13 4. The Independent's Progress By MAX E. YOUNGSTEIN, vice- our industry, would quickly revita­ downward trend in the industry, president. United Artists. lize the •whole field of independent United Artists exceeded $70,000,000 in production. We found, in our com­ world gross, and as of the date I write N less than a decade the independ­ bined experiences, that the craftsman, this it appears quite certain that we ent producer has grown from a whether he be producer, director, will pass $80,000,000 for the year 1958. I kind of fringe phenomenon of the actor, or writer, had always in the Our success has also been on the artistic film business to an equal of the great back of his mind one or more projects level. In 1957 the Academy Award studios. In 1951 independent produc­ to which he was dedicated, in which winning picture was an independent tion accounted for less than 1 per he believed both artistically and com­ production, "The Bridge on the River cent of Hollywood's total output; in mercially, and which, for one reason Kwai." In 1956 it was an independent this year 1958 more than 50 per cent or another, he could not make under production, "Around the World in of the total number of films will be the method of studio operation then Eighty Days." In 1955 it was an inde­ independently made. And how great in effect. I am referring, of course, to pendent production, "Marty." Here the growth will be in the future is the one-man studio czar system. We are pictures of extremely different something that cannot now be pre­ felt that instead of one-man autonomy content, but which in every instance dicted. it might be possible to attract dozens had behind them the bold determina­ The independent idea is not new. of top creative talents so that all of tion of one or more dedicated persons. T nited Artists has been financing and these brains would be working on pic­ The independent producer has struck distributing only independent pro­ tures which would be much more var­ out into previously forbidden areas. ductions for almost forty years. There ied in their content than any one ma­ Men like Otto Preminger, by his suc­ always have been giants function­ jor studio can turn out. cessful fight on "The Moon Is Blue" ing as independents, men such as What was offered to the craftsman and "The Man with the Golden Arm," Cecil B. DeMille, Samuel Goldwyn, was complete creative autonomy, once helped to modify the motion-picture and a few others. Qualitatively their certain basic financial and content code so that it was more in line with endeavors were very important, but elements were agreed upon. By that the actual level of intelligence of the the number of pictures they turned I literally mean that once subject- worldwide audience rather than the out was far too few to affect the matter, major cast, director, and hypothetical twelve-year-old who his­ • ourse of the industry. budget were mutually settled, the torically, and frequently hysterically, shaped the content of our motion pic­ The real Independent Revolution motion-picture maker went out and tures. (and it is nothing less than that) was made the film. Our company hever born out of Hollywood's most difficult saw any rushes, never interfered with period, approximately seven and a half the making of the picture. IHERE are, of course, some disad­ years ago. The government anti-trust In addition, we were able to offer vantages to independent production. decree of 1949 deprived most of the the craftsman a partnership in the Frequently we hear of important major studios of their theatre chains true meaning of the word. When you books, plays, and screenplays which and the benefits and assured markets make a picture as an independent pro­ we would like to acquire but which which came with them. Television, ducer, you share in a substantial per­ we have no right to assign to a par­ very much the novelty, was changing centage of the profits. This is, of ticular independent producer. Some­ the entertainment habits of the whole course, a tremendous incentive par­ times it takes us weeks to locate the country. There were other matters ticularly when it is coupled with the producer who might be interested, for concern, but the end result was tax benefits that result from a proper­ and the opportunity to acquire the that movie attendance dropped almost ly organized corporation which can literary property is lost. The studios 50 per cent during the period. take advantage of a capital-tax situa­ can, in many instances, purchase the When this downward trend was tion. In offering creative autonomy, property for themselves and then as­ really at a high point of acceleration, partnership in profits, plus tax bene­ sign it to one of their staff producers a new management group took over fits, we were appealing basically to a or, if necessary, hold it for future pro­ the reins at United Artists. Although combination of pride, ego, and the de­ duction. Studios can, if they have fore­ I can, because of my relationship to sire for greater financial gain. sight, run training schools for young United Artists, be accused of being How well have these methods actors and actresses and develop them a special pleader, the facts, neverthe­ worked? Here are the financial facts: over periods of years. This is very less, are that in 1951 under this new In 1951 United Artists did a world­ difficult for an independent producer management United Artists, which wide gross of approximately $19,000,- to do. distributed only independent pictures, 000. In 1957, in spite of the general Summing up, the most impor­ began to move forward by obtaining tant aspect of the Independent Rev­ proper financing, new manpower, and olution is that it has struck out into slowly but surely attracting some of new fields and helps supply the the best talent in the creative end of motion-picture public with pictures our business. This was not an easy which otherwise would never be thing to do. Banks were very hesitant made. The growth of the independent about lending money for independent producer means that the day of the productions. It was felt, however, that craftsman is arriving. Nothing can be in spite of all of the obstacles there more important than to have the were certain advantages which, once craftsman achieve a position of au­ explained clearly to the craftsmen of thority in the motion-picture business. PRODUCED 2005 BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED 14 the most familiar story among the SR GOES TO THE MOVIES actualities and legends of Western mankind can be so affecting in this new and humble setting, perhaps more remarkable is that the meaning of the A Greek Passion Kazantzakis story is not so much re­ ligious as it is moral. It points ou that the value of the Christian re­ ROBABLY the most interesting Pope Grigoris (having obtained the ligion does not reside in its symbols director to emerge in France permission of the Turkish governor, and dogmas, but in its ethic. Man is Pduring the last few years is an the Agha, to repeat the custom), responsible for his own kind. American, Jules Dassin, who for the chooses the villagers who will portray Dassin's direction of the tale is re­ past six years has been settled in the figures in the Passion. One is markably mobile, especially so when Paris. Dassin had been a screenwriter Manolios, a stammering shepherd. He one considers the difficulties under and also a director of American films, is informed that he will play Jesus, which he worked. Crete is hardly a among them the not completely suc­ and will wear the crown of thorns. modern place, and movie-making is cessful "Brute Force," and "The John, Peter, Mary Magdalene, and a matter of modern technology. The Naked City." His forte appeared to Judas are also chosen from among the equipment had to be brought there. be violence, and this he demonstrated villagers. It isn't long before the town What was there already was the stark strikingly in his first French movie, receives a firm lesson in Christian setting and the faces of the natives. "Rififi," which caught on here more action. The survivors of another vil­ The faces are used among the right successfully than any French film in lage, decimated and burned out by settings, and they are caught, almost recent years with the exception of one a Turkish massacre, appear on the off guard, in the movingly human or two Bardot exposures. But "Rififi" scene, led by their Pope, Fotis, asking scenes. The major members of the was a bag of tricks compared to Das- for help in finding food and shelter. cast, with a few exceptions, were sin's second French movie, "He Who They have come a long way, and they French. The Pope Fotis of Jean Servais Must Die," an exceedingly vivid adap­ are all but starving. Lycovrissi has, is a strong portrait; his opposition. tation (by Dassin and Ben Barzman) however, always gotten along well Pope Grigoris, is played with fright­ of "The Greek Passion," a novel by with its Turkish occupiers. The town ening strength by Fernand Ledoux, the late Nikos Kazantzakis, who died is prosperous and thriving, and its who has been traditionally the villain last year and who was generally ac­ Pope sees only menace in the new­ in French movies. The Manolios of knowledged to be the most important comers.