NATIONAL d.E.BRULATOURJNC. i fORT LEE • CHICAGO • HOLLYWOOD Du Mont First in precision electronics — Du Mont is the world's foremost maimer of scientific precision instruments utilizing the elec- tronic cathode ray tube. First in racJar — In 1933. Dr. Du Mont hied a jjateiit application which the army asked him to withdraw for security reasons. This idea, developed in secrecy, became radar, ALIEN B. DUMONT LABORATORIES, INC., HOME OFFICE First in development — When Dr. Du Mont started his research in 1931. the cathode ray tube was a laboratory curiosity. It was his development of this tube that made electronic television commercially practical. First with home receivers — Du Mont built the first commercial home receivers in 1939. After the war. in 1946. Du Mont was first on the market with a line of fine receivers; first with the 20-inch and 30-inch tubes— the world's largest. First in station equipment — Du Mont is a leading maker of high-fidelity, precision broadcasting equipment, and has planned, designed, and built many of the country's leading television stations. ASPtONtER oUMOKT first with the finest in Electronics , 750 BIOOMFIEID AVENUE, ClIFTON, NEW JERSEY ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ THE 1951 FILM DAILY YEAR BOOK OF MOTION PICTURES JACK ALICOATE Editor-in-Chief Copyright, 1951, by THE FILM DAILV (Wid's Films and Film Folk, Inc.) 1301 Broadway, New York 18, N. Y THIRTY-THIRD ANNUAL EDITION ★ ★★★★★★★★★★★★ 1 Du Pont Motion Picture Film Negative • Positive • Sound • Special Purpose Dependability • Precision • Uniformity E. I. du Pont de Nemours & Co. (Inc.) Photo Products Department Wilmington 98, Delaware ATLANTA 3: 1115 Candler Bldg. CLEVELAND 14: 2012 Union Commerce Bldg. BOSTON 10: 740 Federal Street LOS ANGELES 38: 6656 Santa Monica Blvd. CHICAGO 18: 3289 A'. California Avenue NEW YORK 11: 248 West 18th Street DALLAS 1: 506 Petroleum Tower Bldg. PHILADELPHIA 2: 225 S. 15th Street '£« u s PAT O'f BETTER THINGS FOR BETTER LIVING THROUGH CHBMISTKY THIRTY-THREE years ago, the first edition of The Film Year Book of Motion Pictures was published to serve the urgent require- ments of an industry then in its first major stage of growth. ^ In the decades which so swiftly have elapsed, it has been the Year Book's high privilege to keep pace with the industry to the end that the liaison established in 1918 not only be maintained but materially further strengthened with each succeeding year. Thus it is that throughout the world, as well as in the United States, the Year Book is accepted unquestionably as the motion pic- ture industry's standard reference volume and encyclopedic work. ^ In presenting this, the 33rd edition, there is no deviation from the original publishing credo. The enlarged editorial content reflects the important developments of the year and further points to new industry horizons both on the domestic front and overseas. Special import attaches to those sections and departments mirroring the effect of the nation's rearmament and industrial mobiliza- tion efforts, and to the augmented report on television. ^ To all those who loyally have aided in the preparation of this 33rd edition go, once again, our sincere thanks. — JACK ALICOATE Editor-in-Chief 3 From Research to Reality I r IT'S HERE! NEW ANSCO COLOR NEGATIVE-POSITIVE PROCESS! Truer color Higher speed Finer grain Superior definition Wider latitude Greater brilliance and depth Increased production flexibility wIm Excellent screen steadiness NEW YORK • HOLLYWOOD • CHICAGO • BINGHAMTON A Division of General Aniline fic Film Corporation. "From Research to Reality." A A. B. T. Productions Inc., Pcrsotitiel .532, 691 A. E. F. Corp.: Personnel 532 1950 Releases 217 A. F. Films, Int., Personnel 532, 691 .\hbott, C. \. James, Personnel 691 Xcadeniic Film Co., Inc., Personnel 691 .Academy Film .Service, Inc., Personnel . . 691 .\cademy Foundation, Personnel 79-1 .ACADE.MY OF MOTIO.V PlCTdRK .\rTS AND Sciences; Personnel 794 Awards, 1950-1928 129 ■'The -Academy in 1950," by Charles Brackett 851 .Ace Co., The, Personnel 659 .Ace Electric Mfg. Co., Personnel 659 Acme Brick Co.. Personnel 659 .Acme Film Laboratories, Inc., Personnel 691 .Acra Instruments, Personnel 532 Actors, Credits for 1949-1950 463 Actors' Equity .Association, Personnel... 828 Aciis Pictures Corp., Personnel 532 .Adler .Silhouette Letter Co., Personnel . . 659 .Administrators. Business 610 .\dmiral Pictures, Inc., Personnel 691 .Ad\entiire Films, Inc., Personnel 532 .Ad\enture Pictures, Inc., Personnel 532 .Advertising Code of Ethics, Text 847 .Aero Metal Products Corp., Personnel. . 659 .Affiliated Productions, Inc.. Personnel . . . 532 Affiliated Property Craftsmen, Personnel 828 .Air Controls, Inc.. Personnel 659 .Airfoam Division, Personnel 659 .Airkem, Inc., Personnel 659 .Airtem Division, Chrysler Corp., Per- sonnel 659 .Agents and Managers 608 .Aguila Films, .S. .A., Personnel 532 Ajax Pictures Corp., Personnel 532 .Akron Theater Owners and Managers Association, Personnel 817 .Alabama Theater Owners &: Managers .Association, Personnel 812 Albert, Eddie, Productions, Personnel. . . 691 .Alberta Independent Theater Exhibitors Organization, Personnel 820 Alberta Theaters .Association, Personnel. 820 Alexander Film Co., Personnel 691 Alicoate. Jack, "Foreteord" 3 All American News, Inc., Personnel 532 All-Scope Pictures, Inc., Personnel 691 .\I1 Star Picture Sales Corp., Personnel . . 691 Allen and .Allen Productions, Personnel 691 Allen, Irving, Enterprises, Inc., Personnel 532 Allucd .Artists Productions, Inc.: Personnel 533, 553 1950 Releases 217 Allied Independent Theater Owners of Eastern Pennsylvania, Inc., Personnel . 818 Allied-Independent Theater Owners of Iowa-Nebraska, Inc.. Personnel 811 Allied Independent Theater Owners of Kansas and Missouri, Personnel . .814, 816 Allied Independent Theater Owners of Mid .South, Personnel 818 .Vllied Independent Theater Owners of Wisconsin, Personnel 820 .Allied MPTO of Western Pennsylvania, Inc., Personnel 818 .Mlied Rocky Mountain Independent Iheaters, Personnel 812 Allied 16 mm. Distributors Corp., Per- sonnel 691 Allied States .Association of Motion Pic- ture Exhibitors. Pe?,5o;ni<'/ 811 Allied Theater Owners of Gidf States, Personnel 814 .Allied Theater Owners of Indiana, Inc., Personnel 814 Allied Theater Owners of New Jersey, Inc., Personnel 816 .Allied Theater Owners of Texas, Per- sonnel 819 Allied Theaters, Personnel 820 Allied Theaters of Connecticut, Inc., Personnel 813 Allied Theaters of Illinois, Inc., Person- nel 813 Allied Theaters of Michigan, Inc., Per- sonnel 815 Allied Theaters of New England, Inc., Personnel 815 Almanac Films, Inc., Personnel 691 Alperson, Edward L., Productions, Inc., t^ersonnel 533 Alpha Film I'roductions, Persotmel 692 5 Switch now to NATIONAL TRADE-MARK High Intensity Projector Carbons VALUES IN "NATIONAL f f PROJECTORCARBONS • Brightest, whitest light avr able in this size carbon il- • Steadier burning, greater dependability • Perfect color balance • Complete technical service National Carbon specialists by • Always readily available through your local dealer O Economical to operate If you are now using old-fashioned projection lamps of any type, get rid of them. Switch to the finest and most modern projection in the world, with "National" High Intensity projector carbons "National" "Suprex" carbons provide the bright est light for their size and current input that yci can obtain. This light is perfect in color balance. It throws a vivid, detailed and thoroughly satis- factory picture on the screen. When • tnr carbons— yoa boy P''>^5;*rNATlONAL" The terms "National" and "Suprex" are registered trade-marks of NATIONAL CARBON DIVISION, UNION CARBIDE AND CARBON CORPORATION 30 East 42nd Street, New York 1 7, N. Y. District Sales Offices: Atlanta, Chicago, Dallas, Kansas City, New York, Pittsburgh, San Francisco Jn Canada: National Carbon, Ltd., Toronto 4 Aliec Lansing Corp., Personnel 659 Altec Service Corp., Personnel 659 Alton Manufacturing Co., Personnel.... 659 Ambassador Films, Inc., Personnel 692 .American .\brasive Metals Co., Personnel 660 .\merican .\coustics. Inc., Personnel 660 .American Blower Corp.. Personnel 660 .American Cinema Editors, Personnel.... 791 .American Encaustic Tiling Co., Personnel 660 American-European Film Industries, Inc., Personnel 533 .American Federation of Authors and Publishers, Inc., Personnel 791 .American Federation of Guards, Person- nel 828 .American Federation of Labor Educa- tional Film .Association, Personnel.... 828 American Federation of Musicians, Per- sonnel 829 .American Federation of Radio Artists, Personnel 829 American Film & Televad Co., Personnel 692 .American Film Producers, Personnel ... . 692 American Film .Services, Inc., Personnel 692 American Guild of Musical Artists, Inc., Personnel 829 American Guild of Variety Artists, Per- sonnel 829 American Legion Film Post 1292 of Local 306, Personnel 794 •American Locker Co., Inc., Personnel... 660 American-Marietta Co., Personnel 660 .American Mat Corp., Personnel 660 American Radiator &: Standard Sanitary Corp., Personnel 660 .American Roof Truss Co., Personnel . . . . 660 .American Seating Co., Personnel 660 .American Society of Cinematographers, Inc., Personnel 791 .American Society of Composers, Authors and Publishers, Personnel 794 •American Television Society, Personnel . . 794 .American Terra Cotta Corp., Personnel 660 •American Theater Supply Co., Inc., Personnel 660 .Ames Metal Moulding Co., Inc., Person- nel 661 •Amplex Corp., Personnel 661 .\mpro Corp., Personnel 670, 692 .\ndrus, VVinfield, "Industry Statistics" . . 82 .Anemostat Corp. of .America, Personnel 661 •Angelica Uniform Co., Personnel 661 .Animated Video Films. Inc., Personnel.. 692 •Animex, Inc. Personnel 533 .Annis, R. B., Co., Personnel 692 .Ansco, .A Division of General .Aniline & Film Corp., Personnel 533 •Apex Film Corp., Personnel 533. 692 Appleton Electric Co., Personnel 661 .Architects, Theater 656 Argo Films, Inc., Personnel 693 Argosy Pictures Corp., Personnel 533 .Arias, Henry R., Personnel 533 Arko, Inc., Personnel 533 .Armstrong Cork Co., Personnel 661 Art Directors, Credits for 1949-I9W 457 Art Metal Manufacturing Co., Personnel 661 .\rt Theaters 965 .Artcinema .Associates, Inc., Personnel . . . . 533 .\rthur. Art, "MP/C of Hollywood" 850 .Artists Alliance, Inc., Personnel 533 .Artists' Managers Guild, Personnel 795 .Artists Representatives .Association, Inc., Personnel 795 .\rtkino PicTiiRF-s, Inc: Personnel 533 1950 Releases 217 Ashcraft, C. S., Mfg. Co., Personnel 661 .Associated .Actors and •Artistes of America, Personnel 829 Associated Films, Inc., Personnel 693 .Associated Film Writers, Personnel 795 •Associated Motion Picture Advertisers, Personnel 795 .Associated Musicians of Greater New York, Personnel 829 .Associated Screen News, Ltd., Personnel 534, 693 Associated Ticket & Register Co., Inc., Personnel 661 .Association of Documentary and Televi- sion Film Cameramen, Personnel 829 •Association of Motion Picture Producers, Inc., Personnel 795 •Association of Screen Magazine Pub- lishers, Inc., Personnel 795 •Association of Theater Screen .Advertis- ing Companies, Personnel 795 A.ssociation of Theatrical Press Agents and Managers, Personnel 830 Associations: U. S. and Canada, Personnel 794 Labor, Personnel 828 Exhibitor, Personnel 811 British, Personnel 744 .\sTOR Pictures Corp.: Personnel 534, 693 1950 Releases 217 .Astor Productions, Inc., Personnel 534 .Atlas Corp., Personnel 534 .Atlas Film Corp., Personnel 693 .Audience Research, Inc., Personnel 534 .Audio Film Center. Personnel 693 .Audio-Film Libraries. Personnel 693 .Audio Pictures, Ltd., Personnel 693 .Audio Productions, Inc., Personnel 693 .Audio-Visual Aids Department Catecheti- cal Guild Education Society, Personnel 693 Audio Visual Corp., Personnel 693 .August, Rudy, Productions, Personnel.. 693 •Australia, Lists 757 Authors, Credits for 1949-1950 431 •Authors' Club, Inc^, Hollywood, Per- sonnel 795 Authors Guild of the .Authors League of .America, Inc., Personnel 795 .\uthors League of .America, Inc., Per- sonnel 796 7 Always a FEATURE ATTRACTION UsAIKc§MBimMIHE 1 Comfort that builds attendance at a cost that leaves you a profit. That's the big, double-feature offered ny usAIRco equipment. It's an advantage resulting from 27 years of specialization in comfort condition- ing for tneaters of all sizes. Whatever your require- ments, there's a usAIRco system that will do both jobs for you. LEFT: MsAfRco UPRIGHT UNIT Cools large areas efficiently at low cost. Operates singly or in teams. Available in five sizes ranging from 2 to 10 tons. Backed by generous repair and replacement allowance plus 5 year warranty on compressor! Quick to install; quiet, automatic operation. RIGHT: usMRco's REFRIGERATED KOOLER-AIRE Most famous name in the theater conditioning field. Contains three complete systems in one compact package. Includes refrigeration compressor, cooling, dehumidifying and circulating section, plus evap- orative condenser to save water. Comes factory- assembled, tested, ready to install. ★ ★ ★ UNITED STATES AIR CONDITIONING CORPORATION 3315 Como Ave. S.E. Minneapolis, Minn. usAIRcB Euerythmg In Air Cond'tt'iomnq POT©IRflAIL DNPi^ Autocrat, Inc., Personnel 661 Automatic Devices Co., Personnel 661 .Automatic Products Co., Personnel 661 .Automatic Syrup Corp., Personnel 661 .\uto-Vend, Inc., Personnel 661 .\utry. Gene, Productions, Personnel . . . . 534 .\ZTECA Films, Inc.: Personnel 534 1950 Releases 217 Background Music Composers 587 Background Proce ses 612 Bah.n, Chester B.: "1950: A Review" 53 "Industry Statistics" 82 Bailey Films, Inc., Personnel 693 Baker Refrigeration Corp., Personnel... 661 Ballantine Pictures, Personnel 534 Ballantyne Co.. Personnel 661 Baltin, Will, "Television Can Hypo Movie Box Office" 763 Baptista, C. O., Films, Personnel 694 Barber, Fred A., Personnel 534, 694 Barnett International Forwarders, Inc., Personnel 534 Barr, Arthur, Productions, Personnel . . . . 694 Barrett Division, Allied Chemical S; Dye Corp., Personnel 661 Batten, Barton, Durstine Osborn, Inc., Personnel 694 Bausch & Lomb Optical Co., Personnel . . 662 Beckworth Corp., Personnel 534 Bedford Park Film Studio. Inc., Personnel 534 Beeland, Charles D., Co., Personnel.... 694 Bell & Howell Co.: Personnel 662, 691 Financial Summary 930 Bell Pictures Corp.: Personnel 534, 694 1950 Releases 217 Belsam Productions, Inc., Personnel.... 534 Belson Manufacturing Co., Inc., Person- nel 662 Benagoss Productions, Inc., Personnel . . 535 Benograph Division, .4s ociated Screen News, Ltd., Personnel 695 Bergman Associates, Personnel 695 Berkoff, Louis, Productions, Personnel.. 535 Berman, Max, & Sons, Inc., Personnel . . . 662 Berndt-Bach, Inc., Personnel 662 Best Devices Co., Inc., Personnel 662 Bigelow-Sanford Carpet Co., Inc., Per- sonnel 662 Bissell Carpet Sweeper Co., Personnel .. . 662 Black Light Products, Personnel 662 Blackstone Coin Packer Co., Personnel . . 662 Blake. B. K., Inc., Personnel 535 Blake Service, Personnel 535 Blue Seal Cine Devices, Inc., Personnel.. 662 Boards, Censor 923 Bogeaus, Benedict, Productions, Inc., Personnel 535 Bonded Film Distributors, Inc., Personnel 535 Bonded Film Storage Co., Inc., Personnel 535 Bondy, .\\ O., Personnel 695 Books of the Motion Picture 899 Boots 8: Saddles Pictures, Inc., Personnel 535 Bowman, Edgar S., Personnel 662 Boyd, William, Enterprises, Personnel. . . 535 Bracken Productions, Inc., Personnel . . . 535 Brackett, Charles, "T/ie Academy in 1950" 854 Bradley-Edlund Corp., Personnel 662 Bradley Washfountain Co., Personnel . . . 662 Brady, Darrel, Productions, Personnel.. 695 Brandon Films, Inc., Personnel 695 Bransby, John, Productions, Personnel . . . 695 Brandt Automatic Casliier Co., Personnel 663 Bray Studios, Inc., Personnel 695 Breuer Electric Mfg. Co., Personnel 663 British .Artists, Ltd., Personnel 535 British .Associations, Personnel 744 British Circuits, Personnel 743 British Columbia Exhibitors .Association. Personnel 820 British Companies, Personnel 739 British Information Services— Film Divi- sion, Personnel 695 British Lists 738 Broadcast Pictures, Inc., Personnel 535 Brcder, Jack, Productions, Personnel . . . . 535 Brodsk), David E., .Associates, Personnel 663 Brokicrs: Insurance 603 Play and Story 612 I heater 613 Bronze Craft, Inc., Personnel 663 Brooks Uniform Co., Inc.. Posonnel. . . . 663 Bro-Rog Pictures Corp., Personnel 535 Brotherhood of Painters, Decorators and Paperhangers of .America, Personnel . . 830 Brown, Howard C, Productions, Person- nel 536 Bryant Heater Division, .Affil ated Gas Eciuipment, Inc., Personnel 663 Brulatour, J. E., Inc., Personnel 536 Biichman, Sidney, Enterprises, Inc., Per- sonnel 536 Buensod-Stacey, Inc., Personnel 663 Bunin, Lou, Productions, Inc., Personnel 536 Burke, J. E., Co., Personnel 663 Biirkett, James S., Productions, Inc., Personnel 536 Burt Manufacturing Co., Personnel 663 Burstyn, Joseph, Inc., Personnel 536 Business .Administrators 610 Byron, Inc., Personnel 695 t C^agney Productions, Inc., Personnel 536 Calgary Theaters .Association, Personnel 820 Calhoun Co., Personnel 695 9 yourBOXOFFICE is as GOOD as your SHOWIIAIISHIP! Calhoun Studios, Personnel C95 Cali Products Co., Personnel 663 California Commercial Film Co., Per- sonnel 695 Clalifornia Pictures Corp., Personnel. . . . 536 California Studios, Inc., Personnel 536 California Theaters Association and Affiliated Industries, Inc., Personnel. . 812 Calumet Coach Co., Personnel 663 Calvin Company, The, Personnel 695 Camea Productions, Inc., Personnel 536 Cameraflex Corp., Personnel 663 Cameramen, Credits for 1949-1950 447 Campus Film Productions, Personnel... 695 C'anada: "Canada in 19.50." by Fred C. Dillon.. 750 Canadian Circuits 1095 Canadian Exchange Territories 752 Note: Canadian organizations are in- cludetl in many of the U. S. Lists. (Canadian Film Boards, Personnel 79() Canadian Film Institute, Personnel 796 Canadian Motion Picture Distributors .Association, Personnel 796 C:anadian Picture Pioneers, Personnel.. 790 Canton-Weiner Films, 1950 Releases. . . 217 Capital Enterprises, Personnel 536 Capital Film Service, Personnel 696 C^apital Pictures Corp., Personnel 536 Caravel Films, Inc., Personnel 696 Cardinal Pictures, Personnel 536 Carlson, Rudolph, Productions, Inc., Personnel 536 Carrier Corp., Personnel 663 Carriers, Film 601 Cartoon Producers 613 Casanave Artlee Pictures, Inc., Personnel 537 Casanave Pictures, Inc., Personnel 537 Casino Film Exchange, Inc.: Personnel 537 1950 Releases 217 C.asolaro Films, 1950 Releases 218 Casting Directors 461 Caston Productions, Personnel 696 Cathedral Films, Inc., Personnel 696 Catholic Actors Guild of America, Inc., Personnel 796 Catholic Movies, Personnel 696 Catholic Writers Guild of America, Inc., Personnel 796 Cauger, A. V., Service, Inc., Personnel. . 696 Cavalcade Pictures, Inc., Personnel 537. 696 Cavalier Productions, Inc., Personnel... 537 Celebrity Productions, Inc., Personnel.. 537 Celotex Corp., Personnel 663 Censor Boards 923 Central Casting Corp., Personnel 796 Central Cinema Corporation: Personnel 537 1950 Releases 218 Century Electric Co., Personnel 664 Century Pictures Co., Personnel 537 Cenury Projector Corp., Personnel 664 Century Seating Co., Personnel 664 C:ertain-teed Products Corp., Personnel. . 664 Chaplin, Charles, Productions, Personnel 537 Charman, Bernard, "Better Business in Britain" 731 Clheslcr Productions, Inc., Personnel.... 537 Chicago Cinema Lodge B'nai B'rith, Personnel 796 Chicago Expansion Bolt Co., Personnel.. 664 Chicago Film Studios, Personnel 697 Chicago Hardware Foundry Co., Person- nel 664 Chicago Office, Theater and Amusement Building Janitors' Union, Personnel . . 830 Chicopee Manufacturing Corp. of Georgia, Personnel 664 China Film Enterprises of .America, Inc., Personnel 697 Chorus Equity Association of .America, Personnel 830 Church, Frank, Films, Personnel 697 Cine Classics, Inc., Personnel 537 CiNEcoLOR Corp.: Personnel 537 Financial Summary 930 Cinecolor (G.B.)— Ltd., Personnel 537 Cinecraft Productions, Inc., Personnel. . 697 C:inecraft Supply Co., Personnel 697 Cinema Export Corp., Personnel 538 Cinema Lodge 1366 B'nai B'rith, Per- sonnel 797 Cinema Productions, Inc.. Personnel . . . . 538 Cinema Service Corp., 1950 Releases.... 218 Cinema 16, Personnel 797 Cinema Stamp Collectors, Personnel. .. . 797 Cinemart, Inc., Personnel 697 Cinescope Films, Personnel 697 Circuits: U. S. and Canada 1096 British, Personnel 739 Cisco Kid Pictures, Inc., Personnel 538 Clancy, J. R., Co., Personnel 664 Clarage Fan Co., Personnel 664 Classa-Mohme, Inc., Personnel 538 Classic Pictures, Inc.: Personnel 538 1950 Releases 218 C;icveland Motion Picture Exhibitors As- sociation, Inc., Personnel 817 Clow, James B., & Sons, Personnel 664 C-O-Two Fire Equipment Co., Personnel 663 Coan Manufacturing Co., Inc., Personnel 664 C;ode of Advertising Ethics, Text 847 C:ode of Production Standaids, Text... 845 Coffey, Jack C, Co., Personnel 697 Cohen, Leo, Personnel 538 Coinometer Corp., Personnel 664 Colburn, George W., Laboratory, Inc., Personnel 697 Colnes, Walter, Productions, Personnel 538 Colonial Sales Corp., Personnel 664 "Color Developments," by Louis Pele- grine 121 Color Lighting Corp., The, Personnel. . . 664 Color Processes 603 11 NEW CRESTWOOD Even better than ever . . . Alexander Smith''s superior new Crestwood is woven of wool and carpet rayons; promises 25% to 50% more wear, as well as greater beauty of color and texture. TYRONE Always out front for beauty and durability, Masland Tyrone Velvet offers maximum wear for minimum price; is presented this year in a wide range of handsome new patterns and color combinations. Business is on tlie carpet and carpet is our business Amazing new weaves, handsome new patterns and qualities, beautiful new color effects... ask your local Alexander Smith-Masland Carjjet Contractor to show you what the new Alexander Smith and Masland carpets can do for your theater, at your price. Ask him to estimate , the cost of re-carpeting your lobby, aisles, powder and smoking rooms. Let his years of experience save your time. Let his skill in installation save your money. He will be glad to offer you his counsel, without obligation. Alexander Smith and C. H. Masland Contract Carpets ' 295 Fifth Avenue, New York 16, N. Y. 12 I^DTOIRDAIL DINlPi^ Colorado Association of Theater Owners, Personnel 813 C:olosseiim of Motion Picture Salesmen of America, Personnel 830 ('.oi.iiMuiA Pictures Corp.: Personnel 538 Studio Personnel 539 Financial Suinmarv 931 1 950 Releases 218 Columbia Pictures International Corp., Personnel 538 Columbia Stage Lighting Co., Personnel 664 Columbus Coated Fabrics Corp., Per- sonnel 665 C;oluinbus Show Case Co., Personnel.... 665 Columbus Vending Co., The, Personnel 665 Comet Productions, Inc., Personnel 539 Command Performance Pictures Corp., Personnel 539 Commentators and Editors, Newspaper and Radio 871 Commerce Pictures, Personnel 697 Commonwealth Pictures Corp., Personnel 697 Company Releases, 1950 217 Compco Corp., Personnel 665 Composers, .\uthors and Publishers .As- sociation of Canada, Ltd., Personnel. . 797 Clomposers, Background Music 587 Concession Mart, Refreshment & Conces- sion 653 Concrete Plank Co.. Inc., Personnel. .. . 665 Cx)nfectionery & Refreshment Concession Mart ■ 653 Conference of Studio Unions, Personnel 830 C:onfidential Reports, Inc., Personnel. . . . 540 Connors, Tom, .Associates, Inc., Person- nel 697 Consolidated Film Industries, Personnel 540 Consolidated Molded Products Corp., Personnel 566 Contemporary Films, Inc., Personnel 697 Continental Car-Na-V'ar Corp., Personnel 665 Continental Electric Co., Personnel 665 Continental Lithograph Corp., Personnel 665 Continental Motio.n Pictures Corp.: Personnel 540 19:50 Releases 218 Continental Pictures, Inc., Personnel 540 C;ontinental Sound & Picture Co., Per- sonnel 697 Cooley, Company, The, Personnel 698 Coolstream Corp., Personnel 665 Copyright Protection Bureau, Personnel 797 Cordley & Hayes, Personnel 665 Cornell Film Co., Personnel 540 Coronet Instructional Films, Personnel. . 698 Corrado, J. J., Inc., Personnel 665 Cosmopolitan Films, Personnel 698 Cosmopolitan Pictures Corp., Personnel 540 Council of Motion Picture Organiza- tions, Inc., Personnel 797 Court Decision in the New York Equity Suit, Text 907 Cou.<^ino Visual Education Service, Inc., Cowan, Lester, Produdions, Personnel.. 540 Crane Co., Personnel 665 Crawley Films, Ltd., Personnel 698 Credits: Producers, 1949-1950 416 Directors, 1949-1950 823 Short Subject Directors, 1949-1950 429 Authors, 1949-1950 431 Screenplays, 1949-1950 438 Photographers. 1949-1950 447 Film Editors, 1949-1950 452 .\rt Directors, 1949-1950 457 Players, 1949-1950 463 Crescent Film Laboratories, Inc., Person- nel 540 Crestwood Pictures, Inc., Personnel 540 Cretors, C, & Co., Personnel 665 Crosby, Bing, Enterprises, Inc., Person- nel 540 Cross Machine Shop, Personnel 665 Crystal Pictures, Inc., Personnel 541 C:rystal Productions, Inc., Personnel.... 541 CUilver PrcKiuctions, Personnel 541 Courtis Refrigerating Machine Div. of Curtis Mfg. Co., Personnel 665 CUitler-Hammer, Inc.. Personnel 665 P Dahlstrom Metallic Door Company, Per- sonnel 666 Dales, John, Jr., •■SAG in 1950" 855 Dallas Independent Theater Owners .Association, Personnel 819 Da-Lite Screen Co., Inc., Personnel 666 Danubia Pictures, Inc., Personnel 541 Davis, Arthur, .A.ssociates: Personnel 541 1950 Releases 218 Davis, D. T., Co., Personnel 698 Day &: Night Div. of Affiliated Gas Equip- ment, Inc., Personnel 666 Dayton Safety Ladder Co.. Personnel . . . 666 Dayton Theater Owners .Association, Per- sonnel 817 Dazian's, Inc., Personnel 666 Dealers, Theater Supply 649 DeFrenes Co., Personnel 698 Delaware Floor Products, Inc., Personnel 666 Delta Uniforms, Personnel 666 deMille, Cecil B., Productions, Inc., Personnel 541 Dennis Film Bureau, Personnel 698 Department of Audio Visual Instruction of the National Education Asrociation of the U. S., Personnel 797 Dephoure, Jose]3h, Studios, Personnel... 698 Depicto Films. Inc.. Personnel 698 de Rochemont. Louis. .Associates, Inc., Personnel 698 13 Idmm 6ownd Filmoarc ...for brilliant theater or outdoor projection The Bell & Howell Filmoarc gives you higher intensity illumination than any other 16mm projector. Not changed over simply by placing an arc lamp behind a B&H pro- jector, but engineered throughout as an arc machine, the Filmoarc incorporates many time-tested B&H features. And because it is the product of over 40 years' experi- ence in meeting Hollyvi^ood's exacting needs, you'll find Filmoarc has the built-in features for superior projection. These Filmoarc features give you better projection! Light Output is approximately 1300 lumens . . . completely ade- quate for largest auditoriums. High Intensity Arc automatically held to uniform gap maintains constant illumination on screen at all times. Rhodium-surfaced Reflector, un- breakable, is unaffected by arc splatter. Governor-Controlled Speeds . . . con- stant to within 2% of rated speeds. Gears transmit power ... no belts to slip and cause flicker. Lenses . . . standard equipment is 3-inch f/2 Filmocoted lens, ground to give uniform clarity right to the edges of the screen. Optional lenses available for al- most any length of throw. Twin Speaker System is standard equipment . . . assured high- fidelity, high-volume sound to all parts of large auditoriums. Oscillatory Sound Stabilizer pat- ented by B&H . . . gives com- pletely flutterless sound repro- duction. These Filmoarc features give you easy, safe operation! Safety Film. 16mm film is fire- proof . . . Filmoarc requires no projection booth. Panel Controls . . . projector and sound controls on the inclined panel of amplifier . . . right at your finger tips. Roll-away stand moves freely on ball-bearing swivel wheels for easy portability. Legs adjust for projection from irregular floors. Ask your Bell & Howell special representative for full details or a demonstration. Guaranteed for life. During life of tile product, any defects in workman- shiip or material will be remedied free (except transportation) . You buy for life when you buy Bell e Howell 7144 McCormick Rd. Chicago 45 |)e\oe fs: Raynolds. Inc., Personnel 66() Devonshire Film Co.. Personnel 541 l)e\'ry Corp.. Personnel 666, 69H Diana Prcxluctions, Inc., Personnel 541 Diehold, Inc.. Personnel 666 Dillon, Fred G., "Canadu in I9W 7.50 DlRKCTOR.S: Feature, Credits for 10^0- lO^O 423 Art, Credits for 1949-1950 457 Short .Subject, Credits for 1949-1950.. 429 Casting 461 DisciNA In rKRNATioNAi. Fit, MS C;oRP.: Personnel 541 1950 Relea,ses 21 rt DrsNKv. \Vai.t, Prodi'{;tions: Personnel 511 Financial Summary 931 DrsriNGi'isHED Films, Inc.: Personnel 541 1950 Releases 218 Distribution Percentages 927 Distributors: Theatrical 586 Exchanges 589 Trailer 607 Television Films 769 Distributors' .Association, Personnel 797 Distributor's Group. Inc., Personnel . . . . 69.'* Dixie Cup Company, Personnel 666 Dobesch .Associates, Inc.. Personnel 666 Doehler Metal Furniture Co., Inc., Per- sonnel 666 Dolphin Paint & "V arnish Co.. Personnel 667 Dominion Motion Pictures, Ltd., Per- sonnel 541 Dougfair Corp.. Personnel 542 Dowser Manufacturing Corp., Personnel 667 Dramatists Guild of the .Authors' League of .America, Inc., Personnel 797 Drink-O-Matic Co., Personnel 667 DriveTn Theater .Association, Personnel 815 Drive In Theater Equipment Co., Inc., The, Personnel 667 Dri\e In Theater Manufacturing Co., Personnel 667 DriveTn Theater Owners' .Association, Personnel 817 DriveTn Theater Service Co.. Personnel 667 DriveTn Theaters, List 946 Droll Theater Supply Co.. Personnel 667 Du-.Art Film Laboratories, Inc., Per- sonnel 542 Dudley Pictures Corp.. Personnel 699 Du Mont. Ai.i en B., Laboratories, Inc.: Personnel 542 Financial Summarv 932 Duncan, James £., Inc., Personnel 699 Dunn. Cal, Productions, Personnel 699 duPont, E. I., de Xemours & Co., (Inc.), Persontiel 542 Dynamic Films, Inc., Personnel 699 F. 1, Productions, Inc., Personnel 542 Eagle Lion Classics, Retea.ses 218 Eagle Lion Studios, Inc., Personnel 542 Eagle-Picher Co., Per.sonnel 667 F.a t'n Pictures Co.. Personnel 699 Eastin Pictures, Inc., Personnel 699 F";a.stman' Kodak Company: Personnel 543 Financial Summary 932 EBCO Manufacturing Co., Personnel . . . 667 Eberson. John and Drew, "The Modern- ization of Theater Planning" 617 Edited Pictures Svstem, Personnel 699 Economy Engineering Co., Personnel . . . 667 Economy Faucet Co., Personnel 667 Fxlitors and Commentators, Newspaper and Radio 871 Editors, Film, Credits for 1949-1950 452 Educational Film Library .Association, Inc., Personnel 798 Education Film Producers .Association, Personnel 798 Electra Pictures Corp., Personnel 543 Electric-.Aire Engineering Corp., Person- nel 667 Electric Steam Radiator Corp., Personnel 667 Electric Storage Batterv Co., Pesronnel . . 667 Electronic Signal Co., The, Personnel . . . 667 Electro-A'oice, Inc., Personnel 667 Elizabeth Iron Works, Inc., Personnel... 668 Eljer Co., Personnel 668 Ellison Bronze Co., Inc., Personnel 668 Emerson Film Corp., Personnel 543 Emperor Films, Inc., Personnel 699 Empire Productions, Inc., Personnel . . . . 543 Encyclopaedia Britannita Films, Inc.. Personnel 699 England: "Better Business in Britain," by Ber- J nard Charman 73!l A Survey 736 British Lists 738 British Companies, Personnel 739 British Circuits, Personnel 743 British .Associations, Personnel 744 The Rank Group, Personnel 745 English Films, Inc.. Personnel 543 Equipment: "The Modernization of Theater Plan- ning," by John and Dreir Eberson.. 617 "1951 Survey of New Theater Etiiiip- ment," by Louis Pelcgrine 619 Trade .Names 645 Theater Supply Dealers 649 Refreshment & Confectionery Conces- sion Mart 653 Theater .Architects 656 Personnel of Equipment Companies. . 