49 Men" (John Ireland-Richard Denning-Suzanne Dalbert), the latter an Esskay (also Katz- man) production. William Castle is direct- ing "Cochise" and Fred F. Sears megs "Men". It is not alone in the production of thea- tre films that Columbia will shine during the new year. A vastly expanded program of television production is also shaping up, which is expected to utilize one-third of the studio's present stage space. LIPPERT PRODUCTIONS Two Foreign Productions Added To Release Schedule Lippert continues to move along, produc- ing a picture occasionally, picking up inde- pendent productions here and there. The company has acquired releasing rights to a couple foreign films within the past fort- night. "Bachelor In Paris" (Dennis King- Anne Vernon-Mischa Auer), produced in France and England by Adelphi Films of London, has been set for a March release. The other acquisition, "Park Plaza 605" (Tom Conway), is yet to be filmed, with a tentative starting date of January 3. B & A Productions, Ltd., of London, will produce, with Bernard Knowles directing. Another pair of productions are currently in work for Lippert release. "Cario" (George Raft-Maria Canale) went before the camer- as in Italy on December 2, with Ray En- right directing for producer Bcrnie Luber. "Spaceways" (Howard Duff-Eva Bartok) has been filming in England since November 27, with Terence Fisher directing and Michael Cabreras producing. (Continued on Page 9) SIZ6-UPS (Continued jiom Page 8) Scoring got underway late this month on "The Tall Texan" (Lloyd Bridies-Lee J. Cobb-Maric Windsor), under a stepped-up schedule in order to have the picture ready for showing to Lippert's 28 franchise holders, at a meeting in Chicago, January 10-11. "Texan" is a T. F. Woods production, di- rected bv Elmo Williams. METRO-COLDWYN-MAYER Studio In Lull Till Feb. Big Release List Announced There is very little in the way of produc- tion news trom M-G-M, since this studio is witnessing an uncommon lull of late. A veteran of the lot remarked the other mor- ning when looking at the empty call-hoard: "I never thought I'd live to see the day when I would walk on the lot and not see a single picture shooting". Yet that situation has existed not once but three times in a comparatively recent period. It appears that the slowdown will con- tinue through most of January, but there are prospects that production will zoom up- wards by the first of February. Apparently, the slackness can be associated with the heavy investments Metro made in topflight product during the past year, the desire to liquidate some of the high-cost backlog, and a general upheaval of the studio personnel for future activity. The big news from this company is the announcement by general sales manager Charles M. Reagan of an extension releas- ing schedule during the first four months of '53. Among a list of 16 pictures to be re- leased during the first third of the new year will be '.he spectacle, "Ivanhoe", which Metro will make available for general re- lease on Feb. 20. Reagan said the company wants to get it into theatres "while the public are still feeling the impact of M-G-M's gigantic pre-selling advertising campaign." Two other releases, "Lili" and "The Story of Three Loves," will be given special handling. The January releases will be "Above and Beyond" (Robert Taylor-Eleanor Parker), "The Clow.i" (Red Skelton-Jane Greer), "Desperate Search" (Howard Keel-Jane Greer), "The Bad and the Beautiful" (Lana Turner-Kirk Douglas- Walter Pidgeon), and "The Hoaxters", the anti-red documentary. In addition to "Ivanhoe", the February slate has "The Naked Spur" (James Stewart- Janet Leigh), "Rogue's March" (Peter Law- ford-Richard Greene) and "Jeopardy", (Bar- bara Stanwyck-Barry Sullivan). The March trio consists of "Dream Wife" (Cary Grant-Deborah Kerr-Walter Pidge- on), "Confidentially Connie" (Van Johnson- Janet Leigh) and "I Love Melvin" (Donald O'Connor-Debbie Reynolds). The final quartet for April are: <»"Battle Circus" (Humphrey Bogart-June Allyson), "Small Town Girl" (Jane Powell-Farley DON HARTMAN .\ o 'Medium Budselers' Granger-Aim Miller), "See How They Run" (Dorothy 1 )andridgc- Robert Horton) and "Never Let Me Go" (Clark Gable-Gene Tierney). . . PARAMOUNT 20-Picture Backlog Slows Shooting During Early '53 Paramount, with a record backlog of 20 features for 1953 release, has ordered a cur- tailment :>f production during the early months of the new year. The company released only 24 films during 1952 — an even half dozen less than during the pievious year. The tentative 1953 slate calls tor a total of 20 to 24 features to be turned out, under a budget of $30,000,000, including the product from various inde- pendent umis releasing through Paramount. In a press conference at the studio, pro- duction chief Don Hartman claimed that there will be no "medium" hudgeters on the year's slate; everything is to be topgrade. He also pointed out that the total of planned films should not be considered conclusive, inasmuch as he intends to keep the program flexible in order to allow for any additional pictures which might be added to the schedule as future conditions warrant. Hartman reiterated his earlier stand on withholding any production until it is com- pletely ready and properly cast. Although he carefully refrained from commenting on possible lay-offs of personnel, the produc- tion chief declared that the payroll will be governed by the actual activity on the lot, with a view toward maintaining a high level of efficiency on the most economical basis. Among the important features set for film- ing in 1953, Hartman singled out "Wings Across the Sea" (William Holden), "Ele- phant Waik" (Vivien Leigh — and possibly Laurence Olivier), "A New Kind of Love" (Yul Brynner- Audrey Hepburn), and an- other 'William Wyler comedy starring Gregory Peck, to follow the recently com- pleted "Roman Holiday". Despite previous indications that Para- mount would go in heavily for musical pro- ductions, Hartman indicated that the number of tunefilms made at the studio in 1953 will likely be small. He gave as reasons the high cost of this type of film and the unpredict- able boxofficc. Only two pictures are currently shooting at the studio: "Here Comes the Girls" (Bob Hope- Tony Martin- Arlcne Dahl-Rosemary Clooney) and an untitled Martin and Lewis comedy. REPUBLIC Yates Sees '53 Crucial Year In Future Of Industry Herbert j. Yates told a Hollywood colum- nist the other day that 1953 will tell the story, where the movie industry is con- cerned. He pointed out that the crucial new year will be the first in which most of the movie companies have operated separately from their theatres, and the first in which television will have a chance to register its full impact in all parts of the country. Nevertheless, he denied any feeling of pes- simism, in discussing his company's future with this reporter. He pointed out that he has enough faith in the future to gamble $26,000,000 of company funds on the largest program in company history. Republic starts the new year on a low- keyed production schedule, with very little set to go on the stages before March. Presi- dent Yates gives as his reason for the lull the large backlog of unreleased films in the company vaults, which he describes as "probably the most impressive in Republu history". In ordering the production slow-down for the first quarter of 1953, Yates has shoved back two important features, "Sea of Lost Ships" and "One For the Road," both of which had been scheduled to roll in late January. Two features currently before the cameras, "A Perilous Voyage" (Vera Ral- ston-David Brian) and "City That Never Sleeps" (Gig Young-Mala