Boxoffice-March.06.1948

: March
^ondavt ^eftont
TOURING THE COURSE of the negotiations
over the ad valorem duty Tom O'Brien,
the Labor leader, entered the picture with a
reasoned appeal both to Ernest Bevin and
to Eric Johnston. By the time this column
is read the whole question should have been
settled for good, one way or another, but
O'Brien's letters should go on record to
prove that some labor leaders can think of
subjects other than wage increases. His letter
to Bevin says:
"It would be calamitous for the British
film industry were the tax talks to fail. The
last hope will be gone. If the British film
industry were in a position to provide us
with anything like the number of films that
we previously relied on from America, the
situation would not be so serious.
"On the contrary, our own film industry
was never at such a low ebb, and it will take
years to provide even half the pictures that
used to come from Hollywood and to keep
our cinemas open. Dismissal of all classes of
film studio employes continues and very
soon the dismissals will spread to the cinemas
that will be forced to close down if the deadlock
persists."
To Eric Johnston, Tom O'Brien wrote in
similar strain. After telling him of the letter
addressed to Bevin, the second letter
continued:
"Today, on behalf of over 100,000 men and
women employed in British cinemas, distributing
establishments and film studios, I
appeal to you to do all you can to reach
a settlement with our government. I know
that you are a friend of Britain and that
you are fully aware of our economic position
and of our dollar problem. Both the British
and American film industries will sustain
a blow from which it will take years to recover
if negotiations this week fail."
Tom O'Brien is one trade union leader who
is never afraid to do battle for his members.
In common with the financiers of the industry
Labor recognizes that a continuance
of the ad valorem duty must mean the end
of the British film industry.
THE QUESTION of British film finance
and the extravagant sums expended on pictures
that are doomed from the start to
lose money has been raised again this week.
The chief fighter for the low-budget feature,
Lou Jackson of British National, has
decided that he will not make any more
films for some months, but will rent his
studio to Mauj'ice Ostrer who will make two
features
there.
For some weeks past, Wardour Street has
been buzzing with rumors that Lou Jackson
has quarreled with his backer. Lady Yule,
and that his resignation from the post of
executive producer is due at any moment.
Lou denies this strongly, but states that the
cost of production has increased so enormously
that they must call a halt to decide
what their future policy is to be.
By JOHN SUIUVAN
Until recently British National films were
distributed by the Anglo-American FUm Co.,
but this latter firm was wound up when
Jackson signed a contract to produce 30
films over the next five years for distribution
by the ABPC-Pathe combine. The top
budget on any British National picture is
reported to be a maximum of $400,000 with
most of them coming in at nearer $250,000.
Now Lou Jackson is complaining that even
with his extremely efficient staff rising production
costs mean that he cannot show a
profit.
If Jackson does leave British National it
is safe to say that his policy will be tontinued
there as Maurice Ostrer is tipped to succeed
him at the Elstree studio and his views on
production costs are similar to those of National's
present chief.
SIR ALEXANDER KORDA broke into
news on his return to
the
England from the U.S.
It was revealed that Sir Alex had brought
back with him a check for $1,500,000 from
20th-Fox as an advance payment on three of
his productions which the latter company is
distributing in America.
The newspapers here have been criticizing
the British film producers for the comparatively
small dollar returns on their films
and the news of this large sum being paid
down on three features was given a big play
in the daily press. According to a statement
put out by the Korda office this is the largest
single payment ever received by a British
film company. The money already has been
paid into the treasury and presumably came
at an opportune time as the British store of
dollars is at an all-time low.
THE FIRST MAURICE OSTRER production
to be shown to the public .since he left
Gainsborough was unveiled last week when
it opened at the Warner Theatre, Leicester
Square.
Ostrer himself, with R. J. Minney as producer
and Leslie Arliss as director, was
responsible for the phenomenally successful
"The Wicked Lady" which holds the all-time
boxoffice record for a British production and
it is obvious that when the same team
started on their latest picture, "Idol of Paris,"
they were determined to work to the same
formula and to aim unashamedly at commercial
success, forgetting entirely the
artistic aspects of film production. Perhaps
because of that "Idol of Paris" is not only
slipshod, but its chances of commercial success
are extremely limited.
"The Wicked Lady" had a plot worthy of
a dime novel as has its successor, but the
difference was that the former picture was
at least made sincerely and that the producer
and director believed in what they were
making. "Idol of Paris" is made so obviously
to appeal to the lowest intelligences, is so
badly written and so over-acted that it is
unlikely to appeal even to the public for
which it is made. Any author who writes
for the pulp mazagines will affirm that
stories for this market must be written with
sincerity. "Idol of Paris" is made for this
class, but is made so obviously tongue-incheek
that it is unlikely to bring in more
than a moderate gross.
The plot allegedly tells the story of the
rise of Paiva, the queen of courtesans at the
court of Napoleon III and the crowning improbability
that one is expected to swallow
is that a woman could assume this position
and retain her virtue. As Paiva, the idol of
Paris, Beryl Baxter is hopelessly inadequate.
This young lady is one of Maurice Ostrer's
discoveries and while she may, with considerable
grooming, become a competent ingenue
it is impossible to consider her seriously as
a reigning beauty. As her rival for the favors
of Napoleon, Christine Norden is better cast.
Her study of a vicious, scheming woman is
much more believable and she is considerably
better photographed than in her last
film.
"Idol of Paris" may do business in this
country, but its appeal in the United States
is
negligible.
ANOTHER NEW FILM tradeshown this
week which will open shortly is the longawaited
"So Evil My Love," which Hal Wallis
made at Denham for Paramount release.
Ray Milland and Ann Todd star in this
adaption of a Joseph Shearing story with
Geraldine Fitzgerald in support. It is a slick,
technically excellent job which is a tribute
to the Anglo-American team which produced
it. The story of illicit love told by the film
will have a very strong appeal to the feminine
trade and Ray Milland's name above the
title will insure a big return both in England
and overseas Good as his work is,
however, there is little doubt that "So Evil
My Love" is Ann Todd's picture and after her
Hollywood film "The Paradine Case" with
Gregory Peck this one should make her a
big marquee name in the U.S.
ONE OF THE MOST POPULAR radio
serials in this country is known as "Dick
Barton—Special Agent" and literally millions
of children and adults listen to this each
night. Now young James Carreras of Exclusive
Films is cashing in on this radio public
with a film version of a Dick Barton
story under the same title. This is the first
of a series of these films and there is no
doubt that they will gross many times their
small budget. In fact, one circuit booking
already in hand for this first one covers the
budget adequately.
NAVED Will Hold Western
Meeting March 25-26
SAN FRANCISCO—The National Ass'n of
Visual Education Dealers will hold its 1948
western regional meeting at the Hotel Clift
March 25. 26. The highlight of the first day's
session will be an address on fair trade practices
in the 16mm industry by Don White,
executive secretary of NAVED. and an open
forum debate on profits and sales of 16mm
film and equipment.
A second open forum discussion will be
held the following day on expansion of present
film and equipment markets.
Fox Intermountain Cuts
Prices in Trinidad, Colo
TRINIDAD. COLO. — Fox Intermountain
Theatres reduced theatre prices at the Fox
and Rialto theatres here March 1. Balcony
seats at the Fox now are 25 cents until
6 p. m. and 35 cents after six on Monday
through Friday. At the Rialto the prices were
lowered to 25 cents until 6 p. m. and 35 cents
thereafter. Harold McCormick is city manager.
BOXOFFICE
:
13, 1948