659 Equity Pictures, Inc., Personnel 543 Eroiiel Productions, Personnel 513 15 148 W. 57TH ST., NEW YORK 19 145 PICCADILLY, LONDON 16 Escar Motion Picture Seiv'ce, Inc.. Per- sonnel 699 Eshbaugh, Ted. Studios, Inc., Personnel 1)99 Esquire Films of the U. S., Inc., Person- nel 513 Essannay Electric Manufacturing Co., Personnel 66H Esskay Pictures Co., Personnel 543 Eureka Productions, Personnel 543 Everbrite Electric .Signs, Inc., Personnel 668 Evergreen State .\nuisement Corp., Per- sonnel 556 Exchanges 589 Exhibitor Organizations, Personnel 811 Exporters and Importers 588 IF F & Y Building Ser\ice, Inc., Personnel . . 668 Fabiola Enterprises. Inc., Personnel.... 513 "Facts About Phonevirion," Comm. E. F. McDonald, Jr '. 766 Fair Deal Motion Picture Ser\ice, Per- sonnel 699 Fair Film Corp., Personnel 699 Fairbanks Co., Inc., Personnel 543 Fairbanks, Jerry, Inc., Personnel 543, 699 Fairbanks, Morse & Co.. Personnel 668 Fairchild Recording Equipment Corpora- tion, Personnel 668 Falcon Films, Inc., Personnel 700 Falk Glass &: Plastics Co., Inc., Personnel 668 Famous International Film Corp., Per- sonnel 54 4 Famous Plavers Canadian Corp., Ltd.: Personnel 544 Theaters 1112 Financial Summary 933 Famous Studios, Per.sonnel 544 Fan Club League, Personnel 798 Fanchon &: Marco. Inc., Personnel 544 Faries Manufacturing Co., Personnel ... . 668 Farley Loetscher Mfg. Co., Personnel. . 668 Farley fc Loetscher .Mfg. Co., Personnel . . 668 Favorite Films Corp., Personnel 514 Favorite Films International Co., Inc., Personnel 541 Fkatiire,s: Producers 580 Imported During 1950 221 Credits for 1950 Releases 163 Released Since 1915 281 Fedders-Quigan Corp., Personnel 668 Federal Films, Inc., Personnel 544 Feldman, Charles K., Group Productions, Personnel 544 Fence Company of America, Personnel. . 668 Fenjohn Underwater Photo & Equipment Fennell, Paul J., Co., Personnel 700 Fensin Seating Co., Personnel 669 Co., Personnel 668 Fidelity Pictures, Personnel 544 Film .Advertising .Agency, Personnel.... 700 Film .Advisory Council of the Screen Directors' Guild, Personnel 798 Film .Alliance of .America, Inc., Per- sonnel 700 Film Art Corp., Personnel 700 Film .Asociados Mexico-.Americanos, S.A., Personnel 545 Film Carriers 601 Film Chauffeurs and Carriers Union, Per- sonnel 830 Film Cla'sics, 1950 Releases 218 Film Council of Ainerica, Personnel 798 Fii.M Dau.v, The: Personnel 44 Film Tops of 19,50 125 Ten Best Pictures, 1949-1022 145 Film Editors, Credits for 1949-1950 452 Film Exchange Employees Union, Per- sonnel 830 Film Exchange Front Office Employes Union, Personnel 830 Film Forinn Foundation, Personnel 700 Film Handlers Association, Personnel . . . 830 Film Institute, Inc., Personnel 544 Film Players' Club, Inc., Personnel 798 Film Productions Co., Personnel 700 Film Program Services, Inc., Personnel . . 700 Film Publishers, Inc., Personnel 700 Film Renters, Inc., Personnel 545 Film Rights International, Ltd., Person- nel 545 Film Studios of Chicago, Personnel . .bAb, 700 Film Technicians of the Motion Picture Industry, Personnel 831 P'ilm Treatizor C^orp., Personnel 669 Filmack Corp., Personnel 545 Filmcraft Productions, Personnel 700 Film-Makers, Inc., Personnel 545, 700 Films for Industry, Inc., Personnel 701 Films, Inc., Personnel 701 Films International of America, Inc.: Personnel 545 19.50 Releases 218 Films of the Nations, Inc., Personnel. . . . 701 Financial Summaries 929 Fine .Arts Films, Inc.: Personnel 545 1950 Release 219 Finney, Edward F., Productions, Per- sonnel 545 Firestone Industrial Products Co., Per- sonnel 669 Firestone Plastics Co., Personnel 669 Flameproof Chemical Co., Inc., Personnel 669 Flamingo Films, Inc., Personnel 701 Florez, Inc., Per.wnnel 701 Florida Theater Owners Association, Per- sonnel 813 Foote. Cone & Belding, Personnel 701 Foreign: "Legislative Restrictions in Foreign Film Markets, " by Nathan D. Golden 721 "Better Business in Britain," by Ber- nard Charman 731 17 I ASCAP MUSIC is the main ingredient of all successful enter- tainment programs — but not just any music. When you're in the business of entertaining people, it pays to give them the bes/. ASCAP music is demanded music— the newest and most- requested novelty tunes and ballads . . . the old standbys . . . rhythms and blues . . . folk tunes and sacred songs . . . spe- cial music for special occasions. ASCAP music is successfu/ — successful because it's cre- ated by America's outstanding composers of stage and screen songs, popular tunes, operettas and concert v/orks. ASCAP is grow/ng — growing with constantly created new works that customers will be demanding tomorrow — and the day after. All of ASCAP's rich and varied repertory — including the works of world-famous foreign composers- is available to you in one complete package at low cost, and v/ith a minimum of clearance problems. From Maine to California your local ASCAP represen- tative, at your call, will bring you complete details as to the ASCAP license for your particular needs. AMERICAN SOCIETY OF COMPOSERS, AUTHORS AND PUBLISHERS 30 Rockefeller Plaza, New York 20, N. Y. il 18 England— A Survey 730 British Lists 73S Briti'li Companies, Personnel 739 British Circuits, Personnel 743 British Associations, Personnel 744 The Rank Group, Personnel 745 "The Italian Motion Pictuie Industry — 1950," /;v ]ohn Perdictni 747 "Canada in 1950," by Fred C. Dillon.. 750 "France in 1950," by P. A. Harle 751 "Spain in 1950," by Antonio Ciievas Puenle 755 Australia, Lists 757 "Foreign Film Markets," /)v /. C. Priore 123 "Foreign Film Distribution in the United States," by J. C. Priore 159 Foreign Films Movie Club, Inc., The, Personnel 79B Forest Manufacturing Corp., Personnel.. 669 "Fi, reword. ' b\ jack Alicoate 3 Formica Co., The, Personnel 669 Formont Corp., Personnel 545, 701 Fort Lee Studios, Inc., Personnel 545 Fortune Film Corp., Personnel 545 Foundation of the Motion Picture Pio- neers, Inc., Personnel 798 Four Continents, 1950 Release 219 Fox Inter-Mountain Thf.aiers, Inc.: Personnel 556 Theaters 1113 Fox Michigan Corp., Personnel 556 Fox Midwest .\musement Corp., Theaters 1114 Fox Midwest Theaters, Inc., Personnel.. 556 Fox Philadelphia Building, Inc., Per- sonnel 557 Fox AV'est Coast Theaters Cori'.: Personnel 556 Theaters 1114 Fox Wisconsin Circuit, Theaters 1114 Fox Wisconsin Theaters, Inc., Personnel 556 "France in 1950," by P. A. Harle 751 Francisco Films, Personnel 701 Frankel Associates, Inc., Personnel 669 Freedom Productions, Inc.: Personnel 545 1950 Releases 218 Fremont Rubber Co., Personnel 669 Friars Club of California, Inc.. The, Per- sonnel 798 Friars National .\ssociation. Inc., Person- nel 798 Frick Co., Personnel 669 Friebcrg, Hardie, Personnel 701 Frigidaire Division, General Motors Corp., Personnel 669 Frink Corp., The, Personnel 669 Frith Films, Personnel 701 ^ GaniT. William J., Co., Personnel 701 Garver Electric Co., Personnel 669 (iasparcolor, Inc., Personnel 546 (iatcway Filin Corp., Personnel 546 Gateway Productions, Inc., Personnel . . . . 701 (ienarco. Inc., Personnel 669 (ieneral Casting Corp., Personnel 546 (ieneral .Motion Picture Corp., Personnel 546 (icneral Service Studios, Personnel 546 (,eneral Theater Investment Co., Ltd., Personnel 546 Gcnarco, Inc., Personnel 669 General .\niline X: Film Corp., Financial Summary 993 General Business Films. Inc.. Personnel. . 702 General Electric Co., Personnel 669 (.cneral Engineering &: Manufacturing Ca3., Personnel 669 (.cneral Film Production Corp., Person- nel 702 General Pictures Productions, Inc., Per- sonnel 702 General Precision Equipment Corp., Personnel 669 (;i \ERAL Precision Equipment Corp.: Personnel 669 Financial Summary 934 (icneral Register Corp., Personnel 670 General Screen Advertising, Inc., Per- sonnel 702 Ciilbert Chemical Sales Co., Personnel. . . 670 Globe Film Distributors, Inc., 1950 Re- leases 218 Globe Ticket Co., Personnel 670 Goldberg Brothers, Personnel 670 CioldE Manufacturing Co., Personnel . . . 670 Golden, Edward Associates, Inc., Per- sonnel 546 Golden, Nathan D., "Legislative Restric- tions in Foreign Film Markets" 721 Golden Productions, Inc., Personnel.... 546 (ioldwyn, Samuel, Productions, Inc., Per- sonnel 546 (ioldwyn, Samuel, Studios, Personnel. . . . 546 Cioodall Fabrics, Inc., Personnel 671 Gr)odman, Larry, "Television Develop- ments" 115 (.oRDON Films, Inc.: Personnel 546 1950 Releases 219 Ciordos Corp., Personnel 671 (,rainger, Edmund, Productions, Per- sonnel 546 Grant, Marshall, Productions Sheg, Inc., Personnel 547 Graphic .Associates, Personnel 702 (iraphic Films Corp., Personnel 702 C^reater Cincinnati Independent Exhibi- tors, Inc., Personnel 817 f;reene, Ben, Personnel 702 Griffon Films, Inc., Personnel 547 Griggs Equipment Co., Personnel 671 Grippo, Jan, Productions, Personnel.... 547 Griswold Machine Works, Personnel. . . . 671 Grosh, R. L., & Sons Scenic Studios (A Corp.), Personnel 671 19 suggests . , TWO PRACTICAL AIDS TO THE TV PRODUCER BMI, through its Television Service Department, makes avail- able to its TV licensees a variety of specific aids to music programming. TWO PRACTICAL AIDS are described below: BRIDGES. MOODS. INTERLUDES A classified and cross-indexed refer- ence book, particularly helpful wher- ever descriptive mood music or back- ground music Is necessary. You don't have to be a music expert to make the most of this BMI service. "Bridges, Moods, Interludes" gives you thousands of cues to recorded music available to any telecaster. MUSICAL CATEGORIES For setting musical scenes and selecting appropriate music for countless script situations ... A complete volume, carefully compiled, indexed and cross-indexed, to provide immediate reference to a wide variety of song titles. The BMI CATEGORICAL INDEX is proving indispensable to TV producers and program directors everywhere. Write fo BMI's Television Service Department for Your Free Copy BROADCAST MUSIC, INCORPORATED 580 Fifth Avenqe New York 19. N. Y. NEW YORK • CHICAGO • HOLLYWOOD • TORONTO • MONTREAL 20 Giiaianieecl Pictures Co., Inc., Personnel 547 Guffanti Film Laboratories, Inc., Pei- sonel ""2 "Guild for Motion Picture Producers, A" hy William Perlberg 800 Guild Products, Personnel 671 Giith, Edwin F., Co., Personnel 671 IHI Habitant Fence, Inc., Personnel 671 Hall, Geo. R., & Sons, Personnel 671 Hallmark PRODicrioNS, Inc.: Personnel .547 1950 Release 219 Halpern, Nathan L., "Theater Televi- sion" 761 Hamilton Theater Managers Association, Personnel 820 Hance, Paul, Productions, Inc., Person- nel 702 Hardwick & Magee Co., Personnel 671 HarFilms, Inc.. Personnel 702 Harle, P. \.. "France in 1950" 754 Harman, Hugh, Productions, Inc., Per- sonnel 547 Harris-VV'olper Pictures, Inc., Personnel 547 Harrison Rojector Co., Personnel . . . .671, 702 Hartley Productions, Personnel 702 Harvey International, Ltd., Personnel. 541 ,702 Haskeiite Manufacturing Corp., Person- nel 671 Hathen Productions, Personrtel 703 Havv'ley-Lord, Inc., Personnel 703 Hearst Metrotone News, Inc., Personnel 547 Herald Pictures, Inc., Personnel 547 Herrin^-Hall-Marvin Safe Co., Personnel 671 Hertner Electric Co., The, Personnel... 671 Hewitt Resttoam Division, Personnel... 671 Heyer-Shultz, Inc., Personnel 671 Heywood-Wakefield Co., Personnel 671 Hild Floor Machine Co., Personnel 672 HoFFBERt; Productions, Inc.: Personnel 547, 703 19.50 Releases 219 Hollysmith Pictures, Personnel 703 Hollywood AFL Film Council of the California State Theatrical Federation, Personnel 831 Hollywood Enterprises, Inc., Personnel. . 547 Hollywood Film Enterprises, Inc., Per- sonnel 703 Holmes Projector Co., Personnel 672 Holt, Nat, Pictures, Personnel 547 Holub Industries, Inc., Personnel 672 Home Office Employees Union, Personnel 831 Hope Enterprises, Inc., Personnel 548 Horn, A. C, Co., Inc., Personnel 672 Houston-Fearless Corp., The, Personnel 672 Howard, Sandy, Productions, Personnel 703 Hub Electric Co., Personnel 672 Hughes Productions, Personnel 548 Hullinger Productions, Personnel .. .54S, 703 Hunt, Philip A., Co., Personnel 672 Hvi'FRioN Films, Inc.: Personnel 548, 703 1950 Releases 219 D Ideal Dispenser Co., Personnel 672 Ideal Motion Picture Service, Personnel 703 Ideal Pictures Corp., Personnel 703 Ideal Seating Co., Personnel 672 Ilex Optical Co., Personnel 672 Imperial Brass Mfg. Co., Personnel 672 Imperial Carpet & Furniture Corp., Per- sonnel 672 Imperial Electric Co., Personnel 672 Imported Features, 1950 221 Importers and Exporters 588 Impossible Pictures, Inc., Personnel 548 IMPS, Inc., Personnel 704 Independent Artists, Inc., Personnel 548 Independent Drive-In Theaters Associa- tion, Personnel 819 Independent Exhibitors, Inc., Personnel. 815 Independent Exhibitors of Rhode Island, Personnel 818 Independent Motion Picture Exhibitors .Association of Ontaria, Personnel 820 Independent Motion Picture Machine Operators & Television Employes, Inc., Personnel 831 Independent Motion Picture Producers .Association, Personnel 799 Independent Poster Exchanges of Amer- ica, Personnel 799 Independent Theaters .Association, Per- sonnel 815 Independent Theater Owners Associa- tion, Inc., Personnel 816 Independent Theater Owners of Arkan- sas, Personnel 812 Independent Theater Owners of Mon- tana, Personnel 816 Independent Theater Owners of North- ern California, Personnel 812 Independent Theater Owners of Ohio, Personnel 817 Independent Theater Owners of Oregon, Personnel 818 Independent Theater Owners of South- ern California and Arizona, Personnel 812 Independent Theater Owners of Utah and South Idaho, Personnel 819 Independent Theater Owners of Wash- ington, Northern Idaho, and Alaska, Personnel 819 Industrial Film Guild, Personnel 703 Industrial Film Laboratory, Personnel. . 703 "Industry Statistics," by Chester B. Bahn and U'infield Andrus 82 Infra Insulation, Inc., Personnel 672 21 * . . . The magic phrase which, throughout the world, denotes the ultimate in technical perfection . . . indicative of EXTRA Effort . . . EXTRA Quality . . . EXTRA Entertainment and EXTRA BOX-OFFICE Appeal TECHNICOLOR IS THE TRADE MARK OF rECHNKOLOR MOTION PICTURE CORPORATION HERBERT T. KALMUS, President and General Manager 22 Ingram-Richardson Manufacturing Co., Personnel 672 Institute of Radio Engineers, Inc., Per- sonnel 799 Institutional Cinema Service, Personnel 703 Insurance Brokers 603 Inter-American Productions, Inc., Per- sonnel 548 Interfilm Corp., Personnel 548 Iniernalional .\lliance of Theatrical Stage Employes and .Moving Picture Ma- chine Operators of the United States and Canada, Personnel 831 International .Association of Machinists, Personnel 831 International Federation of Catholic Alumnae, Motion Picture Department, Personnel 799 International Film Bureau, Inc., Per- sonnel 703 International Film Foundation, Inc., Personnel 548, 703 International Geographic Pictures, Inc., Personnel 704 International Motion Picture Organiza- tion, Inc., Personnel 799 International Photographers of the Mo- tion Picture Industries, Personnel.... 831 International Productions, Inc., Person- nel 548 International Projector Corp., Personnel 670 International Register Co., Personnel. . . 672 International Seat Corp., Personnel 672 International 16 mm. Corp., Personnel. . 704 International Sound Technicians, Per- sonnel 832 International Ticket Co., Personnel 673 Interstate Engineering Corp., Personnel. . 673 Inter-\Vorld Films, Inc., Personnel 548 Irish .\merican Film Corp., Personnel .. Irwin Seating Co., Personnel 673 "Italian Motion Picture Industry— 1950, I'he," by John Perdicari 747 J Jam Handy Organization, Personnel.... 704 Jamieson Film Co., Personnel \.... 704 Jensen Manufacturing Co., Personnel . . . 673 Jewel Productions, Inc., Personnel 548 Jewel Products, Inc., Personnel 673 Johns-Manville, Personnel 673 Johnston, Eric A., "Frontline Post" . ... 51 Josam Manufacturing Co., Personnel . . . 673 Justal Productions, Inc., Personnel 548 K K. P. I., Inc., Personnel 548 Kansas- Missouri Theater Association, Inc., Personnel 816 Karagheusian, A. & M., Inc., Personnel. . 673 Karel Sound Film Lil)rar\, Personnel. . . 704 Katzman Corp., I'he, Personnel 549 Kawnecr Co., Personnel 673 Keasbey & Mattison Co., Personnel 673 Kees, Y. D., Mfg. Co., Inc., Personnel. . . 673 Keese Engineering Co., Personnel 673 Kenney, Charles H., Personnel 673 Kentile, Inc., Personnel 673 jvciiNon & Eckhardt, Inc., Personnel 704 Kemucky .Association of Theater Owners, personnel 814 KerKow, Herbert, Inc., Personnel 704 Kewanee Boiler Corp., Persoiviel 673 Keystone View Co., Personnel 673 Killmgsworth, Oland, Personnel 704 Knig Bros. Productions, Inc.. Personnel 549 Knig Cole Projection Service, Inc., Per- sonnel 704 Kinner Products Co., Personnel 673 Klee, Walter, .Associates, Inc.. Personnel 704 Kliegl Bros. Uni\ersal Electric Stage Lighting Co., Inc., Personnel 674 Kline, F. VV., Productions, Inc., Person- nel 704 Kliiig Studios, Inc., Personnel 705 Kneisley Electric Co., Personnel 674 Knickerbocker Productions, Inc., Person- nti 705 Knowledge Builders— Film Div. of Mc- Crory Studios, Personnel 705 Knoxville Scenic Studios, Inc., Personnel 674 Kohler Co., Personnel 674 Koiled Kords, Inc., Personnel 674 Kollmorgen Optical Corp.. Personnel . . . 674 Kontney Carton Co., Personnel 674 Korex Co., Personnel 674 Krart, Vernon, Film Productions, Per- sonnel 705 Kramer, Stanley, Co., Inc., Personnel. . . 549 Kroehler Mfg. Co., Personnel 674 Kuiiz .Motion Picture Service, Inc., Per- sorinel 705 IL- Labor Organizations, Personnel 828 Laboratories 605 Lakewood Automatic Switch Co., Per- sonnel 674 Lambs, The, Personnel 799 Lamson Corp., Personnel 674 Landres, Morris M., Personnel 549 Lantz, Walter, Productions, Inc., Per- sonnel 549, 705 Lasky, Jesse L., Productions, Inc., Per- sonnel 549 LaVezzi Machine Works, Personnel 674 Lawrence Metal Products, Inc., Per- sonnel 674 Lawson, F. H., Co., Personnel 674 Leathercote Co., Personnel 674 23 . . . A FEATURE ATTRACTION L.,:,.... 24 PDTORDAIL fllNIPE^ Leedom. Thomas L.. Co., Personnel. . . . 675 Lees. James, .Sons Co., Personnel 67.5 Legge. ^V:lltel■ G., Co., Inc., Personnel . . . 675 "Legislati\e Restrictions in Foreign Film Markets," b\ Nathan D. Colden 721 Lehigh Furniture Corp., Personnel 675 Lesser, .Sol, Productions, Inc., Personnel 549 Levey. Jules. Personnel 549 Levin;on-Finney Enterprises, Inc., Per- sonnel 549 Lewis Protluctions, Inc., Personnel 549 Lewis Sound Films, Personnel 705 Libbey-Owens-Ford Glass Co., Personnel 675 Liberty Films, Inc., Personnel 549 Library Films, Inc., Personnel 705 Libraries, Stock Shot 603 Lincrophone Co., Personnel 675 Lion Television Pictures Corp., Person- nel 705 Lippert Pictures, Inc.. Personnel 549 LippicRT Productions. Inc.: Personnel 549 1950 Releases 219 Lobby Display Frame Corp.. Personnel 675 Lloyd, Harold. Corp., Personnel 550 Lloyds Film Storage Corp., Personnel . . . 550 LoEw's, Inc.: Personnel 550 Studio Personnel 551 Theaters 1125 Financial Summarv 931 1950 Releases ' 219 Loew's International Corp., Personnel.. 550 London Fil.m Productions, Inc.: Personnel 552 1950 Release 219 Long Sign Co., Personnel 675 Lopert Films, Inc.: Personnel 552 1950 Releases 219 Lorraine-Carbons, Inc., Personnel 675 Loiicks S: Norling Studios, Inc., Personnel 705 Lulis Co., Inc., Personnel 675 Lustra Corp. of .\merica. Personnel 6/'5 Lux Film Distributinc. Corp.: Personnel 552 19,50 Releases 219 Lux Films (U.S. .A.), Inc., Personnel 552 MC Mc.Aule\, J. E., Mfg. Co., Personnel 670 McCoIpin-Christie Corp., Ltd., Personnel 675 McDonald, Comm. E. F., Jr., "Facts About Phonevision" 766 McGowan, J. P., "SDCA in 1950" 856 McGraw-Hill Book Co., Inc., Text-Film Dept., Personnel 705 McHenry Films, Personnel 705 McLarty Picture Production , Personnel . 705 McQuay, Inc., Personnel 675 M MGM Radio .\ttractions. Personnel 552 M-G-M Records, Personnel 552 M-G-M Studios, Personnel 551 MP.^.^, .See: Motion Picture A.ssociation of America. MPE.\, See: Motion Picture Export A.sso- tion. MPTO of .\rkansas, Mississippi and Ten- nessee, Personnel 81 S MPTO of Connecticut, Personnel 813 MP rO of Kentucky, Personnel 814 MPTO of Maryland, Personnel 815 MPTO of Metropolitan D. C, Personnel 813 MPTO of New York State, Inc., Person- nel 817 MPTO of St. Louis, Eastern Missouri and Southern Illinois, Personnel 816 MPTO of West Virginia, Personnel ... 820 Madison Pictures, Inc., Personnel 552 Maharam Fabrics Corp., Personnel 675 Mahnke, Carl F., Productions, Personnel 705 Maier-Lavaty Co., Personnel 675 Major Equpiment Co., Inc., Personnel.. 675 Major Productions, Inc., Personnel .... 552 Make-Up Arti5,000 ceiling in any 12-month period, and for building to replace a theater destroyed by fire, flood or other disaster or act of God. Later cutbacks in critical materials, of course, afl^ected phases of industry operation and activity. • ON ANOTHER industry war front, Samuel Pinanski, president of the TOA, was chosen by COMPO and the Treasury Department to head a committee to handle all film activity incident to a stepped up Bond selling campaign. Pinanski was the Treasury's choice in the Spring to direct the industry's Bond sales efl:ort. II 5 HANDS ACROSS THE SEA. To New Wnk in early December came the Hon. Rupert Somervell, Under-Secretary of His Majesty's Board of Trade, to affix his signature alongside those of Eric .\. Johnston and Ellis G. .Arnall, presidents respectively of the MPE.\ and the SIMPP, and thus formalize a new one-year Anglo-.American film agreement effective as of Oct. 1. Signing of the pact which replaced the expired original two-year agreement took place at the ★*★****★*★★***★★**★★★★★*★★*★*★ 53 BETTY HUTTON 54 *★★***★*★ 1 950: A REVIEW ★*★★★★★★★ MPAA headquarters in New York on Dec. 5. The two-year agreement expired on June 14, but its provisions held over for the interim. Complementing the new agreement was a "letter of interpretation" addressed by Somervell to Johnston and Arnall under the Oct. 1 date. It was designed to cover a number of problems of interpretation likely to arise in relation to the operation of the bonus scheme. The result of negotiations which spanned a period of months and twice caused Johnston and Arnall and their aides to make pilgrimages to London, the new agreement embodied United Kino-dom production bonus provisions which made possible an increase of from $3 million to $4 million above the basic $17 million yearly British film remittables. American distributors will be permitted to convert into dollars a sum equivalent to 23 per cent of sterling expenditures for film production in Britain; 50 per cent of sterling expenditures for outright purchase of British films; and 50 per cent of sterling paid to British interests for dis- tribution of their films in the Western hemisphere. • DISCUSSIONS looking to a new agreement originally opened in London on May 15 when the British Government placed primary emphasis upon the expansion of American production in England while American companies called for more dollars and freer use of frozen earnings. The parleys extended for a week and ended with the submission of what were termed "final" British proposals. They were, of course, rather designed for bargaining purposes. Particularly obnoxious to the .American industry was the British proposal to impose financial penalties should American production in Britain during the new contract period fall below that prevailing during the last two years. There was strong American opposition as well to the British proposal that all American film earnings above $13 million yearly remittables— a new and lower level— be invested either in American production in Britain or in British government bonds. Johnston and .Arnall made their second trip to London in July with preliminary discussions starting on the 20th. • IT WAS NOT until Aug. 2 that there came a meeting of the minds and an agreement "in principle." The conferees, discarding the imsatisfactory "B" pool of the original agreement, substituted the three bonus incentives designed to increase materially the basic $17 million remittables. Importantly, the bonuses will be earned by individual companies. American-sponsored films qualify for the production bonus but the bonus for American distribution applies only to purely British pictures. The permitted uses in the old agreement carry over with several additions, including permission for American companies to purchase currencies of other countries with their blocked earnings in Britain. • THE APPROACH to the compromije was aided by American distributor acceptance in June of the British entertainment tax relief plan after an initial rejection, plus strong American Government support, instanced by American Embassy moves at the direction of the State Department. In late January, the issue of American film dollars was introduced in the British Parliamentary Campaign when Winston Churchill, in his opening campaign speech, charged his Majesty's Labor Government with frittering away U. S. dollars on films. On March 12, Harold Wilson, president of the Board of Trade, set the 1950-51 exhibitors' quota at 30 per cent, a figure obviously unrealistic. Ill f THE END OF THE TRAIL, in Washington, on Oct. 16, the remaining three of the "Big Five" reached the end of the trail insofar as their fight to overturn the divorcement and divestiture provisions of the February decree of the New York Statutory Court before which the Government's antitrust action was tried. The high court slammed shut the door when it refused to reconsider its June 5 action affirming those provisions. The court, by its action, in effect told Loew's, Warners and 20th-century Fox: "Either divorce and give up theaters on the timetable set down by the Statutory Court or work out some terms with the Government in special consent decrees." Warners and Twentieth-Fox subsequently entered into consent decree parleys with the Department of Justice; Loew's held aloof. On Dec. 26, came the announcement that Warners and the Department had reached an agreement, with the proposed decree to be presented to the **★**★****★*★★★★★*★★********** 55 56 ★ **★★**** 1950: A REVIEW ***★**★★★ Statutory Court on Jan. 4. and to the stockholders for approval within 90 days. Under the decree's terms, two new producer-distributor and theater companies must l)e created within 27 months; further, divestiture of from 5G to 77 theaters is called for. 1 he three Warner brothers, Harry M., Jack L. and Maj. Albert, are required to confine their interest to the same new company. Twentieth-Fox decree discussions continued at the year-end. The Statutory Court in its decision handed down Feb. 8 directed the three companies to complete divorcement within three years with a proposed divorcement plan to be submitted within six montlis. In the instance of divestiture, the companies were directed to sul)mit a plan within one year "adequate to satisfy the requirements of the Supreme Court decision with respect to divestiture." I he Statutory Court also held tiiat no new theaters may be acquired U\ any of the distributin;> companies resultinsr from the divorcement without prior court approval and that no exhibition companies resulting from divorcement mav distribute films without court sanction. The three majors did not challenge the Statutory Court's decision insofar as its trade practice prov isions were concerned. • ON JUNE 29. Chief Justice Fred N'inson of the U. S. Supreme Court ruled out further delay in the carr\ing out of tiie divorcement and divestiture orders of the New York court. The mandate of the Supreme Court affirming the February decision of the statutory tribunal was filed with the latter on July 8. Thus the filing of detailed plans for divorcement liecame due by Jan. 8. 19.51, with divestiture plans to be filed by Julv 8, 1951, and all theaters disposed of by July 8, 1953. The Statutory Court on Feb. 8 handed down a separate final decree naming the "Little Three" —Universal, Columbia and United Artists. Importantly this decree would permit the three companies to acquire theaters. Loew's, in its appeal from the Statutory Court's decree, contended that integration as far as it was concerned was not wide enough to require divorcement. Warners and 20th-Fox in their appeals defended their rights to operate theater enterprises when holdings had ben reduced to the point where competition would be re-estalilished. The Department of Justice, in a cross appeal, asked for a one-and-a-half vear limit on divorcement. • ON MARCH 6. the Statutory Court amended the Paramount consent decree to allow United Paramount Theaters a two-year period for disposition of 09 theaters. On .April 19, tlie court granted RKO a divorcement extension to Dec. 31. On Mav 8. Howard Hughes filed an intent with the court to remain with the production end of tiie RKO operation when final reorganization became eflective. On Sept. 13, Federal District Judge Edward Conger signed an amendment to the Pai iur ir t consent decree permitting Paramount to sub-let theaters in 19 Southern cities where landlords involved woidd not consent to assignment of the agreement". IV CORPORATE. For a second time in industry annals at the stroke of 12, midnight on Dec. 31, a major company pa.^ses by court mandate, to l)e replaced by two wholly separated entities chartered in I)elaware. The newcomers: RKO Pictures and RKO Theaters, the former "owned" by Howard Hughes, its managing director-production, with Noah Dietrich the board chairman and Ned E. Depinet the president; the latter, with Hughes' controlling 929,028 shares held in trust, pending sale, headed by Sol .A. Schwartz as president. Negotiations for the purchase of the Hughes' holdings in the new theater compain by a Trans-Lux group headed by Harry Brandt collapsed in mid-Deceinber. • OTHERWISE, the company developments of 1950 were highlighted by the merger of Joseph Bernhard's Film Classics with Robert R. Voimg's Eagle Lion to form Eagle Lion Classics the sudden, dramatic advent of a new United .\rtists management headed by Paul V. McNutt, Frank McNamee and Max Kravetz; the formation of the Stanley Kramer Co. by Kramer and veteran industryite Sam Katz to function as both producer and distributor, and the corporate union of Jerry Wald and Norman Krasna to produce for RKO on a five-year rovaltv deal. The FC-EL merger was a May development, but finalization waited until June 12. The revamped executive slate comprised: Board chairman. Bernhard; president, William MacMillen, Jr.: William Heineman. vice-president in charge of distribution: Bernard Kranze, general .sales manager; Syd Gross and Leon Brandt, joint advertising-publicity directors. Subsequently, both Gross and Biandt resigned, with Howard Le Sieur resigning late in the year at United Artists to take over the directorship solo. *******★*★*★★★***★******★★**★★ 57 johh ujfiynE 58 ★ ★★★*★**★ 1 950: A REVIEW *★*★★★*★★ In late June, Film Classics made an assignment for the benefit of creditors, with Irving Kaufman designatcil the assignee. • SIXTY PER CENT of the 20,000 shares of United Artists stock, representing the 12,000 shares in the treasury, were offered for sale in May, the board of directors designating then President Gradwell L. Sears, Arthur \V. Kelly, executive vice-president, and \'italias L. Chalif to conduct negotiations. While discussions wilh several interests, including a group headed by Sam Katz, and another headed by Harry Popkin and Joseph Justman were continuing, UA owners, Mary Pickfora and Charles Chaplin called a special stockholders meeting on July 11 without notice to the company management and effected a sweeping reorganization, accompanied by stock option commitments. McNutt emerged as board chairman, McNamee as president. Miss Pickford as vice-president, Kravetz as secretary. The new triumvirate were said to be acting for an Eastern syndicate, whose wraith-like principals, however, were never disclosed. As the year ended, there were persistent reports that still other interests were potential purchasers of U.