Powers), are both expected to be completed by the end of the first week in January. After that, only two low-budget series westerns are slated to roll before March. In looking back over 1952, one of the most important business transactions for Re- public was the sale, earlier this month, of 104 feature film - to the CBS television, chain. Nearly all of these films were produced in the years since the war, thereby giving tele- vision its first big backlog of comparatively new motion pictures. There is a strong belief in Hollywood, that Republic's deal may open the way for other major film studios to sell some of their backlogs of films to television. Against this feeling is the fact that TV networks are still able to pay only "peanuts" for films. For all that film it has turned over to CBS, Republic is understood to have picked up something less than $200,000. (Continued on Page 12) FILM BULLETIN December 29, 1952 Page 9 THERE ARE two men working at Uni- versal who are the perfect answers to those who talk about the big "turnover" in our industry. Both have risen from the ranks to an executive capacity. One has spent a third of a century with the company and is now the executive vice-president. His name is Al Daff. The other, also doing it the hard way, is Daff's junior in service. Charles Feldman only has a quarter of a century with Universal, and has worked his way up to general sales manager. Their continued service to one company for so many years are prime examples of the fact that the movie industry offers steady jobs to men who merit them. But more important, their careers are an incentive to the young men in the movie business, the men who will some day be the industry's leaders. Al Daff and Charlie Feldman are living proof of the opportunities in the movie industry. LATEST OF the film companies to enter the TV production field, Paramount, de- scribes its move as a combination of "sister arts" with each having a "constructive con- tribution to make to the other," according to Paul Raibourn, president of the wholly- owned subsidiary, Paramount Television Productions, and v.p. of the parent company. According to the set-up, the Danzigers, Edward & Harry, will produce a series of 39 half-hour dramatic films for TV, with shoot- ing scheduled to begin January 5. Para- mount TV director Burt Balaban will be in charge of the production of the programs. A complete merchandising and exploitation campaign is currently in preparation under supervision of Para TV chief of sales and merchandising. UNITED ARTISTS' opening of six new booking offices in key cities will be welcomed by exhibitors who previously had to work their deals by correspondence or were forced PLAY FOR FUN! PLAY FOR PROFIT! ENTER THE HERALD-AMERICAN'S MOVIE LIMERICK CONTEST! The entire family can enjoy this rhyming game, and have a chance at winning cash and prizes. Just put together a limerick that tells the pleas- ures of going out to see a movie. A winning limerick will be selected and published each day in The Herald-American; the person who sub- mitted it will receive two guest tickets to any Chicago area movie theater he chooses. And the week's winning limerick is worth $25 in cash! Here's a sample: "When you start acting grumpy and Tnean, And you long (or a change oi tho scene* No need to feel tragic. There's glamor and magic For you on a big theater screen." READ THESE RULES Anyone may enter «i many times •< desired, but eech limerick mult have movies at its subject, loth daily end weekly winners will be published; weekly $25 winners will be announced on Tuesdays, end to qualify must be postmarked no later then midnight of the Wednesdey preceding. Judges' decision will be final; no entries can be returned; duplicate awards will be made in cese of ties. Contest closes Dec. 31. 1952. Wl"."r'liW-..!.Mil»i!lii inc'iili ,ii.it; f v. ~ *; jh««_ . 1 B . V" ? * *v * ■ Metro's promotion for "Million Dollar Mermaid" isn't hurting a hit, us the smiles on the gentlemen bidding Julie Horsey, one oj the "mermaids" mak- ing i>.u,\ throughout the country. The happy guys are columnist Earl Wilson (left) and MGM ad- vertising manager Silas F. Scudler. At bottom, one of the TWA windows featuring the picture. aid from a U-I field force that will be more than doubled for the 18-week campaign. Even the home office top brass will be in the field to promote the product. Greater love for an exhibitor showman hath no company. PARAMOUNT'S RE-RELEASE of Cecil B. DeMille's "Cleopatra" is getting a brand new set of accessories, including a special teaser trailer to run two weeks ahead of playdate. It's not only a good idea, it's FREE. And it's in your Paramount ex- change now. * * * ALLIED ARTISTS claims the most ex- tensive exploitation campaign ever given for a film in the Minneapolis area with the mid- west premiere of "Hiawatha" at the State Theatre last Wednesday (17). With star Yvette Dugay on a dozen radio shows and another batch of TV appearances to spear- head the campaign, the press also gave plenty of play to her hosting a special screening at the Shriners' Hospital for Crippled Children, special luncheons with the town's bigwigs on hand, and a "dawn to duck" date with a sailor to visit the town's points of interest, among other things. * * * NOW THAT the horrible onus on mink has been removed by the switch in admini- strations, Lux is giving away 20 mink coats, 40 mink stoles and 300 mink scarves, total value around $150,000, in a contest. What's to do with the movies? There's a mess of display material on the contest and the model in the mink is Rhonda Fleming, with appropriate credits for her Paramount re- ( Con tinned on Page 18) Another "first" in the utilization of television to promote moviegoing took place in New York jf^ last Monday with 20th Century-Fox's "Stars and Stripes Forever" premiere at the Roxy. ^ All the glamour of a movie premiere — klieg lights, celebrities arriving in limousines, inter- V/ views in front of the theatre was brought to a K vast number of Americans who had heard of but had never witnessed this spectacle. An extra y touch of excitement was the color and precision playing of the U. S. Marine Corps Band. The show was witnessed in Chicago, Atlanta, Cleve- land, Detroit, Baltimore and Philadelphia via the American Broadcasting Company's web, the first time such an event had gone over a TV network. Television is a two-headed creature. There is no doubt that it has drawn — and will continue to draw — millions of moviegoers from the motion picture theatres. But it also has a great po- tential for bringing 'em back. Special trailers, star appearances with plugs for their pictures, noted personalities talking directly to the people in their homes, and, of course, the glamor of one of the greatest shows on earth — the big premiere — are all powerful inducements to moviegoing. Credit 20th-Fox ad-publicity chief Charles Einfeld with introducing this new idea in show- manship. The telecast of the "Stars and Stripes Forever" premiere can be the beginning of a bright new world for TV programming on behalf of our industry. Certainly it is a prime example of how to reach into the living room and get a movie message to the TViewers. And it might just be that the benign head will swallow its mate, horns and all, and leave video, like its radio brother, not a threat but a promise to movies. STEIN Akrons Palace manager Steve Lacuse used a "Cleopatra mid Marc Anthony" stunt for the run of Cecil B. DeMille's epic, currently in re-release. Lacuse is shown with the young lady who won the title of "Miss Cleopatra of Arkon" and a local lad dressed as Marc Anthony. "Cleopatra" made a number of