Boxoffice-May.29.1948

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CHAKLhS EINFELD HAL 'vVALLIS WILLIAM PINE WILLIAM THOMAS
Press-Agents Who Became
Successful Producers
By IVAN SPEAR
^ NYBODY who can sell 'em certainly
/40k ought to be able to make 'em. That
apparently is the viewpoint of an everincreasing
number of motion picture press
agents who are graduating— if such can be
considered an advancement—from the gentle
art of drum-beating to the production field.
Recent newcomers to the picture-making
category after years of energetic endeavor in
the dissemination of news, gossip and whathave-you
about films, their creators and their
stars are Frank Seltzer, who has organized
his own independent production unit, and
Sam X. Abarbanel, who did likewise in association
with Alan H. Posner.
The drift of Seltzer and Abarbanel from
selling to concocting celluloid entertainment
stimulated a survey that brings to light a
surprisingly large number of erstwhile spacesnatchers
who are now making pictures and
nurturing the ulcers which long have been
listed as an occupational hazard in comiection
therewith.
The Abarbanel-Posner combine secured a
Film Classics release for its kickoff venture,
"The Argyle Secrets," and is readying "Return
to Treasure Island" as its second offering,
for which no release is set. Posner, an
eastern businessman, inserted his toe in the
George Glass, a publicist holding a
vice-presidency in Stanley Kramer's
Screenplays, Inc., helped produce "So
This Is Nevir York" starring Henry Morgan,
and to be released through UA in association
with Enterprise.
indiistry door as an associate in Pickford
Productions, for which at the time Abarbanel
was snatching space. A short time later the
two pooled their interests to form Eronel Productions,
and Abarbanel—formerly a Republic
tub-thumper and publicist for Seymour
Nebenzal and other independent producers
now combines blurbery with production responsibilities.
Seltzer, whose newest enterprise is Frank
Seltzer Productions, with a release through
20th-Fox, is no newcomer either to publicity
or picture-making. His first whirl at the
latter was 'way back in 1922 when he turned
out a series of "Toonerville Trolley" comedies.
Subsequently he functioned as publicist and
advertising executive for such units as the old
Goldwyn Pictui-es Corp.. the Fox theatre circuit
and Warners, joining Hal Roach in 1937
as advertising-publicity chief. Thereafter he
did publicity hitches with the Ass'n of Motion
Picture Producers, Charles R. Rogers and
Edward Small before creating his own production
unit. Seltzer's first for 20th-Fox,
"Let's Live Again," was followed by "The Gay
Intruders" and the current "West of Tomorrow."
Another comparatively new graduate to
production ranks after a lengthy career in
advertising, exploitation, publicity, screen
writing, directing and other related chores
is Maxwell Shane, who recently incorporated
Geffen-Shane Productions in association with
Maxwell M. Geffen, publisher of Omnibook
magazine. Release through Universal-International
was secured for the new firm's first
opus, "Salem Frigate," slated to go into work
shortly. Shane's theatrical exploitation experience
included spots with Publix. Panchon
and Marco. Fox and other circuits, from
which he branched into writing for films
and radio. He wrote and directed several
subjects for Messrs. William Pine and Thomas
(themselves former publicists, and of whom
more later) before cooking up his production
unit with Geffen.
Among the very earliest to shift from pressagentry
to the manufacture of celluloid was
Hunt Stromberg, now head of his own company
releasing through United Artists. He
first came to California in 1919 as a tubthumper
for the late Thomas H. Ince. entered
the production field four years later and from
1925 to 1942 was the producer of scores of
Metro films. In the latter year he resigned
to form his own unit and since has made
They say that if you can sell 'em you
ought to be able to make 'em ---and
here is a report on those who have
done both.
several pictures for UA release. Latest: "Personal
Column," with Lucille Ball, also known
as "Lured." '
Another veteran of
early-day publicity activity
is Hal Wallis, sharecropping producer
releasing through Paramount, who began his
film blurbmg efforts in 1922—when he was
23 years old. He stuck at those chores for
six years, drawing paychecks from Warner
Bros, and Sol Lesser's Principal Pictures
—and then, in 1928, found himself back at
Warners as production supervisor. Wallis
remained with the Brethren Warner until
1944 when, in association with Attorney Joseph
Hazen, he formed his own independent
organization. Currently in work for Paramount
release: "The Accused," with Loretta
Young.
Still another ex-publicist of the 'way-backwhen
days is Pete Smith, celebrated now for
his "Pete Smith Specialties" series of shorts
at Metro. Until his flair for writing, producing
and narrating bobbed to the surface,
Smith pounded the tom-toms for Paramount,
Metro, Producer Marshall Neilan and others,
abandoning those space-snatching pursuits in
1925.
Charles Einfeld, like Wallis, was once head
man of the Warner publicity contingent when
he also decided to try making movies instead
of waxing rhapsodical over his employers'
product. It has been claimed, without successful
contradiction, that in his blurbing
days Einfeld originated the "premiere junket"
which, in its prime, was sm-efire as a spacegrabber.
Joining forces with David L. Loew,
Einfeld swung into production ranks in 1946
with the incorporation of Enterprise. Just
completed: "No Minor Vices," for which no
release had been set at this wTiting. (Enterprise
recently concluded a .six-picture distribution
commitment with UA with the delivery
of "So This Is New York," made by
Screenplays, Inc., in association with the Einfeld-Loew
company).
Some years ago the two Dollar Bills—Pine
and Thomas^were doing all right by themselves
in the publicity-exploitation niche.
Pine had enjoyed such varied activities as advance
man for a circus, theatrical press agent
and head of Paramount's studio publicity and
advertising department before joining Cecil
B. DeMille as an associate producer and
tub-thumper de luxe. Thomas had done publicity
for studios and theatre circuits before
22 BOXOFFICE :: May 29, 1948
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