THE BOX OFFICE CHECK-UP of 1935

Home , After Office Hours, Albert Conti, Alias the Doctor, Anton Grot, Are These Our Children, Baby Take a Bow

1 to tell the world!* IN 1936

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 disclose 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 The Box Office Checlt-Up is published great list is the little child who during the past year has led countless mil- annually by the Quigley Publishing Com- pany, Inc., 1790 Broadway, New York, lions to the doors of the theatres of the world—Shirley Temple. This little (address after February I: Rockefeller star's wholesomeness, simplicity and charm are the screen's attributes at Center, New York). Martin Quigley, editor-in-chief and publisher. Colvin its best. Next in the list is the revered Will Rogers, whose characteristics, Brown, vice president and general man- so well known to the whole public, give enduring emphasis to the mandate ager. Terry Ramsaye, editor. Hollywood covering what the public wants. 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 1 Here, then, is the lesson of the record. May it during the succeed- copyrighted 1936 by Quigley Publishing ing year be so reflected into the operations of the industry as to in- Company, Inc. Other Quigley Publica- sure a continuance of the popularity which the motion picture has won by tions: Motion Picture Herald, Motion Picture Daily, Better Theatres. Motion giving the public what it wants! Picture Almanac. — WHAT MADE THE BOX OFFICE CHAMPIONS

Though a great many exhibitors, through <1 Examining the leading money-making pictures force of necessity, were engaged in selling Bank Nights, Buck Nights, etc., they still in an attempt to determine why they were found occasion to turn from the operations of peddlers to their primary function showmanship, the selling of screen mer- chandise. by gus McCarthy Only the recollection of the various Champions, whether drama, comedy, romance, mystery, melodrama, musical,

spectacle or combination of any or all, is NE year ago, discussing the same brought to the industry a prosperity that necessary to note the diligence with which

topic (which, by its nature, is more wiped out bitter memories of many disap- producers sought to include human interest. O a statement of fact than it is a pointing and lean years. Certainly motion If one checks the list of Champions, it question), the writer maintained that as it pictures today enjoy a public good-will is readily noted that the story of each was was successfully incorporated in a picture, seldom previously attained. Definite dem- designed to stimulate some particular one,

"understandable and believable humanness" onstration of this esteem is found in the or combination of several, primary human

is the quality which established certain pic- number of pictures which the public, by emotions—desire, fear, hope, love, joy, tures as Box Office Champions in relation its patronage and support, caused to be- grief and hatred. Production effects, in

to the sum total of all produced. The pic- come Champions. each case, whether glamorous or grim, gay

tures that have become Champions since, As all acknowledge the part Hollywood, or somber, were especially designed to ac

rather than having any tendency to alter its producers, actors, writers, directors, centuate mental reactions basically moved

that opinion, serve to confirm it. composers, cameramen and technical spe- by dialogue, by action or by music.

During the period from August I, 1934 cialists played in producing the Cham- That theatre-goers have a very definite to October 31, 1935, approximately 475 pions, no one can deny that the work of conception of what they want in screen

feature pictures were exhibited in this America's theatre operators in marketing entertainment is emphatically illustrated by

country's theatres. The great majority of the attractions was not of as much if not the enthusiasm with which they supported

these were American productions. Of that more importance in their success. the Champions, as well as their entire lack number 96, or 20 per cent of the total, of interest in those attractions which, want- were of sufficient entertainment and coming the quality they sought, proved flops. mercial value to become Box Office Cham- During the year, many features boasting pions. If these pictures are studied it be- Through direct contact between manu- high name value casts, produced by com- comes increasingly evident, in all but a few facturer and consumer, they did a re- panies whose trade mark presumably guar- exceptions, that as they possessed the markable job. One needs but thumb anteed quality, and upon which vast sums power of arousing the various human emo- through successive issues of Motion Pic- of money had been spent, failed. On the tions, so did the theatre-going public ap- ture Herald, and the pages devoted to the other hand, unpretentious pictures, pre- preciate them, to the extent that it made Managers' Round Table Club, to become sumably devoid of all that the formula calls them exceptional attractions. Consequent- aware of the splendid job the nation's for in a big picture, achievect signal com- ly it seems that human interest as a factor showmen have done and are continumg to mercial and entertainment success. They

in pictures—regardless of fhe importance do. Week after week its pages are replete did so because the public found in them of who is in it, no matter what the story with examples of exploitation ingenuity values producers and showmen did not, at

ch aracter, independent of fhe elaborate- and resourcefulness which Hollywood is first, realize were present.

ness or economy of substantiating effects, proud to admit are sources of greaf in- the record of the director or producing spiration.

company prestige— is the element that If producers earnestly strove to include separates the sheep from the goats. the required necessities in their attractions, Thus, human interest plus three contribu- During the year 1935, Hollywood's pro- evidence is ample that the showmen were ting factors—the producer, showman and ducers had a responsibility to the nation's and are aggressively alert to what is ex- public—made certain ones, of all pictures, theatre-goers and showmen greater than pected of them. In the list of Champions Champions. As the manufacturer included ever before. Various causes forced them there is more than one case in which pro- human interest in his product, as the show- into a situation where they had to prove ducers had grave doubts as to the success man advertised it, so did it succeed. themselves capable of meeting public in- of the picture when they shipped the film. It has sometimes been advocated that, terest. How well they met that respon- It is not difficult to imagine their surprise considering the various strata of intelli- sibility is witnessed not only in the quality pleasure when, solely result and as a of the gence that pictures must appeal to, it is of the Box Office Champions, but in the efforts of showmen, their ugly ducklings impossible to hit upon a definite formula general improved character of the entire metamorphosed into radiant box office acceptable to all. Champions of the past, production program. The class of pictures Prince Charmings. [TURN TO PAGE 144] TABLES LISTING THOSE WHO MADE THE CHAMPIONS BEGIN ON PAGE 16

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 BOX OFFICE CHAMPION DIRECTORS

in a way a production "freak," which cata- fl Commenting a bit mathematically on pulted Miss Moore to stardom on her first picture. The word "freak," their relative fortunes at key box offices however, does not indicate any deficiency in production. Contrarily, this film has been recognized as one of the finest pictures ever to come by MILTON WATT out of Hollywood studios. Schertzinger immediately followed up

with another money Champion in "Love ASTING an analytical glance over Van Dyke hit high-C at the box office Me Forever," also starring Miss Moore. at a lengthy procession with films, "Hideout," "Forsak- the shoulder the MGM Th is one, however, was a Champion for C ing All "I of box office motion pictures which Others," Live My Life" and only one month. brought many theatres throughout the "Naughty Marietta." The last named pic- The box office "gong" sounded three country out of the red during the past ture, starring Jeanette MacDonald, times during 1935 for John Ford, Roy Del year, the mental .machinery comes to an dragged in the important money for two Ruth and Norman Taurog. abrupt halt on the question, "Who is re- months in succession, out-grossing many John Ford, directing for 20th Century- bell- productions sponsible for making box office that came into the market on Fox, brought the "scheckels" pouring in ringers?" later bookings. Van Dyke has been turn- with "Judge Priest" and "Steamboat film ing The salesman votes for his company out repeated . winners in successive Round the Bend," both starring the late and sells the trade name; exhibitor roots years and has displayed a versatile tech- Will Rogers, and "The Whole Town's Talk- for the players, plastering his marquee nique adaptable to any type of story ing," an outside picture for Columbia. with a star-studded alphabet. The pro- handed him. ducer claims distinction for selection of David Butler, veteran director, contrib- story material and cast. The writer and uted the Champions "Handy Andy," player usually claim direct and whole re- "Bright Eyes," "Little Colonel" and The value of musicals to the film enter- sponsibility office "Doubting for the box champ. To Thomas." The Shirley Temple tainment field is evident in the record of a certain degree, they're all correct. But vehicle, "Bright Eyes," was assigned by box Del Ruth. He directed "Kid Millions," the man who usually sleeps on a spiked bed office figures fo the Champion level for "Folies Bergere" and "Broadway Melody ' during production is the director; that re- fwo months. All were produced under the of 1936." All three musicals brought in tiring gent who works the hardest, takes Fox and 20th Century-Fox banner. record grosses throughout the country. the rap when the picture flops and gets Lloyd Bacon, Warner contract director, Norman Taurog fooled the nation's crit- all too little credit when the nickels and played a musical tune on theatre cash reg- ics by making a box office winner out of dimes begin to play an incessant stacatto isters with "Here Comes the Navy," "Six "Mrs. Wiggs of the Cabbage Patch," in the theatre cash register. "It's usually Day Bike Rider," "Broadway Gondolier" which, despite adverse criticism at the pre- the director, who places on a film the de- and "The Irish in Us." view, brought the customers flocking and ciding touch; changing debits to credits chalked up new records. His other direc- e^Si* and in chameleon fashion blends the red torial efforts during the year that made into a rosy hue. An interesting sidelight on the selection important money were "College Rhythm" Thus an analysis of the directors who of money winners is the fact that two for- and "The Big Broadcast of 1936." The turned out the Box Office Champions of eign directors with foreign-produced films last two named are additional evidence of 1935, which were selected by nationwide came into the Championship limelight. fhe drawing power of musicals. reports from key theatres to Motion Pic- Harold Young contributed the Gaumont- Surprisingly, the pictures directed by ture Herald, and their records for the year British picture, "The Scarlet Pimpernel," Ford, Del Ruth and Taurog were only one- just passed, produces the following facts: and Paul Gziner directed "Escape Me month Champions. Out of approximately 475 pictures Never," both of which cut fancy figures at A total of 13 directors brought in films shown throughout the nation during 1935, the box office, outgrossing many American that proved to be two-month Champions. 96 were in the big money category. 65 pictures from major companies. These directors and their Champions were directors accounted for these 96 cham- Victor Schertzinger directed a triple David Butler, "Bright Eyes"; Ray Enright, pions. Champion in the Grace Moore starring "Dames"; Lloyd Bacon, "Broadway Gon- Three of these 65 directors proved to vehicle, "One Night of Love." Schertz- dolier"; W. S. Van Dyke, "Naughty Mari- be the most consistent box office directors inger registered a surprise among exhibi- etta"; Mark Sandrich, "The Gay Di- of the year. They are W. S. Van Dyke, tors throughout the nation by contributing vorcee"; Irving Cummings, "Curly Top"; David Butler and Lloyd Bacon, who each a film which was still at the top of the heap Richard Boleslawski, "Les Miserables"; turned in four pictures named Box Office after three months of exhibition through- Harold Young, "Scarlet Pimpernel" (for- Champions. Each director had one pic- out the country. eign); William Seiter, "Roberta"; James ture that remained in the championship Th e success of "One Night of Love," Whale, "Bride of Frankenstein"; E. H. class for two months in a row; a record which might not have reached the apex Griffith, "No More Ladies"; Rouben Ma- for other directors to shoot at. had it not been for skillful direction, was [TURN TO PAGE 144]

THE BOX OFFICE CHECK-UP OF 1935 15 • • ‘THOSE WHO MADE THE August 1934 Tabulating the Champions from August 1934

TITLE DISTRIBUTOR : PRODUCER CAST

TREASURE ISLAND M ETRO-GOLDWYN-M AYER release. Wallace Beery Jackie Cooper Producer, Hunt Stromberg. Lionel Barrymore Otto Kruger Lewis Stone Nigel Bruce Charles "Chic" Sale William V. Mong Charles McNaughton Dorothy Peterson

HANDY ANDY FOX release. Will Rogers Peggy Wood Producer, Sol M. Wurtzel. Mary Carlisle Paul Harvey Frank Melton Roger Imhof Robert Taylor

DAMES WARNER release. Joan Blondell Dick Powell Ruby Keeler Zasu Pitts Guy Kibbee Hugh Herbert Arthur Winton Sammy Fain Phil Regan Arthur Aylesworth Leila Bennett Berton Churchill

SHE LOVES ME NOT PARAMOUNT release. Bing Crosby Miriam Hopkins

1 Producer, Benjamin Glazer. Kitty Carlisle ' Edward Nugent Henry Stephenson Warren Hymer Lynne Overman Judith Allen

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DOWN TO THEIR LAST YACHT RKO RADIO release. Mary Boland Sidney Fox Executive Producer, Pandro S. Berman. Sidney Blackmer Irene Franklin Charles Coleman Polly Moran Ned Sparks Sterling Holloway

THE OLD-FASHIONED WAY PARAMOUNT release. W. C. Fields Judith Allen Producer, William LeBaron. Nora Cecil Jack Mulhall Joe Morrison Jan Duggan

WHOM THE GODS DESTROY COLUMBIA release. Walter Connolly Doris Kenyon Macon Jones Robert Young Scotty Beckett Rollo Lloyd

HERE COMES THE NAVY WARNER release. James Cagney Gloria Stuart Supervisor, Lou Edelman. Dorothy Tree Willard Robertson Pat O'Brien Frank McHugh

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FRIENDS OF MR. SWEENEY WARNER release. Charles Ruggles Dorothy Burgess Dorothy Tree Ann Dvorak Eugene Pallette' 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. Story: Ben Markson. Screen Play: Ben Mark- Art Director: Esdras Hartley. Photographer: son and Earl Baldwin. Music and Lyrics: Sammy Arthur Edeson. Fain and Irving Kahan.

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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.

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September 1934

TITLE DISTRIBUTOR : PRODUCER CAST

BELLE OF THE NINETIES PARAMOUNT release. Mae West Roger Pryor Producer, William LeBaron. John Mack Brown Katherine DeMille John Miljan

CHAINED METRO-GOLDWYN-MAYER release. Joan Crawford Clark Gable Producer, Hunt Stromberg. Otto Kruger Stuart Erwin Una O'Connor Marjorie Gateson Akim Tamiroff

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DAMES WARNER release. (See August, 1934)

HIDEOUT METRO-GOLDWYN-MAYER release. Robert Montgomery Maureen O'Sullivan Producer, Hunt Stromberg. Edward Arnold Elizabeth Patterson Mickey Rooney Henry Armetta r

ONE NIGHT OF LOVE COLUMBIA release. Grace Moore Tullio Carminati Associate Producer, Everett J. Riskin. Lyle Talbot Mona Barrie Jessie Ralph

THE CAT'S PAW FOX release. Harold Lloyd Una Merkel Producer, Harold Lloyd. George Barbier Alan Dinehart

THE FOUNTAIN RKO RADIO release. Ann Harding Brian Aherne Producer, Pandro S. Berman. Paul Lukas Jean Hersholt Ralph Forbes

THE AFFAIRS OF CELLINI UNITED ARTISTS release. Constance Bennett Fredric March Producer, Twentieth Century. Frank Morgan Fay Wray Associate Producers, William Goetz, Raymond Griffith.

BRITISH AGENT WARNER release. Leslie Howard Kay Francis Producer, First National. William Gargan Philip Reed Supervisor, Henry Blanke. Irving Pichel Walter Byron Ivan Simpson

NOW AND FOREVER PARAMOUNT release. Gary Cooper Shirley Temple Producer, Louis D. Lighton. Carole Lombard Sir Guy Standing Charlotte Granville

October 1934

TITLE DISTRIBUTOR : PRODUCER CAST

THE BARRETTS OF WIMPOLE STREET METRO-GOLDWYN-MAYER release. Norma Shearer Fredric March Producer, Irving Thalberg. Charles Laughton Maureen O'Sullivan Katharine Alexander Ralph Forbes [October 1934 continued on pages 22-23] Una O'Connor Marion Clayton

18 THE BOX OFFICE CHECK-UP OF 1935 —

D I RECTION c .A,UTHORS TECHNLCAL, .STAFF CnOriginal story Screen Art Directors: Hans Ureier and bernard Herz- Leo McCareyn director . -Story: by Mae West. Play: Mae West. Music: Arthur Johnston. brun. Photographer: Karl Struss. Lyrics: Sam Coslow.

Clarence Brown, director. Story: From an original story by Edgar Selwyn. Art Director: Cedric Gibbons. Sound Engineer: Screen Play: John Lee Mahin. Musical Score: Douglas Shearer. Photographer: George Foley. Herbert Stothart.

Screen Directors: B. W. S. Van Dyke, director. Story: From the story by Mauri Grashin. Art David Townsend and Edwin Play: Frances Goodrich and Albert Hackett. Willis. Photographers: Ray June and Sidney Musical Score: Dr. William Axt. Wagner.

Victor Schertzinger, director. Story: Dorothy Speare and Charles Beahan. Sound Engineer: Paul Neal. Photographer: Jo- Arthur Black, assistant director. Screen Play: S. K. Lauren, James Gaw and Ed- seph Walker. mund North.

Sam Taylor, director. Story: Clarence Budington Kelland. Screen Production Manager: John Murphy. Art Direc- Play: Sam Taylor. Music and Lyrics: Harry Akst tor: Harry Oliver. General Manager: William and Roy Turk. R. Fraser. Photographer: Walter Lundin.

John Cromwell, director. Stcry: From the novel by Charles Morgan. Art Directors: Van Nest Polglase and Carrol Adaptation: Jane Murfin. Dialogue: Samuel Clark. Photographer: Henry W. Gerrard. Hoffenstein. Music: Max Steiner.

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Gregory La Cava, director. Story: From the play by Edwin Justus Mayer. Art Director: Richard Day. Photographer: Fred Fox, assistant director. Screen Play: Bess Meredyth. Charles Rosher.

Michael Curtiz, director. Story: From H. Bruce Lockhart's novel. Screen Art Director: Anton Grot. Photographer: Er- Play: Laird Doyle. Dialogue Director: Frank nest Haller. McDonald.

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Henry Hathaway, director. Story: Original by Jack Kirkland and Melville Photographer: Harry Fischbeck. Baker. Screen Play: Vincent Lawrence and Syl- via Thalberg. Music: Harry Revel. Lyrics: Mack Gordon.

DIRECTION AUTHORS TECHNICAL STAFF Srdney Franklin, — - illi Daniels. l her: t i — — ra director. S+oryt Qr g no s tory,—Rudo l f B e si e r. Screen Photog p W am 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: Photographer: George Schneiderman. Dudley Nichols and Lamar Trotti.

Mark Sandrich, director. Story: From the stage play, "The Say Di- Photographer: David Abel. 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.

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Rowland V. Lee, director. Story: From the novel by Alexander Dumas. Photographer: Peverell Marley. Screen Play and Dialogue: Philip Dunne, Dan Totheroh and Rowland V. Lee.

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Lloyd Bacon, director. Story and Screen Play: Earl Baldwin. Musical Art Director: Anton Grot. Film Editor: George Director: Vitaphone orchestra conducted by Leo Amy. Photographer: Warren Lynch.

F. Forbstein.

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Sidney Lanfield, director. Story: From original play by Katharine Clugston. Photographer: Barney McGill. Maude T. Howell, associate di- Screen Play: Leonard Praskins. rector. Ben Silvey, assistant director.

DIRECTION AUTHORS TECHNICAL STAFF

Lubitsch director Story: Based on book and lyrics by Victor Leon Art Director: Cedric Gibbons. Associate Di- Ernst , and Leo Stein. Screen Play: Ernest Vajda and rectors: Fredric Hope, Edwin B. Willis. Film Samson Raphaelson. Music: Franz Lehar. Musi- Editor: Frances Marsh. Wardrobe: Ali Hubert. cal Adaptation: Herbert Stothart. Lyrics: Lorenz Miss MacDonald's gowns, Adrian. Photographer: Hart. Additional Lyrics: Gus Kahn, Richard Oliver T. Marsh. Sound Engineer: Douglas Rodgers and Lorenz Hart. Shearer.

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Irving Cummings, director. Story: From the novel by Rian James. Screen Art Director: Max Parker. Costumes: William Play: Rian James and Jesse Lasky, Jr. Adapta- Lambert. Sound Engineer: S. C. Chapman. tion: Sonya Levien and Ernest Pascal. Musical Photographer: Arthur Miller. Director: Louis De Francesco.