radio and personal appearances and delivered, in costume, her own press material. Page 14 FILM BULLETIN D«c«mber 29, 1952 WHEN ITS JANUARY 1st IN THE USA ...IT'S APRIL IN PARIS! ■), o 1 is V© From WARNER BROS. for New Years that oo-la-lovely musical spree in Paree! / Big-space v advertising / in Collier's (plus cover and 3-page * color feature) ; / Cosmopolitan /tr^ mafT!J7inQcl EXPLOITATION PICTURE 'Paris' Is Gay, French & Saleable ABE, RAY & GEORGE BOLGER The Star Dunces with Two Other Famous Americans Happy, breezy entertainment with lots to sell for the eye, ear and funnybone, Warners' gay Technicolor musical comedy? "April in Paris," has plenty of angles for the showman. There are the stars. Doris Day and Ray Bolger, two of the most person- able and talented players in Hollywood. In addition to her eye appeal, Miss Day has garnered an avid fan following from her records and radio show, while Bolger's stock has ijone zooming with his tremendous one-man show in "Where's Charley?" In ad- dition, there is a French newcomer. Claude Dauphin, who has had the critics turning cartwheels as to his future on the basis of his performance in this once. Fraught with even more exploitation possibilities is the French theme, spearheaded by a contest offering free trips to Paris for a week's stay in a tie-in with Air France and the French Government tourist office. Contestants answer "Why I Would Like to Spend April in Paris" on special entry blanks supplied to participating theatres Iplaydates between Dec. 25 FRENCH POSTCARDS and Feb. 14 for eligibility) and a series of special accessories will be supplied to herald the contest, including a special advance trailer, a large rules poster (below, left) for the lobby, "Wonders of Paris" posters and several other items to plug the contest. Details and suggestions for handling the contest are outlined in the press book. CONTEST CAM M YOVM VIA AM FB ANCI 1M LUXUKY WMLD-WIM AMtLMM A MOt WAT IN PARS AWARMD IN HONOR Of TKHHKOLM MUSICAL MM M PAHS — dayambbay bolocb WIMNIII WAX H OUISTS * FRENCH ANCLES There are a host of stunts and ballys that can be adapted locally to the Parisian background, langing from "French Postcards" (stills of some of the lovelies in the picture in an envelope give- away I (see below, center) to a special screen- ing for French war brides, with newspaper coverage. Even the idea of promoting a French convertible from a dealer is suggested, with two or three models in abbreviated costumes sur- rounded with hat boxes and, perhaps, French poodles. Travel agency tie-ups are a natural, of course, keyed to the line "Why Not Spend April in Paris?" Special 8 x 10 Color-Glos and other stills would be worked in for the tie-up. Another idea for a tie-up is a co-op with a de- partment store or a contact with the newspaper's fashion editor for the Parisian fashions displayed in the film. A special set of fashion stills is available, featuring the Leah Rhodes designs for Doris Day's costumes. MUSIC PROMOTION The songs from the picture, combining several old favorites with the Sammy Cahn-Yernon Duke new tunes, are fine for housebreak plays, lobby music, disc jockey plugs, or even an Amateur Song Stylist contest from the radio station. The Columbia "April in Paris" album could be used as prizes. NEWSPAPER ADS IACK «OS£ — MELVILLE SHUVtLSON ~ EXPLOITATION PICTURE Aboard ship en route to Paris, Ray Bolger comes to scold Doris Day for singing in galley — with the above results. New star find Claude Dauphin serenades APRIL IN PARIS Several ingratiating people, a batch of top tunes, lavish, colorful production numbers, plenty of beautiful girls and a gay and amusing plot make "April in Paris" fetching entertainment. It's a twist to the mistaken identity, Cinderella story in which the sprightly Doris Day, playing an American chorus girl is on the receiving end of an invita- tion to represent the American theatre at a Parisian international art festival. The only hitch is that the State Department official who de- livered the tidings, didn't know that the invitation was meant for (the real) Ethel Barrymore. When the choice of Miss Day, however, is hailed as a representation of American democracy, a whole chain of events is set off that include a phony wedding ceremony performed by a ship's bus-boy between Doris and Ray, frantic attempts to keep the marriage "kissless" aboard the French luxury liner, a mad whirl in Paris and, of course, the ultimate union of the spuriously married couple. A clever script, toe-tapping musical numbers delivered in the inimitable Day and Bolger manners, and a newcomer from France, Claude Dauphin, are the big features. The latter, a long-time favorite in Paris, has the role of a French music hall performer, working his way back to France as a ship's waiter, and is said to steal every scene in which he appears. Even for a Frenchman, his charm, flair for comedy and musical talents are something to behold. They bode a bright future for this newcomer to the American screen. They also help make "April in Paris" an entertainment treat. FILM BULLETIN December 2?, 1 952 Page 17 Short Subjects (Continued -rom Page 10) past and present. The choice of the Pal- ladium is significant — it was just at that location that Adolph Zukor set up his first film studi-). THE GROWING importance of the movie industry's overseas business was pointed up when Eric Johnston, president of the MPAA, took over active direction of the As- sociation's international affairs. John G. Mc- Carthy, former managing director of the International Division, stepped out so that Johnston could take complete charge. Under the reorganized set-up, directly under John- ston in the conduct of foreign business will be Ralph D. Hetzel, Jr., in New York, and Joyce O'Hara in Washington to handle con- tacts with the State Department and the foreign embassies. Johnston is setting up three geographical divisions: Europe and Africa, the Western Hemisphere, and Asia. Hetzel will handle the European-African desk, and Robert J. Corkery is in charge of the Western Hemisphere area. Head of the Asiatic department will be named shortly. The "new and complicated problems" in the overseas business, Johnston explains, require specialized attention and action. THAT WAS really a ball that Paramount tossed for the premiere of "Come Back, Little Sheba" at the Victoria in New York. Just about everybody who was anybody was on the Paramount list of attendees, which ran better than four and a half solid pages of names. You name 'em and they're on the list. They really came out for this one, pegged as one of the strongest contenders for 1952 Academy Award honors in several departments. DENIAL-OF-RUMORS DEPT: United Artists Board Chairman Robert S. Benjamin put the kibosh on the report of a merger deal with RKO. "No one at United Artists," said the board chairman,, "is now negotiat- ing, nor has anyone in the past negotiated any deal with or for RKO merger or other- wise, nor has anyone been authorized on United Artists' behalf to do so." THE CINERAMA showings at the Broad- way Theatre in New York has made that house an international institution. The pub- lication put out by the N. Y. Convention and Visitors Bureau has for, the first time in entertainment history, a listing for Cine- rama, calling it "the new motion picture medium that creates a startling illustion of three dimensional reality," and names the theatre. The publication goes to some four million of New York's visitors each year. UNIVERSALE MAURICE BERGMAN pointed up some simple truths in his talk at the AMPA School last week: "It is interesting to note that most major industries have large funds to conduct