\ treasury stock involving the company's control. Projected were the names of Jacques Grinieff and Robert Haggiag, among others. That the plans of McNutt, et al, had encountered bad snags was self evident. The earlier months of the year saw these UA developments: In February Nat Nathanson was named Eastern and Canadian sales manager; on Feb. 20 George Bagnall resigned as vice- president in charge of production. Subsequent to the advent of the new management, Arthur W. Kelly resigned from the company, with .\\ Lowe assuming direction of foreign sales. In early August, Clinton J. Scollard joined the company as executive vice-president, previously resigning from the Paramount executive staff. .\lso in early .•\ugust, Harry D. Buckley resigned as did Paul N. Lazarus, Jr., the latter thereafter taking an executive post at Columbia. On Dec. 20 the resignation of Francis M. Winikus as advertising manager was announced. • THE RKO PICTURES-RKO THEATERS realignment was preceded by a series of executive changes during the year. On Jan. 17, Sid Rogell was named RKO executive producer; in late May he resigned. Gordon Youngman on Jan. 17 was named vice-president in charge of commitments, and Bicknel Lockhart vice-president and general manager of RKO Studios. On Feb. 28, George H. Shaw and J. Miller VValker were replaced on the RKO board by A. S. Simpson, Houston banker, and Thomas A. Slack, vice-president of the Hughes Tool Co. .^t a subsequent meeting on March 6, Noah Dietrich was elected chairman of the RKO board. Malcolm Kingsberg on .\pril 26 resigned as vice-president of RKO Corp. and as president of RKO Theaters. On the following day, Ned E. Depinet was elected president of RKO Theaters and Sol A. Schwartz, executive vice-president. On May 25, William F. Whitman succeeded J. Miller Walker as secretary of RKO Theaters, with Walker becoming vice-president. On May 27, resignations of L. Lawrence Green and Frederick L. Ehrman from the RKO board were announced. Subsequently, Maurice H. Bent and J. Miller Walker replaced them, while Noah Dietrich was elected RKO Radio board chairman. On July 13 Harry J. Michaelson dropped the post of short sales manager at RKO to devote his full time to the RKO-Pathe presidency. On -•^ug. 20, Lockhart resigned as RKO studio general manager. On Dec. 13 resignation of Youngman as vice-president in charge of the studio was announced, with C. J. Tevlin succeeding. • IN PARAMOUNT PICTURES these developments rated industry attention. In April, President Barney Balaban and Edwin L. Weisl joined the board of Allen B. DuMont Laboratories. On May 1, THE FILM DAILY reported the company had acquired an interest in the Chromatic Television Laboratories and on May 10 THE FILM DAILY disclosed that Paramount was experimenting with third dimension. On May 29, Clay V. Hake was named Harry Hunter's successor as Paramount managing director in Australia. On June 29, Max E. Youngstein was elected a director and vice-president of the Paramount Distributing Co. In early July, Henry Ginsberg resigned as Paramount Studio administrator and production head, with Y. Frank Freeman taking over studio operations on the 16th. Henry B. Gordon was named executive assistant to President George Weltner of Paramount-International on July 19. In late December the company set a $15,000,000 loan from the Prudential Insurance Co. to run for 15 years. Paramount during the year engaged in heavy stock purchases of its own common in the open market. • THERE WAS A SERIES of newsworthy developments at Universal. In late January Robert W. Lea of Johns-Manville joined the company board, while in early March John G. Eidell also became a director. In late May, Alfred E. Daff was appointed execiuive vice-president of Universal, and Oct. 24 he became director of world wide sales for the company. William A. Scully becoming domestic sales consultant under a new four-year deal. On July 2 it was announced that the Universal board had voted President Nate J. Blumberg *★***★★*★**★★************★★★★★ 59 ROY ROGERS ''King of the Cowboys" AND TRIGGER ''Smartest Horse in the Movies'' Radio — Sponsored by Quaker Oats 567 stations Mutual Broadcasting System Records— RCA VICTOR Pictures— Republic 13 Years Commercial Tie-ups Exclusive Management Publicity Director ROHR COMPANY ' ART RUSH, Inc. AL RACKIN Hollywood HOLLYWOOD Hollywood 60 ★ ★★★★★★★^ 1 950: A REVIEW *★***★**★ a new five-year contract. On Sept. 24 Americo Aboaf was named vice-president of Universal Int'l. On Nov. 30 A. J. O'Keefe resigned as assistant general sales manager and on the following day appointment of Charles J. Feldman as domestic sales manager was announced. On Dec. 6 David A. Lipton, the company's national director of advertising, publicity and exploitation, was elected a vice-president. Two departmental changes shortly followed. Henry A. Linet assuming the new post of sales promotion manager and Jeff Livingston succeeding him as Eastern advertising manager. On Dec. 19, Peter T. Dana was promoted to the post of Eastern sales manager. Universal's subsidiary. United World Films, gained Murray Goodman as vice-president on Jan. 2, while late in the year it was announced that Matthew Fox had resigned as UWF's board chairman, effective Jan. I. Fox's resignation from the Universal board takes effect simultaneouslv. • IN EARLY JULY, Joseph M. Schenck resigned as board chairman and president of United Artists Theaters in order to remain with 20th-Fo\: the alternative had been given him by the Government. Subsequently, George Skouras filled the vacated presidency. In late March, Loew's stockholders appro\ed new five-year contracts for Louis B. Mayer and J. Robert Rubin. On May 4 Robert Weitman and Edward L. Hvman were elected vice-presidents of United Paramount theaters. On Oct. 19. LIPT announced that its holdings in the Butterfield Circuit had been acquired by the University of Michigan. On Dec. 11, UPT announced it had entered into a .'>4.'),000,000 loan arrangement with a banking group and an insurance company. .At a special stockholder's meeting in late Decemlier, seven-year stock options allocating shares to officers and key personnel were approved. On Dec. 11, Columbia stockholders authorized two additional diiectors. First to be designated was Lewis S. Rosenteil, chairman of the board of Schenley Industries. In early January, Louis Talcott Stone was named executive assistant to David O. Selznick. In late March, Victor J. Hoare Ijecame \ ice-oresident in cliarge of foreign distribution of SRO. On .April 18 Daniel O'Shea resigned as president of Vanguard Films and as executive director of the Selznick Studio; O'Shea, in late November, joined CBS in a top television post. On April 26, the resignation of Rol)ert H. Dann as Vanguard's vice-president and general counsel was announced. In mid-June, Robert Gilham resigned as SRO's advertising-publicity director to take an executi\e post with MCA. In early .August Manny Reiner stepped cjown as head of SRO's foreign film unit. • THERE WERE CHANGES in Samuel Goldwyn's organization as well during the year. In early January .Arthur Sachson resigned as general sales manager. On Feb. 6 Lynn Farnol resigned as Goldwyn's adxertising-publicitv director. The following day Jock Lawrence rejoined Goldwyn as vice-president in charge of pul)lic relations, publicity and advertising but in early November stepped out. On Feb. l.S .Alfred Crown assumed the direction of world wide sales. Resignation of Allen Wilson as Republic's vice-president in charge of studio operations was announced as. Octol)er ended. .A week later, Jack E. Baker was designated studio manager. Robert Lippert appointed Marty Weiser ad-publicity director for Lippert Productions in early January. In early .April, the company announced it was opening its distribution set-up to outside producers. On Jan. 5 Norman W. Elson succeeded W. French Githens as president of Newsreel Theaters, Inc. This was followed late in the month by the resignation of Col. Augustine G. Rudd as vice- president and as general manager of the Embassy circuit. Githens subsequently was elected chairman of the executive committee of Cinerama, Inc. and a director of Vitarama and Cinerama: In early .August, control of Cinerama was acquired by a group headed by Hazard E. Reeves. In addition to financial moves already noted, there were these which held more than ordinary interest: National Theaters arranged a 17,500,000 loan with Metropolitan Life, the Bank of .America and Chase National: the 1501 Broadway Corp., a Paramount subsidiary, borrowed $9,000,000 from Prudential Life Insurance Co.; Columbia completed a §12,000,000 loan arrangement with the First National of Boston, Bank of .America, National Trust & Savings Association and the Manhattan Co.; Walt Disney Prods, in NovemI)er acted to redeem its outstanding 6 ]3er cent preferred stock. • OTHER NEWSWORTHY corporate developments of 19.50 include: Charles Chaplin formed Celebrated Films Corp. to reissue his comedies; Donald E. Hyndman was named sales- manager for Eastman Kodak's motion picture department in the U. S.; Jack Broder succeeded Norman Eisenstein as Realart's board chairman; Frank Soule was elected president of Pictorial Films; James M. King, Jr. was named treasurer of Pathe Industries; Capt. Harold Auten left United Artists to organize Ballantine Pictures Corp., a new distributor; John Arent was elected ★★★*************************** 61 ^hjffJIlJ^i Mr. Exhibitor, r ^ for keeping us tops in our field ! continue to roll 'em out in '51 -52... a new, fine A utry action picture every twc months . . .for Columbia release. GENE AUTRY Productions Executive Producer ARMAND SCHAEFER ^ovj in release GENE AUTRY AND THE MOUNTIES TEXANS NEVER CRY WHIRLWIND SILVER CANYON VALLEY OF FIRE HILLS OF UTAH Jll starring GENE AUTEY and. CHAMPION 62 ★ *★★***★★ 1 950: A REVIEW ★*★★*★**★ president of Laurel Films; William M. Ferguson and C. Edward Carrier left Metro to launch Hollywood Enterprises. V 5 GOVERNMENT VS. INDUSTRY. The Government's antitrust action against Techni- color finally came to an end on Feb. 28 with the signing in Hollywood of a consent decree which ended various contracts and arrangements between Technicolor and motion picture producers. The judgment gave producers the option to cancel contracts which had required them to use only Technicolor cameras and services in the making of motion pictures in color and to take advantage of any other decrees. .Additionally, the judgment requires Technicolor to license 92 patents on a royalty-free basis while 12 additional patents, 48 patent applications and all patents Technicolor acquires or applies for up until Nov. 28, 1953, are also made available to producers on a reasonable royalty basis. Moreover, Technicolor is required up until Jan. 1, 1957, to furnish "knowhow" to all licensees who pay a reasonable royalty. Finally, the judgment requires Technicolor to furnish at nominal charge the detailed specifications, prints and plans of Technicolor three strip cameras to all applicants desiring to manufacture cameras and to have the cameras and accessories available at reasonable rentals. • ON MARCH 14 in New York, ASCAP entered into two consent decrees with the Government to end antitrust suits. By the decrees, the society was required to terminate domestic and foreign monopolies. .Among the important provisions of the consent judgment were those requiring the Society to offer to motion picture producers and television stations, like radio stations, a single license covering all performances of a motion picture or an entirely network telecast. As a result of the decree, ASCAP may no longer sue motion picture exhibitors for royalties nor may it longer collect license fees from exhibitors or use music of resigned members. The domestic judgment replaced a 1941 consent decree against the Society. • FINIS WAS WRITTEN to the Government's antitrust action filed April 28, 1939, against the Griffith circuits as the year ebbed. On Dec. 27 in Oklahoma City, more than 11 years after the suit had been instituted. Federal Judge Edgar S. Vaught entered his final decree. While the court avoided any sweeping divestiture order, the 288-page document laid down a pattern of conduct in compliance with the U. S. Supreme Court decision which two years earlier found the defendants guilty. The decree followed extended arguments early in the year during which Judge Vaught ruled that Video Independent Theaters, Inc., which had taken over 150 Griffith houses in Texas and Oklahoma, could not be made defendants as sought by the Government. On April 10 the U. S. Supreme Court refused to accept jurisdiction in the appeal of screen writers John Howard Lawson and Dalton Trumbo from a lower court conviction of contempt of the Congress. On May 10, the Department of Justice charged violation of the Crescent consent decree, filing civil and criminal contempt proceedings at Nashville, Tenn. VI J TRADE LITIGATION. Twice during 1950 the U. S. Supreme Court spurned industry attempts to end motion picture censorship. On May 8 the high court refused to accept jurisdiction in the "Curley" suit originating in Memphis. And on Oct. 16, it refused to hear the "Lost Boundaries" appeal by an 8 to 1 vote. The latter decision held largely on the basis of an earlier I9I5 ruling that Atlanta's censors had acted within their rights in banning the picture produced by the RD-DR Corp. It was a major industry setback. The petition seeking review argued that "motion pictures remain the one medium of mass communication which is outside the protection of the First Amendment" and that "this case affords the court with the opportunity to take the final and explicit step clearly foreshadowed by its more recent decisions which would bring motion pictures into their rightful place alongside other media of communication to which the protection of the First Amendment is extended." • THE FILING of antitrust suits continued unabated during 1950. National Screen Service was made defendant in several actions originating in Cleveland and Philadelphia, the plaintiffs being independent poster exchanges and the operators of six Allentown, Pa., theaters. Max M. and Leon W. Korr, who said they sued on behalf of all U. S. exhibitors. An attempt to build independent exhibitor backing for the plaintiffs failed; instead, the support went to NSS ****************************** 63 FIDELin PICTORES, inC Just Completed "CHUCH-fl-W" Co-Starring Maileiie Dietrich — Arthur Kennedy — Mel Ferrer Produced by Howard Welsch Directed by Fritz Lang in Technicolor for 20th Century-Fox Release ★ Current Releases "llJOfllfll] Ofl THE RUO" Co-Starring Ann Sheridan and Dennis O'Keefe • "THE GROOHl HJORE SPURS" Co-Starring Ginger Rogers and Jack Carson Both for Universal-International Release 64 ★ *★★★**★★ 1 950: A REVIEW *★★★★**** In New York, Edwin H. Morris and Co. filed a $1,700,000 suit against five major companies and 14 music piiblisiiing firms in wliich they ha\e interests. In San Francisco, Samuel Goldwyn filed suit against Fox West Coast, National Theaters, the Naify-McNeil interests, et al. Ihe balm sought, SG,7r)(),()()0, set a record lor the )ear. The second largest antitrust suit of the )car was filed in Chicago by llie Schoendstadi circuit against six distril)utors and the B K and Warner circuits. Damages demaiidetl: $5,100,000. Other theater antitrust actions were filed during the year by cxliibitors in Hampton, Va.; Northeast Philadelphia; Maumee, Ohio; Lowville, N. Y.; I'ontiac, Mich.; Los Angeles; Rochester, N. Y.; Gloucester, N. J.; Lawrence, Mass.; Miami, Fla.; Spring Valley, N. Y.; Chicago; Van Nuys, Calif.; .\iken, S. Car.; Ballinger, Tex.; Detroit; lialtimore; Salt Lake City; Danville, Va.; South Bend, Ind.; Boston; Birmingliam, Ala., and New Orleans. In tiie aggregate, damages sought by the plaintitls in the tlieatcr suits totalled .SSH.a 13,571. On July 5, William B. Celestin, president of KelerT)orian Colorfilm, filed a .1ii3,000,000 antitrust action in New York naming Eastman Kodak, Technicolor, Inc., and Technicolor Motion Picture Corp., as defendants. .\ suit hied by the Keller-Dorian Corp. in 1948 against the defendants seeking .'!>300,000,000 is still pending.' • SETTLEMENTS struck se\erai important suits from tlockcts and calendars during 1950. On Jan. 2, 21 exhibitors in the Pittsburgh area settled the Roth, et al, vs. Paramount, et al, litigation in which distributors had filed 118 separate counter claims. The amoiuit reco\ered by the distributors was not disclosed. In early February, the Village Iheater of Port .\rthur, lex., settled its suit against tiie Jederson .Amusement Co. In late March, the second suit brought by William Goldniau in behalf of his Erlanger theater in Philadelphia against Warners et al was settled before trial. In Chicago, .Alexander Iheater Corp. terminated its action against B & K and the majors. Similarly, the action brought b) the Beual theater, Chicago, against the ;ame defendants, was settled. Ditto suits brought in behalf of the Kimbark and .Aco liieaters in Chicago. Still another out-of-court settlement in the Windy City was eltected by the Bartelstein Brothers. Ihe Gra\slake outdoor theater at Gra)slake, 111., the World Theater, Chicago, the Windsor Theater, Baltimore, also obtained settlements. In St. Louis, .Martin W. D'.Arcy and Victor G. Nossetti, former lessees of the Shid)ert there, settled suits against distriljutors, but not against exhibitor defendants. • ON JAN. 9, tile L!. S. Supreme Court refused to reconsider its decision not to accept jurisdiction in the Fifth and Walnut suit and on .March 13 the high court, for a second time, declined to take juriMliction in the Harry Norman Ball suit. Ihe plaiiitilt had asked the court to overrule the lower court opinion, placing the burden of proof on the defendants. On Feb. 7, Federal Judge John Barnes, sitting in Chicago, awarded .tjl ,295,827.26 damages, plus counsel lees, of .'ij250,000, to the I'owne I heater Corp. of .Milwaukee against Loew's, RRO, Paramount, 20th-Fox, Warners and Columbia. On .April 14, Judge Barnes, in the Towne decree, banned cross licensing by Warners and 20th-Fox in Warner and Fox theaters in .Milwaukee, placed a two-week limit on downtown first-runs in Warner and Fox theaters, limited subse([iieiit-i iins in the Warner and Fo.x houses to one week, prohibited move-overs by the circuits, prohibited double features in defendant theaters, ruled that lowne must be ollered product at reasonable rentals and permitted the Towne to run duals if it so desired. .An appeal was taken. On Feb. 8, J. B. Fox, Helen E. Fox, Melvin J. Fox, .Marion S. Fox, and J. B. and Melvin Fox as trustees, filed suit against Warners for .'gl ,215,000 charging breach of lease and "waste" in five theaters owned by the Fox family and leased to Warners. • ON JUNE 19, in a precedent-setting decision. Federal Judge Norbye in .Minneapolis ruled in the declaratory judgment suit brought by William and Sydney Volk against the eight majors that the decrees for the Go\ernment in the New York antitrust action against the majors cannot be used by exhibitors in percentage fraud actions as prima facie evidence of claimed antitrust violation on the part of distributors. On July 20, the U. S. Circuit Court of .Appeals in Boston dismissed the appeal of Abraham Garbose from the decision of Federal Judge Charles E. Wyzanski, Jr., in the antitrust action filed against the George A. Giles Co. "for want of appellate jurisdiction." On Aug. 1, Skouras Theaters filed a §3,045,000 cross complaint against JJ Theaters, Luxor Theaters and major distributors as an aftermath of the JJ and Luxor antitrust action. In September the Partmar Corp. operating the Los .Angeles Paramount amended its antitrust action against Paramount to ask .SI, 275,000 instead of $500,000 damages. On Sept. 28, RKO and Walter Reade Theaters reached an out of court settlement on the split-up of the Trenton-New Brunswick theater chain. • ON OCT. 3. Eagle Lion Classics filed suit to end the alleged non-competitive division *★*★**★★*******★*★*★★★*★★★*★★* 65 SANTANA PICTURES "Knock On Any Door" "Tokyo Joe" "And Baby Makes Three" "In A Lonely Place" Sirocco "The Secret" RELEASED THRU COLUMBIA j 1 66 ★ ★*★****★ 1 950: A REVIEW ********* of films betueeii I.oew's and RKO Theaters in metropolitan New York. Damages to the extent of $15,000,000 were demanded. In earlv November, Federal Judge W. Calvin Chestnut of Baltimore in his opinion m the civil action between the Windsor Theater and the Walbrook .Amusement Co. gave strong support to "the undoubted and imortant right" of distributors to select their customers when two and more theaters seek their product in a situation. The Windsor filed an appeal. In late November, Federal Judge William Kirkpatrick in Philadelphia granted an injunction againn the majors continuing the existing clearance set-up for Allentown and Bethlehem and ruled that David E. Milgrams Boulevard Drive-In between those cities be permitted an opportunity to buy first-run day and date with indoor theaters. On Nov. 24, Federal Judge John C. Knox in New York approved a payment plan under which 20th-Fox will turn over $200,000 in the next two years in full settlement of claims against the company, its officers and directors by trustees of the assets of the old Fox Theaters Corp. On Dec. 30, a Federal trial jury in Kansas City returned a SI, 125,000 verdict in favor of the Brook'ide Theater Corp. which had sued major distributors, charging conspiracy. VII J COMPO. The first 100 years are the hardest, they say. For COMPO, it easily could be the first vear. That the formula adopted for COMPO by its progenitor, the Conference Committee of the Motion Picture Industrv, were not fully acceptable to exhibition elements was early indicated. This was especially true of TO.\ which, like .Allied earlier, authorized only one year's participation, and went beyond that to underscore local autonomy and modest budgeting. Nonetheless, COMPO became a reality at a Conference Committee meeting in Chicago on May 8, and before adjournment on the following day, permanent officers, except for the executive vice-president, had been ilesignated. The presidencv went to RKO's Ned E. Depinet, who had successfully and skillfully guided the all-industry move since the original Chicago meeting in 1949. TOA at the last minute withdrew "conditions" with which it had planned to complement its ratifying reservations. Before completing the draft of the by-laws, one highly important amendment was accepted. Presented by the MMPT.A's Leo Brecher, it placed trade practices and film licensing matters outnde the pale. Starting date for financial contributions was fixed as Sept. 1. The executive vice-presidency was not filled until .\ug. 10 when the choice was talented .Arthur L. Mayer. On May 15, COMPO received its New York State charter, and on May 18 the first corporate meeting was held in New York City to complete the legal formalities— adoption of the by-laws, election of Executive Board and officers. At the same time. President Depinet appointed COMPO"s first five functional committees. • A NEAR-CRISIS threatened at an Executive Board meeting in New York .Aug. 8-9. It was averted with the unanimous adoption of a revised resolution establishing a war agency— the COMPO Committee for Co-operation with the U. S. Government. Thus certain objections expressed by TO.A were met. But dissatisfaction by no means was ended, and TOA at its Houston convention on Nov. 2 directed the appointment of a committee "to meet with repre- sentati\es of COMPO seeking to have COMPO reorganize itself along the lines of fairer representation and limiting its activities to public relations at the national level." TO.A's members of the Executive Board were conspicuous by their absence when the board met in New York Nov. I6-I7, and it was not until Dec. 7, finally, that the TO.A committee headed bv Ted Gamble first conferred with COMPO officers. Meanwhile the one-vear time limit for TOA COMPO affiliation was reached. On Dec. 20, President Depinet called the Executive Board to meet in New York Jan. 11-12, disclosed that TO.A wanted for each of its state and regional units the same voting rights and privileges as the 10 charter members. .A radical change in the COMPO format thus was proposed. .Allied's board, meeting in Pittsburgh Oct. 2, approved Allied's membership in COMPO for a second year. There was, however, some opposition, led by Eastern Pennsylvania Allied, headed by Sidney Samuelson. Subsequently, that unit's directors resolved not to recommend COMPO financial support by its membership. The wav was opened for sc\eral amljitious public relations moves at the Executive Board's Nov. 16-17 meeting, including a Starmakers contest, a Film Festival and a series of Motion Picture Expositions in principal cities. • ABRAM r. MYERS. Allied board chairman and general counsel, who had vigorously and wisely led the industry fight to end the Federal admission tax, resigned .Aug. 17 as chairman of the COMPO tax committee. The outbreak of hostilities in Korea caused the tax fight to ****************************** 67 ALFRED HITCHCOCK 68 ★ *★*★★★** 1950: A REVIEW *★★*★★*** be abandoned, yet it was obvious tlie industry had scored a moral victory nevertheless, in its months' long drive for Congressional action. Robert \V. Covne resigned from Monarch I lieaters to join COMl'O as special coinisel. Later, to the headquarters sta(f were added Charles McCarthy, information officer, and Dick Pitts as press officer. In early September. estal)lishmcnt of C.OMl'O exciiange area committees was started, remained uncompleted at the year-end. VIII J MPAA. Wliile there was considerable activity on all MPAA fronts during 1950, reflected in other divisions of this review, one of the most important association moves came on June 21 when the board unanimouslv approved a new section of tiie Advertising Code and added two regulations for the Code's administration. The ciianges were designed to l)an the use of advertising exploiting the misconduct of screen personalities, and were recommended by the Advertising .\d\isory Council. Backdrop for the association's action was I'alfaire "Stromboli" wiiich, on March 14, had caused Sen. Edwin C. Johnson, D., Colo., to introduce a bill to saddle tiie industry with licenses and tight controls. It was promptly and correctly stigmatized as a "police state" measure by President Eric A. Johnston. The Senate Interstate Connnerce Committee, to which the Johnson bill was referred, engaged former Judge Stephen Jackson, one-time MP.A,\ aide, as investigator, sent him to HoUywooci. Then, on .April 26, there was a quiet three-liour dinner meeting in Wasiiington attended by indiistrv leaders and the Senatoi. Assurances given that the Code would be stringently amended led Johnson the next dav to call oil the "morals" iiearings which were scheduled by the Senate committee for a May 15 start. • SEVERAL TIMES during the year, the MP.A.\ made it plain that it was ready to fight motion picture censorsiiip all the way to the U. S. Supreme Court. The first two rounds, represented by the "Curlev" case in Memphis and the "Lost Boundaries" suit in Atlanta, were lost. But, undaunted, the association found a third of greater promise when on Oct. 24 in Marshall, Tex., the manager of the local Paramoiuit Theater was convicted i)y a County Court jury for exhibiting "Pinky" after the picture had l)een banned In' a suddenly constituted city censor board. A new trial was sought, with the initial appeal indicated if there was a denial. President Johnson in addressing a press meeting in Chicago well stated the industry position when he denounced film censorship 'as a censorsiiip of personal lilierty— a curtailment of individual ciioice— a damnable stiqjid insult to the intelligence of the moviegoer." • ON DEC. 5, the association's directors by unanimous vote extended the employment contract of President Joiinston for a five-year period; thus his term now runs to 1958. On .April 13, Johnston had been re-elected. .\ fretpient public speaker during the year, one of his most important engagements was before the I.ATSE convention in Detroit on .Aug. IG. His theme: greater international film exchange. Other association developments of moment: George R. Canty left a State Department post in Switzerland to become the MP AA representative in vital Italy; Robert \V. Chaml)ers resigned as MP.A.A's research director: tlie MPEA operational stafl^ was skeletonized, with the MPE.A taking quarters in the MP.A.A offices; the Soviet Ministry of Trade, after a two-year delay, finally registered the MPE A trademark, but there was no purchase of .American films. Instead, as the year drew to a close, a pirated print of Columl)ia's "Mr. Smith Goes to Washington" was exhibited for obvious anti-American propaganda purposes in Moscow. Johnston called upon the State Department to investigate and act. IX J SIMPP. -Again in 1950, the Society of Independent Motion Picture Producers joined generally with the Motion Picture .Association of America to present a united front overseas. The L^niied Kingdom was the focal point, ;dtiiough there was a carry over elsewhere. AVhere the two associations reportedlv failed to see eye to eye, however, was in the case of proposals for a new French agreement. The Society was strongly opposed to a numerical limit of .American imports and to the proportion of the overall numlier allocated to independent producers. On May 2, the Society authorized a scientific survey of all independent pictures made in Hollywood in the last 10 years, following the presentation of a proposed 820,000,000 financing plan by Alex H. .Ardrey, executive vice-president of New York's Bankers Trust Co., credited with underwriting one-fifth of all .American independent production. .Assignment for the survey ★ ★★**★★*★**★★**★**★★**★★★★★★★★ 69 LLOYD BACON Directed "I WONDER WHO'S KISSING HER NOW" "MOTHER IS A FRESHMAN" "GIVE MY REGARDS TO BROADWAY" "YOU WERE MEANT FOR ME" Current Release: Just Completed: "CALL ME MISTER" "THE FROG MEN" In Production: "GOLDEN GIRL" 20th Century-Fox 70 * ******** 1 950: A REVIEW **★***★★* went to George Bagnall, the Society's treasurer and formerly a vice-president of United Artists. On Nov. 8, came the announcement that the project had been scrapped. Reason, producers declined to open their books. • ON JUNE 15, at its annual meeting in Hollywood, the Society returned to office President Ellis G. Arnall and his cabinet, and authorized Arnall to accept or reject the pending Anglo-American remittance pact proposals. On Nov. 19, .Arnall announced that the Society would press immediately for COMPO con- sideration of trade practices. Eight days later, meeting the requests of COMPO executives, .\rnall deferred action until such time as COMPO was more competent to act. Prior to the .\rnall move to expand COMPO's province to include the touchy trade practice issue, officials of the Society, the MPAA and the Federal Trade Commission met in Washington to explore the f)ossibility of a fair trade practices covenant within the motion picture industry. X ! INTERNATIONAL. Aside from the signing of the new one-year Anglo-American remit- tance agreement, 1950 saw the industry encountering problems in important European markets. In Italy, discussions looking to a new agreement bogged down, with remittances halted in June. In Argentina a five-year agreement, which had been reached, and vvhich would have unfrozen 55,000,000 suddenly proved no agreement at all. In Germany, the issue was unrestricted import licenses for American companies. And in France, Spain and Sweden there were other problems unsolved as the year ended. There were, of course, credit entries as well as debit. Kroner convertability ceilings for American films were increased by Norway and Denmark. The Yugo-Slav State Film Monopoly signed a new deal with the MPE.