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. Carole Lombard May Robson Associate Producer, Robert North. Roger Pryor Walter Connolly Arthur Hohl Raymond Walburn

MRS. WIGGS OF THE CABBAGE PATCH PARAMOUNT release. Pauline Lord W. C. Fields Producer, Douglas MacLean Zasu Pitts Evelyn Venable Kent Taylor Charles Middleton Donald Meek Jimmy Butler George Breakston December 1934

TITLE DISTRIBUTOR : PRODUCER CAST

FLIRTATION WALK WARNER release. Dick Powell Ruby Keeler Producer, First National. Pat O'Brien Ross Alexander Supervisor, Robert Lord. John Arledge John Eldredge Henry O'Neill Guinn Williams

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BRIGHT EYES FOX release. Shirley Temple James Dunn Producer, Sol Wurtzel. Jane Darwell Judith Allen Lois Wilson Charles Sellon Walter Johnson Jane Withers Theodore Von Eltz Dorothy Christy Brandon Hurst George Irving

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BABES IN TOYLAND METRO-GOLDWYN-MAYER release. Stan Laurel Oliver Hardy Producer, Hal Roach. Charlotte Henry Felix Knight Henry Kleinbach Florence Roberts

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COLLEGE RHYTHM PARAMOUNT release. Joe Penner Jack Oakie Producer, Louis D. Lighton. Lanny Ross Lyda Roberti Helen Mack George Barbier Mary Brian Franklin Pangborn Robert McWade rw

ANNE OF GREEN GABLES RKO RADIO release. Anne Shirley Tom Brown Producer, Kenneth Macgowan. O. P. Heggie Helen Westley Sara Haden Murray Kinnell Gertrude Messinget

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THE PAINTED VEIL METRO-GOLDWYN-MAYER release. Greta Garbo Herbert Marshall Producer, Hunt Stromberg. George Brent Warner Oland Jean Hersholt Beulah Bondi Katharine Alexander Cecilia Parker Soo Yong Forrester Harvey

24 THE BOX OFFICE CHECK-UP OF 1935 DIRECTION AUTHORS TECHNICAL STAFF

Roy Del Ruth, director. Story and Dialogue: Arthur Sheekman, Nat Per- Art Director: Richard Day. Film Editor: Stuart Walter Mayo, assistant director. rin and Nunnally Johnson. Music and Lyrics: Heisler. Costumes: Omar Kiam. Fantasy in Songs by Walter Donaldson and Sus Kahn, Technicolor: Color direction by Willy Pogany. Burton Lane and Harold Adamson. "Mandy" Color Photography: Ray Rennahan. Sound En- by Irving Berlin. Fantasy in Technicolor: Music gineer: Vinton Vernon. Photographer: Ray June. and lyrics by Gus Kahn, Walter Donaldson and Alfred Newman. Dances and Ensembles: Di- rected by Seymour and Felix. Musical Director: Alfred Newman.

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David Burton, director. Story: D wight Taylor. Screen Play: Jo Swerling. Film Editor: Viola Lawrence. Sound Engineer: Arthur Black, associate director. 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. Story: Original by Delmer Daves and Lou Edel- Art Director: Jack Okey. Film Editor: Wm. Lew Borzage, assistant director. man. Screen Play: Delmer Daves. Music and Holmes. Technical Directors: Colonel Timothy Lyrics: Allie Wrubel and Mort Dixon. Dance J. Lonergan and Lieut. P. Eckles. Costumer: Numbers: Directed by Bobby Connolly. Orry-Kelly. Photographers: Sol Polito and George Barnes.

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David Butler, director. Stcry: David Butler and Edwin Burke. Screen Art Directors: Duncan Cramer and Albert Hog- Play: William Conselman. Music: Richard A. sett. Gowns: Royer. Aeronautics Advisor: Bob Whiting. Lyrics: Sidney Clare. Musical Direc- Blair. Sound Engineer: S. C. Chapman. Pho- tor: Samuel Kaylin. Number staged by Sammy tographer: Arthur Miller. Lee.

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Gus Meins and Charles Rogers, Story: Book and lyrics by Glen MacDonough. Film Editors: William Terhune and Bert Jordan. directors. Screen Play: Frank Butler and Nick Grinde. Sound Engineer: Elmer Raguse. Photographers: Composer: Victor Herbert. Musical Director: Francis Corby and Art Lloyd. Harry Jackson.

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Norman Taurog, director. Story: Original by George Marion, Jr. Screen Art Directors: Hans Dreier and Robert Usher. Play: Walter DeLeon, John McDermott, Francis Sound Engineer: Eugene Merritt. Photogra- Martin. Music: Harry Revel. Lyrics: Mack Gor- phers: Leo Tover and Ted Tetzlaff. don. Dances: LeRoy Prinz.

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George Nicholls, Jr., director. Story: Based on book by L. M. Montgomery. Art Directors: Van Nest Polglase and Al Her- Screen Play: Sam Mintz. Musical Director: Max man. Costumer: Walter Plunkett. Film Editor: Steiner. Arthur Schmidt. Sound Engineer: George D. Ellis. Photographer: Lucien Andriot. Photo- graphic Effects: Vernon Walker.

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Richard Boleslawski, director. Story: From the novel by W. Somerset Maug- Art Director: Cedric Gibbons. Associates, Alex- ham. Screen Play: John Meehan, Salka Viertel ander Toluboff, Edwin P. Willis. Costumer: and Edith Fitzgerald. Musical Score: Herbert Adrian. Film Editor: Hugh Wynn. Sound En- Stothart. gineer: Douglas Shearer. Photographer: William Daniels. 26 THE BOX OFFICE CHECK-UP OF 1935 n€UU CHRITlPIOn

America’s leading box office star according to the Motion Picture Herald’s annual poll!

June 1934 BABY TAKE A BOW

Dec. 1934 BRIGHT EYES

Feb. 1935 'THE LITTLE COLONEL

May 1935 'OUR LITTLE GIRL

July 1935 'CURLY TOP'

Dec. 'THE LITTLEST REBEL' 1935

THE KEYSTONE OF *"THE LITTLEST REBEL" IS NOW PROVING YOUR FUTURE ITSELF THE GREATEST OF THEM ALL! 27 January 1935

TITLE DISTRIBUTOR : PRODUCER CAST

FORSAKING ALL OTHERS METRO-GOLDWYN-MAYER release. Joan Crawford obert Montgomery Producer, Bernard H. Hyman. Clark Gable Billie Burke Assistant to the Producer, Frank Davis. Cha rles Butterworth Frances Drake Rosalind Russell Ted Healy

THE LITTLE MINISTER RKO RADIO release. Katharine Hepburn John Beal Producer, Pandro S. Berman. Alan Hale Donald Crisp Lumsden Hare Andy Clyde Beryl Mercer Billy Watson

BROADWAY BILL COLUMBIA release. Warner Baxter Myrna Loy Producer, Harry Cohn. Walter Connolly Lynne Overman Raymond Walburn Clarence Muse Margaret Hamilton Douglas Dumbrille Helen Vinson George Meeker Jason Robards Helen Flint Helen Millard Harry Holman Charles Levinson Ward Bond Edmund Breese Harry Todd George Cooper Charles Wilson Paul Harvey Edward Tucker Frankie Darro

THE COUNTY CHAIRMAN FOX release. Will Rogers Evelyn Venable Producer, Edward W. Butcher. Kent Taylor Louise Dresser Mickey Rooney Berton Churchill

' - Frank Melton

BRIGHT EYES FOX release. (See December, 1934) Producer, Sol Wurtzel.

LIVES OF A BENGAL LANCER PARAMOUNT release. Gary Cooper Franchot Tone Producer, Louis D. Lighton. Richard Cromwell Sir Guy Standing C. Aubrey Smith Monte Blue Kathleen Burke Colin Tapley February 1935

TITLE DISTRIBUTOR : PRODUCER CAST

DAVID COPPERFIELD METRO-GOLDWYN-MAYER release. W. C. Fields Lionel Barrymore Producer, David O. Selznick. Maureen O'Sullivan Madge Evans Edna May Oliver Lewis Stone Frank Lawton Freddie Bartholomew Elizabeth Allan Roland Young Basil Rathbone Elsa Lanchester February Jean Cadell Jessie Ralph [ 1935 continued on pages 30-31] Lennox Pawle Violent Kemble Cooper Una O'Connor John Buckler Hugh Williams Ivan Simpson Herbert Mundin Fay Chaldecott

28 THE BOX OFFICE CHECK-UP OF 1935 DIRECTION AUTHORS TECHNICAL STAFF

W. S. Van Dyke, director. Story: From the play by Frank Morgan Cavett Art Director: Cedric Gibbons. Associate: Ed- and Edward Barry Roberts. Screen Play: Jo- win B. Willis. Costumer: Adrian. Film Editor: seph L. Mankiewicz. Musical Score: Dr. William Tom Held. Sound Engineer: Douglas Shearer. Axt. Photographers: Gregg Toland, George Folsey.

r-> n-J

Richard Wallace, director. Story: From the novel by Sir James M. Barrie. Art Directors: Van Nest Polglase and Carroll Screen Play: Jane Murfin, Sarah Y. Mason and Clark. Interiors: Ho-be Erwin. Costumer: Walter Victor Heerman. Music: Max Steiner. 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 Art Director: William Darling. Costumer: Wil- Play: Sam Heilman and Gladys Lehman. Musical liam Lambert. Sound Engineer: Donald Flick. Director: Arthur Lange. Photographer: Hal Mohr.

Henry Hathaway, director. Story: Original, Francis Yeats-Brown. Screen Art Directors: Hans Dreier and Roland Ander Play: Waldemar Young, John L. Balderston and son. Sound Engineer: Harold Lewis. Photog- Achmed Abdullah. Adaptation: Grover Jones rapher: Charles Lang. and William Slavens McNutt.

DIRECTION AUTHORS TECHNICAL STAFF

George Cukor, director. Story: Based on the novel by Charles Dickens. Art Director: Cedric Gibbons. Associates: Mer

Screen Play: Howard Estabrook. Adaptation: rill Pye and Edwin B. Willis. Costumer: Dolly Hugh Walpole. Musical Score: Herbert Stothart. 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 PARAMOUNT release. (See January, 1935) Producer, Louis D. Lighton.

THE WOMAN IN RED WARNER release. Barbara Stanwyck Gene Raymond Producer, First National Genevieve Tobin John Eldredge Philip Reed Dorothy Tree Russell Hicks Nella Walker Claude Gillingwater Doris Lloyd

rW r

THE SCARLET PIMPERNEL UNITED ARTISTS release. Leslie Howard Merle Oberon Producer, London Films. Raymond Massey Nigel Bruce Bramwell Fletcher Anthony Bushell Joan Gardner Walter Rilla Mabel Terry-Lewis O. B. Clarence Ernest Milton Edmund Breon Melville Cooper Gib McLaughlin Moreland Graham John Turnbull Gertrude Musgrove Allan Jeayes Bromley Davenport 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

THE GILDED LILY PARAMOUNT release. Claudette Colbert Fred Mac Murray Ray Milland C. Aubrey Smith Luis Alberni Edward Craven Donald Meek Charles Irwin Ferdinand Munier Grace Bradley Michelette Burani Claude King James T. Quinn Edward Gargan

THE GOOD FAIRY UNIVERSAL release. Margaret Sullavan Herbert Marshall Frank Morgan Reginald Owen Alan Hale Beulah Bondi March 1935 Cesar Romero 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 Lucien Littlefield [March 1935 continued on pages 34-35]

30 THE BOX OFFICE CHECK-UP OF 1935 — —

DIRECTION AUTHORS TECHNICAL STAFF

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Robert Florey, director. Story: Based on novel "North Shore," by Wallace Art Director: Esdras Hartley. Costumer: Orry- Irwin. Screen Play: Mary McCall, Jr. and Peter Kelly. Film Editor: Terry Morse. Photographer: Milne. Dialogue Director: Stanley Logan. Musi- Sol Polito. cal Director: Vitaphone orchestra conducted by Leo F. Forbstein.

r*>

Harold Young, director. Story: Novel by the Baroness Orczy. Adaptation, Settings: Vincent Korda. Sound Engineer: A. W. Dialogue, etc.: Lajos Biros, Sam Berman, Robert Watkins. Photographer: Harold Rosson. Sherwood and Arthur Wimperis.

Alfred E. Green, director. Story: Original by Jerry Wald, Carl Erickson and Art Director: Robert Haas. Film Editor: Bert Warren Duff. Music and Lyrics: Warren and Levy. Photographer: James Van Trees. Dubin, Fain and Kahal, and Dixon and Wrubel. Musical Arrangements: Ray. Heindorf. Dances and Ensembles: Directed by Bobby Connolly.

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Wesley Ruggles, director. Story: Original by Melville Baker and Jack Kirk- Costumer: Travis Banton. Jewels: Designed by land. Screen Play: Claude Binyon. Music: Ar- William Howard Hoeffer. Photographer: Victor thur Johnston. Lyrics: Sam Coslow. Milner.

William Wyler, director. Story: Based on the play by Ferenc Molnar. Art Director: Charles B. Hall. Film Editor: Daniel Screen Play: Preston Sturges. Mandell. Sound Engineer: Gilbert Kurland. Pho- tographer: Norbert Brodine.

U/,,.D 1 RECTI O N AUTHORS TECHNICAL STAFF William A. Saiter, director. Story: From play, "Roberta.' Screen Play: Jane 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 Art Directors: Hans Dreier and Robert Odell. Play: Walter DeLeon and Harlan Thompson. Film Editor: Edward Dmytryk. Sound Engineer: Adaptation: Humphrey Pearson. Music: Ralph P. G. Wisdom. Photographer: Alfred Gilks. Rainger. Lyrics: Sam Coslow.

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 t !

BOX-OFFICE OF CHAMPIONS! CHARLIE CHAPLIN

i n THE ONE AND ONLY “Modern Times”

» 4 Years in the making! > EDDIE CANTOR in The Two Million Dollar SAMUEL GOLDWYN “ Laugh Sensation presents Strike Me Pink” with ETHEL MERMAN ’ PARKYAKARKUS • SALLY EILERS • WILLIAM FRAWLEY and the GORGEOUS GOLDWYN GIRLS Directed by NORMAN TAUROG

The sensational star of “The Count of Monte Cristo"

in a gay romantic comedy An ALEXANDER KORDA ROBERT DONAT Prod uction The Ghost Goes West with JEAN PARKER and EUGENE PALLETTE SAMUEL GOLDWYN “THESE THREE" presents with Miriam Hopkins, Merle Oberon and Joel McCrea PICKFORD-LASKY “ONE RAINY AFTERNOON" presen with Francis Lederer and Ida Lupino

* ’’ “Little Fauntleroy DAVID 0. SELZNICK Lord starring presents FREDDIE BARTHOLOMEW and DOLORES COSTELLO BARRYMORE Directed by John Cromwell

James Fenimore Cooper’s World Famous Classic HARRY M. GOETZ presents "THE LAST OF THE MOHICANS" An Edward Small Production ... A Reliance Picture

H. G. Wells’ “THINGS COME“ and “THE MAN WHO COULD ALEXANDER KORDA TO WORK MIRACLES'' • CHARLES LAUGHTON in “CYRANO DE Productions BERGERAC" • “CONQUEST OF THE AIR" • “MOSCOW NIGHTS"

WALT DISNEY MICKEY MOUSE and SILLY SYMPHONIES Productions 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

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 Edward Brophy [April 1935 continued on pages 36-37] Harold Huber

34 THE BOX OFFICE CHECK-UP OF 1935 DIRECTION AUTHORS TECHNICAL STAFF

David Butler, director. Story: Based on the story, "The Little Colonel," Art Director: William Darling. Costumer: Wil- by Annie Fellows Johnson. Screen Play and liam Lambert. Sound Engineer: S. C. Chapman. Adaptation: William Conselman. Music Adap- Color Director: Natalie Kalmus. Color Photog- tation: Cyril J. Mockridge. Musical Director: rapher: William Skall. Photographer: Arthur Arthur Lange. Miller.

r«' rw'

Roy Del Ruth, director. Story: Based on a play by Rudolph Lother and Art Director: Richard Day. Costumer: Omar Fred Fox, assistant director. Hans Adler. Screen Play: Bess Meredyth and Kiam. Film Editors: Allen McNeil and Sherman Hal Long. Musical Numbers: Created by Dave Todd. Sound Engineer: Vinton Vernon, Roger Gould. Song Numbers: Jack Meskill and Jack Heman. Photographer: Barney McGill. Stern, Burton Lane and Harold Adamson, Chris- tine and Willemegz. Musical Director: Alfred Newman.

John Ford, director. Story: W. R. Burnett. Screen Play: Jo Swerling, Film Editor: Viola Lawrence. Sound Engineer: Wilbur McGaugh, assistant Robert Riskin. Glenn Rominger. Photographer: Joseph August. director.

Richard Rosson, director. Story: Original by John Monk Saunders. Screen Photographer: Clyde DeVinna. Aerial Photog- Play: Frank Wead and Arthur J. Beckhard. raphers: Charles A. Marshall and Elmer Dyer.

Chester M. Franklin, director. Story: Based on the novel, "Malibu," by Vance Film Editor: Charles Hochberg. Sound Engineer: Hoyt. Screen Play: Ann Cunningham, Sam Douglas Shearer. Photographer: Chester A. Armstrong and Carey Wilson. Musical Score: Lyons. Herbert Stcthart.

DIRECTION AUTHORS TECHNICAL STAFF

Cw'

George Marshall, director. Story: Suggested by the book by Walter B. Art Directors: Duncan Cramer and Albert Hog- Pitkin. Screen Play: Lamar Trotti. Contributing sett. Costumer: Lillian. Sound Engineer: Ber- Dialogue: Robert Quillen. Musical Director: nard Fredricks. Photographer: Harry Jackson. Samuel Kaylin.

W. S. Van Dyke, director. Story: Book and lyrics by Rita Johnson Young. Photographer: William Daniels. Screen Play: John Lee Mahin, Frances Good- rich and Albert Hackett. Music: Victor Herbert. Added Lyrics: Gus Kahn.

• THE BOX OFFICE CHECK-UP OF 1935 35 APRIL 1935 CONCLUDED

TITLE DISTRIBUTOR : PRODUCER CAST

MISSISSIPPI PARAMOUNT release. Bing Crosby W. C. Fields r Producer, Arthur Hornblow, Jr. Joan Bennett Queenie Smith Gail Patrick Claude Gillingwater John Miljan Ed Pawley Fred Kohler, Sr. John Larkin Libby Taylor Harry Meyers Paul Hurst Theresa Maxwell Conover Molasses and January

GOLD DIGGERS OF 1935 WARNER release. Dick Powell Adolphe Menjou Producer, First National. Gloria Stuart Alice Brady Glenda Farrell Frank McHugh Hugh Herbert 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 DISTRIBUTOR : PRODUCER CAST

G-MEN WARNER release. James Cagney Margaret Lindsay Producer, First National. Barton MacLane Russell Hopton Supervisor, Lou Edelman. William Harrigan Monte Blue Raymond Hatton Harold Huber Ann Dvorak Robert Armstrong Lloyd Nolan Edward Pawley Noel Madison Addison Richards Regis Toomey

NAUGHTY MARIETTA M ETRO-GOLDWYN-MAYER release. (See April, 1935) Producer, Hunt Stromberg.