con- U'S BERGMAN Simple Truths sistent — rather than desultory and spasmodic — well organized public relations programs in all the media of communications. We are actually without any such program and with- out any such fund to inaugurate it and main- tain it." "It is a strange omission to think that we do not even use our screens in the 20,000 theatres in the country to counter-attack. . .'' "It is important we maintain the highest standards of advertising and exploitation be- cause bad taste in advertising and publicity can break down the best public relations." "It seems that we only use the screen for propaganda when we are faced with an emergency, or else to assist other causes than our own." Any arguments about that? TENT TOPICS: Variety International's 1953 convention, slated for Mexico City, has been moved back from April to May 18-22. The change was made because the April date conflicted with several events being staged by individual Tents and will be more suit- able for the "Good-Will" Milk train trip to Mexico . . . That "Good-Will" train, inci- dentally, really caught on with the barkers. The interest whipped up at the Pittsburgh meeting has prompted International Chief Marker Jack Beresin to give it the all-out treatment as a big public relations stint. Beresin named William J. Koster, New England executive director, to head the pro- gram. Koster feels that with the front page coverage the train will receive, the idea could turn out to be "the greatest public relations program the Industry has ever at- tempted to undertake ... an unusual and powerful opportunity to call to the attention of the American public the immeasurahle amount of good the Variety Clubs and the people of show business are doing for the underprivileged throughout the world." . . . The entire ABC network carried the special i'hristmas Eve salute to Variety. Exploitation & Merchandising < Continued from Page 14) lease, "Tropic Zone". Which gives the pic- ture plugs in practically every grocery and drugstore in the country. * * * "ROAD TO BALI" is the focus of an area- wide west coast promotion by Paramount involving the Von markets chain and Star- Kist tuna, with the spotlight on a life-size blow-up of Dorothy Lamour in a sarong. On Dec. 20, Lamour doubles will be station- ed in each store and preside at a drawing for prizes. The food markets are publicizing the contest in full-page ads in twenty area newspapers. Incidentally, Paramount is really going all-out on "Bali" nationally with its news- paper and TV campaigns. A saturation TV campaign will bring seven special video trailers on the picture to an estimated 60,000,000 viewers and a series of huge two- color ads in virtually every newspaper in the country equipped to handle the color process have been set up. The TV campaign marks the first time a film company has saturated the networks with trailers. Titled "Great Moments in History with Bing Crosby and Bob Hope," the subjects are practically a show in themselves and should have, according to Paramount, the greatest audience in the history of movie advertising. * * * UNITED ARTISTS has assigned four of its 15 fieldman to cover the pre-release open- ing of "Moulin Rouge" at the Fox Wilshire on Dec. 23, the five-theatre Los Angeles premiere of "Breaking the Sound Barrier" on Dec. 17, and the opening of "The Rod- riguez Story" in San Bernardino, home town of Congressional Medal of Honor winner Joe Rodriguez. * * * JAY SILVERTHORNE, of Cleveland's Hippodrome Theatre used radio, television and newspapers to boost the showing of Columbia's "Hangman's Knot". He planted a western mystery sentence over four dif- ferent TV shows, promoting a western out- fit and other prizes with cross plugs. Radio promotion had a limerick contest, providing week-long plugs, and a local daily went along for a Randolph Scott coloring contest for four days. The latter had gun & holster sets and western belts promoted for prizes. Silverthornc went on with a cowboy and cowgirl handing out heralds with lucky numbers in a street ballyhoo. Holders of the lucky numbers posted in the theatre lobby got free tickets. There were also window displays in key shopping center stores and a complete false front on the thea- tre for the run. Showmanship isn't new — it only takes the doing. Page 18 FILM BULLETIN December 29, 1952 Arch Oboler's "£u>ana fart/" IS IN LOS ANGELES, HOLLYWOOD & SAN FRANCISCO! GEORGE SEHAEFER Vl.uonJ R.r,...»uu.. 1600 BROADWAY NEW YORK, N. Y. FILM BULLETIN December 29, 1952 Page 19 EXHIBITORS FORUm Opinions Culled from Organization Bulletins ON THE CONVENTION ATO of Indiana A. F. Myers (National Allied): Arbitra- tion is becoming a word, a concept without any specification as to what kind of arbi- tration is meant. Many have taken sides for or against it without having read the plan. Arbitration consists of a code of conduct and a method for enforcing it, and careful consideration must be give to what goes into such a plan. Proof of a need for such a code are the number of road shows and pre-release pictures. Many exhibitors be- lieve this is wrong and in some cases un- lawful. Distributors tell us they are scrupu- lously careful not to have any forced in- creased admission prices, yet in widely separated cities theatres have increased !o a uniform figure The distributor draft of the arbitration plan had many needed re- forms to be sure and let it be clear to all that there was not a single member of Allied who was against arbitration in principle. However, the plan fell short on such subjects as a lack of any approach whatever to the film situation. Mr. Myers is hopeful that the action in Chicago will result in bringing together informed exhibitor leaders and the film company presidents for a heart to heart discussion of conditions that may lead to some measure of relief and result in a better draft for an arbitration plan. Mr. Myers announced a national survey is being made of price fixing activities. * * * Max Youngstein (United Artists): There will always be differences between exhibitors and distributors and each group will fight to get the best deal within the limits of common decency. Many distributors too are experiencing difficult times today — U. A. is just coming through a period of near bankruptcy and KKO is losing money at the rate of $100,000 a week. The industry faces many problems today to be sure, but a few good things happened in the past year. Of primary importance is the advent of Cine- rama. Every performance has been sold out and it is impossible to get a good seat for less than $10.00. People are coming from all over the world to see it and to apply for franchises. Costs of Cinerama are still high and details of reducing costs, getting equip- ment, etc. are yet to be solved. Another process, Truvision, is much cheaper and is comparatively easy for any theatre to install. Th« only drawback is that you have to wear polaroid glasses to get the third dimension picture. This process opened in California and has had a tremendous box office. Mr. Youngstein calhd attention to the improve- ment in color films. Today three processes are available, Technicolor, Eastman and Ansco. United Artists plans to increase color production 150%. Mr. Youngstein reviewed the troubled years for United Artists during which time the company was completely insolvent. They have managed to pay off a $900,000 indebted- ness and at the same time produce 2 films a month. In 1952 they delivered 3 pictures a month and increased their personnel 25%. And now, for the first time in 10 years, U. A. has 36 pictures actually finished, cutting or shooting which will guarantee release of 3 pictures a month