\ calling for 35 films, an increase of 10. As June ended $2,550,410, in Y.C.\ German guarantees were approved. In July, the MPE.\ ratified the terms of a new Japanese agreement calling for the release in Japan of a minimum of 78 American features, an equal number of shorts and 39 newsreels between July 1 and March 31, 1951. The export association was authorized to convert $1,500,000 from accumulated yen earnings in Japan from its nine member companies distributing there. The first American distributor to make a separate agreement for di trihution of American films in Japan in the post war period was Monogram which in February disclosed a deal with Shochika Films Enterprises Ltd. Other similar deals by independents followed. Later, however, the MPE.A board, meeting on Dec. 12, voted to continue its distribution setup in Japan for six months beyond the June 30, 1951 expiration date, thus halting member company plans to operate there on their own. • EARLY IN THE YEAR as a forward .«tep in the international field the MPAA established a new advisory unit for foreign films and chose as its executive director, B. Bernard Kreisler, an experienced sales executive, who previously had surveyed the European film scenes for Harvard's Graduate School of Business Administration. In due course distinguished figures of the Italian, French, German, Swedish and other foreign industries visited the United States under the unit's sponsorship. In March, there was another important move made in New York when independent dis- tributors and reprerentatives of foreign film producers met to inaugurate their own trade organization. Refusal by the Production Code .Administration of MPAA seals of approval to two foreign pictures presented two problems during 1950. Early in the year, the Italian-made "Bicycle Thief" was refused a seal unless cuts were made. It played without the seal. Late in the year, the British-made "Oliver Twist," withheld from exhibition here for two years because of objections to the Fagin characterization, also was denied a seal. One of the most important of the .\nglo-.American distribution pacts disclosed in 1950 was between Monogram and .Associated British Pathe; it provides for a minimum of 24 and maximum of 30 English-made pictures to be distributed here during a three-year period. • TWO AMERICAN DISTRIBUTORS ended existing Eupropean commitments dur- ing the year. Republic broke away from British Lion to hereafter handle its own releasing in the U.K. Important, too, was the cancelling of Eagle Lion Classics' European distribution contracts with Gamma Film, which took place in .August. Gamma represented ELC in six countries; henceforth, ELC distributes directly. The year saw several new international industry alliances effected. Prominent among them were the Sol Lesser-Olle Nordemar entente which brought together in a reciprocal arrange- ment the Hollywood producer and the president of Swden's .Artfilm, and the creation of Lopert Films Distributing Co. Identified with the latter as principals are Robert VV. Dowling's ★★**************************** 71 ★ * * IT MAKES YOU THINK/ * IT MAKES YOU WONDER/ * IT BRINGS NEW PATRONS/ * IT BRINGS BACK OLD FRIENDS/ * IT STARTS THE MOVIE HABIT/ * SCHOOLS PRAISE IT/ * CHURCHES PRAISE IT/ KROGER BABB proudly presents The Greatest Story Ever Told Entirely in COLOR CAST OF 3,000 FILMED AT THE "HOLY CITY" in the WICHITAS A NON-SECTARIAN STORY OF THE LIFE OF CHRIST * 100% GUARANTEED * HALLMARK PRODUCTION HALLMARK Atfrsclions Avolloble tot Your Theotrc . . . 'Mom ond Dod" "Prince of Pcoce" . . . "Sidcrood" . . . She Shouldo Soid 'No' "... "Oni Too Mony." Now in Production . . . "Secret! of Bcouty" . . . a "The Beit Is Yet to Come" . . . ' Delinquent Angels" « HALLMARK PRODUCTIONS IIE[!!uniI3 HALLMARK BLD6.. WILMINGTON, OHIO ^^^SnsS^ *^ 72 ****★★**★ 1950: A REVIEW **★***★★* City Investing Co. interests. Sir Alexander Korda's London Film Co., British Lion and llya Lopert, the latter head of an art house circuit. Lesser also launched Principal Pictures International in August to cater to American art theaters. In late October, Souvaine Selective Pictures, formed by Julius Fleischmann, Henry Souvaine and Howard L. Taylor, acquired .American riglits to films of the French Government-owned L'Union Generale Cinematographique. Another alliance was eliected by Douglas Fairbanks, Jr., Jack Wrathers and Schroeder- Rockefeller with British interests for Anglo American production under the banner of Dougfair Corp. headed by Fairbanks. Of note, too, was the formation in London in mid-September of Cinecolor Great Britain, Ltd., by the I'. S. Cinecolor Corp. and London's Radiant Films, tlie new company to be headed bv Sir Sidney Clift and A. ]. Taylor. V. S. Cinecolor holds a 2(j per cent stock interest. • ON DEC. 28, THE FILNI DAILY disclosed the details of a 20th-Fo\ theater building program overseas pro\iding for four new houses, three in Haifa, Tel Aviv and Jerusalem, Israeli, and the fourth in Alexandria, Egypt. In Jerusalem, the company also is considering the erection of a municipal building in association with the city. • OTHER IMPORTANT international developments of the year are reflected in these summaries of FILM D.AILY stories: British Parliament approved the 30 per cent ciuota. MPEA and BFPA entered into a frozen currency swap agreement. Loew's, RKO, Columl)i.i and l'ni\ersal were victors in Will H. Hays' arbitration decision in a foreign remittance dispute. 20th-Fox Int'l took over distribution of 12 Film Classics features in Australia, New Zealand and South Africa. Indonesian devalua- tion cost I'. S. companies an estimated 82,000,000. Special adult PCA seal was proposed for foreign films by Dr. Renato Gualino, president of the Italian Film Producers .Association, Loew's International expanded in Central and South .America with 16 mm. versions of 50 Mexican features. Properly classified as international was an interesting Hollywood development of the year— a United Nations story penetration. Sequences concerned with UN activities went into nearly a dozen stories, and as the )ear ended, others specifically concerned with LJX undertakings were in the planning stage. XI 5 TELEVISION. Topic of the hour, any hour. East and West, North and South, in the industry-at-large in 19,50 was television, and what to do about it. The proposals were many, and, as was to be expected, generally reflected self-interest. Yet, despite the year's advances and experimentation, some of the more importatit ciuestions relating to industry participation in, and utilization of, television remained unanswered. While there were other contributing causes for the decline in film theater attendance during 1950, it was obvious that the greatest inroads were made bv television. Set sales soared, and as of Sept. 1, an independent market research study placed the number of American families owning TV receivers at 7,213,700 or 17.9 per cent. The numlier increased sharply in the last quarter, although the actual figures were not available. The national emergency, declared by the President in December, made it plain that in the new year there would be severe cutbacks in set manufacturing and indicated, further, that commercial introduction of color television by CBS and possibly the lifting of the new station "freeze" were unlikely. Left in doubt also as the nation turned its attention to "first things first" were the advent of certain technical advances, among them Paramount's new color tube, upon which attention centered in 1950 and, possibly, FCC allocation of exclusive channels for theater TV. • PERHAPS the most far-reaching of all industry television moves during 1950 was the decision reached by major companies to make available product for the experimental run of Zenith's "pay as you see" system, Phonevision. Reportedly, the decision was influenced by Department of Justice representations, indirectly if not directly made. The FCC on Feb. 9 originally gave Zenith the green light for Phonevision's test period of 90 days, restricted to 300 Chicago subscribers. With distributors for months adamant in their refusal to provide necessary features, there was a series of postponements. Then, in December, came the change of front, paving the way for the inaugural of Phonevision on Jan. 1 with Metro's "Homecoming," Paramount's "Welcome Stranger" and Warners' ".April Showers" as the first day's ofterings. Meanwhile, Skiatron Electronic & Television Corp., (formerly American Scophony), had been granted permission by the FCC to make engineering tests of its own Subscriber- Vision ★****★★★★★★★★*★*★*★★***★★****★ 73 COMPTON BENNETT THE SEVENTH VEIL THE YEARS BETWEEN MY OWN TRUE LOVE THAT FORSYTHE WOMAN KING SOLOMON'S MINES (Co-Directed) 74 ★ ★★★***** 1 950: A REVIEW ********* system in the New York Metropolitan area via closed circuit on WOR-TV Channel 9. As the \ear ended, Skiatron applied for a renewal of its test license, looked forward to a 1951 FCC demonstration. Skiatron Subscriber-Vision differs from Zenith's system in that it transmits scrambled signals over the air waves, while the latter uses the telephone lines to insure legible reception. .\ decoding machine, utilizing a perforated card, and attached to the set, brings in the unscrambled picture for Skiatron. Immediate development of Phonevision and Skiatron obviously will be influenced by other important factors than the national emergency, yet this much is certain: Sooner or later, it will be possible to "go lo the movies" at home for a set "box office" tariff. • UNDER SUCH CIRCUMSTANCES, it was only natural that TV should be well to the fore at industry meetings during the year. This was especially true of the TOA Houston convention which urged all TO.\ members to give their financial support to the National Exhibitors Theater Television Committee, formed in early July to conduct industry-wide theater TV research and to stimulate agreement on basic policies. The TO.\ convention recommended that additional exhibitors enter the theater TV field, installing the neces.sary equipment. At National .Allied's Pittsburgh convention, Gene .Autry, under fire because of his engage- ment in film production specifically for television, appeared, told the indie exhibs. they had not permitted him to make a fair profit on his theater westerns, and that his TV films were non-competitive. The two national exhibitor organizations were still at odds over theater TV channels as the vear waned. TOA favors microwave channels. .\llied's choice is VHF channels, contending the former would result in a new monopoly in the theater TV field. Meanwhile, during the year there were those who contended that higher TV standards are required for the theater, and this influenced the deferment of National Theaters plans to link together some 20 FWC houses as a theater TV circuit. At the year end, Syj)ros P. Skouras emplaned to Switzerland to inspect a new theater TV system, believed to hold unusual promise. Number of U. S. film theaters engaged in theater TV pioneering during the year reached 16, but UPT's Leonard Goldenson predicted confidently that 15.000 ultimately would be equipped, and envisioned a national network offering exclusive programs. There was reason to believe that, the national emergency's demands permitting, one major circuit would invest heavily in theater TV equipment in 1951. Established Hollywood independent producers, including Walt Disney, turned their atten- tion to T\' film making, although no major studio was so involved. .Accepted trade estimates indicate that well above 100 hours of television programs on film were produced by inde- pendent producers during 1950. This roughly would approximate one-sixth as much footage as was turned out by studios for theater exhibition. But on the basis of cost, the ratio would be about 50 to one; that is, for each dollar invested in such television film production, 550 was poured into theater film production. • OTHER TV DEVELOPMENTS of special interest: Zenith signed James A. FitzPatrick to produce a series of 12 European shorts for exclusive Phonevision use; Paramount materially expanded its kinescope network; deals by which old Hollywood and British product were made available to video stations markedlv increased; RC.\ successfully transmitted color TV over the coaxial cable; the European Association of Motion Picture Exhibitors proposed a ban on the sale of films to T\'; the .AFM signed first contracts permitting union musicians to make films for TV; a .September FILM D.\ILY survey showed 200 ex-Hollywoodians now working in New "Sork TV net shows; .ASC.\P members approved a video license agreement; newspaper-c wned l \' statirns organized to produce their own films; two Cxnturv C:ircuit theaters successfully experimented with a pickup of the NBC-TV newsreel; N. Peter Rathvon produced a full-hour T\' film show for a reported S30,000; Catholic War \'eterans protests caused WPIX to cancel a Chaplin film series; football game pickups for large screen theater TV proved an excellent box office stimulant; the IMPP.A neared an agreement with the .\FM looking to release of post- 1946 low budget product for TV; General Precision Labs, demon- strated a new 16 mm. theater T\' system. XII J EXHIBITION. No happy \ear for theater operators was 1950. The box office dipped— people were obviously shopping for entertainment. True, top pictures still commanded top grosses, but the "takes" of average pictures were down, and inferior product w-as off to the point that popcorn and candy receipts were of little help. ****************************** 75 A Distinguished Year for ARTHUR LUBIN Director "FRANCIS" (Universal - International) "QUEEN FOR A DAY" (Robert Stillman - United Artists Productions) "RHUBARB" (Paramount ) "FRANCIS GOES TO THE RACES" (Universal - International) 76 ★ ★★★★★★★★ 1950: A REVIEW ★★*★*★**★ Why did the box office drop? Manv things contributed: More TV homes and improved TV programs, installment buying, the high cost of living, and lack of aggressive showmanship- a phrase mantling sins of omission and commission— to mention the more obvious. Twentieth-Fox gallantly spent thousands for an antidote, but exhibitor follow through to its " Back to Showmanship" meetings was sporadic, and good resolutions faded. When COMPO elements stepped into the breach with a three-point PR-box office building program, it was approved . . . but referred to committees for further study. In some cities and areas, alarmed showmen meanwhile devised their own programs. Still more were in the discussion or shaping stage at the vear end. However, the crying need was a national campaign, properly co-ordinated, adequately financed. Could the conntrv's theater owner-operators be brought into line in the light of their varving \iev\ points on many industry matters, including COMPO itself? Those who argued affirmatively pointed to the cohesion and unitv attained in the Congessional tax relief drive. But here, again, is unfinished business for 1931. • TOA, IN ADDITION TO TELEVISION, centered convention attention upon arbi- tration and competitive bidding. Allied, too, hit out hard at bidding and exorbitant film rentals generalh. In the instance of l)idding. Allied would have it justified only upon request of an indie exhibitor when in competition with an affiliated circuit or other strong competitor. .\llied also made forcing of product, charged against distributors, a target, and directed the national board to investigate the advisability of co-operative buying of equipment, supplies and confectionery. TOA initiated a move looking to the holding in 1951 of a joint exposition and convention %vith TESMA-TEDA. Subsequently there was the proposal that SMPTE 'join in. Upon invitation of Presitient Sam Pinanski of TOA, producing and distributing company heads met in New York on Nov. 29 to canvass problems involved in establishing a "workable" arbitration svstem. There was non-attendance by two companies— United .\rtists and Eagle Lion Classics. "It was the consensus that efforts should be made to obtain the active participation and co-operation of exhibitors and distributors generally in the consideration and formation of such a program" was the way the press release summed it up. And so the matter \tood at the vear end. • THREE REGIONAL ASSOCIATIONS made news of more than territorial import. In early July, R. \. "Rotus " Harvey of the PCCITO urged a return to the complete service contract. Late in the year, .Allied of Michigan set % ear-round film clinics, to be held every two weeks on a regional basis. North Central Allied as the year neared a close formulated a "fair rental plan," asked distributors for an earlv January meeting. It was Allied of Michigan, which in mid-December disclosed the unanimous adoption of a report by its board calling for a merger of national exhibitor organizations. The board had excellent arguments— the existing setup means "'waste, duplication of effort, and loss of prestige." The National Exhibitors Film Corp., launched so hopefully as a potential source of production financing in 1949, failed to make the grade and was dropped. Exhibitor interest in financing production of features for the Cinerama "third dimension" process, which stirred a Summer wave of enthusiasm, also faded out in December. XIII 5 LABOR. There were "labor pains" in evidence in 1950, and portents of more in the offing. Major developments had a Holhwood setting late in the year. Bv a 493 to four vote, the SWG authorized a strike against major studios, but under the law it could not come before March. The principle of separating T\' rights from screen rights was the point at issue. \\'hen requests of film craft unions for a voluntary cost of living wage increase failed of action the HoUvwood .\FL Film Council asked the producers to meet with them immediately to negotiate, although the current contract runs until the Summer of 1951. However, almost simultaneously the SAG announced a negotiated six months' extension of its collective contract from the Dec. 31 expiration date. The Guild agreed to the extension in order that the NLRB might adjudicate the dispute with the Tele\ ision .\uthority regarding jurisdiction over television acting prior to the bargaining sessions. The extension, however, may be cancelled bv either side on 60 days notice. Early in the year, labor cast a jaundiced eye against re-issues and American production over- seas, fearful that extension of both would add to employment difficulties. *★*★★★★★★★★★★★★★**★**★★★★★★**★ 77 RICHARD HAYDN Director "MR. MUSIC" (Paramount) 78 ********* 1 950: A REVIEW ********* The television jurisdictional dispute had its origin in March when the SDG, prompted by increasing employment of its members in making film material for TV screens, claimed juris- diction over all directors of both film and television shows. There was a quick challenge troin the Radio and Television Directors Guild. In April, the board of the .\ssociated Actors and Artistes of America, parent of all performer unions, granted the newly formed Television Authority full powers to organize the entire TV field, over the vigorous objections of the SAO. The latter, in a matter of da\s, served legal notice on producers it was the sole agent for all actors and all films. Exploration of the possibility of establishing affiliates of the SDG in Europe was under- taken by President Joseph Mankiewicz, who found snags in the guise of stringent labor regu- lations plus the fact that film workers abroad are generally organized in "vertical" units. • THE SDG IN AUGUST determined to incorporate a non-Communist affidavit in its membership applications. This action came on the heels of the adoption of a strong anti- Communist resolution at the L^TSE convention. The lATSE at its biennial convention at Detroit in August referred to its executive board for study a proposal under which the association would depart from its past policy of con- ducting pension plan negotiations on the local level in favor of industry-wide contract clauses. The convention too, instructed the general office to take a referendum on whether film locals should be given option to negotiate locally. In his annual report to the convention. President Richard F. Walsh made it \ery e\ident that the I.A's position in the television field would receive major attention. Walsh and his full cabinet were reelected. The Colosseum of Motion Picture Salesmen, at its Cincinnati convention in December, added to the 1951 portents. Its contract demands for the year starting April 16 will iiiclude salary and expense increases, improved employment conditions and added security provisions. Harris Wynn was elected president. Late in December, the lATSE and the eight major distributors, plus National Screen Service, agreed upon a new two-year contract covering some 5,000 exchange employes. Principal pro- visions: A blanket $4 wage increase, a severance clause for workers. • OTHER LABOR DEVELOPMENTS of importance included: A victory for the SPG in the Coast bargaining election over the Motion Picture Publicists Association (Local 818, L\TSE); the signing of a new eight-year basic agreement by the IMPP.\ with the SDG; the signing by the Screen Extras Guild of a new contract with the major studios extending to Oct. 25, 1953. There were two unusual organizational moves in Detroit. There, the Teamsters Union made a bid to organize exchange shippers, backed away when the I.\TSE opposed, then sought through Local 985 to establish jurisdiction over all types of coin-operated machines in theaters. lATSE Local B25 in Detroit set a precedent by electing an all-feminine slate of officers for 1951. XIV f MOURNED. Death in 1950 once again exacted a heavy toll within the industry. High in order of passing on the roll of those mourned were the names of: Emil Jannings, Albert Gebhart, William A. Brady, Monty Banks, John M. Stahl, Ross C. Cropper, Alan Hale, Bull Montana, Arthur A. Higginbotham, Rockcliffe Fellowes, John Taintor Foote, Edward Schnitzer, Charles C. Perry, Charles A. Bierbauer, Joi^eph L. Aller, Marion Coles, Paul Moss, Milton Schwartzwald, Major Thomas Evans, Sid Grauman, Lew Lehr, Sam Glazer, Sid Silverman, Samuel Rhonheimer, A. Joseph Jordan, Arthur Hopkins, Paul G. Brown, Frank Buck, Francis Trout, William C. Barrett, Joe Yule, Briton Niven Busch, Clarence Erickson, Florence Nash, Walter Huston, Jay A. King, Jr., Walter Batchelor, Maurice Rubens, William A. Orr, John Nolan, Harry H. Goldstein, Charles A. Kirby, Charles V. Hinkle, Harry Rosenblatt, Hobart Cavanaugh, John Giffin, Sidney Kandel, Ralph Blum, Ernst Laemmle, Frank Tichenor, Hiram S. Brown, Charles L. Mathieu, J. Earl Lawson, Glenn Griswold, Ralph W. Abbett, Lloyd French, Lou Guimond, Sol J. Scopper, Fred B. Warren, H. G. Christensen, Thomas Goldberg, Elliot McManus, Sam Bernard, Helen Holmes Saunders, D. G. "Buddy" De Sylva, E. Laureston Clark, Isaac Weinberg, Rex Ingram, Arthur Unger, Frank C. Hensler, H. Clay Miner, Jeffrey Bernard, Peter E. Kroehler, Bruce Gallup, Claude S. Jensen, Harvey D. Gibson, Sara Allgood, Pedro de Cordoba, Robert Allen Ingersoll, Geo. W. Emmott, Frank Gross, Pauline Lord, Christy Cabanne, Al Jolson, Harold Mountain, Hans Kialy, Carter Barron, Wm. Bentley, Bettey Francisco, Samuel Goldstein, James K. McGuinness, Walter Immerman, Rufus LeMaire, William Pyle Philips, Toby Gruen, Clyde Goodson, James Dalton. ****************************** 79 HERBERT WILCOX PRODUCER and DIRECTOR WILCOX-NEAGLE PRODUCTIONS IMPERADIO PICTURES LIMITED ARTISTES ALLIANCE (W. N. W.) LIMITED AXNA NEAGLE 1949 NO. 1 BRITISH BOX OFFICE STAR 1950 1951 Artistes Alliance (W.N.W.) Ltd. 128 Mount Street London, W. I. flDUSIRy SIflTISIICS ******* ************** By CHESTER B. BAHN and WINFIELD ANDRUS Editor, THE FILM DAILY News Editor, THE FILM DAILY Capital Invested in the U. S. Film Industry (estimated) 12,922,600,000 Breakdown: Studios, $141,000,000: Distribution, $25,600,000: Theaters, inelud- ing Drive-ins, $2,740,000,000; Non-Theatrical, including Television. $16,000,000. Number of People Employed in the U. S. Theatrical Film Industry (estimated) 210,000- Breakdown: Production, 17.500; Distribution. 12,500; Exhibition. 180.000. f Total Industry Payroll (estimated) $ 487,870,000 Breakdown: Production in Hollywood. $240,000,000: Production Outside of Holly- wood, $10,000,000: Distribution, $36,450,000; Exhibition, $201,420,000. ' World Gross of American Motion Pictures (estimated) 52,220,500,000 Breakdown: United States. $1,320,000,000; Foreign Markets, $900,500,000. Total Film Theaters in the World 95,155 Seating Capacity 43,908,788 Breakdown of World Film Theaters: Seating Seating Area Theaters Capacity Area Theaters Capacity Africa 1.331 831.200 South America . 5.182 3.038,830 Asia 6.794 4.171.200 Oceania 2.270 1,689,026 Europe 54.708 18.757.851 United States . . 19.796 12.384.150 North America . 5.074 3,036.521 U. S. 1950 Film Remittances from Abroad (estimated) S 120,000,000 Film Industry Expenditures for U. S. Advertising in 1950 (estimated). ... ? 66,750,000 Breakdown: Newspapers. $50,000,000: Radio-Television, $12,000,000: Magazines, $3,000,000; Accessories and Direct Mail, $1,250,000; Outdoor, $500,000. Number of Ads Placed Daily in Various U. S. Media (estimated) . 15,700 Annual Industry Expenditures for Insurance in the U. S. (estimated). ... § 51,250,000 Estimated Annual Consumption of Raw Stock by U. S. Film Industry- Feet 2,000.000,000 Value of 1950 Exports of Film and Equipment S 24,155,221 Comparable 1949 Total $ 24,844,203 Breakdown: 1950 1949 Linear Feet Dollars Linear Feet Dollars (Rawstock) : 35-mm. Positive 186.456.609 2,618,876 242,128,171 3,142,401 35-mm. Negative 52.876.018 1.695,725 50,508.615 1,702,082 16-mm. Positive 37,367.453 537.482 32,176.686 452.995 16-mm. Negative 38.464.000 1.015.233 37.283.519 890.029 8-mm. Positive 506.572 32.931 845,981 .53,973 8-mm, Negative 4 986.423 338.909 3,964.489 300.336 Total 320.657,075 0,239,156 366,907,461 6.541,816 Exposed or Developed Motion Picture Feature Films: 35- mm. Negative features .... 9.802,241 621.198 11.038.059 541.703 16-mm. Negative features 1,887,195 90,7.39 2,694,681 137,7^1 36- mm. Positive features 245.954.832 6.901.263 240,361.529 7.026,.339 16-mm. Positive features .... 23,956,900 702,754 29,580,184 842,963 Total 271,601,228 8,315,954 283,674,453 8,548,716 ****************************** 82 ★ ★★★★★★★INDUSTRY STATISTICS ★★★***★★ Motion Picture Equipment Number Dollars Numlter Dollars Motion Picture Cameras: 35-mm. Cameras !)0 200,59:? 111! 200.38:i 16-mm. Cameras 5.324 (U4.0!I5 4.765 5!t7.7ti5 8-mm. Cameras 9,913 524.250 6,135 371.967 Total 15,327 1,338.938 11.016 1,170,115 Motion Picture Projectors: 35-mm. Projectors 1.900 707,287 2,424 837,579 16-mm. Silent Projectors .... 3,796 303,346 4,046 382.602 16-mm. Sound Projectors 8.609 2,173,881 9,017 2,245,499 8-ram. Projectors 7.576 427,019 5.887 363,864 Total 21,881 3,611,533 21,374 3,829,544 Other Equipment: PROOUCIIOfI Average 1950 Negative Cost $ 1,100,000 Total 1950 extra payroll for Hollywood studios served by Central Casting Corporation ' $ 2,810,171.80 Comparable 1949 Figure $ 3,005,047.90 Average 1950 Daily Wage of Extras $ 19.70 Comparable 1949 Figure | 19.10 Number of extras registered with Central Casting Corporation in 1950. . . 4,250 Breakdown: Men 1,675: Women 1,375; Children, 960: Racial, 240. Total Placements through Central Casting Corporation in 1950 142,641 Average Daily Placements through Central Casting Corporation in 1950, , 468 Estimated Number of Production and Related Workers (skilled and unskilled manual labor) Employed in 1950 (California Dept. of Indus- trial Relations) ' 13,600 Comparable Estimates: 1946 (peak year) 22,100 1940 (base year) 18,900 Total Paid Craft Labor in 1950 by Hollywood Studios (California Depart- ment of Industrial Relations). .' .' $ 67,622,000 Comparable Totals: 1949 $ 65,154,000 1948 $ 70,700,000 1947 $ 84,100,000 1946 $ 86,500,000 Number of U. S. Features Planned for 1951 Production 482 Breakdown: Metro. 48: Paramount. 28: Warners. 42: Monoffram. 40: Allied Artists. 6: 20th Century-Pox. 33: Universal-International. 36; RKO Radio, 39: Columbia. 46; Republic. 58; Lippert. 26: others, 80. Features Approved by the Production Code Authority in 1950: 429 United States: 379: Foreign: 50. Short Subjects Approved by the PCA in 1950 447 West Coast Office: 295: Eastern Office: 152. Membership of Screen Directors' Guild (estimated) 310 Membership of Screen Actors Guild (estimated) 8,500 Membership of Screen Writers' Guild (estimated) 644 Associates (estimated) 115 Membership of Screen Producers Guild (estimated) 120 Actors Under Term Contracts to Hollywood Major Studios in 1950 315 ★**★*★★**★★*★*******★★**★***** 83 Will Present DEBORAH KERR and JEAX SIMMONS The Two Most Exciting Actresses of the Year as the feminine leads of GEORGE BERNARD SHAW'S Two most exciting comedies "A]\DROCLES "THE AXD DOCTOR'S THE LIOIV" DILEMMA" with with JEAN SIMIIIOIVS DEBORAH KERR as "Lavinia" as "Jennifer" 84 I ★ ★★★♦★★★INDUSTRY STATISTICS******** Directors Under Term Contracts to Hollywood Major Studios in 1950. . . . 125 Producers Under Term Contracts to Hollywood Major Studios in 1950. . . 125 \Vriters Under Term Contracts to Hollywood Major Studios in 1950. . . . 129 Producers of Features in Hollywood 160 Producers of Short Subjects in Hollywood (including Commercial Short Subject Producers) 55 Producers of Cartoons in Hollywood 5 Producers of Television Films in Hollywood 140 DISTRIBUTIOn U. S. Industry Distribution Investment (estimated) $25,600,000 Number Employed in U. S. Distribution Field (estimated) 12,500 U. S. Distribution Payroll in 1949 (estimated) $36,450,000 Features Released in U. S. Market in 1950 622 Breakdown: By Majors. 263: By Indies. 245. Features Released in U. S. Market, 1917-1950: ;•■ AMES I s 1 a COMP panies panies mpaniea B H E S te ent Co COMP- duced a duced BDCCI i a ent Co H .mpanl ent Co IS < o O u o pend O u 0. orted a a . Pro orted o O u o pend ORT 8 u 0 pend H O ■3 ■s < ai Imp g (« a ■3 ■o c ■3 ■3 > t' S c C> E s c S 1950 . . . . . . . 623 2fi.3 359 263 242 31 359 141 218 383 242 141 239 21 218 1949 , 479 234 245 231 234 10 245 133 113 356 334 133 123 10 113 1948 459 248 211 218 325 23 211 141 70 366 235 141 93 2.3 70 1947 486 249 237 349 234 15 237 l.-JS 103 369 234 135 118 15 103 1»40 . . . 467 262 215 253 238 13 216 139 76 378 239 139 89 13 76 1946 . . . 377 234 143 234 228 6 143 122 21 350 228 122 27 6 21 1944 442 270 172 270 262 8 173 139 33 401 262 139 41 8 33 1843 . . . 427 289 138 280 279 10 138 118 20 397 279 118 30 10 20 1942 633 359 176 358 346 12 176 142 33 688 346 142 45 12 33 1941 . . . 598 379 219 379 368 11 319 124 95 493 368 124 106 11 96 1940 673 363 310 363 348 15 310 129 181 477 348 129 196 15 181 1930 761 388 373 388 367 21 373 116 257 483 367 116 278 21 257 1838 769 362 407 362 346 16 407 109 298 465 346 109 314 16 298 1937 . , , 778 408 370 408 393 16 370 145 225 538 393 146 240 15 225 1936 . . . 735 362 373 362 348 14 373 174 199 623 348 174 213 14 199 1936 , . , 766 356 410 356 340 16 410 185 225 535 340 185 211 16 225 1834 663 361 301 361 350 11 301 130 171 480 350 130 183 11 171 1933 644 338 306 338 217 21 306 190 116 607 317 190 137 21 116 1932 . . . 685 318 367 318 300 18 367 189 178 480 300 189 106 18 178 1831 . 633 324 298 324 307 17 398 194 104 601 307 194 131 17 104 1830 . . . . . . 