Academy 0# Motion Picture Arts .nd Sciences library. 8evet'1y Hills, Calif.

of the Academy of Motion Picture Arts and Sciences

NUMBER 6 SUMMER, 1974 HOLLYWOOD, CALIF. Awards Date Revealed The 47th Annual Academy Awards Presentation will be held on Tues­ day evening, April 8, at the Dorothy Chandler Pavilion of the Los Angeles County Music Center, according to Academy President Walter Mirisch. This marks the seventh year that the Oscar ceremonies have been held at the Music Center. The entire program, for the fifth straight year, will be telecast nation­ ally live and in color by the NBC Television Network. As in the past, a working press corps in excess of 500 is expected to cover the event, Majarity of members of the new Academy Board of Governors. Re-elected President Walter Mirisch is making the Academy Awards the upper right. Only non-Boord members in photograph are Phil Chomberlin, director of special projects, world's most publicized annual Jim Roberts, executive director (both lower left) and golden-hued individual at top center. affair. Nominations for eligible films for Awards consideration will be an­ New Board, Officers Elected for 1974-75 nounced on Monday, Feb. 24. Producer Walter Mirisch was re­ elected president of the Academy Academy Acquires Major Still Collection by the Board of Governors last At the June meeting the Academy's month. Other officers elected at the Board of Governors voted to ac­ meeting were: Howard W. Koch, quire the Paul Ballard Collection of first vice president; Robert E. Wise, motion picture stills. vice president; Fay Kanin, vice presi­ According to Philip Chamberlin, dent; Marvin E. Mirisch, treasurer the Academy's director of special and Hal Elias, secretary. projects, "This prize acquisition will The 12 Govern ors recently add 22,000 original photographs elected, and the Branch each repre­ and 5,000 negatives to the Academy sents are: Ricardo Montalban (Act­ library, which currently contains in ors), Walter Scott (Art Directors), excess of 150,000 stills." Chamber­ lin added that, liThe acquisition is Sol Halprin (Cinematographers), significant because it adds import­ George Cukor (Directors), Marvin E. ant stills of unsurpassed quality not Mirisch (Executives), William H. Rey­ found in other collections, to the nolds (Film Editors), Jeff Alexander The recently acquired Ballard Collection represents Academy's current holdings." (Music), Walter Mirisch (Producers), a major addition to the Academy's holdings. Some of the highlights of the Bal­ Mike Kaplan (Public Relations), Hal Pictured is a scene from Erich Von Stroheim's lard Collection are now on display 1925 M-G-M production of "Greed," starring Elias (Short Subjects), Donald C. Gibson Gowland, Jean Hersholt, Zasu Pitts and in the lobby of the Academy Award Rogers (Sound) and Fay Kanin Chester Conklin. Theater. (Writers). Continued on page 4 Board Member Academy Adds Refutes Myths New Members IExcerpted from Screen Actor, with permission of The following have been invited to Elizabeth Allen, one of the Actors Branch mem­ Academy membership in the first bers of the Academy's Boord of Governors.) - EDITOR half of 1974, following their respec­ By Elizabeth Allen tive branch executive committee recommendations and Board of Many actors still think of the Aca­ Governors approval of those recom­ demy of Motion Picture Arts and mendations: Sciences as a mysterious organiza­ Actors Branch: Anne Archer, Rene Auberionois, tion that they could never hope to Be rnie Casey, Robert DoQui, Michael Douglas, belong to - and one that works in Rita Gam, Allen Garfield, Tippi Hedren and Noah Keen. mysterious ways. Some still believe Other actors elected were: Sue Ane Langdon, that the Oscars are awarded on the Ray Middleton, Roger Moore, Nancy Olson, AI basis of manipulated block voting Pacino, Jea n Stapleton, Brenda Vaccaro and Morgan Woodward. and some still subscribe to the idea Art Directors Branch: Peter W. Wooley. that actors have no real control over Cinematographers Branch: Jack Couffer and the acting awards. Sven Nykvist. OSCAR: After almost a half century, many still Directors Branch: Bert I. Gordon. Wrong - wrong on all counts. do not completely understand him. Executives Branch: George Barrie, David Begel­ But it's amazing how few people man, Nathan Chianta, Berry Gordy, Michael Roshkind, Jerry Gruenberg, Peter S. Myers and really understand what goes on be­ a notoriously independent breed. Peter