GOIN' TO TOWN PARAMOUNT release. Mae West Paul Cavanagh Producer, William LeBaron. Ivan Lebedeff Tito Coral Marjorie Gateson Fred Kohler, Sr. Monroe Owsley Grant Withers Gilbert Emery Luis Alberni Lucio Villegas Mona Riso Paul Harvey Adrienne D'Ambricourt Wade Boteler Bert Roach Dewey Robinson-

LES MISERABLES UNITED ARTISTS release. Charles Laughton Fredric March Producer, Twentieth Century. A Darryl Sir Cedric Hardwicke Rochelle Hudson Zanuck production. Frances Drake John Beal Associate Producers, William Goetz Florence Eldridge Jessie Ralph [May 1935 continued on pages 40-41] and Raymond Griffith. Mary Forbes Florence Roberts

36 THE BOX OFFICE CHECK-UP OF 1935 DIRECTION AUTHORS TECHNICAL STAFF

A. Edward Sutherland, director. Story: Original by Booth Tarkington. Screen Art Directors: Hans Dreier and Bernard Herz- Play: Francis Martin and Jack Cunningham. brun. Film Editor: Chandler House. Sound En- Adaptation: Herbert Fields and Claude Binyon. gineer: Eugene Merritt. Photographer: Charles Music: Richard Rodgers. Lyrics: Lorenz Hart. Lang.

Busby Berkeley, director. Story: Robert Lord and Peter Milne. Screen Art Director: Anton Grot. Film Editor: George Play: Manuel Seff and Peter Milne. Music and Amy. Photographer: George Barnes. Lyrics: Harry Warren and Al Dubin. Dances: Created and staged by Busby Berkeley.

Victor Fleming, director. Story: From a story by Oliver Jeffries. Screen Art Director: Cedric Gibbons. Associates: Mer-

Charles Dorian, assistant director. Play: P. J. Wolfson. Dances: Staged by Carl rill Pye, Edwin B. Willis. Film Editor: Margaret Randall and Chester Hale. Booth. Sound Engineer: Douglas Shearer. Pho- tographer: George Folsey.

James Whale, director. Story: Original screen play by John L. Balder- Art Director: Charles D. Hall. Film Editor: Ted Harry Menke and Joseph Mc- ston and William Hurlbut. Music: Franz Wax- Kent. Editorial Supervision: Maurice Pivar. Donough, assistant directors. man. Sound Supervision: Gilbert Kurland. Photogra- pher: John Mescall.

DIRECTION AUTHORS TECHNICAL STAFF

William Keighley, director. Story: Gregory Rogers. Screen Play: Seton 1. Art Director: John Hughes. Costumer: Orry- Miller. Musical Director: Leo F. Forbstein. Kelly. Film Editor: Jack Killifer. Photographer: Sol Polito.

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Alexander Hall, director. Story: Original, Marion Morgan and George B. Art Directors: Hans Dreier and Robert Usher. James Dugan, assistant director. Dowell. Screen Play and Dialogue: Mae West. Costumer: Travis Banton. Film Editor: LeRoy Music: Sam Fain. Lyrics: Irving Kahan. Stone. Sound Engineer: M. M. Paggi. Photog- rapher: Karl Struss.

Richard Boleslawski, director. Story: Based on novel by Victor Hugo. Screen Art Director: Richard Day. Costumer: Omar Eric Stacey, assistant director. Play: W. P. Lipscomb. Musical Direction: Alfred Kiam. Film Editor: Barbara McLean. Sound En- Newman. 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

"HIGH HAT Alma Sioux Scarberry's Novel of a Radio Singer and a Diva from the Metropolitan Opera.

\\ 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" Joseph McCord's Gripping Story of a Woman Doctor Who Sacrifices Her Life and Love to Help Humanity.

"SECOND CHOICE" • Rob Eden's Story of Love on the Rebound. A Spite Marriage and a Girl Who 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 wonderland 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 UNIVERSAL release. (See April, 1935) Producer, Carl Laemmle, Jr.

OUR LITTLE GIRL FOX release. Shirley Temple Rosemary Ames Producer, Edward Butcher. Joel McCrea Lyle Talbot Erin O'Brien-Moore Poodles Hanneford Margaret Armstrong Rita Owin Leonard Carey Warren Hymer Jack Baxley June 1935

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

Josephine Hutchinson OIL FOR THE LAMPS OF CHINA WARNER release. Pat O'Brien Lyle Talbot Producer, First National. Jean Muir A Cosmopolitan production. Arthur Byron John Eldredge Supervisor, Robert Lord. Henry O'Neill Donald Crisp Ronnie Cosby Willie Fung Tetsu Komai George Meeker

DOUBTING THOMAS FOX release. Will Rogers Billie Burke Producer, B. G. DeSylva. Alison Skipworth Sterling Holloway Andrew Tomb’es Gail Patrick Frances Grant Frank Albertson Helen Flint Johnny Arthur T. Roy Barnes Ruth Warren John Qualen Fred Wallace

BECKY SHARP RKO RADIO release. Miriam Hopkins Frances Dee Producer, Pioneer Pictures. Cedric Hardwicke Billie Burke In Charge of Production, Kenneth Macgowan. Alison Skipworth Nigel Bruce

LES MISERABLES UNITED ARTISTS release. (See May, 1935) Producer, Twentieth Century. A Darryl Zanuck production. Associate Producers, William Goetz and Raymond Griffith.

UNDER THE PAMPAS MOON FOX release. Warner Baxter Ketti Gallian Producer, B. G. DeSylva. Veloz and Yolanda John Miljan J. Carroll Naish Soledad Jiminez Jack LaRue George Irving Blanca Vischer Rita Cans ino [June 1935 continued on pages 42-43] Armida Ann Codee Phillip Cooper 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 Art Director: William Darling. Costumer: Rene Florence Leighton Pfalzgraf. Screen Play: Hubert. Sound Engineer: W. D. Flick. Photog- Stephen Avery, Allen Rivkin, Jack Yellen. Musi- rapher: John Seitz. cal Director: Oscar Bradley.

DIRECTION AUTHORS TECHNICAL STAFF

Edward H. Griffith, director. Story: From the play by A. E. Thomas. Screen Art Director: Cedric Gibbons. Associates: Jo- Sandy Ross, assistant director. Play: Donald Ogden Stewart and Horace Jack- seph Wright, Edwin B. Willis. Film Editor: Frank son. Musical Score: Edward Ward. E. Hull. Photographer: Oliver T. Marsh.

Mervyn LeRoy, director. Story: Based on story by Alice Tisdale Hobart. Art Director: Robert M. Haas. Film Editor: Wil- Lee Katz, assistant director. Screen Play: Laird Doyle. liam Clemens. Photographer: Tony Gaudio.

David Butler, director. Story: From the play, "The Torch Bearers," by Art Director: Jack Otterson. Photographer: George Kelly. Screen Play: William Conselman. Joseph Valentine. Adaptation: Bartlett Cormack.

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Rouben Mamoulian, director. Story: Based on the play by Langdon Mitchell Associate Art Director: W. B. Ihnen. Film Edi- from Thackeray's novel, "Vanity Fair." Screen tor: Archie F. Marshek. Color Designs: Robert Play: Francis Edward Faragoh. Edmund Jones. Technicolor Director: Natalie Kalmus. Photographer: Ray Rennahan.

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James Tinling, director. Story: Original by Gordon Morris. Screen Play: Art Director: William Darling. Photographer: Ernest Pascal, Bradley King. Additional Dia- Chester Lyons. logue: Henry Johnson.

• 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. Lionel Barrymore Chester Morris Producer, Lucien Hubbard. Jean Arthur Joseph Calleia Paul Kelly Lewis Stone Paul Hurst George E. Stone Sa m Baker

THE GLASS KEY PARAMOUNT release. George Raft Edward Arnold Producer, E. Lloyd Sheldon. Claire Dodd Ray Milland Rosalind Keith Charles Richman Emma Dunn Robert Gleckler Guinn Williams Tammany Young

BREAK OF HEARTS RKO RADIO release. Katharine Hepburn Charles Boyer Producer, Pandro S. Berman. John Beal Jean Hersholt Sam Hardy Inez Courtney Helene Millard Ferdinand Gottschalk Susan Fleming July 1935

TITLE DISTRIBUTOR : PRODUCER CAST

LOVE ME FOREVER COLUMBIA release. Grace Moore Leo Carrillo Robert Allen Spring Byington Michael Bartlett Luis Alberni Douglas Dumbrille Thurston Hall Gavin Gordon Nell Cook Charles Moore Charles McAvoy Harry Barris Maxine Lewis

BECKY SHARP RKO RADIO release. (See June, 1935) Producer, Pioneer Pictures. In Charge of Production, Kenneth Mac- gowan.

CURLY TOP FOX release. Shirley Temple John Boles Producer, Winfield Sheehan. Rochelle Hudson Jane Darwell Rafaela Ottiano Esther Dale Etienne Girardot Arthur Treacher Maurice Mur phy

ESCAPE ME NEVER UNITED ARTISTS release. Elisabeth Bergner Hugh Sinclair Produced by Herbert Wilcox for Brit- Penelope Dudley Ward Griffith Jones ish & Dominions. Lyn Harding Leon Quartermaine Irene Vanbrugh Rosalinde Fuller

BROADWAY GONDOLIER WARNER release. Dick Powell Joan Blondell Adolphe Menjou Louise Fazenda William Gargan George Barbier Grant Mitchell Hobart Cavanaugh [July 1935 continued on pages 46-47] Joseph Sauers Rafael Storm Bob Murphy James Burke Ted 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. Story: J. Walter Ruben and Wells Root. Screen Art Director: Cedric Gibbons. Associates: Hugh Boswell, assistant director. Play: Wells Root. Lionel Banks, Edward B. Willis. Costumer: Dolly Tree. Film Editor: Frank Sullivan. Photographer: Gregg Toland.

Frank Tuttle, director. Story: From a novel by Dashiell Hammett. Art Directors: Hans Dreier and Earl Hedrick. Russell Mathews, assistant direc- Screen Play: Kathryn Scola and Kubec Glasmon. Film Editor: Hugh Bennett. Photographer: Henry tor. Additional Dialogue: Harry Ruskin. Sharp.

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Polg Film Editor: Philip Moeller, director. Story: Lester Cohen. Screen Play: Sarah Y. Art Director: Van Nest ase. Jane Loring, associate director. Mason, Victor Heerman and Anthony Veiller. William Hamilton. Photographer: Robert De Grasse. Eddie Killy, assistant director.

DIRECTION AUTHORS TECHNICAL STAFF

- Film Editors: Milford, Viola Lawrence. Victor Schertzinger, director. Story: Victor Schertzinger. Screen Play: Jo Gene Engineer: Paul G. Neal. Photographer: Art Black, assistant director. Swerling and Sidney Buchman. Thematic Music: Sound Victor Schertzinger and Gus Kahn. Musical Joseph Walker. Treatment: Louis Silvers. Operatic Numbers: Conducted by Gastano Merola.

Irving Cummings, director. Screen Play: Patterson McNutt and Arthur Beck- Art Director: Jack Otterson. Costumer: Rene hard. Music: Ray Henderson. Lyrics: Ted Hubert. Film Editor: Jack Murray. Sound En- Koehler, Edward Heyman and Irving Caesar. gineer: Eugene Grossman. Photographer: John Dances: Jack Donohue. Musical Director: Oscar Seitz. Bradley.

Dr. Paul Czinner, director. Story: From the play by Margaret Kennedy. Photographers: Georges Perinal and Sepp All- Screen Play: Margaret Kennedy and Carl Zuck- geier. mayer. Music: Composed by William Walton.

rv1

Director: Grot. Orry- Lloyd Bacon, director. Story: Sig Herzig, E. Y. Harburg and Hans Art Anton Costumer: Kraly. Screen Play: Warren B. Duff and Sig Kelly. Film Editor: George Amy. Photographer: Herzig. Music and Lyrics: Harry Warren and George Barnes. Al Dubin. Musical Director: Leo F. Forbstein.

THE BOX OFFICE CHECK-UP OF 1935 43 — BUCK JONES PRODUCTIONS

CURRENT THANKS- RELEASES

To exhibitors of the nation who Rocky Rhodes elected me the leading Western Star When a Man Sees Red in 1933, in 1934 and again in 1935. Crimson Trail Motion Picture Herald box-office poll Stone of Silver Creek of the leading money making stars. Border Brigands Outlawed Guns The Throw-Back

I welcome criticisms or personally The Ivory Handled Gun suggestions from the exhibitors the who buy my pictures. men Sunset of Power

Silverspurs BUCK JONES

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 TEMPEST AND Augusta Evans Winslow’s greatest novel. Screenplay by Earle Snell. SUNSHINE

Mary J. Holmes’ companion novel to that great book, SWEETHEART “Lena Rivers.” OF THE NAVY THEY WALKED ALONE “Honey girl” herself ... on land and sea ... in a fast-moving The most emotional novel from the pen of that master of musical. Directed by Johnny Hines. Screenplay by Rex Taylor. fiction, Honore de Balzac. THE GOLD BUG IN HIS STEPS The biggest best seller of all time. By Charles Sheldon. Edgar Allan Poe’s most widely-read story. Screenplay by Karl Brown. ROGUE'S GALLERY THE RIGHT TO KILL By Willard Keefe. The “inside ’ on what goes on behind the walls of a great prison. A dramatic thunderbolt by Doris Anderson, based on “Mercy Killings.” The subject that is sweeping the country. FANTOMAS Fantomas . . . the man of a thousand disguises. By Pierre WOMAN IN WHITE Souvestre and Marcel Allain. A thrill treat for detective and mystery fans, who number millions. Wilkie Collins’ notable novel of mystery, romance and intrigue. ^ THE CAPTAIN THE FIVE COMES LITTLE PEPPERS TO six million TOWN More than readers have bought upwards of two Dramatic musical romance of life on the Mississippi. 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 FILM CORPORATION B. F. Zeidman, President, L. J. Schlaifer, Vice-President, In Charge of Production In Charge of Distribution

PARAMOUNT BUILDING . . . 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. Bette Davis George Brent Supervisor, Sam Bischoff. June Martel Dorothy Dare Joseph Crehan Joe King Roscoe Karns Winifred Shaw J. Carroll Naish Walter Walker Grace Hale Selmar Jackson J. Farrell McDonald Gordon Westcott Addison Richards Miki Morita Georges Renavent Huntley Gordon

NO MORE LADIES METRO-GOLDWYN-MAYER release. (See June, 1935)

THE RAVEN UNIVERSAL release. Boris Karloff Bela Lugosi Associate Producer, David Diamond. Irene Ware Lester Matthews Samuel Hinds Inez Courtney Ian Wolfe Spencer Charters Maidel Turner Arthur Hoyt August 1935

TITLE DISTRIBUTOR : PRODUCER CAST

CURLY TOP FOX release. (See July, 1935) Producer, Winfield Sheehan.

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CHINA SEAS METRO-GOLDWYN-MAYER release. Wallace Beery Jean Harlow Associate Producer, Albert Lewin. Clark Gable Lewis Stone Rosalind Russell Dudley Digges C. Aubrey Smith Robert Benchley * William Henry. Live de Maigret Lillian Bond Edward Brophy Soo Yong Carol Ann Beery Akim Tamiroff Ivan Lebedeff

BROADWAY GONDOLIER WARNER release. (See July, 1935)

ACCENT ON YOUTH PARAMOUNT release. Sylvia Sidney Herbert Marshall Producer, Douglas MacLean. Philip Reed Astrid Allwyn Holmes Herbert Catherine Doucet Ernest Cossart Donald Meek Lon Chaney, Jr. Nick Foran Samuel S. Hinds Florence Roberts Laura Treadwell Janet Elsie Clark r*J

ALICE ADAMS RKO RADIO release. Katharine Hepburn Fred MacMurray Producer, Pandro S. Berman. Fred Stone Evelyn Venable Frank Albertson Ann Shoemaker Charley Grapewin Grady Sutton Hedda Hopper Jonathan Hale Hattie McDa niels

WARNER release. THE IRISH IN US James Cagney Pat O’Brien Producer, First National. 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, director. Story: From a story by Richard Macauley. Art Director: John Hughes. Film Editor: Terry Sherry Shourds, assistant director. Screen Play: Roy Chanslor, Lillie Edward. Dia- Morse. Photographer: Tony Gaudio. logue: Laird Doyle. Dialogue Director: Frank McDonald.

- — ,'^J

Louis Friedlander, director. Story: Suggested by Edgar Allan Poe's, "The Art Director: Albert D'Agostino. Film Editor: Raven." Screen Play: David Boehm. Alfred Akst. Editorial Supervision: Maurice Pivar. Sound Engineer: Gilbert Kurland. Pho- tographer: Charles Stumar.

DIRECTION AUTHORS TECHNICAL STAFF

Tay Garnett, director. Story: From the book by Crosbie Garstin. Art Director: Cedric Gibbons. Associates: Joe Newman, assistant director. Screen Play: Jules Furthman and James Kevin James Havens, David Townsend, Edwin B. Willis. McGuinness. Musical Score: Herbert Stothart. Costumer: Adrian. Film Editor: William LeVan- way. Sound Engineer: Douglas Shearer. Pho- tographer: Ray June.

Wesley Ruggles, director. Story: From a play by Samson Raphaelson. Art Directors: Hans Dreier and Ernst Fegte. James Dugan, assistant director. Screen Play: Herbert Fields and Claude Binyon. Film Editor: Otho Lovering. Sound Engineer: M. M. Paggi. Photographer: Leon Shamroy.

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George Stevens, director. Story: From the novel by Booth Tarkington. Art Director: Van Nest Polglase. Associate: Eddie Killy, assistant director. Screen Play: Dorothy Yost, Mortimer Offner and Perry Ferguson. Costumer: Walter Plunkett. Jane Murfin. Musical Director: Roy Webb. Sound Engineer: D. A. Cutler. Photographer: Robert De Grasse.

Lloyd Bacon, director. Story: Story idea by Frank Orsatti. Screen Art Director: Esdras Hartley. Film Editor: James Jack Sullivan, assistant director. Play: Earl Baldwin. Musical Director: Leo F. Gibbson. Photographer: George Barnes. Forbstein.

THE BOX OFFICE CHECK-UP OF 1935 47 September 1935

TITLE DISTRIBUTOR : PRODUCER CAST

TOP HAT RKO RADIO release. Fred Astaire Ginger Rogers Producer, Pandro S. Berman. Edward Everett Horton Helen Broderick Erik Rhodes Eric Blore

STEAMBOAT ROUND THE BEND FOX release. Will Rogers Anne Shirley Producer, Sol M. Wurtzel. Irvin S. Cobb Eugene Pallette John McGuire Berton Churchill Francis Ford Roger Imhof Raymond Hatton Hobart Bosworth Stepin Fetchit

ANNA KARENINA METRO-GOLDWYN-MAYER release. Greta Garbo Fredric March Producer, David O. Selznick. Freddie Bartholomew Maureen O'Sullivan May Robson Basil Rathbone Reginald Owen Phoebe Foster Reginald Denny Joan Marsh Sarah Padden Cora Sue Collins

CHINA SEAS METRO-GOLDWYN-MAYER release. (See August, 1935) Associate Producer, Albert Lewin.

DIAMOND JIM UNIVERSAL release. Edward Arnold Jean Arthur Producer, Edmund Grainger. Binnie Barnes' Cesar Romero Hugh O'Connell George Sidney

Bill Demarest Eric Blore Robert McWade Purnell Pratt Robert Emmet O'Connor

THE BIG BROADCAST OF 1936 PARAMOUNT release. Bing Crosby Jack Oakie Producer, Benjamin Glazer. George Burns Grade Allen Mary Boland Charlie Ruggles Sir Guy Standing Ethel Merman n

Amos ' ' Andy Lyda Roberti Wendy Barrie Gail Patrick

Bill Robinson Jessica Dragonette Ray Noble and His Band Ina Ray Hutton and Her Melodears

THE DARK ANGEL UNITED ARTISTS release. Fredric March Merle- Oberon Producer, Samuel Goldwyn. Herbert Marshall Janet Beecher John Halliday Henrietta Crosman Frieda Inescort Claude Allister David Torrence Cora Sue Collins

THE CALL OF THE WILD UNITED ARTISTS release. Clark Gable Loretta Young Prod ucer, Twentieth Century. A Darryl Jack Oakie Reginald Owen Zanuck production. Frank Conroy Katherine DeMille Associate Producers, William Goetz Sidney Toler Buck (dog) and Raymond Griffith.

