1 to tell the world!* IN 1936 THE BOX OFFICE CHECK-UP of 1935 An annual produced by the combined editorial and statistical facilities of Motion Picture Herald and Motion Picture Daily devoted to the records and ratings of talent in motion pictures of the year. QUIGLEY PUBLISHING COMPANY THE PUBLIC'S MANDATE by MARTIN QUIGLEY 1 The Box Office Check-Up is intended to disclose guidance upon that single question which in the daily operations of the industry over- shadows all others; namely, the relative box office values of types and kinds of pictures and the personnel of production responsible for them. It is the form-sheet of the industry, depending upon past performances for future guidance. Judging what producers, types of pictures and personalities will do in the future must largely depend upon the record. The Box Office Check-Up is the record. Examination of the record this year and every year must inevitably dis- close much information of both arresting interest and also of genuine im- portance to the progress of the motion picture. It proves some conten- tions and disproves others. It is a source of enlightenment, the clarifying rays of which must be depended upon to light the road ahead. ^ Striking is the essential character of those pictures which month in and month out stand at the head of the list of Box Office Cham- pions. Since August, 1934, the following are among the subjects in this classification: "Treasure Island," "The Barretts of Wimpole Street," "Flirta- tion Walk," "David Copperfield," "Roberta," "Love Me Forever," "Curley Top" and "Top Hat." Among those subjects which appear in the second position in these several monthly classifications are: "Handy Andy," "Judge Priest," "One Night of Love," "Bright Eyes," "The Little Minister," "Lives of a Bengal Lancer," "Ruggles of Red Gap," "Life Begins at Forty," "Naughty Marietta," "Oil for the Lamps of China," and "Steam Boat 'Round the Bend." This imposing group of attractions, each one of which has commanded world-wide audiences of vast millions, answers in thundering tones the domi- nant question of the theatre, which is, "What Does the Public Want?" If we are to take this list for our guidance, which indeed we must, the lesson which it very obviously teaches is that the public wants decent, wholesome entertainment; that it most certainly does not want smut, sophisticated or crude, blatant sex or criminal glorification. ' The public obviously is not afraid of a classic of literature if it is suf- ficiently well-done, nor of a genuinely intelligent dramatic story. Its preference is plain for the handsomely staged, tuneful musical play. The simple and homely, when they are done with talent and sincerity, are in very genuine demand. The adventure story reasserts its time-honored appeal. Although the inescapable mandate of all of this is sufficiently plain and emphatic, there is even further evidence to be gleaned from the record. It is to be found in Motion Picture Herald's list of the Biggest Money Mak- ing Stars of the year, herewith reproduced. Standing at the head of this great list is the little child who during the past year has led countless mil- lions to the doors of the theatres of the world — Shirley Temple. This little star's wholesomeness, simplicity and charm are the screen's attributes at its best. Next in the list is the revered Will Rogers, whose characteristics, so well known to the whole public, give enduring emphasis to the mandate covering what the public wants. 1 Here, then, is the lesson of the record. May it during the succeed- ing year be so reflected into the operations of the industry as to in- sure a continuance of the popularity which the motion picture has won by giving the public what it wants! The Box Office Checlt-Up is published annually by the Quigley Publishing Com- pany, Inc., 1790 Broadway, New York, (address after February I: Rockefeller Center, New York). Martin Quigley, editor-in-chief and publisher. Colvin Brown, vice president and general man- ager. Terry Ramsaye, editor. Hollywood office: Postal Union Life Building. Chi- cago: 624 South Michigan Avenue. Lon- don: Remo House, 310 Regent Street, Wl. Price per copy 50 cents. Contents copyrighted 1936 by Quigley Publishing Company, Inc. Other Quigley Publica- tions: Motion Picture Herald, Motion Picture Daily, Better Theatres. Motion Picture Almanac. WHAT MADE THE BOX OFFICE CHAMPIONS <1 Examining the leading money-making pictures in an attempt to determine why they were by gus McCarthy ONE year ago, discussing the same topic (which, by its nature, is more a statement of fact than it is a question), the writer maintained that as it was successfully incorporated in a picture, "understandable and believable humanness" is the quality which established certain pic- tures as Box Office Champions in relation to the sum total of all produced. The pic- tures that have become Champions since, rather than having any tendency to alter that opinion, serve to confirm it. During the period from August I, 1934 to October 31, 1935, approximately 475 feature pictures were exhibited in this country's theatres. The great majority of these were American productions. Of that number 96, or 20 per cent of the total, were of sufficient entertainment and com- mercial value to become Box Office Cham- pions. If these pictures are studied it be- comes increasingly evident, in all but a few exceptions, that as they possessed the power of arousing the various human emo- tions, so did the theatre-going public ap- preciate them, to the extent that it made them exceptional attractions. Consequent- ly it seems that human interest as a factor in pictures — regardless of fhe importance of who is in it, no matter what the story ch aracter, independent of fhe elaborate- ness or economy of substantiating effects, the record of the director or producing company prestige — is the element that separates the sheep from the goats. During the year 1935, Hollywood's pro- ducers had a responsibility to the nation's theatre-goers and showmen greater than ever before. Various causes forced them into a situation where they had to prove themselves capable of meeting public in- terest. How well they met that respon- sibility is witnessed not only in the quality of the Box Office Champions, but in the general improved character of the entire production program. The class of pictures brought to the industry a prosperity that wiped out bitter memories of many disap- pointing and lean years. Certainly motion pictures today enjoy a public good-will seldom previously attained. Definite dem- onstration of this esteem is found in the number of pictures which the public, by its patronage and support, caused to be- come Champions. As all acknowledge the part Hollywood, its producers, actors, writers, directors, composers, cameramen and technical spe- cialists played in producing the Cham- pions, no one can deny that the work of America's theatre operators in marketing the attractions was not of as much if not more importance in their success. Through direct contact between manu- facturer and consumer, they did a re- markable job. One needs but thumb through successive issues of Motion Pic- ture Herald, and the pages devoted to the Managers' Round Table Club, to become aware of the splendid job the nation's showmen have done and are continumg to do. Week after week its pages are replete with examples of exploitation ingenuity and resourcefulness which Hollywood is proud to admit are sources of greaf in- spiration. If producers earnestly strove to include the required necessities in their attractions, evidence is ample that the showmen were and are aggressively alert to what is ex- pected of them. In the list of Champions there is more than one case in which pro- ducers had grave doubts as to the success of the picture when they shipped the film. It is not difficult to imagine their surprise and pleasure when, solely as a result of the efforts of showmen, their ugly ducklings metamorphosed into radiant box office Prince Charmings. Though a great many exhibitors, through force of necessity, were engaged in selling Bank Nights, Buck Nights, etc., they still found occasion to turn from the operations of peddlers to their primary function — showmanship, the selling of screen mer- chandise. Only the recollection of the various Champions, whether drama, comedy, ro- mance, mystery, melodrama, musical, spectacle or combination of any or all, is necessary to note the diligence with which producers sought to include human interest. If one checks the list of Champions, it is readily noted that the story of each was designed to stimulate some particular one, or combination of several, primary human emotions — desire, fear, hope, love, joy, grief and hatred. Production effects, in each case, whether glamorous or grim, gay or somber, were especially designed to ac centuate mental reactions basically moved by dialogue, by action or by music. That theatre-goers have a very definite conception of what they want in screen entertainment is emphatically illustrated by the enthusiasm with which they supported the Champions, as well as their entire lack of interest in those attractions which, want- ing the quality they sought, proved flops. During the year, many features boasting high name value casts, produced by com- panies whose trade mark presumably guar- anteed quality, and upon which vast sums of money had been spent, failed. On the other hand, unpretentious pictures, pre- sumably devoid of all that the formula calls for in a big picture, achievect signal com- mercial and entertainment success. They did so because the public found in them values producers and showmen did not, at first, realize were present. Thus, human interest plus three contribu- ting factors — the producer, showman and public — made certain ones, of all pictures, Champions. As the manufacturer included human interest in his product, as the show- man advertised it, so did it succeed. It has sometimes been advocated that, considering the various strata of intelli- gence that pictures must appeal to, it is impossible to hit upon a definite formula acceptable to all. Champions of the past, [TURN TO PAGE 144] WHO MADE THE CHAMPIONS BEGIN ON PAGE 16 TABLES LISTING THOSE THE BOX OFFICE CHECK-UP OF 1935 7 STILL PHOTOGRAPHY BY GRIMES MUTINY ON THE BOUNTY ® The Bounty peacefully harbored — a scene from the Metro-Goldwyn- Mayer production based on the widely read book of adventure on the high seas by Charles Nordhoff and James Norman Hall. Direction is by Frank Lloyd. Associate producer, Albert Lewin. Screen play by Talbot Jennings, Jules Furthman, Carey Wilson. Score by Herbert Stothart. Recording director, Douglas Shearer. Art director, Cedric Cibbons. As- sociate, Arnold Gillespie. Marine director, James Havens. Photogaphed by Arthur Edeson. Film editor, Margaret Booth. Cast: Charles Laughton, Clark Gable, Franchot Tone, Herbert Mundin, Eddie Quillan, Dudley Digges, Donald Crisp, Henry Stephenson, Francis Lister, Spring Byington. 8 THE BOX OFFICE CHECK-UP OF 1935 DIRECTORS BOX OFFICE CHAMPION fl Commenting a bit mathematically on their relative fortunes at key box offices by MILTON WATT CASTING an analytical glance over the shoulder at a lengthy procession of box office motion pictures which brought many theatres throughout the country out of the red during the past year, the mental .machinery comes to an abrupt halt on the question, "Who is re- sponsible for making box office bell- ringers?" The film salesman votes for his company and sells the trade name; exhibitor roots for the players, plastering his marquee with a star-studded alphabet. The pro- ducer claims distinction for selection of story material and cast. The writer and player usually claim direct and whole re- sponsibility for the box office champ. To a certain degree, they're all correct. But the man who usually sleeps on a spiked bed during production is the director; that re- tiring gent who works the hardest, takes the rap when the picture flops and gets all too little credit when the nickels and dimes begin to play an incessant stacatto in the theatre cash register. "It's usually the director, who places on a film the de- ciding touch; changing debits to credits and in chameleon fashion blends the red into a rosy hue. Thus an analysis of the directors who turned out the Box Office Champions of 1935, which were selected by nationwide reports from key theatres to Motion Pic- ture Herald, and their records for the year just passed, produces the following facts: Out of approximately 475 pictures shown throughout the nation during 1935, 96 were in the big money category. 65 directors accounted for these 96 cham- pions. Three of these 65 directors proved to be the most consistent box office directors of the year. They are W. S. Van Dyke, David Butler and Lloyd Bacon, who each turned in four pictures named Box Office Champions. Each director had one pic- ture that remained in the championship class for two months in a row; a record for other directors to shoot at. Van Dyke hit high-C at the box office with the MGM films, "Hideout," "Forsak- ing All Others," "I Live My Life" and "Naughty Marietta." The last named pic- ture, starring Jeanette MacDonald, dragged in the important money for two months in succession, out-grossing many productions that came into the market on later bookings. Van Dyke has been turn- ing out repeated . winners in successive years and has displayed a versatile tech- nique adaptable to any type of story handed him. David Butler, veteran director, contrib- uted the Champions "Handy Andy," "Bright Eyes," "Little Colonel" and "Doubting Thomas." The Shirley Temple vehicle, "Bright Eyes," was assigned by box office figures fo the Champion level for ' fwo months. All were produced under the Fox and 20th Century-Fox banner. Lloyd Bacon, Warner contract director, played a musical tune on theatre cash reg- isters with "Here Comes the Navy," "Six Day Bike Rider," "Broadway Gondolier" and "The Irish in Us." e^Si* An interesting sidelight on the selection of money winners is the fact that two for- eign directors with foreign-produced films came into the Championship limelight. Harold Young contributed the Gaumont- British picture, "The Scarlet Pimpernel," and Paul Gziner directed "Escape Me Never," both of which cut fancy figures at the box office, outgrossing many American pictures from major companies. Victor Schertzinger directed a triple Champion in the Grace Moore starring vehicle, "One Night of Love." Schertz- inger registered a surprise among exhibi- tors throughout the nation by contributing a film which was still at the top of the heap after three months of exhibition through- out the country. Th e success of "One Night of Love," which might not have reached the apex had it not been for skillful direction, was in a way a production "freak," which cata- pulted Miss Moore to stardom on her first picture. The word "freak," however, does not indicate any deficiency in production. Contrarily, this film has been recognized as one of the finest pictures ever to come out of Hollywood studios. Schertzinger immediately followed up with another money Champion in "Love Me Forever," also starring Miss Moore. Th is one, however, was a Champion for only one month. The box office "gong" sounded three times during 1935 for John Ford, Roy Del Ruth and Norman Taurog. John Ford, directing for 20th Century- Fox, brought the "scheckels" pouring in with "Judge Priest" and "Steamboat Round the Bend," both starring the late Will Rogers, and "The Whole Town's Talk- ing," an outside picture for Columbia. The value of musicals to the film enter- tainment field is evident in the record of Del Ruth. He directed "Kid Millions," "Folies Bergere" and "Broadway Melody of 1936." All three musicals brought in record grosses throughout the country. Norman Taurog fooled the nation's crit- ics by making a box office winner out of "Mrs. Wiggs of the Cabbage Patch," which, despite adverse criticism at the pre- view, brought the customers flocking and chalked up new records. His other direc- torial efforts during the year that made important money were "College Rhythm" and "The Big Broadcast of 1936." The last two named are additional evidence of fhe drawing power of musicals. Surprisingly, the pictures directed by Ford, Del Ruth and Taurog were only one- month Champions. A total of 13 directors brought in films that proved to be two-month Champions. These directors and their Champions were David Butler, "Bright Eyes"; Ray Enright, "Dames"; Lloyd Bacon, "Broadway Gon- dolier"; W. S. Van Dyke, "Naughty Mari- etta"; Mark Sandrich, "The Gay Di- vorcee"; Irving Cummings, "Curly Top"; Richard Boleslawski, "Les Miserables"; Harold Young, "Scarlet Pimpernel" (for- eign); William Seiter, "Roberta"; James Whale, "Bride of Frankenstein"; E. H. Griffith, "No More Ladies"; Rouben Ma- [TURN TO PAGE 144] THE BOX OFFICE CHECK-UP OF 1935 15 • • ‘THOSE August 1934 WHO MADE THE Tabulating the Champions from August 1934 TITLE DISTRIBUTOR : PRODUCER CAST TREASURE ISLAND M ETRO-GOLDWYN-M AYER release. Producer, Hunt Stromberg. Wallace Beery Lionel Barrymore Lewis Stone Charles "Chic" Sale Charles McNaughton Jackie Cooper Otto Kruger Nigel Bruce William V. Mong Dorothy Peterson HANDY ANDY FOX release. Producer, Sol M. Wurtzel. Will Rogers Peggy Wood Mary Carlisle Paul Harvey Frank Melton Roger Imhof Robert Taylor - DAMES WARNER release. Joan Blondell Ruby Keeler Guy Kibbee Arthur Winton Phil Regan Leila Bennett Dick Powell Zasu Pitts Hugh Herbert Sammy Fain Arthur Aylesworth Berton Churchill SHE LOVES ME NOT PARAMOUNT release. Producer, Benjamin Glazer. Bing Crosby Kitty Carlisle1' Henry Stephenson Lynne Overman Miriam Hopkins Edward Nugent Warren Hymer Judith Allen r-' DOWN TO THEIR LAST YACHT RKO RADIO release. Executive Producer, Pandro S. Berman. Mary Boland Sidney Blackmer Charles Coleman Ned Sparks Sidney Fox Irene Franklin Polly Moran Sterling Holloway THE OLD-FASHIONED WAY PARAMOUNT release. Producer, William LeBaron. W. C. Fields Nora Cecil Joe Morrison Judith Allen Jack Mulhall Jan Duggan WHOM THE GODS DESTROY COLUMBIA release. Walter Connolly Macon Jones Scotty Beckett Doris Kenyon Robert Young Rollo Lloyd HERE COMES THE NAVY WARNER release. Supervisor, Lou Edelman. James Cagney Dorothy Tree Pat O'Brien Gloria Stuart Willard Robertson Frank McHugh r*-' FRIENDS OF MR. SWEENEY WARNER release. Charles Ruggles Dorothy Tree Eugene Pallette' Dorothy Burgess Ann Dvorak Robert Barrat 16 THE BOX OFFICE CHECK-UP OF 1935 BOX OFFICE CHAMPIONS to November 1935, naming their executives, players, authors and technical staffs DIRECTION AUTHORS TECHNICAL STAFF Victor Fleming, director. Story: Robert Louis Stevenson. Screen Play: Photographers: Ray June and Clyde DeVinna. John Lee Mahin. Music and Lyrics: Herbert Stothart. David Butler, director. Story: Based on the play, "Merry Andrew," by Lewis Beach. Screen Play: William Conselman and Henry Johnson. Adaptation: Kubec Glas- mon. Music: Richard Whitney. Lyrics: William Conselman. Ray Enright, director. Story: Robert Lord and Delmer Daves. Screen Photographers: Sid Hickox and George Barnes. Play and Adaptation: Delmer Daves. Dances created and directed by Busby Berkeley. Elliott Nugent, director. Story: From the novel by Edward Hope and the Photographer: Charles Lang. play by Howard Lindsay. Screen Play: Benja- min Glazer. Music and Lyrics: Mack Gordon and Harry Revel. Paul Sloane, director. Story: From a story by Herbert Fields and Lou Photographer: Edward Cronjager. Brock. Screen Play: Marion Dix and Lynn Star- ling. William Beaudine, director. Story: From a story by Charles Bogle. Screen Photographer: Benjamin Reynolds. Play: Garnett Weston and Jack Cunningham. Music: Harry Revel. Lyrics: Mack Gordon. Walter Lang, director. Story: Albert Pay son Terhune Screen Play: Film Editor: Viola Lawrence. Sound Engineer: David Selman, assistant director. Sidney Buchman. Adaptation: Fred Niblo, Jr. Lambert Day. Photographer: Benjamin Kline. Lloyd Bacon, director. r 'V Story: Ben Markson. Screen Play: Ben Mark- son and Earl Baldwin. Music and Lyrics: Sammy Fain and Irving Kahan. Art Director: Esdras Hartley. Photographer: Arthur Edeson. Edward Ludwig, director. Story: Based on novel by Elmer Davis. Screen Art Director: Robert Haas. Film Director: Play: Warren Duff and Sidney Sutherland. Thomas Pratt. Photographer: Ira Morgan Added Dialogue: F. Hugh Herbert and Erwin Gelsey. THE BOX OFFICE CHECK-UP OF 1935 17 September 1934 TITLE DISTRIBUTOR : PRODUCER CAST BELLE OF THE NINETIES PARAMOUNT release. Producer, William LeBaron. Mae West Roger Pryor John Mack Brown Katherine DeMille John Miljan CHAINED n-J DAMES (See August, 1934) HIDEOUT r ^ ONE NIGHT OF LOVE THE CAT'S PAW THE FOUNTAIN THE AFFAIRS OF CELLINI BRITISH AGENT METRO-GOLDWYN-MAYER release. Producer, Hunt Stromberg. Joan Crawford Otto Kruger Una O'Connor Akim Clark Gable Stuart Erwin Marjorie Gateson Tamiroff WARNER release. METRO-GOLDWYN-MAYER release. Producer, Hunt Stromberg. Robert Montgomery Edward Arnold Mickey Rooney Maureen O'Sullivan Elizabeth Patterson Henry Armetta COLUMBIA release. Associate Producer, Everett J. Riskin. Grace Moore Lyle Talbot Jessie Tullio Carminati Mona Barrie Ralph FOX release. Producer, Harold Lloyd. r RKO RADIO release. Producer, Pandro S. Berman. Harold Lloyd George Barbier Una Merkel Alan Dinehart Ann Harding Paul Lukas Ralph Forbes Brian Aherne Jean Hersholt UNITED ARTISTS release. Constance Bennett Producer, Twentieth Century. Frank Morgan Associate Producers, William Goetz, Raymond Griffith. Fredric March Fay Wray WARNER release. Producer, First National. Supervisor, Henry Blanke. Leslie Howard William Gargan Irving Pichel Ivan Simpson Kay Francis Philip Reed Walter Byron NOW AND FOREVER PARAMOUNT release. Producer, Louis D. Lighton. Gary Cooper Shirley Temple Carole Lombard Sir Guy Standing Charlotte Granville October 1934 TITLE DISTRIBUTOR : PRODUCER CAST THE BARRETTS OF WIMPOLE STREET METRO-GOLDWYN-MAYER release. Producer, Irving Thalberg. [October 1934 continued on pages 22-23] Norma Shearer Charles Laughton Katharine Alexander Una O'Connor Fredric March Maureen O'Sullivan Ralph Forbes Marion Clayton 18 THE BOX OFFICE CHECK-UP OF 1935 D I RECTION Leo McCareyn ■director. c n.A,UTHORS -Story: C Original story by Mae West. Screen TECHNLCAL, .STAFF Art Directors: Hans Ureier and bernard Herz- Play: Mae West. Music: Arthur Johnston. Lyrics: Sam Coslow. brun. Photographer: Karl Struss. Clarence Brown, director. Story: From an original story by Edgar Selwyn. Screen Play: John Lee Mahin. Musical Score: Herbert Stothart. Art Director: Cedric Gibbons. Sound Engineer: Douglas Shearer. Photographer: George Foley. W. S. Van Dyke, director. Story: From the story by Mauri Grashin. Screen Play: Frances Goodrich and Albert Hackett. Musical Score: Dr. William Axt. Art Directors: David Townsend and Edwin B. Willis. Photographers: Ray June and Sidney Wagner. Victor Schertzinger, director. Arthur Black, assistant director. Story: Dorothy Speare and Charles Beahan. Screen Play: S. K. Lauren, James Gaw and Ed- mund North. Sound Engineer: Paul Neal. Photographer: Jo- seph Walker. Sam Taylor, director. Story: Clarence Budington Kelland. Screen Play: Sam Taylor. Music and Lyrics: Harry Akst and Roy Turk. Production Manager: John Murphy. Art Direc- tor: Harry Oliver. General Manager: William R. Fraser. Photographer: Walter Lundin. John Cromwell, director. Stcry: From the novel by Charles Morgan. Adaptation: Jane Murfin. Dialogue: Samuel Hoffenstein. Music: Max Steiner. Art Directors: Van Nest Polglase and Carrol Clark. Photographer: Henry W. Gerrard. r*-> Gregory La Cava, director. Fred Fox, assistant director. Story: From the play by Edwin Justus Mayer. Art Director: Richard Day. Photographer: Screen Play: Bess Meredyth. Charles Rosher. Michael Curtiz, director. Story: From H. Bruce Lockhart's novel. Screen Play: Laird Doyle. Dialogue Director: Frank McDonald. n Art Director: Anton Grot. Photographer: Er- nest Haller. y-**S J Henry Hathaway, director. Story: Original by Jack Kirkland and Melville Baker. Screen Play: Vincent Lawrence and Syl- via Thalberg. Music: Harry Revel. Lyrics: Mack Gordon. Photographer: Harry Fischbeck. DIRECTION AUTHORS TECHNICAL STAFF Srdney Franklin, director. S+oryt — Qrtginol — s-tory, — Rudolf — Besier. — Screen Photographer: William Daniels. Play: Ernest Vajda and Claudine West. Addi- tional Dialogue: Donald Ogden Stewart. »> THE BOX OFFICE CHECK-UP OF 1935 19 DIRECTION AUTHORS TECHNICAL STAFF John Ford, director. Story: Original, Irvin S. Cobb. Screen Play: Dudley Nichols and Lamar Trotti. Photographer: George Schneiderman. r Mark Sandrich, director. Story: From the stage play, "The Say Di- vorcee." Screen Play: George Marion, Jr., Dor- othy Yost and Edward Kaufman. Musical Adap- tation: Kenneth Webb. Music and Lyrics: Cole Porter, Gordon and Revel, Con Conrad and Herb Magidson. Dance Direction: David Abel. Photographer: David Abel. n-> r*-1 Rowland V. Lee, director. Story: From the novel by Alexander Dumas. Screen Play and Dialogue: Philip Dunne, Dan Totheroh and Rowland V. Lee. Photographer: Peverell Marley. r>-> n-> Lloyd Bacon, director. Story and Screen Play: Earl Baldwin. Musical Director: Vitaphone orchestra conducted by Leo F. Forbstein. Art Director: Anton Grot. Film Editor: George Amy. Photographer: Warren Lynch. r r*-1 Sidney Lanfield, director. Maude T. Howell, associate di- rector. Ben Silvey, assistant director. Story: From original play by Katharine Clugston. Screen Play: Leonard Praskins. Photographer: Barney McGill. DIRECTION AUTHORS TECHNICAL STAFF Ernst Lubitsch , director Story: Based on book and lyrics by Victor Leon and Leo Stein. Screen Play: Ernest Vajda and Samson Raphaelson. Music: Franz Lehar. Musi- cal Adaptation: Herbert Stothart. Lyrics: Lorenz Hart. Additional Lyrics: Gus Kahn, Richard Rodgers and Lorenz Hart. Art Director: Cedric Gibbons. Associate Di- rectors: Fredric Hope, Edwin B. Willis. Film Editor: Frances Marsh. Wardrobe: Ali Hubert. Miss MacDonald's gowns, Adrian. Photographer: Oliver T. Marsh. Sound Engineer: Douglas Shearer. r*J r*J /V n-> |V Irving Cummings, director. Story: From the novel by Rian James. Screen Play: Rian James and Jesse Lasky, Jr. Adapta- tion: Sonya Levien and Ernest Pascal. Musical Director: Louis De Francesco. Art Director: Max Parker. Costumes: William Lambert. Sound Engineer: S. C. Chapman. Photographer: Arthur Miller. THE BOX OFFICE CHECK-UP OF 1935 23 NOVEMBER 1934 CONCLUDED TITLE DISTRIBUTOR : PRODUCER CAST KID MILLIONS UNITED ARTISTS release. Eddie Cantor Aran Sothern Producer, Samuel Goldwyn. Ethel Merman George Murphy Jesse Block Eve Sully Berton Churchill Warren Hymer LADY BY CHOICE COLUMBIA release. Associate Producer, Robert North. Carole Lombard Roger Pryor Arthur Hohl May Robson Walter Connolly Raymond Walburn MRS. WIGGS OF THE CABBAGE PATCH December 1934 PARAMOUNT release. Producer, Douglas MacLean Pauline Lord W. C. Fields Zasu Pitts Evelyn Venable Kent Taylor Charles Middleton Donald Meek Jimmy Butler George Breakston TITLE DISTRIBUTOR : PRODUCER CAST FLIRTATION WALK WARNER release. Producer, First National. Supervisor, Robert Lord. Dick Powell Pat O'Brien John Arledge Henry O'Neill Ruby Keeler Ross Alexander John Eldredge Guinn Williams rw1 x BRIGHT EYES FOX release. Producer, Sol Wurtzel. Shirley Temple Jane Darwell Lois Wilson Walter Johnson Theodore Von Eltz Brandon Hurst James Dunn Judith Allen Charles Sellon Jane Withers Dorothy Christy George Irving n-J BABES IN TOYLAND METRO-GOLDWYN-MAYER release. Producer, Hal Roach. Stan Laurel Charlotte Henry Henry Kleinbach Oliver Hardy Felix Knight Florence Roberts r*~' r-J COLLEGE RHYTHM PARAMOUNT release. Producer, Louis D. Lighton. Joe Penner Jack Oakie Lanny Ross Lyda Roberti Helen Mack George Barbier Mary Brian Franklin Pangborn Robert McWade rw ANNE OF GREEN GABLES RKO RADIO release. Producer, Kenneth Macgowan. Anne Shirley Tom Brown O. P. Heggie Helen Westley Sara Haden Murray Kinnell Gertrude Messinget r*-' rv THE PAINTED VEIL METRO-GOLDWYN-MAYER release. Producer, Hunt Stromberg. Greta Garbo George Brent Jean Hersholt Katharine Alexander Soo Yong Herbert Marshall Warner Oland Beulah Bondi Cecilia Parker Forrester Harvey 24 THE BOX OFFICE CHECK-UP OF 1935 DIRECTION AUTHORS TECHNICAL STAFF Roy Del Ruth, director. Walter Mayo, assistant director. Story and Dialogue: Arthur Sheekman, Nat Per- rin and Nunnally Johnson. Music and Lyrics: Songs by Walter Donaldson and Sus Kahn, Burton Lane and Harold Adamson. "Mandy" by Irving Berlin. Fantasy in Technicolor: Music and lyrics by Gus Kahn, Walter Donaldson and Alfred Newman. Dances and Ensembles: Di- rected by Seymour and Felix. Musical Director: Alfred Newman. Art Director: Richard Day. Film Editor: Stuart Heisler. Costumes: Omar Kiam. Fantasy in Technicolor: Color direction by Willy Pogany. Color Photography: Ray Rennahan. Sound En- gineer: Vinton Vernon. Photographer: Ray June. David Burton, director. Arthur Black, associate director. rw/ Story: D wight Taylor. Screen Play: Jo Swerling. Film Editor: Viola Lawrence. Sound Engineer: Glenn Rominger. Photographer: Ted Tetzlaff. Norman Taurog, director. Story: Original by Alice Hegan Rice and Anne Art Directors: Hans Dreier and Robert Odell. Crawford Flexner. Screen Play: William Slavens Photographer: Charles Lang. McNutt and Jane Storm. DIRECTION AUTHORS TECHNICAL STAFF Frank Borzage, director. Lew Borzage, assistant director. Story: Original by Delmer Daves and Lou Edel- man. Screen Play: Delmer Daves. Music and Lyrics: Allie Wrubel and Mort Dixon. Dance Numbers: Directed by Bobby Connolly. Art Director: Jack Okey. Film Editor: Wm. Holmes. Technical Directors: Colonel Timothy J. Lonergan and Lieut. P. Eckles. Costumer: Orry-Kelly. Photographers: Sol Polito and George Barnes. r-J rw' David Butler, director. Stcry: David Butler and Edwin Burke. Screen Play: William Conselman. Music: Richard A. Whiting. Lyrics: Sidney Clare. Musical Direc- tor: Samuel Kaylin. Number staged by Sammy Lee. Art Directors: Duncan Cramer and Albert Hog- sett. Gowns: Royer. Aeronautics Advisor: Bob Blair. Sound Engineer: S. C. Chapman. Pho- tographer: Arthur Miller. n-J /V Gus Meins and Charles Rogers, directors. Story: Book and lyrics by Glen MacDonough. Screen Play: Frank Butler and Nick Grinde. Composer: Victor Herbert. Musical Director: Harry Jackson. Film Editors: William Terhune and Bert Jordan. Sound Engineer: Elmer Raguse. Photographers: Francis Corby and Art Lloyd. r*J Norman Taurog, director. Story: Original by George Marion, Jr. Screen Play: Walter DeLeon, John McDermott, Francis Martin. Music: Harry Revel. Lyrics: Mack Gor- don. Dances: LeRoy Prinz. Art Directors: Hans Dreier and Robert Usher. Sound Engineer: Eugene Merritt. Photogra- phers: Leo Tover and Ted Tetzlaff. r n-J r*> George Nicholls, Jr., director. Story: Based on book by L. M. Montgomery. Screen Play: Sam Mintz. Musical Director: Max Steiner. Art Directors: Van Nest Polglase and Al Her- man. Costumer: Walter Plunkett. Film Editor: Arthur Schmidt. Sound Engineer: George D. Ellis. Photographer: Lucien Andriot. Photo- graphic Effects: Vernon Walker. „ -St- • • 1 ' rw Richard Boleslawski, director. Story: From the novel by W. Somerset Maug- ham. Screen Play: John Meehan, Salka Viertel and Edith Fitzgerald. Musical Score: Herbert Stothart. Art Director: Cedric Gibbons. Associates, Alex- ander Toluboff, Edwin P. Willis. Costumer: Adrian. Film Editor: Hugh Wynn. Sound En- gineer: Douglas Shearer. Photographer: William Daniels. 