695 362 233 363 356 6 333 153 80 509 356 153 86 6 80 1928 707 393 314 393 370 14 314 183 131 663 379 183 146 14 131 1828 . . ... 834 462 372 462 429 33 372 212 160 641 429 212 183 83 160 1827 . , , 743 610 233 510 501 9 333 177 56 678 501 177 66 9 66 1826 740 477 293 1826 678 442 137 1824 679 426 153 1823 . . . . 676 432 144 1822 748 1821 864 1820 786 1818 646 1818 841 1817 687 **★★★★*****★ ^★**************** 85 TALL in -TExas Epic Drama of the West in tlie Post Civil War Era By GRAHAM BAKER and TEDDI SHERMAN * With a cast of Distinguished Players ■^youciio COLOR -y TECHNICOLOR 86 ★ ★★★★★★★INDUSTRY STAT 1ST ICS *★★**★*★ Features Released by Majoi" Companies 1934-1950 (calendar years): 1934 1935 1936 1937 1938 1939 1940 1911 1912 1943 1914 19J5 19J« 1917 1948 1»49 1950 Columbia 43 49 52 52 53 55 51 61 59 47 51 38 51 49 39 52 59 Fox Film Corp. 52 52 M-G-M 43 47 45 51 46 50 48 47 49 33 30 31 25 29 24 30 38 Paramount ... 55 63 68 61 50 58 48 45 44 30 32 23 23 29 25 21 23 RKO Radio ... 46 40 39 53 43 49 S3 44 39 44 31 33 40 36 31 25 32 20th Cent-Fox. .. .. 57 61 56 59 49 50 51 33 36 27 33 27 45 31 32 United Artists. . 20 19 17 25 16 18 20 26 26 28 20 17 20 26 26 21 18 Universal 44 37 28 37 46 46 49 58 56 53 53 46 42 33 35 29 33 Warner Bros.- First National 58 49 56 68 53 53 45 48 34 21 19 19 20 20 23 25 28 361 356 362 408 362 388 363 379 358 289 263 234 252 249 248 234 263 Foreign Features Released in U. S. in 1950 239 Breakdown: By Majors, 21; By Independents, 218. Imported from; Mexico. 61; England, 47; Italy. 34; France, 32; Germany, 25; Austria. 9; U. S. S. R., 6; Ireland, 4; Africa, 3: Czechoslovakia, 3; Spain, 2; Yug^oslavia, 2; Argentina, Poland. China, Switzerland, India. Philippines, Denmark, Cuba. Sweden. Hungary, and Israel, one each. Estimated Maximum Audience for a Feature Film 33,000,000 Estimated Average Audience for a Class A Feature Film 23,000,000 Estimated Average Audience for a Feature Film 13,000,000 Number of Nation-Wide Distributing Companies 11 Number of Theatrical Film Distributors in the U. S 138 Number of Theatrical Film Exchanges in the U. S 503 Number of Theatrical Film Exchanges in Six Canadian Cities 119 Number of U. S. Exchanges of Major Distributors: RKO Radio, 33; Universal-International, 32; 20th Century-Fox, 32; Paramount. 31; Loew'B, 32; Columbia, 32; Warners. 32; United Artists. 27. Film Footage Handled Daily by Exchanges 27,000 miles Average Storage Vault Capacity of Exchanges 750 cu. ft. Average Number of Prints Required per Feature: Majors 300 Indies 130 Average Number of Prints Required for Newsreels (per company) 1,093 Estimated 1950 U. S. Film Rentals $462,000,000 (An estimated 83% of U. S. distributor receipts comes from some 3,800 theaters, which can be covered by a sales force in 110 deals.) Average Distribution Cost for the U. S. Industry {estimated) 29% General Minimum Booking .-Accounts per Feature Picture 2.000 General Maximum Booking Accounts per Feature Picture 15.000 Number of Distribution Areas in the United States 31 Average Number of Bookings per Print 100 Average Cost of Each Positive Print $223 EXHIBIIIOfl U. S. Film Theater Investment {estimated) $2,740,000,000 Number Employed in U. S. Exhibition Field {estimated) 180 000 Exhibition Payroll in 1950 {estimated) § 201,420,000 New Theater Projects and Alteration Projects Involving Major Structural Changes in 1950 in 37 Eastern States 366 Valuation (Not Including Refurbishing Projects) $ 24,475,000 Normal Maximum Number of Simultaneous Daily Runs per Feature 250 Average Screen Times per Print 200 Average Number of Showings 21/9 daily ★*★*★*★★★**★*****★*******★*★** 87 FROM THE BI of the loseph 113 W. 42nd St LOngacre 4-7126 Cagney, William, Production 729 Seventh Ave Circle 6-4318 Capital Pictures Corp. 723 Seventh Ave Circle 5-6874 Carlson, Rudolph, Productions, Inc. 1600 Broadway PLaza 7-6600 Casanave-Artlee Pictures, Inc. 730 Fifth Ave JUdson 6-5580 Casino Film F;xchange, Inc. 210 E. 86th St BUttertield 8-0561 Casolaro Films Distributing Co. 106 W. 39th St LOngracre 5-6802 Celebrity Productions, Inc. 723 Seventh Ave Circle 6-5970 Central Cinema Corp. 723 Seventh Ave Circle 5-6570 Cine Classics, Inc. 117 W. 48th St .Circle 5-6834 CInetfects, Inc. 115 W. 45th St Circle 6-0951 Cinema Export Corp. 48 W. 48th St PLaza 7-0164 Cinema Film Exchange 210 E. 86th St REgent 4-0267 Cinema Service Corp. 106 West End Ave TRafalgar 3-1411 Cohen, Leo 756 Seventh Ave Circle 5-6498 Columbia Pictures Corp. 729 Seventh Ave Circle 5-5000 Commander Pictures 1790 Broadway PLaza 7-5363 Continental Motion Picture Corp. 1560 Broadway PLaza 7-4373 Cornell Film Co. 1501 Broadway Wisconsin 7-6651 Cosmopolitan Pictures Corp. 1564 Broadway PLaza 7-6449 Dlsclna International Film Corp. 250 W. 57th St PLaza 7-5484 Disney, Walt, Productions 1270 Avenue of Americas JUdson 6-3442 Distinguished Films 229 W. 42nd St LOngracre 4-3971 Documentary Films Productions, Inc. 480 Lexing-ton Ave ELdorado 5-0683 Eagle Lion Classics, Inc. 165 W. 46th St PLaza 7-1600 English Films, Inc. 1560 Broadway PLaza 7-4437 Eshbaugh, Ted, Studios. Inc. 109 W. 69th St TRafalg^ar 3-0720 Favorite Films Corp. 151 W. 46th St Luxemburg 2-1877 Film-Makers, Inc. 322 E. 24th St MUrray Hill 5-3358 Film Renters, Inc. 1560 Broadway PLaza 7-4437 Film Rights, International, Ltd. 1501 Broadway LOngracre 4-8234 Fine Art Films, Inc. 1501 Broadway Wisconsin 7-0930 Four Continents Films, Inc. 1501 Broadway BRyant 9-8416 Goldwyn, Samuel, Productions, Inc. 1270 Ave. of the Americas PLaza 7-7900 Gordon Films, Inc. 1775 Broadway JUdson 2-5065-6 Guaranteed Pictures Co., Inc. 723 Seventh Ave Circle 5-6456 Hoffberg Productions, Inc. 363 W. 44th St Circle 6-9031 Hungaria Pictures, Inc. 1776 Broadway COlumbus 5-1760 Hyperion Films, Inc. 1564 Broadway JUdson 2-2928 Ideal Pictures Corp. 207 E. 37th St MUrray Hill 2-0955 Irish American Film Corp. 1560 Broadway PLaza 7-2320 Jewel Prodnctions, Inc. 165 W. 46th St PLaza 7-6227 Jewish American Film Co. 723 Seventh Ave Circle 5-6614 Laurel Films, Inc. 200 W. 57th St JUdson 6-0057 Levey, Jules 1270 Ave. of the Americas Circle 7-7956 Loevv's Inc. (Metro-Goldwyn-Mayer) 1540 Broadway Luxemburg 2-2000 London Film Productions, Inc. 350 Fifth Ave BRyant 9-1565 Lopert Films, Inc. 148 W. 57th St Circle 5-6798 Lux Films 1501 Broadway BRyant 9-0137 Marathon Pictures Corp. 229 W. 42nd St Wisconsin 7-0771 March of Time, Inc. 369 Lexing-ton Ave JUdson 6-1212 Masterpiece Productions, Inc. 45 W. 45th St Luxemburg 2-4717 Mayer & Kingsley, Inc. 1501 Broadway CHickering 4-6421 Meadow. Noel, .Associates 229 W. 42nd St LOngacre 5-7763 Miskin, William 305 Fifth Ave MUrray Hill 4-4375 Modern Film Corp. 729 Seventh Ave Circle 5-6175 Mohawk Film Corp. 341 W. 44th St Circle 6-8548 Monogram-International Corp. 1560 Broadway PLaza 7-3070 Motion Picture Sales Corp. 730 Fifth Ave JUdson 6-5580 Movietonews, Inc. 460 W. 54th St COlumbus 5-7200 National Pictures Corp. 1501 Broadway LAcltawanna 4-3544 National Screen Service 1600 Broadway Circle 6-5700 Xayack Films 354 W. 44th St PLaza 7-4188 News of the Day 450 W. 56th St COlumbus 6-0402 North American Films, Ltd. 460 W. 54th St COlumbus 5-7608 Nu-Art Films, Inc. 112 W. 48th St JUdson 6-5480 Orlob, Harold 1564 Broadway PLaza 7-6790 Oxford, Films 1501 Broadway CHickering 4-6421 Pacemaker Pictures, Inc. 1790 Broadway PLaza 7-6363 ******★*★*★★**★ 111 ★ ★★★NEW YORK TELEPHONE NUMBERS**** Palestine Films 13 E. 37th St ORegon 0-2085 Palisartes Productions, Inc. 46-03 ritth St., Long: Island City STillwell 4-3245 Paramount News 644 W. 43rd St LOnpacre 3-4300 Paramount Pictures, Inc. 1501 Broadway BRyant 9-8700 I'arsonet Studios, Inc. 46-02 Fifth St., Long Island City STillwell 4-2246 Peak Film & Trading Co. Inc. 729 Seventh Ave Circle 6-5643 Pentason Pictures Corp. 375 Fifth Ave MUrray Hill 6-8566 Pic Films 117 W. 48th St Circle 6-6834 Pol-Ton Film Co. (;;!() Ninth Ave COlumbus 5-0595 KKO Pathe, Inc. 626 Madison Ave PLaza 9-3600 106 E. 106th St SAcramento 2-2600 ilKO Radio Pictures 1270 Ave. of the Americas. . .COlumbus 6-6500 Rank, J. Arthur, Organization 446 Park Ave PLaza 9-1500 Renown Pictures of .\nicrica. Inc. 1775 Broadway PLaza 7-6320 Republic Pictures Corp. 1740 Broadway JUdson 6-1700 Rice, Grantland, Sport-Pictures Corp. 22 W. 48th St PLaza 7-8176 Roach, Hal, Studios, Inc. 729 Seventh Ave Circle 6-4135 Roush, Leslie, Productions, Inc. 3.33 W. 52nd St COlumbus 5-6430 Ruby Company, Inc. 729 Seventh Ave Circle 5-5640 Scandia Films, Inc. 220 W. 42nd St Wisconsin 7-7069 Schaefer, George J., Associates 1600 Broadway PLaza 7-5211 Schenck, Armand 1501 Broadway LOngacre 3-6187 Screen Guild Productions, Inc. 723 Seventh Ave PLaza 7-9168 Selznick Releasing Organization 400 Madison Ave ELdorado 6-6323 Simpcx Co., Inc. 1564 Broadway PLaza 7-7460 Skibo Productions, Inc. 165 W. 46th St PLaza 7-2265 Small, Edward, Productions, Inc. 729 Seventh Ave PLaza 7-2765 Souvaine Selective Pictures. Inc. 30 Rockefeller Plaza Circle 7-5666 Terrytoons, Inc. 271 North Ave., New Rochelle NEw Rochelle 2-3466 Times Film Corp. 155 W. 49th St PLaza 7-3365 Toddy Pictures Co. 723 Seventh Ave Circle 6-9446 Trans-Continental Films 733 Seventh Ave PLaza 7-6844 Tricolor© Films, Inc. 360 Fifth Ave LOngacre 6-7792 Twentieth Century-Fox Film Corp. 444 W. 56th St COlumbus 5-3320 United Artists Corp. 729 Seventh Ave Circle 5-6000 Universal Newsreel 105 E. 106th St TRafalgar 6-5020 Universal Pictures Co., Inc. 446 Park Ave PLaza 9-8000 University Film Productions, Inc. 1270 Ave. of the Americas Circle 7-2085 Vanguard Films, Inc. 400 Madison Ave ELdorado 6-6323 Variety Film Distributors 162 W. 42nd St LOngacre 6-0790 Vigor Motion Picture Corp. 1660 Broadway PLaza 7-6648 Warner Brothers Plctnrea 321 W. 44th St Circle Westport-International Films, Inc. 140 W. 57th St JUdson Yorke, Emerson 333 W. 52nd St Luxemburg Yugoslav Information Center 816 Fifth Ave TEmpleton Exchanges Astor Film Exchange, Inc. 630 Ninth Ave Circle Azteca Films, Inc. 1564 Broadway PLaza Bell Pictures Corp. 630 Ninth Ave Circle Clasa-Mohme, Inc. 243 W. 56th St Circle Columbia Pictures Corp. 630 Ninth Ave Circle Dezel, Albert, Productions, Inc. 1660 Broadway PLaza Excelsior Pictures Corp. 723 Seventh Ave Circle Exclusive Pictures Corp. 729 Seventh Ave Circle Famous Pictures Film Exchange 630 Ninth Ave Circle Favorite Films Corp. 630 Ninth Ave Circle Lippert Pictures, Inc. of N. Y'. 630 Ninth Ave COlumbus Loew's, Inc. 630 Ninth Ave Circle Monogram Distributing Corp. 630 Ninth Ave PLaza Nayfack (Orbit) Films .3.54 W. 44th St PLaza Paramount Pictures, Inc. 331 W. 44th St Circle Principal Film Exchange, Inc. 630 Ninth Ave Circle RKO Radio Pictures, Inc. 630 Ninth Ave Circle Republic Pictures Corp. 630 Ninth Ave Circle Toddy Pictures Co. 723 Seventh Ave Circle Twentieth Century-Fox Film Corp. 345 W. 44th St Circle United Artists Corp. 630 Ninth Ave Circle Universal Film Exchanges, Inc. 630 Ninth Ave Circle Warner Bros. Pictures Distributing Corp. 321 W. 44th St Circle Railroads Grand Central Terminal E. 42nd St. & Vanderbilt Ave. Murray HIII Pennsylvania Station Eighth Ave. & 32nd St . . . PEnnsylvanla Santa Fe 500 Fifth Ave PEnnsylvania Studios Bedford Park Film Studio. Inc. 2836 Decatur Ave.. Bronx (58) LUdlow Fort Lee Studios, Inc. Fort Lee, N. J FOrt Lee Mannon Sound Stages, Inc. 113 W. 89th St TRafalgar Movietonews 460 W. 64th St COlumbus Paramount News 544 W. 43rd St LOngacre Parsonnet Studios, Inc. 46-03 5th St., Long Island City STillwell 4- RKO Pathe Studios 105 E. 106th St SAcramento Reeves Sound^ Studios, Inc. 304 E. 44th St ORegon fl-1000 6-3707 2-2216 8-2431 6- 0080 7- 6950 6-1383 5- 4929 6- 0000 7- 1726 6-6167 6-6466 5- 9026 6- 0980 5- 2422 6- 6200 7- 8420 7- 4188 6-6160 6-6660 6-4700 6-0760 6-9446 6-6700 6-6480 6-4747 6-1000 6-9100 6-6600 6-4400 4-2166 8- 0036 4- 7213 5- 7200 3 4300 2245-6 2-2600 0-3660 * ***************************** 112 ★ ★★★NEW YORK TELEPHONE NUMBERS^^** West Coast Sound Stadios, Inc. 510 W. 57th St Circle 7-20e« Projection Rooms Advance Projection Theaters 729 Seventh Ave COlumbus 5-5400; JUdson 6-4964 Bonded Film Center Theater 630 Ninth Ave Circle 6-0081 Miles Public Projection Theaters 729 Seventh Ave Circle 5-6873 Preview Tlieater 1600 Broadway Circle 0-0865 RCA Victor 411 Fifth Ave MUrray Hill 3-7611 Trailers Filniack Corp. 619 W. 54th St PLaza 7-3809 National Screen Service Corp. 1600 Broadway Circle 6-5700 Special Screen Service, Inc. 663 Eleventh Ave Circle e eflSO Welgot Trailer Service 630 Ninth Ave Circle 6-6460 Film Carriers Advance Film Service 729 Seventh Ave JUdson Daily Film Delivery, Inc. 326 W. 44th St COlumbUB Elk Film Delivery Corp. 630 Ninth Ave Circle Hudson Film Delivery Corp. 630 Ninth Ave Circle Palisade Film Delivery Corp. 630 Ninth Ave Circle Prudential Film Distributors Corp. 630 Ninth Ave COlumbus Rockland Film Service, Inc. 630 Ninth Ave Circle State Film Delivery, Inc. 630 Ninth Ave Circle Tacme Film Service, Inc. 630 Ninth Ave Circle 6-4954 5- 3245 6- 4994 6-4994 6-0663 5- 6884 6- 0662 6-4994 6-0662 4- 8700 5- 6433 6- 1700 8-3400 7- 3220 5- 5584 2- 2863 6- 6690 6-6950 6-6150 6-5290 5- 4930 6- 0360 6-5700 8- 8000 3- 4300 5- 9600 2-3970 6- 5232 Laboratories Ace Film Laboratories (Warner Bros) 122r E. 14th St., B'klyn. . .Nightingale Circle Film Laboratories, Inc. 33 W. 60th St COlumbus Consolidated Film Industries, Div. of Republic Pictures Corp. 1740 Broadway JUdson Fort Lee, N. J FOrt Lee DeLuxe Laboratories, Inc. (20th-Fox) 850 Tenth Ave Circle Du-.Art Film Laboratories, Inc 245 W. 55th St COlumbus Filmlab, Inc. 126 W. 46th St Luxemburg Guffanti Film Laboratories, Inc. 630 Ninth Ave Circle Major Film Laboratories, Inc. 653 Eleventh Ave Circle Malcolm Film Laboratories, Inc. 244 W. 49th St Circle Mecca Film Laboratories, Inc. 630 Ninth Ave Circle Mercury Film Laboratories, Inc. 723 Seventh Ave Circle Movielab Film Laboratories 619 W. 54th St JUdson National Screen Service Corp. 1600 Broadway Circle Paramount Laboratory Sixth & Pierce Sts.. Astoria. RAvenswood Paramount News Laboratory 544 W. 43rd St LOnfacre Pathe Industries, Inc. 625 Madison Ave PLaza Precision Film Laboratories, Inc. 21 W. 46th St JUdson Producers Laboratories, Inc. 457 W. 46th St Circle ****★*★*★★★***★★**★★*★★★*★**★★ Star Safety Film 630 Ninth Ave Circle 6-0888 Theater Supply Dealers Amusement Supply Co. 341 W. 44th St Circle 6-0860 Capitol Motion Picture Supply Corp. 630 Ninth Ave PLaza 7-4510 Crown Motion Picture Supplies Corp. 346 W. 44th St Circle 6-4780 Graybar Electric Co., Inc. 180 Varick St WAtkins 4-3000 Harvey Radio Co. 103 W. 43rd St Luxemburg 2-1500 Hornstein, Joe, Inc. 630 Ninth Ave Circle 6-6285 National Theater Supply 356 W. 44th St Circle 5-6900 Norpat Sales, Inc. 45 W. 45th St Luxemburg 2-4994 Radio Wire Television, Inc. 100 Sixth Ave WAlker 6-8823 SOS Cinema Supply Corp. 602 W. 62nd St PLaza 7-0440 Star Cinema Supply Co. 441 W. 50th St Circle 6-3678 Sun Radio & Electronics Co., Inc. 132 Duane St BArclay 7-1840 Organizations Ascap 30 Rockefeller Plaza PLaza 7-2700 Authors' Guild-Authors' League 6 E. 39th St MUrray Hill 9-4950 Catholic Actors Guild of America Hotel Astor Circle 6-5566 Catholic Writers Guild 128 W. 7l8t St ENdicott 2-0412 Cinema Lodge 1366 B'n^ B'rlth 214 W. 44th St LOngacre 5-4566 Copyriglit Protection Bureau 218 W. 57th St PLaza 7-7220 Lambs, The 128 W. 44th St Luxemburg 2-1515 Motion Picture Association of America, Inc. 28 W. 44th St BRyant 9-4000 Motion Picture Pioneers, Inc. 729 Seventh Ave Circle 6-5000 .Music Publishers' Protective Ass'n 45 Rockefeller Plaza Circle 0-3084 National Board of Review 31 Union Square W ALgonquin 5-665.5 National Legion of Decency 453 Madison Ave PLaza 9-1400 Trade Publications Billboard 1664 Broadway PLaza 7-2800 Boxoflice 9 Rockefeller Plaza COlumbus 5-6370 Film Bulletin 35 W. 53rd St Circle 6-9159 The Film Daily 1501 Broadway BRyant 9-7117 Harrison's Reports 1270 Sixth Ave Circle 7-4622 Hollywood Reporter 229 W. 42nd St Wisconsin 7-2470 Independent, The Hotel Astor Circle 6-6460 International Projectionist 19 W. 44th St MUrray Hill 2-2948 Jay Emanuel Publications 1600 Broadway Circle 5-6282 iMotion Picture Daily Rockefeller Center Circle 7-3100 Motion Picture Herald Rockefeller Center Circle 7-3100 Radio Daily 1501 Broadway Wisconsin 7-6336 Sho^vmen's Trade Review 1501 Broadway LOngacre 3-0121 Variety 154 W. 46th St Luxemburg 2-2700 113 MONOGRAM delivers THE OUTDOOR COLOR HITS! ROD Cameron ELEVI8I0N DEVELOPMENTS ★ *★★*★*★★★ By LARRY GOODMAN Staff Writer, THE FILM DAILY w HEREVER AND WHENEVER anyone connected with the him indusiry <^ot together with anyone else during 1950, the conversation either started with television or got around to it sooner or later. Usually, it was sooner, and it came right after the question, "how's business?" There are very few hardy souls around in 1951 who will deny that television left its mark on the industry during the past year. With 7,213,700 families, or 17.9 per cent of the population, having receiver sets right in their homes by September, and upwards of 500,000 more sets being turned out every month, filmdom faced a serious challenge for the entertainment dollar. Complicating the problem were added sidelights including FCC rulings, Phonevision tests, Kefau^er crime hearings, "freeze" and color confusion, theater television and sales of films to TV stations. At times, it appeared as if the film industry had found its way out of its di- lemma; at other moments, the situation looked dark indeed. The best plan, it was decided individually and jointly by leaders in exhibition, produc- tion and distribution, would be to embrace the new medium and harness it for film's best use. Paramount, continuing work on its color tube, 20th-Fox, picking up an option on the Swiss Eidophor system for theater television; leading exhibitors like Mitchell Wolfson and Sherrill Corwin going into TV station opera- tion; and finally, alert exhibitors of the Si Fabian-Sam Pinanski-John Balaban ilk, as KcW as Wolfson and Corwin, urging more ilieater men to join them in securing large- streen equipment, were all prime movers in a determined bid not to be "left out." True- man Rembusch, stumping for channel allo- cations and urging his Allied meinbers to use TV trailers as effective advertising, led the way for the smaller independent exhibitors. While those in the industry were deciding what to do about television, the latter was not standing still. The coaxial cable pushed as far west as Omaha, and the first order for full-time service from Omaha westward to the Coast has been received by AT&T from the ABC network. There were 103 stations n 60 markets by April, or just a scant few less than was permitted by the FCC after its "freezing" of channel allocations on Sept. 30, 1948; }800,000,000 worth of retail TV set business was estimated for the year— and at least half was via time payment plans. RCA brought out its three-gun color tube at the end of March, and sent color out over the coaxial cable the following month. Com- pany also announced the development of a new theater TV system which featured a 625- line picture on an eight megacycle channel, compared to the 525 lines going over four megacycles in a six MC band for home sets. DuMont patented a three-color tube in May, and General Electric and Paramount readied their color tubes by August. Predictions by RCA and Paul Raibourn of Paramount, among others, indicate that color TV will be ready for home receivers by the end of '51, with Raibourn going out on the limb for color reception in theaters, too. CBS came up with a color system in 1950, too, and the FCC left itself wide open for trouble when it announced, on Sept. 1, that it had chosen the CBS system over the others (KCA and Chromatic). RC.\ took action, filing suit against its competitor and the FCC, but the suit was dismissed just before Christ- mas. Ultimately, the question will be decided by the Supreme Court, in view of RCA's appeal. Main objection industry-wide to the FCC /decision to standardize with the CBS system is the fact that CBS requires a me- chanical color disc attached to the receiver. Biggest news in tele\ision came after the year's end, when the FCC indicated, in March, that the freeze would soon be lifted. Several by-products of television also de- veloped during 1950 to further discomfort **********★★★★******★★*★*★★*★* 115 ALLIED ARTISTS ★ TELEVISION DEVELOPMENTS ****** the film industry, or at least the exhibitors. Of these. Phonevison and Subscriber-Vision commanded the greatest interest. The former, Zenith Radio's pay-as-you-see TV system, us- ing the telephone company as the intermedi- ary to unscramble a distorted signal on home receivers, was put to the test by the FCC in Chicago. Sets were installed in 300 represen- tative homes for a 90-day period, and results were tabulated. Several postponements, while Commander E. F. McDonald of Zenith scouted around for suitable film oderings from the major com- panies, delayed actual tests until January, '51. The majors finally permitted some fairly re- cent features to be used, but conclusions drawn from the data of the Chicago tests were widely interpreted. While exhibitors scoffed, and found that theater TV had fared better in Chicago, Zenith projected its results on a 4,000,000-set basis, ancl arrived at tremendous grosses for producers. "The greatest threat to exhibition conceived to date" was Rerabusch's opinion. "It will fall of its own weight," Fred Schwartz of Century Theaters added. Subscriber-Vision, a similar project under- taken in New York City by Skiatron, is await- ing the green light from the FCC to conduct tests in metropolitan homes. Skiatron's gim- mick is a decoding card that fits into the home set and clears a scrambled signal. The film companies' reluctance to deliver fresh product of Phonevision and TV was in their own best interests as well as those of the exhibitors. Nevertheless, many films of fairly recent vintage "slipped through" to the eager TV stations. The Theater Owners of America registered a stiff protest with the major com- panies early in January, holding that no feature designed for theatrical showing should be released to TV. On the other hand, Irving Lesser called television "the answer to the independent producer's prayer for additional revenue." Again, on May 4, North Central Allied, at its annual convention, called for a TV ban on all films over four reels long. Only five days later, however. Republic's Herbert J. Yates sent identical wires to Allied Board Chairman Abram F. Myers, TOA Executive Director Gael Sullivan, and ITOA President Harry Brandt, warning them that his com- pany might have to "find other revenue out- lets that will keep us in business" if exhibi- lors didn't support Republic pix. It was in that same month, moreover, that Cincinnati TV station WLW-T gained ex- clusive local rights to 68 films, most of which had been produced in the last six years at the J. Arthur Rank studios in England. Then, in June, the B & K outlet in Chicago, WBKB, purchased 26 former Alexander Korda fea- tures to be televised. ABC obtained the TV rights to 18 features and 14 westerns pro- duced by Harry Thomas for Eagle Lion release later in the year, and WGN-TV pur- chased a package of 19 former Eagle Lion releases. In almost every instance, the pro- ducer or distributor had sold his rights to a go-between, and later expressed "surprise" that the pix turned up in the hands of the TV stations. In the main, however, the major companies steadfastly refused to deal away their "meal ticket" product to TV for economic reasons. Moreover, many went so far as to try to pro- hibit their stars under contract from appear- ing on televised shows without consent of the film company. It was these practices that the FCC set its sights on when, in March of 1951, it released its report on the consideration of antitrust histories of applicants for new TV licenses. Film companies which held back their best product from television outlets and re- strained their stars from appearing on the new medium would not act in the best public interest if they also owned television stations, the FCC indicated. The industry was quick to take up the cudgel in this matter, and the last word has not yet been heard. The FCC, it was felt, had obviously "prejudged" the issue. That the companies would turn and make their films available to their fiercest com- petitor, at any rate, seemed extremely doubt- ful. As one leading executive stated, "why should we give up at least half a million dollars worth of business through theater exhibition, for a maximum .1520,000 gross which television is prepared to pay us?" The FCC report, however, was not in- tended to hinder in any way the industry's efforts to acquire exclusive theater video channels. Leading exhibitors continued to provide their key theaters with installations of either the RC.\, the Paramount interme- diary, or the General Precision type. By the end of 1950, 16 flagship houses had been equipped. High cost of installation— upwards of $25,000 per unit had deterred many, but early in 1951 RC.\'s announcement that pro- duction volume permitted a reduction in price to fI5,800 spurred the exhibitors on. ★***************************** 117 JAN GRIPPO Producer "THE BOWERY BOYS" The Most Popular Series in the Industry Starring LEO GORCEY with Huntz Hall for MONOGRAM Release "VALENTINO" Associate of Producer for COLUMBIA Release EDWARD KAY Musical Director Monogram Studios 118 ***★★* TELEVISION DEVELOPMENTS In addition, there were several new factors which made theater TV more attractive to the reluctant exhibitor. The arrangements for exclusive telecasts of top sporting events, as well as provision to telecast other leading news and sporting features were important considerations to the undecided. Noteworthy during the year were the Big Ten football telecasts of Chicago and Michigan home games, several Notre Dame home games, the UX sessions, President Truman's speeches, and then, of course, in 1951, the overwhel- mingly popular crime investigation series. For the hearings, it will be remembered. Century Theaters tried a new experiment in public relations as well as theater TV: the Marine, in Brooklyn, and the Queens, in Queens Village, put aside the film fare for the matinee showings, and devoted their screens exclusively to the hearings, inviting the public in for free. Century also was the circuit which experimented with the piping of TV newsreels into its Marine Theater, carrying the Camel Newsreel program as an added public service to its patrons. Early in 1951, too, the National Collegiate Athletic Association's television committee met in Dallas and voted to discontinue home telecasts of NCAA contests during the year and to experiment with other TV mediums. Theater TV, of course, stepped into the breach, and at the NCA.A's Chicago meetings a month later, TOA's Nate Halpern and United Paramount's Robert O'Brien were on hand to bring the college heads up to date on theater TV and in turn to learn what the NCAA could offer for 1951 exclusive telecasts. The setting up of a National Exhibitors Theater Television Council, with many prominent TOA leaders at the helm, also kept the ball rolling in the right direction. General Precision, which successfully demon- strated its Videofilm Theater TV system at the Chicago TESMA convention and the Houston TOA convention, did much to heighten exhibitor interest. It was not sur- prising, then, that one of the results of the Houston sessions was the pledge of full sup- port to the NETTC, with every member assessed either $25 or §15 per theater, de- pending upon size, for aid in investigation of mass sales, technical improvements, and, most important, ultimate allocation of exclusive channels by the FCC. The industry would also adapt the new medium to its advertising needs, it was de- cided, and several trailer and spot announce- ment campaigns were inaugurated. Outstand- ing were Paramount's test for the "Thelma Jordan" New York engagement and Century and Skouras circuit's talent searches, in Janu- ary; a $5,000 radio-TV drive in Boston in May; a $10,000 campaign for "No Sad Songs for Me" at the Radio City Music Hall that same month; the Columbia "711 Ocean Drive" New York City saturation campaign; and Eagle Lion Classics' Chicago pitch for "Destination Moon," later in the year. In addition. National Screen Service an- nounced in May the makeup of a video trailer package to cost $35, which included three 20-second and one 60-second plug. First in the series was made for 20th-Fox' "The Big Lift." Exhibitor interest in these trailers has dwindled considerably, however, and several major companies have cancelled fu- ture commitments with NSS. In the field of labor, there were several important TV developments, too. Until very recently, James C. (for Caesar) Petrillo, head of the .\merican Federation of Musicians, had forbidden .AFM members from appearing in TV films made expressly for that medium. He relented somewhat, however, and by the end of the year had worked out deals with several producers whereby the latter will turn over five per cent of all receipts to a union fund. Petrillo has not relaxed his ban on the TV showing of Hollywood musicals made after 1944, however. A jurisdictional squabble between the Screen .\ctors Guild and the Screen Extras Guild on one side, and a newly-formed Television Authority on the other, buzzed through the early months of 1950. The latter, abetted by the .\.\A.\, parent of all talent guilds, seems to have won the upper hand over the Coast unions, who maintained that TV acting was no difi'erent from film acting. Television, in general, was still in its in- fancy in 1950, but the baby was command- ing more and more attention. It prompted the European Association of Movie Theater Exhibitors, meeting in Paris in May, to write into the record a seven-nation protest— signed by exhibs. from Belgium, France, Great Britain, Luxembourg, Holland, Italy and Switzerland, all of whom had seen very little of actual television competition— against the sale of feature films to television stations. And the mighty cherub prompted Gen. David Sarnoff of RCA to predict that the medium could very well elect our next presi- dent, based on his forecast of 20 million sets for an audience of 80 million bv November, 1952. 