48 THE BOX OFFICE CHECK-UP OF 1935 DIRECTION AUTHORS TECHNICAL STAFF

Mark Sandrich, director. Story: Dwight Taylor. Screen Play: Dwight Tay- Art Director: Van Nest Polglase. Associate: lor and Allan Scott. Music and Lyrics: Irving Carroll Clark. Set Dressing: Thomas Little. Cos- Berlin. Musical Director: Max Steiner. Dances: tumer: Bernard Newman. Photographer: David Ensembles staged by Hermes Pan. Abel. Photographic Effects: Vernon Walker.

John Ford, director. Story: From the novel by Ben Lucien Burman. Art Directors: William Darling, Albert Hogsett. Screen Play: Dudley Nichols and Lamar Trotti. Film Editor: Al De Gaetano. Sound Engineer: Musical Director: Samuel Kaylin. Albert Protzman. Photographer: George Schneiderman.

Clarence Brown, director. Story: From the novel by Count Leo Tolstoy. Film Editor: Robert J. Kern. Photographer Screen Play: Clemence Dane and Salka Viertel. William Daniels. Dialogue Adaptation: S. N. Behrman. Musical Score: Herbert Stothart. Dances: Ballet staged by Margarete Wallman. Mazurka staged by Chester Hale. Consultant: Count Andrey Tols-

A. Edward Sutherland, director. Story: From the biography by Parker Morell. Art Director: Charles D. Hall. Costumer: Vera Joseph McDonough, assistant di- Screen Play: Preston Sturges. Adaptation: West. Furs, Willard H. Geo rge. Film Editor: rector. Harry Clork and Doris Malloy. Music: Franz Daniel Mandell. Editorial Supervision: Maurice Waxman. Musical Director: Bakaleinikoff. Pivar. Sound Engineer: Gilbert Kurland. Pho- tographer: George Robinson.

Norman Tau rog, director. Screen Play: Walter DeLeon, Francis Martin and Art Directors: Hans Dreier and Robert Usher. Ralph Spence. Music and Lyrics: Ralph Rainger, Film Editor: Elsworth Hoagland. Sound Engi- Richard Whiting, Leo Robin, Dorothy Parker, neer: E. P. Merritt and J. N. Cope. Photogra- Mack Gordon, Harry Revel, Ray Noble. Musi- pher: Leo Tover. Special Photographic Effects: cal Director: Nathaniel Finston. Dance En- Gordon Jennings and Farciot Edouart. sembles: Staged by LeRoy Prinz.

Sidney Franklin, director. Story: From a play by Guy Bolton. Screen Play: Art Director: Richard Day. Costumer: Omar Lillian Heilman and Mordaunt Sharp. Musical Kiam. Film Editor: Stuart Heisler. Sound En- Director: Alfred Newman. 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. Eleanor Powell Jack Benn^ Producer, John W. Considine, Jr. Robert Taylor Una Merke June Knight Sid Silver Vilma Ebsen Buddy Ebser Nick Long, Jr. Robert Wildhac Frances Langford Harry Stockwel

BARBARY COAST UNITED ARTISTS release. Miriam Hopkins Edward G. Robinsor Producer, Samuel Goldwyn. Joel McCrea Walter Brennar Frank Craven Brian Donlev' Clyde Cook Harry Care' rW

SHE MARRIED HER BOSS COLUMBIA release. Claudette Colbert Melvyn Dougla Michael Bartlett Raymond Walburr Jean Dixon Katharine Alexande Edith Fellows Clara Kimball Younc

n-> SHIPMATES FOREVER WARNER release. Dick Powell Ruby Keele Producer, First National. Lewis Stone Ross Alexande A Cosmopolitan production. Eddie Acuff Dick Forar John Arledge Robert Ligh

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1 LIVE LIFE MY METRO-GOLDWYN-MAYER release. Joan Crawford Brian Ahernr Producer, Bernard H. Hyman. Frank Morgan Aline MacMahor Eric Blore Fred Keatirw Jessie Ralph Arthur Treache Frank Conroy Etienne Girardo

TOP HAT RKO RADIO release. (See September, 1935) Producer, Pandro S. Berman. November 1935

TITLE DISTRIBUTOR : PRODUCER CAST

MUTINY ON THE BOUNTY METRO-GOLDWYN-MAYER release. Charles Laughton Clark Gabl Franchot Tone Herbert Mundi Eddie Quillan Dudley Digge Donald Crisp Henry Stephenso Francis Lister Spring Byingto Movita Mam Ian Wolfe Ivan Simpso;

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THANKS A MILLION 20th CENTURY release. Dick Powell Ann Dvora Patsy Kell Producer, Darryl F. Zanuck. Fred Allen Paul Whiteman Ramon Raymond Walburn Rubino Yacht Club Boys Benny Bake

[ November 1935 continued on pages 54-55] Andrew Tombes Alan Dinehai Paul Harvey Edwin Maxwe Margaret Irving 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. Art Director: Cedric Gibbons. Associates: Mer- Screen Play: Jack McGowan and Sid Silvers. rill Pye and Edwin B. Willis. Costumer: Adrian. Additional Dialogue: Harry Conn. Music: Film Editor: Blanche Sewell. Sound Engineer: Nacio Herb Brown. Lyrics: Arthur Freed. Musi- Douglas Shearer. Photographer: Charles Rosher. 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.

Edward Hawks, director. Screen Play: Charles MacArthur and Ben Art Director: Richard Day. Costumer: Omar Walter Mayo, assistant director. Hecht. Musical Director: Alfred Newman. 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- Art Director: Stephen Goosson. Film Editor: Richard Cahoon. Sound Engineer: Ed Bernds. Norma Deming, assistant director. ney Buchman. Photographer: Leon Shamroy.

Frank Borzage, director. Story and Screen Play: Delmer Daves. Music Art Director: Robert M. Haas. Costumer: Orry- Kelly. Film Editor: William Holmes. Technical Lew Borzage and Bill Cannon, as- and Lyrics: Harry Warren and Al Dubin. Musi- Tisdale, sistant directors. cal Director: Leo F. Forbstein. Advisors: Commander M. S. U. S. N.; Lieut. (J. G.) W. J. Beecher, U. S. N.; Edward L. Adams. Photographer: Sol Polito.

W. S. Van Dyke, director. Story: From the story by Gottfried Reinhardt Art Director: Cedric Gibbons. Associates: 3 Joe Newman, assistant director. and Ethel Borden. Based upon a short story by Merrill Pye, Edwin B. Willis. Costumer: Adrian. A. Carter Goodloe. Screen Play: Joseph L. Film Editor: Tom Held. Sound Engineer: Doug- Mankiewicz. Musical Score: Dimitri Tiomkin. las Shearer. Photographer: George Folsey.

DIRECTION AUTHORS TECHNICAL STAFF

Frank Lloyd, director. Story: From the book by Charles Nordhoff and Art Director: Cedric Gibbons. Associate: Ar- James Norman Hall. Screen Play: Talbot Jen- nold Gillespie. Film Editor: Margaret Booth. nings, Jules Furthman, Carey Wilson. Music: Marine Director: James Havens. Sound Engi- Herbert Stothart. neer: Douglas Shearer. Photographer: Arthur Edeson.

r*-'

Film Editor: Allen Roy Del Ruth, director. Screen Play: Nunnally Johnson- Music and Art Director: Jack Otterson. William Lambert. Lyrics: Arthur Johnston, Gus Kahn, Yacht Club McNeil. Costumer: Sound Boys. Musical Direction: Arthur Lange. Engineers: Eugene Grossman, Roger Heman. i Photographer: Peverell Marley.

THE BOX OFFICE CHECK-UP OF 1935 53 NOVEMBER 1935 CONCLUDED

TITLE DISTRIBUTOR : PRODUCER CAST

THE CRUSADES PARAMOUNT release. Loretta Young Henry Wilcoxon Producer, Cecil B. DeMille. Ian Keith Katharine DeMille C. Aubrey Smith Joseph Schildkraut Alan Hale C. Henry Gordon George Barbier Montagu Love Lumsden Hare William Farnum Hobart Bosworth Pedro de Cordoba Ramsay Hill Mischa Auer Maurice Murphy Albert Conti Sven-Hugo Borg Paul Satoff Fred Malatesta Hans Von Twardowski Anna Demetrio Perry Askam Edwin Maxwell Winter Hall Emma Dunn Jason Robards Georgia Caine J. Carroll Naish Robert Adair Oscar Rudolph Pat Moore Ann Sheridan Joseph Swickard Jean Fenwick Edgar Dearing Alphonz Ethier Gilda Oliva Mildred Van Buren John Rutherford Colin Tapley Harry Cording Stanley Andrews Addison Richards Maurice Black William B. Davidson Guy Usher Boyd Irwin Kenneth Gibsor Gordon Griffith Vallejo Gantner George MacQuarrie Sam Flint Harold Goodwin

James Cagney Jos. E. Browr A MIDSUMMER NIGHT’S DREAM WARNER BROTHERS release. Hugh Herbert Frank McHugh Victory Jory Olivia De Havilanc Ross Alexander Ian Huntei Nini Theilade Verree Teasdale Dick Powell Jean Muii Anita Louise Mickey Roone-J Dewey Robinson Hobart Cavanaugh Otis Harlan Arthur Treachei

Will Rogers Dorothy Wilsoi. IN OLD KENTUCKY FOX, release. Producer, Edward Butcher. Russell Hardie Charles Selloi Louise Henry Esther Dal< Alan Dinehart Charles Richma Etienne Girardot John Ino

Bill Robinson

Groucho Marx Chico Mar NIGHT AT THE OPERA METRO-GOLDWYN-MAYER release. A Harpo Marx Kitty Carlisl Allan Jones Walter Kin Siegfried Rumann Margaret Dumor Edward Keane Robert Emmet O'Connc

Lawrence Tibbett Virginia Bruc METROPOLITAN 20th CENTURY release. Cesar Romer Producer, Joseph M. Schenck. Alice Brady Thurston Hall Luis Alberi George Marion, Sr. Adrian Rosie Christian Rub Ruth Donnel Franklyn Ardell Etienne Girardc Jessie Ralph

54 THE BOX OFFICE CHECK-UP OF 1935 DIRECTION AUTHORS TECHNICAL STAFF

Cecil B. DeMille, director. Screen Play: Harold Lamb, Waldemar Young Costumer: Travis Banton. Technical Effects: and Dudley Nichols. Music and Lyrics: Harold Gordon Jennings. Photographer: Victor Milner. Lamb and Rudolph Kopp. >n

Max Reinhardt and William Die- Story: From William Shakespeare's Classic, Costumer: Max Ree. Photographic Effects: terle, directors. Screen Play: Charles Kenyon and Mary C. Mc- Fred Jackman, Byron Haskin and H. F. Koene- Call, Jr. Musical Arrangements: Erich Wolf- kamp. Photography: Hal Mohr. gang Korngold. Music: Mendelssohn's. Dance Numbers: Nijinsla.

n->

George Marshall, director. Screen Play: Sam Heilman and Gladys Lehman. Art Director: William Darling. Costumer: Wil- Additional Dialogue: Henry Johnson. Play: liam Lambert. Sound Engineer: W. D. Flick Charles T. Dazey. Musical Direction: Arthur Photographer: L. W. O'Connell.

L ange.

I jSam Wood, director. Story: James Kevin McGuinness. Screen Play: Art Director: Cedric Gibbons. Associates: Ben George Selander, assistant direc- George S. Kaufman and Morrie Ryskind. Music Carre, Edwin B. Willis. Film Editor: William Le- tor. and Lyrics: Herbert Stothart, Nacio Herb Vanway. Costumer: Dolly Tree. Sound Engineer: | Brown, Arthur Freed, Kaper and Jurmann, Ned Douglas Shearer. Photography: Merritt B. Ger- Washington. Dance Numbers: Chester Hale. stad.

, Richard Boleslawski, director. Story: Based on original story by Bess Meredyth. Art Director: Richard Day. Film Editor: Barbara Screen Play: Bess Meredyth and George McLean. Costumer: Arthur M. Levy. Sound Marion, Jr. Music: Alfred Newman. Engineer: Paul Neal. Technical Adviser: Ar- 6 mando Agnini. Photographer: Rudolph Mate. I

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

BRIGHT EYES With Shirley Temple 1935 SCREEN PLAY Box Office Champion for January, 1935

THE LITTLE COLONEL I 935 g QX Qffice Champion for March, 1935

DOUBTING THOMAS 1935 WILL ROGERS Box Office Champion for June, 1935

56 THE BOX OFFICE CHECK-UP OF 1935 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 4 ALL COLOR SPANISH SPECIALS SPANISH SPECIALS FOR TWENTIETH CENTURY -FOX FOR MGM RELEASE One completed — starring 2 — with Jose Mojica

. Reinhardt Rosita Moreno . . Directed by John 2- with All Star Casts 8 DETECTIVE MELODRAMAS STARRING CONRAD NAGEL WITH ELEANOR HUNT

1 st — “Yellow Cargo” now in production

58 THE BOX OFFICE CHECK-UP OF 1935 A MIDSUMMER NIGHT'S DREAM

SCENES FROM WARNERS' SHAKESPEAREAN FANTASY

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

series of major Westerns, and C] Used to be just ridin', shootin', fightin'. approximately eight series of independent productions, have been placed on the market. Now music adds new zest to Westerns The major series are Paramount's "Hopa- long Cassidy's," made in addition to the regular Zane Greys; Warner's Dick Foran by LINDSLEY PARSONS 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- Dorado" OVELTY has often bolstered fading and Paramounf's "Buffalo Bill." grounds with a number of songs in each

box offices in the past, and it was One of the biggest of the pictures which picture. N novelty this year that caused the fall definitely into the new musical West- Among the independents, Supreme Pic- lowly "horse opry" to come back to the ern class will be Paramount's "Rhythm of tures has launched a series with Johnny screen in a veritable blaze of glory. the Range," with Bing Crosby; while Mack Brown, in addition to its Bob Steeles;

The three prime essentials of a good Wheeler and Woolsey are to star in a while Jack Perrin and Bill Cody have re-

Western used to be riding, shooting and musical comedy with a Western setting, turned to the market in other series. fighting. It was the addition of a fourth called "The Wild West." Puritan Pictures is also releasing a Tim element that caused the Western revival McCoy series. —this element was music. The average life of a star in Hollywood The fact exhibitors For the past seven years "hillbilly" and that report a 25 per is about five years, but Western stars ordi- cowboy music has swept the country cent advance in revenue on Westerns de- narily enjoy their popularity for about ten. through phonograph records and the radio. spite the large increase in the number of The income of a Western star who man- Western series on the No radio repertoire, from the mighty market, indicates ages to achieve a definite place in audi- that as chains down to the smallest one-lung sta- Westerns a whole, are probably ence popularity is considerably smaller tion, has been complete without at least bringing in at least 100 per cent more than that of the featured box office revenue than they grossed a half-hour of hillbillies and cowboy sing- have at any celebrities, but his future is much more ers, and some have even featured two or time since the silent days when they were secure as long as he manages to remain so popular. three of these groups. One cowboy radio constantly on the screen, not allowed to A series which has definitely reflected and recording star is said to have outsold be forgotten. the new trend in is the country's best known crooner on phono- Westerns the Republic If a Western star leaves the screen for group starring Gene Autry, radio enter- graph records by a ratio of three-to-one. only a few years, the road back to popu- tainer and recording artist. Autry, with Yet this prolific field of entertainment larity is a difficult one. only three pictures on the market, is near- was unplumbed by motion pictures until The increasing demand for Westerns ing top place among the Western stars, the past year, when the inclusion of cow- probably reflects returning prosperity in in exhibitor and audience popularity. A boy and hillbilly music raised the Westerns the rural sections, as Saturday night in the recent survey by Republic Pictures, which to new heights, bringing an average 25 farming communities always has been pre- polled the reaction of fhe first 200 ex- per cent increase in Western theatre ferred time for these pictures. In fact, hibitors to play the Autry pictures, showed grosses, and causing many major companies where Westerns are wanted at all, the de- that they have won approval of general to enter a field which had become the al- mand is so great that exchanges are gen- Western audiences, and in addition, most exclusive property of independent erally able to make them carry the load through the musical element, have brought producers. for two or three features, so that it is al- in patrons who do not ordinarily go to see Even the titles of popular cowboy songs most impossible to determine just how Western pictures. have proved a distinct asset when attached much the action pictures would actually In addition to the Autry's, three new to pictures, and several companies have gross on their own. 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- BIGGEST MONEY-MAKING WESTERN STARS weeds," and Warners "Moonlight on the

Prairie." In other cases the pictures have BUCK JONES . . 104% JOHN WAYNE. . 26% served to popularize the song, as in the GEORGE O'BRIEN 100% BOB STEELE . . . 6%

. T I . . . . case of Republic's "Westward Ho." HOOT GIBSON 51% O M M X 3% TIM McCOY. . . GENE . . The turning tide of popularity has caused 28% AUTRY 2% KEN MAYNARD . 27% TOM TYLER .. . 2% an increase in Westerns of the "epic" variety, along the lines of that all-time These rankings are based on the poll of exhibitors naming "The Biggest Money- favorite, "Cimarron." Among these pic- Making Stars of 1934-35." Complete results of which appear on pages 84-85. tures are MGM's "Robin Hood of E!