E. Strauss. hind the scenes at the Academy. So block voting is a thing of the past Film Editors Branch: Donn Cambern, George Since I was elected to the Academy -there simply aren't enough blocks Grenville, Richard A. Harris, Antony Gibbs and Robert Wolfe. Board of Governors, I've learned a left. Even Universal would find it Music Branch: Frederick Loewe. lot more about the Academy and impossible to muster enough Aca­ Producers Branch: Steve Blauner and Alan how it works, and what I've learned demy members to influence the Ladd, Jr. Public Relations Branch: Andrew Fogelson, has increased my respect for this Oscars. Prior to "The Sting," Univer­ David Judson, Paul Moron and Nancy Seltzer. institution. But every year, in the sal's last Best Picture Award went to Short Subjects Branch: David Adams. in Sound Branch: William Shapiro. weeks before and after the Annual "All Quiet on the Western Front" Writers Branch: Ronald Austin, James David Awards Presentation, the old myths 1929. Buchanan and Arthur Laurents. about the Academy circulate anew Myth: The Academy is an exclu­ Members-At-Large: Joseph 1-lurley and James throughout our industry. I'd like to sive club that keeps newcomers out. M. Roberts. set some of these myths to rest. On the contrary, the Academy "three credits" requirement. Actors Myth: Actors have no real power seeks participation by anyone who who can claim neither the necessary within the Academy structure. has "achieved distinction in the arts credits nor an Oscar nomination Here's a falsehood that's easily re­ and sciences of motion pictures." It may qualify if, in the judgment of futed. The Actors Branch is by far is honorary rather than exclusive - the Actors Branch Executive Com­ the largest of the Academy's 12 it seeks to maintain high standards, mittee, they have "otherwise branches and, with 917 members, it not to exclude worthy professionals achieved unique distinction, earned casts more votes than the writers, and thereby limit membership to a special merit, or made an outstand­ directors, producers, and cinema­ select group. ing contribution as a motion picture tographers combined. The actors To become a member, you must actor." alone determine the nominees for first be sponsored by two members No applicant is ever turned down acting Oscars (j ust as all the branches in good standing of the branch you to limit the total number of mem­ nominate their own), and when the wish to join. In the Actors Branch, bers, but in the past year the Aca­ final ballots are cast by the total applicants must have at least three demy has rejected about 50 % of the membership it is the actors who theatrical feature film credits (one of applications due to insufficient the­ represent the plurality of votes. which was achieved in the past five atrical film credits. Myth: The Oscar competition is years). These credits must be "of a Myth: The Academy Board of manipulated by block voting. caliber which, in the opinion of the Governors excludes women, minor­ Studios don't have the power and Executive Committee, reflects the ities, and young people. influence they once enjoyed, and high standards of the Academy." In last summer's Special Election few actors today work under an ex­ What about Tatum O'Neal and of Governors, the membership was clusive contract to one studio. In­ John Houseman, who have only one advised to give particular attention creasing numbers of directors, film credit apiece? They qualify for invi­ to women, minorities and people editors, musicians, art directors, tations to join the Academy by virtue under 35_ The Board was expanded writers, and even producers operate of their recently acquired Oscars. In to include three members from each on a free-lance basis. Moreover, the fact, even an Academy Award nomi­ branch rather than two - the Board creative people in our industry are nation may be substituted for the Continued on page 4 Page Two Book Review Message from the President Writers: Artists it. The industry trade publications, Business Week and the MPAA, all Who Use Words report much improved financial re­ TALKING PI CTU RES, SCREENWRITERS IN THE sults for the fourth quarter of last AMERICAN CINEMA , by Ri chard Co rli ss, Th e year. A few weeks ago the Los An­ Overlook Press , Dis tributed by Vi ki ng, $15.00. geles Times carried a major story on By Michael Blankfort the cheery news from the box office, Without being paranoic about it, including interviews with