during 1953. The policy as stated by Mr. Youngstein is simply, "We do not believe that our com- pany at any time can do well unless our customers, the exhibitors, do well. Our doors are open and we will try to establish at all times a program that makes sense. We are a young group of men who not only make a living out of the business but have a love for it. We are dedicating ourselves to deliver better and more product to you in the future." * * * M. L. (Mike) Simons (M-G-M): State exhibitor meetings should hold enough in- terest for theatre owners to last a week and should be held simultaneously with meet- ings of the women's clubs and service clubs. Exhibitors should go home with something valuable enough for their screens to more than pay for the cost of their trip. Many exhibitors today are in a sort of suspended animation. It is time we check our opera- tions and put some life in them. He cited a case of a theatre which had 80 empty seats and about 60 people were standing the lobby. A doorman outside was telling people there would be a slight wait for seats. The manager was sitting in the office. Passive operation like this will mean more empty seats. All people in the industry should fight more zealously for the reputation of the motion picture industry. If a theatre sold these 25c paper bound novels that are on sale in almost every drug store in the country, blue nose critics would attempt to close the theatre. But it is all right for the druggist to handle such merchandise. If an act of misconduct occurs in the vicinity of a theatre, and even if it is stopped before anyone is hurt, that theatre is blamed for the entire incident. But a similar case could occur anywhere else in a town and be ig- nored or get no more comment than, "Isn't that too bad". The local exhibitor can do much to im- prove the reputation of this business, more than a large campaign. He should know his town and be in contact with the proper groups. This is part of his business. Mr. Simons had collected many good examples of discrimination against the industry. NO REPRISALS Allied Caravan of la., Neb., Mid-Central We learned at the convention that there were quite a number of cases where mem- bers hesitated to report deals in to Caravan for fear of reprisals that might be taken against them in future buys. Now that we think of it we can see this hesitance on some people's patt, fear not. Nobody but you and this office knows where the best buy deals originate. Under present Caravan set-iip this information is kept in the regional office. Rest assured no distributor is going to penalize you for reporting to Caravan. He just doesn't know where the deals come from. Nor is he going to know. However, anytime you want to know if a best buy re- ported in Caravan is in your particular lo- cality, just call or write this office. We can tell you that. We won't give you the town, but we will give you the exchange territory and the size of the operations. So send in your deals and have no fear of having trouble because you helped your brother ex- hibitor. Any good deal helps us all. Any poor deal hurts us all. The cement of Allied could congeal us into a much stronger body. It's up to you. 'IVANHOE' POLICY ITO of Ohio To show you that your protests are being heeded the policy on "Ivanhoe" has been amended as follows: Engagements due to play before January 15 will be played off as per contract. The picture will then be with- drawn from release until Easter when it will be released as a top bracket Metro picture on ?. regular basis. If you are buying Metro flat you will be able to buy "Ivanhoe" flat at that time. "The Miracle of Fatima" not having set the world aflame, will probably be released shortly in the same manner. It has already played some engagements at lower admission prices than Warner Bros, were holding out for originally. FREE ADMISSIONS ITO of Ohio Our Treasurer, L. J. Hofheimer has in- stituted a policy at one of his theatres here in Columbus of free admission, with the patron being requested to donate what he thinks the entertainment is worth when leav- ing the theatre. It has been decided by the Treasury Department in Washington that this is a perfectly legal device to avoid pay- ing admission taxes. However, this opinion was coupled with a warning that if the practice became widespread, the regulations would be changed. The Little Theatre where the experiment is being conducted was, like many others, ailing. The gross income has risen remarkably. Candy business is, of course, much better. The average contribu- tion has been from 25c to 30c against the 32c plus 8c federal tax which was the price before the experiment. However attendance is way up. Children paid 1 7c plus 3c. To answer many inquiries on the subject the following must be noted: This is a last run theatre where no percentage pictures are played; the free admission policy re- quires that anyone who wishes to enter may not be restrained from entering the show. This means employment of a house officer to avoid vandalism. Although the experi- ment has been successful, it is possibly only a temporary success. In the fourth week there has not been any appreciable decline, however. Pag. 20 FILM BULLETIN December 2?, 1952 PRODUCTIOn & R€L€RS€ R6CORD ALLIED ARTISTS 1951-52 Features Completed (54) In Production (I) Westerns Completed (19) In Production (0) RELEASE CHART — 1952-53 — IN PRODUCTION TITLE— Running Time Cast Rei. No. Rev. Jalopy Gorcey-Hall — COMPLETED Arctic Flight Morris-Albright 7-20 - 5210 Army Bound Clements 10—52 5214 Battle Zone Hodiak-Christian 9-52 22 Canyon Ambush Brown-Co*tes _ 10-12 5244 _ Dead Man's Trail Brown-Eihson 7-4 ...5243 Desert Pursuit Morris-Caruso 5-52 5209 Disc Jockey 177) _ Simms-O Shea 8-23 .... 21 4-18 Fargo Elliot ... . 9-52 . 5224 Flat Top IC) Hayden-Carlson 1 1-52 5201 Feudin' Fools Gorcey-Hall 9-14 5213 Gold Fever Morgan-Calvert 4-8 _ S.^O Gunman, The _ Wilson-Knight _ 4-13 5252 Here Comes the Marines ... Gorcey-Hall 4-iS.. 5212 — ,. Hiawatha (C) ... Edwards-Dugay 1 2-7 5202 Highwayman. The (C) 183) Hendrix-Coburn 9-8 20 3-27 Homesteaders, The Elliott-Vallin Jungle Girl Sheffield-Sharpe Kansas Pacific (C) ... Hayden-Miller 12-52 . 24 Kansas Territory (73) Elliott-Stewart 5-4 5225 Man from Black Hills (78) Brown-Ellison 3-52 5242. Mexican Silver Wilson-Clyde Montana Incident Wilson-Stewart _. 8-17 .. 5253_ Night Raiders — — Wilson-Knight —2-52 525 1 Northwest Territory 141) Grant-Chinook 12-9 _ Rose Bowl Story, The IC) 173) _.. Thompson-Miles 8-24 5204 Sea Tiger 171) Archer-Chapman _ 7-52 5218 Son of Belle Starr Larsen-Castle No Holds Barred Bowery Boys 12-52 . 5214 Tangier Incident Brent-Aldon Texas City ... - Brown-Elliscn _ 12-30 Timberwolf Curwood 12-28 ... 5222 Torpedo Alley Stevens-Malone _. ... 11-52 23 Vicious Years, The 179) Cook-Moore 2-18 Waco 148) Elliott 2-52_. 5224 Wagons West (C) (70) Cameron 4-29 5203 ... 4-30 White Lightning Clements-Bestar Wyoming Roundup Wilson-Coates _ ...11-9 5254 Squared Circle, The Kirkwood-Gleason _______ Yukon Gold Grant-Hyer ._ 8-52 . 5221 COLUMBIA In the Release Chart, "Rel." is the National Release Date. "No." ic. the release Number. "Rev." is the issue in which the Review appeared. There may be variations in the running time in States where there is censorship. All new productions are on 1951-52 programs unless otherwise noted. Listing of color pictures follows immediately after title: (T) Technicolor, (C) Cinecolor, (SO Supercinecolor, (TR) Trucolor, (AC) Ans- color, (NO Natural Color, (WO WarnerColor. Storm Over Tibet 187) Sound Off I SCI 183) . Target — Hong Kong Vatican. The IT) 142) Voodoo Tiger 147) Wagon Team 141) 1951-52 Features Completed (71) In Production (2) Serials Completed ( 3) In Production (0) RELEASE CHART — 1952-53 — IN PRODUCTION TITLE — Runninq Time Cast Rel. No. Rev. Conquest of Cochise IT) _ Hodiak-Stark 49 Men Ireland-Denning COMPLETED Affair in Trinidad 198) Hayworth-Ford . 