60 THE BOX OFFICE CHECK-UP 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 HARRY SHERMAN PRODUCTIONS, Inc,

NICHOLAS S. LUDINGTON HARRY SHERMAN

WILLIAM M. L. FISKE GEORGE GREEN

THE BOX OFFICE CHECK-UP OF 1935 61 IT’S GOOD SENSE TO PLAY THE FAVORITE!

at the Again this year’s check-up at the Box-Office finds Leo all the industry’s front—by a wide margin. This magazine lists Box-Office Champions from 1930 up to June of 1935. Out of a

listed M-G-M has 21 and the nearest total of 7Q Box-Office Champs ,

t cover the second half of coTYipctitov has 13 . That doesn even 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. a "AND THE FUTURE LOOKS VERY M-G-M! SMALL TOWN GIRL For instance: RIFFRAFF with Jean Harlow; WHIPSAW with Myrna Loy; Weissmuller; THE GREAT Z1EGFELD with with Janet Gaynor; TARZAN ESCAPES with Johnny Jeanette MacDonald Eddy; William Powell, Myrna Loy, Luise Rainer; ROSE MARIE with HOOD OF ELDORADO WIFE VS. SECRETARY with Clark Gable, Jean Harlow, Myrna Loy; ROBIN ROMEO AND JULIET with Norma with Warner Baxter; GORGEOUS HUSSY with Joan Crawford; Muni, Luise Rainer. Shearer, Leslie Howard; THE GOOD EARTH with Paul

62 THE BOX OFFICE CHECK-UP OF 1935 BOX OFFICE CHAMPIONS: ANNUAL

1930-1931: Motion picture year, September 1 1 930 to August 1931. CHAMPIONS OF , 31, 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 MR. HYDE Paramount Columbia AND ‘ SHOPWORN 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

MONTHLY CHAMPIONS ARE PICTURES GROSSING THE HIGHEST AMOUNT IN ANY ONE WEEK DURING THE SPECIFIC MONTHS INDICATED. RANKINGS ARE «r 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 Universal POSSESSED 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 HUDDLE M G M CHAMPIONS FOR 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 *

s vo^ ^ CHNJtf o^vCrt* and in ^4!S§*"L 1935 Vgg^ 000 •^^ For the Second Successive ro0 n&' -**** Year More box-office

' ' * c ' ‘ * *o*iGV°, ^ •ss^^r^ss*- champions than any other Producer. **E #**

e >M'° vV "',M^ ,.G o\^ eW° iVl

"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" Qoming

(RADIO) . . . JANUARY, 1932 SEMI-ANNUAL AND ANNUAL, 1933 "NIGHT FLIGHT"

( MGM . . . OCTOBER, 1933 ) A SELZNICK INTERNATIONAL PRODUCTION "DINNER AT EIGHT"

(MGM) . . . OCTOBER, 1933; JANUARY, 1934 SEMI-ANNUAL AND ANNUAL, 1934 "DANCING LADY" "LITTLE LORD FAUNTLEROY"

(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

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 SEPTEMBER 1932 RASPUTIN AND THE EMPRESS MGM GRAND HOTEL M G M STATE FAIR Fox 70,000 WITNESSES Paramount CLEAR ALL WIRES MGM BIRD OF PARADISE RKO Radio KING KONG RKO Radio BACK STREET Universal LOVE ME TONIGHT Paramount TIGER SHARK Warner Brothers CHAMPIONS FOR APRIL 1933 KING KONG RKO Radio FOR 1932 CAVALCADE Fox CHAMPIONS OCTOBER 42ND STREET SMILIN' THROUGH M G M Warner Brothers THE WHITE SISTER THE PHANTOM PRESIDENT Paramount MGM A BEDTIME STORY Paramount A BILL OF DIVORCEMENT RKO Radio GABRIEL OVER THE WHITE HOUSE HAT CHECK GIRL Fox MGM CABIN IN THE COTTON Warner Brothers GRAND HOTEL M G M MOVIE CRAZY Paramount STRANGE INTERLUDE M G M CHAMPIONS FOR MAY 1933 THE BIG BROADCAST Paramount THE WORKING MAN Warner Brothers HELL BELOW MGM LOOKING FORWARD MGM TODAY WE LIVE MGM CHAMPIONS FOR NOVEMBER 1932 OUT ALL NIGHT Universal RED DUST M G M BE MINE TONIGHT Universal PROSPERITY MGM PICTURE SNATCHER Warner Brothers

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 CHAMPIONS FOR JUNE 1933 GOLD DIGGERS 1933 WASHINGTON MERRY-GO-ROUND Columbia OF Warner Brothers BE MINE TONIGHT Universal ADORABLE Fox

I COVER THE WATERFRONT United Artists CHAMPIONS FOR DECEMBER 1932 REUNION IN VIENNA MGM PROSPERITY MGM INTERNATIONAL HOUSE Paramount CALL HER SAVAGE Fox ROCKABYE RKO Radio

IF I HAD A MILLION Paramount THE CONQUERORS RKO Radio CHAMPIONS FOR JULY 1933 SILVER DOLLAR Warner Brothers GOLD DIGGERS OF 1933 Warner Brothers STRANGE INTERLUDE MGM HOLD YOUR MAN MGM YOU SAID A MOUTHFUL Warner Brothers THE MAYOR OF HELL Warner Brothers WHEN LADIES MEET MGM COLLEGE HUMOR Paramount BE MINE TONIGHT Universal CHAMPIONS FOR JANUARY 1933 STRANGE INTERLUDE MGM ANIMAL KINGDOM RKO Radio A FAREWELL TO ARMS Paramount CHAMPIONS FOR AUGUST 1933 SILVER DOLLAR Warner Brothers TUGBOAT ANNIE MGM THE KID FROM SPAIN United Artists SONG OF SONGS Paramount SIGN OF THE CROSS Paramount MOONLIGHT AND PRETZELS Universal THEY JUST HAD TO GET MARRIED Universal DOUBLE HARNESS RKO Radio GOLD DIGGERS OF 1933 Warner Brothers MAMA LOVES PAPA Paramount CHAMPIONS FOR FEBRUARY 1933 DON'T BET ON LOVE Universal VOLTAIRE Warner Brothers CAVALCADE Fox SIGN OF THE CROSS Paramount STATE FAIR Fox THE KID FROM SPAIN United Artists HARD TO HANDLE Warner Brothers CHAMPIONS FOR SEPTEMBER 19 3 3 THE KING’S VACATION Warner Brothers TUGBOAT ANNIE MGM MORNING GLORY RKO Radio • PENTHOUSE MGM THE MASQUERADER United Artists CHAMPIONS FOR MARCH 1933 CAPTURED Warner Brothers 42ND STREET Warner Brothers LADY FOR A DAY Columbia CAVALCADE Fox PADDY THE NEXT BEST THING 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 OCTOBER 1933 THE HOUSE OF ROTHSCHILD United Artists THE BOWERY United Artists IT HAPPENED ONE NIGHT Columbia I'M NO ANGEL Paramount GEORGE WHITE'S SCANDALS Fox TOO MUCH HARMONY Paramount MEN IN WHITE M G M DINNER AT EIGHT M G M WILD CARGO RKO Radio NIGHT FLIGHT M G M LADY FOR A DAY Columbia THE POWER AND THE GLORY Fox CHAMPIONS FOR MAY 1934 THE HOUSE OF ROTHSCHILD United Artists VIVA VILLA MGM CHAMPIONS FOR NOVEMBER 1933 STAND UP AND CHEER Fox I'M NO ANGEL Paramount WE'RE NOT DRESSING Paramount FOOTLIGHT PARADE Warner Brothers TWENTIETH CENTURY Columbia HER SWEETHEART, CHRISTOPHER BEAN M G M MANHATTAN MELODRAMA MGM PRIVATE LIFE OF HENRY VIII United Artists COUNTESS OF MONTE CRISTO Universal KENNEL MURDED CASE Warner Brothers HOOPLA Fox LITTLE WOMEN RKO Radio CHAMPIONS FOR JUNE 1934 MANY HAPPY RETURNS Paramount CHAMPIONS FOR DECEMBER 1933 THE THIN MAN MGM LITTLE MISS MARKER Paramount LITTLE WOMEN RKO Radio LITTLE MAN, WHAT NOW? Universal DANCING LADY MGM OPERATOR 13 MGM ALICE IN WONDERLAND Paramount GLAMOUR Universal ROMAN SCANDALS United Artists SMARTY Warner Brothers MY LIPS BETRAY Fox ONLY YESTERDAY Universal

CHAMPIONS FOR AUGUST 1934 CHAMPIONS FOR JANUARY 1934 TREASURE ISLAND MGM DINNER AT EIGHT MGM HANDY ANDY Fox FLYING DOWN TO RIO RKO Radio DAMES Warner Brothers DESIGN FOR LIVING Paramount SHE LOVES ME NOT Paramount ROMAN SCANDALS United Artists DOWN TO THEIR LAST YACHT RKO Radio DANCING LADY MGM THE OLD FASHIONED WAY Paramount BY CANDLELIGHT Universal WHOM THE GODS DESTROY Columbia HERE COMES THE NAVY Warner Brothers FRIENDS OF MR. SWEENEY Warner Brothers

CHAMPIONS FOR FEBRUARY 1934 CAROLINA Fox QUEEN CHRISTINA MGM CHAMPIONS FOR SEPTEMBER 1934 MOULIN ROUGE United Artists BELLE OF THE NINETIES Paramount IT HAPPENED ONE NIGHT Columbia CHAINED MGM THE CAT AND THE FIDDLE MGM DAMES Warner Brothers FASHIONS OF 1934 Warner Brothers HIDEOUT MGM ONE NIGHT OF LOVE Columbia • THE CAT’S PAW Fox THE FOUNTAIN RKO Radio CHAMPIONS FOR MARCH 1934 THE AFFAIRS OF CELLINI United Artists BRITISH AGENT Warner Brothers IT HAPPENED ONE NIGHT Columbia FOREVER DEATH TAKES A HOLIDAY Paramount NOW AND Paramount SPITFIRE RKO Radio DAVID HARUM Fox QUEEN CHRISTINA MGM PALOOKA United Artists CHAMPIONS FOR OCTOBER 1934 THE BARRETTS OF WIMPOLE STREET MGM • JUDGE PRIEST Fox THE GAY DIVORCEE RKO Radio CHAMPIONS FOR APRIL 1934 THE COUNT OF MONTE CRISTO United Artists RIPTIDE MGM ONE NIGHT OF LOVE Columbia WONDER BAR Warner Brothers SIX DAY BIKE RIDER Warner Brothers MELODY IN SPRING Paramount THE LAST GENTLEMAN 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 BRIDE OF FRANKENSTEIN Universal THE MERRY WIDOW M G M OUR LITTLE GIRL Fox ONE NIGHT OF LOVE Columbia THE GAY DIVORCEE RKO Radio THE WHITE PARADE Fox CHAMPIONS FOR JUNE 19 3 5 KID MILLIONS United Artists NO MORE LADIES LADY BY CHOICE Columbia M G M OIL FOR THE LAMPS OF CHINA Warner Brothers MRS. WIGGS OF THE CABBAGE PATCH Paramount DOUBTING THOMAS Fox BECKY SHARP RKO Radio LES MISERABLES United Artists CHAMPIONS FOR DECEMBER 1934 UNDER THE PAMPAS MOON Fox

FLIRTATION WALK Warner Brothers PUBLIC HERO NO. I M G M BRIGHT EYES Fox THE GLASS KEY Paramount BABES IN TOYLAND M G M BREAK OF HEARTS RKO Radio COLLEGE RHYTHM Paramount ANNE OF GREEN GABLES RKO Radio THE PAINTED VEIL M G M CHAMPIONS FOR JULY 1935 LOVE ME FOREVER Columbia BECKY SHARP RKO Radio CHAMPIONS FOR JANUARY 1935 CURLY TOP Fox FORSAKING ALL OTHERS M G M ESCAPE ME NEVER United Artists THE LITTLE MINISTER RKO Radio BROADWAY GONDOLIER Warner Brothers BROADWAY BILL Columbia FRONT PAGE WOMAN Warner Brothers THE COUNTY CHAIRMAN Fox NO MORE LADIES M G M BRIGHT EYES Fox THE RAVEN Universal LIVES OF A BENGAL LANCER Paramount

CHAMPIONS FOR AUGUST 1935 CHAMPIONS FOR FEBRUARY 1935 CURLY TOP Fox DAVID COPPERFIELD M G M CHINA SEAS M G M LIVES OF A BENGAL LANCER Paramount BROADWAY GONDOLIER Warner Brothers THE WOMAN IN RED Warner Brothers ACCENT ON YOUTH Paramount THE SCARLET PIMPERNEL United Artists ALICE ADAMS RKO Radio SWEET MUSIC Warner Brothers THE IRISH IN US Warner Brothers THE GILDED LILY Paramount THE GOOD FAIRY Universal CHAMPIONS FOR SEPTEMBER 1935 TOP HAT RKO Radio CHAMPIONS FOR MARCH 19 3 5 STEAMBOAT ROUND THE BEND Fox ROBERTA RKO Radio ANNA KARENINA M G M RUGGLES OF RED GAP Paramount CHINA SEAS M G M THE LITTLE COLONEL Fox DIAMOND JIM Universal THE SCARLET PIMPERNEL United Artists THE BIG BROADCAST OF 1936 Paramount FOLIES BERGERE United Artists THE DARK ANGEL United Artists THE WHOLE TOWN'S TALKING Columbia THE CALL OF THE WILD United Artists WEST POINT OF THE AIR M G M SEQUOIA M G M CHAMPIONS FOR OCTOBER 1935 BROADWAY MELODY OF 1936 M G M CHAMPIONS FOR APRIL 19 3 5 BARBARY COAST United Artists ROBERTA RKO Radio SHE MARRIED HER BOSS Columbia LIFE BEGINS AT 40 Fox SHIPMATES FOREVER Warner Brothers NAUGHTY MARIETTA M G M I LIVE MY LIFE M G M MISSISSIPPI Paramount TOP HAT RKO Radio GOLD DIGGERS OF 1935 Warner Brothers RECKLESS M G M THE BRIDE OF FRANKENSTEIN Universal CHAMPIONS FOR N OVEMBER 1935 MUTINY ON THE BOUNTY M G M THANKS A MILLION 20th Century - Fox CHAMPIONS FOR MAY 9 3 5 THE CRUSADES Paramount G-MEN Warner Brothers A MIDSUMMER NIGHT'S DREAM Warner Brothers NAUGHTY MARIETTA M G M IN OLD KENTUCKY Fox GOIN' TO TOWN Paramount A NIGHT AT THE OPERA M G M LES MISERABLES United Artists METROPOLITAN 20th Century - Fox

70 THE BOX OFFICE CHECK-UP OF 1935 THE EXHIBITOR WRITES HIS OWN REVIEWS

Psychoanalysis as a motion picture t] tell what their patrons want They theme is not for the audience of the independent theatre at large, particularly in for in "What the Picture Did Me" the smaller cities, and the lesser commu-

nities.

"Arty" pictures have no place in the scheme of things cinematic, says the inde- by ERNEST A. ROVELSTAD pendent exhibitor, an opinion matched by large circuit owners and managers, as at-

tested by their comment in a recent issue HE verdict on product as handed cause of its influence as institutional screen of the Herald. These are not to be con- down from the bench by the inde- fare. fused with the socalled "classic" produc- is definite demand for the west- tions and high standard pictures which in Tpendent theatre owner in the "What There a the past year or the Picture Did for Me" department of ern or outdoor picture. two have been universally Motion Picture HeraldHs not necessarily Titles must truly describe the produc- acclaimed as a long forward step in the the most frequently noted function of the motion picture. the same story as is told by the Box tions. One of title of the Office Champions." subjects of comment was the To be emphasized is the fact that the Many of the exhibitor-reporters to picture. exhibitors reporting to "What the Picture "What the Picture Did for Me" know most Did for Me" are independent showmen, in of of their patrons by name, meet them at recording the columns the depart- product, the door with a handclasp when they come "Down-to-earth" subject matter and ment their independent views on in the terms of the box office, which in- in, and expect them to stop at the box player characterizations bring the best office on the way out and report their re- "box office." That conviction of the inde- deed is exactly what the title of the de- actions, and indeed those reactions are pendent exhibitor, drawn from the number partment signifies. In order that that ex- influence from any translated into words with the utmost of tickets he has sold, is reflected also in pression may be without frankness, yet in characteristically Ameri- the fact that the topmost ranking players extraneous source, the constantly growing to the- can fairness, with praise for the well-re- in The Biggest Money Making Stars year list of reporters is limited strictly ceived picture, forthright criticism of the after year since that Herald survey of the atres without any affiliations with pro- other kind. independent field was inaugurated for the ducers or distributors. When an exhibitor So, too, the independent exhibitor has season of 1931-32 won their place on the offers his first contribution of reports the his own convictions and he writes precisely screen essentially in "down-to-earth" pro- fact of his complete independence of are what he thinks, recording both the oral ductions— Marie Dressier, Will Rogers, and opinion is established before they expressions from his patronage and the re- now Shirley Temple. printed. Then blanks specially prepared flections of the numbers written into the The independent showman likes color as for his convenience are sent him. account book after the receipts have been well as does his neighbor—provided the counted. picture satisfied his customers in its other

Analysis of reports to "What the Pic- ingredients. Color does not make an in- There is no "editing" of phraseology of ture Did for Me" reveals certain majority ferior picture good, but it does make a the reports. When the exhibitors wanders opinions of the exhibitors who write it. good picture better, in his opinion. far afield from the subject, which is "what

Among them are these: Often found in reports to "What the the picture did" for him, he is advised that

Motion pictures must have action. The Picture Did for Me" is the comment that columns are available to him in other parts comment from the days of the silent pic- the exhibitor from experience is wary of of the Herald for comment on other ture differed not a whit from the opinion the "spectacle" type of production, but matters.

in these days of sound. Too much dia- when the picture establishes itself as well- Nor does the type of comment show any

logue, in the titles of soundless times, was made, that wariness gives way to enthusi- great variance as the years march past.

as roundly scored as is an overbalancing astic reception. Reading at random from the department

of the spoken word today. The phrase "foreign product," similar to in the files of 1918, when "What the Pic- The socalled "costume picture," some- the "costume picture," vanishes as a class- ture Did for Me" started in Exhibitors

times deplored in general by an exhibitor, ification of product when the product is Herald and Motography, one notes such

was found to be well received when the good. Recent years have brought out a comment as this: "What we want is more production was well made. This resolved number instances of enthusiastic reports on of the lighter comedy and comedy-dramas

into a conclusion that "costumes" had little foreign productions, with the elevation of at these times." Another exhibitor wrote

if anything to do with the case. production standards. Again the value of of William S. Hart’s "The Narrow Trail":

The value of "prestige" pictures is gen- the film as entertainment is the deter- "Westerns go good if they're real west- erally recognized. Freguently exhibitors minant, not the country of origin. Exhibi- tern." Another of Pauline Frederick's

reported that, while a given production tors do protest, however, against dialogue "Madame Jealousy," called it "an alle- was met with a loss at the box office, they not easily understood and particularly gorical picture which only educated per-

were happy that they had played it be- against un-American pronunciations. [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)

IN PREPARATION JUST COMPLETED "WOODEN CROSSES" "CEILINC ZERO" with Fredric March For Warner Bros. 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

£ A scene with Murray Kinnell and Heather Angel from the RKO Radio THE 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 THREE 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, MUSKETEERS 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 • if 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 Roge r s, Anne Shirley, Irvin S. Cobb, Eugene Pallette, Francis Ford, and Hobart Bosworth.

* 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, directed by JamesCruzeand presented 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

best of the year was a Warner effort on Cl In music, color and novelty, it was badminton. It was perhaps the fastest thing in sport ever shown on a screen, and a year of advancement for the short it fascinated audiences. With a fertile field always filled with new champions, this branch of shorts production has plenty MONG the innovations in the year vention are concerned. Celebrity and the of appealing material. 1935 in the field of short subjects, Harman-lsing productions ranked high for There were a great many shorts of mu- A "The March of Time," not compet- developing material very apt to become sical nature made in 1935, and generally ing with newsreels, established a reputa- mediocre. But each of the efforts— Pop- produced good entertainment. Some made tion for news interpretation and exposi- eye's spinach, Betty Boop's Helen Kanish an impression. Vaudeville acts in these ef- tion, and in events dramatically and the- voice, and the Paul Terry-Toons— all have forts are seemingly lost on film. The year atrically presented, achieved brilliant suc- their devotees and are in demand, for they 1935 saw some that were made on a pat- cess. give feature-length excitement and hu- tern resembling the modern musical stage The year, as reflected by the product mor packed into a few minutes. productions, with the trend for satire brought out, saw very definite steps for- In this line there were Universal's Os- marked. A few in this department were ward in establishment of the very im- wald, the MGM-Harman-lsing "Alias St. MGM's "Starlit Days at the Lido," Edu- portant place and service which music can Nick," Celebrity's "Balloon Land," "Hump- cational's "Perfect Thirty Sixes" and fill in the short feature. This was evidenced ty Dumpty" and "Simple Simon," from "Rhythm of Paree," and "The Doorman's in the obvious field of the production RKO-Van Beuren, "Bird Scouts," and from Opera" from the Warner Brothers Vita- whose primary function is to present mu- Warner "The Little Dutch Plate." phone studio. sical themes, but it was just as clearly The public's increasing interest in musical mirrored in the telling applications of short product has been noted in exhibitors' music as background. For example, the James PitzPatrick with his Travel-Talks reports to "What the Picture Did for Me" whimsical and humorous in instrumentation has become a notable vital contributor to department of Motion Picture Herald, of either classical or original melody is now the art of travel picture production. His both in commendatory comments on sub- being applied as never before to the mo- shorts are received with applause at their jects played and in inquiries as to avail- tion picture to key the action or the dia- conclusion, proving that the public has an ability of more such material. That the logue. No better illustration of this de- inborn appreciation of what is beautiful. companies have recognized that demand velopment is to be found in the realm of In his "Beautiful Banff and Lake Louise," is shown by the growing number of pro- the comedy short feature than in the Pop- released by MGM, FitzPatrick was to be ductions definitely attuned to that call in eye the Sailor cartoons of Paramount. In- seen at his best. In this effort the pic- series classifications. Educational has the deed, that has carried over into the radio torial compositions, in natural color, were "Musical Comedies" grouping, the "Song presentation of Popeye as well. Then of masterpieces. and Comedy Hits," to say nothing of course music has been an integral factor Travel pictures, indeed, seemed to in- individual music subjects under other series in the success of the Walt Disney animated crease in popularity. Among the outstand- listings. First Division distributes the color subjects. ing pictures in the travel group were the "Musical Moods" already referred to, This use of music for interpretation also Movietone Magic Carpets, "Argentine MGM the "Happy Harmonies" and is emphasized in several directions in travel Argosy" and "West Indies Cruise"; and "Musical Revues," Paramount the "Screen subjects, the relation being even reversed RKO-Radio's "The Land of Evangeline." Songs" (but in addition many of the in the Musical Moods of Audio Produc- Featurettes, such as Pathe Topics with "Headliners" series are out-and-out music tions, subsidiary of Electrical Research their choice of material from various fields, pictures), RKO Radio could cite the Products, Inc., where the music theme be- made valuable additions to many pro- "Musicomedies," the "Musicals" and the comes uppermost and the visual settings grams. In this line, "Strange As It Seems," "Radio Musical Comedies," Universal the become the accompaniment. "Adventures, of a Newsreel Cameraman," "Cartune Classics" and the "Mentone Important, too, has been the advance- and "Going Places with Lowell Thomas," Musical Comedies." Warner Brothers em- ment in the coloring of the short produc- to name only a few, were notable. phasizes the ranking that melody has won tion with sprightly and witty narration, An innovation in 1935 which perhaps on the screen with its "Looney Tunes" and

particularly of a topical nature. Of note may be called questionable so far as the "Melody Masters" and in many of the

is the Pete Smith chatter in MGM sub- nature of the material is concerned, was subjects of the series called the "Big Time

jects; another example is the Lew Lehr the "Voice of Experience" productions. Vaud eville Reel" and in the "Broadway dialect bit in Fox Movietone Newsreel. They had the advantage of a following Brevities." Among the cartoons, Mickey Mouse, built up by radio broadcasts, but the MGM's Laurel and Hardy comedies, with aid of Technicolor, became even live- stories and cases involved were morbid. with Mae Busch, Harry Langdon and the lier still, and the Silly Symphonies merited In sports, the Bill Corum productions, rest of the standbys, maintained their high marquee advertising everywhere. Other such as "Bugles From the Blue Grass" and position. In demand for good standard efforts along this line have had varying "Gentlemen Sports," by RKO-Van Beuren, comedy, these Hal Roach productions are quality so far as technique, plots and in- make for good entertainment. One of the always certain of good reception.