several there has been a sort of conspiracy studio chiefs, all of whom predicted of history. And now it is being un­ good results for the balance of the covered about forty years late. Still, year. the world may be so constituted that But what is of particular interest Wa lter M iri sch victims of injustice sooner or later to us as Academy members is not are rehabilitated. All they have to do One of the most constantly reiterated just that more people are going to is live long enough to enjoy it. Un­ purposes of the Academy is "To ad­ the movies more often, but the rea­ fortunately writers like Ben Hecht, vance the arts and sciences of mo­ sons for it. The basic reasons appear Preston Sturges, Dudley Nichols, tion pictures . .." to be many: the "sameness" of tele­ LamarTrotti, FrankTashlin and many But in addition to this we should vision programming, the energy others whose names are familiar to not fai I to remem ber that the motion crisis, a frustration with the problems the cognescenti could not wait picture industry in the United States of the real world, and finally and around to smell the laurel wreath. is not subsidized in any way, but is probably more importantly, the im­ A Daniel has come at last to judg­ a unique combination of art and in­ proved quality of the present film ment and better late than never. dustry and must be self-supporting product. TALKING PICTURES, a brilliant as a profit-making business in a free It is the last of these that really book about artists who happen to enterprise system. concerns us. For we must believe be film writers, has been written by Facing the continuing competi­ that as our product improves, our Richard Corliss, who serves as Editor­ tion of television, and other leisure­ audiences will increase. Hopefully, in-Chief of Film Comment. In a style time activities as well as the general we will relearn the old lesson that that is sharp, witty, cynical and sen­ economic upheaval of the entire quality in all areas of motion picture sitive, he has explored the minds world, it is no secret that motion production will be rewarded by and souls of thirty- eight writers pictures - as an industry - have greater box office returns. The best from Ben Hecht to Terry Southern, faced severe economic problems incentive for quality production is from the compassionate malice of during the past several years. the knowledge that good films make Sturges' "Sullivan's Travels" to the So it's great to see that many good box office. bitter humanity of Lardner's people are going to the movies And the making and recognition " M *A * S* H." again. of good films is what the Academy That Corliss has fallen into the But don't just take my word for is really all about. trap of the "well-known and suc­ cessful " - a flaw he otherwise ber of the golden breed. There is little point in my arguing abhors in the Hollywood Establish­ It is a long overdue pleasure to with the author's analysis of this or ment - does not reduce the im­ read Corl iss' substantial rebuttal to that screenwriter's work. He is a portance of this book. I have no the snob auteur theorists who, if I good eye and detector of intention doubt he has lifted the curtain and read Andrew Sarris' preface cor­ and meaning; all the differences that others will appear to make their · rectly, are now backing water so fast would be simply a matter of taste critical acknowledgements to the it will soon be hard to find any left. and proportion. If he sees "Casa­ artistry of such film writers as Sheri­ No less useful is Corliss' examina­ blanca" as a metaphor of the vaga­ dan Gibney, Carl Foreman, Lewis tion of the roles of the other artists ries of the dark European soul as Meltzer, Marguerite Roberts, Ed­ who so skillfully perform what has well as smashing entertainment, mund North, William Ludwig, James been given to them on a silver plat­ that's all right. When he interprets Poe inter alia. ter of transmuted paper and xeroxed Rick's famous toast, "Here's looking I use the word "artist" in the words. " The importance of the di­ at you, kid," as meaning, "Here's solemn knowledge that Jackson Pol­ rector's personal-or even visual­ trying to look into your soul, kid, to lock was not Rembrandt, nor Cole style is not at question here," Corliss figure out who you really are," I can Porter Bach, and that not every film writes, "only the ·assumption that he sympathize with a critic's impulse to writer is a Mankiewicz. My