26 THE BOX OFFICE CHECK-UP OF 1935 n€UU CHRITlPIOn June 1934 Dec. 1934 Feb. 1935 May 1935 July 1935 Dec. 1935 BABY TAKE A BOW BRIGHT EYES 'THE LITTLE COLONEL 'OUR LITTLE GIRL 'CURLY TOP' 'THE LITTLEST REBEL' *"THE LITTLEST REBEL" IS NOW PROVING ITSELF THE GREATEST OF THEM ALL! THE KEYSTONE OF YOUR FUTURE America’s leading box office star according to the Motion Picture Herald’s annual poll! 27 January 1935 TITLE DISTRIBUTOR : PRODUCER CAST FORSAKING ALL OTHERS METRO-GOLDWYN-MAYER release. Producer, Bernard H. Hyman. Assistant to the Producer, Frank Davis. Joan Crawford Clark Gable Cha rles Butterworth Rosalind Russell obert Montgomery Billie Burke Frances Drake Ted Healy THE LITTLE MINISTER RKO RADIO release. Producer, Pandro S. Berman. Katharine Hepburn Alan Hale Lumsden Hare Beryl Mercer John Beal Donald Crisp Andy Clyde Billy Watson BROADWAY BILL COLUMBIA release. Producer, Harry Cohn. Warner Baxter Walter Connolly Raymond Walburn Margaret Hamilton Helen Vinson Jason Robards Helen Millard Charles Levinson Edmund Breese George Cooper Paul Harvey Frankie Myrna Loy Lynne Overman Clarence Muse Douglas Dumbrille George Meeker Helen Flint Harry Holman Ward Bond Harry Todd Charles Wilson Edward Tucker Darro THE COUNTY CHAIRMAN FOX release. Producer, Edward W. Will Rogers Evelyn Venable Butcher. Kent Taylor Louise Dresser Mickey Rooney Berton Churchill ' - Frank Melton BRIGHT EYES (See December, 1934) FOX release. Producer, Sol Wurtzel. LIVES OF A BENGAL LANCER PARAMOUNT release. Producer, Louis D. Lighton. Gary Cooper Richard Cromwell C. Aubrey Smith Kathleen Burke Franchot Tone Sir Guy Standing Monte Blue Colin Tapley February 1935 TITLE DISTRIBUTOR : PRODUCER CAST DAVID COPPERFIELD METRO-GOLDWYN-MAYER release. Producer, David O. Selznick. [ February 1935 continued on pages 30-31] W. C. Fields Maureen O'Sullivan Edna May Oliver Frank Lawton Elizabeth Allan Basil Rathbone Jean Cadell Lennox Pawle Una O'Connor Hugh Williams Herbert Mundin Lionel Barrymore Madge Evans Lewis Stone Freddie Bartholomew Roland Young Elsa Lanchester Jessie Ralph Violent Kemble Cooper John Buckler Ivan Simpson Fay Chaldecott 28 THE BOX OFFICE CHECK-UP OF 1935 DIRECTION AUTHORS TECHNICAL STAFF W. S. Van Dyke, director. r ■-> Story: From the play by Frank Morgan Cavett and Edward Barry Roberts. Screen Play: Jo- seph L. Mankiewicz. Musical Score: Dr. William Axt. Art Director: Cedric Gibbons. Associate: Ed- win B. Willis. Costumer: Adrian. Film Editor: Tom Held. Sound Engineer: Douglas Shearer. Photographers: Gregg Toland, George Folsey. n-J Richard Wallace, director. Story: From the novel by Sir James M. Barrie. Screen Play: Jane Murfin, Sarah Y. Mason and Victor Heerman. Music: Max Steiner. Art Directors: Van Nest Polglase and Carroll Clark. Interiors: Ho-be Erwin. Costumer: Walter Plunkett. Film Editor: William Hamilton. Tech- nical Advisor: Robert Watson. Sound Engineer: Clem Portman. Photographer: Henry Gerrard. Photographic Effects: Vernon Walker. Addi- tional Scenes: Mortimer Offner and Jack Wag- ner. Frank Capra, director. Story: Original by Mark Hellinger. Screen Photographer: Joseph Walker. Play: Robert Riskin. John Blystone, director. Story: Based on play by George Ade. Screen Play: Sam Heilman and Gladys Lehman. Musical Director: Arthur Lange. Art Director: William Darling. Costumer: Wil- liam Lambert. Sound Engineer: Donald Flick. Photographer: Hal Mohr. Henry Hathaway, director. Story: Original, Francis Yeats-Brown. Screen Play: Waldemar Young, John L. Balderston and Achmed Abdullah. Adaptation: Grover Jones and William Slavens McNutt. Art Directors: Hans Dreier and Roland Ander son. Sound Engineer: Harold Lewis. Photog- rapher: Charles Lang. DIRECTION AUTHORS TECHNICAL STAFF George Cukor, director. Story: Based on the novel by Charles Dickens. Screen Play: Howard Estabrook. Adaptation: Hugh Walpole. Musical Score: Herbert Stothart. Art Director: Cedric Gibbons. Associates: Mer rill Pye and Edwin B. Willis. Costumer: Dolly Tree. Special Effects: Slavko Vorkapich. Film Editor: Robert J. Kern. Photographer: Oliver T. Marsh. THE BOX OFFICE CHECK-UP OF 1935 29 FEBRUARY 1935 CONCLUDED TITLE DISTRIBUTOR : PRODUCER CAST LIVES OF A BENGAL LANCER (See January, 1935) PARAMOUNT release. Producer, Louis D. Lighton. THE WOMAN IN RED WARNER release. Producer, First National Barbara Stanwyck Genevieve Tobin Philip Reed Russell Hicks Claude Gillingwater Gene Raymond John Eldredge Dorothy Tree Nella Walker Doris Lloyd rW r THE SCARLET PIMPERNEL UNITED ARTISTS release. Producer, London Films. Leslie Howard Raymond Massey Bramwell Fletcher Joan Gardner Mabel Terry-Lewis Ernest Milton Melville Cooper Moreland Graham Gertrude Musgrove Bromley Davenport Merle Oberon Nigel Bruce Anthony Bushell Walter Rilla O. B. Clarence Edmund Breon Gib McLaughlin John Turnbull Allan Jeayes William Freshman /-sJ SWEET MUSIC WARNER release. Rudy Vallee Ann Dvorak Ned Sparks Helen Morgan Robert Armstrong Allen Jenkins Alice White Joseph Cawthorn Al Shean Philip Reed William B. Davidson Henry O'Neill Addison Richards Russell Hicks Clay Clement Rudy Vallee's Conn. Yankees The Frank and Milton Britton Comedy Band rw THE GILDED LILY PARAMOUNT release. Claudette Colbert Ray Milland Luis Alberni Donald Meek Ferdinand Munier Michelette Burani James T. Quinn Fred Mac Murray C. Aubrey Smith Edward Craven Charles Irwin Grace Bradley Claude King Edward Gargan THE GOOD FAIRY March 1935 UNIVERSAL release. Margaret Sullavan Frank Morgan Alan Hale Cesar Romero Herbert Marshall Reginald Owen Beulah Bondi Eric Blore TITLE DISTRIBUTOR : PRODUCER CAST ROBERTA RKO RADIO release. Irene Dunne Fred Astaire Producer, Pandro S. Berman. Ginger Rogers Randolph Scott Production Associate, Zion Myers. Helen Westley Claire Dodd Victor Varconi Luis Alberni Ferdinand Munier Torben Meyer Adrian Rosley Bodil Rosing RUGGLES OF RED GAP PARAMOUNT release. Charles Laughton Mary Boland Producer, Arthur Hornblow, Jr. Charlie Ruggles Zasu Pitts Roland Young Leila Hyams [March 1935 continued on pages 34-35] Lucien Littlefield 30 THE BOX OFFICE CHECK-UP OF 1935 DIRECTION AUTHORS TECHNICAL STAFF r*-> Robert Florey, director. Story: Based on novel "North Shore," by Wallace Irwin. Screen Play: Mary McCall, Jr. and Peter Milne. Dialogue Director: Stanley Logan. Musi- cal Director: Vitaphone orchestra conducted by Leo F. Forbstein. Art Director: Esdras Hartley. Costumer: Orry- Kelly. Film Editor: Terry Morse. Photographer: Sol Polito. r *■> Harold Young, director. Story: Novel by the Baroness Orczy. Adaptation, Dialogue, etc.: Lajos Biros, Sam Berman, Robert Sherwood and Arthur Wimperis. Settings: Vincent Korda. Sound Engineer: A. W. Watkins. Photographer: Harold Rosson. Alfred E. Green, director. Story: Original by Jerry Wald, Carl Erickson and Warren Duff. Music and Lyrics: Warren and Dubin, Fain and Kahal, and Dixon and Wrubel. Musical Arrangements: Ray. Heindorf. Dances and Ensembles: Directed by Bobby Connolly. Art Director: Robert Haas. Film Editor: Bert Levy. Photographer: James Van Trees. r*-> Wesley Ruggles, director. Story: Original by Melville Baker and Jack Kirk- land. Screen Play: Claude Binyon. Music: Ar- thur Johnston. Lyrics: Sam Coslow. Costumer: Travis Banton. Jewels: Designed by William Howard Hoeffer. Photographer: Victor Milner. William Wyler, director. Story: Based on the play by Ferenc Molnar. Screen Play: Preston Sturges. Art Director: Charles B. Hall. Film Editor: Daniel Mandell. Sound Engineer: Gilbert Kurland. Pho- tographer: Norbert Brodine. U/,,.D 1 RECTI O N William A. Saiter, director. AUTHORS Story: From play, "Roberta.' — Screen Play: Jane — TECHNICAL STAFF Murfin, Sam Mintz and Allan Scott. Additional Dialogue: Glenn Tryon, Music: Jerome Kern. Books and Lyrics: Otto Harbach. Additional Lyrics: Dorothy Fields and Jimmy McHugh. Musical Director: Max Steiner. Leo McCarey, director. Story: Original, Harry Leon Wilson. Screen Play: Walter DeLeon and Harlan Thompson. Adaptation: Humphrey Pearson. Music: Ralph Rainger. Lyrics: Sam Coslow. Art Directors: Hans Dreier and Robert Odell. Film Editor: Edward Dmytryk. Sound Engineer: P. G. Wisdom. Photographer: Alfred Gilks. 1 H E SOX OrFICE CHECK-UP OF 1935 3! On behalf of the most consistent maker of hits in the motion picture industry jse&anee^ rieUVieA ' ^ HARRY M. GOETZ ^ PRESENTS EDWARD SMALL'S PRODUCTIONS ★ ★ James Fenimore Cooper’s world-beloved classic brought to vivid life LAST OF THE MOHICANS One of the spectacular pages of history, re-lived in all its pageantry, glory and conflict . . . Two in love in the wilderness . . . while nations and savages clash for a prize which is now America THE MARK of ZORRO The gay bandit lives and loves again ROBERT DONAT starring in an important new production which will carry him to greater heights than "Count of Monte Cristo" and "39 Steps" THE ROBBER BARONS from Matthew Josephson's sensational best selling expose of the life of Jim Fish . . . railroad tycoon whose audacity made a nation gasp! ★ G U N G A D I Inspired by Kipling’s poem . . Only the world-encompassing scope of the cameras could properly present a story so full of thrills ... so full of glamour and romance BEAU BRUMMEL Amidst the pomp and splendor of royal courts, this dandy . . . this inti- mate of kings and queens . . . juggled history to suit himself MOTHER CAREY'S CHICKENS Kate Douglas Wiggin’s famed play and book . . . with all the charm . . . simplicity and sincerity of "Little Women" and "Mrs. Wiggs" SON of MONTE CRISTO Alexandre Dumas continues the amazing career of Edmond Dantes ★ ★ OF CHAMPIONS! BOX-OFFICE OF CHAMPIONS! CHARLIE CHAPLIN THE ONE AND ONLY i n “Modern Times” > » 4 Years in the making! SAMUEL GOLDWYN presents EDDIE CANTOR in The Two Million Dollar Laugh Sensation ! “ Strike Me Pink” with ETHEL MERMAN ’ PARKYAKARKUS • SALLY EILERS • WILLIAM FRAWLEY and the GORGEOUS GOLDWYN GIRLS Directed by NORMAN TAUROG An ALEXANDER KORDA Prod uction The sensational star of “The Count of Monte Cristo" ROBERT DONAT in a gay romantic comedy The Ghost Goes West with JEAN PARKER and EUGENE PALLETTE SAMUEL GOLDWYN presents “THESE THREE" with Miriam Hopkins, Merle Oberon and Joel McCrea PICKFORD-LASKY presen t “ONE RAINY AFTERNOON" with Francis Lederer and Ida Lupino * DAVID 0. SELZNICK presents “Little Lord Fauntleroy ’’ starring FREDDIE BARTHOLOMEW and DOLORES COSTELLO BARRYMORE Directed by John Cromwell HARRY M. GOETZ presents James Fenimore Cooper’s World Famous Classic "THE LAST OF THE MOHICANS" An Edward Small Production ... A Reliance Picture ALEXANDER KORDA Productions H. G. Wells’ “THINGS TO COME“ and “THE MAN WHO COULD WORK MIRACLES'' • CHARLES LAUGHTON in “CYRANO DE BERGERAC" • “CONQUEST OF THE AIR" • “MOSCOW NIGHTS" WALT DISNEY Productions MICKEY MOUSE and SILLY SYMPHONIES in full Technicolor thru UNITED ARTISTS MARCH 1935 CONCLUDED TITLE DISTRIBUTOR : PRODUCER CAST THE LITTLE COLONEL FOX release. Shirley Temple Lionel Barrymore Producer, B. G. DeSylva. Evelyn Venable John Lodge Sidney Blackmer Alden Chase Bill Robinson rw THE SCARLET PIMPERNEL UNITED ARTISTS release. (See February, 1935) Producer, London Films. FOLIES BERGERE UNITED ARTISTS release. Maurice Chevalier Ann Sothern Producer, Darryl F. Zanuck. Merle Oberon Eric Blore Associate Producers, William Goetz, Ferdinand Munier Walter Byron Raymond Griffith. Lumsden Hare Robert Grieg Ferdinand Gottschalk Halliwell Hobbes Georges Renavent Philip Dare Frank McGlynn, Sr. Barbara Leonard THE WHOLE TOWN'S TALKING COLUMBIA release. Edward G. Robinson Jean Arthur Arthur Hohl Arthur Byron Wallace Ford Donald Meek Paul Harvey Ed Brophy Etienne Girardot James Donlan Robert Emmett O'Connor J. Farrell MacDonald WEST POINT OF THE AIR METRO-GOLDWYN-MAYER release. Wallace Beery Robert Young Producer, Monta Bell. Maureen O'Sullivan Lewis Stone James Gleason Rosalind Russell Russell Hardie Henry Wadsworth Robert Livingston Robert Taylor SEQUOIA METRO-GOLDWYN-MAYER release. Jean Parker Russell Hardie Producer, John W. Considine, Jr. Samuel S. Hinds Paul Hurst Ben Hall Willie Fung April 1935 TITLE DISTRIBUTOR : PRODUCER CAST RORFRTA □ i / r\ d a ni/n .. _ i t\\_y r\/ \ u 1 rete^se: (See March, 1935) Producer, Pandro S. Berman. Production Associate, Zion Myers. LIFE BEGINS AT 40 FOX release. Will Rogers Richard Cromwell Producer, Sol M. Wurtzel. George Barbier Rochelle Hudson Jane Darwell Slim Summerville Sterling Holloway Thomas Beck Roger Imhof Charles Selion John Bradford Ruth Gillette (V rw< r NAUGHTY MARIETTA METRO-GOLDWYN-MAYER release. Jeanette MacDonald Nelson Eddy Producer, Hunt Stromberg. Frank Morgan Elsa Lanchester Douglas Dumbrille Joseph Cawthorn Cecelia Parker Walter Kingsford Greta Meyer Akim Tamiroff [April 1935 continued on pages 36-37] Harold Huber Edward Brophy 34 THE BOX OFFICE CHECK-UP OF 1935 DIRECTION AUTHORS TECHNICAL STAFF David Butler, director. Story: Based on the story, "The Little Colonel," ■by Annie Fellows Johnson. Screen Play and Adaptation: William Conselman. Music Adap- tation: Cyril J. Mockridge. Musical Director: Arthur Lange. Art Director: William Darling. Costumer: Wil- liam Lambert. Sound Engineer: S. C. Chapman. Color Director: Natalie Kalmus. Color Photog- rapher: William Skall. Photographer: Arthur Miller. r «■' rw' Roy Del Ruth, director. Fred Fox, assistant director. Story: Based on a play by Rudolph Lother and Hans Adler. Screen Play: Bess Meredyth and Hal Long. Musical Numbers: Created by Dave Gould. Song Numbers: Jack Meskill and Jack Stern, Burton Lane and Harold Adamson, Chris- tine and Willemegz. Musical Director: Alfred Newman. Art Director: Richard Day. Costumer: Omar Kiam. Film Editors: Allen McNeil and Sherman Todd. Sound Engineer: Vinton Vernon, Roger Heman. Photographer: Barney McGill. John Ford, director. Wilbur McGaugh, assistant director. Story: W. R. Burnett. Screen Play: Jo Swerling, Robert Riskin. Film Editor: Viola Lawrence. Sound Engineer: Glenn Rominger. Photographer: Joseph August. Richard Rosson, director. Story: Original by John Monk Saunders. Screen Play: Frank Wead and Arthur J. Beckhard. Photographer: Clyde DeVinna. Aerial Photog- raphers: Charles A. Marshall and Elmer Dyer. Chester M. Franklin, director. Story: Based on the novel, "Malibu," by Vance Hoyt. Screen Play: Ann Cunningham, Sam Armstrong and Carey Wilson. Musical Score: Herbert Stcthart. Film Editor: Charles Hochberg. Sound Engineer: Douglas Shearer. Photographer: Chester A. Lyons. DIRECTION AUTHORS TECHNICAL STAFF C w' George Marshall, director. Story: Suggested by the book by Walter B. Pitkin. Screen Play: Lamar Trotti. Contributing Dialogue: Robert Quillen. Musical Director: Samuel Kaylin. Art Directors: Duncan Cramer and Albert Hog- sett. Costumer: Lillian. Sound Engineer: Ber- nard Fredricks. Photographer: Harry Jackson. W. S. Van Dyke, director. Story: Book and lyrics by Rita Johnson Young. Screen Play: John Lee Mahin, Frances Good- rich and Albert Hackett. Music: Victor Herbert. Added Lyrics: Gus Kahn. Photographer: William Daniels. THE • BOX OFFICE CHECK-UP OF 1935 35 APRIL 1935 CONCLUDED TITLE DISTRIBUTOR : PRODUCER CAST MISSISSIPPI PARAMOUNT release. Producer, Arthur Hornblow, Jr. Bing Crosby Joan Bennett Gail Patrick John Miljan Fred Kohler, Sr. Libby Taylor Paul Hurst W. C. Fields r Queenie Smith Claude Gillingwater Ed Pawley John Larkin Harry Meyers Theresa Maxwell Conover Molasses and January GOLD DIGGERS OF 1935 WARNER release. Producer, First National. Dick Powell Gloria Stuart Glenda Farrell Hugh Herbert Adolphe Menjou Alice Brady Frank McHugh Joseph Cawthorn Grant Mitchell RECKLESS METRO-GOLDWYN-MAYER release. Jean Harlow William Powell Producer, David O. Selznick. Franchot Tone May Robson Ted Healy Nat Pendleton Robert Light Rosalind Russell THE BRIDE OF FRANKENSTEIN UNIVERSAL release. Boris Karloff Colin Clive Producer, Carl Laemmle, Jr. Valerie Hobson Elsa Lanchester Ernest Thesiger O. P. Heggie Dwight. Frye E. E. Clive Una O'Connor Anne Darling Douglas Walton Gavin Gordon- May 1935 TITLE G-MEN DISTRIBUTOR : PRODUCER WARNER release. Producer, First National. Supervisor, Lou Edelman. CAST James Cagney Barton MacLane William Harrigan Raymond Hatton Ann Dvorak Lloyd Nolan Noel Madison Margaret Lindsay Russell Hopton Monte Blue Harold Huber Robert Armstrong Edward Pawley Addison Richards Regis Toomey NAUGHTY MARIETTA (See April, 1935) GOIN' TO TOWN M ETRO-GOLDWYN-MAYER release. Producer, Hunt Stromberg. PARAMOUNT release. Producer, William LeBaron. Mae West Ivan Lebedeff Marjorie Gateson Monroe Owsley Gilbert Emery Lucio Villegas Paul Harvey Wade Boteler Paul Cavanagh Tito Coral Fred Kohler, Sr. Grant Withers Luis Alberni Mona Riso Adrienne D'Ambricourt Bert Roach Dewey Robinson- LES MISERABLES [May 1935 continued on pages 40-41] 36 THE BOX OFFICE CHECK-UP OF 1935 UNITED ARTISTS release. Producer, Twentieth Century. A Darryl Zanuck production. Associate Producers, William Goetz and Raymond Griffith. Charles Laughton Sir Cedric Hardwicke Frances Drake Florence Eldridge Mary Forbes Fredric March Rochelle Hudson John Beal Jessie Ralph Florence Roberts DIRECTION AUTHORS TECHNICAL STAFF A. Edward Sutherland, director. Story: Original by Booth Tarkington. Screen Play: Francis Martin and Jack Cunningham. Adaptation: Herbert Fields and Claude Binyon. Music: Richard Rodgers. Lyrics: Lorenz Hart. Art Directors: Hans Dreier and Bernard Herz- brun. Film Editor: Chandler House. Sound En- gineer: Eugene Merritt. Photographer: Charles Lang. Busby Berkeley, director. Story: Robert Lord and Peter Milne. Screen Play: Manuel Seff and Peter Milne. Music and Lyrics: Harry Warren and Al Dubin. Dances: Created and staged by Busby Berkeley. Art Director: Anton Grot. Film Editor: George Amy. Photographer: George Barnes. Victor Fleming, director. Charles Dorian, assistant director. Story: From a story by Oliver Jeffries. Screen Play: P. J. Wolfson. Dances: Staged by Carl Randall and Chester Hale. Art Director: Cedric Gibbons. Associates: Mer- rill Pye, Edwin B. Willis. Film Editor: Margaret Booth. Sound Engineer: Douglas Shearer. Pho- tographer: George Folsey. James Whale, director. Harry Menke and Joseph Mc- Donough, assistant directors. Story: Original screen play by John L. Balder- ston and William Hurlbut. Music: Franz Wax- man. Art Director: Charles D. Hall. Film Editor: Ted Kent. Editorial Supervision: Maurice Pivar. Sound Supervision: Gilbert Kurland. Photogra- pher: John Mescall. DIRECTION AUTHORS TECHNICAL STAFF William Keighley, director. Story: Gregory Rogers. Screen Play: Seton 1. Miller. Musical Director: Leo F. Forbstein. Art Director: John Hughes. Costumer: Orry- Kelly. Film Editor: Jack Killifer. Photographer: Sol Polito. - r*-’ Alexander Hall, director. James Dugan, assistant director. Story: Original, Marion Morgan and George B. Dowell. Screen Play and Dialogue: Mae West. Music: Sam Fain. Lyrics: Irving Kahan. Art Directors: Hans Dreier and Robert Usher. Costumer: Travis Banton. Film Editor: LeRoy Stone. Sound Engineer: M. M. Paggi. Photog- rapher: Karl Struss. Richard Boleslawski, director. Eric Stacey, assistant director. Story: Based on novel by Victor Hugo. Screen Play: W. P. Lipscomb. Musical Direction: Alfred Newman. Art Director: Richard Day. Costumer: Omar Kiam. Film Editor: Barbara McLean. Sound En- gineer: Frank Maher, Roger Heman. Photogra- pher: Gregg Toland. o THE BOX OFFICE CHECK-UP OF 1935 37 1935 "China Seas" MGM "She Couldn't Take It" Columbia "Professional Soldier" 20th Century-Fox DIRECTED BY TAY GARNETT 1936 "Singapore Bound" "Trade Winds" Produced by TAY GARNETT 38 THE BOX OFFICE CHECK-UP OF 1935 THE IMPERIAL SEVEN NOW READY- "MURDER BY TELEVISION" M Supreme Thrill-Master of the Screen in the Most Unusual Crime Picture of His Career. From the Novel by Joseph O'Donnell. MANHATTAN BUTTERFLY with DOROTHY GRAINGER — WILLIAM BAKEWELL — BETTY COMPSON — KENNETH THOMSON — DOROTHY BURGESS — GEORGE MEEKER • An Unusual Musical Drama of New York Night Life, Based on Lois Bull's Great Novel, "Broadway Virgin." "RICH RELATIONS" with RALPH FORBES — FRANCES GRANT — BARRY NORTON— MURIEL EVANS— WESLEY BARRY— CRAUFORD KENT— DONALD KIRKE — MARY CARR — FRANKLIN PANGBORN • Rich Parents Step in to Break Up Their Son's Marriage to a Girl Below His Social Position. Priscilla Wayne's Gripping Story of the Evils of Too Much Money. In Preparation Alma Sioux Scarberry's Novel of a Radio Singer and a Diva from the Metropolitan Opera. "HIGH HAT \\ PENTHOUSE LOVE" A Story of Love, Divorce and a Girl Who Played a Man's Game. From the Popular Novel by Alma Sioux Scarberry. "SILVER LININGS" . Woman Doctor Who Sacrifices Her Life and Joseph McCord's Gripping Love to Help Humanity. Story of a "SECOND CHOICE" Rebound. A Spite Marriage and a Girl Who • Rob Eden's Story of Love on the Loved Not Wisely but Too Well. 13 IMPERIAL COLOR CLASSICS 13 "SOUTHERN BEAUTIES" IN FLORIDA Th e Paradise of the South offers its enticing charms to the movie traveller! The glories of nature's won- derland in all their vivid splendor and magnificence! "TOWERS OF MELODY" IN RADIO CITY The Eighth Wonder of the World supplies the background of this syncopated song and dance revue. Modern as tomorrow's headlines, breath-taking as Radio City, itself. "HIDDEN TREASURE" IN BERMUDA Enthralling marvels of the deep, brought to light by the penetrating eye of the under-sea camera! An achievement in color photography that does credit to the coral island's great beauties! THIRTEEN EDGAR A. GUEST POETIC GEMS Featuring EDGAR A. GUEST — Contributes his Rhapsodies in Rhyme to these superb shorts. • NORMAN BROKENSHIRE — Gains added prestige by his splendid narration. • AL SHAYNE — Radio's Ambassador of Song becomes your Ambassador with superb renditions of original melodies. • IRWIN PIZOR — Gives his philosophical poesy which is predominant throughout. • LOUIS BETANCOURT — A Marimba Band adds immeasurably to the beauty and individuality of these pictures. • FRANK LOESSER & LOU HERSCHER — Combine to complete musical memories that will linger. • WALTER SCOTT & MARCEL le PICARD — Pictorial perfection is their contribution to these incomparable minute masterpieces. IMPERIAL DISTRIBUTING CORPORATION 72 9 SEVENTH AVENUE NEW YORK CITY THE BOX OFFICE CHECK-UF OF 1935 39 MAY 1935 CONCLUDED TITLE DISTRIBUTOR : PRODUCER CAST THE BRIDE OF FRANKENSTEIN (See April, 1935) UNIVERSAL release. Producer, Carl Laemmle, Jr. OUR LITTLE GIRL June 1935 FOX release. Producer, Edward Butcher. Shirley Temple Joel McCrea Erin O'Brien-Moore Margaret Armstrong Leonard Carey Jack Rosemary Ames Lyle Talbot Poodles Hanneford Rita Owin Warren Hymer Baxley TITLE DISTRIBUTOR : PRODUCER CAST NO MORE LADIES METRO-GOLDWYN-MAYER release. Joan Crawford Robert Montgomery Franchot Tone Charlie Ruggles Edna May Oliver Gail Patrick Reginald Denny OIL FOR THE LAMPS OF CHINA WARNER release. Producer, First National. A Cosmopolitan production. Supervisor, Robert Lord. Pat O'Brien Jean Muir Arthur Byron Henry O'Neill Ronnie Cosby Tetsu Komai Josephine Hutchinson Lyle Talbot John Eldredge Donald Crisp Willie Fung George Meeker DOUBTING THOMAS FOX release. Producer, B. G. DeSylva. Will Rogers Alison Skipworth Andrew Tomb’es Frances Grant Helen Flint T. Roy Barnes John Qualen Billie Burke Sterling Holloway Gail Patrick Frank Albertson Johnny Arthur Ruth Warren Fred Wallace BECKY SHARP RKO RADIO release. Producer, Pioneer Pictures. In Charge of Production, Kenneth Macgowan. Miriam Hopkins Cedric Hardwicke Alison Skipworth Frances Dee Billie Burke Nigel Bruce LES MISERABLES (See May, 1935) UNITED ARTISTS release. Producer, Twentieth Century. A Darryl Zanuck production. Associate Producers, William Goetz and Raymond Griffith. UNDER THE PAMPAS MOON FOX release. Producer, B. G. DeSylva. [June 1935 continued on pages 42-43] Warner Baxter Veloz and Yolanda J. Carroll Naish Jack LaRue Blanca Vischer Armida Phillip Cooper Ketti Gallian John Miljan Soledad Jiminez George Irving Rita Cans ino Ann Codee Paul Porcasi Max Wagner 40 THE BOX OFFICE CHECK-UP OF 1935 DIRECTION AUTHORS TECHNICAL STAFF John Robertson, director. STORY: From the story, "Heaven's Gate," by Florence Leighton Pfalzgraf. Screen Play: Stephen Avery, Allen Rivkin, Jack Yellen. Musi- cal Director: Oscar Bradley. Art Director: William Darling. Costumer: Rene Hubert. Sound Engineer: W. D. Flick. Photog- rapher: John Seitz. DIRECTION AUTHORS TECHNICAL STAFF Edward H. Griffith, director. Sandy Ross, assistant director. Story: From the play by A. E. Thomas. Screen Play: Donald Ogden Stewart and Horace Jack- son. Musical Score: Edward Ward. Art Director: Cedric Gibbons. Associates: Jo- seph Wright, Edwin B. Willis. Film Editor: Frank E. Hull. Photographer: Oliver T. Marsh. Mervyn LeRoy, director. Lee Katz, assistant director. Story: Based on story by Alice Tisdale Hobart. Screen Play: Laird Doyle. Art Director: Robert M. Haas. Film Editor: Wil- liam Clemens. Photographer: Tony Gaudio. David Butler, director. Story: From the play, "The Torch Bearers," by George Kelly. Screen Play: William Conselman. Adaptation: Bartlett Cormack. Art Director: Jack Otterson. Photographer: Joseph Valentine. r*J Rouben Mamoulian, director. Story: Based on the play by Langdon Mitchell from Thackeray's novel, "Vanity Fair." Screen Play: Francis Edward Faragoh. Associate Art Director: W. B. Ihnen. Film Edi- tor: Archie F. Marshek. Color Designs: Robert Edmund Jones. Technicolor Director: Natalie Kalmus. Photographer: Ray Rennahan. r*J (V James Tinling, director. Story: Original by Gordon Morris. Screen Play: Ernest Pascal, Bradley King. Additional Dia- logue: Henry Johnson. Art Director: William Darling. Photographer: Chester Lyons. THE • BOX OFFICE CHECK-UP OF 1935 41 JUNE 1935 CONCLUDED TITLE DISTRIBUTOR : PRODUCER CAST PUBLIC HERO NO. 1 M ETRO-GOLDWYN-M AYER release. Producer, Lucien Hubbard. Lionel Barrymore Jean Arthur Paul Kelly Paul Hurst Sa Chester Morris Joseph Calleia Lewis Stone George E. Stone m Baker THE GLASS KEY PARAMOUNT release. Producer, E. Lloyd Sheldon. George Raft Claire Dodd Rosalind Keith Emma Dunn Guinn Williams Edward Arnold Ray Milland Charles Richman Robert Gleckler Tammany Young BREAK OF HEARTS RKO RADIO release. Producer, Pandro S. Berman. Katharine Hepburn John Beal Sam Hardy Helene Millard Charles Boyer Jean Hersholt Inez Courtney Ferdinand Gottschalk Susan Fleming July 1935 TITLE DISTRIBUTOR : PRODUCER CAST LOVE ME FOREVER COLUMBIA release. Grace Moore Robert Allen Michael Bartlett Douglas Dumbrille Gavin Gordon Charles Moore Harry Barris Leo Carrillo Spring Byington Luis Alberni Thurston Hall Nell Cook Charles McAvoy Maxine Lewis BECKY SHARP RKO RADIO release. (See June, 1935) Producer, Pioneer Pictures. In Charge of Production, Kenneth Mac- gowan. CURLY TOP FOX release. Producer, Winfield Sheehan. Shirley Temple Rochelle Hudson Rafaela Ottiano Etienne Girardot Maurice Mur John Boles Jane Darwell Esther Dale Arthur Treacher phy ESCAPE ME NEVER UNITED ARTISTS release. Produced by Herbert Wilcox for Brit- ish & Dominions. Elisabeth Bergner Penelope Dudley Ward Lyn Harding Irene Vanbrugh Hugh Sinclair Griffith Jones Leon Quartermaine Rosalinde Fuller BROADWAY GONDOLIER WARNER release. [July 1935 continued on pages 46-47] Dick Powell Adolphe Menjou William Gargan Grant Mitchell Joseph Sauers Bob Murphy Ted Joan Blondell Louise Fazenda George Barbier Hobart Cavanaugh Rafael Storm James Burke Fio Rito and his Band The Four Mills Bros. 42 THE BOX OFFICE CHECK-UP OF 1935 DIRECTION AUTHORS TECHNICAL STAFF J. Walter Ruben, director. Hugh Boswell, assistant director. Story: J. Walter Ruben and Wells Root. Screen Play: Wells Root. Art Director: Cedric Gibbons. Associates: Lionel Banks, Edward B. Willis. Costumer: Dolly Tree. Film Editor: Frank Sullivan. Photographer: Gregg Toland. Frank Tuttle, director. Russell Mathews, assistant direc- tor. Story: From a novel by Dashiell Hammett. Screen Play: Kathryn Scola and Kubec Glasmon. Additional Dialogue: Harry Ruskin. Art Directors: Hans Dreier and Earl Hedrick. Film Editor: Hugh Bennett. Photographer: Henry Sharp. ,-w Philip Moeller, director. Jane Loring, associate director. Eddie Killy, assistant director. Story: Lester Cohen. Screen Play: Sarah Y. Mason, Victor Heerman and Anthony Veiller. Art Director: Van Nest Polg ase. Film Editor: William Hamilton. Photographer: Robert De Grasse. DIRECTION AUTHORS TECHNICAL STAFF Victor Schertzinger, director. Art Black, assistant director. Story: Victor Schertzinger. - Screen Play: Jo Swerling and Sidney Buchman. Thematic Music: Victor Schertzinger and Gus Kahn. Musical Treatment: Louis Silvers. Operatic Numbers: Conducted by Gastano Merola. Film Editors: Gene Milford, Viola Lawrence. Sound Engineer: Paul G. Neal. Photographer: Joseph Walker. rv Irving Cummings, director. Screen Play: Patterson McNutt and Arthur Beck- hard. Music: Ray Henderson. Lyrics: Ted Koehler, Edward Heyman and Irving Caesar. Dances: Jack Donohue. Musical Director: Oscar Bradley. Art Director: Jack Otterson. Costumer: Rene Hubert. Film Editor: Jack Murray. Sound En- gineer: Eugene Grossman. Photographer: John Seitz. Dr. Paul Czinner, director. Story: From the play by Margaret Kennedy. Screen Play: Margaret Kennedy and Carl Zuck- mayer. Music: Composed by William Walton. Photographers: Georges Perinal and Sepp All- geier. rv1 Lloyd Bacon, director. Story: Sig Herzig, E. Y. Harburg and Hans Kraly. Screen Play: Warren B. Duff and Sig Herzig. Music and Lyrics: Harry Warren and Al Dubin. Musical Director: Leo F. Forbstein. Art Director: Anton Grot. Costumer: Orry- Kelly. Film Editor: George Amy. Photographer: George Barnes. THE BOX OFFICE CHECK-UP OF 1935 43 BUCK JONES PRODUCTIONS THANKS- To exhibitors of the nation who elected me the leading Western Star in 1933, in 1934 and again in 1935. Motion Picture Herald box-office poll of the leading money making stars. I personally welcome criticisms or suggestions from the exhibitors — the men who buy my pictures. BUCK JONES CURRENT RELEASES Rocky Rhodes When a Man Sees Red Crimson Trail Stone of Silver Creek Border Brigands Outlawed Guns The Throw-Back The Ivory Handled Gun Sunset of Power Silverspurs THE BOX OFFICE CHECK-UP OF 1935 Announcing Sixteen Productions For The Independent Market • . • ZEIDMAN PICTURES announces the production and release on the independent market of sixteen productions for the coming season . . . pictures of such definite showmanship qualities as to warrant box-office attention by every exhibitor, everywhere. ZEIDMAN PICTURES owns the rights to many of the most valuable picture properties in show business . . . BOOKS whose titles alone mean ready-made audiences of millions . . . SCREENPLAYS built from the ground up on box-office ideas that make them easy of exploitation and sure of wide appeal. ST. ELMO Augusta Evans Winslow’s greatest novel. Screenplay by Earle Snell. SWEETHEART OF THE NAVY “Honey girl” herself ... on land and sea ... in a fast-moving musical. Directed by Johnny Hines. Screenplay by Rex Taylor. TEMPEST AND SUNSHINE Mary J. Holmes’ companion novel to that great book, “Lena Rivers.” THEY WALKED ALONE The most emotional novel from the pen of that master of fiction, Honore de Balzac. ★ ★ THE GOLD BUG Edgar Allan Poe’s most widely-read story. Screenplay by Karl Brown. THE RIGHT TO KILL A dramatic thunderbolt by Doris Anderson, based on “Mercy Killings.” The subject that is sweeping the country. WOMAN IN WHITE Wilkie Collins’ notable novel of mystery, romance and intrigue. ★ IN HIS STEPS The biggest best seller of all time. By Charles Sheldon. ROGUE'S GALLERY By Willard Keefe. The “inside ’ on what goes on behind the walls of a great prison. FANTOMAS Fantomas . . . the man of a thousand disguises. By Pierre Souvestre and Marcel Allain. A thrill treat for detective and ^ mystery fans, who number millions. THE CAPTAIN COMES TO TOWN Dramatic musical romance of life on the Mississippi. ★ THE FIVE LITTLE PEPPERS More than six million readers have bought upwards of two million copies of Margaret Sidney’s famous Pepper Books. (Released one every five weeks — first release January 30th , 1936 ) FOUR BRET HARTE NOVELS (Released one every eight weeks — first release April 15, 1936) THE OUTCASTS OF POKER FLAT M'LISS OF RED MOUNTAIN TENNESSEE'S PARTNER THE LUCK OF ROARING CAMP ZEIDMAN B. F. Zeidman, President, In Charge of Production PARAMOUNT BUILDING FILM CORPORATION L. J. Schlaifer, Vice-President, In Charge of Distribution . . . 