80 THE BOX OFFICE CHECK-UP 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 THE TEN BEST

1. Shirley Temple

STARS of 1934-35 2. Will Rogers

3. Clark Gable

4. Fred Astaire CJ Independent exhibitors judge the Ginger Rogers

5. Joan Crawford box office ranking of 200 players 6. Claudette Colbert

7. Dick Powell

HIRLEY JANE TEMPLE with her six elect, in eighth place. Shirley then had 8. Wallace Beery and one-half laughing years has had her first season of appearances in 9. Joe E. Brown danced to the peak of public favor, feature productions. The Fox contract and the independent exhibitors of the star-ette, born April 23, 1929, had en- 10. James Cagney United States have placed above her curls tered motion pictures in 1932 in the Baby the laurel as THE Money Making Star of Burlesque short product of Educational. 1934-35, in Motion Picture Herald’s annual Her first role in a feature had been in canvass of the motion picture box office. Paramount's "To the Last Man," released

It is the ticket office that is speaking, in September, 1933. From that point on came "The Gay Divorcee," "Roberta" and not the exhibitor himself. The verdict is came increasing appearances in features; in the current season, "Top Hat." from the week's receipts, not from the in 1934 there were "Stand Up and Cheer" Noted also has been the consistent showman's personal preferences as to type and "Baby Take a Bow" for Fox and "Little achievement of several players in winning of product or style of acting. The ques- Miss Marker" and "Now and Forever" ranking among the first ten year after tion placed before the independent theatre for Paramount, followed by frequent star- year. Clark Gable, third this year, took owners was this: "Please list the ten play- ring in Fox product in the last season. second place in the 1933-34 season. Wal- ers whose pictures drew the greatest num- lace Beery, eighth in the current survey,' ber of patrons to your theatre from Sep- was fourth the year before and in 1931- tember I, 1934, to September I, 1935." Miss Temple's triumph returns the femi- 32, and fifth in 1932-33. Joan Crawford, Hence the Herald survey, year after year, nine players to the top rung among the in fifth place this year, was sixth the pre- serves the industry in a way not even ap- Money Making Stars. Will Rogers, who vious season. proached by other canvasses of player won highest ranking in 1933-34, was the Type of product in which the winners of popularity: the Money Making Stars are first male star to lead the procession, and the ten leading rankings appeared classi- chosen by the box office itself. had been among the ten leaders each year fies generally as follows: comedy, two; The vote was by the independent ex- since the inauguration of the surveys. comedy-drama, two; romantic drama, hibitors of the nation, with the figures of While there were ten positions repre- three; drama, one; musical comedy, one; the counting house before them as they sented, as in previous years, actually eleven and musical comedy drama, one. cast their ballots, the dollars and cents players won the honors. The divergence Total player representation showed totals which reflected the popularity of came in the balloting on Fred Astaire and little change from the previous year's re- the players in the minds of the public that Ginger Rogers. Exhibitors variously listed sults. There were 200 mentioned for po- placed those dollars and cents upon the these two stars both as a team and as sitions this time compared with 208, both sill of the ticket window. The question- individuals, for the most part as a team. being a considerable increase over the naire was limited to theatres without pro- Each of the two players therefore was 163 named in the 1932-33 survey. ducer or distributor affiliation, with the given one-half a vote in cases of mention Determination of final standings was purpose of eliminating any outside factors as a team, and a full vote where men- made on the basis of the total number of that might have influenced the voting by tioned individually. Thus they shared times a player was mentioned in the ex- the manager of a producer-owned picture fourth place in the final ranking. hibitors' replies, regardless of the relative playhouse. The rise of Fred Astaire and Ginger specified position among the ten nomina- Rogers in box office was little less rapid tions. This plan was adopted as giving

than that of Shirley Temple. It was the truest picture of the balloting, inas- More sweeping changes were reflected as late as November 24, 1933, that there much as a number of exhibitors pointed this year in the voting than in any pre- came the release of "Dancing Lady" in out that, while they had been given the vious season's questionnairing of the ex- which Astaire danced with Joan Crawford. opportunity to state relative positions of hibitor in the Herald survey. Six players A month later—December 29th—was re- the players in order of box office returns, won their way into the coveted first ten leased "Flying Down to Rio." In this As- the sequence they indicated was only ap- positions who the year before had been taire and Miss Rogers danced together; proximately based upon actual box office accorded widely scattered rankings. Gene Raymond and Dolores Del Rio were criteria individually, and others said tha J Outstanding in the story told by the starred. Ginger Rogers had been in pic- they definitely were not attempting to df results was the rapid advancement of little tures for several years, her initial feature fine relative positions.

Miss Temple to the highest ranking of all. "Young Man of Manhattan," a 1930 re- Complete standings appear In the 1933-34 ratings a child player for lease. With "Flyinq Down to Rio" the on the following two pages the first time was placed among the ten swift pace forward had started, and then

THE BOX OFFICE CHECK-UP OF 1935 83 : BIGGEST MONEY

SHIRLEY TEMPLE WILL ROGERS CLARK GABLE 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 individuals. 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, CLAUDETTE COLBERT DICK POWELL plus one-half point for each vote for each individual. Their individual ratings in the tabulations are based Fredric March 103% Ken Maynard 27% upon individual votes without consideration for team Pat O'Brien 101 John Wayne votes. % 26% George O'Brien 100 % Marion Davies 25% Eddie Cantor 92% Laurel & Hardy 24% On these pages is a complete compilation Robert Montgomery 90% James Dunn 24% of the returns in the inquiry to determine Wheeler and Woolsey 85% Warner Oland 23% "The Biggest Money Making Stars of Gary Cooper 82% Charles Ruggles 22 1934-3 5 ”; the ranking is according to the % George Raft 79% Edward G. Robinson 20 number of times a player was mentioned % Myrna Loy 76% Irene Dunne 19% in any relative position in the returned Jane Withers 70% Jack Oakie questionnaires. The percentages refer to Jeanette MacDonald 61% Jeanette MacDonald and Nelson the number of citations with respect to George Arliss 59% Eddy 8 the total votes cast by the participating % Dick Powell and Ruby Keeler. . . 58% Robert Donat exhibitors 7% Kay Francis 52% Jean Parker 6% Honorable Mention Richard Dix 51% Guy Kibbee 6 % Hoot Gibson 51% Margaret Sullavan 5% Mae West 277% Joan Blondell 49% Zasu Pitts 5% Bing Crosby 265% Charles Laughton 47% Ronald Colman 5% * Fred Astaire 237% Joe Penner 42% Jack Holt 3% * Ginger Rogers 211% Greta Garbo 41% May Robson 3% William Powell 205% Paul Muni 41% Warren William 3% Janet Gavnor 173% Randolph Scott 40% Sylvia Sidney 2 % Jean Harlow 164% James Cagney and Pat O'Brien. . 40% Edmund Lowe 1 % Norma Shearer 139% Al Jolson 40% Spencer Tracy 1 % W. C. Fields 129% Lionel Barrymore 36% Anne Shirley 0 % Ruby Keeler 120% Boris Karloff 34% Bette Davis 0% Warner Baxter I 14% Loretta Young 34% Edward Arnold 9% Grace Moore 113% John Boles 31% Nelson Eddy 8 % Katharine Hepburn 111% Tim McCoy 28% Miriam Hopkins 8 % Buck Jones 104% Jackie Cooper 28% Robert Taylor 8 % MAKING STARS OF 1934-35

FRED ASTAIRE and GINGER ROGERS JOAN CRAWFORD

WALLACE BEERY JOE E. BROWN JAMES CAGNEY

John Barrymore Freddie Bartholomew • 8% ranking in the final tabulation. They are Evelyn Laye listed . alphabetically Alice Faye . . 8% in the two columns: The Barrymores Francis Lederer

Rudy Vallee . . 7% Michael Bartlett Aline MacMahon Richard Arlen Henry Hull Burns & Allen . . . 7% Louise Beaver Herbert Marshall Walter Connolly Victor McLaglen Virginia Weidler ... 7% Constance Bennett Nino Martini Dolores Del Rio Marian Marsh Franchot Tone . . . 7% Elisabeth Bergner Marx Brothers Sally Eilers Tom Mix Edward Everett Horton ... 6% Maureen O'Sullivan Charles Bickford Jesse Matthews Harold Lloyd • 6% Mary Boland Karen Morley

Chester Morris • • 6% Players receiving 2 per cent ranking, Charles Boyer Edna May Oliver

Bob Steele • 6% listed alphabetically, were these: Virginia Bruce Pat Paterson Jack Benny . . 6% Gene Autry Carole Lombard Nancy Carroll Mary Pickford Ann Harding • • 6% Richard Barthelmess Bela Lugosi Harry Carey Nova Pilbeam Eleanor Powell • • • 6% Cromwell Jean Arthur 5% Joan Bennett Una Merkel Richard Roger Pryor Ben Bernie Joe Morrison Marlene Dietrich Eddie Quillan Leslie Howard • • 5% Carl Brisson Jean Muir Madge Evans Lyda Roberti Robert Young • • 5% Maurice Chevalier Bill Robinson Stepin Fetchit Rochelle Hudson • 5% Buddy Rogers Frankie Darro Ann Sothern James Gleason Lanny Gene Raymond • 5% Ross Marie Dressier Lee Tracy Betty Grable Alison Skipworth George Brent . . . 5% Henry Fonda Tom Tyler Cary Grant John Beal • • 4% Charles Starrett Elissa Landi Fay Wray Ted Healy Ralph Bellamy • 4% Anna Sten Josephine Gloria Pauline Lord • 4% Stuart Blue Ribbons Hutchinson Slim Fred MacMurray . . . 4% Summerville Barbara Stanwyck 4% Sybil Jason Lyle Talbot Given 1 per cent in the vote of the Mr. Mrs. Martin Frankie Johnny Weissmuller . . . & Thomas 4% exhibitors were the following, who are Johnson Glenda Farrell • Lawrence Tibbett 4% listed in alphabetical order: Patsy Kelly Claire Hugh Herbert . . . 4% Trevor Robert Armstrong Baby Jane Jan Kiepura Conrad Veidt Runners Up Roscoe Ates Binnie Barnes Florence Lake Evelyn Venable

The following players won a 3 per cent Lou Ayres Mona Barrie George 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

B. C. DE SYLVA

WERE SELECTED

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

Mendelssohn's lovely songs and score contribute to the poetic fantasies to CJ How music took place, as you know, long before the talking picture was ever con- picture itself and to its advertising 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 by LEO F. FORBSTEIN 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- USIC has always been one of the "filmusical revival" within the last two or top feataures of any sort of en- three years, has filmed and screened a gold. Indicative of the magnitude of this one pictures, all of which background or musical atmosphere, it may M tertainment. It has long been whole string of such be noted that the script or timing sheet of the major adjuncts of the modern show have proved popular "fan-fare," and real of the picture shows a total of 90 differ- business—one of its principal assets. Mo- money-makers. tion-picture plays, Within the last calendar year, or just ent items—numbers or portions of num- certainly, represent before, however, there have been enough bers. The total of 90 will readily be per-

ceived as a large one when I tell you that all the best elements stellar musical successes to demonstrate as big a musical as "Gold Diggers of 1935" of dramatic enter- that this demand is by no means tempo- contained but 40 items and that pic- tainment as sifted rary. In musical pictures, music has a dual some out through the aspect insofar as helping with the success tures have but 20 or fewer. The fewest number, incidentally, was in a mystery pic- years of experience, of a production is concerned. ture this last year, "The of Dr. so that it seems al- Murder most too self-evi- Harrigan." There were but two items dent to say that The first of these functions, of course, is the title music, running one minute and music means much to create the entertainment value of fhe thirteen seconds; and the finale music, run- to the motion pic- music and songs. They are an interblended ning thirteen seconds.

ture. part of the plot in many instances. In Even with atmosphere music, however, The question has others, they are a decorative addition. it might be said that there is a certain been asked me, "Just how much does But they are always a definite and color- amount of advertising value. While it

music mean in the success of a screen ful benefit to the picture. wasn't true that Mendelssohn songs were aired radio production?" The second of these functions is that of on the and credited to "Mid- To answer that question, without seem- advertising. The songs, even the ones summer Night's Dream," there was a vast ing biased, as a conductor might be, in which are not title songs, are closely as- amount of exfremely valuable word-of- favor of my favorite art, let me stipulate sociated with the picture. On the radio, mouth publicity. people, especially those who en- at the beginning just what angle of "pic- prior to and during the picture's exhibi- Many joy the better things in musical composi- ture success" shall be considered. tion, they are broadcast widely, with suit- tion and who might turn up their sophis- There are, of course, more angles than able credit. On the sheet music, the name ticated noses the one. "Artistic success" might or might of the show and often pictures of the stars at elementary melody and lyric of a popular hit song such as not mean "financial failure." So let us are published and so becomes a splendid "Lulu's in of discuss success solely from what we ex- advertisement, so such songs, especially Back Town," came out the theatres after seeing "Dream" and waxed pressively term "box-office." if they are hits, serve not only to stiffen enthusiastic over the score. In other words, I find I'm called on to the screen show's amusement value, but inquire as to whether there isn't definite they serve to publicize the picture and to

significance in the fact that screen plays bring the people into the houses. In other embracing truly entertaining music are words, they are direct box-office aids. Use of music as an emotional adjunct quite generally hit shows. Practically all Now as fo non-musical pictures—that has always been an accepted technique

include music1 if nothing more is, photoplays which contain no specially pictures , of the stage. Even in the veriest "kero- than a few minutes of periodic atmos- written songs, but which are backgrounded sene circuit" houses, and with the cheap- pheric melody heard in back of the open- wholly or in part by "atmosphere music." est of troupers hamming the crude lines

ing titles. But by "musicals," generally, Let us see what musical treatment has been of ordinary sfock plays, a piano player in we mean screen musical comedies or pic- given to some of these which are in the the pit was always considered a major es- tures embracing songs. successful "box office" class. sential during the show. Other members

One doesn't have to look far to find "Midsummer Night's Dream" is illus- of fhe orchestra, playing only between the important successes—from the standpoint trative. One of the biggest of the 1935 acts, could well "double in brass" and take of box office entertainment—among mus- productions, it had, fittingly enough, the roles in the play. The piano player— be- ical pictures. Our own company, Warner, most elaborate and beautiful musical cause of the "atmosphere" he was an emo- which has been in the van of the so-called scores. The wedding of Shakespeare’s [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

MERGING from the painful and costly lishers printed and sold the 354 film- Dreams," four; "Happiness Ahead," four; E speculation attendant upon its produc- musical numbers, 181 of the pieces bear- "Harold Teen," four; "Here Is My Heart," tion in cycles, the musical motion picture ing the trade mark of the biggest com- four; "Hooray for Love," four; "In Cal- and music in motion pictures has finally panies, as follows: iente," four; "Merry Widow," four; "Pa- settled down to an even tempo as an in- looka," four; "Student Tour," four. tegral part of normal and successful mo- HARMS 53 Warner leads all producers in musical tion picture entertainment and expression, ROBBINS 43 and song-film production, releasing 22 of to the extent that today songs and other WITMARK 43 such features last season. Other com- forms of music play an important part, FAMOUS MUSIC 42 panies contributed pictures with musical having a dominant position or one of only MOVIETONE 37 elements as follows: slightly less importance in an average of REMICK 31 WARNERS 22 one-fourth of all pictures produced. It is BERLIN 30 20TH CENTURY-FOX .... 19 even more important in the short subject. CRAWFORD 22 UNITED ARTISTS 14 That the musical motion picture, with MARKS 9 PARAMOUNT 13 songs or dances or both, is now usually DE SYLVIA, BROWN AND METRO - GOLDWYN .... 12 highly successful as a box office attrac- HENDERSON 6 UNIVERSAL 12 tion, is established by the fact that out CHAPPELL- HARMS .... 4 GAUMONT- BRITISH .... 8 of the 97 features of all types that were MILLS 3 REPUBLIC 7 selected during the year as Box Office COLE 2 RKO RADIO 7

DITSON I Champions in Motion Picture Herald, COLUMBIA 4 some 38 pictures, or 40 per cent of the FOX, SAM I whole, were musicals or had considerable HARRIS I Prominent among the composers and

music in them. The Champions are de- MELROSE I lyricists, insofar as their activity in creat-

is termined each month solely on the basis SANTLEY I ing music for motion pictures concerned,

of their earnings. SHAPIRO-BERNSTEIN .... I were such well known song and music writers as Nacio Herb Brown and Arthur The impressive total of I I 8 features out of an estimated 450 produced by the There were, of course, many productions Freed, Harry Warren, Al Dubin, Harry large companies during the season just containing but one song or musical num- Revel and Mack Gordon, Johnston and passed, contained music or songs to vary- ber, but frequently the number extended Coslow, Ray Noble, Douglas Furber, Harry ing extents. Some 34 had a similar song to eight, as in the case of Paramount's Ruby and Bert Kalmar, Gus Kahn, Fred- and feature title; three pictures were defi- "Big Broadcast of 1936," and Warner's eric Norton, Ray Henderson, Allie Wrubel nitely suggested by a song previously "Sweet Adeline." and Sammy Fain, Harry Woods, Mort written; 29 were musical-comedy ro- Other musicals that were numerically Dixon, Jack Stern and Jack Meskill, Con mances, and three were all-musical West- prominent included "Broadway Gondo- Conrad, Jack Yellen, Joseph Meyer, Irving Kahal, erns—a new departure that is growing lier," seven numbers; "Roberta," seven; George Waggner, Herb in box office popularity. "Every Night At Eight," six; "George Magidson, Dorothy Fields and Jimmy Mc-