119 Motion Picture Center Studios 846 North Cahuenga Blvd. Hollywood 38, California Produced on our lot during 1930 PREHISTORIC WOMEN" Alliance Production, Inc. "SWORD OF MONTE (RISTO Alperson Productions, Inc. "NEW MEXICO" "RETURN OF GILBERT & SULLIVAN" Irving Allen Enterprises "DEEP IS THE WELL" Cardinal Pictures, Inc. "THE SQUARED CIRCLE" Hal E. Chester Productions, Inc. "WOMAN ON THE RUN" "THE GROOM WORE SPURS Fidelity Pictures, Inc. "PICK-UP" "THE BRIDGE" Forum Productions, Inc. "THREE HUSBANDS" "THE SCARF Gloria Films, Inc. rr ■rr "THE PROWLER" Horizon Pictures, Inc. "ONE TOO MANY" Hallmark Productions, Inc. "JACKIE ROBINSON STORY" Jewel Productions, Inc. "CYRANO de BERGERAC" Stanley Kramer Productions, Inc. rr rr rr HE RAN ALL THE WAY Roberts Pictures, Inc. "SOUND OF FURY" "QUEEN FOR A DAY" Robert Stillman Productions, Inc. "M" Superior Films, Inc. "THE FIREBALL" Thor Productions, Inc. "AT WAR WITH THE ARMY York Piaures, Inc. rr Telephone: HOllywood 9-5981 120 COLOR DEVEL0PME0T8 ★*★*★***★★**** *★*★*★**★★*★*★ By LOUIS PELEGRINE The Film Daily Staff ROSPECTS FOR WIDER USE OF COLOR developed last year as more meritorious color processes than ever before bid for the attention of film makers and the increase in competition promised to bring down costs to the point where more and more producers would be tempted to go for tinting. The year was marked also by impro\e- merits in existing as well as new processes- improvements that not only were calculated to boost the quality of color films but to make them cheaper to turn out. An important development in the field of color photography which introduced a new photographic system operative with its im- proved three-strip cameras was announced by Technicolor. "The new system will permit the use of uncorrected incandescent illumina- tion and will decrease lighting requirement to a point within the range of that now used for black and white photography," according to Dr. Herbert T. Kalmus, president ancl general manager of the company. It was said that "this will residt in shorter shooting schedules and lowered production costs." Major studios tested the new Technicolor system during the latter part of 1950, and, in the words of Kalmus, "the results in all cases received high praise." .Although a pro- gram to make the system available to the industry "to the full extent of the Techni- color capacity" was reported by Kalmus to be "well underway," it was not expected that the system would be in general use in the industry before this summer. Eastman Kodak's three-color process, a newcomer, was further improved in 1950. While no features using Eastman Kodak color negative and color print proce-^s were released during the year, experimental work was carried on at a number of studios and laboratories, and it was anticipated that some features using the process would be released in 1951. The fortunes of the Eastman Kodak proc- ess were considerably advanced as result of the formation of Tri .\rt Color Corp. as a subsidiary of Du Art Laboratories of New York for the purposes of processing the EK color positive film, designated as Tri .Art color. Ansco made preparations in 1950 for in- troduction this year of 35mm negative and positive color film. It was expected that the new type color film would supplant the re- versal type upon which Ansco had concen- trated in earlier years. Experimenting with the Ansco process and aiding in its development was M-G-M. The Ansco color can be used in a standard black-and-white camera ancl processed in the studio's laboratory with essentially the same facility as black-and-white film. M-G-M, in its development program, installed special laboratory equipment to handle experimental single-film color processes. Cinecolor, Inc., went all-out in the promo- tion of its new three-color Supercinecolor, experimentation in which was carried to suc- cessful conclusion last year. It spent a size- able sum to change over its Burbank, Calif., plant to the processing of Supercinecolor and to expand its facilities there. Several features employing the new process were completed while others were contracted for. It was announced that 65 percent of the laboratory's capacity woidd he devoted to Supercinecolor and 35 percent to Cinecolor. Plans call for turning out this year no less than 25 pictures in Supercinecolor and be- tween 15 and 20 in Cinecolor. The dream of bringing three-color Tru- color into being was realized at the Con- solidated Film Laboratories plant in Fort Lee, N. J., early last year. Immediate use of the process commercially was ordered by President Herbert J. Yates of Republic Pic- tures, of which Consolidated is a subsidiary. Du Pont in 1950 was still making intensive efforts to develop its own color negative stock. The company recognized the impor- tance of color when it made new develop- ment processes for color film one of the primary objectives of studies pursued at its new photo research laboratory in Parlin N. J. During the year 20th-Fox pursued its ef- forts to come up with a lenticulated film color process. *******★**★★★★* *★*******★★★*★* 121 aJJ to the lustre of Jilts like "born YESTERDAY" "siROCCO" "the brave BULLS" V A LE NTI NO" color by TECHNICOLOR "SATURDAY'S HERO" Columhia Pictures Corporation welcomes ITANLIY KRAMER into its producing organization confident of his success with "my six CONVICTS" "death of a SALESMAN" "member of the WEDDING" "the happy TIME" and all the rest FOREIGO FILM MUm ★**★*★**★★*★*★ **★*★★****★★★* By J. C. PRIORE Staff Writer, THE FILM DAILY HE PORTENDING SHADOW OF FUTURE EVENTS on the interna- tional film horizon based on events of the recent past indicate that future growth, development or expansion of the foreign market for American celluloid enter- tainment must face up to the postwar reaction. In the past four or five years the countries deprived of U. S. films have been on the receiving end. American distributors and their agents abroad have dumped a considerable number of pictures into Italy, France, Germany, Japan, and Austria, in addition to such other troublous spots as Bulgaria, Rumania, Hungary, Czechoslovakia and elsewhere. Now in a strong state of native recovery, the film production exliibition and distribii tion units in three major marl^ets: Italy, Germany, and France, are once again face to face with outside competition and, in order to survive in the home market, have planned the foundation for restrictive mea- sures, in some instances curtailing, or plan- ning to curtail, foreign playing time on home screens to half of the latest boom period. Aljo figure into this line of potential reac- tion the gravity of the international situa- tion, the Western Europe union of nations and their defense commitments, all of which take money and the funds deri\ed from en- tertainment are readily applicable. Marshall Plan financing faces wide diversion. But locally, stateside, returning observers of the international scene were enthusiastic about the future of U. S. pix abroad and felt that business in 1951 would continue on the up- swing with greater flexibility for the con- version of balances into dollars. Industrious application by production in- terests in the major European countries has seen the emergence of competition that has mounted in importance. Where Europeans are interested and, at times, quite delighted with .American life as it is viewed by the lens, it also stands that they want pictures in their own tongues and there arises the mat- ter of immediate demand and supply. It all amounts to reciprocity. Late last year the optimistic note sounded was to the effect that there would be un- restricted imports of U. S. films into West Germany. Voluntary restrictions limited the control number of pictures destined for German screens to 150. However, a financial analysis of the trend of times, and the grow- ing home feeling which seeks the end of Hollywood domination of playing time, offers as an argument basis the fact that American interests have amassed something beyond $10,000,000 in marks. This is considered a dangerously high figure in relation to the Federal Republic's economy. And a quick take at new German production figures brings out that in 1950 there were 77 features produced in the Western portion of the country, a healthy sign of recuperation. Latest Italian policy being prepared for presentation to foreign operators in that country was being constructed along lines of absolute reciprocity and the move affecting the film industry was considered in line with the Italian Government's instructions to all industry to expand eff:ort for the Western defense mobilization effort. The Italians have reached independence in film production it was made known not too far back. Able to turn out 100 or more features a year they also desire world distribution of their prod- uct and are also willing to make interesting profit offers for outside handling. Spain made its bid in the European pic- ture recently. A survey issued in Madrid gave detailed facts, figures and facilities in that country which could attract outside capital and thus laiuich another competitive geo- graphical location into the field. A top pic- ture can be produced in Spain, it was shown, for ,|400,000. AW sorts of interesting conces- sions were listed, labor laws were to be lenient and out'ide participation would find the country amenable to all requirements. Spain, too, seeks the world market for its output and the angle pointed up was the eventual development of the home industry by outside investment. Said investment would take the form of re-equipping existing studios. The trend to watch is reciprocity. 123 EXPORTERS Features — Serials — Shorts — Cartoons * IMPORTERS Exclusive foreign sales agents for all products of Favorite Films International Co., Inc. Satisfactory Representation to Producers and Buyers all over the world. DISTRIBUTORS Current Releases "BARBER OF SEVILLE'' "LIFE OF MOZART" Walter Bibo, Pres. TeL phone: Circle 5-6157 Cable: EXCELFILM • NEW YORK 723 SEVENTH AVENUE NEW YORK 19, N. Y. 124 FILfH TOPS OF 1950 ★ *★★*★★**★★★★★ W ******★★★**★★* As Selected for THE FILM DAILY hy the Nation's Representative Motion Picture Critics WILLIAM HOLDEN The Actor of the Year GLORIA SWANSON The Actress of the Year STANLEY KRAMER The Producer of the Year JOSEPH MANKIEWICZ The Director of the Year JOSEPH MANKIEWICZ The Writer of the Year ROBERT KRASKER The Cinemato graph er of the Year "SUNSET BOULEVARD" The Drama of the Year "ANNIE GET YOUR GUN" The Musical of the Y ear "BEAVER VALLEY" The Short Subject of the Year "SUNSET BOULEVARD" The Advertising Campaign of the Year ★*★★*★*★**★★★*★***★★*★★*★★★*★★ 125 "TALES OF HOFFMANN" "WOMEN WITHOUT NAMES" "THE WOODEN HORSE" "CRY, THE BELOVED COUNTRY" "OUTCAST OF THE ISLANDS" LOPERT FILMS DISTRIBUTING CORP. 148 West 57th Street New York, New York 126 fiEUJ mw m CRITICS 1950 to 1941 Selections ★★★★★*★★★*★★★★ uniii ★***★**★★★★★★★ 1950 Best Motion Picture: ' AH About Eve" (20th- Fox). Best Male Performance: Gregory Peck, "Twelve O'Clock High" (20th-Fox). Best Feminine Performance: Bette Davis. "All About E\e." Best Direction: Josepii L. Maiikiewitz, "All About Eve." Best Foreign Film: "\Va\s of Lo\e" (Joseph Burstvn). 1949 Best Motion Picture: "All the King's Men" (Columbia). Best Male Performance: Broderick Crawford, "All the King's Men." Best Feminine Performance: Olivia de Havil- land, "The Heiress" (Paramount). Best Direction: Carol Reed, "The Fallen Idol" (SRO-British). Best Foreign Film: "The Bicycle Thief," (Mayer-Burstyn). 1948 Best Motion Picture: "The Treasure of Sierra Madre" (Warners). Best Male Performance: Sir Lawrence Olivier, "Hamlet" (Universal-Rank). Best Feminine Performance: Olivia de Havil- land, "The Snake Pit" (20th-Fox). Best Direction: John Huston, "The Treasure of Sierra Madre" (Warners). Best Foreign Film: "Paisan" (Mayer &: Bur- styn). 1947 Best Motion Picture: "Gentleman's .\gree- ment" (20th Century-Fox)- Best Male Performance: William Powell, "Life With Father" (Warner Bros.). Best Feminine Performance: Deborah Kerr, "The .Ad\entnress" (Eagle Lion) and "Black Narcissus" (Uni\ersal-International). Best Direction: Elia Kazan, "Gentleman's .•Ngreement" (20th Century-Fox) and "Boomerang" (20th Century-Fox). Best Foreign Film: "To Live in Peace" (Times). 1946 Best Motion Picture: "The Best Years of Our Lives" (RKO-Samuel Goldwvn). Best Male Performance: Laurence Olivier, "Henry V" (UA-Rank). Best Feminine Performance: Celia Johnson, "Brief Encounter" (Universal-Noel Cow- ard). Best Direction: William Wyler, "The Best Years of Our Lives." Best Foreign Film: "Open City" (Mayer and Burstyn). 1945 Best Motion Picture: "The Lost Weekend" (Paramount). Best Male Performance: Ray Milland, "The Lost Weekend." Best Feminine Performance: Ingrid Bergman, "Spellbound" (United Artists-Selznick) and "The Bells of St. Mary's" (RKO-Rainbow). Best Direction: Billy Wilder, "The Lost Weekend." Special Awards: "The True Glory" and "The Fighting Lady," factual war films. 1944 Best Motion Picture: "Going My Way" (Para- mount). Best Male Performance: Barry Fitzgerald, "Going My Way." Best Feminine Performance: Tallulah Bank- head, "Lifeboat" (20th-Fox). Best Direction: Leo McCarey, "Going My Way." 2943 Best Motion Picture: "Watch on the Rhine" (Warners). Best Male Performance: Paul Lukas, "Watch on the Rhine" (Warners). Best Feminine Performance: Ida Lupine, "The Hard Way" (Warneis). Best Direction: George Stevens, "The More the Merrier" (Columbia). 1942 Best Motion Picture: "In Which We Serve" (UA-Noel Coward). Best Male Performance: James Cagney, "Yan- kee Doodle Dandy" (Warner Bros.). Best Feminine Performance: Agnes Moore- head, "The Magnificent Ambersons" (RKO- Orson Welles). Best Direction: John Farrow, "Wake Island" (Paramount). 1942 Best Motion Picture: "Citizen Kane" (RKO- Mercury). Best Male Performance: Gary Cooper, "Ser- geant York" (Warners). Best Feminine Performance: Joan Fontaine "Suspicion" (RKO Radio). Best Direction: John Ford, "How Green Was My Valley" (20th Century-Fox). 127 Sound Sta^e6^ Conveniently Located A completely reconstructed and NEWLY designed motion picture studio and control room MODERNIZED with every lype of unique equipment for use in the production of — SHORT FILMS SCREEN TESTS TV SPOTS NON-THEATRICAL PACKAGE SHOWS SPECIAL EVENTS SCIENTIFIC Satisfied Producers Audio Productions — American Film Producers — Apex Cinnetfects — Precision Sound Films — Sove-on-Tel Cameras, 3Smm, 16mm Sound and Silent Tape and Disc Synchronized Recording Re-Recording Producers Private Offices Dressing Rooms Rehearsal Rooms Prop Room Coinljlf'lcly Equipped Modern G. E. Permanently Equipped Kitchen Miscellanesus Interior Stock Sets, Flats, Furniture, Props, Etc. * ★ ★ * Reasonable Rentals — Excellent Service * ★ ★ MANNON SOUND STAGES, INC. James Page Pagliaro, Owner-President 112 WEST 89th STREET NEW YORK 24, N. Y. One block West ■r i TD->«ol<»"»r 0 lonfl fll Serving the industry of Central Pk. West '61. I naiaigar J-IOUU-UI for the post 5 Years 128 flCflOEMY (IWflROS 1950 to 1927-1928 ★★★*★★★★★★★★★ liiip* ************ 1950 Best Production: All About Eve (20th-Fo>c). Actress: Judv Holliday (Born Yesterday). Actor: Jose Ferrer (Cyrano de Bergerac). Supportirig Actor: George Sanders (All About Eve). Supporting Actress: Josephine Hull (Harvey). Direction: Joseph L. Mankiewicz (All About Eve). Motion Picture Story: Edna and Edward Anhalt (Panic in the Streets). Screenplay: Joseph L. Mankiewicz (All .\bout E\e). Story and Screenplay: Charles Brackett, Billy Wilder, D. M. .Mar-hman, Jr. (Sunset Boulevard). Scoring, Musical: .A.dolph Deutsch, Roger Edens (.\nnie Get Your Gun). Scoring, Comedy-Drama: Franz W'axman (Sunset Boulevard). Song: Mona Lisa, from Captain Carey, U.S.A.; music and lyrics, Ray Evans, Jay Livingston. Short Subjects-Cartoon: Gerald McBoing- Boing. (UP.\-Columbia); One-Reel: Grand- dad of Races (\Varners-Gordon Hollings- head); Two-Reel: In Beaver Valley (Walt Disney-RKO). Art Direction, Black and While: Hans Dreier, John Meehan (Sunset Boulevard); Set Decoration: Sam Comer, Roy Moyer. Art Direction, Color: Hans Dreier, Walter Tyler (Samson and Delilah); Set Decora- tion, Sam Comer, Ray Moyer. Cinematography, Black-and-White: Robert Krasker (The Third Man). Cinematography, Color: Robert Surtees (King Solomon's Mines). Costume Design, Black and White: Edith Head, Charles LeMaire (All About Eve). Costume Design, Color: Edith Head, Dorothy Jeakins, Elois Jenssen, Gile Steele, Gwen Wakeling (Samson and Delilah). Film Editing: Ralph E. Winters, Conrad .\. Nervig (King Solomon's Mines). Documentary Short Subject: Why Korea? (20th-Fox Movietone— Edmund Reek). Documentary Feature: The Titan: Story nf Michelangelo (Michelangelo Co.— Classics Pictures). Sound Recording: 20thTox (.\ll Aljout Eve). Special Effects: George Pal Productions (Des- tination Moon). Special Awards: Foreign Lani^u. Film— 'I'he Walls of Malapaga (Films International); George Murphy, for travetin'4 '(5,000 miles as a good will ambassador for the industry; Louis B. Mayer, seven times president of AMPP, for more than 35 years of outstand- ing contribution to the inilus.; .. Irving G. Thalberg Memorial Award: Darryl F. Zanuck, for consistent, high-quality pro- duction o\er three years. Technical Awards: James R. Gordon .ind the 20th Fox camera departmciU (for the de- sign and development of a multiple image film viewer); John Paul Li\adary, Floyd Campbell. L. W. Russell and the Columbia Pictures sound department (for develop- ment of a multijjle-tract magnetic re-record- ing system); Loreu L. Rsder aiul the Para- mount Studio sound department (for the first studio wide application of magnetic sound recording to motion picture pro- duction). 1949 nest Production: .All the King's Men (Robert Rossen-Columbia). Actresss Olivia de Havilland (The Heiress). Actor: Broderick Crawford (All the King's Men). Supporting Actor: Dean Jagger (Twelve O'clock High). Supporting Actress: Mercedes McCambridge (All the King's Men). Direction: Joseph L. Mankiewicz (.A Letter to Three Wives). Original Story: Douglas Morrow (The Strat- ton Story). Screenplay: Joseph L. Mankiewicz (A letter to Three W'ives). Story and Screenplay: Robert Pirosh (Battle- ground). Original Song: Baby, It's Cold Outside, by Frank Loerser (Neptune's Daughter). Scoring, Musical: Roger Edens, Lennie Hay- ton (On the Town). Scoring, Drama-Comedy: .-Varon'Copland (The Heiress). Art Direction, Black and White: John Mee- han, Harry Horner (The Heiress); Set Di- rection: Emil Kuri. Art Direction, Color: Cedric Gibbons, Paul Groesse (Little W^omen); Set Directions Edwin B. Willis, Jack D. Moore. Film Editing: Harry Gerstad (Champion). ★★★*************************** 129 Sign of Good Entertainment mmm nmm corporation 1740 BROADWAY, NEW YORK 19, N. Y. REPUBLIC PRODUCTIOIS, M. 4024 RADFORD AVENUE NORTH HOLLYWOOD, CALIF. COISOLIDATGD FILM IIUSTRIES 959 SEWARD STREET, HOLLYWOOD, CALIF. FORT LEE, NEW JERSEY REPUBLIC PICTURES I^T'L CORP. 1740 BROADWAY, NEW YORK 19, N. Y. 130 ****★**★★ ACADEMY AWARDS ********* Sound Recording: 20th Century-Fox (Twelve O'clock High). Cinematography, Black and White: Paul C. Vogel (Battleground). Cinematography, Color: VV'inton Hoch (She Wore a Yellow Ribbon). Special Effects: ARKO-RKO (Mighty Joe Young). Short Subjects-Cartoon: For Scent-Imental Reasons (Warners-Edward Selzer); One- Reel: -Aquatic House Party (Paramount- Jack Eaton); Tu'o-Reel: Van Gogh (Can- ton-W^einer Films-Gaston Diehl, Robert Haersens). Costume Design, Black and White: Edith Head (The Heiress). Costume Design, Color: LeaS Rhodes (.Ad- ventures of Don Juan). Documentary Short Subjects: A Chance to Live (MOT-Richard de Rocheniont); So Much for So Little (\Varners-Edward Sel- zer). Documentary Feature: Daybreak in Udi (Bri- tish Information Services— Crown Film Unit). Foreign Layiguage Film: The Bicycle Thief (Italian) Mayer and Burstyn. Special Awards: Jean Hersholt (for distin- guished service to the industry); Bobby Driscoll (for outstanding juvenile per- formances in The Window and So Dear to My Heart); Fred Astaire (for raising the standard of musical films); Cecil B. De- Mille (for 37 years of pioneer work in the industry). 1948 Best Production: Hamlet (Two Cities Film- U-I). Actress: Jane Wyman (Johnny Belinda). Actor: Sir Laurence Olivier (Hamlet). Supporting Actor: Walter Huston (The Treasure of Sierra Madre). Supporting Actress: Claire Trevor (Key Largo). Direction: John Huston (The Treasure of Sierra Madre). Original Story: Richard Schweizer and David Wechsler (The Search). Original Screenplay: John Huston (The Treasure of Sierra Madre). Original Song: Buttons and Bows, by Jay Livingston and Ray Evans (The Paleface). Scoring, Musical: Johnny Green and Roger Edens (Easter Parade). Scoring, Drama: Brian Easdale (The Red Shoes). Art Direction, Black and White: Roger K. Furse (Hamlet). Art Direction, Color: Hein Heckroth (The Red Shoes). Interior Decorations: (Certificates of Merit) Hamlet, Carmen Dillon; The Red Shoes, Arthur Lawson. Editing: Paul Weatherwax (The Naked City). Sound Recording: 20th-Fox (The Snake Pit). Cinematography, Black and White: William Daniels (The Naked City). Cinematography, Color: Joseph Valentine, William V. Skall and Winton Hoch (Joan of Arc). Special Effects: Selznick Studio (Portrait of Jennie). Short Subjects-Cartoon: The Little Orphan (M-G-M-Fred Quimby); One-Reel: Sym- phony of a City (20th-Fox-Edmund M. Reek); Two-Reel: Seal Island (RKO-Walt Disney). Documentary Short Subject: Toward Inde- pendence (U. S. Army). Documentary Feature: The Secret Land (U. S. Navy-M-G-M). Costume Design, Black and White: Roger K. Fur?e CHamlet). Costume Design, Color: Dorothy Jeakins and Karinska (Joan of Arc). Irving Thalberg Memorial Award: Jerry Wald (Warners). Foreign Language Film: Monsieur Vincent (Lopert). Sj)ecial Awards: Ivan Jandl (The Search); Sid Grauman, Adolph Zukor, and Walter Wnngcr (Joan of Arc). 1947 Best Production: Gentleman's Agreement (20th -Fox). Actress: Loretta Young (The Farmer's Daugh- ter). Actor: Ronald Coleman (A Double Life). Supporting Actor: Edmund Gwenn (Miracle on 34th Street). Supporting Actress: Celeste Holm (Gentle- man's Agreement). Direction: Elia Kazan (Gentleman's Agree- ment). Screenplay: George Sea ton (Miracle on 34th Street). Original Screenplay: Sidney Sheldon (The Bachelor and the Bobby Soxer). Original Story: Valentine Davies (Miracle on 34th Street). Scoring, Musical: .Alfred Newman (Mother Wore Tights). Scoring, Drama: Dr. Miklos Rozsa (A Double Life). Original Song: Zip-A-Dee Doo-Dah, music by Allie Wrubel; lyrics by Ray Gilljert (Song of the South). Art Direction, Black and White: John Bryan (Great Expectations). Art Direction, Color: Alfred Junge (Black Narcissus). *************************tt**** 131 ARTHUR EDDY PUBLICITY PUBLIC RELATIONS 1680 N. Vine St. Hollywood 28 f Hudson 2-3261 132 ★ ****★*★* ACADEMY AWARDS ***★**★★* Interior Decoration: Wilfred Shingleton (Great Expectations). fiditing: Francis Lyon, Robert Parrish (Body and Soul). Sound Recording: Gordon Sawyer (The Bishop's Wife). Cineinatograpliy, Black and White: Guy Green (Great Expectations). Cineinalography, Color: Jack Cardiff (Black Narcissus). Special Effects, Visual: Arnold Gillespie, War- ren Newcome (Green Dolphin Street). Special Effects, Audible: Douglas Shearer, Michael Steinore (Green Dolphin Street). Short Subjects-Cartoon: Tvveetie Pie (War- ners): One - Reel: Goodbye Miss Turlock M-G-M; Tiuo-Reels: Climbing the Matier- horn (Monogram). Sj)ecial Awards: Shoe Shine (Lopert): Ken Murray (Bill and Coo): James Baskett (Uncle Remus in Song of the South); In- dustry Pioneers: George K. Spoor. Thomas Armat, Albert E. Smith. Col. William N. Selig: C. C. Davis (Western Electric): Charles R. Dailey (Paramount Laborato- ries); Nathan Levenson (Warners). Documentary Short Subject: First Steps (UN division of Films and Visual Education). Documentary Features: Design for Death (RKO). 1946 Best Production: The Be-t Years of Our Lives (RKO-Samuel Goldwyn). Actress: Olivia de Havilland (To Each His Own). Actor: Fredric March (The Best Years of Our Lives). Suj)porting Actor: Harold Russell (The Best Years of Our Lives). Supjjorting Actress: .Anne Baxter (The Razor's Ed^eV Direction: William Wyler (The Best Years of Our Lives). Screenplay: Robert E. Sherwood (The Best Years of Our Lives). Ori'^inal Screenplay: Muriel Box and Sydney Box (The Seventh \'eil). Original Story: Clemence Dane (Vacation from Afarriage). Scoring, Musical: Monis Stoloff (The Jolson Story). Scoring, Drama: Hugo Friedhofer (The Best Years of Our Lives). Original Sonii: On the Atchison. Topeka and Santa Fe (The Har\ey Girls): music, Harry Warren: Lyrics, Johnnv Mercer. Art Direction, Black and While: Lyle Wheeler and William Darling (Anna and the King of Siam). Art Direriinn, Color: Cediic Giljbons and Paul Groesse (The 'S'earling). Interior Decoration, Black and White: Thomas Little and Frank E. Hughes (Anna and the King of Siam). Interior Decoration, Color: Edwin B. Willis (The Yearling). Filming Editor: Daniel Mandell (The Best Years of Our Lives). Sound Recording: Joiin Livadary (The Jolson Story). Cinematography, Black and White: Arthur Miller (.Anna and the King of Siam). Cinematography, Color: Charles Rosher, Leonard Smith and Arthur Arling (The Yearling). Special Effects, Photographic: Thomas How- .'ird (Blithe Spirit). Short Subjects— Cartoon: The Cat Concerto (M-G-M): One-reel: Facing Your Danger (Warners): Two-reel: .A Boy and His Dog (Warners). Special Axuards: Samuel Goldwyn (Thalberg Memorial Award); Laurence Olivier; Har- old Russell; Ernst Luhitsch; Claude Jar- man, Jr. (Junior .Award). Documentary Production: Seeds of Destiny, (short subject). 1945 Best Production— The Lost Weekend (Para- mount). Actress— ]oan Crawford (Mildred Pierce). Actor— Kay Milland (The Lost Weekend). Su pportinc[. Actor— ];\n\es Dunn (A Tree Grows in Brooklyn). Supliorting Actress— Ann Revere (National \'elvet). Direction— XMWy Wilder (The Lost Weekend). Srrecip/j/rtv— Charles Brackett, Billy Wilder (The Lost ^Veekend). Original Screen play— V.\<.hnT(] Sihweizer (Ma- rie-Louise). Orirrinnl .S/on-Charles G. Booth (The House on 92nd St.). Scoring. Musical— Ceov^ie Stoll (.Anchors A weigh). Scorini^. Drr7)?in— Miklos Rozsa ('Spellbound). Original Son<;—"U Might As Well Be Spring" (State Fair). !\fusic. Richard Rodgers; Ly- rics. Oscar Hammerstein. II. Art Direction, lilack and IT7n7e— Wiard Ihnen (Blood on the Sun). Art Direction, <7o/or— Ilans Dieier, Ernst Feijte (Frenchman's Creek). Iiilerinr Decoration, Black and ]Vhite—A. Roland Fields (Blood on the Sun). Interior Decoration, Co/or— Hans Dreier, Ernst Fegte (Frenchman's Creek). Film Editing— Roherl J. Kern (National \'elvet). Sound Rccording—Siephcn Duini (The Bells of St. Mary's). ★★*★****★**★*★★****** 133 VARIETY FILM DISTRIBUTORS, Inc. Distributing motion pictures of quality and representing buyers throughout the world * ]\OW AVAiLABLE THE POPULAR EXPLOITATION AI%D EXPEDITION PRODUCTIONS OF IflARTIN AND OSA JOHNSON Congorilla Bahoona Borneo I Jtarried Adventure ALSO AVAILABLE Westerns Action Pictures Dramas IMusicals Novelty Productions Comedies — large assorttnent, musicals., etc. PARTICULARS UPON REQUEST VARIETY FILM DISTRIBUTORS, Inc. Telephone: LOngacre 5-0790 Cable Address: "CONFILM" New York 152 West 42nd Street New York 18, N. Y. 134 *★*★*★*** ACADEMY AWARDS *★*★****★ Ciiiematograp)iy, Black and IV/ii/s— Harry Stratlliiig (The I'ittiiie of Dorian Gray). Cinetnalogrdjjliy , Color — Leon Shamroy (Leave Her to Heaven). Sfyecial Effects, Photographic— ]o\\n Fulton (Wonder Man). Special Effects, 5o;/)ici— Arthur W. Johns (Wonder Man). Short Subjects — Cartoon: Quiet Please (M-G-M); One reel: Stairwav to Light (M-G-M); Two-reel: Star in' the Night (AV^arner Bros.). Special /4u'a)rfi— Walter Wanger (for distin- guished achievement in serving six con- secutive years as president of the Academy). Frank Ross, producer, Mervyn LeRoy, di- rector, and Frank Sinatra, star of The House 1 Live In. I'eggy Ann Garner (as the most promismg juvenile performer of 191,5 in A Tree Grows in Brooklyn). Dorumcntaij Productions— Tealiue: TheTrue Glory (Governments of Great Britain and the U. S.— Columbia) Short Subject: Hitler Lives (\V'arner Bros.;. 1944 Best Production— Going My Way (Para- mount). Actress— Ingrid Bergman I'Gaslight). Actor— Hing Crosby (Going My Way). Suppnriinz ^("anie\ Mandell (The Pride of the Yankees). Special Effects, Photographic— Gordon Jen- nings, Farciot Edouard, William L. Pereira (Reap the Wild Wind). Special Effects, Sound — Louis Masenkop (Reap the Wild Wind). Musical Picture Score— Kay Heindorf, Heinz Roemheld (Yankee Doodle Dandy). Dramatic Picture Score— Max Steiner (Now, X'oyager). Song-— "White Christmas," music and lyrics by Irving Berlin (Holiday Inn). Documentaries — Features: Moscow Strikes Back (.Artkino-Republic), Prelude to War (U. S. .Army Special Services); Short Sub- jects: The Battle of Midway (U. S. Navy) Kokoda Front Line (.Australian News Infor- mation Bureau). Sf)ecial Aiuards—Char]es Boyer (for the crea- tion of the French Research Foundation). In AVhich AVe Serve (for outstanding inter- national foreign production); M-G-M (for production of the .Andv Hardy series which heh Riittenberg (The Great Waltz). Art Direction— Car\ Weil (The Adventures of Robin Hood.) Sound Recording— T . Moulton (The Cowboy and the Lady). Musical Comfjosition— "Thanks for the Mem- ory" by Ralph Ranger and Leo Robin (The Big Broadcast of 1938). Film £rf!7/?7c;— Ralph Dawson (The Adven- tures of Robin Hood). Original Score— Eric Wolfgang Korngold (The Adventures of Robin Hood). Scoring- Alfred Newman (Alexander's Rag- time Band). Short Sut/cc/i- One-reeler: That Mothers Might Live (M-G-M); Two-reeler: The Declaration of Independence (Warner Bros.); Cartoon: Ferdinand the Bull (Walt Disney-RKO Radio). Thalberg Memorial Award— Ha\ B. Wallis. Special Awards— H. M. Warner, Oliver Marsh and Allen Davies, Deanna Durbin and 139 SAM KATZMAN Producing For COLUMBIA RELEASE FELIX FEIST Director "TOMORROW IS ANOTHER DAY" 140 *★★*★**** ACADEMY AWARDS ********* Mickey Rooney, Walt Disney, Gordon Jen- nings, Farciot Edouard and Loren Ryder, J. Arthur Ball. 1937 Best Proditctiori— The Life of Emile Zola (Warner Bros.). Actress— Luise Rainer (The Good Earth). /4c/ or— Spencer Tracy (Captains Courageous). Supporting Actress— AUci Brady (In Old Chicago). Supporting Actor— Joseph Schildkraut (The Life of Emile Zola). Direction— Leo McCarey (The Awful Truth). Assistant Director— Rohen Webb (In Old Chicago). Original Siory— William A. Wellraan, Rob- bert Carson (A Star Is Born). Screenplay— NoTman Riley Raine, Heinz Her- ald, Geza Herczeg (The Life of Emile Zola). Cinematography— Karl Freund (The Good Earth). Art Director— Stephen Gooson (The Lost Horizon). Sound Recording— Thomas Moulton (The Hurricane). Musical Composition— "Sweet Leilani," by Harry Owens (Waikiki Wedding). Dance Direction— Hermes Pan (A Damsel in Distress). Film Editing— Ger\e Havlick, Gene Melford (Lost Horizon). SconVig— 100 Men and a Girl (Universal). Short Subjects— One-reeler: The Private Life of the Ganets (Educational); Two-reeler: Torture Money (M-G-M); Cartoon: The Old Mill (Walt Disney); Color Subject: Penny Wisdom (Pete Smith-M-G-M). Thalberg Plaque— Darryl F. Zanuck. Special Awards— Mack Sennett, Edgar Ber- gen, W. Howard Green, Museum of Modern Art Film Library. 1936 Outstanding Production— The Great Ziegfeld (M-G-M). Actress— Luise Rainer (The Great Ziegfeld). .4rfor— Paul Muni (The Story of Louis Pas- teur). Supporting Actress— Gail Sondergaard (An- thony Adverse). Supporting ^cior— Walter Brennan (Come and Get It). Director— Frank Capra (Mr. Deeds Goes to Town). Assistant Director— Jack Sullivan (The Charge of the Light Brigade). Original Siorji— Sheridan Gibney, Pierre Col- lings (The Story of Louis Pasteur). Screenplay— Sheridan Gibney, Pierre Collings (The Story of Louis Pasteur). Cinematography— Tony Gaudio (Anthony .Adverse). Art Direction— Kichard Day (Dodsworth). Sound Recording— M-G-M Sound Depart- ment, headed by Douglas Shearer (San Francisco). Musical Composition— The Way You Look Tonight, from Swing Time; music by Jerome Kern; lyrics by Dorothy Fields. Dance Director— Seymour Felix (A Pretty Girl Number from the Great Ziegfeld). Film Editing— Ralph Dawson (Anthony Ad- verse). Scoring— Leo Forbstein (Anthony Adverse). Short Subjects— One-reeler: Board of Educa- tion (M-G-M-Hal Roach); Two-reeler: The Public Pays (M-G-M-Jack Chertok); Car- toon: Country Cousin (United Artists- Disney); Color Subject: Give Me Liberty (Warner Bros.). Special Award— The March of Time, as a distinct novelty. 