1501 BROADWAY . . . NEW YORK, N. Y. THE BOX OFFICE CHECK-UP OF 1935 45 JULY 1935 CONCLUDED TITLE DISTRIBUTOR : PRODUCER CAST FRONT PAGE WOMAN WARNER release. Supervisor, Sam Bischoff. Bette Davis June Martel Joseph Crehan Roscoe Karns J. Carroll Naish Grace Hale J. Farrell McDonald Addison Richards Georges Renavent George Brent Dorothy Dare Joe King Winifred Shaw Walter Walker Selmar Jackson Gordon Westcott Miki Morita Huntley Gordon NO MORE LADIES (See June, 1935) METRO-GOLDWYN-MAYER release. THE RAVEN rW UNIVERSAL release. Associate Producer, David Diamond. Boris Karloff Irene Ware Samuel Hinds Ian Wolfe Maidel Turner Bela Lugosi Lester Matthews Inez Courtney Spencer Charters Arthur Hoyt August 1935 TITLE DISTRIBUTOR : PRODUCER CAST CURLY TOP FOX release. (See July, 1935) Producer, Winfield Sheehan. rw' CHINA SEAS METRO-GOLDWYN-MAYER release. Associate Producer, Albert Lewin. Wallace Beery Clark Gable Rosalind Russell C. Aubrey Smith William Henry. Lillian Bond Soo Yong Akim Tamiroff Jean Harlow Lewis Stone Dudley Digges Robert Benchley * Live de Maigret Edward Brophy Carol Ann Beery Ivan Lebedeff BROADWAY GONDOLIER (See July, 1935) WARNER release. r w ACCENT ON YOUTH PARAMOUNT release. Producer, Douglas MacLean. Sylvia Sidney Philip Reed Holmes Herbert Ernest Cossart Lon Chaney, Jr. Samuel S. Hinds Laura Treadwell Herbert Marshall Astrid Allwyn Catherine Doucet Donald Meek Nick Foran Florence Roberts Janet Elsie Clark r*J ALICE ADAMS RKO RADIO release. Producer, Pandro S. Berman. Katharine Hepburn Fred Stone Frank Albertson Charley Grapewin Hedda Hopper Hattie McDa Fred MacMurray Evelyn Venable Ann Shoemaker Grady Sutton Jonathan Hale niels THE IRISH IN US WARNER release. Producer, First National. James Cagney Pat O’Brien Olivia De Havilland Frank McHugh Allen Jenkins Mary Gordon J. Farrell MacDonald Thomas Jackson Harvey Perry 46 THE BOX OFFICE CHECK-UP OF 1935 DIRECTION AUTHORS TECHNICAL STAFF Michael Curtiz, Sherry Shourds, director. assistant director. Story: From a story by Richard Macauley. Screen Play: Roy Chanslor, Lillie Edward. Dia- logue: Laird Doyle. Dialogue Director: Frank McDonald. Art Director: John Hughes. Film Editor: Terry Morse. Photographer: Tony Gaudio. - — ,'^J Louis Friedlander, director. Story: Suggested by Edgar Allan Poe's, Raven." Screen Play: David Boehm. "The Art Director: Albert D'Agostino. Film Editor: Alfred Akst. Editorial Supervision: Maurice Pivar. Sound Engineer: Gilbert Kurland. Pho- tographer: Charles Stumar. DIRECTION AUTHORS TECHNICAL STAFF rW Tay Garnett, director. Joe Newman, assistant director. Story: From the book by Crosbie Garstin. Screen Play: Jules Furthman and James Kevin McGuinness. Musical Score: Herbert Stothart. Art Director: Cedric Gibbons. Associates: James Havens, David Townsend, Edwin B. Willis. Costumer: Adrian. Film Editor: William LeVan- way. Sound Engineer: Douglas Shearer. Pho- tographer: Ray June. - /V Wesley Ruggles, director. James Dugan, assistant director. Story: From a play by Samson Raphaelson. Screen Play: Herbert Fields and Claude Binyon. Art Directors: Hans Dreier and Ernst Fegte. Film Editor: Otho Lovering. Sound Engineer: M. M. Paggi. Photographer: Leon Shamroy. r-J George Stevens, director. Eddie Killy, assistant director. Story: From the novel by Booth Tarkington. Screen Play: Dorothy Yost, Mortimer Offner and Jane Murfin. Musical Director: Roy Webb. Art Director: Van Nest Polglase. Associate: Perry Ferguson. Costumer: Walter Plunkett. Sound Engineer: D. A. Cutler. Photographer: Robert De Grasse. Lloyd Bacon, director. Jack Sullivan, assistant director. Story: Story idea by Frank Orsatti. Screen Play: Earl Baldwin. Musical Director: Leo F. Forbstein. Art Director: Esdras Hartley. Film Editor: James Gibbson. Photographer: George Barnes. THE BOX OFFICE CHECK-UP OF 1935 47 September 1935 TITLE TOP HAT STEAMBOAT ROUND THE BEND ANNA KARENINA CHINA SEAS (See August, 1935) DIAMOND JIM THE BIG BROADCAST OF 1936 THE DARK ANGEL THE CALL OF THE WILD DISTRIBUTOR : PRODUCER CAST RKO RADIO release. Producer, Pandro S. Berman. Fred Astaire Edward Everett Horton Erik Rhodes Ginger Rogers Helen Broderick Eric Blore FOX release. Producer, Sol M. Wurtzel. Will Rogers Irvin S. Cobb John McGuire Francis Ford Raymond Hatton Anne Shirley Eugene Pallette Berton Churchill Roger Imhof Hobart Bosworth Stepin Fetchit METRO-GOLDWYN-MAYER release. Producer, David O. Selznick. Greta Garbo Freddie Bartholomew May Robson Reginald Owen Reginald Denny Sarah Padden Fredric March Maureen O'Sullivan Basil Rathbone Phoebe Foster Joan Marsh Cora Sue Collins METRO-GOLDWYN-MAYER release. Associate Producer, Albert Lewin. UNIVERSAL release. Producer, Edmund Grainger. Edward Arnold Binnie Barnes' Hugh O'Connell Bill Demarest Robert McWade Jean Arthur Cesar Romero George Sidney Eric Blore Purnell Pratt Robert Emmet O'Connor PARAMOUNT release. Producer, Benjamin Glazer. Bing Crosby George Burns Mary Boland Sir Guy Standing Amos ' n ' Andy Wendy Barrie Bill Robinson Ray Noble Ina Ray Hutton and and Jack Oakie Grade Allen Charlie Ruggles Ethel Merman Lyda Roberti Gail Patrick Jessica Dragonette His Band Her Melodears UNITED ARTISTS release. Producer, Samuel Goldwyn. Fredric March Herbert Marshall John Halliday Frieda Inescort David Torrence Merle- Oberon Janet Beecher Henrietta Crosman Claude Allister Cora Sue Collins UNITED ARTISTS release. Prod ucer, Twentieth Century. A Darryl Zanuck production. Associate Producers, William Goetz and Raymond Griffith. Clark Gable Jack Oakie Frank Conroy Sidney Toler Loretta Young Reginald Owen Katherine DeMille Buck (dog) 48 THE BOX OFFICE CHECK-UP OF 1935 DIRECTION AUTHORS TECHNICAL STAFF Mark Sandrich, director. Story: Dwight Taylor. Screen Play: Dwight Tay- lor and Allan Scott. Music and Lyrics: Irving Berlin. Musical Director: Max Steiner. Dances: Ensembles staged by Hermes Pan. Art Director: Van Nest Polglase. Associate: Carroll Clark. Set Dressing: Thomas Little. Cos- tumer: Bernard Newman. Photographer: David Abel. Photographic Effects: Vernon Walker. John Ford, director. Story: From the novel by Ben Lucien Burman. Screen Play: Dudley Nichols and Lamar Trotti. Musical Director: Samuel Kaylin. Art Directors: William Darling, Albert Hogsett. Film Editor: Al De Gaetano. Sound Engineer: Albert Protzman. Photographer: George Schneiderman. Clarence Brown, director. Story: From the novel by Count Leo Tolstoy. Screen Play: Clemence Dane and Salka Viertel. Dialogue Adaptation: S. N. Behrman. Musical Score: Herbert Stothart. Dances: Ballet staged by Margarete Wallman. Mazurka staged by Chester Hale. Consultant: Count Andrey Tols- Film Editor: Robert J. Kern. Photographer William Daniels. A. Edward Sutherland, director. Story: From the biography by Parker Morell. Joseph McDonough, assistant di- Screen Play: Preston Sturges. Adaptation: rector. Harry Clork and Doris Malloy. Music: Franz Waxman. Musical Director: Bakaleinikoff. Art Director: Charles D. Hall. Costumer: Vera West. Furs, Willard H. Geo rge. Film Editor: Daniel Mandell. Editorial Supervision: Maurice Pivar. Sound Engineer: Gilbert Kurland. Pho- tographer: George Robinson. Norman Tau rog, director. r Screen Play: Walter DeLeon, Francis Martin and Ralph Spence. Music and Lyrics: Ralph Rainger, Richard Whiting, Leo Robin, Dorothy Parker, Mack Gordon, Harry Revel, Ray Noble. Musi- cal Director: Nathaniel Finston. Dance En- sembles: Staged by LeRoy Prinz. Art Directors: Hans Dreier and Robert Usher. Film Editor: Elsworth Hoagland. Sound Engi- neer: E. P. Merritt and J. N. Cope. Photogra- pher: Leo Tover. Special Photographic Effects: Gordon Jennings and Farciot Edouart. Sidney Franklin, director. Story: From a play by Guy Bolton. Screen Play: Lillian Heilman and Mordaunt Sharp. Musical Director: Alfred Newman. Art Director: Richard Day. Costumer: Omar Kiam. Film Editor: Stuart Heisler. Sound En- gineer: Vinton Vernon. Photographer: Gregg Toland. Will iam Wellman, director. Story: Based on the story by Jack London. Film Editor: Hanson Fritch. Photographer: Screen Play: Gene Fowler and Leonard Praskins. Charles Rosher. Musical Score: Alfred Newman. THE BOX OFFICE CHECK-UP OF 1935 49 MOTION PICTURE motion picture HERALD and DAILY THROUGH THE SHOWMEN OF THE NATION announce Lloyd Bacon FIRST in the directors class with 10 BOX OFFICE CHAMPIONS "FIREMAN, SAVE MY CHILD" . . . March, April, 1932 "YOU SAID A MOUTHFUL" .... December, 1932 "42ND STREET" March, April, 1933 SEMI-ANNUAL and ANNUAL, 1933 "PICTURE SNATCHER" May, 1933 "FOOTLIGHT PARADE" November, 1933 "WONDER BAR" April, 1934 SEMI-ANNUAL and ANNUAL, 1934 "HERE COMES THE NAVY" .... August, 1934 "SIX-DAY BIKE RIDER" October, 1934 "BROADWAY GONDOLIER" .... July, 1935 "THE IRISH IN US" August, 1935 “ The Singing Fool” ( Number One on list of all time best films grossing $5,000,000) CURRENT RELEASE FRISCO KID WARNER BROS.— FIRST NATIONAL PRODUCTIONS 50 THE BOX OFFICE CHECK-UP OF 1935 EARL BALDWIN ASSOCIATE PRODUCER-WARNERS WROTE THE SCREEN PLAYS OF THE FOLLOWING BOX OFFICE CHAMPIONS: *"DR. X" *"THE TENDERFOOT" "SIX DAY BIKE RACE" "WONDER BAR" "HERE COMES THE NAVY" "THE IRISH IN US" * IN COLLABORATION THE BOX OFFICE CHECK-UP OF 1935 51 October 1935 TITLE DISTRIBUTOR : PRODUCER CAST BROADWAY MELODY OF 1936 METRO-GOLDWYN- MAYER release. Producer, John W. Considine, Jr. Eleanor Powell Robert Taylor June Knight Vilma Ebsen Nick Long, Jr. Frances Langford Jack Benn^ Una Merke Sid Silver Buddy Ebser Robert Wildhac Harry Stockwel BARBARY COAST UNITED ARTISTS release. Producer, Samuel Goldwyn. Miriam Hopkins Joel McCrea Frank Craven Clyde Cook Edward G. Robinsor Walter Brennar Brian Donlev' Harry Care' rW SHE MARRIED HER BOSS COLUMBIA release. Claudette Colbert Michael Bartlett Jean Dixon Edith Fellows Melvyn Dougla Raymond Walburr Katharine Alexande Clara Kimball Younc n-> SHIPMATES FOREVER WARNER release. Producer, First National. A Cosmopolitan production. Dick Powell Lewis Stone Eddie Acuff John Arledge Ruby Keele Ross Alexande Dick Forar Robert Ligh iV rw 1 LIVE MY LIFE METRO-GOLDWYN-MAYER release. Producer, Bernard H. Hyman. Joan Crawford Frank Morgan Eric Blore Jessie Ralph Frank Conroy Brian Ahernr Aline MacMahor Fred Keatirw Arthur Treache Etienne Girardo TOP HAT (See September, 1935) RKO RADIO release. Producer, Pandro S. Berman. November 1935 TITLE DISTRIBUTOR : PRODUCER CAST MUTINY ON THE BOUNTY METRO-GOLDWYN-MAYER release. n~' Charles Laughton Franchot Tone Eddie Quillan Donald Crisp Francis Lister Movita Ian Wolfe Clark Gabl Herbert Mundi Dudley Digge Henry Stephenso Spring Byingto Mam Ivan Simpso; THANKS A MILLION 20th CENTURY release. Producer, Darryl F. Zanuck. Dick Powell Fred Allen Paul Whiteman Raymond Walburn Yacht Club Boys Ann Dvora Patsy Kell Ramon Rubino Benny Bake [ November 1935 continued on pages 54-55] Andrew Tombes Paul Harvey Margaret Irving Alan Dinehai Edwin Maxwe Charles Richma 1 THE BOX OFFICE CHECK-UP OF 1935 DIRECTION AUTHORS TECHNICAL STAFF Roy Del Ruth, director. Story: Based on an original story by Moss Hart. Screen Play: Jack McGowan and Sid Silvers. Additional Dialogue: Harry Conn. Music: Nacio Herb Brown. Lyrics: Arthur Freed. Musi- cal Direction: Alfred Newman. Orchestrations: Edward B. Powell. Dance Numbers: Created and staged by Dave Gould. "Lucky Star" ballet staged by Albertina Rasch. Musical Arrange- ments: Roger Edens. Art Director: Cedric Gibbons. Associates: Mer- rill Pye and Edwin B. Willis. Costumer: Adrian. Film Editor: Blanche Sewell. Sound Engineer: Douglas Shearer. Photographer: Charles Rosher. Edward Hawks, director. Walter Mayo, assistant director. Screen Play: Charles MacArthur and Ben Hecht. Musical Director: Alfred Newman. Art Director: Richard Day. Costumer: Omar Kiam. Film Editor: Ed ward Curtis. Sound En- gineer: Frank Maher. Photographer: Ray June. Gregory La Cava, director. Story: Thyra Samter Winslow. Screen Play: Sid- Norma Deming, assistant director. ney Buchman. Art Director: Stephen Goosson. Film Editor: Richard Cahoon. Sound Engineer: Ed Bernds. Photographer: Leon Shamroy. Frank Borzage, director. Lew Borzage and Bill Cannon, as- sistant directors. 3 W. S. Van Dyke, director. Joe Newman, assistant director. - Story and Screen Play: Delmer Daves. Music and Lyrics: Harry Warren and Al Dubin. Musi- cal Director: Leo F. Forbstein. Story: From the story by Gottfried Reinhardt and Ethel Borden. Based upon a short story by A. Carter Goodloe. Screen Play: Joseph L. Mankiewicz. Musical Score: Dimitri Tiomkin. Art Director: Robert M. Haas. Costumer: Orry- Kelly. Film Editor: William Holmes. Technical Advisors: Commander M. S. Tisdale, U. S. N.; Lieut. (J. G.) W. J. Beecher, U. S. N.; Edward L. Adams. Photographer: Sol Polito. Art Director: Cedric Gibbons. Associates: Merrill Pye, Edwin B. Willis. Costumer: Adrian. Film Editor: Tom Held. Sound Engineer: Doug- las Shearer. Photographer: George Folsey. > DIRECTION Frank Lloyd, director. r*-' Roy Del Ruth, director. i AUTHORS TECHNICAL STAFF Story: From the book by Charles Nordhoff and James Norman Hall. Screen Play: Talbot Jen- nings, Jules Furthman, Carey Wilson. Music: Herbert Stothart. Screen Play: Nunnally Johnson- Music and Lyrics: Arthur Johnston, Gus Kahn, Yacht Club Boys. Musical Direction: Arthur Lange. Art Director: Cedric Gibbons. Associate: Ar- nold Gillespie. Film Editor: Margaret Booth. Marine Director: James Havens. Sound Engi- neer: Douglas Shearer. Photographer: Arthur Edeson. Art Director: Jack Otterson. Film Editor: Allen McNeil. Costumer: William Lambert. Sound Engineers: Eugene Grossman, Roger Heman. Photographer: Peverell Marley. THE BOX OFFICE CHECK-UP OF 1935 53 DISTRIBUTOR : PRODUCER CAST NOVEMBER 1935 CONCLUDED TITLE THE CRUSADES PARAMOUNT release. Producer, Cecil B. DeMille. Loretta Young Ian Keith C. Aubrey Smith Alan Hale George Barbier Lumsden Hare Hobart Bosworth Ramsay Hill Maurice Murphy Sven-Hugo Borg Fred Malatesta Anna Demetrio Edwin Maxwell Emma Dunn Georgia Caine Robert Adair Pat Moore Joseph Swickard Edgar Dearing Gilda Oliva John Rutherford Harry Cording Addison Richards William B. Davidson Boyd Irwin Gordon Griffith George MacQuarrie Harold Henry Wilcoxon Katharine DeMille Joseph Schildkraut C. Henry Gordon Montagu Love William Farnum Pedro de Cordoba Mischa Auer Albert Conti Paul Satoff Hans Von Twardowski Perry Askam Winter Hall Jason Robards J. Carroll Naish Oscar Rudolph Ann Sheridan Jean Fenwick Alphonz Ethier Mildred Van Buren Colin Tapley Stanley Andrews Maurice Black Guy Usher Kenneth Gibsor Vallejo Gantner Sam Flint Goodwin A MIDSUMMER NIGHT’S DREAM WARNER BROTHERS release. James Cagney Hugh Herbert Victory Jory Ross Alexander Nini Theilade Dick Powell Anita Louise Dewey Robinson Otis Harlan Jos. E. Browr Frank McHugh Olivia De Havilanc Ian Huntei Verree Teasdale Jean Muii Mickey Roone-J Hobart Cavanaugh Arthur Treachei IN OLD KENTUCKY FOX, release. Producer, Edward Butcher. Will Rogers Russell Hardie Louise Henry Alan Dinehart Etienne Girardot Bill Dorothy Wilsoi. Charles Selloi Esther Dal< Charles Richma John Ino Robinson A NIGHT AT THE OPERA METRO-GOLDWYN-MAYER release. Groucho Marx Harpo Marx Allan Jones Siegfried Rumann Edward Keane Chico Mar Kitty Carlisl Walter Kin Margaret Dumor Robert Emmet O'Connc METROPOLITAN 20th CENTURY release. Producer, Joseph M. Schenck. Lawrence Tibbett Alice Brady Thurston Hall George Marion, Sr. Christian Rub Franklyn Ardell Jessie Ralph Virginia Bruc Cesar Romer Luis Alberi Adrian Rosie Ruth Donnel Etienne Girardc 54 THE BOX OFFICE CHECK-UP OF 1935 DIRECTION AUTHORS TECHNICAL STAFF Cecil B. DeMille, director. >n Screen Play: Harold Lamb, Waldemar Young and Dudley Nichols. Music and Lyrics: Harold Lamb and Rudolph Kopp. Costumer: Travis Banton. Technical Effects: Gordon Jennings. Photographer: Victor Milner. Max Reinhardt and William Die- Story: From William Shakespeare's Classic, terle, directors. Screen Play: Charles Kenyon and Mary C. Mc- Call, Jr. Musical Arrangements: Erich Wolf- gang Korngold. Music: Mendelssohn's. Dance Numbers: Nijinsla. Costumer: Max Ree. Photographic Effects: Fred Jackman, Byron Haskin and H. F. Koene- kamp. Photography: Hal Mohr. n-> George Marshall, director. Screen Play: Sam Heilman and Gladys Lehman. Additional Dialogue: Henry Johnson. Play: Charles T. Dazey. Musical Direction: Arthur L ange. Art Director: William Darling. Costumer: Wil- liam Lambert. Sound Engineer: W. D. Flick Photographer: L. W. O'Connell. I jSam Wood, director. George Selander, assistant direc- | tor. Story: James Kevin McGuinness. Screen Play: George S. Kaufman and Morrie Ryskind. Music and Lyrics: Herbert Stothart, Nacio Herb Brown, Arthur Freed, Kaper and Jurmann, Ned Washington. Dance Numbers: Chester Hale. Art Director: Cedric Gibbons. Associates: Ben Carre, Edwin B. Willis. Film Editor: William Le- Vanway. Costumer: Dolly Tree. Sound Engineer: Douglas Shearer. Photography: Merritt B. Ger- stad. , Richard Boleslawski, director. 6 I It Story: Based on original story by Bess Meredyth. Screen Play: Bess Meredyth and George Marion, Jr. Music: Alfred Newman. Art Director: Richard Day. Film Editor: Barbara McLean. Costumer: Arthur M. Levy. Sound Engineer: Paul Neal. Technical Adviser: Ar- mando Agnini. Photographer: Rudolph Mate. THE BOX OFFICE CHECK-UP OF 193 5 55 William Conselman BOX OFFICE CHAMPIONS From a certified audit by Motion Picture Herald A Connecticut 1931 Yankee SCREEN PLAY Box Office Champion, 1930-31 BUSINESS AND 1932 PLEASURE SCREEN PLAY* Box Office Champion for 1932 * In collaboration. HANDY ANDY 1934 SCREEN PLAY AND LYRICS Champion for August, 1934 1935 BRIGHT EYES With Shirley Temple SCREEN PLAY Box Office Champion for January, 1935 THE LITTLE COLONEL I 935 gQX Qffice Champion for March, 1935 DOUBTING THOMAS 1935 WILL ROGERS Box Office Champion for June, 1935 THE BOX OFFICE CHECK-UP OF 1935 56 O'! THE BOX OFFICE CHECK-UP OF 1935 57 George A. Hirliman announces for 1936-1937 8 ALL COLOR SPECIALS FOR MAJOR RELEASE (to be announced later) One completed — with Reginald Denny, Esther Ralston, Eleanor Hunt, Vince Barnett and Claudia Dell . . . Directed by Crane Wilbur 4 ALL COLOR SPANISH SPECIALS FOR TWENTIETH CENTURY -FOX One completed — starring Rosita Moreno . . . Directed by John Reinhardt 4 ALL COLOR SPANISH SPECIALS FOR MGM RELEASE 2 — with Jose Mojica 2- with All Star Casts 8 DETECTIVE MELODRAMAS STARRING CONRAD NAGEL WITH ELEANOR HUNT 1st — “Yellow Cargo” now in production 58 THE BOX OFFICE CHECK-UP OF 1935 SCENES FROM WARNERS' SHAKESPEAREAN FANTASY A MIDSUMMER NIGHT'S DREAM Scenes from one of the screen's most prodigious efforts, a translation into terms of the motion picture, of Max Reinhardt's spectacular stage production, "A Midsummer Night's Dream, with the original music of Mendelssohn. Co-directing with Mr. Reinhardt was William Dieterle. Cinematography was in charge of Hal Mohr. Principal players in a huge cast are James Cagney, Joe E. Brown, Dick Powell, Jean Muir, Victor Jory, Verree Teasdale, Hugh Herbert, Anita Louise, Frank McHugh, and Olivia de Haviland. THE BOX OFFICE CHECK-UP OF 1935 59 HORSE-OPRY WITH SINGIN': NOTING A REVIVAL C] Used to be just ridin', shootin', fightin'. Now music adds new zest to Westerns by LINDSLEY PARSONS NOVELTY has often bolstered fading box offices in the past, and it was novelty this year that caused the lowly "horse opry" to come back to the screen in a veritable blaze of glory. The three prime essentials of a good Western used to be riding, shooting and fighting. It was the addition of a fourth element that caused the Western revival — this element was music. For the past seven years "hillbilly" and cowboy music has swept the country through phonograph records and the radio. No radio repertoire, from the mighty chains down to the smallest one-lung sta- tion, has been complete without at least a half-hour of hillbillies and cowboy sing- ers, and some have even featured two or three of these groups. One cowboy radio and recording star is said to have outsold the country's best known crooner on phono- graph records by a ratio of three-to-one. Yet this prolific field of entertainment was unplumbed by motion pictures until the past year, when the inclusion of cow- boy and hillbilly music raised the Westerns to new heights, bringing an average 25 per cent increase in Western theatre grosses, and causing many major companies to enter a field which had become the al- most exclusive property of independent producers. Even the titles of popular cowboy songs have proved a distinct asset when attached to pictures, and several companies have done so with considerable success. Among pictures to fall in this category are Para- mount's "The Last Roundup" and "Wagon Wheels," Republic's "Tumbling Tumble- weeds," and Warners "Moonlight on the Prairie." In other cases the pictures have served to popularize the song, as in the case of Republic's "Westward Ho." The turning tide of popularity has caused an increase in Westerns of the "epic" variety, along the lines of that all-time favorite, "Cimarron." Among these pic- tures are MGM's "Robin Hood of E! THE BOX OFFICE CHECK-UP Dorado" and Paramounf's "Buffalo Bill." One of the biggest of the pictures which fall definitely into the new musical West- ern class will be Paramount's "Rhythm of the Range," with Bing Crosby; while Wheeler and Woolsey are to star in a musical comedy with a Western setting, called "The Wild West." The fact that exhibitors report a 25 per cent advance in revenue on Westerns de- spite the large increase in the number of Western series on the market, indicates that Westerns as a whole, are probably bringing in at least 100 per cent more revenue than they have grossed at any time since the silent days when they were so popular. A series which has definitely reflected the new trend in Westerns is the Republic group starring Gene Autry, radio enter- tainer and recording artist. Autry, with only three pictures on the market, is near- ing top place among the Western stars, in exhibitor and audience popularity. A recent survey by Republic Pictures, which polled the reaction of fhe first 200 ex- hibitors to play the Autry pictures, showed that they have won approval of general Western audiences, and in addition, through the musical element, have brought in patrons who do not ordinarily go to see Western pictures. In addition to the Autry's, three new series of major Westerns, and approxi- mately eight series of independent pro- ductions, have been placed on the market. The major series are Paramount's "Hopa- long Cassidy's," made in addition to the regular Zane Greys; Warner's Dick Foran series, and Columbia's series starring Chari es Starrett. Republic is also con- tinuing with the John Wayne series, which is now filmed against historical back- grounds with a number of songs in each picture. Among the independents, Supreme Pic- tures has launched a series with Johnny Mack Brown, in addition to its Bob Steeles; while Jack Perrin and Bill Cody have re- turned to the market in other series. Puritan Pictures is also releasing a Tim McCoy series. The average life of a star in Hollywood is about five years, but Western stars ordi- narily enjoy their popularity for about ten. The income of a Western star who man- ages to achieve a definite place in audi- ence popularity is considerably smaller than that of the featured box office celebrities, but his future is much more secure as long as he manages to remain constantly on the screen, not allowed to be forgotten. If a Western star leaves the screen for only a few years, the road back to popu- larity is a difficult one. The increasing demand for Westerns probably reflects returning prosperity in the rural sections, as Saturday night in the farming communities always has been pre- ferred time for these pictures. In fact, where Westerns are wanted at all, the de- mand is so great that exchanges are gen- erally able to make them carry the load for two or three features, so that it is al- most impossible to determine just how much the action pictures would actually gross on their own. BIGGEST MONEY-MAKING WESTERN STARS BUCK JONES . . 104% GEORGE O'BRIEN 100% HOOT GIBSON . 51% TIM McCOY. . . 28% KEN MAYNARD . 27% JOHN WAYNE. . 26% BOB STEELE . . . 6% T O M M I X . . . . 3% GENE AUTRY . . 2% TOM TYLER .. . 2% These rankings are based on the poll of exhibitors naming "The Biggest Money- Making Stars of 1934-35." Complete results of which appear on pages 84-85. 60 OF 19 3 5 SEAS ONS GREETINGS from William Boyd Jimmy Ellison HOWARD BRETHERTON, Director and the producers of CLARENCE E. MULFORD'S "HOPALONC CASSIDY" series PARAMOUNT RELEASE WESTERN PICTURES CORPORATION NICHOLAS S. LUDINGTON WILLIAM M. L. FISKE HARRY SHERMAN PRODUCTIONS, Inc, HARRY SHERMAN GEORGE GREEN THE BOX OFFICE CHECK-UP OF 1935 61 IT’S GOOD SENSE TO PLAY THE FAVORITE! Again this year’s check-up at the Box-Office finds Leo at the front — by a wide margin. This magazine lists all the industry’s Box-Office Champions from 1930 up to June of 1935. Out of a total of 7Q Box-Office Champs listed , M-G-M has 21 and the nearest coTYipctitov has 13. That doesn t even cover the second half of 1935 which included such hits as “China Seas”, “Broadway Melody of 1936”, “Mutiny on the Bounty”, “A Tale of Two Cities”, “A Night at the Opera” and others. "AND THE FUTURE LOOKS VERY M-G-M! For instance: RIFFRAFF with Jean Harlow; WHIPSAW with Myrna Loy; SMALL TOWN GIRL with Janet Gaynor; TARZAN ESCAPES with Johnny Weissmuller; THE GREAT Z1EGFELD with William Powell, Myrna Loy, Luise Rainer; ROSE MARIE with Jeanette MacDonald Eddy; WIFE VS. SECRETARY with Clark Gable, Jean Harlow, Myrna Loy; ROBIN HOOD OF ELDORADO with Warner Baxter; GORGEOUS HUSSY with Joan Crawford; ROMEO AND JULIET with Norma Shearer, Leslie Howard; THE GOOD EARTH with Paul Muni, Luise Rainer. a 62 THE BOX OFFICE CHECK-UP OF 1935 BOX OFFICE CHAMPIONS: ANNUAL CHAMPIONS OF 1930-1931: Motion picture year, September 1 , 1 930 to August 31, 1931. CIMARRON RKO Radio REDUCING M G M HELL'S ANGELS United Artists DADDY LONG LEGS Fox TRADER HORN M G M THE MAN WHO CAME BACK Fox CHECK AND DOUBLE CHECK RKO Radio POLITICS MGM CITY LIGHTS United Artists MOROCCO Paramount MIN AND BILL M G M A CONNECTICUT YANKEE Fox LITTLE CAESER Warner Brothers ANIMAL CRACKERS Paramount STRANGERS MAY KISS M G M • CHAMPIONS OF 1932: Calendar year, from January 1 to December 31. GRAND HOTEL M G M SHANGHAI EXPRESS Paramount EMMA M G M ARROWSMITH United Artists DR. JEKYLL AND MR. HYDE Paramount SHOPWORN Columbia MATA HARI M G M ‘ BUSINESS AND PLEASURE Fox DELICIOUS Fox TARZAN THE APE MAN M-G-M THE MAN WHO PLAYED GOD Warner Brothers BRING 'EM BACK ALIVE RKO Radio HELL DIVERS M G M FRANKENSTEIN Universal ONE HOUR WITH YOU Paramount • CHAMPIONS OF 19 3 3: Calendar year, from January 1 to December 31. I'M NO ANGEL Paramount STATE FAIR Fox CAVALCADE Fox MAEDCHEN IN UNIFORM Krimsky & Cochran GOLD DIGGERS OF 1933 Warner Brothers RASPUTIN AND THE EMPRESS MGM LITTLE WOMEN RKO Radio ANIMAL KINGDOM RKO Radio 42 ND STREET Warner Brothers THE KID FROM SPAIN United Artists BE MINE TONIGHT Universal PRIVATE LIFE OF HENRY VIII United Artists TUGBOAT ANNIE M G M • CHAMPIONS OF 1 9 3 4: Calendar year, from January 1 to December 31. THE HOUSE OF ROTHSCHILD United Artists JUDGE PRIEST Fox IT HAPPENED ONE NIGHT Columbia SONS OF THE DESSERT MGM WONDER BAR First National THE BARRETTS OF WIMPOLE STREET MGM ROMAN SCANDALS United Artists QUEEN CHRISTINA MGM ONE NIGHT OF LOVE Columbia GIRL OF THE LIMBERLOST Monogram THE GAY DIVORCEE RKO Radio DESIGN FOR LIVING Paramount DINNER AT EIGHT M G M SHE LOVES ME NOT Paramount BELLE OF THE NINETIES Paramount FLYING DOWN TO RIO RKO Radio RIPTIDE M G M THE LOST PATROL RKO Radio LITTLE WOMEN RKO Radio SON OF KONG RKO Radio DAMES Warner Brothers KENTUCKY KERNELS RKO Radio CHAINED M G M • CHAMPIONS FOR FIRST HALF OF 19 35: January 1 to June 30 ROBERTA RKO Radio LIFE BEGINS AT 40 Fox DAVID COPPERFIELD M G M G-MEN First National LES MISERABLES United Artists RUGGLES OF RED GAP Paramount LIVES OF A BENGAL LANCER Paramount GOIN' TO TOWN Paramount FORSAKING ALL OTHERS M G M THE LITTLE MINISTER RKO Radio NAUGHTY MARIETTA M G M MY HEART IS CALLING Gaumont-British BROADWAY BILL Columbia • THE BOX OFFICE CHECK-UP OF 1935 63 BOX OFFICE CHAMPIONS: MONTHLY «r MONTHLY CHAMPIONS ARE PICTURES GROSSING THE HIGHEST AMOUNT IN ANY ONE WEEK DURING THE SPECIFIC MONTHS INDICATED. RANKINGS ARE BASED ON BOX OFFICE FIGURES PUBLISHED IN MOTION PICTURE HERALD CHAMPIONS FOR OCTOBER 1931 CHAMPIONS FOR APRIL 19 3 2 THE SPIRIT OF NOTRE DAME Universal TARZAN THE APE MAN M G M PALMY DAYS United Artists ONE HOUR WITH YOU Paramount SUSAN LENOX M G M ALIAS THE DOCTOR Warner Brothers FIVE STAR FINAL Warner Brothers THE CROWD ROARS Warner Brothers MONKEY BUSINESS Paramount GIRL CRAZY RKO Radio ALEXANDER HAMILTON Warner Brothers IT'S TOUGH TO BE FAMOUS Warner Brothers • FIREMAN SAVE MY CHILD Warner Brothers CHAMPIONS FOR NOVEMBER 193 1 • POSSESSED M G M SIN OF MADELON CLAUDET M G M CHAMPIONS FOR MAY 19 3 2 TOUCHDOWN Paramount GRAND HOTEL M G M ARE THESE OUR CHILDREN? RKO Radio LETTY LYNTON M G M FIVE STAR FINAL Warner Brothers THE RICH ARE ALWAYS WITH US Warner Brothers AMBASSADOR BILL Fox SCARFACE United Artists CUBAN LOVE SONG M G M STATE'S ATTORNEY RKO Radio • THE MIRACLE MAN Paramount CHAMPIONS FOR DECEMBER 1931 • FRANKENSTEIN POSSESSED Universal M G M CHAMPIONS FOR JUNE 19 3 2 DELICIOUS Fox AS YOU DESIRE ME M G M SOOKY Paramount THE TENDERFOOT Warner Brothers THE CHAMP M G M TRIAL OF VIVIENNE WARE Fox PRIVATE LIVES M G M MERRILY WE GO TO HELL Paramount TWO SECONDS Warner Brothers • LETTY LYNTON M G M CHAMPIONS FOR HUDDLE M G M JANUARY 1932 GRAND HOTEL M G M EMMA M G M RED HEADED WOMAN M G M HELL DIVERS M G M WESTWARD PASSAGE RKO Radio DR. JEKYLL AND MR. HYDE Paramount STATE'S ATTORNEY RKO Radio MATA HARI M G M DELICIOUS Fox • UNION DEPOT Warner Brothers • CHAMPIONS FOR JULY 19 3 2 BRING 'EM BACK ALIVE RKO Radio CHAMPIONS FOR FEBRUARY 1932 REBECCA OF SUNNYBROOK FARM Fox HELL DIVERS M G M WHAT PRICE HOLLYWOOD? RKO Radio EMMA M G M WINNER TAKE ALL Warner Brothers ARROWSMITH United Artists MILLION DOLLAR LEGS Paramount LADY WITH A PAST RKO Pathe MAKE ME A STAR Paramount HIGH PRESSURE Warner Brothers THE MAN WHO PLAYED GOD Warner Brothers • • CHAMPIONS FOR AUGUST 1932 CHAMPIONS FOR MARCH 1932 HORSEFEATHERS Paramount ONE HOUR WITH YOU Paramount THE FIRST YEAR Fox THE LOST SQUADRON RKO Radio GUILTY AS HELL Paramount SHANGHAI EXPRESS Paramount BRING 'EM BACK ALIVE RKO Radio THE MAN WHO PLAYED GOD Warner Brothers AMERICAN MADNESS Columbia LADY WITH A PAST RKO Pathe DOCTOR X Warner Brothers TARZAN THE APE MAN M G M SPEAK EASILY M G M FIREMAN SAVE MY CHILD Warner Brothers JEWEL ROBBERY vVarner Brothers 64 THE BOX OFFICE CHECK-UP OF 1935 ^ rt CHN o^vC* Jtfv o^s ^4!S§*"L Vgg^ •^^000 * *c' ' ' *o*iGV°,‘ ^ * ■•ss^^r^ss*- ro0n&' -**** **E ,M^e >M'° #** iVl eW° ,.G o\^vV"' "STATES ATTORNEY" (RADIO) . . . MAY, JUNE, 1932 "WESTWARD PASSAGE" (RADIO) . . . JUNE, 1932 "WHAT PRICE HOLLYWOOD" (RADIO) . . , JULY, 1932 "BIRD OF PARADISE" (RADIO) . . . SEPTEMBER, 1932 "A BILL OF DIVORCEMENT" (RADIO) . . . OCTOBER, 1932 "THE