White's 1935 six; Into Hugh, Irving Berlin, Bernie Grossman, Jay Too, there were I I operettas produced Scandals," "Go during the season, while incidental music Your Dance," six; "Music in the Air," six; Gorney, Don Hartman, Roy Turk and was played throughout 25 feature come- "Old Man Rhythm," six; "Sweet Music," Harry Akst, Bernie Grossman, Dan Silver- dies and 19 dramas. six; "All the King’s Horses," five; "Broad- man and Eddie Ward, Lorenz Hart and Some 354 song and musical numbers, way Melody of 1936," five; "Curly Top," Dick Rodgers, Jerome Kern and Oscar an even average of three numbers per five; "Dames," five; "Evergreen," five; Hammerstein II, Rita Johnson Young,

picture, were sung or played in the sea- "Folies Bergere," five; "Gay Divorcee," Lewis Gensler and Johnny Mercer, Ferde Grofe and Irving Caesar, Richard Whiting. son's I 18 musical releases, the majority of five; "Kid Millions," five; "Love in Bloom,"

them having been written expressly for the five; "My Heart Is Calling," five; "My Surveying the entire field, the compila- production. They contributed largely to Song for You," five; "Naughty Marietta," tion which follows lists the titles of all the popular music portfolio of radio, five; "Romance Scandals," five; "Top motion pictures with song or music in the vaudeville, dancing and other forms of Hat," five; "Transatlantic Merry-Go- past season, with a description of its type public entertaining and entertainment off Round," five; and, "Belle of the Nineties," of story, distributor's name, song title or the screen. four; "Broadway Through a Keyhole," musical number, publisher, composer and Thirteen of America's largest music pub- four; "College Rhythm," four; "Girl o' My lyricist. [Listings begin on opposite page]

• 90 THE BOX OFFICE CHECK-UP 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 & Robin Whiting

1 Wished on the Moon Famous Rainger Parker

It's the Animal In Me Crawford Revel Gordon Miss Brown to You Famous Rainger & Robin Whiting

Through Doorway of Dreams Famous Whiting Robin Why Dream Famous Rainger & Robin Whiting 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- Brown Mayer

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 & Henderson

1 Love You Pizzicato 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 & Henderson the Bike

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

Then It Isn't Love Famous Rainger Robin Devil Is A Woman, The Drama Paramount

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 Hart Over My Shoulder Harms 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 & Robin Whiting 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 Waggner Joe Senior Eddie Ward 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 National Drama 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 CHECK-UP OF 1935

s 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 stein, II

1 Told Every Little Star T. B. Harms Jerome Kern 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 phone Sound Head and you see the This is a typical made in sound recording. Today’s Rotary Stabilizer as a simple drum, fully sound track recorded by enclosed, needing practically no atten- RCA new films never before were so amaz- Photophone.Any tion. The film passes over it, and any ingly faithful to the original sound. change in the speed variations are eliminated abso- speed ofthe track But to give audiences this thrill- your lutely. And the same drum also main- varies the sound. ing realism you must have constant tains the film within the focus of the Hencethespeed mustbeabsolute- film speed through the sound head. light beam, with an accuracy of a ly constant, as is thousandth of an inch. This correct guaranteed by WHY CONSTANT SPEED? focusing is also essential for faithful re- RCA’s great in- vention, the Ro- The sound track is recorded at constant productionofhighnotes.ThustheRCA tary Stabilizer. speed, and must be reproduced at the Rotary Stabilizer does two jobs, with same speed. If the speed varies in the complete perfection. Great inventions sound head, the sound varies, pro- are always simple, and the RCA Rotary ducing "wows” and other annoying ef- Stabilizer is both simple and fundamental. fects, spoiling music, and ruining dialog. For perfect reproduction from mod- Speed variations are especially objec- ern films, use the RCA Photophone tionable on coloratura sopranos, and Sound Head with its unique RCA in- in the higher notes of instruments. It vention, the Rotary Stabilizer. is in recording soprano voices that great recent improvements have been made. ROTARY STABILIZER ASSURES RCA PHOTOPHONE CONSTANCY RCA TRANS LUX RCA SONOTONE RCA was first with the great Rotary Stabilizer, a unique creation of the RCA RCA MANUFACTURING CO., Inc., Camden, New Jersey, laboratories. Look at the RCA Photo- 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

102 THE BOX OFFICE CHECK-UP OF 1935 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 Oscar Hammer- Oscar Hammer- Here Am 1 Harms

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 Oscar Hammer- Why Was 1 Born Harms 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.. 1935 . BRIGHT EYES A BOX OFFICE CHAMPION FOR DECEMBER AND JANUARY, 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) DAVIDDIRECTEDBUTLERBY

THE BOX OFFICE CHECK-UP OF 1935 10 / -AND THEN THEY HAD TO BE SOLD

sets. Roscoe Drissell exhibited "Naughty Revealing the secret of showmanship Marietta" posters in the Wilmington,

Del., Art Show, and in London John Arm- in selling as employed 1935 product strong, Paramount, dug up an "itometer" to measure the appeal of British girls who answered an ad to serve as Mae West by A-MIKE VOGEL 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. OME months back to the Managers' tion and theatre, respectable sums were London offers the same opportunities as S Round Table Club, came a confession realized. Kansas City and Memphis. Showmen who from a puzzled theatre man. He was In Memphis, the Warner Theatres zone can sense the ticket-selling angle belong to

ashamed of his grosses on pictures he had chief, Howard Waugh, and Manager Bill the world, for even in Shanghai, A. L. Cap- really tried to put oyer. Despite his efforts Hendricks of the Warner theatre organized lan, at the King's theatre, found that the the box office showed little life. "Sweet Adeline," a charity ball to aid a youngsters would go for a coloring contest

"Would ask you," he wrote, "to tell me Christmas fund, gave prizes for the most on a Temple picture as enthusiastically as and no doubt many more like me just what novel costumes and for best quartet sing- those on this side.

real showmanship is and how to use same. ing of the song in the picture. Quick-thinking, of course, is still another We read a lot in your paper about show- definition of showmanship and applies for

manship, but just what and how to do it is instance to Manager George Jones at what puzzles me." Many theatre men put on annual Loew’s theatre in Richmond, Va., on the The newer dictionaries have not as yet Thanksgiving and Christmas food and toy occasion of his date on "Painted Veil." got around to defining accurately and sat- matinees wherein children who bring a can Jones discovered the picture to be the isfactorily this much discussed term, born of foodstuffs or a toy for the underprivi- star's nineteenth, and immediately an- into the motion picture industry but some leged are admitted free to special per- nounced a "Garbo 19th Party." Every

15 years ago and waxing vigorous and im- formances. In most instances the theatres stunt revolved around that number, includ- portant only in the last decade. In lieu of are content with the added prestige ing an invitation to 19 local children who this wanted definition, the word showman- brought by these co-operations, but Man- had never seen a motion picture. The ship may safely be used as a synonym for ager Gus Lampe of the Eckel theatre in papers made much of it. profitable showbusiness. It may also be a Syracuse, hooked his toy matinee to a then Will stenographers get out of bed be- talent outside the conventional advertising current Temple picture by forming a fore breakfast to see a picture? In ch annels applied by showmen who possess Temple Toy Club. Children bringing a toy Washington, showmanship did what alarm it to make the public feel that ticket-buy- to the theatre were given membership clocks often fail to do when Loew Division

ing urge— a certain instinct enabling one cards, which in addition to allowing them Manager Carter Barron, and ad chief Lou theatre man to sense a good selling angle free admission, also were presented for a Brown, arranged a showing of "After that his brother manager may have missed. photo of the star. Office Hours." The trick was in serving And this sense of showmanship may deal Showmanship of a high calibre was coffee and doughnuts after the screening with any phase of theatre operation. shown, too, by Manager Larry Lehman held at 7 o'clock, and the novelty of the Just what is this showmanship may per- and Louis Mayer, advertising chief, at the gag put it over successfully. Quick think- haps be best indicated by describing in Mainstreet, Kansas City, upon the in- ing, indeed, and also deep. brief unusual advertisings and exploitations auguration of a vaudeville policy. A vig- reported by showmen in various parts of orous but conventional advertising drive the world and published in the Managers' might have done the trick, but these thea- Nothing escapes the eager, if not the Round Table Club of Motion Picture tre men promoted the Chamber of Com- eagle eye of the showman in looking about Herald during 1935. merce, American Legion posts, Boy Scouts for the unusual tieup. Even animals from For instance, one might recall the agile- and other organizations to insure a profit- the? zoo are fair game—at least so con- minded thinking of those showmen who at able welcome for this new presentation. sidered Manager Francis Deering of Loew's the turn of the year had for booked pre- Merchants used special stickers on letters State, Memphis, who wangled a loan of holiday showings various period pictures and packages, slugs were supplied for in- the city's pet elephant for a street bally released at that time and utilized such clusion in store ads, streets were deco- on "Clive of India," to tie in with the ele- bookings to tie in with local holiday rated, parades organized, strong news- phant sequences in the picture. chariti es sponsored by leading newspapers. paper co-operation secured and endorse- And Louis Charninsky, at the Capitol in To mind comes various "Barbary Coast" ments obtained from prominent citizens. Dallas, Tex., awoke curiosity by advertising balls put on in different cities with pro- To attract the art-minded intelligentsia for a span of oxen as part of a stunt on ceeds going to charities. Guests in came to the New York showing of "Don Juan," "West of the Pecos," as did Bill Hendricks, costume represented by the picture, the a prominent gallery was promoted to show whose advertised nudist colony in his lobby newspapers concerned plugged the attrac- etchings from the drawings of the picture's [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"

him against the blind villainy of unpre- Well, why? Is it for romance? Or is it C) dictable circumstance.

In that same feminine wistfulness for for fashions? Nope, it's simply for romantic strength of purpose against all

obstacles, lies the indifference of most women to roistering comedies. Undeni- by LLEWELLYN MILLER 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-

AST year the greatest jail-break of all films with practically unvarying regularity, ment at the unconfined joy of the men in L history was staged, quietly, efficiently is fitting and proper. The implied achieve- the audience. Comedies, to women, are and without bannerlines from one sin- ment of a lifetime of worship, devotion somewhat akin to the strenuous efforts of gle newspaper. To this day, the number and, if possible a little awe, from the hero children in a game of let's-pretend. They of those who slipped from prison is not to the heroine seems to her nice work on regard the giddy gambollings of the Marx known exactly, but the total is in stagger- the part of the lady. And not only good Brothers in "A Night at the Opera" with ing millions. going by the heroine, but fair dealing on kindly detachment. That they may not Women go to movies for escape the part of fate. seem lacking in wit, women encourage escape from the housewife’s thankless rou- themselves to hearty laughter when their tine, escape from the blighting standard- sons and husbands and brothers are roll- ization of office and factory, escape from The most serene mama of a large family, ing in the aisles. boredom and self-criticism and the little the most comradely of wives, the most ra- Once in a long time, women extract walls of home. Young women, hounded by tional of career-women, the most placid quite a large measure of entertainment dim forebodings that life is not going to of grandmothers, the most contented of from communion with the slapstick muse. be undiluted beer and winning skittles, practical, cool-tempered and unsentimen- But the grim fact remains that at some seek reassurance that everything always tal women have moments when emotional time during the unreeling, the average comes out right. Old women, with inno- horizons seem oppressively inelastic. Not woman will turn a glance of mild wonder cent romance shining unquenchable in dim- one of these women would consider for one upon her hysterical escort and smile in ming eyes, slide their bits of silver into moment any basic change. Their loyalties secret and mature tenderness. the box office as an investment in freedom to their men are irrevocably engaged and Comedies of sound dramatic verity are from the relentless onrush of time. Little honorably unwavering. But romance gets another matter. Women are well trained girls escape the embarrassment of being a bit bogged down in routine. An hour's to appreciate the comic quality of mis- considered something less than creatures contemplation of a shadow heroine's sor- chance. Such humor adds immensely to of fatal charm and beauty by their strip- rows and sufferings and eventual bliss is the appeal of romance. ling suitors in regarding, round-eyed and release from personal problems, a sublima- hopeful, the eventual subjugation of the tion of vague rebellion against nothing- hero by the eternally triumphant heroine. ever-happening, a soothing of the un- Individually, many films offer many dif- The converted store room, hot and mug- formulated disappointment that Prince ferent bids for matinee patronage. More gy in the prairie night, is no less a sanc- Ch arming turned out to be just a devoted than one picture has gladdened exhibitors' tuary than the gilded cavern breezy with father and a good provider. hearts for no better reason than that the perfumed antiseptic air and sound-proofed In that feminine wistfulness for romance star hopped in and out of forty gowns against the roar of a great city. Both are lies the immense appeal for women of such while getting her man. There is a merry refugees from the prison of self-concentra- films as "Mutiny on the Bounty." Ques- tinkle of silver under the marquee glitter- tion. Both are temporary safety zones tion almost any man, and he will label that ing with the magic name of Shirley Temple, in the traffic of humdrum events. Both are film a "man's picture." His classification because the theme that the touch of baby temples, dedicated to worship of the will be given with just the slightest patron- fingers can completely change characters happy ending. izing overtone of implication that women of crabbed millionaires is apparently of When it comes to plot development, de- shy away from realities that are brutal and deathless breathless allure. lineation of life, and portrayals of human conflicts that are elemental unless they But basically, the reason that women go impulses on the screen, producers are bum deal with love in politely evasive symbols. to movies is to escape for a little steady- psychologists. But when it comes to giv- They forget that most women identify ing hour the harrassing experience of living audiences what they want, producers themselves with their men in some degree, ing in a world where virtue quite frequent- are brilliant in their understanding of the and that the upright fellow winning against ly is rewarded with a kick in the pants, feminine desire for the fairy book finale horrific odds does not have to draft fem- where some notably inferior blonde often "and they lived happily ever after." inine support. The tale of perils he has scoops up your man, where true love gets

Every woman, whether she will admit it run guarantees quick volunteers to share the blind staggers for almost any old ex- or not, has a deep, instinctive conviction vicariously his injustices, approve his cuse, and where few women can manage that the ultimate clinch which terminates righteous revolt, to ally themselves with 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) ALSO PRODUCED A BOX OFFICE CHAMPION JULY, 1932 "THE CONQUERORS" (RKO) PAGE MISS GLORY (Screen play) WITH MARION DAVIES A BOX OFFICE CHAMPION NOVEMBER AND DECEMBER, 1932 "YOU SAID A MOUTHFUL" DR. SOCRATES WITH PAUL MUNI (Screen play in collaboration) A BOX OFFICE CHAMPION DECEMBER, 1932 "HARD TO HANDLE" IN PRODUCTION (Adaptation in collaboration) A BOX OFFICE CHAMPION FEBRUARY, 1933 COLLEEN "GOLD DIGGERS OF 1935" WITH DICK POWELL - RUBY KEELER (Story) SINGING KID A BOX OFFICE CHAMPION APRIL, 1935 THE WITH AL JOLSON

* From a certified audit by MOTION PICTURE HERALD

WARNER BROS. -FIRST NATIONAL PRODUCTIONS

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

"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 1935 PRODUCTIONS

"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

$2,500,000, and at or below that figure, in C) 1935 success American market spurs were such phenomenal hits as "The Gold Rush," "The Kid," "The Ten Command- English on to greater conquests in 1936 ments," "Gold Diggers of Broadway,"

"Little Women," and "I'm No Angel." It seems, therefore, that in 1935-36, this par- by BRUCE ALLAN ticular British producer can make a budget with a reasonable anticipation of receipts comparable to those which, a very few LONDON. HERALD's lists of "Box Office Cham- years ago, were achieved by only a few

HE American box office is a better pions." outstanding American productions. Tindex to the comparative entertain- The 1934-35 season does therefore defi- London Film Productions has a much ment merit of British films, at the end nitely deserve to be called historical. For more ambitious program this coming 12 of 1935, than any of the plentiful figures, "1492, Columbus Discovers America," it months than ever in its history, and the percentages, graphs and, for that matter, is at last possible to use the homologue, figures just given indicate the resources plain ballyhoo, that are available to ex- "1934, Elstree Discovers America." With which were behind "Things to Come," and press British production progress in terms London Films an integral part of United which have also been used to erect at of stars, stories, directors, footage and Artists, with Gaumont-British established Denham, near London, a super-studio to be studio floor space. When the American in the United States on its own feet, and used, it seems, exclusively for the produc- exhibitor became conscious of the British with every outstanding picture from other tion of films for the U. S. A. as well as film, the British film began to be a serious sources assured of an opportunity in New for the U. K. trade factor. And this really happened in York, it is not surprising that practically Gaumont-British has just completed a 1934-35. every new production enterprise in Eng- first year of American distribution. Dur- Many American exhibitors have recently land now, as a matter of course, shapes its ing this period the standard of their pro- played "Transatlantic Tunnel," and are pre- plans and finances on a scale which assumes duction, in the opinion of good British paring to play "Things To Come." They an American release. The important thing judges, has improved 500 per cent. Un- can look back on a year in which they to remember is that the policy is new; doubtedly this fact is due to a desire to screened more than a dozen other British America has so far seen only the work of secure the American market, coupled with pictures. They know a great deal more the pioneers, and the real result of a funda- a definite ability to absorb and apply what about the box office value of these pic- mental change in the British producers' America had to teach. GB made its at- tures in America than we can knew in outlook will not be seen until the season tack on the United States about the time London, but this at least has come across now opening. it produced "Power." It followed up this the Atlantic—some of these British pic- cTS^. pretentious but not tures, in some American theatres, have very effective picture with, among others, done better business than some American What may be expected from England in The Man Who Knew Too Much," which pictures. the way of box-office material when its at the time of its first display was un-

To Americans this may seem a very production industry as a whole is mobilized doubtedly, in a technical sense, the most moderate claim. In England it is an asser- for an attack on world markets, can be successful picture made at Shepherd's tion that the almost impossible has been estimated from a consideration of the ma- Bush; incidentally, it registered a "come- achieved. For very many years it was terial provided during the past 12 months back" by Alfred Hitchcock, one of the an article of faith with a big section of the by the only three companies which, up to most intelligent and imaginative directors British production industry that America 1934, can be said to have tried consistently in England. was a sealed market. This conviction was to provide American entertainment values Followed "The Iron Duke," with George guite impervious to disproof; such films as —London Film, Gaumont-British and Brit- Arliss, a picture which failed to set either "Henry VIII" were "freaks, the exception ish & Dominions. the Thames or the Hudson alight; "For- that proved the rule," and so forth. Un- London Film's biggest success in Amer- ever England," "The 39 Steps," "The fortunately for these sufferers from per- ica, "The Scarlet Pimpernel," is generally Clairvoyant," "The Passing of the Third secution mania, but fortunately for the believed to be assured of a total gross in Floor Back" and "Transatlantic Tunnel." general reputation of British traders as excess of that of "Henry VIII," while The signifi cance of these titles lies in their people with a grip on business fact and "Sanders of the River" ("Congo Raid") has sequence. At the end of its first American with a sense of humor, the "closed door" beaten "Henry VIII" receipts in the United year, GB was making films which, in an theory has become completely untenable Kingdom by ten per cent, according to English and American box office sense, in face of the fact that British films are Alexander Korda's own figures. The same made its pre-1934 efforts seem amateurish. being distributed in America on a 52- authority placed the world gross of "Henry British & Dominions, with "Escape Me weeks-a-year basis, that they are playing, VIII" at $2,500,000. In a MOTION PIC- Never, achieved an artistic success which and putting up good figures in, keyhouses, TURE ALMANAC tabulation of the big- was also a box office draw in both the and that they are figuring with pleasing gest box office successes of all time, only U. K. and the U. S.; it was a "Box Office regularity in MOTION PICTURE 12 pictures were shown to have exceeded Champion" in America. Other highlights

THE BOX OFFICE CHECK-UP OF 19 3 5 11 5 lease. Toeplitz has already sent "The based on American distribution and, more