9-52 7-28 All Ashore IT) Rooney-Lawrence Ambush at Tomahawk Gap (T) Derek-Hodiak _ _ Apache Country (42) Autry-Buttram 5-52 Assignment — Paris (85) Andrews-Toren 10-52 8-25 Barbed Wire 141) Autry-Buttram . 7-52 _ Blue Canadian Rockies 158) Autry-Buttram ______ 11-52 - Brave Warrior (T) 173) Jon Hall 4-52 ___ 5-19 Brigand, The (T) (94) Dexter-Lawrence 7-52 California Conquest IT) (79) Wilde-Wright 7-52 4-30 Captain Pirate (T) (85) Louis Hayward . 8-52 431 . 7-28 Clouded Yellow, The (89) Simmons-Howard ....8-52 10-8 Congo Bill _. McGuire-Moore Cripple Creek IT) (78) Montgomery-Booth _ 7-52 . 4-30 Eight Iron Men (80) _ Colleano-Frani 12-52 11-3 Firefighters, Th e Williams-Reynolds _ 5.000 Fingers of Dr. T., The IT) Hayes-Healy Four Poster, The (103) Harrison-Palmer 1-53 Golden Hawk (T) 183) Fleming-Haydn _ . 10-52 508 Hangman's Knot (T) (81) Scott-Jarman _ 11-52 Happy Time, The 194) Boyer-Driscoll 12-52 504 6-30 Her Wonderful Lie Kieoura-Eqgerth ... Invasion, U.S.A. 174) Mohr-Castle 12-52 Jack McCall, Desperado IT) Montgomery-Stevens ... Juggler, The Douglas-Vital* _____ Junction City (54) Starrett-Burnette 7-52. 486 Jungle Safari - — Weissmuller-Greene Kid From Broken Gun (56) Starrett-Bunett 8-52 481 Ladies of the Chorus (61) (Reissue)_Monroe-Jergens 11-52 Laramie Mountains 154) Starrett-Burnett 4-52 485 Last of the Comanches (T) Crawford-Hale 8-52 Last Train From Bombay (72) Hall-Ferraday . 8-52 504 8-1 Love Song IT) Wyman-Milland ■ — Member of the Wedding, The Waters-Harris Montana Territory (T) 164) McAllister-Hendrix 6-52 _ 438 6-30 Pathfinder, The (T) (78) Montogmery-Carter 1-53 Paula (80) Young-Smith 6-52 436 5-19 Prince of Pirates (T) Derek-Rush Posse _ Crawford-Derek ...... Rainbow Round Mv Shoulder (T) 178) Laine-Daniels _ 9-52 _ 503 ___ Red Beret, The (T) Ladd-AndVews Red Snow 175) Madison-Mala - 7-52 439 Riders of the Whistling Pines Autry-White — '. Rough, Tough West (54) Starrett-Burnette ...... .. 6-52 ... 487 _ Salome (T) _ Hayworth-Granger _. Sniper, The 187) _ —Meniou-Fram ... ...... 5-52 434 Reagon-Douglas Mickey Rooney -Denning-Loo Documentary 7-52 5-S2 Walk East on Beacon (98) War Cry IC) Winning of the West 157) Yank in Indo Chma. A '671 Strange Fascination 180) 1951-52 Special _Weissmuller-Burckhart 11-52 ..Autry-Buttram 9-52 Murphy-Gilmore 6-52 _ Montgomery-Long Autry-Burnette 1-53 Archer-Dick 5-52 Moore-Haas 12-52 428 47* 424 43S 435 505 5-5 10-6 LIPPERT Completed (40) In Production (2) RELEASE CHART — 1952-53 — IN PRODUCTION TITLE — Running Time Cairo — — — Spaceways - - - COMPLETED Bad Blonde Captain Kidd (Reissue) 189) Gambler and the Ladv (71) Great White Hunter (Reissue) (89) Hellgate 187) - I'll toet You Johnny the Giant Killer IT) Jungle. The 174) Loan Shark 1791 Mr. Walkie-Talkle 165) Outlaw Women IC) 175) Pirate Submarine i49l Scotland Yard InsDector 173) Secret People (87) Stolen Face, The 171) Stronghold 173) Tall Texan, The Tromba, the Tiger-Man 163) Valley of the Eagles (83) Winqs of Danger 172) ... . Cast George Raft Duff-bartok Rel. Payton-Wright Scott-Laughton 12-12 Dane Clark 12-26 Peck-Preston 12-12 Hayden-Leslie 9-5 George Raft 1-16 Animation Feature Cameron-Romero . 7-4 Raft-Hart 5-23 Tracy-Sawyer 1 1-28 Windsor-Rober - 4-2 Special Cast 7-18 Romero-Maxwell 10-31 Cortesa-A. Hepburn _ 8-25 Henreid-Scott 4-14 Lane-Scott 2-52 .Bridges-Cobb 2-13-53 Special Cast _ . 11-14 Warner-Gray 4-25 Z. Scott . - . 4-1 No. 5210 5204 5209 5113 5206 5205 5112 5111 5203 5I0S 51 10 5202 5116 5109 5107 5207 5201 51 14 5106 Rev. METRO-COLDWYN-MAYER 1951-52 Features Completed (113! In Production (6) IN PRODUCTION TITLE — Running Time Band Wagon, The (T) _ Invitation to the Dance (T) _ Latin Lovers (T) _ Main Street to Broadway _ Mogambo IT) Years Ago COMPLETED Above and Beyond (122) Apache War Smoke 147) RELEASE CHART — 1952-53 — Cast . Astaire-Charisse ... Kelly-Youskevitch . Turner-Montalbon _AII-Star Rel. No. Rev. Gable-Gardner Tracy-Simmons Taylor-Parker Roland-Horton Bad and the Beautiful, The (118) Turner-Douglas Because You're Mine IT) (103) Lama-Whitmore Carbine Williams (93) Clown. The (921 Skelton-Greer Code 2 Meeker-Forrest 1-53 10-52 1-53 10-52 Stewart-Hagen 5-52 305 304 231 12-1 10-4 9-8 4-21 1-53 Confidentially Connie 171) Cry of the Hunted Dangerous When Wet Desperate Search, The (71) Devil Makes Three, The (90) Johnson-Leigh _ _Gassman-Sullivan Williams-Lamas 4-53 Keel-Greer (T) Kelly-Angeli Dream Wife .... '. _._Grant-Kerr — Everything I Have Is Yours IT) (92)..Champion-0'Keefe Fearless Fagan 1781 Leigh-Carpenter ..... Girl In White, The (93) Allyson-Kennedy Glory Alley 179) . Caron-Meeker Girl Who Had Everything, The Holiday for Sinners 172) Taylor-Lamas ... ..Young-Rule Hour of Thirteen, The 180) Lawford-Addams I Love Melvin IT) Ivanhoe IT) (104) Jeopardy Julius Caesar . Lili IT) Lovely to Look At 1102) IT) Merry Widow. The IT) (105) My Man and I (99) _ - Million Dollar Mermaid (T) (115) Naked Spur, The IT) Never Let Me Go Pat and Mike (93) _. _ _ Plymouth Adventure IT) 1104) Prisoner of Zenda IT) (100) Ouo Vadis (T) 1148) Remains To Be Seen Rogue's March Scaramouche IT) 1115) See How They Run O'Connor-Reynolds 1-53 12-1 9-52 . 302 8-25 10-52 8-52 304 241 _ 10-20 7-14 5-52 4-52 232 234 7- 52 1 1-52 3-53 8- 52 239 . 309" 307 . . 4? 30 10-20 4-30 Stanwyck-Sullivan Brando-Mason Caron-Ferrer Grayson-Skelton Turner-Lomas ..Winters-Montalban Williams-Mature Stewart-Ryan Gable-Tierney Tracy-Hepburn Tracy-Tierney . Granger-Kerr Taylor-Kerr 2-53 _ 7-52 9-52 9-52 12-52 2-53 .237 . .301 .303 312 11-17 4-52 . 235 6-U 11-52 310 . 11-3 I 1-52 ... 308 .10-20 218 _l 1-19 Skirts Ahoy IT) 1109) Sky Full of Moon (75) Slight Case of Larceny Small Town Girl (T) _ _: Sombrero IT) — Steak for Connie Allyson-Johnson Lansford-Rule 3-53 _ S. Gro^noer-E. Parker 6-52 Dandndge-Horton ..William-Blaine _ _ 5-52 Carpenter-Sterling 12-52 Rooney-Bracken I. Powell-Granger 4-53 Montalban-Angeli 3-53 Johnson-Leigh 236 233 . 4-71 I 1-17 FILM BULLETIN December 29, 1952 Page 21 Story of Three Loves (T) Time Bomb (77) Vaquero (Ans) Ail-Star Cast .Ford-Vernon _. Gardner-R. Taylor 'dqjerg |nn»j — ——_■«"-• — • --■ - 1 Vicki IT) Garson-Pidgeon Wahington Story 162) Johnson-Neal You For Me 170) Lawford-Greer Young Bess IT) ._ Sommons-Granger Young Man With Ideas 1141 Ford-Roman 7-52 238 .7-14 8-52 __ 240 8-11 5-52 230 3-10 PARAMOUNT Rel. No. Rev. 10 1951-52 Features Completed (79) In Production (2) RELEASE CHART — 1952-53 — IN PRODUCTION TITLE — Running Time Cast Caddy. The Martin & Lewis Here Comes the Girls IT) Hope-Martin - Sangaree IT) Lamas-Dahl COMPLETED Anything Can Happen (107) Ferrer-Hunter __ 3-52 5117 . 3 Arrowhead (T) . .. ... Heston-Palance Atomic City, The (85) Barry-Clarke 6-52 5170 Blazing Forest IT) 1911 Payne-Moorehead 12-52 5207 10-20 Botany Bay IT) Ladd-Mason .- _ — Caribbean IT) (95) Payne-Dahl 9-52 5202 ... Carrie (118) Olivier-Jones 8-52 5123 6-14 Cleopatra 1104) Reissue) Colbert-Wilcoxon 12-52 5208 - Come Back Little Sheba 1991 - Lancaster-Booth 2-53 5213 Denver & Rio Grande (T) (89) O' Brien-Hayden 6-52 5115 ........ 4-7 Encore (90) Maugham Stories 7-52 5122 Forever Female Rogers Holden Greatest Show On Earth (T) USD Stewart-Hutton 7-52 Payne-Morrow Curtis-Leigh _ - DeCarl-.