CONQUERORS" (RADIO) . . . NOVEMBER, DECEMBER, 1932 "ROCKABYE" (RADIO) . . . DECEMBER, 1932 "ANIMAL KINGDOM" (RADIO) . . . JANUARY, 1932 SEMI-ANNUAL AND ANNUAL, 1933 "NIGHT FLIGHT" ( MGM ) . . . OCTOBER, 1933 "DINNER AT EIGHT" (MGM) . . . OCTOBER, 1933; JANUARY, 1934 SEMI-ANNUAL AND ANNUAL, 1934 "DANCING LADY" (MGM) . . . JANUARY, 1934 SEMI-ANNUAL, 1934 "VIVA VILLA" (MGM) MAY, 1934 "MANHATTAN MELODRAMA" (MGM) . . . MAY, 1934 "DAVID COPPERFIELD" (MGM) . . . FEBRUARY, 1935 SEMI-ANNUAL, 1935 "RECKLESS" (MGM) . . . APRIL, 1935 "ANNA KARENINA" (MGM) SEPTEMBER, 1935 and in 1935 For the Second Successive Year More box-office champions than any other Producer. Qoming A SELZNICK INTERNATIONAL PRODUCTION "LITTLE LORD FAUNTLEROY" PRODUCED BY DAVID 0. SELZNICK Me tro- Goldwyn-71/ayer THE BOX OFFICE CHECK-UP OF 1935 65 BOX OFFICE CHAMPIONS: MONTHLY [continued] CHAMPIONS FOR GRAND HOTEL 70,000 WITNESSES BIRD OF PARADISE BACK STREET LOVE ME TONIGHT TIGER SHARK SEPTEMBER 1932 M G M Paramount RKO Radio Universal Paramount Warner Brothers CHAMPIONS FOR SMILIN' THROUGH THE PHANTOM PRESIDENT A BILL OF DIVORCEMENT HAT CHECK GIRL CABIN IN THE COTTON GRAND HOTEL MOVIE CRAZY STRANGE INTERLUDE THE BIG BROADCAST OCTOBER 1932 M G M Paramount RKO Radio Fox Warner Brothers M G M Paramount M G M Paramount CHAMPIONS FOR NOVEMBER 1932 RED DUST M G M PROSPERITY MGM I AM A FUGITIVE FROM A CHAIN GANG Warner Brothers ONCE IN A LIFETIME Universal THE CONQUERORS RKO Radio TROUBLE IN PARADISE Paramount TOO BUSY TO WORK Fox WASHINGTON MERRY-GO-ROUND Columbia CHAMPIONS FOR PROSPERITY CALL HER SAVAGE ROCKABYE IF I HAD A MILLION THE CONQUERORS SILVER DOLLAR STRANGE INTERLUDE YOU SAID A MOUTHFUL DECEMBER 1932 MGM Fox RKO Radio Paramount RKO Radio Warner Brothers MGM Warner Brothers CHAMPIONS FOR JANUARY 1933 STRANGE INTERLUDE ANIMAL KINGDOM A FAREWELL TO ARMS SILVER DOLLAR THE KID FROM SPAIN SIGN OF THE CROSS THEY JUST HAD TO GET MARRIED MGM RKO Radio Paramount Warner Brothers United Artists Paramount Universal CHAMPIONS FOR CAVALCADE SIGN OF THE CROSS STATE FAIR THE KID FROM SPAIN HARD TO HANDLE THE KING’S VACATION FEBRUARY 1933 Fox Paramount Fox United Artists Warner Brothers Warner Brothers • CHAMPIONS FOR MARCH 1933 42ND STREET Warner Brothers CAVALCADE Fox RASPUTIN AND THE EMPRESS STATE FAIR CLEAR ALL WIRES KING KONG CHAMPIONS FOR KING KONG CAVALCADE 42ND STREET THE WHITE SISTER A BEDTIME STORY GABRIEL OVER THE WHITE MGM Fox MGM RKO Radio APRIL 1933 RKO Radio Fox Warner Brothers MGM Paramount HOUSE MGM CHAMPIONS FOR THE WORKING MAN HELL BELOW LOOKING FORWARD TODAY WE LIVE OUT ALL NIGHT BE MINE TONIGHT PICTURE SNATCHER CHAMPIONS FOR GOLD DIGGERS OF 1933 BE MINE TONIGHT ADORABLE I COVER THE WATERFRONT REUNION IN VIENNA INTERNATIONAL HOUSE CHAMPIONS FOR GOLD DIGGERS OF 1933 HOLD YOUR MAN THE MAYOR OF HELL WHEN LADIES MEET COLLEGE HUMOR BE MINE TONIGHT CHAMPIONS FOR TUGBOAT ANNIE SONG OF SONGS MOONLIGHT AND PRETZELS DOUBLE HARNESS GOLD DIGGERS OF 1933 MAMA LOVES PAPA DON'T BET ON LOVE VOLTAIRE MAY 1933 Warner Brothers MGM MGM MGM Universal Universal Warner Brothers JUNE 1933 Warner Brothers Universal Fox United Artists MGM Paramount JULY 1933 Warner Brothers MGM Warner Brothers MGM Paramount Universal AUGUST 1933 MGM Paramount Universal RKO Radio Warner Brothers Paramount Universal Warner Brothers CHAMPIONS FOR SEPTEMBER 19 3 3 TUGBOAT ANNIE MORNING GLORY PENTHOUSE THE MASQUERADER CAPTURED LADY FOR A DAY PADDY THE NEXT BEST THING MGM RKO Radio MGM United Artists Warner Brothers Columbia Fox 66 THE BOX OFFICE CHECK-UP OF 1935 PRODUCTIONS "ROBERTA" A BOX OFFICE CHAMPION FOR FIRST SIX MONTHS, 1935 RKO "ORCHIDS TO YOU" FOX "IN PERSON" WITH GINGER ROGERS - GEORGE BRENT RKO "IF YOU COULD ONLY COOK" WITH JEAN ARTHUR - HERBERT MARSHALL THE BOX OFFICE CHECK-UP OF 1935 67 BOX OFFICE CHAMPIONS: MONTHLY [continued! CHAMPIONS FOR THE BOWERY I'M NO ANGEL TOO MUCH HARMONY DINNER AT EIGHT NIGHT FLIGHT LADY FOR A DAY THE POWER AND THE GLORY OCTOBER 1933 United Artists Paramount Paramount M G M M G M Columbia Fox CHAMPIONS FOR NOVEMBER 1933 I'M NO ANGEL FOOTLIGHT PARADE HER SWEETHEART, CHRISTOPHER BEAN PRIVATE LIFE OF HENRY VIII KENNEL MURDED CASE HOOPLA LITTLE WOMEN Paramount Warner Brothers M G M United Artists Warner Brothers Fox RKO Radio THE HOUSE OF ROTHSCHILD United Artists IT HAPPENED ONE NIGHT Columbia GEORGE WHITE'S SCANDALS Fox MEN IN WHITE M G M WILD CARGO RKO Radio CHAMPIONS FOR MAY 1934 THE HOUSE OF ROTHSCHILD United Artists VIVA VILLA MGM STAND UP AND CHEER Fox WE'RE NOT DRESSING Paramount TWENTIETH CENTURY Columbia MANHATTAN MELODRAMA MGM COUNTESS OF MONTE CRISTO Universal CHAMPIONS FOR LITTLE WOMEN DANCING LADY ALICE IN WONDERLAND ROMAN SCANDALS MY LIPS BETRAY ONLY YESTERDAY DECEMBER 1933 RKO Radio MGM Paramount United Artists Fox Universal CHAMPIONS FOR MANY HAPPY RETURNS THE THIN MAN LITTLE MISS MARKER LITTLE MAN, WHAT NOW? OPERATOR 13 GLAMOUR SMARTY JUNE 1934 Paramount MGM Paramount Universal MGM Universal Warner Brothers CHAMPIONS FOR DINNER AT EIGHT FLYING DOWN TO RIO DESIGN FOR LIVING ROMAN SCANDALS DANCING LADY BY CANDLELIGHT JANUARY 1934 MGM RKO Radio Paramount United Artists MGM Universal CHAMPIONS FOR AUGUST 1934 TREASURE ISLAND HANDY ANDY DAMES SHE LOVES ME NOT DOWN TO THEIR LAST YACHT THE OLD FASHIONED WAY WHOM THE GODS DESTROY HERE COMES THE NAVY FRIENDS OF MR. SWEENEY MGM Fox Warner Brothers Paramount RKO Radio Paramount Columbia Warner Brothers Warner Brothers CHAMPIONS FOR CAROLINA QUEEN CHRISTINA MOULIN ROUGE IT HAPPENED ONE NIGHT THE CAT AND THE FIDDLE FASHIONS OF 1934 • CHAMPIONS FOR IT HAPPENED ONE NIGHT DEATH TAKES A HOLIDAY SPITFIRE DAVID HARUM QUEEN CHRISTINA PALOOKA • CHAMPIONS FOR RIPTIDE WONDER BAR MELODY IN SPRING FEBRUARY 1934 Fox MGM United Artists Columbia MGM Warner Brothers MARCH 1934 Columbia Paramount RKO Radio Fox MGM United Artists APRIL 1934 MGM Warner Brothers Paramount CHAMPIONS FOR BELLE OF THE NINETIES CHAINED DAMES HIDEOUT ONE NIGHT OF LOVE THE CAT’S PAW THE FOUNTAIN THE AFFAIRS OF CELLINI BRITISH AGENT NOW AND FOREVER SEPTEMBER 1934 Paramount MGM Warner Brothers MGM Columbia Fox RKO Radio United Artists Warner Brothers Paramount CHAMPIONS FOR OCTOBER 1934 THE BARRETTS OF WIMPOLE STREET JUDGE PRIEST THE GAY DIVORCEE THE COUNT OF MONTE CRISTO ONE NIGHT OF LOVE SIX DAY BIKE RIDER THE LAST GENTLEMAN MGM Fox RKO Radio United Artists Columbia Warner Brothers United Artists 68 THE BOX OFFICE CHECK-UP OF 1935 WESLEY RUCCLES DIRECTED 6 Box Office Champions • CIMARRON A CHAMPION FOR 1930-1931 • ARE THESE OUR CHILDREN A CHAMPION FOR NOV., 1931 • COLLEGE HUMOR A CHAMPION FOR JULY, 1933 • I'M NO ANGEL A CHAMPION FOR 1933 • THE GILDED LILY A CHAMPION FOR FEB.,. 1935 • ACCENT ON YOUTH A CHAMPION FOR AUG., 1935 CURRENT RELEASE THE BRIDE COMES HOME WITH CLAUDETTE COLBERT PARAMOUNT PRODUCTIONS THE BOX OFFICE CHECK-UP OF 1935 69 BOX OFFICE CHAMPIONS: MONTHLY [continued] CHAMPIONS FOR NOVEMBER 1934 THE MERRY WIDOW ONE NIGHT OF LOVE THE GAY DIVORCEE THE WHITE PARADE KID MILLIONS LADY BY CHOICE MRS. WIGGS OF THE CABBAGE PATCH M G M Columbia RKO Radio Fox United Artists Columbia Paramount CHAMPIONS FOR FLIRTATION WALK BRIGHT EYES BABES IN TOYLAND COLLEGE RHYTHM ANNE OF GREEN GABLES THE PAINTED VEIL DECEMBER 1934 Warner Brothers Fox M G M Paramount RKO Radio M G M CHAMPIONS FOR JANUARY 1935 FORSAKING ALL OTHERS M G M THE LITTLE MINISTER RKO Radio BROADWAY BILL Columbia THE COUNTY CHAIRMAN Fox BRIGHT EYES Fox LIVES OF A BENGAL LANCER Paramount THE BRIDE OF FRANKENSTEIN OUR LITTLE GIRL Universal Fox CHAMPIONS FOR JUNE NO MORE LADIES OIL FOR THE LAMPS OF CHINA DOUBTING THOMAS BECKY SHARP LES MISERABLES UNDER THE PAMPAS MOON PUBLIC HERO NO. I THE GLASS KEY BREAK OF HEARTS 19 3 5 M G M Warner Brothers Fox RKO Radio United Artists Fox M G M Paramount RKO Radio CHAMPIONS FOR LOVE ME FOREVER BECKY SHARP CURLY TOP ESCAPE ME NEVER BROADWAY GONDOLIER FRONT PAGE WOMAN NO MORE LADIES THE RAVEN JULY 1935 Columbia RKO Radio Fox United Artists Warner Brothers Warner Brothers M G M Universal CHAMPIONS FOR DAVID COPPERFIELD LIVES OF A BENGAL LANCER THE WOMAN IN RED THE SCARLET PIMPERNEL SWEET MUSIC THE GILDED LILY THE GOOD FAIRY FEBRUARY 1935 M G M Paramount Warner Brothers United Artists Warner Brothers Paramount Universal CHAMPIONS FOR MARCH ROBERTA RUGGLES OF RED GAP THE LITTLE COLONEL THE SCARLET PIMPERNEL FOLIES BERGERE THE WHOLE TOWN'S TALKING WEST POINT OF THE AIR SEQUOIA 19 3 5 RKO Radio Paramount Fox United Artists United Artists Columbia M G M M G M CHAMPIONS FOR APRIL ROBERTA LIFE BEGINS AT 40 NAUGHTY MARIETTA MISSISSIPPI GOLD DIGGERS OF 1935 RECKLESS THE BRIDE OF FRANKENSTEIN 19 3 5 RKO Radio Fox M G M Paramount Warner Brothers M G M Universal CHAMPIONS FOR MAY G-MEN NAUGHTY MARIETTA GOIN' TO TOWN LES MISERABLES 9 3 5 Warner Brothers M G M Paramount United Artists CHAMPIONS FOR CURLY TOP CHINA SEAS BROADWAY GONDOLIER ACCENT ON YOUTH ALICE ADAMS THE IRISH IN US AUGUST 1935 Fox M G M Warner Brothers Paramount RKO Radio Warner Brothers CHAMPIONS FOR SEPTEMBER 1935 TOP HAT STEAMBOAT ROUND THE BEND ANNA KARENINA CHINA SEAS DIAMOND JIM THE BIG BROADCAST OF 1936 THE DARK ANGEL THE CALL OF THE WILD RKO Radio Fox M G M M G M Universal Paramount United Artists United Artists CHAMPIONS FOR BROADWAY MELODY OF 1936 BARBARY COAST SHE MARRIED HER BOSS SHIPMATES FOREVER I LIVE MY LIFE TOP HAT OCTOBER 1935 M G M United Artists Columbia Warner Brothers M G M RKO Radio CHAMPIONS FOR N MUTINY ON THE BOUNTY THANKS A MILLION THE CRUSADES A MIDSUMMER NIGHT'S DREAM IN OLD KENTUCKY A NIGHT AT THE OPERA METROPOLITAN OVEMBER 1935 M G M 20th Century - Fox Paramount Warner Brothers Fox M G M 20th Century - Fox 70 THE BOX OFFICE CHECK-UP OF 1935 THE EXHIBITOR WRITES HIS OWN REVIEWS t] They tell what their patrons want in "What the Picture Did for Me" by ERNEST A. ROVELSTAD THE verdict on product as handed down from the bench by the inde- pendent theatre owner in the "What the Picture Did for Me" department of Motion Picture HeraldHs not necessarily the same story as is told by the Box Office Champions." Many of the exhibitor-reporters to "What the Picture Did for Me" know most of their patrons by name, meet them at the door with a handclasp when they come in, and expect them to stop at the box office on the way out and report their re- actions, and indeed those reactions are translated into words with the utmost frankness, yet in characteristically Ameri- can fairness, with praise for the well-re- ceived picture, forthright criticism of the other kind. So, too, the independent exhibitor has his own convictions and he writes precisely what he thinks, recording both the oral expressions from his patronage and the re- flections of the numbers written into the account book after the receipts have been counted. Analysis of reports to "What the Pic- ture Did for Me" reveals certain majority opinions of the exhibitors who write it. Among them are these: Motion pictures must have action. The comment from the days of the silent pic- ture differed not a whit from the opinion in these days of sound. Too much dia- logue, in the titles of soundless times, was as roundly scored as is an overbalancing of the spoken word today. The socalled "costume picture," some- times deplored in general by an exhibitor, was found to be well received when the production was well made. This resolved into a conclusion that "costumes" had little if anything to do with the case. The value of "prestige" pictures is gen- erally recognized. Freguently exhibitors reported that, while a given production was met with a loss at the box office, they were happy that they had played it be- cause of its influence as institutional screen fare. There is a definite demand for the west- ern or outdoor picture. Titles must truly describe the produc- tions. One of the most frequently noted subjects of comment was the title of the picture. "Down-to-earth" subject matter and player characterizations bring the best "box office." That conviction of the inde- pendent exhibitor, drawn from the number of tickets he has sold, is reflected also in the fact that the topmost ranking players in The Biggest Money Making Stars year after year since that Herald survey of the independent field was inaugurated for the season of 1931-32 won their place on the screen essentially in "down-to-earth" pro- ductions— Marie Dressier, Will Rogers, and now Shirley Temple. The independent showman likes color as well as does his neighbor — provided the picture satisfied his customers in its other ingredients. Color does not make an in- ferior picture good, but it does make a good picture better, in his opinion. Often found in reports to "What the Picture Did for Me" is the comment that the exhibitor from experience is wary of the "spectacle" type of production, but when the picture establishes itself as well- made, that wariness gives way to enthusi- astic reception. The phrase "foreign product," similar to the "costume picture," vanishes as a class- ification of product when the product is good. Recent years have brought out a number instances of enthusiastic reports on foreign productions, with the elevation of production standards. Again the value of the film as entertainment is the deter- minant, not the country of origin. Exhibi- tors do protest, however, against dialogue not easily understood and particularly against un-American pronunciations. Psychoanalysis as a motion picture theme is not for the audience of the inde- pendent theatre at large, particularly in the smaller cities, and the lesser commu- nities. "Arty" pictures have no place in the scheme of things cinematic, says the inde- pendent exhibitor, an opinion matched by large circuit owners and managers, as at- tested by their comment in a recent issue of the Herald. These are not to be con- fused with the socalled "classic" produc- tions and high standard pictures which in the past year or two have been universally acclaimed as a long forward step in the function of the motion picture. To be emphasized is the fact that the exhibitors reporting to "What the Picture Did for Me" are independent showmen, recording in the columns of the depart- ment their independent views on product, in the terms of the box office, which in- deed is exactly what the title of the de- partment signifies. In order that that ex- pression may be without influence from any extraneous source, the constantly growing list of reporters is limited strictly to the- atres without any affiliations with pro- ducers or distributors. When an exhibitor offers his first contribution of reports the fact of his complete independence of opinion is established before they are printed. Then blanks specially prepared for his convenience are sent him. There is no "editing" of phraseology of the reports. When the exhibitors wanders far afield from the subject, which is "what the picture did" for him, he is advised that columns are available to him in other parts of the Herald for comment on other matters. Nor does the type of comment show any great variance as the years march past. Reading at random from the department in the files of 1918, when "What the Pic- ture Did for Me" started in Exhibitors Herald and Motography, one notes such comment as this: "What we want is more of the lighter comedy and comedy-dramas at these times." Another exhibitor wrote of William S. Hart’s "The Narrow Trail": "Westerns go good if they're real west- tern." Another of Pauline Frederick's "Madame Jealousy," called it "an alle- gorical picture which only educated per- [TURN TO PAGE 145] THE BOX OFFICE CHECK-UP OF 1935 73 HOWARD HAWKS HAWKS-VOLCK CORPORATION are proud to announce that all HOWARD HAWKS PRODUCTIONS since 19 3 2 are BOX OFFICE CHAMPIONS ✓ "THE CROWD ROARS" (A Champion for May, 1932) " S C A R F A C E " (A Champion for May, 1932) "TIGER SHARK" (A Champion for September, 1932) "TODAY WE LIVE" (A Champion for May, 1933) "TWENTIETH CENTURY" (A Champion for May, 1934) "BARBARY COAST" (A Champion for October, 1935) JUST COMPLETED "CEILINC ZERO" For Warner Bros. IN PREPARATION "WOODEN CROSSES" with Fredric March For 20th Century-Fox 74 THE BOX OFFICE CHECK-UP OF 1935 A gay extravaganza in the modern pattern, charged with music, dancing and ingenious settings, is the production with which RKO Radio started off its 1935-36 program. "Top Hat" — here represented by a scene with Fred Astaire and Ginger Rogers — was produced by Pandro S. Berman and directed by Mark Sandrich. It has songs by Irving Berlin. The screen play is by Dwight Taylor and Allan Scott, fashioned from a story by Dwight Taylor. Cinematography by David Abel. Musical director, Max Steiner. Photographic effects, Vernon Walker. Art director, Van Nest Polglase; associate, Carroll Clark. Editing, William Hamilton. Cast: Fred Astaire, Ginger Rogers, Edward Everett Horton, Helen Broderick, Erik Rhodes, Eric Blore. The ensembles are by Hermes Pan. THE BOX OFFICE CHECK-UP OF 1935 75 STILL PHOTOGRAPHY BY JOHN MIEHLE THE THREE MUSKETEERS £ A scene with Murray Kinnell and Heather Angel from the RKO Radio production which again brought the Dumas classic to the screen, its D'Artagnan fully articulate at last. The direction is by Rowland V. Lee. Associate producer, Cliff Reid. Production associate, Robert Sisk. Screen play by Dudley Nichols and Rowland V. Lee. Cinematographer, Peverell Marley. Art director, Van Nest Polglase. Edited by George Hively. Assistant director, Edward Donahoe. Cast: Walter Abel, Paul Lukas, Margot Grahame, Heather Angel, Murray Kinnell, Ian Keith, Nigel de Brulier, Moroni Olsen, Onslow Stevens and Rosamond Pinchot. 76 THE BOX OFFICE CHECK-UP OF 1935 STEAMBOAT ROUND • THE BEND • A character and a scenic study from the Fox picture, "Steamboat Round the Bend," which is a 1935-36 Will Rogers picture, showing Irvin S. Cobb of story-writing fame as Captain Eli, and his good ship, the Pride of Paducah. Sol M. Wurtzel is the producer of "Steamboat Round the Bend." The director is John Ford. Screen play by Dudley Nichols and Lamar Trotti from a novel by Ben Lucien Berman. Cinematographer, George Schneiderman. Cast: Will Rogers, Anne Shirley, Irvin S. Cobb, Eugene Pallette, Francis Ford, and Hobart Bosworth. if * THE BOX OFFICE CHECK-UP OF 1935 77 "MAGNIFICENT OBSESSION" Carl Laemmle presents Irene Dunne and Robert Taylor in John M. Stahl's Production of the read- by-millions novel by Lloyd C. Douglas. With Charles Butter- worth, Betty Furness, Ralph Morgan, Sara Haden and Henry Armetta. Screenplay by George O’Neil, Sarah Y Mason and Victor Heerman. "NEXT TIME WE LOVE" Ursula Parrott’s newest best-seller, "Next Time We Live," starring Margaret Sullavan; with James Stewart, Ray Milland, Grant Mitchell, Robert McWade and DickieMoore. Directed by Edward H. Griffith. Screenplay by Melville Baker. A Paul Kohner Production presented by Carl Laemmle UNIVERSAL'S BOX OFFICE CF "SUTTER’S GOLD" Edward Arnold* and Lee Tracy asthe male stars in the epic drama of the man who first discovered gold in California. Based on the novel by Blaise Cendrars. An Edmund Grainger Production, dir- ected by JamesCruzeand presen- ted by Carl Laemmle. Screenplay by Jack Kirkland, Walter Woods. • * By arrangement with B. P Schulberg "SHOW BOAT" 1936 version of Edna Ferber's im- mortal classic. Starring Irene Dunne; with Charles Winninger, Paul Robeson and Helen Morgan. Screenplay and lyrics by Oscar Hammerstein, II. Music and new songs by Jerome Kern. A Carl Laemmle, Jr., Production. Directed by James Whale A M P I O N S HIGH POINTS IN THE SHORT SUBJECT OF 1935 Cl In music, color and novelty, it was a year of advancement for the short AMONG the innovations in the year 1935 in the field of short subjects, "The March of Time," not compet- ing with newsreels, established a reputa- tion for news interpretation and exposi- tion, and in events dramatically and the- atrically presented, achieved brilliant suc- cess. The year, as reflected by the product brought out, saw very definite steps for- ward in establishment of the very im- portant place and service which music can fill in the short feature. This was evidenced in the obvious field of the production whose primary function is to present mu- sical themes, but it was just as clearly mirrored in the telling applications of music as background. For example, the whimsical and humorous in instrumentation of either classical or original melody is now being applied as never before to the mo- tion picture to key the action or the dia- logue. No better illustration of this de- velopment is to be found in the realm of the comedy short feature than in the Pop- eye the Sailor cartoons of Paramount. In- deed, that has carried over into the radio presentation of Popeye as well. Then of course music has been an integral factor in the success of the Walt Disney animated color subjects. This use of music for interpretation also is emphasized in several directions in travel subjects, the relation being even reversed in the Musical Moods of Audio Produc- tions, subsidiary of Electrical Research Products, Inc., where the music theme be- comes uppermost and the visual settings become the accompaniment. Important, too, has been the advance- ment in the coloring of the short produc- tion with sprightly and witty narration, particularly of a topical nature. Of note is the Pete Smith chatter in MGM sub- jects; another example is the Lew Lehr dialect bit in Fox Movietone Newsreel. Among the cartoons, Mickey Mouse, with aid of Technicolor, became even live- lier still, and the Silly Symphonies merited marquee advertising everywhere. Other efforts along this line have had varying quality so far as technique, plots and in- THE BOX OFFICE CHECK-UP vention are concerned. Celebrity and the Harman-lsing productions ranked high for developing material very apt to become mediocre. But each of the efforts — Pop- eye's spinach, Betty Boop's Helen Kanish voice, and the Paul Terry-Toons — all have their devotees and are in demand, for they give feature-length excitement and hu- mor packed into a few minutes. In this line there were Universal's Os- wald, the MGM-Harman-lsing "Alias St. Nick," Celebrity's "Balloon Land," "Hump- ty Dumpty" and "Simple Simon," from RKO-Van Beuren, "Bird Scouts," and from Warner "The Little Dutch Plate." James PitzPatrick with his Travel-Talks has become a notable vital contributor to the art of travel picture production. His shorts are received with applause at their conclusion, proving that the public has an inborn appreciation of what is beautiful. In his "Beautiful Banff and Lake Louise," released by MGM, FitzPatrick was to be seen at his best. In this effort the pic- torial compositions, in natural color, were masterpieces. Travel pictures, indeed, seemed to in- crease in popularity. Among the outstand- ing pictures in the travel group were the Movietone Magic Carpets, "Argentine Argosy" and "West Indies Cruise"; and RKO-Radio's "The Land of Evangeline." Featurettes, such as Pathe Topics with their choice of material from various fields, made valuable additions to many pro- grams. In this line, "Strange As It Seems," "Adventures, of a Newsreel Cameraman," and "Going Places with Lowell Thomas," to name only a few, were notable. An innovation in 1935 which perhaps may be called questionable so far as the nature of the material is concerned, was the "Voice of Experience" productions. They had the advantage of a following built up by radio broadcasts, but the stories and cases involved were morbid. In sports, the Bill Corum productions, such as "Bugles From the Blue Grass" and "Gentlemen Sports," by RKO-Van Beuren, make for good entertainment. One of the best of the year was a Warner effort on badminton. It was perhaps the fastest thing in sport ever shown on a screen, and it fascinated audiences. With a fertile field always filled with new champions, this branch of shorts production has plenty of appealing material. There were a great many shorts of mu- sical nature made in 1935, and generally produced good entertainment. Some made an impression. Vaudeville acts in these ef- forts are seemingly lost on film. The year 1935 saw some that were made on a pat- tern resembling the modern musical stage productions, with the trend for satire marked. A few in this department were MGM's "Starlit Days at the Lido," Edu- cational's "Perfect Thirty Sixes" and "Rhythm of Paree," and "The Doorman's Opera" from the Warner Brothers Vita- phone studio. The public's increasing interest in musical short product has been noted in exhibitors' reports to "What the Picture Did for Me" department of Motion Picture Herald, both in commendatory comments on sub- jects played and in inquiries as to avail- ability of more such material. That the companies have recognized that demand is shown by the growing number of pro- ductions definitely attuned to that call in series classifications. Educational has the "Musical Comedies" grouping, the "Song and Comedy Hits," to say nothing of individual music subjects under other series listings. First Division distributes the "Musical Moods" already referred to, MGM the "Happy Harmonies" and "Musical Revues," Paramount the "Screen Songs" (but in addition many of the "Headliners" series are out-and-out music pictures), RKO Radio could cite the "Musicomedies," the "Musicals" and the "Radio Musical Comedies," Universal the "Cartune Classics" and the "Mentone Musical Comedies." Warner Brothers em- phasizes the ranking that melody has won on the screen with its "Looney Tunes" and "Melody Masters" and in many of the subjects of the series called the "Big Time Vaud eville Reel" and in the "Broadway Brevities." MGM's Laurel and Hardy comedies, with Mae Busch, Harry Langdon and the rest of the standbys, maintained their high position. In demand for good standard comedy, these Hal Roach productions are always certain of good reception. 80 OF 19 3 5 o the Box Office Champions of 1935 Our OompLiments . . . and to those Producers who presented them on CONSOLIDATED CERTIFIED PRINTS Our Gratitude... CONSOLIDATED FILM INDUSTRIES, INC. NEW YORK HOLLYWOOD 82 THE BOX OFFICE CHECK-UP OF 1935 THE BIGGEST MONEY MAKING STARS of 1934-35 CJ Independent exhibitors judge the box office ranking of 200 players HIRLEY JANE TEMPLE with her six and one-half laughing years has danced to the peak of public favor, and the independent exhibitors of the United States have placed above her curls the laurel as THE Money Making Star of 1934-35, in Motion Picture Herald’s annual canvass of the motion picture box office. It is the ticket office that is speaking, not the exhibitor himself. The verdict is from the week's receipts, not from the showman's personal preferences as to type of product or style of acting. The ques- tion placed before the independent theatre owners was this: "Please list the ten play- ers whose pictures drew the greatest num- ber of patrons to your theatre from Sep- tember I, 1934, to September I, 1935." Hence the Herald survey, year after year, serves the industry in a way not even ap- proached by other canvasses of player popularity: the Money Making Stars are chosen by the box office itself. The vote was by the independent ex- hibitors of the nation, with the figures of the counting house before them as they cast their ballots, the dollars and cents totals which reflected the popularity of the players in the minds of the public that placed those dollars and cents upon the sill of the ticket window. The question- naire was limited to theatres without pro- ducer or distributor affiliation, with the purpose of eliminating any outside factors that might have influenced the voting by the manager of a producer-owned picture playhouse. More sweeping changes were reflected this year in the voting than in any pre- vious season's questionnairing of the ex- hibitor in the Herald survey. Six players won their way into the coveted first ten positions who the year before had been accorded widely scattered rankings. Outstanding in the story told by the results was the rapid advancement of little Miss Temple to the highest ranking of all. In the 1933-34 ratings a child player for the first time was placed among the ten elect, in eighth place. Shirley then had had her first season of appearances in feature productions. The Fox contract star-ette, born April 23, 1929, had en- tered motion pictures in 1932 in the Baby Burlesque short product of Educational. Her first role in a feature had been in Paramount's "To the Last Man," released in September, 1933. From that point on came increasing appearances in features; in 1934 there were "Stand Up and Cheer" and "Baby Take a Bow" for Fox and "Little Miss Marker" and "Now and Forever" for Paramount, followed by frequent star- ring in Fox product in the last season. Miss Temple's triumph returns the femi- nine players to the top rung among the Money Making Stars. Will Rogers, who won highest ranking in 1933-34, was the first male star to lead the procession, and had been among the ten leaders each year since the inauguration of the surveys. While there were ten positions repre- sented, as in previous years, actually eleven players won the honors. The divergence came in the balloting on Fred Astaire and Ginger Rogers. Exhibitors variously listed these two stars both as a team and as individuals, for the most part as a team. Each of the two players therefore was given one-half a vote in cases of mention as a team, and a full vote where men- tioned individually. Thus they shared fourth place in the final ranking. The rise of Fred Astaire and Ginger Rogers in box office was little less rapid than that of Shirley Temple. It was as late as November 24, 1933, that there came the release of "Dancing Lady" in which Astaire danced with Joan Crawford. A month later — December 29th — was re- leased "Flying Down to Rio." In this As- taire and Miss Rogers danced together; Gene Raymond and Dolores Del Rio were starred. Ginger Rogers had been in pic- tures for several years, her initial feature "Young Man of Manhattan," a 1930 re- lease. With "Flyinq Down to Rio" the swift pace forward had started, and then THE TEN BEST 1. Shirley Temple 2. Will Rogers 3. Clark Gable 4. Fred Astaire Ginger Rogers 5. Joan Crawford 6. Claudette Colbert 7. Dick Powell 8. Wallace Beery 9. Joe E. Brown 10. James Cagney came "The Gay Divorcee," "Roberta" and in the current season, "Top Hat." Noted also has been the consistent achievement of several players in winning ranking among the first ten year after year. Clark Gable, third this year, took second place in the 1933-34 season. Wal- lace Beery, eighth in the current survey,' was fourth the year before and in 1931- 32, and fifth in 1932-33. Joan Crawford, in fifth place this year, was sixth the pre- vious season. Type of product in which the winners of the ten leading rankings appeared classi- fies generally as follows: comedy, two; comedy-drama, two; romantic drama, three; drama, one; musical comedy, one; and musical comedy drama, one. Total player representation showed little change from the previous year's re- sults. There were 200 mentioned for po- sitions this time compared with 208, both being a considerable increase over the 163 named in the 1932-33 survey. Determination of final standings was made on the basis of the total number of times a player was mentioned in the ex- hibitors' replies, regardless of the relative specified position among the ten nomina- tions. This plan was adopted as giving the truest picture of the balloting, inas- much as a number of exhibitors pointed out that, while they had been given the opportunity to state relative positions of the players in order of box office returns, the sequence they indicated was only ap- proximately based upon actual box office criteria individually, and others said thaJ they definitely were not attempting to df fine relative positions. Complete standings appear on the following two pages THE BOX OFFICE CHECK-UP OF 1935 83 SHIRLEY TEMPLE The Winners Shirley Temple 874% Will Rogers 817% Clark Gable 639% *Fred Astaire and Ginger Rogers. 