assump­ creates a style out of thin air instead find significance where it mayor tion, however, is that anyone who of adapting it to the equally im­ may not be. But nothing can dimin­ creates a world out of the seed of portant styles of the story and ish the pride I feel in a book that is imagination is prima facie a mem- performers." Continued on page 4 Page Three Ballard Collection ... Continued from page 1 Ballard has spent the past 35 years assembling this extraordinary col­ lection. Using his extensive knowl­ edge of film history, Ballard has collected extremely selectively, re­ taining only the best photographs from the most significant films in Hollywood's history. The collection primarily spans the decades between 1910 and 1950, with greatest em­ phasis on the '20s and the '30s. The majority of the Ballard collec­ tion is comprised of still photo­ Two of the major elements in the Bollard Collection are photographs related to the careers of a pair of early film favorites: Greta Garbo and Rudolph Valentino. Garbo is pictured from the 1933 production of graphs from the films of the major "Queen Christina," while the pearl-bedecked Valentino is from Paramount's "The Young Rajah," 1922. stars and directors of Hollywood's golden age. Among the stars whose careers are well documented in Ballard's Rare Still Book Donated to library collection are Greta Garbo, Marlene Marion Blackton Trimble, daughter man on the film. The sepia-toned Dietrich, Rudolph Valentino, Lon of the late pioneer J. Stuart Blackton, still photographs are bound in a large Chaney, Charles Chaplin, Bette has donated the still book from her leather volume. Davis, Katharine Hepburn, Lillian father's film, "The Glorious Adven­ Gish and Gloria Swanson. Also, the ture," to the Margaret Herrick Li­ films of directors D. W. Griffith, brary. Filmed in England, in Prizma Erich von Stroheim, F. W. Murnau, Colour,"The Glorious Adventure" is John Ford, George Cukor, Josef von a costume drama set in 17th century Sternberg, Rex Ingram and William Wyler are covered. England. Playing leading roles in the After examination and cataloging, 1921 film were the British socialite the Ballard Collection, like the rest Lady Diana Manners and Victor of the Academy's still library, will be McLaglen, with a distinguished cast available to members, students, the drawn chiefly from the British stage. press, studio research departments, While the color process was not libraries, universities and the public a complete success, it was effective at no charge. in dramatizing the Great Fire of Lon­ Photographic reproductions of the stills in the Academy collection, don in the film. Nicholas Musuraca, reputed to be one of the best in the now a distinguished Hollywood ci­ world, are available at cost, $2 per nematographer, went to England print. with Blackton and served as camera-

Bullfinch (Victor Mclaglen) carries lady Beatrice (lady Diona Manners) to safety in the crypt of Academy Myths laid to Rest ... St. Paul's during the Great Fire of london scene Continued from page 2 from "The Glorious Adventure," filmed in Prizma Colour in 1 921. went from 24 members to 36. The all-out effort is being made to en­ members elected a number of courage the efforts of young film­ younger professionals, some repre­ makers and cinema students. Book Review ... sentatives of ethnic minorities, and Film scholarships have been Continued from page 3 a woman - myself. awarded to five outstanding student a declaration of independence for (A woman, Fay Kanin, was elected filmmakers and to such organiza­ screenwriters. When I think of all a vice president of the Academy at tions as the American Film Institute, the years in which we have lived, the last Board meeting - EDITOR.) the Mafundi Institute in Watts and not in lUXUry for most, but in the Myth: The Academy is a reaction­ the University of Tel Aviv. gray indifference which has ary institution, a relic of the past. Like any institution, the Academy wounded so many and our work as Few people realize how progres­ is open to criticism, but uninformed well, I cannot overstate my admira­ sive the Academy really is. An criticism can never be constructive. tion for this pioneering book. Page Four Cinematographers' Role Vital To Motion Picture Industry The following article was prepared especially Headquartered at 1782 North for the Academy Bulletin by the American Society Orange Drive, just a block north of of Cinematographers - EDITOR Hollywood Boulevard, the ASC is Next time you view a movie scene celebrating 1974 as The Year of the where the camera zooms in for a Cinematographer. In keeping with close-up, then dissolves into the next this theme, the 1974 Los Angeles scene and eventually fades out over International Film Exposition a matte background, stop and think. (FILMEX) selected the cinematogra­ You have just watched a cinema­ pher as its own industry "man of the tographer's miracle! year" for the March 28-April 9 event. The cinematic set-ups mentioned Leading cinematographers from are all creative innovations of mem­ around the world attended the ex­ bers of the American Society of position, which included a series of Cinematographers. screenings of ASC-selected films. Since it was founded in Holly­ Stanley Cortez (right) v isits cinematographer Hal Seminars on cinematography were Mohr on set of " Rancho Notorious." wood in 1919, the ASC has de­ held at the ASC headquarters. veloped into the leading world Among the noted cameramen who Hal Mohr: organization in its field. Its members came to Hollywood was Sven Nyk­ have won 78 Academy Awards, dat­ vist of Sweden, whq subsequently Film, Academy leader ing back to 1928. ASC membership won this year's Academy Award for Cinematographer Hal Mohr, who now extends to five continents. Continued on page 6 passed away in May, was one of the giants of the film industry and a mainstay on the Academy Board. HAL MOHR: 1894-1974 Mr. Mohr became a director of By Stanley Cortez, A.S .C. photography in 1922, and, in a ca­ Artist . . . thinker ... leader .. . His camera was an extension of reer studded with cinematic innova­ humanitarian. the man, for it reflected that which tions, was involved in the creation In these areas Hal Mohr excelled. he deeply felt and in which he of more than 100 films. In these he received world acclaim. believed. A few of his film achievements With the demise of our beloved He inspired those fortunate to be are: "Old San Francisco," liThe Jazz friend, the industry, the Academy, associated with him, of whom this the American Society of Cinema­ writer is one. He gave generously of Singer," "Outward Bound," II A Mid­ his knowledge and time. summer Night's Dream," "Green tographers and the I.A.T.S.E. lost a giant in the truest sense. They all His innovations and contributions Pastures," "Destry Rides Again," gained monumentally through his to the cinema were enormous. They liThe Phantom of the Opera," "Ran­ prolific photographic artistry, his were taken for granted and emu­ cho Notorious," "Member of the profound and mature wisdom, and lated by many. Wedding," liThe Wild One" and his undaunted courage. Though his He abhorred injustice and worked "Topaz." Mr. Mohr was an Academy professional achievements and ac­ toward its end. Board member from May, 1951 until colades are well known and will be­ His aims were lofty ... his energies his passing, with the exception of a come historical, they were exceeded boundless .. . his efforts fruitful in by his compassion, not only for his search of a better society. brief two-year period in the fifties. fellow man but his adversaries, as The one proud item on his im­ He served as the Academy's assist­ well. maculate desk is a gift from the ant treasurer for one year, and assist­ Articulate speaker that he was, American Society of Cinematogra­ ant secretary for a decade, from 1960 and fortified by a background of phers. The inscription reads ... "To to 1970. unquestioned ability and integrity, Hal Mohr: A dedicated artist whose For more than three decades, one he often humbled his so-called peers creative talents brought so much to of Mr. Mohr's associates was fellow and awed his colleagues. so many for so long. With respect, Sensitive, proud, and introspec­ admiration and gratitude." Academy member and cinematogra­ tive, he was a pro of the highest A rare human being ... a noble pher, Stanley Cortez. They worked caliber. He never lost his sense of gentleman ... we shall miss him. He together on a number of films, with humor nor his dignity under stress. will remain a spiritual guide to those Cortez working under Mr. Mohr in He gave stature to the title "direc­ who knew and loved . .. Hal Mohr. some of the latter's biggest films. tor of photography," and brought Adieu . .. my dear friend and bene­ Cortez, now an industry leader in his new vistas and dimensions to our factor. Ie vous embrasse . .. own