-lreland 10-52 5204.. - Martin-Lewis 7-52 5121 6-16 1-14 5201 8-11 5129 Green Gold of Nevada IT) Houdini IT) Hurricane Smith (T) Jumping Jacks (98) Jamaica Run (T) Milland-Dahl Just For You (T) (104) Crosby-Wyman 9-52 Little Boy Lost Crosby-Dauphin Los Alamos Barry-Carke _ Militarv Policeman Hope-Maxwell Off Limits Hope-Rooney 4—53 Pleasure island IT) Genn-Taylor 3-53 5215 Pony Express (T) Heston-Flemming Red Mountain (T) 184) Ladd Kennedy 5-S2 FH3 _.. Road to Bali ITI (91) Hope-Crosby-Lamour 12-52 5209 12-1 Conquerors. The (T) Payne-Sterling Roman Holiday Peck-Hepburn Savage. The (T) (95) Scared Stiff Shane (Tl Somebody Loves Me (T) (97) Son of Paleface (T) Stalag 17 Stars Are Singing, The IT) .. S'ooge, The I 100) Thunder in the East (98) Turning Point, The (851 _ Tropic Zone IT) (94) War of the Worlds IT) Heston-Hanson I 1-52 5206 . Martin-Lewis Ladd-Arthur Hu'ton-Meeker 10-52 5203 ... Hope-Russell 8-52 5124 Holden-Tavlor Alberghetti-Clooney 3-53 5214 Martin-Lewis 2-53 5212 Ladd-Kerr 1-53 5210 11-17 Holden-Smith 10-52 5205 ...10-6 10-6 9-8 7-14 Reagan-Fleming Barry-Robinson 1-53 5211 Rel. Barker-Wescott 1 1-52 RELEASE CHART — 1952-53 — IN PRODUCTION TITLE — Running Time Cast COMPLETED Battles of Chief Pontiac 175) Bela Lugosi Meets a Brooklyn Gorilla 174) Luskosi-Mitchell Breakdown 176) Richards-Bishop Calling Mr. Death 1631 IReissuel Chaney-Naish Cairo Road 185) . _ Harvey-Portman Cuban Pete 161) (Reissue) .. Arnez-Smith Fame & the Devil (80) Auer-Buford Geisha Girl (67) Hyer-Andrews House of Darkness (63) Harvey-Shaw House of the 7 Gables The 1971 Sanders-Price I Reissue ) If This Be Sin 1741 Loy-Greene Inside Job 165) IReissuel ... . Curtis-Rutherford Johnny Comes Marching Home (74) O'Conr.er-Jones I Reissue I Kid Monk Baroni 180) ... Cabot-Knox Lucy Goes Wild 190) (Reissue) ... Ball-Brent Maytime in Mayfair (T) (74) Wilding-Nagle . Mug Town (60) IReissuel Dead End Kids Missing Head 1621 Chaney-Joyce IReissue of "Stranqe Confession") Mr. Pip HOI) (Reissue) Hull-Holmes My Death is a Mockery (67) D. Huston-Byron .... . 12-52 Private Buckaroo 1681 (Reissue) Harry James 2-53 Summer Storm (92) (Reissue) Darnell-Sanders 9-52 Vanishing Body 165) Karloff-Lugosi 1-53 IReissue of "Black Cat") Wall of Death 182) Harvey-Shaw 9-52 W.de Boy 1661 Shaw-Tafler 12-52 No. Rev. 10-52 9-52 1- 53 10- 52 1 1- 52 1 1-52 8-52 10- 52 2- 53 11- 52 12- 52 2-53 8-52 I 1-52 8-52 12-52 ... I-S3 2-53 1951-52 Features Serials Westerns REPUBLIC Completed (22) Completed ( 0) Completed (15) In Production (2) In Production (0) In Production (0) RELEASE CHART — 1952-53 — IN PRODUCTION TITLE — Running Time Cast City That Never Sleeps Young-Powers Perilous Voyage Ralston-Brian COMPLETED Bal Teberin (90) _ Lawrence-Ching 4-1 5129 •lack Hills Ambush (54) Lane-Waller 5-20 5172 Rel. No. Rev. Border Saddlemates (67) Allen-Kay Desperatoes Outpost (54) Allen Fair Wind to Java ITr) MacMurray-Ralston Gobs and Gals 186) ...Downs-Hutton 4-15.. 10-8 .... 5143 5174. I Dream of Jeanie ITr) (90) Lady Wants Mink, The ITr) Middleton-Shirley Hussey-O'Keefe ... 5- 52 6- 15.. 5128 5106. 7-14 Marshal of Cedar Rock Lane-Waller Old Oklahoma Plains (60) ... Allen-Kay Old Overland Trail Allen-Hall Ouiet Man. The (T) (1291 . Wayne-O'Hara Ride the Man Down (Tr) (90) Donlevy-Tucker South of San Antone Cameron-Whelan South Pacific Trail (60) Allen-Estelita _ Sun Shines Bright Winninger-Whelan Sweetheart Time (Tr) „ Middleton-Norman Thunderbirds (98) Derek-Barrymore Thundering Caravans (54) Lane-Waller Toughest Man in Arizona ITr) 190) Monroe-Leslie Tropical Heat Wave (74) Estelita-Hutton ...... Valley of Missing Men Lane-Waller WAC From Walla Walla (83) Canova-Dunne Woman of the North Country (90) Cameron-Hussey Woman They Almost Lynched, The Lund-Leslie 7-25 11-52 ........ 11-27 7-20 10-10 ... 1 0-1 : io-io 7 .... 9-5 ... 5144 ZsToiZ 5201 5173 5109 5123 5107 S-l? 11-3 8-11 RKO RADIO 1951-52 Features Completed (76) In Production (0) RELEASE CHART — 1952-53 — Cast ..McNally-Smith IN PRODUCTION TITLE — Running Time Split Second COMPLETED Allegheny Uprising (81) (Re-issue) Trevor-Wayne Annie Oakley |9I) (Re-issue) Stanwyck-Foster Androcles and The Lion (98) Simmons-Young Beautiful But Dangerous Simmons-Mitchum Beware, My Lovely (77) Lupino-Ryan Big Sky, The (140) Douglas-Martin Blackbeard the Pirate (T) (99) Darnell-Newton Body Snatcher (Re-issue) Karloff Break-Up _ Simmons-Mature Bystander, The Mitchum-Simmons _ Captive Woman 165) Clarke-Field Clash By Night 1105) Douglas-Stanwyck Desert Passage 160) Holt-Dixon Difference, The O'Brien-Loveioy Face to Face 192) Mason-Preston Faithful City 186) J. Smith-Ramati Half-Breed, The IT) (81) Young-Carter Hands Across the Sea Rennie-Peters Hans Christian Andersen (Tl (120) Kaye-Granger . Jet Pilot (T) (118) _ Wayne-Leigh King Kong I Re-issue) Cabot Leopard Man, The IRe-issue) O'Keefe Look Who's Laughing (79) Ball-McGee Lusty Men, The (113) -JHayward-Mitchum Man Who Fooled Hitler ...Werner Montana Belle (T) (81) Russell-Brent Narrow Margin (71) McGraw-Windsor Never Wave At A Wac ...... Russell-Wilson No Time for Flowers 183) Lindfors-P. Christian One Minute to Zero (105) _ Mitchum-Tallman Peter Pan IT) _ Disney Cartoon Feature Story of Robin Hood (T) (84) ... Todd-Rice Sudden Fear (110) _.Crawford-Palance Tarian and the She Devil Barker-MacKenzie Too Many Girls 185) Ball-Arnaz Under the Red Sea 167) Hass-Berl Wild Heart, The (T) 182) ... Jennifer Jones Rel. No. Rev. 9-52 __ 384........ 9-52 383 _. 11- 52 368 2-53 . 9-52 302 ..... 8-11 8-52 361 12- 52 12-15 4-52 . 271 10-52 306 6-52 229 . 5-52 230. 6-16 I 1-52 5-52 5-52 11-52 309 12-1 303 4-7 228 5-5 6-52 269.. — . 6-52 270 8-52 ....... 381 10-52 304 10-4 11-52 308 5-52 226 4-7 1- 53 2- 53 . 12-15 8-52 ...... 301 7-28 2-53 - 7- 52 391. 8- 52 362 8—1 1 8-52 10-52 7-52 382 305 274 6?2 20th CENTURY-FOX 1951-52 Features Completed (80) In Production (4) RELEASE CHART — 1952-53 — IN PRODUCTION Desert Rats Mason-Burton Gentlemen Prefer Blondes IT) Russell-Monroe Sailor of the King Hunter-Rennie White Witch Doctor (T) Hayward-Mitchum COMPLETED Baptism of Fire — Belies On Their Toes IT) 189) Bloodhounds of Broadway IT) 190) Call Me Madam IT) Deadline U. S. A. 187) Destination Gobi (T) 4-53 Mature-Moore Crain-Loy Diplomatic Courier 197) Don't Bother To Knock (76) _ Down Among the Sheltering Palms(T) Dream Boat (83) Farmer Takes A Wife, The IT) Fight Town IT) ... Girl Next Door The IT) I Don't Care Girl IT) Kangaroo IT) 184) ...... Lady in the Iron Mask (NO (78) Leave Her to Heaven 1 1 10) IReissue) Les Miserables (104) Lure of the Wilderness (T) (92) ..... Lydia Bailey (Tl 189) Man On A Tightrope . - Monkey Business (97) My Cousin Rachel My Pal Gus (83) My Wife's Best Friend (101) Nearer My God to Thee Niaqara IT) Night Without Sleep (77) Number, The 5-52 Gaynor-Brady I 1-52 ..Merman-O'Connor Bogart-Barrymore 5-52 Widmark-Taylor 4-53 Power-Neal 7-52 213 236 11-17 215 4-21 222 224 6- 16 7- 28 223 307 Widmark-Monroe 9-52. Lundigan-Greer ..Webb-Francis 8-52 Grable-Robertson 2-53 Crain-Robertson .Haver-Dailey ._ _ _ Gaynor-Wayne 1-53 O'Hara-Lawford 6-52 L. Hayward-Medina 7-52 Tierney-Wilde 6-52 ..Rennie-Paget . 8-52 Peters-Hunter - 9-52 Robertson-Francis 6-52 March-Moore .Grant-Rogers 10-52 deHavilland-Burton 1-53 Widmark-Dru 12-52 233 12-15 302 217 . 218 255.. 225 227 219 230 ... 301 7- 14 8- 1 1 .6-1* Outcasts of Poker Flat, The 181) O. Henry's Full House (91) Baxter-Carey 10-52 Webb-Stanwyck Cotten-Peters 2-53 Darnell-Merril 11-52 ..Winters-Widmark Baxter-Robertson 5-52 Crain-Granger 9-52 231 306 235 216 228 6-16 Pag-.. 