495% Joan Crawford 485% Claudette Colbert 451% Dick Powell 446% Wallace Beery 412% Joe E. Brown 341% James Cagney 334% * Exhibitors listing Fred Astaire and Ginger Rogers divided in reporting them as a team and as indi- viduals. The majority listed them as a team and many who reported them separately listed them in immediate sequence. Therefore it was deemed necessary to treat Fred Astaire and Ginger Rogers in the tabulations as a team and also as individuals. Their team rating credits a full point for every vote registered for the team, plus one-half point for each vote for each individual. Their individual ratings in the tabulations are based upon individual votes without consideration for team votes. On these pages is a complete compilation of the returns in the inquiry to determine " The Biggest Money Making Stars of 1934-3 5”; the ranking is according to the number of times a player was mentioned in any relative position in the returned questionnaires. The percentages refer to the number of citations with respect to the total votes cast by the participating exhibitors : Honorable Mention Mae West 277% Bing Crosby 265% * Fred Astaire 237% * Ginger Rogers 211% William Powell 205% Janet Gavnor 173% Jean Harlow 164% Norma Shearer 139% W. C. Fields 129% Ruby Keeler 120% Warner Baxter I 14% Grace Moore 113% Katharine Hepburn 111% Buck Jones 104% BIGGEST MONEY WILL ROGERS CLAUDETTE COLBERT Fredric March Pat O'Brien George O'Brien Eddie Cantor Robert Montgomery Wheeler and Woolsey Gary Cooper George Raft Myrna Loy Jane Withers Jeanette MacDonald George Arliss Dick Powell and Ruby Keeler. . . Kay Francis Richard Dix Hoot Gibson Joan Blondell Charles Laughton Joe Penner Greta Garbo Paul Muni Randolph Scott James Cagney and Pat O'Brien. . Al Jolson Lionel Barrymore Boris Karloff Loretta Young John Boles Tim McCoy Jackie Cooper 103% 101% 100% 92% 90% 85% 82% 79% 76% 70% 61% 59% 58% 52% 51% 51% 49% 47% 42% 41% 41% 40% 40% 40% 36% 34% 34% 31% 28% 28% CLARK GABLE DICK POWELL Ken Maynard John Wayne Marion Davies Laurel & Hardy James Dunn Warner Oland Charles Ruggles Edward G. Robinson Irene Dunne Jack Oakie Jeanette MacDonald and Nelson Eddy Robert Donat Jean Parker Guy Kibbee Margaret Sullavan Zasu Pitts Ronald Colman Jack Holt May Robson Warren William Sylvia Sidney Edmund Lowe Spencer Tracy Anne Shirley Bette Davis Edward Arnold Nelson Eddy Miriam Hopkins Robert Taylor 27% 26% 25% 24% 24% 23% 22% 20% 19% 8% 7% 6% 6% 5% 5% 5% 3% 3% 3% 2% 1% 1% 0% 0% 9% 8% 8% 8% MAKING STARS OF 1934-35 FRED ASTAIRE and GINGER ROGERS JOAN CRAWFORD WALLACE BEERY JOE E. BROWN JAMES CAGNEY Freddie Bartholomew • 8% Alice Faye . . . 8% Rudy Vallee . . 7% Burns & Allen . . . 7% Virginia Weidler ... 7% Franchot Tone . . . 7% Edward Everett Horton ... 6% Harold Lloyd ■ • ■ 6% Chester Morris ■ • • 6% Bob Steele • ■ ■ 6% Jack Benny . . 6% Ann Harding • • ■ 6% Eleanor Powell • • • 6% Jean Arthur ■ ■ ■ 5% Leslie Howard ■ • • 5% Robert Young ■ • • 5% Rochelle Hudson ■ • ■ 5% Gene Raymond ■ • ■ 5% George Brent . . . 5% John Beal • • ■ 4% Ralph Bellamy ■ • ■ 4% Pauline Lord ■ • ■ 4% Fred MacMurray . . . 4% Barbara Stanwyck ■ ■ 4% Johnny Weissmuller . . . 4% Glenda Farrell • ■ ■ 4% Hugh Herbert . . . 4% Runners Up The following players won a 3 per cent ranking in the final tabulation. They are listed alphabetically in the two columns: Richard Arlen Henry Hull Walter Connolly Victor McLaglen Dolores Del Rio Marian Marsh Sally Eilers Tom Mix Maureen O'Sullivan Players receiving 2 per cent ranking, listed alphabetically, were these: Gene Autry Carole Lombard Richard Barthelmess Bela Lugosi Joan Bennett Una Merkel Ben Bernie Joe Morrison Carl Brisson Jean Muir Maurice Chevalier Bill Robinson Frankie Darro Ann Sothern Marie Dressier Lee Tracy Henry Fonda Tom Tyler Elissa Landi Fay Wray Blue Ribbons Given 1 per cent in the vote of the exhibitors were the following, who are listed in alphabetical order: Robert Armstrong Baby Jane Roscoe Ates Binnie Barnes Lou Ayres Mona Barrie John Barrymore The Barrymores Michael Bartlett Louise Beaver Constance Bennett Elisabeth Bergner Charles Bickford Mary Boland Charles Boyer Virginia Bruce Nancy Carroll Harry Carey Richard Cromwell Marlene Dietrich Madge Evans Stepin Fetchit James Gleason Betty Grable Cary Grant Ted Healy Josephine Hutchinson Sybil Jason Mr. & Mrs. Martin Johnson Patsy Kelly Jan Kiepura Florence Lake George Evelyn Laye Francis Lederer Aline MacMahon Herbert Marshall Nino Martini Marx Brothers Jesse Matthews Karen Morley Edna May Oliver Pat Paterson Mary Pickford Nova Pilbeam Roger Pryor Eddie Quillan Lyda Roberti Buddy Rogers Lanny Ross Alison Skipworth Charles Starrett Anna Sten Gloria Stuart Slim Summerville Lyle Talbot Frankie Thomas Lawrence Tibbett Claire Trevor Conrad Veidt Evelyn Venable White . . . My sincerest appreciation to the exhibitors of the nation for including me in the poll of the ten biggest money making stars of 1934-35. JOE E. BROWN PERSONAL MANAGEMENT M. C. LEVEE (Agency) 86 THE BOX OFFICE CHECK-UP OF 19 3 5 “THANKS AND KINDEST REGARDS JAMES CAGNEY THE BOX OFFICE CHECK-UP OF 1935 87 OUT OF PRODUCED BY B. C. DE SYLVA WERE SELECTED AS Box Office Champions * in 1935 • THE LITTLE COLONEL BOX OFFICE CHAMPION MARCH • UNDER THE PAMPAS MOON BOX OFFICE CHAMPION JUNE • DOUBTING THOMAS BOX OFFICE CHAMPION JUNE 20th CENTURY-FOX * FROM CERTIFIED AUDIT BY MOTION PICTURE HERALD 88 THE BOX OFFICE CHECK-UP OF 1935 MUSIC HELPS STORY TELLING AND SELLING CJ How songs and score contribute to the picture itself and to its advertising by LEO F. FORBSTEIN MUSIC has always been one of the top feataures of any sort of en- tertainment. It has long been one of the major adjuncts of the modern show business — one of its principal assets. Mo- tion-picture plays, certainly, represent all the best elements of dramatic enter- tainment as sifted out through the years of experience, so that it seems al- most too self-evi- dent to say that music means much to the motion pic- ture. The question has been asked me, "Just how much does music mean in the success of a screen production?" To answer that question, without seem- ing biased, as a conductor might be, in favor of my favorite art, let me stipulate at the beginning just what angle of "pic- ture success" shall be considered. There are, of course, more angles than one. "Artistic success" might or might not mean "financial failure." So let us discuss success solely from what we ex- pressively term "box-office." In other words, I find I'm called on to inquire as to whether there isn't definite significance in the fact that screen plays embracing truly entertaining music are quite generally hit shows. Practically all pictures include music1, if nothing more than a few minutes of periodic atmos- pheric melody heard in back of the open- ing titles. But by "musicals," generally, we mean screen musical comedies or pic- tures embracing songs. One doesn't have to look far to find important successes — from the standpoint of box office entertainment — among mus- ical pictures. Our own company, Warner, which has been in the van of the so-called "filmusical revival" within the last two or three years, has filmed and screened a whole string of such pictures, all of which have proved popular "fan-fare," and real money-makers. Within the last calendar year, or just before, however, there have been enough stellar musical successes to demonstrate that this demand is by no means tempo- rary. In musical pictures, music has a dual aspect insofar as helping with the success of a production is concerned. The first of these functions, of course, is to create the entertainment value of fhe music and songs. They are an interblended part of the plot in many instances. In others, they are a decorative addition. But they are always a definite and color- ful benefit to the picture. The second of these functions is that of advertising. The songs, even the ones which are not title songs, are closely as- sociated with the picture. On the radio, prior to and during the picture's exhibi- tion, they are broadcast widely, with suit- able credit. On the sheet music, the name of the show and often pictures of the stars are published and so becomes a splendid advertisement, so such songs, especially if they are hits, serve not only to stiffen the screen show's amusement value, but they serve to publicize the picture and to bring the people into the houses. In other words, they are direct box-office aids. Now as fo non-musical pictures — that is, photoplays which contain no specially written songs, but which are backgrounded wholly or in part by "atmosphere music." Let us see what musical treatment has been given to some of these which are in the successful "box office" class. "Midsummer Night's Dream" is illus- trative. One of the biggest of the 1935 productions, it had, fittingly enough, the most elaborate and beautiful musical scores. The wedding of Shakespeare’s poetic fantasies to Mendelssohn's lovely music took place, as you know, long be- fore the talking picture was ever con- ceived. And this illustrates the point I previously made — that music has always been a major collaborator in the dramatic entertainment field. When we scored the picture, to make this combination perfect, we obtained arrangements and a complete setting of the Mendelssohn music by no one less than Prof. Erich Wolfgang Korn- gold. Indicative of the magnitude of this background or musical atmosphere, it may be noted that the script or timing sheet of the picture shows a total of 90 differ- ent items — numbers or portions of num- bers. The total of 90 will readily be per- ceived as a large one when I tell you that as big a musical as "Gold Diggers of 1935" contained but 40 items and that some pic- tures have but 20 or fewer. The fewest number, incidentally, was in a mystery pic- ture this last year, "The Murder of Dr. Harrigan." There were but two items — the title music, running one minute and thirteen seconds; and the finale music, run- ning thirteen seconds. Even with atmosphere music, however, it might be said that there is a certain amount of advertising value. While it wasn't true that Mendelssohn songs were aired on the radio and credited to "Mid- summer Night's Dream," there was a vast amount of exfremely valuable word-of- mouth publicity. Many people, especially those who en- joy the better things in musical composi- tion and who might turn up their sophis- ticated noses at the elementary melody and lyric of a popular hit song such as "Lulu's Back in Town," came out of the theatres after seeing "Dream" and waxed enthusiastic over the score. Use of music as an emotional adjunct has always been an accepted technique of the stage. Even in the veriest "kero- sene circuit" houses, and with the cheap- est of troupers hamming the crude lines of ordinary sfock plays, a piano player in the pit was always considered a major es- sential during the show. Other members of fhe orchestra, playing only between the acts, could well "double in brass" and take roles in the play. The piano player — be- cause of the "atmosphere" he was an emo- [TURN TO PAGE 152] THE BOX OFFICE CHECK-UP OF 1935 89 MUSIC IN PICTURES and Those Who Wrote It Appraising the part music played in 1934-35 features and listing those who produced it by JAMES P. CUNNINGHAM EMERGING from the painful and costly speculation attendant upon its produc- tion in cycles, the musical motion picture and music in motion pictures has finally settled down to an even tempo as an in- tegral part of normal and successful mo- tion picture entertainment and expression, to the extent that today songs and other forms of music play an important part, having a dominant position or one of only slightly less importance in an average of one-fourth of all pictures produced. It is even more important in the short subject. That the musical motion picture, with songs or dances or both, is now usually highly successful as a box office attrac- tion, is established by the fact that out of the 97 features of all types that were selected during the year as Box Office Champions in Motion Picture Herald, some 38 pictures, or 40 per cent of the whole, were musicals or had considerable music in them. The Champions are de- termined each month solely on the basis of their earnings. The impressive total of I I 8 features out of an estimated 450 produced by the large companies during the season just passed, contained music or songs to vary- ing extents. Some 34 had a similar song and feature title; three pictures were defi- nitely suggested by a song previously written; 29 were musical-comedy ro- mances, and three were all-musical West- erns— a new departure that is growing in box office popularity. Too, there were I I operettas produced during the season, while incidental music was played throughout 25 feature come- dies and 19 dramas. Some 354 song and musical numbers, an even average of three numbers per picture, were sung or played in the sea- son's I 18 musical releases, the majority of them having been written expressly for the production. They contributed largely to the popular music portfolio of radio, vaudeville, dancing and other forms of public entertaining and entertainment off the screen. Thirteen of America's largest music pub- • THE BOX OFFICE CHECK-UP lishers printed and sold the 354 film- musical numbers, 181 of the pieces bear- ing the trade mark of the biggest com- panies, as follows: HARMS 53 ROBBINS 43 WITMARK 43 FAMOUS MUSIC 42 MOVIETONE 37 REMICK 31 BERLIN 30 CRAWFORD 22 MARKS 9 DE SYLVIA, BROWN AND HENDERSON 6 CHAPPELL- HARMS .... 4 MILLS 3 COLE 2 DITSON I FOX, SAM I HARRIS I MELROSE I SANTLEY I SHAPIRO-BERNSTEIN .... I There were, of course, many productions containing but one song or musical num- ber, but frequently the number extended to eight, as in the case of Paramount's "Big Broadcast of 1936," and Warner's "Sweet Adeline." Other musicals that were numerically prominent included "Broadway Gondo- lier," seven numbers; "Roberta," seven; "Every Night At Eight," six; "George White's 1935 Scandals," six; "Go Into Your Dance," six; "Music in the Air," six; "Old Man Rhythm," six; "Sweet Music," six; "All the King’s Horses," five; "Broad- way Melody of 1936," five; "Curly Top," five; "Dames," five; "Evergreen," five; "Folies Bergere," five; "Gay Divorcee," five; "Kid Millions," five; "Love in Bloom," five; "My Heart Is Calling," five; "My Song for You," five; "Naughty Marietta," five; "Romance Scandals," five; "Top Hat," five; "Transatlantic Merry-Go- Round," five; and, "Belle of the Nineties," four; "Broadway Through a Keyhole," four; "College Rhythm," four; "Girl o' My Dreams," four; "Happiness Ahead," four; "Harold Teen," four; "Here Is My Heart," four; "Hooray for Love," four; "In Cal- iente," four; "Merry Widow," four; "Pa- looka," four; "Student Tour," four. Warner leads all producers in musical and song-film production, releasing 22 of such features last season. Other com- panies contributed pictures with musical elements as follows: WARNERS 22 20TH CENTURY-FOX .... 19 UNITED ARTISTS 14 PARAMOUNT 13 METRO - GOLDWYN .... 12 UNIVERSAL 12 GAUMONT- BRITISH .... 8 REPUBLIC 7 RKO RADIO 7 COLUMBIA 4 Prominent ■ among the composers and lyricists, insofar as their activity in creat- ing music for motion pictures is concerned, were such well known song and music writers as Nacio Herb Brown and Arthur Freed, Harry Warren, Al Dubin, Harry Revel and Mack Gordon, Johnston and Coslow, Ray Noble, Douglas Furber, Harry Ruby and Bert Kalmar, Gus Kahn, Fred- eric Norton, Ray Henderson, Allie Wrubel and Sammy Fain, Harry Woods, Mort Dixon, Jack Stern and Jack Meskill, Con Conrad, Jack Yellen, Joseph Meyer, George Waggner, Irving Kahal, Herb Magidson, Dorothy Fields and Jimmy Mc- Hugh, Irving Berlin, Bernie Grossman, Jay Gorney, Don Hartman, Roy Turk and Harry Akst, Bernie Grossman, Dan Silver- man and Eddie Ward, Lorenz Hart and Dick Rodgers, Jerome Kern and Oscar Hammerstein II, Rita Johnson Young, Lewis Gensler and Johnny Mercer, Ferde Grofe and Irving Caesar, Richard Whiting. Surveying the entire field, the compila- tion which follows lists the titles of all motion pictures with song or music in the past season, with a description of its type of story, distributor's name, song title or musical number, publisher, composer and lyricist. [Listings begin on opposite page] 90 OF 19 3 5 MUSIC IN PRODUCTIONS OF 1934-35 PICTURE TYPE DISTRIBUTOR SONG PUBLISHER COMPOSER LYRICIST Accent On Youth Drama Paramount Accent On Youth Famous Lawnhurst Seymour All the King's Horses Operetta Paramount Be Careful Young Lady Famous Coslow Coslow Dancing the Viennese Famous Coslow Coslow King Can Do No Wrong, A Famous Coslow Coslow Little White Gardenia, A Famous Coslow Coslow When My Prince Charming Famous Coslow Coslow Arizonian, The Western RKO Radio Roll Along Covered Wagon Irving Berlin Jimmy Kennedy Jimmy Kennedy Baby Take A Bow Comedy Fox On Account-A 1 Love You Movietone Sam H. Stept Bud Green Drama Music Belle of the Nineties Comedy Paramount My American Beauty Famous Johnston Coslow My Old Flame Famous Johnston Coslow Troubled Waters Famous Johnston Coslow When A St. Louis Woman Famous Johnston Coslow & Austin Big Broadcast of 1936 Musical Paramount Amargura Famous Gardel Lepera Double Trouble Famous Rainger & Whiting Robin 1 Wished on the Moon Famous Rainger Parker It's the Animal In Me Crawford Revel Gordon Miss Brown to You Famous Rainger & Whiting Robin Through Doorway of Dreams Famous Whiting Robin Why Dream Famous Rainger & Whiting Robin Why Stars Come Out At Night Famous Noble Noble Bitter Sweet Operetta United Artists If Love Were All Harms I'll See You Again Harms Zigeuner Harms Black Sheep Comedy Fox In Other Words I'm In Love Movietone Oscar Levant Sidney Clare Drama Music Brewster's Millions Musical United Artists Caranga, The Chappell-Harms Ray Noble Douglas Furber Comedy 1 Think 1 Can Chappell-Harms Ray Noble Douglas Furber One Good Turn Deserves Another Chappell-Harms Ray Noble Douglas Furber Pull Down the Blinds Cha ppell-Harms Ray Noble Douglas Furber Bright Eyes Comedy Fox On the Good Ship Lollipop Movietone Sidney Clare & Sidney Clare & Drama Music Richard A. Richard A. Whiting Whiting Bright Lights Comedy Warner-First She Was An Acrobat's Daughter Harms Harry Ruby Bert Kalmar Drama National Toddlin’ Along With You Harms Allie Wrubel Mort Dixon You're An Eyeful of Heaven Harms Allie Wrubel Mort Dixon Broadway Gondolier Comedy with Warner-First Flagenheim's Odorless Cheese Witmark Harry Warren Al Dubin Music National Lonely Gondolier Witmark Harry Warren Al Dubin Lulu's Back In Town Witmark Harry Warren Al Dubin Pig and the Cow, The Witmark Harry Warren Al Dubin Outside of You Witmark Harry Warren Al Dubin Rose In Her Hair, The Witmark Harry Warren Al Dubin You Can Be Kissed Witmark Harry Warren Al Dubin Broadway Melody of 1936 Musical Metro- Broadway Rhythm Robbins Nacio Herb Arthur Freed Goldwyn- Mayer Brown I've Got a Feelin' You're Foolin' Robbins Nacio Herb Arthur Freed Brown On a Sunday Afternoon Robbins Nacio Herb Arthur Freed Brown Sing Before Breakfast Robbins Nacio Herb Arthur Freed Brown You Are My Lucky Star Robbins Nacio Herb Arthur Freed Brown THE BOX OFFICE CHECK-UP OF 1935 91 PICTURE TYPE DISTRIBUTOR SONG PUBLISHER COMPOSER LYRICIST Broadway Thru A Keyhole Musical United Artists Doing the Uptown Lowdown DeSylva, Brown Harry Revel Mack Gordon Drama 1 Love You Pizzicato & Henderson DeSylva, Brown Harry Revel Mack Gordon & Henderson Your My Past, Present and DeSylva, Brown Harry Revel Mack Gordon Future & Henderson When You Were the Girl on the DeSylva, Brown Harry Revel Mack Gordon Scooter and 1 Was the Boy on the Bike & Henderson Caravan Musical Fox Ha-Cha-Cha Movietone Werner Richard Gus Kahn Romance Music Heymann Happy, 1 Am Happy Movietone Werner Richard Gus Kahn Music Heymann Wine Song Movietone Werner Richard Gus Kahn Music Heymann Cats Paw, The Comedy Fox I'm Just That Way Movietone Harry Akst Roy Turk Music China Seas Drama M-G-M China Seas Robbins Nacio Herb Arthur Freed Brown Chu Chin Chow Extravaganza GB Pictures Any Time's Kissing Time E. B. Marks Frederic Norton Frederic Norton Chu Chin Chow Fox Trot E. B. Marks Frederic Norton Frederic Norton Chu Chin Chow Waltz E. B. Marks Frederic Norton Frederic Norton Cleopatra's Nile E. B. Marks Frederic Norton Frederic Norton Cobbler's Song E. B. Marks Frederic Norton Frederic Norton Corraline E. B. Marks Frederic Norton Frederic Norton Here Be Oysters Stewed In E. B. Marks Frederic Norton Frederic Norton Honey My Desert Flower E. B. Marks Frederic Norton Frederic Norton Robber's March E. B. Marks Frederic Norton Frederic Norton College Rhythm Musical Paramount College Rhythm Crawford Revel Gordon Stay As Sweet As You Are Crawford Revel Gordon Take A Number from 1 to 10 Crawford Revel Gordon Three Cheers for Love Crawford Revel Gordon College Scandal Drama Paramount In the Middle of a Kiss Famous Coslow Coslow Curly Top Comedy Fox Animal Crackers In My Soup Movietone Ray Henderson Ted Koehler & Drama Music Irving Caesar Curly Top Movietone Ray Henderson Ted Koehler Music It's All So New to Me Movietone Ray Henderson Edward Heyman Music Simple Things in Life, The Movietone Ray Henderson Ted Koehler Music When 1 Grow Up Movietone Ray Henderson Edward Heyman Music Dames Musical Warner-First Dames Remick Harry Warren Al Dubin Comedy National Girl At the Ironing Board, The Remick Harry Warren Al Dubin 1 Only Have Eyes for You Remick Harry Warren Al Dubin Try To See It My Way Remick Harry Warren Al Dubin When You Were A Smile on Your Remick Sammy Fain Irving Kaha! Mother's Lips Devil Is A Woman, The Drama Paramount Then It Isn't Love Famous Rainger Robin Dr. Monica Drama Warner-First When Tomorrow Comes M. Witmark Sammy Fain Irving Kahal National Emperor Jones Drama United Artists Emperor Jones Harms Allie Wrubel Waterfront Harms Allie Wrubel Escapade Comedy M-G-M You're All 1 Need Robbins Bronislaw Kaper Gus Kahn Drama & Walter Jurmann Evensong Drama with GB Pictures I'll Wait for You Harms Spoliansky Knoblock Music Irela Valse Spcrliansky Mimi's Aria from "La Boheme” Puccini 92 THE BOX OFFICE CHECK-UP OF 1935 HAROLD HURLEY PRODUCED NEVADA PREVIEW SHIP CAFE TWO FISTED WOMAN TRAP DESERT GOLD DRIFT FENCE THE SKY PARADE WITHOUT REGRET TIMOTHY’S QUEST IT’S A GREAT LIFE MILLIONS IN THE AIR WANDERER of the WASTELAND For Paramount Pictures 1935-1936 Program ASSISTANTS Marian Spitzer Daniel Keefe ASSOCIATE PRODUCERS Jack Cunningham William T. Lackey Lewis E. Gensler Edward F. Cline B. P. Fineman ' Arthur F. Beck THE BOX OFFICE CHECK-UP OF 1935 93 PICTURE TYPE DISTRIBUTOR SONG PUBLISHER COMPOSER LYRICIST Evergreen Musical GB Pictures Dancing On The Ceiling Harms Rodgers & Rodgers & Hart Comedy Over My Shoulder Harms Hart Harry Woods Harry Woods Springtime in Your Heart Harms Harry Woods Harry Woods Tinkle, Tinkle, Tinkle Harms Harry Woods Harry Woods When You've Got A Little Harms Harry Woods Harry Woods Every Night at Eight Musical Paramount Every Night At Eight Robbins Fields McHugh 1 Feel A Song Coming On Robbins Fields McHugh & Oppenheim I'm in the Mood for Love Robbins Fields McHugh Speaking Confidentially Robbins Fields McHugh Take It Easy Robbins Fields McHugh Then You've Never Been Blue Remick Fiorita Young Flirtation Walk Soldier Warner-First Flirtation Walk Remick Allie Wrubel Mort Dixon Romance National Mr. and Mrs. Is the Name Remick Allie Wrubel Mort Dixon No Horse, No Wife, No Mustache Remick Allie Wrubel Mort Dixon Folies Bergere Musical United Artists Au Revoir L'Amour Robbins Jack Stern Jack Meskill Comedy ✓ 1 Was Lucky Robbins Jack Stern Jack Meskill Rhythm of the Rain Robbins Jack Stern Jack Meskill Singing A Happy Song Robbins Jack Stern Jack Meskill You Took the Words Right Out Robbins Jack Stern Jack Meskill of My Mouth Four Hours to Kill Drama Paramount Hate to Talk About Myself Famous Rainger & Whiting Robin Walking the Floor Famous Rainger Robin Gay Bride, The Comedy M-G-M Mississippi Honeymoon Robbins Walter Gus Kahn Donaldson Gay Divorcee, The Musical RKO Radio Continental, The Harms Herb Magidson Herb Magid- Operetta & Con Conrad son & Con Conrad Don't Let It Bother You DeSylva, Brown & Gordon & Revel Gordon & Revel Henderson Let's Knock K-Neez DeSylva, Brown & Gordon & Revel Gordon & Revel Henderson Needle in a Haystack, A Harms Herb Magidson Herb Magid- & Con Conrad son & Con Conrad Night and Day Harms Cole Porter Cole Porter George White's 1935 Scandals Musical Fox According to the Moonlight Movietone Music Joseph Meyer Jack Yellen & Herb Magid- son Hunkadola Movietone Music Joseph Meyer Jack Yellen & Cliff Friend 1 Got Shoes, You Got Shoesies Movietone Music Joseph Meyer Jack Yellen & Cliff Friend 1 Was Born Too Late Movietone Music Joseph Meyer Jack Yellen It's An Old Southern Custom Movietone Music Joseph Meyer Jack Yellen Oh, 1 Didn't Know Movietone Music Joseph Meyer Jack Yellen & Cliff Friend Gilded Lily, The Comedy Paramount Something About Romance Famous Johnston Coslow Girl Friend, The Musical Columbia Two Together Robbins Arthur Johnson Gus Kahn Romance What Is This Power Robbins Arthur Johnson Gus Kahn Girl o' My Dreams Musical Republic Girl o' My Dreams Eddie Ward George Romance ( Monogram ) Joe Senior Eddie Ward Waggner George Waggner Lucky Star Eddie Ward George Waggner Thou Art My Baby Eddie Ward George Waggner 94 THE BOX OFFICE CHECK-UP OF 1935 JANE MURFIN SCREEN PLAYS FOR 9 Box Office Champions 1932-1935 • SMILIN' THROUGH* ORIGINAL PLAY BOX OFFICE CHAMPION FOR OCT., 1932 • WHAT PRICE HOLLYWOOD* CHAMPION FOR JULY, 1932 • ROCKABYE CHAMPION, DEC., 1932 • DOUBLE HARNESS CHAMPION, AUG., 1933 • SPITFIRE* CHAMPION, MAR., 1934 • THE FOUNTAIN* CHAMPION, SEPT., 1934 • LITTLE MINISTER* CHAMPION, JAN., 1935 • ROBERTA* CHAMPION FOR 6 MONTHS, 1935 • ALICE ADAMS* AUGUST, 1935 (FROM A CERTIFIED AUDIT BY MOTION PICTURE HERALD) * IN COLLABORATION THE BOX OFFICE CHECK-UP OF 193 " 95 PICTURE TYPE DISTRIBUTOR SONG PUBLISHER COMPOSER LYRICIST Go Into Your Dance Singing, Warner-First About a Quarter to Nine M. Witmark Harry Warren Al Dubin Dancing Drama National A Good Old Fashioned Cocktail M. Witmark Harry Warren Al Dubin Go Into Your Dance M. Witmark Harry Warren Al Dubin Little Things You Used To Do M. Witmark Harry Warren Al Dubin Mammy I'll Sing About You M. Witmark Harry Warren Al Dubin She's a Latin From Manhattan M. Witmark Harry Warren Al Dubin Goin' To Town Comedy Paramount Now I'm a Lady Famous Fain Kahal-Coslow Going Highbrow Comedy Warner-First One in a Million Remick Lou Alter John Scholl National Gold Diggers of 1935 Musical Warner-First I'm Goin' Shoppin' with You M. Witmark Harry Warren Al Dubin Comedy National Lullaby of Broadway M. Witmark Harry Warren Al Dubin Words Are in My Heart, The M. Witmark Harry Warren Al Dubin Handy Andy Comedy Fox Roses in the Rain Movietone Music Richard A. Wm. Consel- Whiting man Happiness Ahead Romance Warner-First Beauty Must Be Loved M. Witmark Harry Warren Al Dubin National Happiness Ahead M. Witmark Harry Warren Al Dubin Pop Goes Your Heart M. Witmark Harry Warren Al Dubin Window Cleaner's Song, The Harms Harry Ruby Bert Kalmar Harold Teen Comedy Warner-First Collegiate Wedding Remick Sammy Fain Irving Kahal National How Do 1 Know It's Sunday Remick Sammy Fain Irving Kahal Simple and Sweet Remick Sammy Fain Irving Kahal Two Little Flies on a Lump of Sugar Remick Sammy Fain Irving Kahal Here Comes Cookie Comedy Paramount She’s the Vamp of the Pampas Famous Whiting Robin Here Comes the Band Musical MGM Headin' Home Robbins Herbert Stothart Ned Washington Roll Along Prairie Moon Robbins Ted Fiorito, Har- Ted Fiorito, Har- ry MacPherson, ry McPherson, Albert Von Albert Von Tiber Tiber Tender Is the Night Robbins Walter Donald- Harold Adamson son You're My Thrill Robbins Burton Lane Ned Washington Here Is My Hear! Musical Paramount Here Is My Heart Famous Rainger Robin Comedy June in January Famous Rainger Robin Love Is Just Around the Corner Famous Gensler Robin With Every Breath 1 Take Famous Rainger Robin Here's To Romance Musical Fox Here's to Romance Movietone Music Con Conrad & Con Conrad & Herb Magid- Herb Magid- son son Midnight in Paris Movietone Music Con Conrad & Con Conrad & Herb Magid- Herb Magid- son son Hooray For Love Musical RKO Radio Hooray for Love Irving Berlin Dorothy Fields & Dorothy Fields & Comedy Jimmy McHugh Jimmy Mc- Hugh I'm in Love All Over Again Irving Berlin Dorothy Fields & Dorothy Fields & Jimmy McHugh Jimmy Mc- Hugh I'm Living in a Great Big Way Irving Berlin Dorothy Fields & Dorothy Fields & Jimmy McHugh Jimmy Mc- Hugh You're An Angel Irving Berlin Dorothy Fields & Dorothy Fields & Jimmy McHugh Jimmy Mc- Hugh 1 Live for Love Comedy Warner-First 1 Live for Love M. Witmark Allie Wrubel Mort Dixon Romance National Mine Alone M. Witmark Allie Wrubel Mort Dixon Silver Wings M. Witmark Allie Wrubel Mort Dixon 96 THE BOX OFFICE CHECK-UP OF 1935 PERSONAL MANAGEMENT M. C. LEVEE (Agency) THE BOX OFFICE CHECK-UP OF 19 3 5 97 PICTURE TYPE DISTRIBUTOR SONS PUBLISHER COMPOSER LYRICIST In Caliente Musical Warner-First In Caliente Remick Allie Wrubel Mort Dixon Comedy National Lady in Red Remick Allie Wrubel Mort Dixon Muchacha Remick Harry Warren Al Dubin To Call You My Own Remick Allie Wrubel Mort Dixon Jack Ahoy Comedy SB Pictures My Hat's on the Side of My Head Shapiro Bernstein Harry Woods Claude Hulbert Key, The Dramatic Warner-First There's a Cottage in Killarney M. Witmark Allie Wrubel Mort Dixon Romance National Kid Millions Musical United Artists An Ear Full of Music Robbins Walter Donaldson Gus Kahn Comedy Mandy Robbins Irving Berlin Irving Berlin Okay Toots Robbins Walter Donaldson Gus Kahn When My Ship Comes In Robbins Walter Donaldson Gus Kahn Your Head on My Shoulder Robbins Burton Lane Harold Adamson King Kelly of the U.S.A. Musical Republic Believe Me Harms Joe Sandus Bernie Grossman Romance ( Monogram ) Right Next Door to Love Harms Joe Sandus Bernie Grossman ✓ There's a Love Song in the Air Harms Joe Sandus Bernie Grossman Let's Live Tonight Romantic Columbia Love Passes By Santley Victor Schert- Jack Scholl Drama zinger Limehouse Blues Drama Paramount Limehouse Nights Famous Coslow Coslow Little Big Shot Melodrama Warner-First I'm a Little Big Shot Now Remick Allie Wrubel Mort Dixon National Little Colonel, The Drama Fox Little Colonel Movietone Music Lew Pollack Paul Francis Webster Living on Velvet Drama Warner-First Living on Velvet Remick Harry Warren Al Dubin National Lottery Lover Comedy with Fox Close Your Eyes and See Movietone Music Jay Gorney Don Hartman Music There's a Bit of Paree in You Movietone Music Jay Gorney Don Hartman Ting -a -Ling -a -Ling Movietone Music Jay Gorney Don Hartman Loudspeaker, The Comedy Republic Doo-Ah Know What I'm Doing Harms Roy Turk, Roy Turk, Drama ( Monogram ) Harry Akst Harry Akst On a Hill in the Hills of Kentucky Harms Roy Turk, Roy Turk, Harry Akst Harry Akst Love in Bloom Comedy Paramount Sot Me Doin' Things Crawford Revel Gordon Let Me Sing You to Sleep Crawford Revel Gordon Lookie Lookie Lookie Crawford Revel Gordon My Heart is an Open Book Crawford Revel Gordon None But the Lonely Heart Crawford Revel Gordon Love Me Forever Dramatic musi- Columbia Love Me Forever Irving Berlin Victor Schert- Gus Kahn cal with Opera zinger Lover Divine Drama with SB Pictures Ave Marie Franz