1935 Best Production— Mutiny on the Bounty (M- G-M). Actress— Bette Davis (Dangerous). /4c/or— Victor McLaglen (The Informer). Direction— John Ford (The Informer). Original Story— Ben Hecht and Charles Mac- Arthur (The Scoundrel). Screenplay— Dudley Nichols (The Informer). Cinematography— Hal Mohr (A Midsummer Night's Dream). Art Direction— Richard Day (The Dark An- gel). Sound Recording — William Steinkampf (Naughty Marietta). Musical Composition— Lullaby of Broadway, from Gold-Diggers of 1935; Music by Harry Warren, Lyrics by Al Dubin. Dance Direction— Dave Gould (I've a Feelin' You're Foolin', from Broadway Melody of 1936 and Straw Hat number from Folies Bergere). Film Editing— Ralph Dawson (A Midsummer Night's Dream). Assistant Direction— Clem Beauchamp (Lives of a Bengal Lancer). Scoii?ig— Max Steiner (The Informer). Short Subjects— Cartoon: Three Orphan Kit- tens, (Walt Disney); Comedy: How to Sleep, (M-G-M); Novelty: Wings Over Mount Everest (Educational). i934 Outstanding Production— It Happened One Night (Columbia). **************** * ★ **★★★★*★*★★★ 141 RKO THEATRES RADIO CITY MUSIC HALL Showplace of the Nation Rockefeller Center, N. Y. n institution holding a unique place in the minds of the public, not only of New York and its environs, but □f the entire country and known throughout the world for its presentation of out- standing motion pictures and stage shows notable for their good taste, beauty and per- fection of execution. o o U o o o E o — From Coast to Coast! 73 O H Z m > H m CO From Coast To Coast' 142 ********* ACADEMY AWARDS ********* ^cfrMi— Claudette Colbert (It Happened One Night). ^cior— Clark Gable (It Happened One Night). Direction— Frank Capra (It Happened One Night). Original Story— Arthur Caesar (Manhattan Melodrama). Scree7tplay—Koherl Riskin (It Happened One Night). Art Direction— The Merry Widow. Ctnematograpfiy— Victor Milner (Cleopatra). Sound Recording— One Night of Love. Assistant Director— Johnny Waters. Short Subjects— Tortoise and the Hare. La Cucaracha. City of Wax. Scoring— One Night of Love. Musical Composition— The Continental. 1932-1933 Actress — Katherine Hepburn (Morning Glory). ^c/or— Charles Laughton (Henry VIII). Direction— Frank Lloyd (Cavalcade). Outstanding Production— CiLvalcade (Fox). Original Stor)'— Robert Lord (One Way Pas- sage). Adaptation—Sarah Y. Mason, Victor Heerman ;Little W^omen). Photography— Charles Lang (Farewell to Arms). Art Direction- William Darling (Cavalcade). Sound Recording— Harold C. Lewis (Farewell to Arms). Short Subjects— Three Little Pigs (Walt Dis- ney); So This Is Harris (RKO Radio); Kra- katoa (Educational). 1931-1932 /4ctreM— Helen Hayes (Sin of Madelon Clau- d€t). .4ctor— Fredric March (Dr. Jekyll and Mr. Hyde). Extra Award— Wallace Beery (The Champ). Outstanding Production- Grand Hotel (M- G-M). Direction- Frank Borzage (Bad Girl). Original Story— Frances Marion (The Champ). /4da^>tation— Edwin Burke (Bad Girl). Photography— Lee Garmes (Shanghai Ex- press). Art Direction— Gordon Wiles (Transatlantic). Sound Recording— Paramount (Shanghai Ex- press, A Broken Lullaby, One Hour with You, etc.). Short Subjects— Flowers and Trees (Walt Disney). A Wrestling Swordfish (Mack Sen- nett). Laurel and Hardy in The Music Box (Hal Roach). Special Award— Walt Disney (for creation of Mickey Mouse). *************** 1930-1931 Actress— Marie Dressier (Min and Bill), ^ctor— Lionel Barrymore (A Free Soul). Direction— Norman Taurog (Skippy). Best Produced Picture— Cimarron (Radio Pic- tures). Original Story— John Monk Saunders (Dawn Patrol). Adaptation— Howard Estabrook (Cimarron). Cineniatograp/iy- Floyd Crosby (Tabu). Art Direction— Max Ree (Cimarron). Sound Recording— Paramount. 1929-1930 Actress— Norma Shearer (The Divorcee). Actor— George Arliss (Disraeli). Direction- Lewis Milestone (All Quiet on the Western Front). Outstanding Production— (All Quiet on the Western Front) (Universal). Cinematography— Joseph T. Tucker and Wil- lard Vander Veer (With Byrd at the South Pole). Art Direction— Herman Rosse (King of Jazz). Sound Recording — Metro - Goldwyn - Mayo Studio (The Big House). IFriting— Frances Marion (The Big House). 1928-1929 Actreji— Mary Pickford (Coquette). wctor— Warner Baxter (In Old .Arizona). Direction— Frank Lloyd (Weary River, Divine Lady, Drag). Outstanding Production— The Broadway Mel- ody (Metro-Goldwyn-Mayer). Cinematograp/i)!- Clyde DeVinna (White Shadows of the South Seas). Art Direction— Cedric Gibbons (Bridge of San Luis Rey). IFriting— Hans Kraly (The Patriot). 1927-1928 Actreji— Janet Gaynor (Seventh Heaven, Street Angel, Sunrise). Actor- Emil Jannings (Way of All Flesh, Last Command). Directors- Frank Borzage (Seventh Heaven), Lewis Milestone (Two Arabian Knights). Outstanding Productions — Wings (Para- mount), Sunrise (Fox). Cinematograp/zy— Charles Rosher and Karl Struss (Sunrise). Art Direction— William Cameron Menzies. (Temptation, The Dove). Writing Achievements— Ben Hecht (Under- world), Benjamin Glazer (Seventh Heaven). For Marking An Epoch In Motion Picture History— Warner Bros, for producing The Jazz Singer. ****★**★*★**★*★ 143 COMERFORD-PUBLIX THEATRES CORPORATION IN BROOKLYN and LONG ISLAND 144 TEn BE8I PICIURE8 1949 to 1922 ************** ************** As Selected from The Film Daily Polls of Critics 1949 The Snake Pit— S02 votes; Dist.: 20th-Fox; Stars: Olivia de Havilland, Mark Stevens, Leo Genn; Director: Anatole Litvak. The Red Shoes— 2S6 votes; Dist.: Eagle Lion (J. Arthur Rank); Stars: Anton Walbrook, Mariiis Goring, Moira Shearer; Directors: Michael Powell and Emeric Pressburger. A Letter to Three Wives— 2\& votes; Dist.: 20th-Fox; Stars: Jeanne Grain, Linda Dar- nell, Ann Sothern, Kirk Douglas, Paul Douglas, Barbara Lawrence, Jeffrey Lynn; Director: Joseph L. Mankiewicz. Champion— 201 votes; Dist.: United Artists (Screen Plays); Stars: Kirk Douglas, Marilyn Maxwell, Arthur Kennedy; Director: Mark Robson. The Stratton Sfory-200 votes; Dist.: M-G-M; Stars: James Stewart, June Allyson; Direc- tor: Sam Wood. Come to the Stable-I8l votes; Dist.: 20th- Fox; Stars: Loretta Young, Celeste Holm; Director: Henry Koster. Home of the Brave— 176 votes; Dist.: United Artists (Screen Plays); Stars: Douglas Dick, Steve Brodie, Jeff Corey; Director: Mark Robson. Command Decision— \50 votes; Dist.: M-G-M; Stars: Clark Gable, Walter Pidgeon, Van Johnson, Brian Donlevy; Director: Sam Wood. The Heiress— 150 votes; Dist.: Paramount (Hal Wallis); Cast: Olivia de Havilland, Montgomery Clift, Sir Ralph Richardson; Director: William Wyler. Pinky— \50 votes; Dist.: 20th-Fox; Stars: Jeanne Grain, Ethel Barrymore, Ethel Wat- ers, William Lundigan; Director: Elia Kazan. 1948 Gentleman's Agreement — 278 votes; Dist.: 20th-Fox; Stars: Gregory Peck, Dorothy McGuire; Director: Elia Kazan. Johnny Belinda— 244 votes; Dist.: Warners; Stars: Jane Wyman, Lew Ayres; Director: Jean Negulesco. / Remember Mama— 242 votes; Dist.: RKO; Star: Irene Dunne; Director: George Ste- vens. Treasure of Sierra Madre— 211 votes; Dist.: Warners: Humphrey Bogart, Walter Hus- ton; Director: John Huston. Hamlet— 203 votes; Dist.: Universal (J. Ar- thur Rank); Star: Sir Laurence Olivier; Di- rector: Sir Laurence Olivier. The Naked City— 199 votes; Dist.: ifniversal; Stars: Barry Fitzgerald, Howard Duff; Di- rector: Jules Dassin. Sitting Pretty — 180 votes; Dist.: 20th-Fox; Stars: Robert Young, Maureen O'Hara, Clifton Webb; Director: Walter Lang. State of the Union— 113 votes; Dist.: M-G-M; Stars: Spencer Tracy, Katharine Hepburn, Van Johnson, Angela Lansbury; Director: Frank Capra. Call Northside 777—153 votes; Dist.: 20th- Fox; Star: James Stewart; Director: Henry Hathaway. The Bishop's Wife— 144 votes; Dist.: RKO (Samuel Goldwyn); Stars: Gary Grant, Loretta Young; Director: Henry Koster. 1947 The Best Years of Our Lives— 352 votes; Dist.: RKO (Goldwyn); Stars: Myrna Loy, Fred- ric March, Dana Andrews, Teresa Wright; Director: William Wyler. The Jolson Story— 293 votes; Dist.: Columbia; Stars: Larry Parks, Evelyn Keyes; Director: Alfred E. Green. Life With Father— 260 votes; Dist.: Warners; Stars: Irene Dune, William Powell; Direc- tor: Michael Curtiz. The Yearling-246 votes; Dist.: M-G-M; Stars: Gregory Peck, Jane Wyman, Claude Jar- man, Jr.; Director: Clarence Brown. Miracle on 34th Street— 238 votes; Dist.: 20th- Fox; Stars: Maureen O'Hara, John Payne, Edmund Gwenn; Director: George Seaton. Great Expectations— 236 votes; Dist.: Uni- versal (Rank); Stars: John Mills,, Valerie Hobson; Director: David Lean. Crossfire— 168 votes; Dist.: RKO; Stars: Robert Young, Robert Mitchum; Director: Edward Dmytryk. ****************************** 145 1 FABIAN THEATRES CORPORATION JACK SHAINDLIN Leading Musical Director SERVING THE MOTION PICTURE INDUSTRY In The East 245 WEST 55TH STREET, N. Y. C. Telephones: JUdson 6-4155-6 146 ★ ★★★★★★★★TEN BEST PICTURES ********* Boomerang— lil votes; Dist.: 20th-Fox; Stars: Uana Andrews, Jane VVyatt; Director: Elia Kazan. Brief Encounter— \2l votes; Dist.: Universal (Rank); Stars: Celia Johnson, Trevor How- ard; Director: David Neame. Odd Man Out— IIS votes; Dist.: Universal (Rank); Stars: James Mason, Kathleen Ryan; Director: Carol Reed. 2946 The Lost Weekend— 447 votes; Dist.: Para- mount; Stars: Ray Milland, Jane Wyman; Director: Billy Wilder. The Green Years— 321 votes; Dist: M-G-M; Stars: Charles Cobiirn, Tom Drake; Direc- tor: Victor Saville. Anna and the King of Siam— 324 votes; Dist.: 20th-Fox; Stars: Irene Dunne, Rex Harri- son; Director: John Cromwell. The Bells of St. Mary's-318 votes; Dist.: RKO (Rainbow); Stars: Bing Crosby, In- grid Bergman; Director: Leo McCarey. Spellbound— 294 votes; Dist.: United Artists (Selznick); Stars: Ingrid Bergman, Gregory Peck; Director: Alfred Hitchcock. Saratoga Trunk— 194 votes; Dist.: Warners; Stars: Gary Cooper, Ingrid Bergman; Di- rector: Sam Wood. Henry F— 192 votes; Dist.: United Artists (Twin Cities); Star: Laurence Oliviier; Di- rector: Laurence Oliver. \otorious—in votes; Dist.: RKO; Stars: Cary Grant, Ingrid Bergman; Director: Alfred Hitchcock. Leave Her to Heaven— \64 votes; Dist.: 20th- Fox; Stars: Gene Tierney, Cornel Wilde; Director: John M. Stahl. yight and Day— 155 votes; Dist.: ^Varners; Stars: Cary Grant, Alexis Smith; Director: Michael Curtiz. 1945 Wilson— 288 votes; Dist.: 20th-Fox; Star: Alex- ander Knox; Director: Henry King. A Tree Grows in Brooklyn— 216 votes; Dist.: 20th-Fox; Stars: Dorothy McGuire, Joan Blondell, James Dunn; Director: Elia Kazan. The Keys of the Kingdom— 189 votes; Dist.: 20th-Fox; Star: Gregory Peck; Director: John M. Stahl. The Valley of Decision— 188 votes; Dist.: M-G-M; Stars: Greer Garson, Gregory Peck; Director: Tay Garnett. A Song to Remember— 176 votes; Dist.: Co- lumbia; Stars: Paul Muni, Merle Oberon; Director: Charles Vidor. Laura— 165 votes; Dist.: 20th -Fox; Stars: Gene Tierney, Dana Andreivs, Clifton Webb; Director: Otto Preminger. The Story of G. I. Joe—\4\ votes; Dist.: United Artists (Lester Cowan); Star: Burgess Mere- dith; Director: William A. Wellman. The Corn Is Green— \38 votes; Dist.: Warner Bros.-; Star: Bette Da\is; Director: Irving Rapper. National Velvet— \37 votes; Dist.: M-G-M; Star: Mickey Rooney; Director: Clarence Brown. Anchors Aweigh— 128 votes; Dist.: M-G-M; Stars: Frank Sinatra, Kathryn Grayson, Gene Kelly; Director: George Sidney. 1944 Going My Way— 428 votes; Dist: Paramount; Stars: Bing Crosby, Rise Stevens, Barry Fitzgerald; Director: Leo McCarey. The Song of Beriiadette— 325 votes; Dist.: 20th-Fox; Star: Jennifer Jones; Director: Henry King. Since You Went Away—23\ votes; Dist.: United Artists (Selznick); Stars: Claudette Colbert, Jennifer Jones, Shirley Temple, foseph Gotten, Lionel Barrymore, Robert Walker, Monty Woolley; Director: John Cromwell. Madame Curie— 207 votes; Dist.: M-G-M; Stars: Greer Garson, Walter Pidgeon; Di- rector: Mervyn LeRoy. Dragon Seed— 191 votes: Dist.: M-G-M; Stars: Katharine Hepburn, ^Valter Huston; Di- rectors: Jack Conway, Harold S. Bucquet. The White Cliffs of Dover-190 votes; Dist.: M-G-M; Stars: Irene Dunne, Alan Marshal; Director: Clarence Brown. Gaslight-187 votes; Dist.: M-G-M; Stars: Charles Boyer, Ingrid Bergman; Director: George Cukor. A Guy Named Joe— 175 votes; Dist.: M-G-M; Stars: Spencer Tracy, Irene Dunne, Van Johnson; Director: Victor Fleming. The Story of Dr. Wassell— 161 votes; Dist.: Paramount; Stars: Gary Cooper, Laraine Day; Director: Cecil B. deMille. Lifeboat— 154 votes; Dist.: 20th-Fox; Stars: Tallulah Bankhead, ^Villiam Bendix; Di- rector: Alfred Hitchcock. 1943 Random Harvest— 305 votes; Dist.: M-G-M; Stars: Ronald Colman, Greer Garson; Direc tor: Mervyn LeRoy. For Whom the Bell Tolls— 285 votes; Dist.: Paramount; Stars: Gary Cooper, Ingrid Bergman; Director: Sam Wood. ********************★★★★★★★★★★ 147 ^^nnouncin^ tlie formation 4 ARCH OBOLER PRODUCTIONS WHICH WILL PRODUCE TWO UNIQUE MOTION PICTURES A YEAR TO BE WRITTEN, DIRECTED AND PRODUCED BY ARCH OBOLER Arch Oboler's first production, "FIVE," is being distributed by Columbia Pictures Corp. THf PRODUCERS' AID INCORPORAT ED 115 WEST 45th STREET NEW YORK (19), N. Y. PHONE: Circle 6-0951-2-3-4 A COMPLETE SERVICE TELEVISUAL, THEATRICAL AND NON-THEATRICAL PRODUCTIONS SLIDE FILMS SPECIAL EFFECTS MAPS . . . INSERTS ... ART TITLES 35mm KODACHROME DUPLICATIONS TECHNICAL AND CARTOON ANIMATION Black and White or Color — 16 or 35 mm 148 ★ ★★★★★★★★TEN BEST PICTURES ★★★★★★★★★ Yankee Doodle Dandy— 285 votes; Dist.t War ners; Star: James Cagney; Director: Michael Curtiz, This Is the Army— 276 votes; Dist.: Warners Director: Michael Curtiz. Casablanca— 259 votes; Dist.: Warners; Stars; Humphrey Bogart, Ingrid Bergman; Direc tor: Michael Curtiz. Tfie Human Comedy— 2^1 votes; Dist.: M G-M; Stars: Mickey Rooney, Frank Mor gan; Director: Clarence Brown. Watch on the Rhine— 220 votes; Dist.: War ners; Stars: Bette Davis, Paul Lukas; Di rector: Herman Schumlin. In Which We Serve— 208 votes; Dist.: United Artists; Star: Noel Coward; Directors: Noel Coward, David Lean. So Proudly We Hail!-20\ votes; Dist.: Para mount; Stars: Claudette Colbert, Paulette Goddard, Veronica Lake; Director: Mark Sandrich. Stage Door Canteen— 162 votes; Dist.: United Artists (Sol Lesser); Director: Frank Borzage. 1942 Mrs. Miniver— 555 votes; Dist.: M-G-M; Stars: Greer Garson, Walter Pidgeon; Di rector: William Wylcr. How Green Was My Valley— 500 votes; Dist.: 20th Century-Fox; Stars: Walter Pidgeon, Maureen O'Hara, Donald Crisp; Director: John Ford. Kings Row— 269 votes; Dist.: Warner Bros.; Stars: Ann Sheridan, Robert Cummings, Ronald Reagan, Betty Field; Director Sam Wood. Wake Island— 260 votes; Dist.: Paramount; Stars: Brian Donlevy, Robert Preston, Mac- donald Carey; Director: John Farrow. The Pride of the Yankees— 241 votes; Dist.: RKO (Samuel Goldwyn); Stars: Gary Cooper, Teresa Wright; Director: Sam ^Vood. The Man Who Came to Dinner— 258 votes; Dist.: Warner Bros.; Stars: Monty Woolley, Bette Davis, Ann Sheridan; Director: Wil- liam Keighley. One Foot in Heaven— 197 votes; Dist.: War- ner Bros.; Stars: Fredric March, Martha Scott; Director: Irving Rapper. Suspicion— 197 votes; Dist.: RKO Radio; Stars: Cary Grant, Joan Fontaine; Director: Alfred Hitchcock. Woman of the Year— 185 votes; Dist.: M-G-M; Stars: Spencer Tracy, Katharine Hepburn; Director: George Stevens. The Pied Piper-\76 votes; Dist.: 20th Cen- tury-Fox; Stars: Monty Woolley, Roddy McDowall; Director: Irving Pichel. 1941 Gone With The Wind— A52 votes; Dist.: M-G-M (Selznick International); Stars: Clark Gable, Vivien Leigh, Thomas Mit- chell, Olivia de Havilland, Leslie Howard; Director: Victor Fleming. Sergeant York—A\i votes; Dist.: Warner Bros.; Star: Gary Cooper; Director: Howard Hawks. The Philadelphia Story— 358 votes; Dist.: M-G-M; Stars: Katharine Hepburn, Cary Grant, James Stewart; Director: George Cukor. Citizen Kane—M\ votes; Dist.: RKO; Star: Orson Welles; Director: Orson Welles. Here Comes Mr. Jordan— 248 votes; Dist.: Columbia; Star: Robert Montgomery; Di- rector, Alexander Hall. The Little foxM— 243 voles; Dist.: RKO; Star: Bette Davis; Director: William Wyler. Kitty Foyle—2'ii votes; Dist.: RKO; Star: Ginger Rogers; Director: Sam Wood. The Great Dictator— 229 votes; Dist.: United Artists; Star: Charles Chaplin; Director: Charles Chaplin. Meet John Doe— 218 votes; Dist.: Warner Bros.; Stars: Gary Cooper, Barbara Stan- wyck; Director: Frank Capra. Blossoms in the Dust— 15$ votes; Dist.: M- G-M; Star: Greer Garson; Director: Mervyn LeRoy. 1940 Rebecca— S9l votes; Dist.: United Artists; Stars: Laurence Olivier, Joan Fontaine; Director: Alfred Hitchcock. The Grapes of Wrath— $67 votes; Dist.: 20th Century-Fox; Stars: Henry Fonda, Jane Darwell; Director: John Ford. Ninotchka— 269 votes; Dist.: M-G-M; Stars: Greta Garbo, Melvyn Douglas; Director: Ernst Lubitsch. Foreign Correspondent— 247 votes; Dist.: United Artists; Stars: Joel McCrea, Laraine Day; Director: Alfred Hitchcock. All This, And Heaven Too— 2$0 votes; Dist.: Warner Bros.; Stars: Bette Davis, Charles Boyer; Director: Anatole Litvak. Abe Lincoln in Illinois— 221 votes; Dist.: RKO Radio; Star: Raymond Massey; Director: John Cromwell. Boom Town— 215 votes; Dist.: M-G-M; Stars: Clark Gable, Spencer Tracy, Claudette Col- bert, Hedy Lamarr; Director: Jack Con- way. Northwest Passage— 198 votes; Dist.: M-G-M; Stars: Spencer Tracy, Robert Young; Direc- tor: King Vidor. ★ ★★★★★★★★★★★★★★★★★★★★★★★★★★-^^★^ 149 A KNOW HOW — FORCEFUL — DISTRIBUT- ING ORGANIZATION OF RE-RELEASE SPECIALISTS. WIDE-AWAKE FRANCHISE HOLDERS THROUGHOUT THE UNITED STATES — CANADA — AND ALL FOREIGN COUNTRIES. * * * * We do not just release film — We merchandise them properly for top grosses FAVORITE FILMS CORP. MOE KERMAN, President 151 WEST 46th STREET NEW YORK 19, N. Y. "WORLD WIDE DISTRIBUTORS" A twenty-five year record of unparalleled success with 28 Exchanges in the U. S. — 3 in Canada. R. M. SAVIN I President FRED BELLIN General Manager CY EICHMAN Advertising Mgr. ANTHONY TARELL Comptroller 130 W. 46th STREET, N.Y.C 16mm DIVISION AST OR operates the largest inter- national business in the 16mm. sound field in both features and shorts. JACQUES KOPFSTEIN V.P., Sales Manager HENRY SAZIN Assistant Sales Manager Cable Address: ASTORPIC, N. Y. C. ISO ★ ★★★★★★★★TEN BEST PICTURES********* Our Town— 198 votes; Dist.: United Ar- tists; Stars: William Holden, Martha Scott; Director: Sam Wood. The Mortal Storm— 172 votes; Dist.: M-G-M; Stars: Margaret Sullivan, James Stewart; Director: Frank Borzage. 2939 Goodbye, Mr. Chips— 412 votes; Dist.: M-G-M; Stars: Robert Donat, Greer Garson; Direc- tor: Sara Wood; Produced in England. Mr. Smith Goes to Washington— 453 votes; Dist.: Columbia; Stars: Jean Arthur, James Stewart; Producer-Director: Frank Capra. Pygmalion— S49 votes; Dist.: M-G-M; Stars: Leslie Howard, Wendy Hiller; Directors: Anthony Asquith, Leslie Howard; Produced in England. IVuthering Heights— 285 votes; Dist.: United .Artists (Goldwyn); Stars: Merle Oberon, Laurence Olivier, David Niven; Director: William Wyler. Dark Victory— 280 votes; Dist.: Warner Bros.; Star: Bette Davis; Director: Edmund Goulding. The Women— 254 votes; Dist.: M-G-M; Stars: Norma Shearer, Joan Crawford, Rosalind Russell; Director: George Cukor. The Wizard of Oz-244 votes; Dist.: M-G-M; Stars: Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Jack Haley; Director: Victor Fleming. I uarez— 216 votes; Dist.: Warner Bros.; Stars: Paul Muni, Bette Davis; Director: William Dieterle. Stanley and Livingstone— 215 Votes; Dist.: 20th Century-Fox; Stars: Spencer Tracy, Nancy Kelly, Richard Greene; Director: Henry King. The Old Maid— \66 votes; Dist.: Warner Bros.; Stars: Bette Davis, Miriam Hopkins: Director: Edmund Goulding. 1938 Snow White and The Seven Dwarfs— 4\9 votes; Dist.: RKO Radio; Producer: Walt Disney; Cartoon. You Can't Take It With You-512 votes; Dist.: Columbia; Stars: Jean Arthur, Lionel Barrymore, James Stewart, Edward Arnold; Director: Frank Capra. Alexander's Ragtime Band— 524 votes; Dist.: 20th Century-Fox; Stars: Tyrone Power, Alice Faye, Don Ameche; Director: Henry King. Boys Town— 515 votes; Dist.: M-G-M; Stars: Spencer Tracy, Mickey Rooney; Director: Norman Taurog. Marie Antoinette— 287 votes; Dist.: M-G-M; Stars: Norma Shearer, Tyrone Power; Di- rector: W. S. Van Dyke, II. In Old Chicago— 245 votes; Dist.: 20th Cen- tury Fox; Stars: Tyrone Power, Alice Faye, Don Ameche; Director: Henry King. The Adventures of Robin Hood— 218 votes; Dist.: Warners; Star: Errol Flynn; Direc- tors: Michael Curtiz, William Keighley. The Citadel-210 votes; Dist.: M-G-M (Pro- duced in England); Stars: Robert Donat, Rosalind Russell; Director: King Vidor. Love Finds Andy Hardy— \80 votes; Dist.: M-G-M; Stars: Mickey Rooney, Lewis Stone, Judy Garland, Cecilia Parker, Fay Holden; Director: George B. Seitz. The Hurricane— 172 votes; Dist.: United Ar- tists (Samuel Goldwyn); Stars: Dorothy Lamour, Jon Hall, Mary Astor; Director: John Ford. 1937 The Life of Emile Zola— 455 votes; Dist.: Warner Bros.; Star: Paul Muni; Director: William Dieterle. The Good Earth— 424 votes; Dist.: M-G-M; Stars: Paul Muni, Luise Rainer; Director: Sidney Franklin. Captains Courageous— 580 votes; Dist.: M- G-M; Stars: Freddie Bartholomew, Spencer Tracy, Lionel Barrymore; Director: Victor Fleming. Lost Horizon— 525 votes: Dist.: Columbia: Star: Ronald Colman; Director: Frank Capra. A Star Is Born— 287 votes; Dist.: United Ar tists (Selznick International); Stars: Janet Gaynor. Fredric March; Director: William A. Wellman. Romeo and Juliet— 251 votes; Dist.: M-G-M; Stars: Norma Shearer, Leslie Howard; Di- rector: George Cukor. Stage Door— 255 votes; Dist.: RKO Radio; Stars: Katharine Hepburn, Ginger Rogers, Adolphe Menjou; Director: Gregory La Cava. Dead End— 197 votes; Dist.: United Artists (Samuel Goldwyn); Stars: Sylvia Sidney, Joel McCrea; Director: William Wyler. Winterset— 165 votes; Dist.: RKO Radio; Stars: Burgess Meredith, Margo; Director: Alfred N. Santell. rhe Awful Truth— 160 votes; Dist.: Colum- bia; Stars: Irene Dunne, Gary Grant; Di- rector: Leo McCarey. ★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★ 151 1951! DISCINA'S BANNER YEAR One of the yearns ten best films — iV. Y. Trihunm JAIV. Jean Cocteau's in * * O R P H E U S " Smashing all box-office records! FEB. Cecile Aubry in * * M A N O N " Jouvet's greatest comedy triumph! MARCH Louis Jouvet and Daniele Delorme in "mQUETTE" She's got "it"! She sings "it"! She shows "it"! APRIL Suzy Delair and Louis Jouvet in "LADY PANAME" Marking his fiftieth year in show business! MAY MAURICE CHEVAUER as "MA POMME" France's first great color production! JU]\E Cecile Aubry in * * B L U E B E A R D " and other great fkmnch productions DISCINA INTERNATIONAL FILMS - 2S0 W. S7th St., New York 19, N. Y. — PL. 7-5484 SS^^^S^SS PRODUCERS DISTRIBUTORS HYPERION FILMS INCORPORATED 1564 Broadway • Tel.: JUdson 2-2928 • New York 19, N. Y. "DANCE OF LIFE" American Ballet film starring Valerie Bettis and Jose Limon. "SATIN SLIPPERS" Feature-length Ballet film with the great Classical Ballets. "ISLE OF LOVE" Starring Ingrid Bergman in her SEXIEST and most PASSIONATE role in her career as the UNWED MOTHER. "RED MEADOWS" Hailed by the critics as one of the 10 best foreign films of the year. "THE ILLEGALS" A POWERFUL film about real people and REAL EXPERIENCE — Stirring. Plus ... 25 one-reel symphony shorts, and a great library of Art and specialty shorts. 152 ★ ★★★★★★★★TEN BEST PICTURES ★★★****** 1936 Mutiny On The Bounty— 416 votes; Dist.: M-G-M; Stars: Charles Layghton, Clark Gable, Franchot Tone; Director Frank Lloyd. ^^r. Deeds Goes to Town— 372 votes; Dist.: Columbia; Star: Gary Cooper; Director: Frank Capra. The Great Ziegfeld—Mb votes: Dist.: M-G-M; Stars: \Villiani Powell, Myrna Loy, Liiise Rainer, Frank Morgan; Director: Robert Z. Leonard. San Francisco— 2M votes; Dist.: M-G-M; Stars: Clark Gable, Jeanette MacDonald, Spencer Tracy; Director: W. S. Van Dyke. Dodsworth—2M votes; Dist.: United Artists (Goldwyn); Stars: Walter Huston, Ruth Chatterton, Mary Astor, Paul Lukas, David Niven; Director: William AVyler. Tlie Story of Louis Pasteur— 250 votes; Dist.: Warner Bros.; Star: Paul Muni; Director: William Dieterle. A Tale of Two Cities— 2S5 votes; Dist.: M- G-M: Star: Ronald Colman; Director: Jack Conway. Anthony Adxierse—2'b\ votes; Dist.: Warner Bros.; Star: Fredric March; Director: Nfervvn LeRoy. The Green Pastures— 197 votes; Dist.: Warner Bros.; Directors: Marc Connelly, William Keighley. A Midsummer Night's Dream— 166 votes; Dist.: Warner Bros.; Stars: James Cagney, Joe E. Brown, Dick Powell; Directors: Max Reinhardt, William Dieterle. 1935 Oai>id Copperfield-S39 votes; Dist.: M-G-M; Stars: Freddie Bartholomew, W. C. Fields, Lionel Barrymore; Director: George Cukor. '.ives of a Bengal Lancer, The— 27S votes; Dist.: Paramount; Stars: Gary Cooper, Franchot Tone, Richard Cromwell; Di- rector: Henrv Hathaway. Inf ormer, The— 2b6 votes; Dist.: RKO Radio; Star: Victor McLaglen; Director: John Ford. Naughty Marietta— 250 votes; Dist.: M-G-M; Stars: Jeanette MacDonald, Nelson Eddy; Director: W. S. Van Dyke. Les Miserables— 255 votes; Dist.: United Ar- tists, (20th Century): Stars: Fredric March Charles Laugh ton, Cedric Hardwicke; Di rector: Richard Boleslawski. Ruggles of Red Gap-222 votes; Dist.: Para- mount; Stars: Charles Laugh ton, Mary Bo- land, Charles Ruggles; Director: Leo Mc- Carey. Top Hat— 174 Votes; Dist.: RKO Radio; Stars: Fred Astaire, Ginger Rogers; Direc- tor: Mark Sandrich. Broadway Melody of 1936—166 votes; Dist.: M-G-M; Stars: Jack Benny, Eleanor Pow ell; Director: Roy Del Ruth. noherta—'l55 votes; Dist.: RKO Radio; Stars Irene Dunne, Fred Astaire, Ginger Rogers Director: William A. Seiter. Anna Karenina—\29 votes; Dist.: M-G-M Stars: Greta Garbo, Fredric March; Direc tor: Clarence Brown. 1934 The Barrets of Wimpole Street— iiS votes; Dist.: M-G-M; Stars: Norma Shearer, Fred- ric March, Charles Laughton; Director: Sidney Franklin. The House of Rothschild— 3i8 votes; Dist.: United Artists; Star: George Arliss; Direc- tor: Alfred Werker. It Happened One Night— 2Sl votes; Dist.: Columbia; Stars: Clark Gable, Claudette Colbert; Director: Frank Capra. One Night of Love— 265 votes; Dist.: Colum- bia; Star: Grace Moore; Director: Victor Sciiertzinger. Little Women— 264 votes; Dist.: RKO Radio; Star: Katharine Hepburn; Director: George Cukor. The Thin Man— 249 votes; Dist.: M-G-M; Stars: William Powell, Myrna Loy; Direc- tor: W. S. Van Dyke. Viva, Villa!— \SS votes; Dist.: M-G-M; Star: Wallace Beery; Director: Jack Conway. Dinner at Eight— 172 votes; Dist.: M-G-M. Stars: Marie Dressier, John Barrymore, Wallace Beery, Jean Harlow, Lionel Barry- more, Lee Tracy, Edmund Lowe; Direc- tor: George Cukor. The Count of Monte Cristo— 145 votes; Dist.: United Artists; Stars- Robert Donat, Elissa Landi; Director: Rowland V. Lee. Berkeley Square— 119 votes; Dist.: Fox; Stars: Leslie Howard, Heather Angel; Director: Frank Lloyd. 1933 Cavalcade— i04 votes; Dist.: Fox; Stars: Clive Brook, Diana Wynyard; Director: Frank Lloyd. 42nd Street— 209 votes; Dist.: Warner Bros.; Stars: Warner Baxter, Bebe Daniels, Ruby Keeler, Dick Powell; Director: Lloyd Bacon. Private Life of Henry F///— 187 votes; Disl.: United Artists; Star: Charles Laughton; ★★★★★★★★★★★★★★★★★★★★★★★★★★★*** 153 LUX FILM DISTRIBUTING CORPORATION Distributors of Leading Continental Screen Attractions in the United States Home Offkre; 1501 Broadway (Paramount BIdg.), New York 18, N. Y. Phone: BRyant 9-0137-8-9-40 Cable Address: LUXFILMUSA West Coast Office; 1907 S. Vermont Ave., L. A., Cal. Parkway 1716 NOW AVAILABLE SILVAIVA MA1\GA]\0 in ''BITTER RICE" 16MM Two More Silvana Mangano Productions OTHER FEATURE FILMS 37 Italian 3 French 1 Spanish 3 English All Foreign Films With Complete English Titles also 16 Art and Other Short Subjects With English Narration 35MM E. R. ZORGNIOTTI, President BERNARD JACON, V.P. Chg. Sales & Disf. Sound Services, Inc. 1021 SEWARD STREET • HOLLYWOOD 38, CALIF. R. E. WARN G. R. GLENNAN President General Manager 154 ★ ★★★★★★★★TEN BEST PICTURES^^^***^** Director: Alexander Korda; Produced in England. Lady for a Day— Mi votes; Dist.: Colutabia; Director: Frank Capra. State fair— 169 votes; Dist.: Fox; Stars: Will Rogers, Janet Gaynor, Lew Ayics, aaiiy Filers; Director: Henry King. A Farewell to Arms— 167 votes; Dist.: Para- mount; Stars: Helen Hayes, Gary Cooper; Director: Frank Borzage. She Done Him Wrong— 158 votes; Dist.: Paramount; Star: Mae West; Director: Lowell Sherman. / Am a Fugitive From a Chain Gang— 156 votes; Dist.: Warner Bros.; Star: Paul Muni; Director: Mervyn LeRoy. Maedchen in Uniform— IS7 votes; Dist.: Filmchoice; Stars: Dorothea Wieck. Hertha Thiele; Director: Leontine Sagan; Produced in Germany. Rasputin and the Empress— 128 votes; Dist.: M-G-M; Stars: John, Ethel, and Lionel Barrymore; Director: Richard Boleslawski. 1932 Grand Hotel— 296 votes; Dist.: M G-M; Stars: Greta Garbo, John Barrymore, Joan Craw- ford, Wallace Beery, Lionel Barrymore, et al; Director: Edmund Goulding. The Champ-2H votes; Dist.: M G-M; Stars: Wallace Beery, Jackie Cooper; Director: King Vidor. Arrowsmith— 192 votes; Dist.: United Artists; Stars: Ronald Colman, Helen Hayes; Di- rector: John Ford. The Guardsman— no votes; Dist.: M-G-M; Stars: Alfred Lunt, Lynn Fontanne; Direc- tor: Sidney Franklin. Smilin' Through— \68 votes; Dist.: M-G-M; Star: Norma Shearer; Director: Sidney Franklin. Dr. Jekyll and Mr. Hyde— 161 votes; Dist.: Paramount; Star: Fredric March; Director: Rouben Mamoulian. Emma— \54 votes; Dist.: M G-M; Star: Marie Dressier; Director: Clarence Brown. Bill of Divorcement— \il votes; Dist.: RKO Radio: Stars: John Barrymore, Katharine Hepburn; Director: George Cukor. Back Street— \i6 votes; Dist.: Universal; Stars: Irene Dunne, John Boles; Director: John M. Stahl. Scarface—]55 votes: Dist.: United Artists; Star: Paul Muni; Director: Howard Hawks. 1932 Cimarron— 273 votes Dist.: RKO Radio; Star: Richard Dix; Director: Wesley Ruggles. Street Scene— 200 votes; Dist.: United Artists; No star; Director: King Vidor. Skippy— 178 votes; Dist.: Paramount; Star: Jackie Cooper; Director: Norman Taurog. Bad Girl— 172 votes; Dist.: Fox; Stars: James Dunn, Sally Eilers; Director: Frank Bor- zage. Min and Bill— 164 votes; Dist.: M-G-M; Stars: Marie Dressier, Wallace Beery; Director: George Hill. Front Page— 162 votes; Dist.: United Artists; No star; Director: Lewis Milestone. Five Star Final— 1S8 votes; Dist.: Warner Bros; Star: Edward G. Robinson; Direc- tor: Mervyn LeRoy. City Lights— 128 votes; Dist.: United Artists; Star and Director: Charles Chaplin. A Free 5om/— 114 %'otes; Dist.: M-G-M; Star: Norma Shearer; Director: Clarence Brown. 5m of Madelon Claudet— 99 votes; Dist.: M-G-M; Director: Edgar Selwyn. 1930 All Quiet on the Western Front— 271 votes; Dist; Universal; No star; Director: Lewis Milestone. Abraham Lincoln— \67 votes; Dist.: United Artists; No star; Director: D. W. Griflfith. Holiday— \66 votes; Dist.: Pathe; Star: Ann Harding; Director: Edward H. Griffith. fourney's End—\S\ votes; Dist.: Tiffany; Star: Colin Clive; Director: James Whale. Anna Christie— \4\ votes; Dist.: M G-M; Star: Greta Garbo; Director: Clarence Brown. The Big House— \4\ votes; Dist.: M-G-M; No star; Director: George Hill. With Byrd at the South Pole— 121 votes; Dist.: Paramount; No star or director. The Divorcee— 94 votes; Dist.: M-G-M; Star: Norma Shearer; Director: Robert Z. Leon ard. Hell's Angels— 91 votes; Dist.: United Artists No star; Director: Howard Hughes. Old English— 87 votes; Dist.: Warner Bros.; Star: George Arliss; Director: Alfred E. Green. 