right, shares his thoughts on profession. the career of Hal Mohr. Page Five much more, to the Motion Picture Academy than the annual Oscar Awards, and this magnificent library is one of them." Among other current publications with particularly glowing acknowl­ edgements are THE ART OF THE AMERICAN FILM, by Charles Hig­ ham and REFERENCE GUIDE TO FANTASTIC FILMS, SCIENCE FIC­ TION, FANTASY AND HORROR, by Walt Lee. According to Ms. Simpson, schol­ A Scene from "Cries and Whisper," 1974 Academy Awa Winner arly papers also frequently credit Cinematographers. . . the Academy and its library. linda -A-ut-h-or-s-P-ra-i-se--- Harris Mehr, in her UCLA doctoral Continued from page 5 dissertation, acknowledges that his photography of "Cries and Academy's Aid "This project could never have been Whispers." completed without the generous Currently, the ASC is headed by One of the functions of any library is assistance of the Academy of Mo­ President Ernest Laszlo. ASC officers to provide resource material and tion Picture Arts and Sciences ... The are Sol Halprin, George Folsey, assistance for those writing for pub­ entire staff of the Academy was most Walter Strenge, Charles G. Clarke, I ication. Such assistance is appreci­ helpful throughout my work on this Winton Hoch and Daniel Fapp. ated, but often unacknowledged. project, but I particularly wish to The ASC's 13-man board of gov­ The Academy's Margaret Herrick thank Margaret Herrick, Sam Brown ernors also includes l. B. Abbott, library provides more such assist­ and Mildred Simpson." ance than most, and, as librarian Joseph Biroc, Stanley Cortez, Lee "While it is always a special pleas­ Mildred Simpson points out with Garmes, Burnett Guffey and Philip ure to be noted by an appreciative pride, many authors are quick to Lathrop. author," says Ms. Simpson, "our real express their appreciation - in An important feature of the satisfaction in the library comes writing. modern-day ASC is its cinematic from being able to provide the kind Typical of the kudos bestowed museum. Vintage cameras and of assistance which enables writers upon the library is that in Maurice lens.es and an array of filmmaking to base their work on accurate, com­ Zolotow's new biography of John equipment - much of it from the plete information." late 1800s and early 1900s-can be Wayne, SHOOTING STAR: liTo About a dozen or so authors an­ viewed along with many nostalgic Mildred Simpson, librarian, and the nually thank the Academy library mementos of the Hollywood golden staff of the library of the Academy for its assistance in their publica­ days in the 1920s and 1930s. of Motion Picture Arts and Sciences tions. One who didn't was Clifford The ASC building also includes a I am deeply grateful for their assidu~ Irving, who researched much of his library, a recreation room, a board ousness, their patience, their know­ now-discredited "autobiography" of governors meeting room (equip­ ing where to find just the right frag­ of Howard Hughes in the Margaret ped with film projection equipment, ment of information I needed at one naturally) and a splendid main din­ time or another. There is more, Herrick library. ing room. The building also is editorial head­ quarters for American Cinematog­ rapher magazine, regarded by many as the premier publication in the world of camera. Over the years, an invitation to Published by the Academy of Motion Picture Arts and Sciences 9038 Melrose Avenue, Hollywood, California 90069 • (2J 3) 278·8990 ASC membership has become the mark of distinction in cinematogra­ phy. Nearly all the leading directors Walter Mirisch, President; Howard W. Koch, First Vice President; Robert E. Wise, Vice President; of photography in both motion pic­ Fay Kanin, Vice President; Marvin E. Mirisch, Treasurer; Hal Elias, Secretary; tures and television now are James M. Roberts, Executive Director; Philip Chamberlin, Director of Special Projects. members. Two ASC officers, Charles Clarke The Bulletin of the Academy of Motion Picture Arts and Sciences is designed to provide information and Sol Halprin, also serve as gover­ about . the full range of Academy activities and other newsworthy developments in the film world Each Issue of The Bu/~etin . i.s mailed to the. 3,800 members of the Academy and to nearly tw~ nors o~ the. board of the Academy thousand colleges, unIversItIes, museums, libraries and film societies in the U.S. and abroad. of Motion Picture Arts and Sciences. Page Six