Schubert Music Serenade Franz Schubert Tell Me That You Love Me Oliver Ditson Robert M. Stultz Robert M. Stultz Unfinished Symphony Franz Schubert Man on the Flying Trapeze Comedy Paramount Man on the Flying Trapeze Famous Lawnhurst Seymour Manhattan Love Song Romance Republic Hang Up Your Hat Harms Bernie Grossman, Bernie Grossman, ( Monogram ) Dan Silverman, Dan Silverman, Eddie Ward Eddie Ward Little Shack on 5th Avenue, A Harms Bernie Grossman, Bernie Grossman, Dan Silverman, Dan Silverman, Eddie Ward Eddie Ward Manhattan Love Song Harms Bernie Grossman, Bernie Grossman, Dan Silverman, Dan Silverman, Eddie Ward Eddie Ward 98 THE BOX OFFICE s CHECK-UP OF 1935 IN APPRECIATION CLAUDETTE COLBERT Persona! Management CHARLES K. FELDMAN THE BOX OFFICE CHECK-UP OF 1935 99 PICTURE TYPE DISTRIBUTOR SONG PUBLISHER COMPOSER LYRICIST Marie Galante Drama Fox It's Home Movietone Music Jay Gorney Don Hartman Serves Me Right for Treating Movietone Music Jay Gorney Don Hartman Him Wrong Song of a Dreamer Movietone Music Jay Gorney Don Hartman Merry Widow, The Operetta MGM Girl's, Girl's, Girls Robbins Franz Lehar Lorenz Hart Maxim's Robbins Franz Lehar Lorenz Hart Merry Widow Waltz, The Robbins Franz Lehar Lorenz Hart Vilia Robbins Franz Lehar Lorenz Hart Mississippi Comedy and Paramount Down by the River Famous Rodgers Hart Musical Easy to Remember Famous Rodgers Hart Soon Famous Rodgers Hart Moulin Rouge Musical United Artists Boulevard of Broken Dreams Remick Harry Warren Al Dubin Coffee in the Morning Remick Harry Warren Al Dubin Song of Surrender Remick Harry Warren Al Dubin Music in the Air Musical Fox 1 Am So Eager T. B. Harms Jerome Kern Oscar Hammer- Comedy 1 Told Every Little Star T. B. Harms Jerome Kern stein, II Oscar Hammer- stein, II < Music in the Air T. B. Harms Jerome Kern Oscar Hammer- stein, II One More Dance T. B. Harms Jerome Kern Oscar Hammer- stein, II Song Is You, The T. B. Harms Jerome Kern Oscar Hammer- stein, II We Belong Together T. B. Harms Jerome Kern Oscar Hammer- stein, II My Heart Is Calling Musical GB Pictures Chant Ossian Jules Massenet Comedy My Heart Is Calling Harms Stolz Stolz Strange Harmony Puccini You, Me and Love Harms Stolz Stolz When the Stars Are Brightly Puccini Shining My Song for You Musical GB Pictures Ah, Yes, Thou Art Mine Verdi Comedy Ave Maria Franz Schubert Celeste Aida Verdi My Song For You Harms Spoliansky Frank Eyton With All My Heart Harms Spoliansky Frank Eyton Nana Drama United Artists That's Love Irving Berlin Richard Rodgers Richard Rodgers & Lorenz Hart 4 Lorenz Hart Naughty Marietta Operetta MGM Ah Sweet Mystery of Life Witmark Victor Herbert Rita Johnson Young I'm Falling in Love with Someone Witmark Victor Herbert Rita Johnson Young Italian Street Song Witmark Victor Herbert Rita Johnson Young 'Neath the Southern Moon Witmark Victor Herbert Rita Johnson Young Tramp, Tramp, Tramp Witmark Victor Herbert Rita Johnson Young Nell Gwyn Drama United Artists Nell Gwyn Suite Germaine Night Is Young, The Operetta MGM Night Is Young, The Robbins Sigmund Rom- Oscar Hammer- berg stein, II When 1 Grow Too Old to Dream Robbins Sigmund Rom- Oscar Hammer- berg stein, II Nitwits, The Musical RKO Radio Music in My Heart Irving Berlin Dorothy Fields & Dorothy Fields & Comedy Jimmy McHugh Jimmy Mc- Hugh You Opened My Eyes Irving Berlin L. Wolfe Gilbert L. Wolfe Gilbert & Felix Bernard & Felix Ber- nard 100 THE BOX OFFICE CHECK-UP OF 1935 RCA FIRST with ROTARY STABILIZER essential for box office draw with modern films Tremendous improvements are being made in sound recording. Today’s new films never before were so amaz- ingly faithful to the original sound. But to give your audiences this thrill- ing realism you must have constant film speed through the sound head. WHY CONSTANT SPEED? The sound track is recorded at constant speed, and must be reproduced at the same speed. If the speed varies in the sound head, the sound varies, pro- ducing "wows” and other annoying ef- fects, spoiling music, and ruining dialog. Speed variations are especially objec- tionable on coloratura sopranos, and in the higher notes of instruments. It is in recording soprano voices that great recent improvements have been made. ROTARY STABILIZER ASSURES CONSTANCY RCA was first with the great Rotary Stabilizer, a unique creation of the RCA laboratories. Look at the RCA Photo- phone Sound Head and you see the Rotary Stabilizer as a simple drum, fully enclosed, needing practically no atten- tion. The film passes over it, and any speed variations are eliminated abso- lutely. And the same drum also main- tains the film within the focus of the light beam, with an accuracy of a thousandth of an inch. This correct focusing is also essential for faithful re- productionofhighnotes.ThustheRCA Rotary Stabilizer does two jobs, with complete perfection. Great inventions are always simple, and the RCA Rotary Stabilizer is both simple and fundamental. For perfect reproduction from mod- ern films, use the RCA Photophone Sound Head with its unique RCA in- vention, the Rotary Stabilizer. This is a typical sound track re- corded by RCA Photophone. Any change in the speed of the track varies the sound. Hencethespeed mustbeabsolute- ly constant, as is guaranteed by RCA’s great in- vention, the Ro- tary Stabilizer. RCA PHOTOPHONE RCA TRANS LUX RCA SONOTONE RCA MANUFACTURING CO., Inc., Camden, New Jersey, a subsidiary of the RADIO CORPORATION OF AMERICA THE BOX OFFICE CHECK-UP OF 1935 10T PICTURE TYPE DISTRIBUTOR SONG PUBLISHER COMPOSER LYRICIST Now and Forever Drama Paramount Now and Forever Famous Pollock Young Old Man Rhythm Musical RKO Radio Boys Will Be Boys Irving Berlin Lewis E. Gensler Lewis E. Genster Comedy & Johnny Mer- & Johnny Mer- cer cer Comes the Revolution, Baby Irving Berlin Lewis E. Gensler Lewis E. Gensler & Johnny Mer- & Johnny Mer- cer cer 1 Never Saw a Better Night Irving Berlin Lewis E. Gensler Lewis E. Gensler & Johnny Mer- & Johnny Mer- cer cer Old Man Rhythm Irving Berlin Lewis E. Gensler Lewis E. Gensler & Johnny Mer- & Johnny Mer- cer cer There's Nothing Like a College Irving Berlin Lewis E. Gensler Lewis E. Gensler Education & Johnny Mer- & Johnny Mer- f if ' cer cer When You Are in My Arms Irving Berlin Lewis E. Gensler Lewis E. Gensler & Johnny Mer- & Johnny Mer- cer cer One Hour Late Drama Paramount A Little Angel Told Me So Famous Coslow Coslow / Me Without You Famous Gensler Robin One Night of Love Dramatic Columbia One Night of Love Irving Berlin Victor Schert- Gus Kahn Musical zinger with Opera Our Little Girl Comedy Drama Fox Our Little Girl Movietone Music Lew Pollack Paul Francis Webster Page Miss Glory Comedy Cosmopolitan- Page Miss Glory Harms Harry Warren Al Dubin Warner Palooka Musical United Artists Count Your 8lessings T. B. Harms Ferde Grofe Irving Caesar Comedy Inka Dinka Doo Irving Berlin Ferde Grofe Irving Caesar Like Me a Little Bit Less Irving Berlin Ferde Grofe Irving Caesar Palooka Irving Berlin Ferde Grofe Irving Caesar Paris in Spring Operetta Paramount Bon Jour Mamselle Crawford Revel Gordon Paris in the Spring Crawford Revel Gordon Why Do They Call It Gay Paree Crawford Revel Gordon Princess Charming Musical GB Pictures Love Is a Song Harms Ray Noble Max Kester Comedy Near and Yet So Far Ray Noble Max Kester Reckless Drama with M-G-M Everything's Been Done Before Robbins Harold Adamson, Jack King Music Edwin Knopf, Herb Magidson Jack King Hi Diddle Dee Dum Robbins Con Conrad Reckless T. B. Harms Jerome Kern Oscar Hammer- stein, II Red Salute Comedy United Artists 1 Wonder Who's Kissing Her Now Chas. K. Harris Jos. E. Howard Hough & Adams Redheads on Parade Musical Fox 1 Found a Dream Movietone Music Jay Gorney Don Hartman I've Got Your Future All Planned Movietone Music Jay Gorney Don Hartman Redheads on Parade Movietone Music Jay Gorney Don Hartman Roberta Musical RKO Radio 1 Won't Dance T. B. Harms Jerome Kern Otto Harbach, Operetta I'll Be Hard to Handle Jerome Kern Dorothy Fields, Let's Begin Jerome Kern Jimmy Me- Hugh Lovely to Look At T. B. Harms Jerome Kern Dorothy Fields, . Smoke Gets in Your Eyes Jerome Kern Jimmy Me- Touch of Your Hand, The Jerome Kern Hugh Yesterday Jerome Kern THE BOX OFFICE CHECK-UP OF 1935 102 THE BOX OFFICE CHECK-UP OF 1935 103 PICTURE TYPE DISTRIBUTOR SONG PUBLISHER COMPOSER LYRICIST Roman Scandals Musical United Artists Build a Little Home M. Witmark Harry Warren Al Dubin Keep Young and Beautiful M. Witmark Harry Warren Al Dubin No More Love M. Witmark Harry Warren Al Dubin Rome Wasn't Built in a Day M. Witmark Harry Warren Al Dubin Tax on Love M. Witmark Harry Warren Al Dubin Rhumba Drama Paramount I'm Yours for Tonight Famous Rainger Rainger Magic of You, The Famous Rainger Rainger Rhythm of the Rumba, The Famous Rainger Rainger Sanders of the River Drama United Artists Canoe Song Mills Congo Lullaby Mills Killing Song, The Mills Shadow of Doubt Comedy Drama MGM Beyond the Shadow of a Doubt Robbins Burton Lane Harold Adamson She Learned About Sailors Comedy Fox Here's the Key to My Heart Movietone Music Richard A. Whit- Sidney Clare ing She Loves Me Not Comedy Paramount I'm Hummin', I'm Singin', I'm Crawford Revel Gordon Whistlin' Love in Bloom Famous Rainger Robin ✓ Straight from the Shoulder Crawford Revel Gordon Shipmates Comedy Drama Cosmopolitan- Don't Give Up the Ship Remick Harry Warren Al Dubin Warner I'd Love to Take Orders from You Remick Harry Warren Al Dubin I'd Rather Listen to Your Eyes Remick Harry Warren Al Dubin Spring Tonic Comedy Fox Tonight There's a Spell on the Moon Movietone Music Jay Gorney Jay Gorney Stolen Harmony Drama Paramount Let's Spill the Beans Crawford Revel Gordon Stolen Harmony Famous Lawrence & Young Altman Would There Be Love Crawford Revel Gordon Student Tour Musical MGM By the Taj Mahal Robbins Nacio Herb Arthur Freed Comedy Brown From Now On Robbins Nacio Herb Arthur Freed Brown New Moon Is Over My Shoulder, A Robbins Nacio Herb Arthur Freed Brown Snake Dance, The Robbins Nacio Herb Arthur Freed Brown Sweet Adeline Dramatic Warner-First Don't Ever Leave Me Harms Oscar Hammer- Oscar Hammer- Romance National stein II, Jerome stein, II, Kern Jerome Kern Here Am 1 Harms Oscar Hammer- Oscar Hammer- stein II, Jerome stein, II, Kern Jerome Kern Lonely Feet Harms Oscar Hammer- Oscar Hammer- stein II, Jerome stein, II, Kern Jerome Kern Out of the Blue Harms Oscar Hammer- Oscar Hammer- stein II, Jerome stein, II, Kern Jerome Kern Sun About to Rise, The Harms Oscar Hammer- Oscar Hammer- stein II, Jerome stein, il, Kern Jerome Kern 'Twas Not So Long Ago Harms Oscar Hammer- Oscar Hammer- stein II, Jerome stein, II, Kern Jerome Kern Why Was 1 Born Harms Oscar Hammer- Oscar Hammer- stein II, Jerome stein, II, Kern Jerome Kern We Were So Young Harms Oscar Hammer- Oscar Hammer- stein II, Jerome stein, II, Kern Jerome Kern 104 THE BOX OFFICE CHECK-UP OF 1935 PICTURE TYPE DISTRIBUTOR SONG PUBLISHER COMPOSER LYRICIST Sweet Music Comedy Drama Warner-First Ev'ry Day Remick Sammy Fain Irving Kahal with Music National Fare Thee Well Annabelle Remick Allie Wrubel Mort Dixon Good Green Acres of Home Remick Sammy Fain Irving Kahal 1 See Two Lovers Remick Allie Wrubel Mort Dixon Sweet Music Remick Harry Warren Al Dubin There's a Different You in Your Remick Sammy Fain Irving Kahal Heart Sweetheart of Sigmi Chi Musical Republic Sweetheart of Sigmi Chi Melrose F. Dudleigh Byron D. Stokes Romance ( Monogram ) Vednor 365 Nights in Hollywood Comedy Fox My Future Star Movietone Music Richard A. Whit- Sidney Clare Yes To You Movietone Music Richard A. Whit- Sidney Clare ing Times Square Lady Comedy Drama MGM Object of My Affections Irving Berlin Pinkie Tomlin, Pinkie Tomlin, Coy Poe, Jim- Coy Poe, Jim- my Grier my Grier What's the Reason I'm Not Irving Berlin Pinkie Tomlin, Pinkie Tomlin, Pleasing You Coy Poe, Jim- Coy Poe, Jim- ✓ my Grier my Grier Top Hat Musical RKO Radio Cheek to Cheek Irving Berlin Irving Berlin Irving Berlin Operetta Isn't This a Lovely Day Irving Berlin Irving Berlin Irving Berlin No Strings Irving Berlin Irving Berlin Irving Berlin Piccolino Irving Berlin Irving Berlin Irving Berlin Top Hat, White Tie and Tails Irving Berlin Irving Berlin Irving Berlin Transatlantic Merry-Go-Round Musical United Artists If 1 Had a Million Dollars Irving Berlin Richard Whiting Sidney Clare Comedy It Was Sweet of You Irving Berlin Richard Whiting Sidney Clare Oh. Leo, It's Love Irving Berlin Richard Whiting Sidney Clare Rock & Roll Irving Berlin Richard Whiting Sidney Clare Tumbling Tumbleweeds Western Republic Silver Haired Daddy of Mine M. M. Cole Gene Autry Gene Autry Tumbling Tumbleweeds Sam Fox Bob Nolan Bob Nolan Twenty Million Sweethearts Musical Drama Warner-First Fair and Warmer M. Witmark Harry Warren Al Dubin National I'll String Along with You M. Witmark Harry Warren Al Dubin Out for No Good M. Witmark Harry Warren Al Dubin What Are Your Intentions M. Witmark Harry Warren Al Dubin Two for Tonight Comedy and Paramount From the Top of Your Head Crawford Revel Gordon Musical 1 Wish 1 Was Aladdin Crawford Revel Gordon Takes Two to Make a Bargain Crawford Revel Gordon Two for Tonight Crawford Revel Gordon Without a Word of Warning Crawford Revel Gordon Under the Pampas Moon Comedy Drama Fox Gaucho, The T. B. Harms Walter G. Buddy G. De- Samuels Sylva We're in the Money Comedy Warner-First So Nice Seeing You Again Harms Allie Wrubel Mort Dixon National Westward Ho Western Republic Girl 1 Loved Long Ago, The Vigilantes, The Westward Ho Wonder Bar Comedy Drama Warner-First Don't Say Goodnight M. Witmark Harry Warren Al Dubin National Goin' to Heaven on a Mule M. Witmark Harry Warren Al Dubin Vive La France M. Witmark Harry Warren Al Dubin Why Do 1 Dream Those Dreams M. Witmark Harry Warren Al Dubin Wonder Bar M. Witmark Harry Warren Al Dubin You Belong to Me Drama Paramount When He Comes Home to Me Famous Cosl DW Robin 106 THE BOX OFFICE CHECK-UP OF 1935 H A M P I O N S SUNNY SIDE UP AMONG ALL TIME BEST FILMS GROSSING $3,300,000 .A CONNECTICUT YANKEE AMONG ALL TIME BEST FILMS GROSSING $1,200,000. ALSO BOX OFFICE CHAMPION FOR YEAR 1930-31 ...DELICIOUS A BOX OFFICE CHAMPION FOR FULL YEAR 1932 ..BUSINESS and PLEASURE A BOX OFFICE CHAMPION FOR FULL YEAR 1932 1934 . . . HANDY ANDY A BOX OFFICE CHAMPION FOR AUGUST, 1934 1935 .. . BRIGHT EYES A BOX OFFICE CHAMPION FOR DECEMBER AND JANUARY, 1935 1935.. . THE LITTLE COLONEL A BOX OFFICE CHAMPION FOR MARCH, 1935 1935... DOUBTING THOMAS A BOX OFFICE CHAMPION FOR JUNE, 1935 (ALL FIGURES FROM CERTIFIED AUDIT, MOTION PICTURE HERALD) DIRECTED BY DAVID BUTLER THE BOX OFFICE CHECK-UP OF 1935 10/ SOLD -AND THEN THEY HAD TO BE Revealing the secret of showmanship as employed in selling 1935 product by A-MIKE VOGEL SOME months back to the Managers' Round Table Club, came a confession from a puzzled theatre man. He was ashamed of his grosses on pictures he had really tried to put oyer. Despite his efforts the box office showed little life. "Would ask you," he wrote, "to tell me and no doubt many more like me just what real showmanship is and how to use same. We read a lot in your paper about show- manship, but just what and how to do it is what puzzles me." The newer dictionaries have not as yet got around to defining accurately and sat- isfactorily this much discussed term, born into the motion picture industry but some 15 years ago and waxing vigorous and im- portant only in the last decade. In lieu of this wanted definition, the word showman- ship may safely be used as a synonym for profitable showbusiness. It may also be a talent outside the conventional advertising ch annels applied by showmen who possess it to make the public feel that ticket-buy- ing urge — a certain instinct enabling one theatre man to sense a good selling angle that his brother manager may have missed. And this sense of showmanship may deal with any phase of theatre operation. Just what is this showmanship may per- haps be best indicated by describing in brief unusual advertisings and exploitations reported by showmen in various parts of the world and published in the Managers' Round Table Club of Motion Picture Herald during 1935. For instance, one might recall the agile- minded thinking of those showmen who at the turn of the year had booked for pre- holiday showings various period pictures released at that time and utilized such bookings to tie in with local holiday chariti es sponsored by leading newspapers. To mind comes various "Barbary Coast" balls put on in different cities with pro- ceeds going to charities. Guests came in costume represented by the picture, the newspapers concerned plugged the attrac- tion and theatre, respectable sums were realized. In Memphis, the Warner Theatres zone chief, Howard Waugh, and Manager Bill Hendricks of the Warner theatre organized "Sweet Adeline," a charity ball to aid a Christmas fund, gave prizes for the most novel costumes and for best quartet sing- ing of the song in the picture. Many theatre men put on annual Thanksgiving and Christmas food and toy matinees wherein children who bring a can of foodstuffs or a toy for the underprivi- leged are admitted free to special per- formances. In most instances the theatres are content with the added prestige brought by these co-operations, but Man- ager Gus Lampe of the Eckel theatre in Syracuse, hooked his toy matinee to a then current Temple picture by forming a Temple Toy Club. Children bringing a toy to the theatre were given membership cards, which in addition to allowing them free admission, also were presented for a photo of the star. Showmanship of a high calibre was shown, too, by Manager Larry Lehman and Louis Mayer, advertising chief, at the Mainstreet, Kansas City, upon the in- auguration of a vaudeville policy. A vig- orous but conventional advertising drive might have done the trick, but these thea- tre men promoted the Chamber of Com- merce, American Legion posts, Boy Scouts and other organizations to insure a profit- able welcome for this new presentation. Merchants used special stickers on letters and packages, slugs were supplied for in- clusion in store ads, streets were deco- rated, parades organized, strong news- paper co-operation secured and endorse- ments obtained from prominent citizens. To attract the art-minded intelligentsia to the New York showing of "Don Juan," a prominent gallery was promoted to show etchings from the drawings of the picture's sets. Roscoe Drissell exhibited "Naughty Marietta" posters in the Wilmington, Del., Art Show, and in London John Arm- strong, Paramount, dug up an "itometer" to measure the appeal of British girls who answered an ad to serve as Mae West doubles on "Belle of the Nineties." No, showmanship does not flourish only under certain conditions, nor is it in- digenous to particular parts of the world. London offers the same opportunities as Kansas City and Memphis. Showmen who can sense the ticket-selling angle belong to the world, for even in Shanghai, A. L. Cap- lan, at the King's theatre, found that the youngsters would go for a coloring contest on a Temple picture as enthusiastically as those on this side. Quick-thinking, of course, is still another definition of showmanship and applies for instance to Manager George Jones at Loew’s theatre in Richmond, Va., on the occasion of his date on "Painted Veil." Jones discovered the picture to be the star's nineteenth, and immediately an- nounced a "Garbo 19th Party." Every stunt revolved around that number, includ- ing an invitation to 19 local children who had never seen a motion picture. The papers made much of it. Will stenographers get out of bed be- fore breakfast to see a picture? In Washington, showmanship did what alarm clocks often fail to do when Loew Division Manager Carter Barron, and ad chief Lou Brown, arranged a showing of "After Office Hours." The trick was in serving coffee and doughnuts after the screening held at 7 o'clock, and the novelty of the gag put it over successfully. Quick think- ing, indeed, and also deep. Nothing escapes the eager, if not the eagle eye of the showman in looking about for the unusual tieup. Even animals from the? zoo are fair game — at least so con- sidered Manager Francis Deering of Loew's State, Memphis, who wangled a loan of the city's pet elephant for a street bally on "Clive of India," to tie in with the ele- phant sequences in the picture. And Louis Charninsky, at the Capitol in Dallas, Tex., awoke curiosity by advertising for a span of oxen as part of a stunt on "West of the Pecos," as did Bill Hendricks, whose advertised nudist colony in his lobby [TURN TO PAGE 149] 108 THE BOX OFFICE CHECK-UP OF 1935 A. Edward Sutherland DIRECTOR ♦ 5 BOX OFFICE CHAMPIONS "PALMY DAYS" (A Champion for October, 1931) "INTERNATIONAL HOUSE" (A Champion for June, 1933) "TOO MUCH HARMONY" (A Champion for October, 1933) "MISSISSIPPI" (A Champion for April, 1935) "DIAMOND JIM" (A Champion for September, 1935) Currently Directing A Carl Laemmle, Jr. Production For Universal THE BOX OFFICE CHECK-UP OF 1935 109 Norman McLeod DIRECTOR 10 BOX OFFICE CHAMPIONS (FROM A CERTIFIED AUDIT BY MOTION PICTURE HERALD) UNDER CONTRACT TO PARAMOUNT 110 THE BOX OFFICE CHECK-UP OF 1935 WHY WOMEN CO TO "THE MOVIES" C) Well, why? Is it for romance? Or is it for fashions? Nope, it's simply for — by LLEWELLYN MILLER LAST year the greatest jail-break of all history was staged, quietly, efficiently and without bannerlines from one sin- gle newspaper. To this day, the number of those who slipped from prison is not known exactly, but the total is in stagger- ing millions. Women go to movies for escape — escape from the housewife’s thankless rou- tine, escape from the blighting standard- ization of office and factory, escape from boredom and self-criticism and the little walls of home. Young women, hounded by dim forebodings that life is not going to be undiluted beer and winning skittles, seek reassurance that everything always comes out right. Old women, with inno- cent romance shining unquenchable in dim- ming eyes, slide their bits of silver into the box office as an investment in freedom from the relentless onrush of time. Little girls escape the embarrassment of being considered something less than creatures of fatal charm and beauty by their strip- ling suitors in regarding, round-eyed and hopeful, the eventual subjugation of the hero by the eternally triumphant heroine. The converted store room, hot and mug- gy in the prairie night, is no less a sanc- tuary than the gilded cavern breezy with perfumed antiseptic air and sound-proofed against the roar of a great city. Both are refugees from the prison of self-concentra- tion. Both are temporary safety zones in the traffic of humdrum events. Both are temples, dedicated to worship of the happy ending. When it comes to plot development, de- lineation of life, and portrayals of human impulses on the screen, producers are bum psychologists. But when it comes to giv- ing audiences what they want, producers are brilliant in their understanding of the feminine desire for the fairy book finale "and they lived happily ever after." Every woman, whether she will admit it or not, has a deep, instinctive conviction that the ultimate clinch which terminates films with practically unvarying regularity, is fitting and proper. The implied achieve- ment of a lifetime of worship, devotion and, if possible a little awe, from the hero to the heroine seems to her nice work on the part of the lady. And not only good going by the heroine, but fair dealing on the part of fate. The most serene mama of a large family, the most comradely of wives, the most ra- tional of career-women, the most placid of grandmothers, the most contented of practical, cool-tempered and unsentimen- tal women have moments when emotional horizons seem oppressively inelastic. Not one of these women would consider for one moment any basic change. Their loyalties to their men are irrevocably engaged and honorably unwavering. But romance gets a bit bogged down in routine. An hour's contemplation of a shadow heroine's sor- rows and sufferings and eventual bliss is release from personal problems, a sublima- tion of vague rebellion against nothing- ever-happening, a soothing of the un- formulated disappointment that Prince Ch arming turned out to be just a devoted father and a good provider. In that feminine wistfulness for romance lies the immense appeal for women of such films as "Mutiny on the Bounty." Ques- tion almost any man, and he will label that film a "man's picture." His classification will be given with just the slightest patron- izing overtone of implication that women shy away from realities that are brutal and conflicts that are elemental unless they deal with love in politely evasive symbols. They forget that most women identify themselves with their men in some degree, and that the upright fellow winning against horrific odds does not have to draft fem- inine support. The tale of perils he has run guarantees quick volunteers to share vicariously his injustices, approve his righteous revolt, to ally themselves with him against the blind villainy of unpre- dictable circumstance. In that same feminine wistfulness for romantic strength of purpose against all obstacles, lies the indifference of most women to roistering comedies. Undeni- ably, there are plenty of soprano chuckles at the exploits of our more prominent buffoons, but always in that feminine laughter there is a percentage of amuse- ment at the unconfined joy of the men in the audience. Comedies, to women, are somewhat akin to the strenuous efforts of children in a game of let's-pretend. They regard the giddy gambollings of the Marx Brothers in "A Night at the Opera" with kindly detachment. That they may not seem lacking in wit, women encourage themselves to hearty laughter when their sons and husbands and brothers are roll- ing in the aisles. Once in a long time, women extract quite a large measure of entertainment from communion with the slapstick muse. But the grim fact remains that at some time during the unreeling, the average woman will turn a glance of mild wonder upon her hysterical escort and smile in secret and mature tenderness. Comedies of sound dramatic verity are another matter. Women are well trained to appreciate the comic quality of mis- chance. Such humor adds immensely to the appeal of romance. Individually, many films offer many dif- ferent bids for matinee patronage. More than one picture has gladdened exhibitors' hearts for no better reason than that the star hopped in and out of forty gowns while getting her man. There is a merry tinkle of silver under the marquee glitter- ing with the magic name of Shirley Temple, because the theme that the touch of baby fingers can completely change characters of crabbed millionaires is apparently of deathless breathless allure. But basically, the reason that women go to movies is to escape for a little steady- ing hour the harrassing experience of liv- ing in a world where virtue quite frequent- ly is rewarded with a kick in the pants, where some notably inferior blonde often scoops up your man, where true love gets the blind staggers for almost any old ex- cuse, and where few women can manage to get fifty percent of the close-ups. THE BOX OFFICE CHECK-UP OF 1935 ROBERT LORD 15 BOX OFFICE CHAMPIONS’ AS ASSOCIATE PRODUCER "LITTLE CAESAR" ANNUAL BOX OFFICE CHAMPION, 1930-31 "FOOTLIGHT PARADE" A BOX OFFICE CHAMPION NOVEMBER, 1933 "WONDER BAR" A BOX OFFICE CHAMPION APRIL, 1934, AND ANNUAL AND SEMI-ANNUAL, 1934 "DAMES" (Story in collaboration) A BOX OFFICE CHAMPION AUGUST, SEPTEMBER, 1934 "FLIRTATION WALK" A BOX OFFICE CHAMPION DECEMBER, 1934 "GOLD DIGGERS OF 1935" (Story in collaboration) A BOX OFFICE CHAMPION APRIL, 1935 "OIL FOR THE LAMPS OF CHINA" A BOX OFFICE CHAMPION JUNE, 1935 AS WRITER "FIVE STAR FINAL" (Adaptation) A BOX OFFICE CHAMPION OCTOBER AND NOVEMBER, 1931 "FIREMAN, SAVE MY CHILD" (Adaptation) A BOX OFFICE CHAMPION MARCH AND APRIL, 1932 "IT'S TOUGH TO BE FAMOUS" (Adaptation) A BOX OFFICE CHAMPION APRIL, 1932 "WINNER TAKES ALL" (Adaptation in collaboration) A BOX OFFICE CHAMPION JULY, 1932 "THE CONQUERORS" (RKO) (Screen play) A BOX OFFICE CHAMPION NOVEMBER AND DECEMBER, 1932 "YOU SAID A MOUTHFUL" (Screen play in collaboration) A BOX OFFICE CHAMPION DECEMBER, 1932 "HARD TO HANDLE" (Adaptation in collaboration) A BOX OFFICE CHAMPION FEBRUARY, 1933 "GOLD DIGGERS OF 1935" (Story) A BOX OFFICE CHAMPION APRIL, 1935 * From a certified audit by MOTION PICTURE HERALD WARNER BROS. -FIRST NATIONAL PRODUCTIONS ALSO PRODUCED PAGE MISS GLORY WITH MARION DAVIES DR. SOCRATES WITH PAUL MUNI IN PRODUCTION COLLEEN WITH DICK POWELL - RUBY KEELER THE SINGING KID WITH AL JOLSON 112 THE BOX OFFICE CHECK-UP OF 1935 Box Office Champions POWER AND THE GLORY FOX, 1933 THE FIRST YEAR FOX, 1932 CAT AND THE FIDDLE MGM. 1934 TRIAL OF VIVIENNE WARE FOX, 1932 WILLIAM K. HOWARD DIRECTOR 1935 Productions EVELYN PRENTICE VANESSA-HER LOVE STORY RENDEZVOUS FOR MGM MARY BURNS, FUGITIVE FOR WALTER WANGER METRO-COL DWYN-M AYER THE BOX OFFICE CHECK-UP OF 1935 113 LAIRD DOYLE 4 BOX OFFICE CHAMPIONS 1935 PRODUCTIONS "HELL BELOW"* (MGM) A Champion for May, 1933 Adaptation "BRITISH AGENT" A Champion for Sept., 1934 Screen Play "OIL FOR THE LAMPS OF CHINA" A Champion for June, 1935 Screen Play "FRONT PAGE WOMAN" A Champion for July, 1935 Dialogue "BORDERTOWN"* . . . Screen Play "SPECIAL AGENT"* . . . Screen Play "DANGEROUS" . . . Story and Screen Play ♦IN COLLABORATION A BOX OFFICE CHAMPION IN ITS CLASS FOR 1934 "SING AND LIKE IT"*... screen play WARNER BROS. -FIRST NATIONAL PRODUCTIONS 114 THE BOX OFFICE CHECK-UP OF 1935 BRITISH PRODUCTION DIGS IN FOR NEW SIEGE C) 1935 success in American market spurs English on to greater conquests in 1936 by BRUCE ALLAN LONDON. THE American box office is a better index to the comparative entertain- ment merit of British films, at the end of 1935, than any of the plentiful figures, percentages, graphs and, for that matter, plain ballyhoo, that are available to ex- press British production progress in terms of stars, stories, directors, footage and studio floor space. When the American exhibitor became conscious of the British film, the British film began to be a serious trade factor. And this really happened in 1934-35. Many American exhibitors have recently played "Transatlantic Tunnel," and are pre- paring to play "Things To Come." They can look back on a year in which they screened more than a dozen other British pictures. They know a great deal more about the box office value of these pic- tures in America than we can knew in London, but this at least has come across the Atlantic — some of these British pic- tures, in some American theatres, have done better business than some American pictures. To Americans this may seem a very moderate claim. In England it is an asser- tion that the almost impossible has been achieved. For very many years it was an article of faith with a big section of the British production industry that America was a sealed market. This conviction was guite impervious to disproof; such films as "Henry VIII" were "freaks, the exception that proved the rule," and so forth. Un- fortunately for these sufferers from per- secution mania, but fortunately for the general reputation of British traders as people with a grip on business fact and with a sense of humor, the "closed door" theory has become completely untenable in face of the fact that British films are being distributed in America on a 52- weeks-a-year basis, that they are playing, and putting up good figures in, keyhouses, and that they are figuring with pleasing regularity in MOTION PICTURE HERALD's lists of "Box Office Cham- pions." The 