22 FILM BULLETIN December 29, 1952 Pickup on South Street Pony Soldier IT) 162) Powder River President's Lady, The Pride of St. Louis 1931 Rains Came. The I9S) IReissue) Ruby Gantry Sailer of tha King Silver Whip. The Widmark-Peters Power-Edwards Calhoun-Calvet __ Hayward-Heston Daiiey-Dru Power-Loy J. Jones-Heston . Hunter-Rennie .Calhoun-Robertson 12-52 237 11-17 Snows of Kilimanjaro. The IT) 1114) Peck-Hayward Something For The Birds 181} Stars and Stripes Forever IT) Steel Trap 185) Taxi ______________ Thief of Venice [91) 189! Trejsure of the Golden Condor (T) Tonight We Sing IT) Mature-Neal Webb-Paget Cotton-Wright Daley-Smith Montez-Christian Wilde-Smith -Pinia-Peters 4-52 4-52 1- 53 3-53 10-52 10-52 12-52 I 1-52 2- 53 12-52 3- 53 211 254 303 309 23S 239 232 305 304 308 11- 3 12- 1 12-1 Wait Til The Sun Shines Nellie IT) 1 1 08 1 Peters-Wayne Way of a Gaucho IT) (91) Tierny-Calhoun We're Not Married 185) Wayne-Rogers _ What Price Glory IT| (III) Cagney-Dailey Wnn A Song in My Heart IT) 1117) Hay ward-Calhoun 7-52 9-S2 7- 52 8- 52 4-52 220 229 221 224 210 S-l« 10-20 7-14 7-28 2-2s UNITED ARTISTS 1951-52 Features Completed (65) In Production (01 IN PRODUCTION TITLE — Running Time COMPLETED Actors and Sin 194) Babes In Bagdad 179) Bandits of Corsica, The RELEASE CHART — 1952-53 — Cast Rel. No. Breaking the Sound Barrier (IIS) Confidence Girl 181) Cry the Beloved Country Encounter Fighter, The 178) Guest Wife 190) High Noon 185) Invasion U.S.A. Island of Desire IT) 1103) It's in the Bag 187) Kansas City Confidential Lady Vanishes, The I8S) Limelight (143) Luxury Girls Melba _ Miss Hargreaves Monsoon Moulin Rouge (T) Outcast ot fhe Islands IC) 191) Outpost in Malaya Park Row 183) Red Planet Mars 187) . Red River (125) Return to Paradise IT) _ Ring, The 178) River. The IT) 199) Rough Shoot Scarlet Spear, The lAn) _ Swords Against the Mast Thief, The IBS) Robinson-Hunt Goddard-Lee . _J_reene-Raymond Todd-Richardson Conway-Brooke _Lee-Poitier Lorring-Muni Conte-Brfcwn Colbert-Ameche Cooper-Kelly _ O Shea-Castle ..Darnell-Hunter Allen-Benny Payne-Gray . Redgrave-Lockwood .Chaplin-Bloom Sernas-Laurent Munsel-Morley Katherine Hepburn Thiess-Dougias . ... Ferrer-Marchand _ Richardson-Kerima Claudette Colbert Evans-Welch Graves-King Wayne-Dru Cooper-Hayes _ -Rios-Moreno Swinburne-Shields _ McCrea-Keyes . Archer-Hyer ..Payne-Reed -Milland-Gam 7-18 12-7 Rev. 4-2 12-21 8-22 Stone 4-14 9-52 7-30 Got Kr 4-14 5-5 8-4 8-25 10-23 Chap I 1-3 12-14 7- 1 I I 1-24 8- 12 5-15 Lop 5-19 4-4 Hawks 9-25 2-15 Ren 8-25 Tom Brown's Schooldays (93) Davies-Newton Tulsa 188) IT) Hayward-Preston . Two Gals and a Guy (70) Paige-Alda Untamed Women (70) lewel Productions When I Grow Up 190) _Preston-Scort Witness, The , Bergman-Brando 10-10 Pop 10-4 8- 31 9- 52 .4-20 Wan UNIVERSAL 1951-52 Features Completed (92) In Production (4) IN PRODUCTION TITLE — Running Time East of Sumatra (T) Prince of Bagdad IT) Stand At Apache River ITL... Stopover COMPLETED Abbott and Costello Go to Mars Against All Flags (83) RELEASE CHART — 1952-53 — Cast Chandler-Ma i we 1 1 Mature-Field McNally-Adams Stanwyck-Carlson Rel. No. Rev. Battle of Apache Pass, The (T) (85) Because of You 195) Black Castle, The Bonio Goes To College 179) Bronco Boster IT) 180) City Beneath the Sea IT) Column South IT) Duel at Silver Creek, The (T) Desert Leaion (T) Flame of Timberline (T) Francis Covers the Big Town Francis Goes to West Point Girls in the Night Golden Blade, The (T) Gunsmoke IT) Has Apybody Seen My Gal IT) (89) Man From the Alamo Horizons West IT) 181) It Grows On Trees (84) Ivory Hunter IT) (95) Just Across the Street 79) Lady Pays Off. The (80) Law and Order (T) . ... Lawless Breed. The IT) 183) Lone Hand (T) Lost in Alaska _ Ma and Pa Kettle in Waikiki Abbott 4 Costello Flynn-O'Hara Chandler-Lund ..Young-Chandler _ Mc Nally-Greene Perreau-Gwenn Lund-Brady Ryan-Powers . Murphy-Evans „. Murphy-Domergue Ladd-Dahl Sheridan-Hayden Donald O'Connor O'Connor-Nelson Holden-Farrell ._ Laurie-Hudson Murphy-Drake Colburn-Laurie Ford-Adams _Ryan-Adams Dunne-Jagger ... Steel-Sheridan _ Sheridart-J.und Darnell. McNally Reagan-Malone . Hudson-Adams .McCrea-Hale Abb:>tt-Costello Main-Kilbride _ Dec 305 12-1 Apr _ 2 t 7 4-7 Nov . 302. 10-20 Dec 304 Sept 232 _ 8-25 May 219 _ 4-21 ..Mar . Aug .228 July Feb 224 Mar July _ 224 4-30 Oct 235 10-6 Nev 303 11-17 June 221 4-2 .June 223 4-2 Nov 202 Jan 12-15 Aug 229 7-28 Ma and Pa Kettle on Vacaion Meet Me at the Fair IT) 187) Mississippi Gambler IT) No Room tor tne -room 182) Raiders. The IT) (82) Reo Ball Eipress Redhead From Wyoming. The IT) Sally and Saint Anne Scarlet Angel IT) 181) Seminole IT) _ Sioux Uprising IT) Main-Kilbride Dailey-Lynn Power-Laurie Curtis-Laune Conte- Lindfors Llano er-Caoot O Hare-Nicol Blyth-Gwenn DeCarlo-Hudson Hudson-Hale Chandler-Dome rgue Curtis-Laurie Stewart. Dru CortenWinters Son of Ali Baba IT) 175) Thunder Bay IT) Untamed Frontier, The IT) Willie and Joe Back at the Front 1 87) Ewell-Lembeck World In His Arms. The IT) , Peck-Blyth Yankee Buccaneer IT) Chandler-Brady Jan Feb Ma/ Nov fc»«v Jan Jul" June Mar Sept 220 301 225 222 231 12-15 5-5 4-14 8-2 S 10-4 WARNER BROTHERS 1951-52 Features Completed (62) In Production |4I RELEASE CHART — 1952-53 — IN PRODUCTION TITLE — Running Time Blue Gardenia, The Grace Moon Story. The IT) Lion Is In th Streets. A IT) Plunder of the Sun Cast Baxter-Conte Grayson-Abel Cagney-Hale Ford-Lynn Rel. Re. COMPLETED Abbott and Costello Meet Captain Kidd ISC) 170) About Face IT) 194) April in Paris IT) 1101) Big Jim McLain (90) - Big Trees. The IT) 189) Bugles in the Afternoon IT) 185) By the Light of the Silvery Moon IT) Carson Ciry IWC) 187) Cattle Town (711 City Is Dark. The Crimson Pirate, The IT) 1104) Danger Forward Desert Song, The (T) His Majesty O'Keefe IT) I Confess Iron Mistress, The IT) (110) Jack and Tne Beanstalk iSC) 178) Jazz Singer, The IT) Lion and the Horse The IWC) 183) Lost Patrol. The IWCI Man Behind the Gun IT) 182) Mara Maru 1981 _ Miracle of Fatima (WC) 1102) Operation Secret (108) San Francisco Story, The 180) Sea Rogue IT) She's Back on Broadway IWC) _ She s Working Her Way Through College IT) (101) Springfield Rifle (WC) 1931 _ . Stop, You're Killinq Me IWCI 1841 Story of Will Rogers, The IT) 1109) Streetcar Named Desire, A 1122) System, The 3 For Bedroom C INC) (74) Trouble Along the Way Where's Charley? (T) 197) Winning Team, The 198) Abbott-Costello MacRae-Bracken Day-Bolger Wayne-Olson Douglas-Miller R. Miliand-n. Carter Day-MacRae Scott-Massey Morgan-Carey Nelson-Hayden B. Lancaster Wiloe-Cochran (_rayson-MacRae Lancaster-Rice Clift-Baxter Ladd-Mayo 9-27 2C2 AbDoM- costello Thomas-Lee Cochran-Teal Scott-Kirk Scort-Wymore Flynn-Roman Roland-Clark Wilde-Thaxter McCrea-DeCarlo Flynn-Campbell Mayo-Cocnran Mayo-Reagan Cooper-Thaiter Crawford-Trevor Roger, Jr.-Wyman Brando-Leigh Lovejoy-Perrin Swanson-Warren Wayne-Reed Bolger-McLerie ... Day-Reagan I 1-22 4-12 204 I Id 4-21 4-19 I 19 I- 31 5-3 10-11 II- 8 5-17 211 .120 4-7 203 9-8 205 10-20 121 4-21 7-12 10-25 1-17 7-24 3-22 128 204 210 129 104 10-4 12-15 7-2 i 4-21 124 _ 4-16 8-14 4-28 130 125 7-14 4-2 Your Service — Our Responsibility NEW JERSEY MESSENGER SERVICE Member Nat'l Film Carriers 250 N. Juniper St., Phila. 7, Pa. — LOcust 7-4823 THEATRE MANAGERS and OWNERS We thank all theatre owners and managers, who cooperated with us by putting return trailers in the proper addressed containers and for wrapping and addressing all return advertising. We can serve all theatres better if they give us a copy of their program Tuesday each week. IMPORTANT Don't put your return film in the lobby until all your patrons have left after the last show. HIGHWAY EXPRESS LINES, INC. 236 N. 23rd St.. Phila. 3 —1239 Vine St., Phila. 7 LOcust 4-0100 Member National Film Carriers FILM BULLETIN December 29, 1952 Page 23 Put more # -w \ fin. -c- ^ r V £\JL 1UL Into your Your BOXOFFICE as good as your SHOWMANSH I P! nnnonni Qcbeea sehvicc f^J PR/Zf BMV OF TH€ /tlDUSmY The Museum ol Modern Art 300311982