1929 Disraeli— 192 votes; Dist.: Warner Bros.; Star: George Arliss; Director: Alfred E. Green. Broadway Melody— \6S votes; Dist.: M-G-M; No star: Director: Harry Beaumont. Madame X— 161 votes; Dist.: M-G-M; Star: Ruth Chatterton; Director: Lionel Barry- more. Rio Rita— 158 votes; Dist.: Radio; Star: Bebe Daniels; Director: Luther Reed. ★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★ 135 "Destination Murder" "Experiment Alcatraz" "You Can Beat tlie A-Bomb"* ALL RELEASED BY RKO Produced by CRYSTAL and PROMINENT PRODUCTIONS EDWARD L. CAHN • Executive Producer In Charge of Production * Produced in Collaboration with Emerson Productions Since 1931 — The Coun- try's Leading Distributors of Spanish-language Films. • •• Now Releasing to the Amer- ican Market — through its SPECIAL FEATURES DIVI- SION, Exceptional Spanish- dialogue Pictures, equipped with English Subtitles. • ••• For detailed information, send for our catalogue. . . AZTECA FILMS, Inc. 1743 So. Vermont Avenue Los Angeles 6, Calif. Republic 3-2191 RECORDING EQUIPMENT II CORPOROTIOH Manufacturing: SYNCHRONOUS DISC SYNCHRONOUS TAPE SYNCHRONOUS FILM Original Sound Track Recorders — Dubbers — Editors Write: 154fh St. & 7th Av«. WHITESTONE, NEW YORK Phona: INdfptndanca 3-2100 156 ★ ★★★★★★★★TEN BEST PICTURES ★★★★★★★*★ Gold Diggers of Broadway— 139 votes; Dist.: SVarner Bros; No star; Director: Roy Del Ruth. Bulldog Drummond— 125 votes; Dist.; United Artists; Star: Ronald Colman; Director: F. Richard Jones. In Old Arizona— 121 votes; Dist.: Fox; No star; Directors: Raoul Walsh and Irving Cummings. Cock-Eyed World— 113 votes; Dist.: Fox; Stars: Victor McLaglen, Edmund Lowe; Di- rector: Raoul Walsh. Last of Mrs. Cheney— WO votes; Dist.: M- G-M; Star: Norma Shearer; Director: Sidney Franklin. Hallelujah— \0l votes; Dist.: M G-M; No star; Director: King Vidor. 1928 The Patriot— 210 votes; Dist.: Paramount; Star: Emil Jannings; Director: Ernst Lu- bitsch. Sorrell and 5on— 180 votes; Dist.: United Ar- tists; Stars: H. B. Warner, Alice Joyce; Di- rector: Herbert Brenon. Last Command— 1$5 votes; Dist.: P.iramount Star: Emil Jannings; Director: Josef von Sternberg. Four Sons— 125 votes; Dist.: Fox; No star; Director: John Ford. Street Angel— 124 votes; Dist.: Fox; Stars: Janet Gaynor, Charles Farrell; Director: Frank Borzagc. The Circus— 122 votes; Dist.: United Artists; Star and Director: Charles Chaplin. Sunrise— 119 votes; Dist.: Fox; Stars: George O'Brien, Janet Gaynor; Director: F. W. Mumau. The Crowd— 105 votes; Dist.: M-G-M; Stan: James Murray, Elinore Boardman; Direc- tor: King Vidor. King of Kings— 99 votes; Dist.: Pathe; Stars: H. B. Warner, Joseph and Rudolpli Schild- kraut; Director: Cecil B. De Mille. Sadie Thompson— 95 votes; Dist.: United Ar- tists: Star: Gloria Swanson: Director: Raoul Walsh. 1927 (*) Beau Geste— 235 votes; Dist.: Paramount; Stars: Ronald Colman, Noah Beery; Di- rector: Herbert Brennon. (•) Big Parade— 205 votes; Dist.: M-G-M; Stars: John Gilbert, Renee Adoree; Direc- tor: King Vidor. • During the early stagres of THE FILM DAILY polls, oertaixi productions were selected twice. Voting eystem has been altered so that critics now rote from a ballot supplied by THE FILM DAILY. (•) What Price G/ory?— 179 votes; Dist.: Fox; Stars: Victor McLaglen, Edmund Lowe; Di- rector: Raoul Walsh. Way of All Flesh— 167 votes; Dist.: Para- mount; Star: Emil Jannings; Director: Vic- tor Fleming. (•) Ben Hur— 164: votes; Dist.: M-G-M; Stars: Ramon Novarro, Francis X. Bushman; Di- rector: Fred Niblo. Seventh Heaven— 162 votes; Dist.: Fox; Stan; Janet Gaynor, Charles Farrell; Director: Frank Borzage. Chang— 146 votes; Dist.: Paramount; No star; Directors: Merian Cooper, Ernest Schoed- sack. Underworld— 97 votes; Dist.: Paramount; Stars: George Bancroft, Clive Brook; Direc- tor: Josef von Sternberg. Resurrection— 91 votes; Dist.: United Artists; Star: Rod La Rocque; Director: Edvtrin Carewe. Flesh and the Devil— 77 votes; Dist.: M-G-M; Star: John Gilbert; Director: Clarence Brown. I92G Variety— 169 votes; Dist.: Paramount; Star: Emil Jannings; Director: E. A. Dupont. (•) Ben Hur— 114 votes; Dist.: M-G-M; Stars: Ramon Novarro, Francis X. Bushman; Di- rector: Fred Niblo. (•) Big Parade— 108 votes; Dist.: M-G-M; Stars: John Gilbert, Renee Adoree; Direc- tor: King Vidor. Black Pirate— lOS votes; Dist.: United Ar- tists; Star: Douglas Fairbanks; Director: Albert Parker. (•) Beau Geste— 100 votes; Dist.: Paramount; Stars: Ronald Colman, Noah Beery; Direc- tor: Herbert Brennon. Star: Belle Bennett; Director Henry King. Stella Dallas— 95 votes; Dist.: United Artists; Star: Belle Bennett; Director: Henry King. Volga Boatman— 94 votes; Dist.: PDS; Star: William Boyd; Director: Cecil B. De Mille. (•) What Price Glory— 66 votes; Dist.: Fox; Stars: Victor McLaglen, Edmund Lowe; Director: Raoul Walsh. Sea Beast— 62 votes; Dist.: Warner Bros.; Star: John Barrymore; Director: Millard Webb. La Boheme— 49 votes; Dist.: M G-M; Stars: Lillian Gish, John Gilbert; Director: King Vidor. 1925 Gold Kush-63 votes; Dist.: United ArtisU; Star and Director: Charles Chaplin. ★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★ 157 ★ ★★★★★★★★TEN BEST PICTURES ★*★*★**** Unholy Three— 60 votes; Dist.: Metro-Gold- wyn; Star: Lon Chaney; Director: Tod Browning. Don Q Son of Zorro—bl votes; Dist.: United Artists; Star: Douglas Fairbanks; Director: Donald Crisp. V/erry Widow— bl votes; Dist.: Metro- Gold wyn; Stars: Mae Murray, John Gilbert; Di- rector: Erich von Stroheim. Last Laugh— 55 votes; Dist.: Universal; Star: Emil Jannings; Director: F. W. Murnau. The Freshman— 52 votes; Dist.: Pathe; Star: Harold Lloyd; Directors: Fred Newmeyer, Sam Taylor. Phantom of the Opera— $8 votes; Dist.: Uni- versal; Star: Lon Chaney; Director: Rupert Julian. Lost World— 36 votes; Dist.: First Nationai> Stars: Bessie Love, Lewis Stone; Director: Harry Hoyt. (*) Big Parade— SO votes; Dist.: Metro-Gold- wyn; Stars: John Gilbert, Renee Adoree, Director: King Vidor. Kiss Me Again— 29 votes; Dist.: Warner Bros., Stars: Marie Prevost, Monte Blue; Direc- tor: Ernst Lubitsch. 1924 Thief of Bagdad— 52 votes; Dist.: United Ar- tists; Star: Douglas Fairbanks; Director; Raoul Walsh. Sea Hawk— 51 votes; Dist.: First National; Stars: Milton Sills, Enid Bennett, Wallace Beery; Director: Frank Lloyd. Monsieur Beaucaire— 36 votes; Dist.: Para- mount; Star: Rudolph Valentino; Director: Sidney Olcott. Beau Brummel— 35 votes; Dist.: Warner Bros.; Star: John Barrymore; Director; Harry Beaumont. Secrets— 33 votes; Dist.: First National; Star: Norma Talmadge; Director: Frank Borzage. Marriage Circle— 32 votes; Dist.: Warner Bros.; Stars: Monte Blue, Florence Vidor: Director: Ernst Lubitsch. Ten Commandments— 30 votes; Dist.: Para- mount; No star; Director: Cecil B. De ^fille. Girl Shy— 30 votes; Dist.: Pathe; Star: Harold Lloyd; Directors: Fred Newmeyer. Sam Taylor. ■ibraham Lincoln— 30 votes; Dist.: First National; Stars: George Billings, Louise Fazenda; Director: Philip Rosen. limerica— 23 votes; Dist.: United Artists; Stars: Carol Dempster, Lionel Barrymore; Director: D. W. Griffith. 1923 Covered Wagon— 53 votes; Dist.: Paramount Stars: Ernest Torrence, J. Warren Kerri- gan, Lois Wilson; Director: James Cruze. Merry-Go-Round—26 votes; Dist.: Universal; Stars: Mary Philbin, Norman Kerry; Di- rector: Rupert Julian. Hunchback of Notre Dame— 25 votes; Dist.: Universal; Star: Lon Chaney; Director: Wallace Worsley. (*) Robin Hood— 25 votes; Dist.: United Artists; Star: Douglas Fairbanks; Director: Allan Dwan. Green Goddess— 22 votes; Dist.: Goldwyn; Star: George Arliss; Director: Sidney Ol- cott. Scaramouche— 20 votes; Dist.: Metro; No star; Director: Rex Ingram. Safely Last—\8 votes; Dist.: Pathe; Star: Harold Lloyd; Directors: Fred Newmeyer, Sam Taylor. Rosita—\?, votes; Dist.: United Artists; Star: Mary Pickford; Director: Ernst Lubitsch. Down to the Sea in Ships— 11 votes; Dist.: Hodkinson; Star: Raymond McKee; Di- rector: Elmer Clifton. Little Old New York-M votes; Dist.: Gold- wyn (Cosmopolitan); Star: Marion Davies; Director: Sidney Olcott. 1922 Orphans of the Storm— 9>\ votes; Dist.: Unit- ed Artists; Stars: Gish Sisters, Monte Blue; Director: D. W. Griffith. Grandma's /Joy— 29 votes; Dist.: Asso. Ex- hibitors; Star: Harold Lloyd; Director: Fred Newmeyer. Blood and Sand— 2^ votes; Dist.: Paramount; Star; Rudolph Valentino; Director: Fred Niblo. Prisoner of Zeuda— 25 votes: Dist.: Metro; All Star; Director; Rex Ingram. ]Vhen Knighthood Was in Floiuer— 22 votes; Dist.; Paramount; Star; Marion Davies; l)iic( l( i : R(.l)erl G. \'ignola. Xanook of the North— 2\ votes; Dist.; Pathe; Native cast; Director: R. J. Flaherty. Smilin' Through— 20 votes; Dist.: First Na- tional; Star; Norma Talmadge; Director; Sidney Franklin. Tol'able Dai'id—\9 votes; Dist.: First Na- tional; Star; Richard Barthelmess; Direc- tor; Henry King. (*) Robin Hood—\l votes; Dist.: United .Artists; Star: Douglas Fairbanks: Director; Allan Dwan. Oliver Twist— \3 votes; Dist.: First National; Star: Jackie Coogan; Director: Frank Lloyd. ★★★★★★★★★★★★★★★★★★★★★★★★★★★*** 158 in m uniTED sieiES ************ ******* ****** By J. C. PRIORE Staff Writer, THE FILM DAILY HE TREND toward showing of foreign films in tiiis country is steady and c\en, perhaps, growing, a review of the past twelvemonth period shows. Importers are learning, it would seem, that the audience for their product is selective and this leads to the explanation of the few really topgrade pictures that were shown here last year. Endeavoring to enlighten and serve the Inreign producer, the Motion Picture Asso- ciation of America, via its Advisory Unit for Foreign Fihns. brought over representatives from the industries of Italy, France and Sweden in 1950. These capable men observed conditions at first hand, were enlightened as lo procedures, the potentialities of the mar- ket and reported back to their respective organizations following a series of press meet- ings here. Findings of these indi\ idiials. in every case, inilicated that if the import and distribution of foreign films in this country were to prosper, there uoidd ha\e to be increased understanding of attitudes. It was emphasized that producers abroad make pictures for spe- cific audiences— namely adult>— and children are not permitted to attend such perfor- mances. .\nother factor stressed, particularly in Italy, was the individuality of the Italian industry in its postwar resurgence. \ow enjoying global respect for the realism and artistic cpiality of their product, the representatives of Italian producers stated that thev would not change their successful pattern. The problem of dubbing into Eng- lish was also discussed and the outlook for development of this technicpie is cpiestion- able. Opinion reliably familiar with the perfor- mance of foreign films in this country still regards the importation factor as a gamble. Censorship is an important factor. Last year a non-'ccular body objected to 53 per cent of foreign films. But the big event of the year-end and from the box office point of view one of the top grossers of the past few years is Lux Films' "Bitter Rice." Picture is expected to play 1.500 theaters throughout the country. It has been booked in the Interstate Circuit's "A" hoirses; the VVometco, Warner, Fox West Coast, Schine, Fabian, Jefferson .Amusement, Robb & Rowley and Griffith chains have played it. It opened to interesting notices in .New York and at last reports was in a strong seventh month at the World Theater. This "Bitter Rice" success makes for valuable im- pression both on production abroad and im- pact on audiences here. "Manon," modern dress version of the Abbe I'revost novel, star- ring Cecile .\ubry, and directed by Henii Georges Clouzot, is another example of the a tute, alert handling of talent and story. Picture has done well in its first key city engagements and is also reported strong in follow up bookings. Lineuji for the coming year includes a new Maurice Chevalier number, "Ma Pomme," to be released here by Discina as "Just a Biuii"; "Bluebeard," also featuring Mile. Aiibry, with Michel Simon, being completed in Munich. "Lady Paname," "Cascjue D'Or" and " Tomorrow \\'e Divorce" are also due. Lux has about 15-17 for the coming year including "Mill On the Po" and "Oh, Amelia." latter starring Danielle Darrieux. Perhaps the coming year will a'so see the |;rcsentation here of ".^toll K," the Laurel and Hardy, plus Suzv Delair. j^roduction. Arrivals of trade press publications from Fiance, Germany and Italy indicate promis- ing plans and accomplishment. The .Ameri- can market requires miderstanding and the right approach. On a give and take basis the audience will be found, expanded, the distributors will profit. ************************** 159 114 37 YEARS Of Continuous Service to the Motion Picture Industry and maintaining that high standard which it established over 35 years ago for — UNEXCELLED SERVICE STORAGE DELIVERY AND SHIPPING MOUNTING and INSPECTION ★ * * STORAGE BY REEL OR VAULT IN FIRE-PROOF VAULTS Approved by N. Y. Fire Dept. and N. Y. Fire Underwriters LOWEST INSURANCE RATES PROJECTION ROOMS AVAILABLE TWO PRIVATE THEATERS AIR-CONDITIONED • NIGHT SCREENING • AMPLE SEATING LLOYDS FILM STORAGE CORP. 729 Seventh Avenue Teiephone^coilmbus'' 5-5400^1-2-3-4 New York City 160 PRODUCTIOO Credits on 1950 Releases Releases by Companies Imported Features Serials Original Titles Serials Released Since 7920 Features Released Since 1915 161 ★ ★ Edward Finney Producer Director 'CALL OF THE FOREST" Introducing the Newest Find CHARLIE HUGHES "BARON MUNCHAUSEN" A Roadshow Attraction in ^ "OPERATION NORTH POLE" The Dramatic Story That Lies Back of Land's End OTHER ATTRACTIONS Mary Roberts Rinehart's "Lost Ecstasy"; Frederick Jackson's "The Royal Rogue" and "The King's Messenger" 162 FEATURES CREDITS FOR 1950 RELEASES Abbott & Costello in the Foreign Legion U-I: 70 ',2 niiiis. Reviewed. 8-19-50: Released, August. 1950. CAST: Bud Abbott. Lou Costello. Patricia Me- dina. Walter Slezak. Douglass Dumbrille. Fred Nur- ney. Wee Willie Davis. Leon Belasco. Jack Raymond. Henry Corden. Producer. Robert Arthur: Director, Charles La- ment: Author. D. D. Beau-Champ: Screenplay, John Grant, Martin Ragraway: Art Directors. Bernard Herzbrun. Eric Orbom : Photography, George Robin- son: Editor, Frank Gross, Across the Badlands Columbia: .5.5 mins. Reviewed. 9-18-50; Released. September, 1950. CAST: Charles Starrett. Smiley Burnette. Helen Mowery. Stanley Andrews. Bob Wilke, Dick Elliott, Hugh Prosser. Robert W. Cavendish. Charles Evans. Paul Campbell. Producer. Colbert Clark: Director. Fred F. Sears: Author. Barry Shipman: Screenplay. Barry Ship- man: Photography, Fayte Browne: Editor, Paul Borolsky. Admiral Was a Lady, The United Artists-Roxbury : 87 mins. Reviewed, 5-18-50: Released, 8-4-50. CAST: Edmond OBrien, Wanda Hendrix, Rudy Vallee, Johnny Sands, Steve Brodie. Richard Erd- man, Hilary Brooke, Richard Lane. Garry Owen. Fred Easier. Producers. Edward Lewis. Albert S. Rogell: Au- thors-Screenplay. Sidney Salkow. John O'Dea: Musical Score. Edward J. Kay: Art Director. Van Nest Polglase: Photography. Stanley Cortez: Editor, William Ziegler. All About Eve 30th Century-Fox: 138 mins. Reviewed, 9-1.3-50: Released, November. 1950. CAST: Bette Davis. Anne Baxter, George Sanders Celeste Holm, Gary Merrill, Hugh Marlowe, Gregory Ratoff. Thelma Ritter, Marilyn Monroe, Barbara Bates. Walter Hampden. Randy Stuart. Craig Hill. Leland Harris. Barbara White. Eddie Fisher William Pullen. Claude Stroud. Eugene Bordern! Helen Mowery. Steve Geray Producer. Darryl F. Zanuck: Director-Screenplay. Joseph Mankiewicz; Author. Mary Orr (from "The Wisdom of Eve"): Music. Alfred Newman: Art Directors. Lyle Wheeler, George W. Davis- Photography, Milton Krasner; Editor, Barbara McLean. American Guerrilla in the Philippines 20th Century -Fox: 105 mins. Reviewed, 11-8-50: Released, December, 1950. CAST: Tyrone Power. Micheline Prelle. Tom Edwell. Bob Patten. Tommy Cook. Juan Torena Jack Elam. Robert Barrat. Carleton Young Producer. Lamar Trotti: Director. Fritz Lang- Author. Ira Wolfert: Screenplay. Lamar Trotti' Art Directors. Lyle Wheeler, J, Russell Spencer; Musical Director. Lionel Newman; Photography Harry Jackson: Editor, Robert Simpson. And Baby Makes Three Columbia: 83 nuns. Reviewed. 1-5-50: Released. December. 1949 CAST: Robert Toung, Barbara Hale, Janis Carter, Robert Hutton, Billie Burke, Nicholas Joy, Lloyd Corrigan, Howland Chamberlain, Melville Cooper, Louise Currie, Grandon Rhodes, Katherine Warren. Producer. Robert Lord: Director, Henry Levin; Authors-Screenplay, Louis Breslow, Joseph Hoff- man: Art Director, Robert Peterson: Musical Di- rector. Moiris Stoloft: Photography. Burnett Guf- fey: Editor, Viola Lawrence. Annie Get Your Gun M-G M : 107 mins. Reviewed, 4-12-50; Released, August. 1950. CAST: Betty Hutton. Howard Keel. Louis Cal- herii. Edward Arnold. Keenan Wynn. J. Carroll Naish. Clinton Sundberg. Benay Venuta. Producer. Arthur Freed: Director. George Sid- ney: Authors, Dorothy Fields, Herbert Fields: Screenplay, Sidney Sheldon: Musical Director, Adolph Deutsch: Art Directors, Cedric Gibbons, Paul Groesse: Photography, Charles Rosher: Editor, James E. Newcom. Arizona Cowboy, The Republic: 67 mins. Reviewed, 5-1-50: Released. 4-1-50. CAST: Rex Allen. Teala Loring. Gordon Jones. Minerva Ureeal. James Cardwell. Roy Barcroft. Stanley Andrews, Harry Cheshire, Edmund Cobb, Joseph Crehan, Steve Darrell, John Elliott, Chris- Pin Martin. Associate Producer, Franklin Adreon: Director, R. G. Springsteen: Author-Screenpla.v. Bradford Ropes: Art Director. Frank Ritter: Photography, William Bradford: Editor, Harry Keller. Arizona Territory Monogram : 56 mins. Released, 7-3-50. CAST: Whip Wilson, Andy Clyde. Nancy Saun- ders. Dennis Moore. John Merton. Carl Mathews. Carol Henry. Bud Osborne. Prank Austin. Producer. Vincent M. Fennell.v: Director. Wal- lace W. Fox: Author-Screenplay. Adele Buflington: Art Director. Dave Milton: Musical Director. Ed- ward Kay: Photography. Harry Newumann: Editor. Richard Heermance. Armored Car Robbery RKO: 68 mins. Reviewed, 6-14-50: Released, 6-8-60. CAST: Charles McGraw, Adele Jergens. William Talnian. Douglas Fowley. Steve Brodie. Don Mc- Guire, Don Haggerty, James Flavin. Gene Evans, Producer, Herman Schlom : Director, Richard Fleischer: Authors, Robert Angus, Robert Leeds: Screenplay, Earl Felton. Gerald Di-ayson Adams: Art Directors. Albert D'Agostin. Ralph Berger: Music. C. Bakaelinikolf : Photogiaphy. Guy Roe: Editor. Desmond Maryuelte. Asphalt Jungle, The M-G-M: 113 mins. Reviewed. 6-5-50: Released, June, 1950. CAST: Sterling Hayden, Louis Calhern, Jean Hagen, Sam Jafte, John Mclntire. Marc Lawrence, Barry Kelley. Antony Caruso. Teresa Celli. Marilyn Monroe. James Whitmore. William Davis. Dorothy Tree. Brad Dexter. John Maxwell. Producer. Arthur Hornblow. Jr.: Director. John Huston: Author. W. R. Burnett: Screenplay. Ben Maddow. John Huston : Art Directors. Cedric Gib- bons. Randal Duell: Photography. Harold Rosson: Editor, George Boemler. 163 mm mu \mmm PREMIERS ILLUSTRATIONS RESEARCH PUBLICITY GLAMOUR HIGH SPEED ACTION COLOR BLACK and WHITE 75 West 45th Street, N. Y. C. (19), N. Y. SBRVING MOTION PICTURE INDUSTRY SINCE 1925 OF Luxemburg 2-0912 164 Astonished Heart, The IM-JAR: S)2 niins. Reviewed. ;2-16-50: Released, March, 1950. Produced in Engrland. C\ST: Noel Coward, Celia Johnson. Margaret LeiKhton. Graham Payn. Joyce Carey. ProiUicer. Anthony Darnborougrh : Produced by Sidney Box: Directors. Terence Fischer, Anthony Darnboroufrh : Screenplay. Noel Coward: Art Di- rector, Maurice Cai ter: Photography. Jack Ascher: Editor. V. Saffovsky. At War With the Army Paramount: 9.'! mins. Reviewed. 12-13 oO. CAST: Dean Martin. Jerry Lewis, Mike Kellin, Jimmy Dundee. Dick Stabile. Tommy Farrell. Frank Hyers. Dan Dayton. William Mendrek. Ken- neth Forbes. Paul Livermore. Ty Perry. Jean Rutli. Ang'ela Green. Polly Berg^en. Dougrlas Evans, Steven Roberts. Al Negrbo. Dewey Robinson. Executive Producer, Abner J. Greshler: Pro- ducer. Fred J. Finklehoff: Director. Hal Walker: Author. James B. Allardice: Screenplay, Fred J. Finklehoffe. Avengers, The Republic: 90 mins. Reviewed. 6-26 50: Released, 6-26-50. Pioduced in Argrentina. CAST: John Carroll. Adele Mara, Mona Maris. Roberto Airaldi. Fernando Lamas, Jorge Villoldo. Vincente Padula. Vivian Ray, Ceeile Lezard, Juan Olaguivel. Associate Producer. John H. Auer: Director. John H. Auer; Author. Rex Beach (from "the Aveng- ers"): Screenplay, Lawrence Kimble, Aeneas Mae- Kenzie; Art Director, Saulo Benavente; Music, Nathan Scott; Photography, Pablo Tabernero; Edi- tor, Marvin J. Coil. Backfire Warnei's: 91 mins. Reviewed. 1-19-50: Released. 3-11-50. CAST: Virs-iiiia Mayo. Donald MacRae. Gordon MacRae. Edmond O'Brien. Dane Clark. Viveca Lin- fors. Ed Begley. Frances Robinson. Richard Rober. Sheila Stephens. David Hoffman, Monte Blue, Ida Moore. Leonard Strong. John Ridgely. Producer. Anthony Veiller: Director. Vincent Sherman: Author-Screenplay. Larry Marcus: Art Director. Anton Grot: Musical Director, Ray Hein- dorf: Photography. Carl Guthrie: Editor. Thomas Reilly. Bandit Queen Lippert : 70 mins. Reviewed. 12-4-50: Released. 12-9-50. CAST: Barbara Britton. Willard Parker, Philip Reed. Barton MacLane. Martin Garralaga. Victor Kilian. Thurston Hall. Angle. Anna Demetrio. Paul Marion. Pepe Hern. Lalo Rios. Cecile Weston. John Merton. Carl Pitti. Hugh Hooker. Jack Ingram. Mike Conrad. Jack Perrin. Minna Phillips. Margia Dean. Felipe Turich. Joe Dominguez. Trina Varela, Nancy Laurentz. Roy Butler. Elias Gomboa, Chuck Roberson. Executive Producer, Murray Lerner; Producer- Director. William Berke; Author-Screenplay, Vic- tor West; Music. Albert Glasser; Photography, Ernest W. Miller; Editor, Carl Pierson, Baron of Arizona. The Lippert: 96 mins. Reviewed. 2-14-50: Released. 3-4-50. CAST: Vincent Price. Ellen Drew. Beulah Bondi, Vladimir Sokoloff, Reed Hadley, Robert Barrat, Robin Short, Barbara Woodell. Tina Rome. Margia Dean. Edward Keane, Gene Roth, Karen Kester, Jeseph Green, Fred Kohler, Jr.: Trisian Coffin, An- gelo Rosito, I. Stanford Jolley, Terry Frost, Zachery Yaconelli, Adolfo Ornelas. Wheaton Chambers. Robert O'Neil, Stephen Harrison. Producer. Carl K. Hittlenian: Director-Author- Screenplay, Samuel Fuller: Music. Paul Dunlop: Art Directoi-, P. Frank Sylos; Photography, James Wong Howe; Editor, Arthur Hilton. FEATURE RELEASE CREDITS Barricade Warners: 75 mins. Reviewed. 3-8-50: Released, 4-1-50. CAST: Dane Clark, Raymond Massey, Ruth Ro- man, Robert Douglas, Morgan Farley, Walter Coy, George Stern, Robert Griffln, Frank Marlowe. Tony Martinez. Producer, Saul Elkins: Director. Peter Godfrey: Author-Screenplay. William Sackheim: Art Di- rector. Stanley Fleischer: Music. William Lava; Photography, Carl Guthrie; Editor, Clarence Koster. Beauty on Parade Columbia: 66 mins. Reviewed. 7-31-50; Released, May, 1950. CAST: Robert Hutton, Ruth Warrick, Lois Al- biiaht. John Ridgely. Hillary Brooke, Wally Ver- non, Jimmy Lloyd. Donna Gibson, Frank Sully, Robert C. Hasha, Lillian Bronson. Producer. Wallace MacDonald: Director, Lew Landers: Author, Arthur E. Orloff; Screenplay, Arthur E. Orloff. George Bricker; Art Director, Victor Greene: Music, Mischa Bakaleinikoff : Pho- tography, Vincent Farrar; Editor, Aaron Stell. Belle of Old Mexico Republic: 70 mins. Reviewed. 2-10-50: Released. ;!-l-50. CAST: Estelita Rodriguez. Robert Rockwell, Dorothy Patiick. Thurston Hall. Florence Bates, Dave Willcock, Gordon Jones. Fritz Feld, Anne O'Neal. Claire Mead. Nacho Galindo, Joe Venuti, Edward Gargan. Carlos Molina. Associate Producer, Edward J. White: Director, R. G. Springsteen: Authors-Screenpla.v. Bradford Ropes. Francis Swann; Art Director, Frank Hota- ling; Music, Stanley Wilson: Photography, Jack Marta; Editor, Harold Minter. Bells of Coronado Republic: 67 mins. Reviewed. 1-20-50; Released. 1-8-50. CAST: Roy Rogers. Dala Evans. Pat Brady, Grant Withers. Leo Cleary. Clifton Young, Robert Bice. Stuart Randall, John Hamilton, Edmund Cobb. Eddie Lee. Rex Lease. Lane Bradford, Foy Willing. Riders of the Pui'ple Sage. Associate Producei-; Edward J. White: Director, William Witne,v: Author-Screenplay. .Sloan Nible.v; Art Director. Frank Hotaling: Music. Dale Butts; Fhtography, Jack MacBurnie: Editor, Tony Mar- tinelli. Between Midnight and Dawn Columbia: 89 mins. Reviewed. 9-28-50: Released. October. 1950. CAST: Mark Stevens, Edmond O'Brien. Gale Storm. Gale Robbins, Donal Buka. Anthonj' Ross, Roland Winters. Tito Vuolo, Grazia Narcoso. Madge Blake. Lora Lee Michel. Jack Del Rio. Philip Van Zandt. Cliff Bailey. Tony Barr. Peter Mamkos. Earl Breitbard. Wheaton Chambers. Frances Morris. Producer. Hunt Stromberg; Director, Gordon Douglas': Authors, Gerald Dra.vson Adams. Leo Katcher: Screenpla.v. Eugene Ling: Art Director, George Brooks: Music. Morris Stoloff; Photogra- phy, George E. Diskant: Editor. Gene Havlick. Beware of Blondie Columbia: 66 mins. Reviewed. 4-13-50; Released, August, 1950. CAST: Penny Singleton. Arthur Lake. Larry Sims, Marjorie Kent, Adele Jergens, Dick Wessel, Jack Rice, Al.vn Lockwood, Emory Parnell, Isabel Withers. Danny Mummery, Douglas Fawley. Wil- liam E. Greene. Producer. Milton Feldman: Director. Edward Bernds: Author-Screenplay. Jack Henley; Art Di- rector. Perry Smith: Musical Director. Mischa Bakaleinikoff: Photography. Henry Freulich, Vin- cent Farrar; Editor, Richard Fantl. 165 EXCLUSIVE UNITED STATES REPRESENTATIVE AND PURCHASING AGENT FOR FOREIGN MOTION PICTURE PRODUCERS AND DISTRIBUTORS THROUGHOUT THE WORLD. Full Length Feature Color Cartoon: "THE TINDERBOX" by Hans Christian Andersen English, French and Spanish Talking Versions "L' AFFAIRE LAFARGE" with Pierre Renoir, Marcel Chantal, Eric Von Stroheim French talking feature 16MM. — Religious, Educational and Entertainment Films — 16MM. ACTION PICTURES — Westerns — Exploitation SHORTS: Musicals — Travelogues — Vignettes Color and Black-White Chas. LaTorre, (Fellow actor) Rates Res. Manager p^oni $5. up. Also Monthly Kitchen Swimming Pool, Cocktails, Dining Room Apts. Special Rates to Professionals. 445 N. Rossmore Ave. Phone: Hollywood, Calif. HO. 9-2701 166 Beyond the Purple Hills Columbia: TO niins. Keviewed. 7-18-50: Released. July, 1950. CAST: Gene Autry, Pat Buttram, Jo Dennison. Don Beddoe. James Milliean. Don Reynolds. Hugh O'Brien. Roy Gordon, Harry Harvey. Greg-g: Barton. Bob Wilke, Ralph Peters, Frank Ellis, John Cliff, Sandy Sanders. Producer, Armand Schaefer; Director, John English: Author-Screenplay, Norman S. Hall: Art Director. Harold MacArthur: Musical Supervisor. Paul Mertz: Photography. William Bradford; Editor. Richard Fantl. Big Hangover, The M-G-M : 82 niins. Reviewed, 3-22-50: Released. 5-26-50. CAST: Van Johnson. Elizabeth Taylor. Percy Waram. Fay Holden. Leon Ames. Edgar Buchanan. Selena Royle. Gene Lockhart. Rosemary De Camp. Phillip Ahn. Gordon Richards. Matt Moore. Pierre Watkin. Russell Hicks. Producer - Director - Author - Screenplay. Norman Krasna (from "Mike & Ike"): Art Directors. Cedric Gibbons, Paul Groesse; Music Score, Adolph Deutsch: Photography, George Folsey; Editor, Frederick Y. Smith. Big Lift, The 20th Century-Fox; 120 mins. Reviewed. 4-7-50: Released. May, 1950. CAST; Paul Douglas, Montgomery Clift, Cornell Borchers, Bruni Lobel, O. E. Hasse, Danny Daven- port. Producer, 'William Perlberg: Director- Author- Screenplay, George Seaton; Music, Alfred New- man; Photography, Charles G. Clarke; Editor. Robert Simpson. Bitter Rice L\ix Films; 107 mins. Reviewed. 9-21-50. Produced in Italy. CAST; Silvano Mangano. Doris Dowling. 'Vitorio Gassman. Raf 'S'allone, Checco Rissone. Nico Pepe, Adriana Silvieri. Lia Corelli. Maria Grazia Francia, Dedi Ristori. Anna Maestril, Mariemma Bardi. Producer. De Laurentis; Director. Giuseppe De Santis: Authors-Screenplay, Giueseppe De Santis, Carlos Lizzani; Music. Goffred Petrassi: Photogra- phy, Otello Martelli; Editor, Gabriele 'Varriale. Black Hand M-G-M; 93 mins. Reviewed, 1-19-50: Released, March, 1950. CAST: Gene Kelly. J. Carroll Naish. Teresa Celli. Marc Lawrence. Frank Puglia. Barry Kelley, Mario Siletti. Carl Milletaire. Peter Brocco, Eleanora Mendelsohn. Grazia Narcisco. Maurice Samuels. Burk Symon. Bert Freed. Mimi Aguglia, Baldo Mi- nuti. Carlo Tricoli. Marc Krah. Jimmy Lagrano, Phyllis Morris. Producer, William H. Wright: Director, Richard Thorpe: Author, Leo Townsend: Screenplay, Luther Davis: Art Director. Cedric Gibbons, Gabriel Scog- namillo; Music. Alberto Columbo: Photography, Paul C. Vogel: Editor. Irvine Warburton. Black Rose, The 20th Century -Fox: 120 mins. Reviewed. 8-8-50: Released. September, 1950. Produced in England. CAST: Tyrone Power. Orson Welles. Cecile Aubry, Jack Hawkins. Michael Rennie, Finlay Currie. Herbert Lorn. Mary Clare. Alfonso Bedoya. Gibb McLaughlin. James Robertson Justice. Henry Oscar. Laurence Harvey. Producer, Louis D. Lightin; Director, Henry Hathaway: Author, Thomas B. Costain; Screen- play. Talbot Jennings; Music. Muir Mathieson; Composer. Richard Addlnsell: Art Directors, Paul Sherrif. W. Andrews; Photography. Jack Cardiff: Editor. Manuel Del Campo. Blazing Sun, The Columbia: 77 mins. Reviewed. 11-6-50: Released, November, 1950. FEATURE RELEASE CREDITS CAST; Gene Autry, Lynne Roberts, Pat Buttram, Anne Gwynne. Edward Norris, Kennie Duncan, Alan Hale. Jr.. Steve Darrell, Tom London, Sandy Saunders. Frankie Marvin. Producer. Armand Schaefer: Director. John English: Author, Jack Townley; Art Director, Harold MacArthur: Musical Director, Mischa Bakaleinikoff : Photography, William Bradford: Editor, James Sweeney. Blonde Bandit, The Republic: 60 mins. Reviewed, 1-11-50: Released. 12-22-49. CAST: Dorothy Patrick. Gerald Moore. Robert Rockwell. Larry K. J. Blake. Charles Cane. Richard Irving. Argentina Brunetti. Alex Fraser. Nana Bryant. David Clark. Monte Blue. Jody Gilbert. Associate Producer. Sidney Picker: Director, Harry Keller: Author-Screenplay. John K. Butler; Art Director. Frank Hotaling: Music. Stanley Wil- son: Photography, Ellis W. Carter; Editor, Arthur Hilton. Blonde Dynamite Monogram : 66 mins. Keieased. 2-12-50. CAST: i^eo Gorcey. Huntz Hall. Adele Jergens. Gabriel Dell. Harry Lewis. Murray Alper. Bernard Gorcey. Jody Gilbert, William Benedict, David Gorcey, John Harmon. Michael Ross. Lynn Davies, Beverlee Crane. Karen Randle, Stanley Andrews, Constance ±-uray, Florence Auer. Producer. Jan Grippo: Director, William Beau- dine: Screenplay, Charles Marion: Art Director, David Mitlon; Musical Director, Edward Kay; Pho- tography. Marcel Le Picard; Editor, William Austin. Blondie's Hero Columbia: 67 mins. Released. March, 1950. CAST; Penny Singleton, Arthur Lake. Larry Sims, Marjorie Kent. William Frawley, Danny Mummert. Joe Sawyer. Teddy Infuhr. Alyn Lock- wood. Iris Adrian. Frank Jenks. Dick Wessel, Jimmy Lloyd. Robert Emmett Keane. Edward Earle. Mary Newton. Pat Flaherty. Ted Mapes, Frank Wiloox. Frank Sully. Producer. Ted Richmond; Director. Edward Bernds: Auihor-Screenplay, Jack Henley: Art Di- rector. Perry Smith: Musical Director, Mischa Bakaleinikoff: Photography, 'Vincent Farrar; Ediior, Aaron Stell. Blue Grass of Kentucky Monogram : 72 mins. Reviewed, i-25-50: Released. 1-22-50. CAST; Bill Williams. Jane Nigh, Ralph Morgan, Robert (Buzz) Henry, Russell Hicks. Ted Hecht, Dick Foote. Jack Howard, Bill Terrell, Stephen S. Harrison. Pierre Watkin. Producer. Jeffrey Bernerd; Director, William Beaudine: Screenplay, W. Scott Darling; Art Di- rector. Dave Milton; Music. Max Hutchinson: Photography. Gilbert Warrenton; Editor, Roy Livingston. Blue Lamp, The Eagle-Lion; »4 mins. Reviewed, 6-1-50: Released, June, 1950. Produced in England. CAST: Jack Warner, Jimmy Hanley, Meredith Edwards, William Mervyn, Clive Morton, Charles Saynor, Campbell Singer, Gwynne Whitby, Robert Flemyng, Bernard Lee, Bruce Seton, Sidney Pointer, Dirke Bogarde. Patric Doonan. Peggy Evans. Mi- chael Golden. Gladys Henson, Dora Bryan, Norman Shelley. Tessie O'Shea. Producer, Michael Balcon; Director, Basil Doar- den; Authors. Jan Read, Ted Willias; Screenplay, T. E. B. Clarke: Art Director. Jim Morahan; Musi- cal Director. Ernest Irving; Sound. Stephen Dalby; Photography, Gordon Dines; Editor, Peter Tanner. 167 FEATURE RELEASE CREDITS Blues Busters Monogram ; 67 mins. Reviewed, 10-31-50; Released. 10-39-50. CAST: Leo Gorcey, Huntz Hall, Adele Jergens. Cabriel Dell, Craig Stevens. Phyllis Coates, Bernard Gorcey, William Benedict, Buddy Gorman. David Gorcey. Paul Bryar, Matty King. William Vincent. Producer, Jan Grippo: Director, William Beau-