1934-35 season does therefore defi- nitely deserve to be called historical. For "1492, Columbus Discovers America," it is at last possible to use the homologue, "1934, Elstree Discovers America." With London Films an integral part of United Artists, with Gaumont-British established in the United States on its own feet, and with every outstanding picture from other sources assured of an opportunity in New York, it is not surprising that practically every new production enterprise in Eng- land now, as a matter of course, shapes its plans and finances on a scale which assumes an American release. The important thing to remember is that the policy is new; America has so far seen only the work of the pioneers, and the real result of a funda- mental change in the British producers' outlook will not be seen until the season now opening. cTS^. What may be expected from England in the way of box-office material when its production industry as a whole is mobilized for an attack on world markets, can be estimated from a consideration of the ma- terial provided during the past 12 months by the only three companies which, up to 1934, can be said to have tried consistently to provide American entertainment values — London Film, Gaumont-British and Brit- ish & Dominions. London Film's biggest success in Amer- ica, "The Scarlet Pimpernel," is generally believed to be assured of a total gross in excess of that of "Henry VIII," while "Sanders of the River" ("Congo Raid") has beaten "Henry VIII" receipts in the United Kingdom by ten per cent, according to Alexander Korda's own figures. The same authority placed the world gross of "Henry VIII" at $2,500,000. In a MOTION PIC- TURE ALMANAC tabulation of the big- gest box office successes of all time, only 12 pictures were shown to have exceeded $2,500,000, and at or below that figure, were such phenomenal hits as "The Gold Rush," "The Kid," "The Ten Command- ments," "Gold Diggers of Broadway," "Little Women," and "I'm No Angel." It seems, therefore, that in 1935-36, this par- ticular British producer can make a budget with a reasonable anticipation of receipts comparable to those which, a very few years ago, were achieved by only a few outstanding American productions. London Film Productions has a much more ambitious program this coming 12 months than ever in its history, and the figures just given indicate the resources which were behind "Things to Come," and which have also been used to erect at Denham, near London, a super-studio to be used, it seems, exclusively for the produc- tion of films for the U. S. A. as well as for the U. K. Gaumont-British has just completed a first year of American distribution. Dur- ing this period the standard of their pro- duction, in the opinion of good British judges, has improved 500 per cent. Un- doubtedly this fact is due to a desire to secure the American market, coupled with a definite ability to absorb and apply what America had to teach. GB made its at- tack on the United States about the time it produced "Power." It followed up this pretentious but not very effective picture with, among others, The Man Who Knew Too Much," which at the time of its first display was un- doubtedly, in a technical sense, the most successful picture made at Shepherd's Bush; incidentally, it registered a "come- back" by Alfred Hitchcock, one of the most intelligent and imaginative directors in England. Followed "The Iron Duke," with George Arliss, a picture which failed to set either the Thames or the Hudson alight; "For- ever England," "The 39 Steps," "The Clairvoyant," "The Passing of the Third Floor Back" and "Transatlantic Tunnel." The signifi cance of these titles lies in their sequence. At the end of its first American year, GB was making films which, in an English and American box office sense, made its pre-1934 efforts seem amateurish. British & Dominions, with "Escape Me Never, achieved an artistic success which was also a box office draw in both the U. K. and the U. S.; it was a "Box Office Champion" in America. Other highlights THE BOX OFFICE CHECK-UP OF 19 3 5 11 5 Guillotine scene from "The Scarlet Pimpernel," London Film Production in this company's output were "Nell Gwyn," of contentious memory; "Brew- ster's Millions" and "Peg of Old Drury." Every one of These pictures was an illus- tration of Herbert Wilcox's declared policy of producing for American needs. B & D Budgets on a $500,000 scale occasionally. The general output of British production companies included a number of pictures up to or approaching American standards. Associated British Pictures, though its de- clared policy is to make films primarily for its own circuit of theatres and at a price showing a profit on U K. distribution, went beyond these limits with "Drake" ("Elizabeth of England" in New York) "Abdul the Damned" and "I Give My Heart." Its "Old Curiosity Shop" was a very faithful Dickens transcription. ABP also made a series of musicals, "Dance Band" and "Radio Parade of 1935" among them, which suggested a desire to extend sales beyond the U. K. Associated British Film Distributors, with Gracie Fields' "Look Up and Laugh," and British Lion with such films as "Ten Minute Alibi," were other companies definitely above the Quota level. Twickenham Film Studios, concentrating largely on production of obligatory films for American companies, embarked during the year on its own distribution and an- nounced a production program which seems to imply a serious effort for regular American release. Production companies without their own distribution include in Toeplitz Productions and British National Films two concerns which are definitely working for world re- lease. Toeplitz has already sent "The Dictator" to America through GB and has a Chevalier picture schemed. British Na- tional's first effort, "The Turn of the Tide" was an impressively sincere and effective piece of work. The future development of British pro- duction, a matter in which the American trader and exhibitor has a very direct in- terest, cannot be prophesied with any cer- tainty, but consideration of the existing situation and of the factors which are modifying it, undoubtedly suggest that in 1935-36, and still more in 1936-37, there will have been an advance towards the consolidation of the American and British markets — in the sense that films made in either country will be freely sold on their merits in both, which would have been quite impossible a bare twelve months ago. At the present moment production in the United Kingdom can be roughly classi- fied as (a) production by British companies for U. K. release, (b) production for U. S. and U. K. by British companies, (c) produc- Frank Collier and Conra d Veldt in "The Pass- ing of the Third Floor Back," Gaumont-British tion for U. K. by, or for, American com- panies, and (d) production for U. K. and U. S. by American companies. The outstanding success achieved in the American market by London Film, and the successful establishment of distribution there by GB, are leading reasons for be- lieving that class (a) films will to a very large extent be displaced by class (b). It has been shown that the American market is open; it has also become more and more obvious that production for profit in the U. K. market alone is, in the long run, impossible. Another reason is that the great ma- jority, if not the whole, of recent British flotations for production purposes are based on American distribution and, more important, the cost estimating is on a basis which assures a disastrous loss if, in fact, the American release is not obtained. "Get America or bust" is the fundamental, if undeclared, policy of all these producing companies. Similar reasons seem likely to dictate the comparatively early disappearance of the "quota quickie," made at minimum cost in order to enable American companies to comply with the letter of the Films Act. With a 20 per cent quota now operating, the burden of carrying these films as a dead loss is a heavy burden even on a major distributor. Today finds the Amer- ican companies in two minds. They have written off the "quickie" as a mistake, but they have not yet come, and may not come for a long time, to the policy of making films in England for world release. The present policy is to make moderately priced films which, without making a profit in the U. K., will reduce the loss on quota films. The disappearance of class (c) films, therefore, in favor of class (d) is quite likely to be postponed for some time; nevertheless, this looks like the ultimate de- velopment, even though it implies interfer- ence with the fundamental American policy of concentrating production in Hol- lywood. Even in the immediate future the Amer- ican exhibitor can expect a certain num- ber of British films made by major Amer- ican companies. Metro-Goldwyn-Mayer, latest converts to the policy of direct pro- duction in England, is discussing the trans- fer of stories from Hollywood schedule and the use of Hollywood stars and directors. Fox-Twentieth - Century, side by side with "statutory" production at Wembley, which is definitely above "quickie" level, has sent over Robert T. Kane to plan big picture production. Warner, at its Teddington [TURN TO PAGE 145] Elisabeth Bergner and Hugh Sinclair in "Escape Me, Never," British & Dominion production 116 THE BOX OFFICE CHECK-UP OF 1935 ALBERT LE Wl N ASSOCIATE PRODUCER for IRVING C. THALBERC "CHINA SEAS" "MUTINY ON THE BOUNTY" "THE GOOD EARTH" CURRENT PRODUCTION Metro-Goldwyn-Mayer BOX OFFICE CHAMPIONS FROM A CERTIFIED AUDIT BY MOTION PICTURE HERALD LETTY LYNTON A CHAMPION FOR MAY AND JUNE 1932 RED DUST A CHAMPION FOR NOVEMBER 1932 THE WHITE SISTER A CHAMPION FOR APRIL 1933 PENTHOUSE A CHAMPION FOR SEPTEMBER 1933 THE THIN MAN A CHAMPION FOR JUNE 1934 TREASURE ISLAND A CHAMPION FOR AUGUST 1934 HIDEOUT A CHAMPION FOR SEPTEMBER 1934 CHAINED A CHAMPION FOR SEPTEMBER 1934 THE PAINTED VEIL A CHAMPION FOR DECEMBER 1934 NAUGHTY MARIETTA A CHAMPION FOR APRIL AND MAY 1935 Forthcoming Productions: THE GREAT ZIECFELD ROSE MARIE WIFE VERSUS SECRETARY AH, WILDERNESS SMALL TOWN GIRL LADY COMES TO TOWN (THIN MAN SEQUEL) Produced by HUNT STROMBERC METRO-COLDWYN-MAYER BOX OFFICE CHAMPIONS of 1934-35 . a Pictorial Review ON this and six other pictorial pages following, are presented stills from the Box Office Cham- pions of the year 1934 and of the first six months of 1935, their producers and their directors. Some of the produc- tions are not to be accredited with pro- ducers other than the companies under the names of which they have been issued, and the production heads of such companies are also pictured. On this page are pictures of the individual producers. The stills and director por- traits follow on pages 120, 124, 128, 132, 136 and 140. Pa ndro S. Berman, producer of "The Gay Divorcee," "Roberta" and "The Little Minister" for RKO Radio. Merian C. Cooper, pro- ducer of "Little Women," "Flying Down to Rio," "Son of Kong," "Kentucky Ker- nels" for RKO Radio. Benjamin Glazer, producer of "She Loves Me Not” for Paramount. Samuel Goldwyn, producer of "Roman Scandals" for United Artists. Arthur Hornblow, Jr., pro- ducer of "Ruggles of Red Gap" for Paramount. Bernard H. Hyman, pro- ducer of "Forsaking All Others" for Metro-Gold- wyn-Mayer. Willi am LeBa ron, producer of "Belle of the Nineties" and "Goin' to Town" for Paramount. Louis D. Lighton, producer of "Lives of a Bengal. Lancer" for Paramount. Hal Roach, producer of "Sons of the Desert" for Metro-Goldwyn-Mayer. David O. Selznick, pro- ducer of "Dinner at Eight" and "David Copperfield" for Metro-Goldwyn-Mayer. Hunt Stromberg, producer of'Chained" and "Naughty Marietta" for Metro-Gold- wyn-Mayer. Walter Wanger, producer of "Queen Christina" for Metro-Goldwyn-Mayer. Sol M. Wurtzel, producer of "Judge Priest" and "Life Begins at Forty" for Fox. THE BOX OFFICE CHECK-UP OF 1935 119 A BOX OFFICE CHAMPION OF 1934 THE HOUSE OF ROTHSCHILD UNITED ARTISTS Directed by Alfred Werker A BOX OFFICE CHAMPION OF 1934 Frank Capra Lloyd Bacon IT HAPPENED ONE NIGHT COLUMBIA Directed by Frank Capra A BOX OFFICE CHAMPION OF 1934 WONDER BAR FIRST NATIONAL Directed by Lloyd Bacon A BOX OFFICE CHAMPION OF 1934 Frank Tuttle Victor Schertzinger ROMAN SCANDALS UNITED ARTISTS Directed by Frank Tuttle A BOX OFFICE CHAMPION OF 1934 ONE NIGHT OF LOVE COLUMBIA Directed by Victor Schertzinger Mark Sandrich THE GAY DIVORCEE RKO RADIO Directed by Mark Sandrich 120 THE BOX OFFICE CHECK-UP OF 1935 DOUBLE HARNESS (ANN HARDING - WILLIAM POWELL) A Box Office Champion for August, 1933 • SPITFIRE (KATHARINE HEPBURN) A Box Office Champion for March, 1934 • THE FOUNTAIN (ANN HARDING) A Box Office Champion for Sept., 1934 • A Certified Audit by Motion Picture Herald OF HUMAN BONDACE (LESLIE HOWARD - BETTE DAVIS) "I DREAM TOO MUCH" WITH LILY PONS JOHN CROMWELL DIRECTOR A DAVID O. SELZNICK PRODUCTION LITTLE LORD FAUNTLEROY WITH FREDDIE BARTHOLOMEW AND DOLORES COSTELLO THE BOX OFFICE CHECK-UP OF 1935 GEORGE MARSHALL DIRECTOR "LIFE BEGINS AT 40" I A BOX OFFICE CHAMPION FOR FIRST SIX MONTHS, 1935) "IN OLD KENTUCKY" (A BOX OFFICE CHAMPION FOR NOVEMBER, 19 3 5) CURRENT RELEASE "SHOW THEM NO MERCY" BROKE RECORD FOR SEASON, RIVOLI THEATRE, NEW YORK BROKE ALL RECORDS FOR THE YEAR, CAPITOL THEATRE, MIAMI, FLA. CURRENT PRODUCTION "A MESSAGE TO GARCIA" WITH WALLACE BEERY, BARBARA STANWYCK AND JOHN BOLES 20th CENTURY— FOX PRODUCTIONS 122 THE BOX OFFICE CHECK-UP OF 1935 HAROLD YOUNG DIRECTOR WITHOUT REGRET (FOR PARAMOUNT) JUST COMPLETED WOMAN TRAP (FOR PARAMOUNT) BOX OFFICE CHAMPION! MAY AND JUNE (1935) THE SCARLET PIMPERNEL (FOR UNITED ARTISTS) UNDER CONTRACT TO PARAMOUNT THE BOX OFFICE CHECK-UP OF ) 9 3 5 123 A BOX OFFICE CHAMPION OF 1934 DINNER AT EIGHT METRO-GOLDWYN-MAYER Directed by George Cukor A BOX OFFICE CHAMPION OF 1934 RIPTIDE METRO-GOLDWYN-MAYER Directed by Edmund Goulding A BOX OFFICE CHAMPION OF 1934 CHAINED METRO-GOLDWYN-MAYER Directed by Clarence Brown Leo McCarey Edmund Goulding Ray Enright Clarence Brown BELLE OF THE NINETIES PARAMOUNT Directed by Leo McCarey A BOX OFFICE CHAMPION OF 1934 ■'01 ' #•» DAMES WARNER BROTHERS Directed by Ray Enriqht A BOX OFFICE CHAMPION OF 1934 John Ford JUDGE PRIEST FOX Directed by John Ford 124 THE BOX OFFICE CHECK-UP OF 1935 GEORGE STEVENS DIRECTED ALICE ADAMS with KATHARINE HEPBURN ANNIE OAKLEY with BARBARA STANWYCK IN PREPARATION I WON'T DANCE with FRED ASTAIRE and GINGER ROGERS RKO THE BOX OFFICE CHECK-UP OF 935 125 mm MARK SANDRICH director . . 1934.. "The Cay Divorcee” . A BOX-OFFICE CHAMPION 1935.. FOR 1934 "Top Hat" . A BOX-OFFICE CHAMPION • — FOR 1935 1936.. IN PRODUCTION "Follow The Fleet" with FRED ASTAIRE AND GINGER • ROGERS RICHARD BGLESLAWSKI Directed 5 BOX OFFICE CHAMPIONS • RASPUTIN AND THE EMPRESS BOX OFFICE CHAMPION FOR MARCH, 1933 • MEN IN WHITE BOX OFFICE CHAMPION FOR APRIL, 1934 • OPERATOR 13 BOX OFFICE CHAMPION FOR JUNE, 1934 • THE PAINTED VEIL BOX OFFICE CHAMPION FOR DECEMBER, 1934 • LES MISERABLES BOX OFFICE CHAMPION, FIRST 6 MONTHS, 193 5 Current Productions O’SHAUGHNESSY’S BOY METROPOLITAN THREE GODFATHERS MGM 126 THE BOX OFFICE CHECK-UP OF 19 3 5 MICHAEL CURTIZ DIRECTOR OFFICE CHAMPIONS ALIAS THE DOCTOR (A BOX OFFICE CHAMPION FOR APRIL, 1932) DOCTOR X (A BOX OFFICE CHAMPION FOR AUGUST, 1932) CABIN IN THE COTTON (A BOX OFFICE CHAMPION FOR OCTOBER, 1932) KENNEL MURDER CASE (A BOX OFFICE CHAMPION FOR NOVEMBER, 1933) BRITISH AGENT (A BOX OFFICE CHAMPION FOR SEPTEMBER, 1934) FRONT PACE WOMAN (A BOX OFFICE CHAMPION FOR JULY, 1935) WARNER BROS.-FIRST NATIONAL PRODUCTIONS CURRENT PRODUCTION CAPTAIN BLOOD 6 BOX THE BOX OFFICE CHECK-UP OF 1935 127 SONS OF THE DESERT METRO-GOLDWYN-MAYER Sidney Franklin Directed by William A. Seiter A BOX OFFICE CHAMPION OF 1934 BARRETTS OF WIMPOLE STREET METRO-GOLDWYN-MAYER Directed by Sidney Franklin A BOX OFFICE CHAMPION OF 1934 QUEEN CHRISTINA METRO-GOLDWYN-MAYER Christy Cabanne Directed by Rouben Mamoulian SON OF KONG RKO RADIO Directed by Ernest B. Schoedsack 128 THE BOX OFFICE CHECK-UP OF 1935 George Stevens GIRL OF THE LIMBERLOST MONOGRAM Directed by Christy Cabanne A BOX OFFICE CHAMPION OF 1934 KENTUCKY KERNELS RKO RADIO Directed by George Stevens WALDEMAR YOUNG 7 BOX OFFICE CHAMPIONS 1931 THE MIRACLE MAN* (A CHAMPION FOR MAY, 1931) 1932 LOVE ME TONIGHT* (A CHAMPION FOR SEPTEMBER, 1932) 1933 SIGN OF THE CROSS* (A CHAMPION FOR JANUARY AND FEBRUARY, 1933) 1934 MEN IN WHITE MGM (A CHAMPION FOR APRIL, 1934) 1 935 LIVES OF A BENGAL LANCER* (A CHAMPION FOR FIRST SIX MONTHS OF 1935) THE CRUSADES Screen Play* (A CHAMPION FOR NOVEMBER, 1935) *ln Collaboration THE BOX OFFICE CHECK-UP OF 1935 129 WILLIAM LE BARON FRANK PRODUCTIONS CAPRA Box Office Champions I "GIRL CRAZY" RADIO 1932 APRIL, 1932 AMERICAN MADNESS "COLLECE HUMOR" (A BOX OFFICE CHAMPION, AUG., 1932) JULY, 1933 "I'M NO ANGEL" • ANNUAL, 1933 1933 "TOO MUCH HARMONY" OCTOBER, 1933 LADY FOR A DAY "MANY HAPPY RETURNS" (A BOX OFFICE CHAMPION FOR SEPT. AND OCT., 1933) JUNE, 1934 ■ "THE OLD FASHIONED WAY" • AUGUST, 1934 "BELLE OF THE NINETIES" 1934 ANNUAL, 1934 IT HAPPENED ONE NIGHT "COIN' TO TOWN" (A BOX OFFICE CHAMPION FOR SIX MONTHS, SEMI-ANNUAL, 1935 1934) Current Productions • "CORONADO" 1935 "ROSE OF THE RANCHO" BROADWAY BILL (A BOX OFFICE CHAMPION FOR JAN., 1935) "KLONDIKE LOU" WITH MAE WEST • "GIVE US THIS NIGHT" JAN KIEPURA - GLADYS SWARTHOUT 1936 • LOST HORIZON PARAMOUNT PRODUCTIONS I Columbia! 130 THE BOX OFFICE CHECK-UP OF 1935 D E L M E R DAVES 7 CONTRIBUTIONS TO BOX-OFFICE CHAMPIONS: 3 SCREEN PLAYS: Shipmates Forever (B. O. C. 1935) Flirtation Walk(B. O. C. 1934) Dames (b. O. C. 1934) 3 ORIGINAL STORIES: Shipmates Forever (1935) Flirtation Walk* (1934) Dames* (1934) 1 CONTINUITY Clear All Wires (1933) Also Released: Future Releases: Page Miss Glory Petrified Forest Screen Play * Screen Play * Stranded Slim Adaptation and Screen Play Adaptation and Screen •IN COLLABORATION THE BOX OFFICE CHECK-UP OF 1935 131 A BOX OFFICE CHAMPION OF 1934 Elliott Nuqent SHE LOVES ME NOT PARAMOUNT Directed by Elliott Nugent A BOX OFFICE CHAMPION OF 1934 Thornton Freeland DESIGN FOR LIVING PARAMOUNT Directed by Ernst Lubitsch A BOX OFFICE CHAMPION OF 1934 Ernst Lubitsch EXECUTIVES in charge of PRODUCTION for MGM . . . Louis B. Mayer A BO.X OFFICE CHAMPION OF 1934 FLYING DOWN TO RIO RKO RADIO Directed by Thornton Freeland A BOX OFFICE CHAMPION OF 1934 THE LOST PATROL RKO RADIO Directed by John Ford A BOX OFFICE CHAMPION OF 1935 LITTLE WOMEN RKO RADIO Directed by George Cukor Irving Thalberg ROBERTA RKO RADIO Directed by William A. Seiter 132 THE BOX OFFICE CHECK-UP OF 1935 NORMAN TAUROC DIRECTOR 7 BOX OFFICE CHAMPIONS • SOOKY A Champion for December, 1931 •PHANTOM PRESIDENT A Champion for October, 1932 •A BEDTIME STORY A Champion for April, 1933 •WE'RE NOT DRESSING A Champion for May, 1934 •MRS. WIGCS of the CABBAGE PATCH A Champion for November, 1934 •COLLEGE RHYTHM A Champion for December, 1934 •THE BIG BROADCAST OF 1936 A Champion for September, 1935 PARAMOUNT PRODUCTIONS CURRENT RELEASE EDDIE CANTOR IN STRIKE ME PINK A SAMUEL GOLDWYN PRODUCTION THE BOX OFFICE CHECK-UP OF 1935 133 ROY DEL RUTH DIRECTOR Box Office Champions "WINNER TAKE ALL" JULY, 1932 "CAPTURED" SEPT., 1933 "KID MILLIONS" NOV., 1934 "FOLIES BERGERE" ✓ MARCH, 1935 “THANKS A MILLION” 20TH CENTURY - FOX “BROADWAY MELODY OF 1936” OCTOBER, 1935 Screen Plays by Casey Robinson BOX OFFICE CHAMPIONS "EIGHT GIRLS IN A BOAT" (1934) "I FOUND STELLA PARISH" LATEST RELEASE "CAPTAIN BLOOD" Warner Brothers - First National A Member of the Screen Writers Guild 134 THE BOX OFFICE CHECK-UP OF 19 3 5 Box Office Champions JEWEL ROBBERY A CHAMPION FOR AUGUST, 1932 ADORABLE A CHAMPION FOR JUNE, 1933 FASHION FOLLIES OF 1934 A CHAMPION FOR FEBRUARY, 1934 WILLIAM DIETERLE DIRECTOR • WARNER BROS.-FIRST NATIONAL PRODUCTIONS CURRENT PRODUCTION THE STORY OF LOUIS PASTEUR 1934-1935 Productions FOG OVER FRISCO MADAME DU BARRY THE FIRE BIRD CONCEALMENT DR. SOCRATES ENEMY OF MAN CO-DIRECTED A MIDSUMMER NIGHTS DREAM THE BOX OFFICE CHECK-UP OF 1935 135 A BOX OFFICE CHAMPION OF 1935 A BOX OFFICE CHAMPION OF 1935 LES MISERABLES UNITED ARTISTS Directed by Richard Boleslawski A BOX OFFICE CHAMPION OF 1935 Richard Boleslawski Henry Hathaway LIVES OF A BENGAL LANCER PARAMOUNT Directed by Henry Hathaway A BOX OFFICE CHAMPION OF 1935 W. S. Van Dyke FORSAKING ALL OTHERS METRO-GOLDWYN-MAYER Directed by W. S. Van Dyke A BOX OFFICE CHAMPION OF 1935 George Marshall William Keighley LIFE BEGINS AT 40 FOX Directed by George Marshall A BOX OFFICE CHAMPION OF 1935 G-MEN FIRST NATIONAL Directed by William Keighley Alexander Hall GOIN' TO TOWN PARAMOUNT Directed by Alexander Hall 136 THE BOX OFFICE CHECK-UP OF 1935 PARAMOUNT PICTURES PRODUCED BY DOUGLAS MAC LEAN "SO RED THE ROSE" *MAMA LOVES PAPA A BOX OFFICE CHAMPION FOR AUGUST, 1933 TILLIE AND CUS *SIX OF A KIND MELODY IN SPRING A BOX OFFICE CHAMPION FOR APRIL, 1934 LADIES SHOULD LISTEN MRS. WICCS OF THE CABBAGE PATCH A BOX OFFICE CHAMPION FOR NOVEMBER, 1934 PEOPLE WILL TALK ACCENT ON YOUTH A BOX OFFICE CHAMPION FOR AUGUST, 1935 TWO FOR TONIGHT * ORIGINAL STORIES IN COLLABORATION WITH KEENE THOMPSON THE BOX OFFICE CHECK-UP OF 1935 137 "SEQUOIA" Screen Play * by CAREY WILSON * IN COLLABORATION. EDWARD EVERETT HORTON 138 THE BOX OFFICE CHECK-UP OF 1935 William Anthony McGuire AUTHOR-ASSOCIATE PRODUCER "THE GREAT ZIECFELD" M-C-M f. Box Office Champions OUT ALL NIGHT - (UNIV.) LITTLE MAN, WHAT NOW? KID FROM SPAIN ROMAN SCANDALS SCREEN PLAY - DIALOGUE (UNIV.) SCREEN PLAY (U. A.) (U. A.) SCREEN PLAY WHOOPEE BASED ON THE STAGE SHOW WRITTEN AND STAGED BY WM. ANTHONY McGUIRE BOX OFFICE HITS DISORDERLY CONDUCT STORY AND SCREEN PLAY OKAY AMERICA STORY AND SCREEN PLAY KISS BEFORE THE MIRROR SCREEN PLAY THE BOX OFFICE CHECK-UP OF 1935 139 A BOX OFFICE CHAMPION OF 1935 THE LITTLE MINISTER RKO RADIO Directed by Richard Wallace A BOX OFFICE CHAMPION OF 1935 DAVID COPPERFIELD METRO-GOLDWYN-MAYER Directed by George Cukor A BOX OFFICE CHAMPION OF 1935 BROADWAY BILL COLUMBIA Directed by Frank Capra Richard Wallace Carmine Gallone A BOX OFFICE CHAMPION OF 1935 MY HEART IS CALLING GAU MONT- BRITISH Directed by Carmine Gallone A BOX OFFICE CHAMPION OF 1935 EXECUTIVES in charge of PRODUCTION Darryl Zanuck 20th Century -Fox J. L. Warner Warner Brothers NAUGHTY MARIETTA METRO-GOLDWYN-MAYER Directed by W. S. Van Dyke A BOX OFFICE CHAMPION OF 1935 Harry Cohn Columbia RUGGLES OF RED GAP PARAMOUNT Directed by Leo McCarey O F 140 THE BOX OFFICE CHECK-UP 19 3 5 HOOT GIBSON CURRENT CHAMPION WESTERNS 1 935 Release FRONTIER JUSTICE SWIFTY LUCKY TERROR SUNSET TRAIL RAINBOW END DIVERSION PICTURES INC. WALTER FUTTER, PRES. J. Walter Ruben DIRECTOR "PUBLIC HERO NO. 1 " A BOX OFFICE CHAMPION FOR JUNE, 1935 "RIFF RAFF" • WITH JEAN HARLOW SPENCER TRACY 9 UNA MERKEL 9 MICKEY ROONEY METRO - GOLDWYN - MAYER THE BOX OFFICE CHECK-UP OF 1935 141 LE ROY J. PRINZ DIRECTOR OF DANCES FOR THE PAST YEAR 1935 RHUMBA BIG BROADCAST ANYTHING GOES CRUSADES COLLEGIATE MISSISSIPPI NOW I'M A LADY ROSE OF THE RANCHO FOUR HOURS TO KILL ALL THE KING'S HORSES TWO FOR TONIGHT COLLEGE SCANDAL MILKY WAY IT'S A GREAT LIFE STOLEN HARMONY SHIP CAFE ✓ CORONADO HERE COMES COOKIE PARAMOUNT PICTURES Management F. ORSATTI & CO. 142 THE BOX OFFICE CHECK-UP OF 1935 PICTORIAL VALUES IN SCREEN ENTERTAINMENT €J What cinematography is doing to advance the effectiveness of the art of the film by CHARLES G. CLARKE, A.S.C. I OOKING at the trends of motion pic- ture photography from the viewpoint «— of the motion picture cameraman we see many interesting developments. That the Directors of Photography have kept pace with ever-rais- ing standards of technique is appa- rent to all who have seen the recent out- put of pictures. The high photographic excellence of such pictures as "Les Miserables," "Se- quoia," Mutiny on the Bounty," "Anna Karenina," "Cleo- patra," "Scarlet Pimpernel," "Midsummer Night's Dream," "Barbary Coast" and scores of others, is ample proof that an earnest group of workers are ever striving for perfection in their art. If the photography of the American pic- ture was the standard set for photograph- ers the world over during former years, in what manner then has it been possible to obtain still greater perfection? Probably the greatest aid to the photographer in obtaining the naturalness of lighting that he is working for, has been the recent per- fection of a super-sensitive film of great rapidity which yet retains a photographic quality theretofore never achieved. This extra sensitivity has permitted a correct exposure with a substantial reduction of the amount of artificial light formerly re- quired, thus resulting in more life-like light- ings, proper relationship of shadows to highlights, and the other elements of na- turalness inherent in normal lighting. One of the greatest benefits of this new film is its more true rendition of con- trast. It has been generally necessary to resort to different forms of "diffusion" in an effort to imitate the gradations as seen by the eye, and this has destroyed a certain amount of definition. This loss of sharpness was especially ap- parent in some of the theatres through- out the country where the projection equipment had not kept pace with the times, and also in some of the theatres using the most modern equipment — that is, using high-intensity light elements, which by their nature further destroy the sharpness of the image thrown on the screen. With the newer film, provided the negative and positive receive the correct laboratory processing, the full gradations of contrast are preserved in the print with- out the use of diffusion, and thus a crystal dear image is recorded upon the film. The subject of diffusion is one that calls for understanding among the exhibitors and photographers. With the broad standards of projection that exist in the theatres throughout the country — good, bad and absolutely indifferent — it is natural that a production that appears perfect in one theatre will suffer in another where standards of projection are not so high; so the cameraman has been obliged to photograph his pictures with the former theatres in mind and feel helpless about the latter. I am glad to believe that the trend is towards brilliant, sharp pictures from now on. One thing that some critics should bear in min d is that the motion picture photographer must present his leading women on the screen without benefit of re- touching in any form whatever. All must be done with skillfully placed lights, for make-up does not remove lines and age from the face and skin. Moreover the players are constantly moving about and changing positions in relation to the light- ing, together with the limitations of bulkily blimped cameras with the ever-attendant microphone dangling close overhead; with this all the players must be advantageous- ly photographed. In all cases the cinematographer must keep the story interesting with adroit camera technique, following the actors in motion from set to set and maintaining what we call "mood," or the type of light- ing correct for the physiological interpreta- tion of action and setting. To spectators who have given the matter any thought at all, the simple line, "Photographed by ," brings a consciousness of the skill necessary to achieve the results be- fore him. Be that as it may, there is cer- tainly room for better understanding of the problems of the theatre and photographer. The technical departments of the studios are ever working towards realism, and the advantages made by them are no less than marvelous. The majority of pictures pro- duced contain a great portion of footage known in the studios as "process shots." Naturally there are innumerable ramifica- tions of the process shot, but the simplest example is where the background is made, say, in some foreign country, then de- veloped, projected and rephotographed with actors and portions of sets before it here in the studio. Witness a production such as "Mutiny on the Bounty," where a considerable portion of that picture was made in the above manner, yet by the skillful matching of the process scenes with those actually made in Tahiti, and on the boats at sea, the spectator can not dis- tinguish the actual from the process scenes. Certainly the technical perfection of "Last Days of Pompeii" suggests some recognition of those unsung workers behind the cameras who have made all this magic possible. On all the larger productions nowadays there are a staff of photog- raphers, each member especially skilled in his part and each group contributing its portion of scenes to make up the final picture. For exploitation reasons these men are never heard of, yet the present high standard of pictures could not be made without this background of artists. It is regrettable that the public is not more conscious of their efforts, for if their recognition and constructive criticism of the good and bad became more generally discussed, more definite goals of public approval could be striven for. THE BOX OFFICE CHECK-UP OF 1935 143 WHAT MADE THE BOX OFFICE CHAMPIONS [Continued from page 7] acceptable to all. Champions of the past, and of this year particularly, convincingly demonstrate that such an argument is con- trary to fact. The Champions tabulated in the following pages embrace every form of screen entertainment, in all phases com- monly believed to be of interest to every kind and class of theatre-goer. Class pic- tures, supposedly only of interest to the in- telligentsia, were sources of amazement to producer and showman alike as they wit- nessed the eagerness with which the masses supported them. Similarly, pictures calcu- lated to appeal only to the average patron, somehow or other possessed the mysterious quality that appeals to the critical. If there were no such thing as universal appeal, it would be interesting to hear some learned psychologist explain the suc- cess of such Champions as "Barretts of Wimpole Street," "Count of Monte Cristo," "White Parade," "Little Min- ister," "Copperfield," "Scarlet Pimpernel," "Les Miserables," "Oil for the Lamps of China" and "Anna Karenina," among others. Generally, they were rather seri- ously toned; pictures presumed to engage the attention of that class preferring to do a little sober thinking while being enter- tained, yet they clicked with the majority of theatre patrons. It is not so difficult to explain the Will Rogers or Shirley Temple pictures. Here were two personalities that were the abso- lute essence of human interest. To a much lesser extent, the same thing is true of sev- eral other stars — Clark Gable, Joan Craw- ford, James Cagney, Claudette Colbert, Fred Astaire and Ginger Rogers, Joe E. Brown, Dick Powell, Wallace Beery and others. Whereas in the case of the above named class pictures, certain conditions were established, the same apparent difficulty was not encountered in the majority of the Champions. One can readily understand why the operatic or ragtime musical like "One Night of Love," "Naughty Mariet- ta," "Kid Millions," "Golddiggers," "Flirta- tion Walk," "Gay Divorcee," et al, be- came successes. So one can appreciate the many ro- mances, dramas, comedies, the topical G-man cycle, and thrill action Champions. But it is another case entirely when one considers "Sequoia." Here Mother Na- ture was the "star"; a deer and a mountain lion were prominent "personalities." Nev- ertheless, the picture had that quality of understandable, believable human interest. Other oddities crop out as one analyzes the Champions, all of which are not "show- window pictures." There are several of them which on production schedules were termed "Class B." Yet for the investment made, they turned in profits compensating for more elaborately staged features which failed. "Hideout," with Robert Mont- gomery, and "The Gilded Lily," with Claudette Colbert, had the advantage of well known names, but how can "Mrs. Wiggs of the Cabbage Patch," featuring an unknown and a cast of stock players, be accounted for? Ftomespun, down-to-earth comedy-drama, it played on every one of the seves elemental human emotions. In stripping their features of any false pretenses, producers demonstrated by their Champions that they have a controlled working knowledge of fundamental human nature. Showmen, as demonstrated by the intelligent manner in which they marketed the Champions, demonstrated that they too, having a similar knowledge, both un- derstood what the producer was aiming at and how the public wanted their efforts called to its attention. The public, appre- ciative of and sympathetic to both, and also assured that it would get what it wanted, responded. These three forces combined to make the Champions. BOX OFFICE CHAMPION DIRECTORS [Continued from page 15] moulian, "Becky Sharp" and Tay Garnett, "China Seas." Of the 65 Box Office Champion direc- tors, 14 produced two films during the annum that built up record grosses. They are as follows: Victor Fleming, with "Treasure Island" and "Reckless"; Leo McCarey, "Belle of the Nineties" and "Ruggles of Red Gap"; Clarence Brown, "Chained" and "Anna Karenina"; Victor Schertzinger, "One Night of Love" and "Love Me Forever"; Greg- ory LaCava, "Affairs of Cellini" and "She Married Her Boss"; Michael Curtiz, "Brit- ish Agent" and "Front Page Woman"; Henry Hathaway, "Now and Forever" and "Lives of a Bengal Lancer"; Sidney Frank- lin, "Barretts of Wimpole Street" and "Dark Angel"; Mark Sandrich, "The Gay Divorcee" and "Top Hat"; Irving Cum- mings, "The White Parade" and "Curly Top"; Frank Borzage, "Flirtation Walk" and "Shipmates Forever"; Richard Bole- slawski, "The Painted Veil" and "Les Mis- erables"; Wesley Ruggles, "The Gilded Lily" and "Accent on Youth"; Edward JAMES WONG HOWE CAMERAMAN BOX OFFICE CHAMPIONS VIVA VILLA MANHATTAN MELODRAMA THE THIN MAN POWER AND THE GLORY M - S - M 144 THE BOX OFFICE CHECK-UP OF 1935 Sutherland, "Mississippi" and "Diamond Jim." Many of these pictures were at the top of the Champion list for two months. The following directors on the list turned in one big money winner each. Rowland V. Lee contributed "Count of Monte Cristo"; George Nichols, Jr., di- rected "Anne of Green Gables"; Frank Capra, "Broadway Bill"; Richard Wallace, "The Little Minister"; John Blystone, "The County Chairman"; George Cukor, "David Copperfield"; Robert Florey, "Woman in Red"; Harold Young, "Scarlet Pimpernel"; Alfred E. Green, "Sweet Music"; William Wyler, "The Good Fairy"; William Seiter, "Roberta"; Dick Rosson, "West Point of the Air"; William Wellman, "Call of the Wild"; Howard Hawks, "Barbary Coast"; Chester Franklin, "Sequoia"; George Mar- shall, "Life Begins at 40"; Busby Berkeley, "Golddiggers of 1935"; James Whale, "Bride of Frankenstein"; William Keighley, "G-Men"; Alexander Hall, "Goin' to Town"; John Robertson, "Our Little Girl"; E. H. Griffith, "No More Ladies"; Mervyn LeRoy, "Oil for the Lamps of China"; Rouben Mamoulian, "Becky Sharp"; James Tinling, "Under the Pampas Moon"; J. Walter Ruben, "Public Hero No. I"; Frank Tuttle, "The Glass Key"; Phillip Moeller, "Break of Hearts"; Paul Gziner, "Escape Me Never" (foreign); Louis Friedlander, "The Raven"; Tay Garnett, "China Seas" and George Stevens, "Alice Adams." THE EXHIBITOR WRITES HIS OWN REVIEWS [Continued from page 73] sons will enjoy." Of Douglas Fairbanks' "Headin' South," a contributor said: "Plenty of action; the kind he is best liked in here." But as against these days of double fea- turing— and sometimes triple billing — a showman commented on Norma Tal- madge's "De Luxe Annie": "Could have been shorter, as a seven-reel picture makes a long show when you run a one or two- reel comedy with it." To quote from all the letters of exhibi- tors who say they are benefiting directly from reading the reports in the depart- ment would indeed require many columns of type. "These reports are valuable," "a lot of benefit," "we have particularly en- joyed and profited from the reports," "I think this section alone is worth the price," "it is a pleasure to join in," "very helpful," "I don't know what I would do without it," "the most important department," "a fine feature," "it means a lot to me" — and so on, the comment reads. The function and conduct of the depart- ment are summed up finally in these words from Charles S. Edwards of the Queen theatre at Pilot Point, Texas: 'What the Picture Did for Me' belongs to us, and is the only place in the world we can say what we want to, and wherein we can tell the truth as we see it." BRITISH PRODUCTIONS DIGS in for SIEGE [Continued from page 116] studio, has the equipment and the experi- ence to make bigger pictures whenever they are wanted. Universal has an affilia- tion with a British production unit which takes it also out of the "just quota" class. Paramount, Radio and Columbia, alone of the major companies, lack production affi- liations which can, at need, be used to make pictures for America. Alternative to the policy of big picture production by American companies in Eng- land is the establishment of a liaison be- tween these companies and the vast num- ber of new independent British production enterprises. These companies have come into existence with resources which can be guaged by the lavish scale on which they ACI R E C K CO T ° R A »N> T A 1 Ht L E \ Y O F TWO CIT IES BOX OFFICE CHAMPIONS: M-G-M h E L L E 5 E L o w RED HEADED WOMAN V 1 V A V 1 L . L A THE BOX OFFICE CHECK-UP OF 1935 145 NACIO HERB BROWN ARTHUR FREED UNDER CONTRACT TO METRO - GOLDWYN - MAYER SONGS AND LYRICS FOR BROADWAY MELODY OF 1936 "You Are My Lucky Star" "I've Got a Feel i n ' You're Foolin' "On a Sunday Afternoon" "Sing Before Breakfast" "Broadway Rhythm" MANAGEMENT JOHN ZANFT, INC. AGENCY are acquiring American talent. It is a fact that the financing available in this country makes it possible for quite a number of companies to outbid even a major Amer- ican company if any specified celebrity is felt to be necessary. Yet many of these concerns are at present, so far as a world release is concerned, up in the air. One obvious result may be the ultimate establishment of an independent distribut- ing organization in America, handling only British films. Another may be that the product of these companies will find its way into major American outputs. Un- doubtedly, by one channel or another, these new companies will, in the next year, seek to place 30 or more films in America. It is impossible to give a list of new British production enterprises and studio plans which would not quickly be obsolete, but the imminent enormous increase in the output of worth-while films can be sensed from a mere statement of names of some companies already functioning. British National Films, backed by two millionaires, is interested in the "Pinewood" studio at Iver, which is to have four big floors and facilities for color production on a big scale. It is one of eight British pro- duction companies which will release in U. K. through the C. M. Woolf company, General Film Distributors. The others are: Herbert Wilcox Productions, announc- ing ten big features a year. Garrett Klement Pictures, which has Anna Sten, Cary Grant, Harry Wilcoxon and other big stars signed and a formid- able list of directors and technicians. Capitol Productions, sponsored by Max Schach, associated with Karl Grune in "Abdul the Damned." Denham Productions, which made "Mos- cow Nights," with Harry Baur. Radius Films, first film is "No Monkey Business." Cecil Films, controlled by Herman Fell- ner, lately production executive of Gau- mont-Brifish. Hammer Productions, which has just shown "The Mystery of the Mary Celeste." City Film Corporation, which is exploit- ing, among other stars, Yvonne Arnaud and Robertson Hare, of the once famous Ald- wych Theatre company. Various special flotations promise the early appearance in big British productions of such stars as Leslie Howard, Elisabeth Bergner, and Douglas Fairbanks, Jr., and these plans multiply so rapidly that a Hol- lywood directory is really the best short guide to future British production. Some people, including John Maxwell, believe that current production policies are too optimistic and that a great deal of investors' money will be lost. The final confirmation or contradiction of these doubts may be provided by the American box office. PETER MILNE- Wrote the Screen Plays of the Following M. P. Herald Box Office Champions for War- ner Bros. - First National: KENNEL MURDER CASE COLD DIGGERS OF 1935 WOMAN IN RED Get your money down on these for future Box Office Champs. COLLEEN The Walking Dead * With Old Man Collaboration 146 THE BOX OFFICE CHECK-UP OF 1935 Edmund Grainger PRODUCER DIAMOND JIM UNIVERSAL'S BOX OFFICE CHAMPION OF THE YEAR NOW IN PRODUCTION SUTTER'S COLD RELEASED LOVE BEFORE BREAKFAST WITH CAROLE LOMBARD AND PRESTON FOSTER INVISIBLE RAY WITH BORIS KARLOFF AND BELA LUGOSI THE GREAT IMPERSONATION WITH EDMUND LOWE UNIVERSAL ROBERT RISKIN 6 BOX OFFICE CHAMPIONS 1932 AMERICAN MADNESS STORY AND DIALOGUE (A CHAMPION FOR AUGUST, 1932) SHOPWORN DIALOGUE* (AN ANNUAL CHAMPION FOR 1932) 1933 LADY FOR A DAY SCREEN PLAY (A CHAMPION FOR SEPTEMBER AND OCTOBER, 1933) 1934 IT HAPPENED ONE NIGHT SCREEN PLAY (AN ANNUAL CHAMPION FOR 1934) 1935 BROADWAY BILL SCREEN PLAY (A SEMI-ANNUAL CHAMPION FOR 1935) THE WHOLE TOWN'S TALKING SCREEN PLAY* (A CHAMPION FOR MARCH, 1935) 1936 OPERA HAT SCREEN PLAY * IN COLLAB. THE BOX OFFICE CHECK-UP OF 1935 147 MOTION PICTURE ALMANAC Not only does it tell WHAT’S WHAT in the world of motion pictures hut it is the industry’s own WHO’S WHO. Now in preparation for 19 3 6 148 THE BOX OFFICE CHECK-UP OF 1935 3 7 -AND THEN THEY HAD TO BE SOLD [Continued from page 108] turned out to be a cageful of monkeys for a build-up on "Baboona.” Neither birds nor fish are immune to ex- ploitation as witness Max Cooper's annual lobby exhibition at the Fox, Hackensack, N. J., of animals, fish and birds native to the State, put on in co-operation with the New Jersey Fish and Same Warden Asso- ciation. Canaries, too, have given their all for ballyhoo — Jack Simons at the Poli, Hartford, Conn., put on a concert of the singing birds for "Naughty Marietta," naming the canaries after the stars in the picture. The influence of the motion picture upon style trends, and the general adoption of keen showmanship in merchandising out- side the theatre, is indicated in the scores and scores of tieups made by theatre men with their leading merchants. Evidence of this is presented by the excellent grosses gathered on "Roberta," for example, in all parts of the country, due in part to the fashion shows arranged in conjunction with the individual showings. Inauguration of seasonal wear is oftimes spotlighted by theatre tieups, such as straw hats stunts on the recent Chevalier picture, and what can be done to put over a merchandising drive is illustrated by Manager Billings Booth's "Uptown Color Week" campaign in Jamestown, N. Y., to build up interest in his showing of "Becky Sharp" at the Winter Garden theatre. All merchants in the theatre block combined with Booth to stress color fashions of all kinds, and of course carried theatre pub- licity in every medium of their advertising. The above instances are just a few of the hundreds of reports that first come to mind. Theatre men responsible for them have reached into different fields and con- tacted various mediums to put over their exploitations, but what distinguishes each stunt and tieup, what they all have in com- mon, is definite box office showmanship, an exploitation skill that causes two admissions to grow where only one grew before. This rare and much discussed talent of showmanship is also exemplified in the ac- complishments of the winners of the Silver and Bronze plaques given monthly as the main prizes in the Quigley Awards spon- sored by the Managers' Round Table Club. The plaques, First Mention and Honorable Sheepskin Certificates voted theatre men, go in every instance to the entrants illus- trating in their campaigns the keenest ap- preciation of the virtues of showmanship — the snaring of that unusual ticket-selling slant. As, for example, the personal-column idea used by J. Lloyd Dearth, of the Capi- tol, Vancouver, B. C., on "Kid Millions" wherein this showman ran a series of per- sonals from a fictitious couple stemming supposedly from an accidental meeting, the boy and girl exchanging messages in the papers finally agreeing to meet at the corner of the theatre. Curious crowds gathered, only to discover via Dearth’s posters that the couple had gone to see the picture. The city was excited for days. Listed high must also be the campaign offered by Manager Fred Souttar, of the Lincoln in Belleville, III., who organized a civic celebration in the form of a Dickens Day on "David Copperfield." The city fathers got behind the stunt enthusiastical- ly because Souttar discovered that in 1842 Charles Dickens himself had spent the night in Belleville during his tour of America. The essence of showmanship is indicated also in Sig Solomon's angle of hiring a Mae West proxy to serve for the star in a highly publicized tour of Newark, N. J., as part of the build-up at the Regent on "Goin' to Town." The proxy visited the Mayor, was guested at luncheons, ball games and the center of attraction at the picture's Hollywood showing. GUY S T A CAR 99 NOW AND FOREVER LIVES OF A BENGAL LANCER ANNAPOLIS FAREWELL PARAMOUNT PICTURES THE BOX OFFICE CHECK-UP OF 1935 149 ! W ::« WHAT THE PICTURE |MH||jlliH||] in il l » DIE) ECD HE It (ill { i First National CASE OF THE LUCKY LEGS, THE: Warren William, Genevieve Tobin— Pleased a lot of people who follow the adventures of Perry Mason. Drew well and they asked for more of this type. Played November 11-12.— Mayme P, Musselman, Princess Theatre, Lin- coln, Kan. Small town patronage. OIL FOR THE LAMPS OF CHINA: Josephs Hutchinson, Pat O’Brien, Jean Muir— This is a sv one. Everyone pleased even though it is a little If It certainly boosted Pat in this village, but we do think anything could boost Josephine Hutchii. Played October 30-31. — Talisman Theatre, Rosec Miss. Small town patronage. GB Pictures ALIAS BULLDOG DRUMMOND: Jack Fay Wray — Wow! What a nightmare. W they (cash customers) will come back. — Reg ton. Strand Theatre, Ransom, Kansas. Rur- age. Invincible GHOST WALKS, THE: John Miljan — A dandy program picture. Excellent ing. Holds the interest, and has goo rial. It sent them out laughing. G« motto for showmen was: “Always If ing when you say goodbye.” Sound gers. Running time, 65 minutes.— Globe Theatre, Holyoke, Mass. Gen' Metro-Goldwyn- AFTER OFFICE HOURS: Clf Bennett — Anyone who don’t like ailment. Lots of everything, sure does his stuff and Connie Rankin, Plaza Theatre, Tilb General patronage. ANNA KARENINA: Gret — Didn’t draw but you can’t ’ or the stars. Rather slow- town picture. Should have some older picture. Play P. Musselman, Princess T! town patronage. ANNA KARENINA: Freddie Bartholomew— T’ we have shown in the customers to come to se- No over acting. Right 1 your public. Played N- tre, Rosedale, Miss. S. BARRETTS OF WI ma Shearer, Fredric picture, as we all knr ness. If it don’t it you a lot of good. V received many favor? Plaza Theatre, Til1 patronage. BONNIE SCOTL glorified two-reel cc tain following that lematical how long of a type. — A. E. bia, City, Ind. BROADWAY Merkel, Robert musical of the y mosa, Iowa. C Barometers of ^1 The box-office pulse of the motion pic- ture industry is consistently and accu- rately reflected in these two straight-from- the-exhibitor features of Motion Picture Herald. § They provide the final gauge of talent value in authentic, concise form as re- ported by those who sell motion pictures direct to the public. ^ “What The Picture Did For Me” is a picture reporting service conducted by exhibitors and for exhibitors. CALM YOI Robert Youn- yes, yes, an< men in earl- Saturday Flayed Se tre, Camb’ CHIN/ Beery — T ter Me expect Harlo Octal Catr MOTION PICTURE • A Quigley Publication 150 THE BOX OFFICE CHECK-UP OF 1935 THEATRE RECEIPTS 111 ill Theatres Current Week Previous Week the Industry Only those representing theatres that are 100% independent may participate. ^ 64 Theatre Receipts” is a tabulation of grosses of individual pictures in key cities, representing 8,000 bookings in 157 key theatres. flf Each is a definite guide to the nation- wide trade value of the finished product. Hence both are followed by every branch of the industry — Exhibition, distribution and production alike — by showmen, by actor and director as well. High and Low Gross 045,250, a decrease of November '6, i 'tekald expressly forbidden ) (Tabulation covers period from January, 1934) (Dates are 1935 unless otherwise specified.) High 9-7 “Hot Tip” > 35,000 (plus stage show “Folies Bergeie”) iw 8-3 “A Dog of Flanders” and \ “What Price Crime” f 4,000 {h 1-6-34 “Lady Killer” and ( “Girl Without a Room” ) 12,000 >w 7-20 “Don’t Bet on Blondes” and 1 “Ladies Crave Excitement” ) 2,500 gh 9-7 “Top Hat” 33.000 8-17 “Jalna” 5.50u (6 days) 1-16 “Mutiny on the Bounty”.. 24,500 5 “Sanders of the River” and I “Unknown Woman” ) 7.500 . “Private Worlds” 41.000 “Men Without Names” 14.HM 4 "Lady Killer” and 1 “Girl Without a Room” ) Oon’t Bet on Blondes” and I idies Crave Excitement” f 4,imi ‘Design for Living" 26.000 “Music in the Air” 5,000 k of the Vampire” and I dette” ( 8.200 Love” and ) g of Flanders” 1 3,800 tiny on the Bounty”.. 22,000 entlemen Are Born" ) ‘Marie Galante” 1 3,800 House of Rothschild” 18,000 '” ; 4,000 •Carried Her Boss”.. 17,000 s Gentlemen” and ! Wives” ( 4,100 t’» Paw” 16,000 rough” 3,000 -issue) ves Me Not”...... 66.000 Day Princess 19,000 Ladies” 9,000 'ork Night” 3.000 Vanted” 25.500 owes’ Amateurs) Nurse” 12,000 32,500 Kernels” 8.000 Others” 27,000 rlude” 6,000 ’recious Thing 19,000 >w” 8.000 hschild" 30,000 ove Story”.. 10,000 Boss” HERALD New York - Hollywood - Chicago - London 7,500 1,400 27,500 .e” 2.900 39.000 <£eet”.... 4,000 28.000 Juan” 3.500 y”.... 12,000 2.000 9,000 ( 600 . 16,500 800 17,500 4.000 500 TOO Oil THE BOX OFFICE CHECK-UP OF 1935 151 EWING SCOTT DIRECTOR UNDER CONTRACT TO PARAMOUNT LITTLE AMERICA NOW DIRECTING BORDER FLIGHT Front His Own Original Story SIDNEY BUCHMAN WRITER Box Office Champions : SHE MARRIED HER BOSS LOVE ME FOREVER (In Collaboration) WHOM THE CODS DESTROY SIGN OF THE CROSS ( In Collaboration ) I'LL LOVE YOU ALWAYS IF I HAD A MILLION COLUMBIA PICTURES MUSIC HELPS STORY TELLING AND SELLING [Continued from page 89] tional requirement — had to stay right on the job. In large metropolitan productions plays were quite thoroughly scored, of course, and the music set to cues. In lesser houses the pianist "ad libbed." In sad scenes he drifted into the tear-jerking "Hearts and Flowers," and ominous situations were ac- companied by eerie chords of musical menace. The logical successor to this emotion- augmenting pianist was the organist of the still-picture days who, either from scored music or using his own melodic judgment, played music to fit the mood of the flicker- ing dramas or comedies. Scoring a modern talking picture, of course, is by no means so simple. In- stead of working with cues, as with stage productions, we have to work with definite timing. The recording has to be accurately timed and fitted. But the same old tech- nique holds as to moods. Sad scenes are generally backgrounded by music convey- ing pathos, even though we’re a bit be- yond the mawkish "Hearts and Flowers" era. Tramping of soldiers, and the stirring events of conflict, are colored by har- monies tinged tonefully with the blare of brassy trumpets and the roll of drums. At- mosphere is still atmosphere. DOWN to the SEA IN TANKS William Darling adds a marine novelty to production technique SET designing and construction is one of the modern miracles of present- day motion picture production. So important has the art become that in every studio under the guidance of one accomplished chief, hundreds of techni- cians, artisans, draftsmen, painters, elec- tricians, sculptors and laborers, are regu- larly employed in the mechanics of set construction. To them, as much as to producer, director, star and cameraman, is due great credit for the elaborate and authentic backgrounds of all pictures made. To appreciate the work of these men, let us examine the efforts of one of them. William Darling, 20th Century-Fox art director, is peculiarly representative of those Aladdin's, the art directors, who can [TURN TO PAGE 1 561 152 THE BOX OFFICE CHECK-UP OF 1935 DWIGHT TAYLOR . Planter BOX OFFICE CHAMPIONS: LADY BY CHOICE (COL) GAY DIVORCEE (RADIO) TODAY WE LIVE (MGM) TOP HAT (RADIO) and FOLLOW THE FLEET RADIO HATS IN THE AIR AN ORIGINAL STORY FOR M-G-M THE BOX OFFICE CHECK-UP OF 1935 153 K 1 N C VI DIRECTOR DOR BOX OFFICE CHAMPIONS: BIRD OF PARADISE THE CHAMP CURRENT RELEASE SO RED THE ROSE rUK PARAMOUNT LEW POLLACK SONG WRITER WROTE MUSIC FOR I LOVE TO RIDE THE HORSES ON THE MERRY - GO - ROUND (From KING OF BURLESQUE) and AT THE CODFISH BALL EARLY BIRD For CAPTAIN JANUARY (WITH SHIRLEY TEMPLE) 20th CENTURY-FOX 154 THE BOX OFFICE CHECK-UP OF 1935 SAMUEL BISCHOFF ASSOCIATE PRODUCER WARNER BROS.-FIRST NATIONAL STUDIOS ARTHUR LUBIN DIRECTOR OF HITS for Republic Pictures 1 935 GREAT GOD GOLD HONEYMOON LIMITED TWO SINNERS FRISCO WATERFRONT IN PREPARATION HOUSE OF A THOUSAND CANDLES THE BOX OFFICE CHECK-UP OF 1935 155 CLAUDINE WEST • WRITER BOX OFFICE CHAMPIONS: SMILIN' THRU (MGM) PRIVATE LIVES (MGM) REUNION IN VIENNA (MGM) BARRETTS of Wimpole St. (MGM) DARK ANGEL (GOLDWYN) Ralph Spence conjure up overnight a section of the Grand Canyon or an ice jam on the Ken- nebec river. The "back lot" at 20th Cen- tury-Fox is covered with Darling's artistic achievements. Some may remain only a month, but most of his masterpieces of construction are permanent fixtures, to be used over and over again. His pet achievement is a huge tank, some 200 feet long, 30 feet wide and five feet deep. It is a versatile property. To- day it may be a Maine waterfront, to- morrow a prison moat, Tuesday a week, the home of sporting dolphins. In its natural state, unadorned, this tank isn't much to look at. It might be a sec- William Darling tion of a storm drain or an irrigation canal. But when Darling is confronted with a scenario which calls for water stuff he doesn't bat an eyelash. He calls good old Joe Tank into action. In the twinkling of an eye, his designers contrive blueprints, estimates are com- pleted, and material is on the ground before the prints are dry. The genii's of hammer and saw have whipped into shape the forbidding masonry walls of Fort Jef- ferson for "The Prisoner of Shark Island." Today, at least, the tank is the shark- filled moat surrounding the fort in which Warner Baxter, playing the role of Dr. Samuel Alexander Mudd, is incarcerated for aiding in the escape of John Wilkes Booth after the assassination of President Lincoln. Waves lap at the gray-stoned gates of the prison, propelled by hidden turbines. No prisoner would dare attempt an escape through those shark-infested waters. Last week Darling called the tank into action to provide a Maine waterfront for Shirley Temple's latest picture, "Captain January." A wharf jutted into the stream, [TURN TO PAGE 160] 156 THE BOX OFFICE CHECK-UP OF 1935 CARL PIERSON DIRECTOR OF JOHN WAYNE PRODUCTIONS ALSO THE NEW FRONTIER AND THE SINGING VAGABOND With SENE AUTREY REPUBLIC PICTURES TALBOT JENNINGS WRITER MUTINY ON THE BOUNTY (IN COLLABORATION) ROMEO AND JULIET METRO-COLDWYN-MAYER THE BOX OFFICE CHECK-UP OF 1935 157 ARLINE JUDGE 20th CENTURY-FOX THE BOX OFFICE CHECK-UP OF 1935 "MUTINY ON THE BOUNTY" A FRANK LLOYD PRODUCTION IN PREPARATION "UNDER TWO FLAGS" 20th Century-Fox JOHN C. BLYSTONE DIRECTOR Box Office Champions: Current Attractions TOO BUSY TO WORK BAD BOY MY LIPS BETRAY GENTLE JULIA THE COUNTY CHAIRMAN ' 20th CENTURY-FOX THE BOX OFFICE CHECK-UP OF 1935 159 Charles Vidor director HIS FAMILY TREE THE GREAT SHADOW RKO-RADIO LAWRENCE HAZARD AT M-C-M WARREN DUFF • WRITER OF BOX OFFICE CHAMPIONS Broadway Gondolier Sweet Music FasFiions of 1 934 Friends of Mr. Sweeney FOR WARNER BROS. -FIRST NATIONAL sprinkled with lobster traps and fishing nets drying in the sun. A Sloucesterman schooner rolled with the tide. In "Way Down East" the tank became the raging Kennebec river in Maine, filled with plunging ice floes. This frigid layout provided one of the most thrilling scenes in film annals. Huge blocks of ice, in- geniously contrived from five-gallon cans and a liberal application of plaster, pitched and churned down the raging stream, moving rapidly towards the falls. These ice cakes, too, had to be sub- stantial, for aboard one floating cake pre- cariously clung Rochelle Hudson and Ed- ward Trevor, while Henry Fonda galloped to the rescue, leaping like a mountain goat from floe to floe, somewhat reminiscent of the baying bloodhounds who pursued poor Eliza. Huge turbines stirred the water at the rate of 1,000,000 gallons an hour. A dozen wind machines whipped the surface of the stream, blowing cornflake snow in blizzardly fashion upon the actors, who were bundled to the ears in heavy winter clothing. On the sideline the property man stirred gallons of sunburn lotion, for the scene was shot on one of the hottest days of the year and technicians who worked in the water up to their armpits were as red as spanked babies. Not long ago stark drama was uninten- tionally provided in the tank when Bill Robinson and John Boles nearly lost their lives when pinned beneath floating debris. An inhalator squad was called before Robinson could be revived. On this oc- casion the tank represented a swamp for Shirley Temple's "The Littlest Rebel." Not long ago, through an adroit bit of scene shifting, the tank became a canal flowing gently through the Ohio Valley, providing the background for "The Farmer Takes a Wife," with Janet Gaynor and Henry Fonda. A realistic barge, propelled by hidden wires, was the stage for an in- tense bit of dialogue between Miss Gay- nor, Charles Bickford, Slim Summerville and a lad who identified himself as John Wilkes Booth. The hillside running up from the edge of the canal was verdant with grass. Sheep grazed peacefully, gazing curiously at the horses who plodded along the tow- path. For several years the tank represented a Shanghai water-front. It rarely changed. Row upon row of dilapidated houses stretched back from the water, terminating in the distance in a painted drop which melted perfectly into the foreground. 'The tides rose and fell against the piling, as completely dirty as any Chinese harbor could be when offal is dumped promiscu- ously overboard. Along this harbor front such pictures as "Grand Canary," "Shanghai Madness" [TURN TO PAGE 162] 160 THE BOX OFFICE CHECK-UP OF 1935 A MERRY XMAS and A HAPPY NEW YEAR JOHN MEEHAN NOW ENJOYING MY SIXTH CHRISTMAS AT M-G-M ROY CHANSLOR WRITER BOX OFFICE CHAMPION: 1935 FRONT PACE WOMAN NOW PREPARING SCREEN PLAY THE HOMETOWNERS (GEO. M. COHAN) WARNER BROS.-FIRST NATIONAL E. R. !MI HICKSON 7-YEARS TECHNICAL DIRECTOR FOR MONOGRAM NOW REPUBLIC 15 PRODUCTIONS, INCLUDING "SHOCK" "GIRL OF THE LIMBERLOST" "KEEPER OF THE BEES" "HOOSIER SCHOOLMASTER" "FRISCO WATERFRONT" "DANCING FEET" "FORBIDDEN HEAVEN" "JANE EYRE" "TWO SINNERS" "HITCH HIKE LADY" THE BOX OFFICE CHECK-UP OF 1935 161 BOX OFFICE CHAMPIONS Union Depot Make Me a Star The Phantom President International House College Rhythm Ruggles of Red Gap Big Broadcast of 1936 WITH MUCH APPRECIATION TO FRANCIS MARTIN RALPH SPENCE HARLAN THOMPSON AND A FEW DIRECTORS SUCH AS NORMAN TOUROG LEO McCAREY EDWARD SUTHERLAND WALTER DE LEON UNDER CONTRACT TO PARAMOUNT and "Oil for the Lamps of China" were filmed. In the case of the latter picture, Warner Brothers rented the set for a week, a practice not uncommon in Hollywood. A month from now, a submarine may push its periscope to the surface of Bill Darling's tank. Perhaps miniature shots of a naval engagement will be filmed there. It is no worry of Darling's. He waves his hand or rubs his lamp, and new sets are magically provided. Film technicians work such miracles as simply as boiling an egg. For seventeen years, Darling has been creating sets, and his structures alone have entailed average aggregate expenditure of more than $5,000,000 yearly. Early in his youth Darling had an ambi- tion to become a civil engineer in his native Hungary. After two years of study, the mechanics of civil engineering proved too much of a bore, and he entered the Academy of Fine Arts at Budapest. Though at twenty-three he was recognized as a fine portrait painter, he continued his studies in art schools of Vienna, Paris, Munich and other centers, spending most of his time perfecting the peasant art. And to attain this end he lived with the peas- ants of France, Hungary, Germany and Austria. Coming to America in 1910, he worked in factories and shipyards, on the wharfs, in brick yards and even at building roads. An accident brought him into pictures. While driving through Santa Barbara his automobile broke down near the American Film studios. Learning that a position of scenic artist and draftsman was open, he applied for a trial. P. S. — He got the job. — Stanley Morris. INDEX TO ADVERTISERS Fred Astaire 105 Lloyd Bacon 50 Earl Baldwin 51 Richard Boleslawski 126 Samuel Bischoff 155 John G. Blystone 159 Joe E. Brown 86 Nacio Herb Brown 146 Sidney Buchman 152 David Butler 107 James Cagney 87 Roy Chanslor 161 William Conselman 56 Consolidated Film Corp 81 Claudette Colbert . . . 99 Edward F. Cline 142 Jack Conway 145 Gary Cooper 57 Frank Copra 130 Joan Crawford ... . . . 82 John Cromwell 121 Michael Curtiz 127 Delmer L. Daves 131 G. B. DeSylva 88 William Dieterle . . . 135 Laird Doyle 114 First Division 19-14 Fox 27 Arthur Freed 146 Tay Garnett 38 Lewis E. Gensler 153 Edmund Grainger .... 147 Howard Hawks 74 Lawrence Hazard 160 E. R. Hickson 161 Edward Everett Horton 138 William K. Howard 113 James Wong Howe 144 Harold Hurley . . . 93 I mperial 39 Talbot Jennings 157 Buck Jones 44 Arlin Judge 154 William LeBaron 130 Walter De Leon 162 Albert Lewin 117 Frank Lloyd 159 Robert Lord 112 Arthur Lubin 155 Douglas MacLean 137 George Marshall 122 Metro-Goldwyn-Mayer 62 William A. McGuire 139 Norman McLeod 110 John Meehan 161 Peter Milne 146 Jane Murfin 95 Paramount 3-4 Diversion Pictures 141 Carl Pierson 157 Lew Pollack 148 Dick Powell 97 Le Roy J. Prinz 142 RKO Radio 20-21 RCA 101 Regal Productions 58 Reliance Productions 32 Republic 72 Robert Riskin 147 J. J. Robins 154 Casey Robinson 134 Ginger Rogers 103 J. Walter Ruben 141 Wesley Ruggles 69 Roy Del Ruth 134 Mark Sandrich 126 Ewing Scott 152 William A. Seiter 67 David O. Selznick 65 Harry Sherman Prod 61 Ralph Spence 156 John M. Stahl 72 Guy Standing 149 George Stevens 125 Hunt Stromberg 118 A. Edward Sutherland. . . 109 Norman Taurog 133 Dwight Taylor 153 Shirley Temple 26 United Artists 33 Universal 78-79 Charles Vidor 160 King Vidor 148 Claudine West 156 Carey Wilson 138 Harold Young 123 Waldemar Young 129 Zeidman Film 45 162 THE BOX OFFICE CHECK-UP OF 1935 THERE MUST BE A REASON Scanned from the collection of Karl Thiede Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by a donation from The Libraries of Northwestern University and Northwestern University in Qatar