Dictator" to America through GB and has important, the cost estimating is on a basis

a Chevalier picture schemed. British Na- which assures a disastrous loss if, in fact,

tional's first effort, "The Turn of the Tide" the American release is not obtained. "Get

was an impressively sincere and effective America or bust" is the fundamental, if

piece of work. undeclared, policy of all these producing The future development of British pro- companies. duction, a matter in which the American Similar reasons seem likely to dictate the trader and exhibitor has a very direct in- comparatively early disappearance of the terest, cannot be prophesied with any cer- "quota quickie," made at minimum cost tainty, but consideration of the existing in order to enable American companies to situation and of the factors which are comply with the letter of the Films Act.

modifying it, undoubtedly suggest that in With a 20 per cent quota now operating, 1935-36, and still more in 1936-37, there the burden of carrying these films as a

will have been an advance towards the dead loss is a heavy burden even on a consolidation of the American and British major distributor. Today finds the Amer- markets—in the sense that films made in ican companies in two minds. They have either country will be freely sold on their written off the "quickie" as a mistake, but merits in both, which would have been they have not yet come, and may not come quite impossible a bare twelve months ago. for a long time, to the policy of making At the present moment production in films in England for world release. The

the United Kingdom can be roughly classi- present policy is to make moderately

fied as (a) production by British companies priced films which, without making a profit for U. K. release, (b) production for U. S. in the U. K., will reduce the loss on quota

and U. K. by British companies, (c) produc- films. The disappearance of class (c)

films, therefore, in favor of class (d) is quite likely to be postponed for some time; Guillotine scene from "The Scarlet Pimpernel," London Film Production nevertheless, this looks like the ultimate de-

velopment, even though it implies interfer- ence with the fundamental American in this company's output were "Nell policy of concentrating production in Hol- Gwyn," of contentious memory; "Brew- lywood. ster's Millions" and "Peg of Old Drury." Even in the immediate future the Amer- Every one of These pictures was an illus- ican exhibitor can expect a certain tration of Herbert Wilcox's declared policy number of British films made by major Amer- of producing for American needs. B & D ican companies. Metro-Goldwyn-Mayer, Budgets on a $500,000 scale occasionally. latest converts to the policy of direct pro- The general output of British production duction in England, is discussing the trans- companies included a number of pictures fer of stories from Hollywood schedule and up to or approaching American standards. the use of Hollywood stars and directors. Associated British Pictures, though its de-

Fox-Twentieth - Century, side by side with clared policy is to make films primarily "statutory" production at Wembley, which for its own circuit of theatres and at a is definitely above "quickie" level, has sent price showing a profit on U K. distribution, over Robert T. Kane to plan big picture went beyond these limits with "Drake" production. Warner, at its Teddington ("Elizabeth of England" in New York) [TURN TO PAGE 145] "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 Frank Collier and Conra d Veldt in "The Pass- Band" and "Radio Parade of 1935" among ing of the Third Floor Back," Gaumont-British them, which suggested a desire to extend sales beyond the U. K. tion for U. K. by, or for, American com- Associated British Film Distributors, with panies, and (d) production for U. K. and Gracie Fields' "Look Up and Laugh," and U. S. by American companies. British Lion with such films as "Ten Minute The outstanding success achieved in the Alibi," were other companies definitely American market by London Film, and the above the Quota level. successful establishment of distribution Twickenham Film Studios, concentrating there by GB, are leading reasons for be- largely on production of obligatory films lieving that class (a) films will to a very for American companies, embarked during large extent be displaced by class (b). It the year on its own distribution and an- has been shown that the American market nounced a production program which is open; it has also become more and seems to imply a serious effort for regular more obvious that production for profit in

American release. the U. K. market alone is, in the long run, Production companies without their own impossible. distribution include in Toeplitz Productions Another reason is that the great ma- and British National Films two concerns jority, if not the whole, of recent British Elisabeth Bergner and Hugh Sinclair in "Escape which are definitely working for world re- flotations for production purposes are 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

N this and six other pictorial pages following, are presented O 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 productions are not to be accredited with producers 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 Merian C. Cooper, pro- Benjamin Glazer, producer of "The Gay Divorcee," ducer of "Little Women," of "She Loves Me Not” for "Roberta" and "The Little "Flying Down to Rio," "Son Paramount. Minister" for RKO Radio. of Kong," "Kentucky Ker- nels" for RKO Radio.

Samuel Goldwyn, producer Arthur Hornblow, Jr., pro- Bernard H. Hyman, pro- Willi am LeBa ron, producer Louis D. Lighton, producer of "Roman Scandals" for ducer of "Ruggles of Red ducer of "Forsaking All of "Belle of the Nineties" of "Lives of a Bengal. United Artists. Gap" for Paramount. Others" for Metro-Gold- and "Goin' to Town" for Lancer" for Paramount. wyn-Mayer. Paramount.

Hal Roach, producer of David O. Selznick, pro- Hunt Stromberg, producer Walter Wanger, producer Sol M. Wurtzel, producer "Sons of the Desert" for ducer of "Dinner at Eight" of'Chained" and "Naughty of "Queen Christina" for of "Judge Priest" and "Life Metro-Goldwyn-Mayer. and "David Copperfield" Marietta" for Metro-Gold- Metro-Goldwyn-Mayer. Begins at Forty" for Fox. for Metro-Goldwyn-Mayer. wyn-Mayer.

THE BOX OFFICE CHECK-UP OF 1935 119 A BOX OFFICE CHAMPION OF 1934

THE HOUSE OF ROTHSCHILD IT HAPPENED ONE NIGHT UNITED ARTISTS Frank Capra COLUMBIA Directed by Alfred Werker Directed by Frank Capra A BOX OFFICE CHAMPION OF 1934 A BOX OFFICE CHAMPION OF 1934

Lloyd Bacon

ROMAN SCANDALS WONDER BAR Frank Tuttle FIRST NATIONAL UNITED ARTISTS Directed by Lloyd Bacon Directed by Frank Tuttle A BOX OFFICE CHAMPION OF 1934 A BOX OFFICE CHAMPION OF 1934

Victor Schertzinger

THE GAY DIVORCEE ONE NIGHT OF LOVE Mark Sandrich COLUMBIA RKO RADIO Directed by Victor Schertzinger 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 "I DREAM TOO MUCH" (ANN HARDING) A Box Office Champion for Sept., 1934 WITH LILY PONS

•

A Certified Audit by Motion Picture Herald OF HUMAN BONDACE

(LESLIE HOWARD - BETTE DAVIS) JOHN CROMWELL DIRECTOR

A DAVID O. SELZNICK PRODUCTION

LITTLE LORD FAUNTLEROY

WITH FREDDIE BARTHOLOMEW AND DOLORES COSTELLO

THE BOX OFFICE CHECK-UP OF 1935 A GEORGE MARSHALL DIRECTOR

"LIFE BEGINS AT 40"

I 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 BELLE OF THE NINETIES METRO-GOLDWYN-MAYER Leo McCarey PARAMOUNT Directed by George Cukor Directed by Leo McCarey A BOX OFFICE CHAMPION OF 1934 A BOX OFFICE CHAMPION OF 1934

'01 ' #•»

Edmund Goulding

RIPTIDE DAMES METRO-GOLDWYN-MAYER Ray Enright WARNER BROTHERS Directed by Edmund Goulding Directed by Ray Enriqht A BOX OFFICE CHAMPION OF 1934 A BOX OFFICE CHAMPION OF 1934

Clarence Brown

CHAINED John Ford JUDGE PRIEST METRO-GOLDWYN-MAYER FOX Directed by Clarence Brown 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

RICHARD MARK BGLESLAWSKI

SANDRICH Directed

director . . 5 BOX OFFICE 1934.. "The Cay CHAMPIONS Divorcee”

. A BOX-OFFICE CHAMPION FOR 1934 • RASPUTIN AND THE EMPRESS BOX OFFICE CHAMPION FOR MARCH, 1933 1935.. • MEN IN WHITE BOX OFFICE CHAMPION FOR APRIL, 1934

• OPERATOR 13 "Top Hat" BOX OFFICE CHAMPION FOR JUNE, 1934

. A BOX-OFFICE • THE PAINTED VEIL CHAMPION BOX OFFICE CHAMPION FOR DECEMBER, 1934 FOR 1935 • LES MISERABLES • — BOX OFFICE CHAMPION, FIRST 6 MONTHS, 193 5

1936.. Current Productions

IN PRODUCTION O’SHAUGHNESSY’S BOY "Follow METROPOLITAN THREE GODFATHERS The Fleet"

with

FRED ASTAIRE AND GINGER ROGERS • MGM

126 THE BOX OFFICE CHECK-UP OF 19 3 5 MICHAEL CURTIZ

DIRECTOR

6 BOX 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 CURRENT PRODUCTION (A BOX OFFICE CHAMPION FOR OCTOBER, 1932) CAPTAIN BLOOD 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

THE BOX OFFICE CHECK-UP OF 1935 127 A BOX OFFICE CHAMPION OF 1934

SONS OF THE DESERT BARRETTS OF WIMPOLE STREET METRO-GOLDWYN-MAYER Sidney Franklin METRO-GOLDWYN-MAYER Directed by William A. Seiter Directed by Sidney Franklin A BOX OFFICE CHAMPION OF 1934

QUEEN CHRISTINA GIRL OF THE LIMBERLOST METRO-GOLDWYN-MAYER Christy Cabanne MONOGRAM Directed by Rouben Mamoulian Directed by Christy Cabanne A BOX OFFICE CHAMPION OF 1934

SON OF KONG KENTUCKY KERNELS RKO RADIO George Stevens RKO RADIO Directed by Ernest B. Schoedsack Directed by George Stevens

128 THE BOX OFFICE CHECK-UP OF 1935 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 "TOO MUCH HARMONY" 1933 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

CONTRIBUTIONS TO 7 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 A BO.X OFFICE CHAMPION OF 1934

Elliott Nuqent

SHE LOVES ME NOT FLYING DOWN TO RIO PARAMOUNT Thornton Freeland RKO RADIO Directed by Elliott Nugent Directed by Thornton Freeland A BOX OFFICE CHAMPION OF 1934 A BOX OFFICE CHAMPION OF 1934

Ernst Lubitsch

EXECUTIVES in charge of PRODUCTION

for MGM . . .

DESIGN FOR LIVING THE LOST PATROL PARAMOUNT RKO RADIO Directed by Ernst Lubitsch Directed by John Ford

A BOX OFFICE CHAMPION OF 1934 A BOX OFFICE CHAMPION OF 1935

Louis B. Mayer

Thalberg LITTLE WOMEN Irving ROBERTA RKO RADIO RKO RADIO Directed by George Cukor 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" “THANKS A MILLION”

MARCH, 1935 20TH CENTURY - FOX “BROADWAY MELODY OF 1936” OCTOBER, 1935

Screen Plays Warner Brothers - First National by A Member of the Screen Casey Robinson Writers Guild

BOX OFFICE CHAMPIONS

"EIGHT GIRLS IN A BOAT" (1934)

"I FOUND STELLA PARISH"

LATEST RELEASE "CAPTAIN BLOOD"

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

1934-1935 Productions FOG OVER FRISCO MADAME DU BARRY CURRENT PRODUCTION THE FIRE BIRD THE STORY OF LOUIS PASTEUR 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

Richard Boleslawski

LES MISERABLES LIVES OF A BENGAL LANCER UNITED ARTISTS Henry Hathaway PARAMOUNT Directed by Richard Boleslawski Directed by Henry Hathaway A BOX OFFICE CHAMPION OF 1935 A BOX OFFICE CHAMPION OF 1935

W. S. Van Dyke

FORSAKING ALL OTHERS LIFE BEGINS AT 40 METRO-GOLDWYN-MAYER George Marshall FOX Directed by W. S. Van Dyke Directed by George Marshall A BOX OFFICE CHAMPION OF 1935 A BOX OFFICE CHAMPION OF 1935

William Keighley

GOIN' TO TOWN G-MEN Alexander Hall FIRST NATIONAL PARAMOUNT Directed by William Keighley 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

Box Office Champions

OUT ALL NIGHT - (UNIV.) SCREEN PLAY - DIALOGUE

LITTLE MAN, WHAT NOW? (UNIV.) SCREEN PLAY

KID FROM SPAIN (U. A.)

ROMAN SCANDALS (U. A.) SCREEN PLAY

WHOOPEE BASED ON THE STAGE SHOW WRITTEN AND STAGED BY WM. ANTHONY McGUIRE

BOX OFFICE HITS

DISORDERLY CONDUCT OKAY AMERICA KISS BEFORE THE MIRROR STORY AND SCREEN PLAY STORY AND SCREEN PLAY SCREEN PLAY

THE BOX OFFICE CHECK-UP OF 1935 139 A BOX OFFICE CHAMPION OF 1935 A BOX OFFICE CHAMPION OF 1935

Richard Wallace

THE LITTLE MINISTER MY HEART IS CALLING RKO RADIO Carmine Gallone GAU MONT- BRITISH Directed by Richard Wallace Directed by Carmine Gallone A BOX OFFICE CHAMPION OF 1935 A BOX OFFICE CHAMPION OF 1935 EXECUTIVES in charge of PRODUCTION

Darryl Zanuck 20th Century -Fox

DAVID COPPERFIELD NAUGHTY MARIETTA METRO-GOLDWYN-MAYER METRO-GOLDWYN-MAYER Directed by George Cukor Directed by W. S. Van Dyke A BOX OFFICE CHAMPION OF 1935 A BOX OFFICE CHAMPION OF 1935

J. L. Warner Warner Brothers

Harry Cohn BROADWAY BILL RUGGLES OF RED GAP COLUMBIA Columbia PARAMOUNT Directed by Frank Capra Directed by Leo McCarey

140 THE BOX OFFICE CHECK-UP O F 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 DIRECTOR OF DANCES LE ROY J. PRINZ 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

Management PARAMOUNT PICTURES F. ORSATTI & CO.

142 THE BOX OFFICE CHECK-UP OF 1935 PICTORIAL VALUES IN SCREEN ENTERTAINMENT

this all the players must be advantageous- What cinematography is doing to advance €J ly photographed.

In all cases the cinematographer must effectiveness of the art of the film the keep the story interesting with adroit camera technique, following the actors in motion from set to set and maintaining by CHARLES G. CLARKE, A.S.C. what we call "mood," or the type of lighting correct for the physiological interpretation of action and setting. To spectators who have given the matter any thought at

this has destroyed line, I OOKING at the trends of motion pic- seen by the eye, and all, the simple "Photographed by ture photography from the viewpoint a certain amount of definition. ," brings a consciousness of the

«— of the motion picture cameraman we This loss of sharpness was especially ap- skill necessary to achieve the results be- see many interesting developments. That parent in some of the theatres through- fore him. Be that as it may, there is cer- the Directors of Photography have kept out the country where the projection tainly room for better understanding of the pace with ever-rais- equipment had not kept pace with the problems of the theatre and photographer. ing standards of times, and also in some of the theatres The technical departments of the studios

technique is appa- using the most modern equipment—that are ever working towards realism, and the

rent to all who have is, using high-intensity light elements, advantages made by them are no less than seen the recent out- which by their nature further destroy the marvelous. The majority of pictures pro- put of pictures. The sharpness of the image thrown on the duced contain a great portion of footage

high photographic screen. With the newer film, provided the known in the studios as "process shots." excellence of such negative and positive receive the correct Naturally there are innumerable ramifica-

pictures as "Les laboratory processing, the full gradations tions of the process shot, but the simplest

Miserables," "Se- of contrast are preserved in the print with- example is where the background is made,

quoia," Mutiny on out the use of diffusion, and thus a crystal say, in some foreign country, then de-

the Bounty," "Anna dear image is recorded upon the film. veloped, projected and rephotographed Karenina," "Cleo- with actors and portions of sets before it

patra," "Scarlet here in the studio. Witness a production

Pimpernel," "Midsummer Night's Dream," The subject of diffusion is one that calls such as "Mutiny on the Bounty," where a

"Barbary Coast" and scores of others, is for understanding among the exhibitors considerable portion of that picture was ample proof that an earnest group of and photographers. With the broad made in the above manner, yet by the workers are ever striving for perfection in standards of projection that exist in the skillful matching of the process scenes with their art. theatres throughout the country—good, those actually made in Tahiti, and on the If the photography of the American pic- bad and absolutely indifferent— it is boats at sea, the spectator can not dis- ture was the standard set for photograph- natural that a production that appears tinguish the actual from the process scenes. ers the world over during former years, in perfect in one theatre will suffer in another what manner then has it been possible to where standards of projection are not so obtain still greater perfection? Probably high; so the cameraman has been obliged Certainly the technical perfection of the greatest aid to the photographer in to photograph his pictures with the former "Last Days of Pompeii" suggests some obtaining the naturalness of lighting that theatres in mind and feel helpless about recognition of those unsung workers behind

all this he is working for, has been the recent per- the latter. I am glad to believe that the the cameras who have made magic fection of a super-sensitive film of great trend is towards brilliant, sharp pictures possible. On all the larger productions rapidity which yet retains a photographic from now on. nowadays there are a staff of photog- quality theretofore never achieved. This One thing that some critics should bear raphers, each member especially skilled in

extra sensitivity has permitted a correct in min d is that the motion picture his part and each group contributing its

exposure with a substantial reduction of photographer must present his leading portion of scenes to make up the final the amount of artificial light formerly re- women on the screen without benefit of re- picture. For exploitation reasons these

quired, thus resulting in more life-like light- touching in any form whatever. All must men are never heard of, yet the present ings, proper relationship of shadows to be done with skillfully placed lights, for high standard of pictures could not be highlights, and the other elements of na- make-up does not remove lines and age made without this background of artists. turalness inherent in normal lighting. from the face and skin. Moreover the It is regrettable that the public is not One of the greatest benefits of this players are constantly moving about and more conscious of their efforts, for if their

new film is its more true rendition of con- changing positions in relation to the light- recognition and constructive criticism of trast. It has been generally necessary ing, together with the limitations of bulkily the good and bad became more generally to resort to different forms of "diffusion" blimped cameras with the ever-attendant discussed, more definite goals of public in an effort to imitate the gradations as microphone dangling close overhead; with approval could be striven for.

THE BOX OFFICE CHECK-UP OF 1935 143 others. Generally, they were rather seri- ertheless, the picture had that quality of WHAT MADE ously toned; pictures presumed to engage understandable, believable human interest. the attention of that class preferring to do Other oddities crop out as one analyzes THE BOX OFFICE a little sober thinking while being enter- the Champions, all of which are not "show- tained, yet they clicked with the majority window pictures." There are several of CHAMPIONS of theatre patrons. them which on production schedules were It is not so difficult to explain the Will termed "Class B." Yet for the investment [Continued from page 7] Rogers or Shirley Temple pictures. Here made, they turned in profits compensating acceptable to all. Champions of the past, were two personalities that were the abso- for more elaborately staged features which and of this year particularly, convincingly lute essence of human interest. To a much failed. "Hideout," with Robert Mont- demonstrate that such an argument is con- lesser extent, the same thing is true of sev- gomery, and "The Gilded Lily," with trary to fact. The Champions tabulated in eral other stars—Clark Gable, Joan Craw- Claudette Colbert, had the advantage of the following pages embrace every form of ford, James Cagney, Claudette Colbert, well known names, but how can "Mrs. screen entertainment, in all phases com- Fred Astaire and Ginger Rogers, Joe E. Wiggs of the Cabbage Patch," featuring monly believed to be of interest to every Brown, Dick Powell, Wallace Beery and an unknown and a cast of stock players, be kind and class of theatre-goer. Class pic- others. accounted for? Ftomespun, down-to-earth tures, supposedly only of interest to the in- Whereas in the case of the above named comedy-drama, it played on every one of telligentsia, were sources of amazement to class pictures, certain conditions were the seves elemental human emotions. producer and showman alike as they wit- established, the same apparent difficulty In stripping their features of any false nessed the eagerness with which the masses was not encountered in the majority of the pretenses, producers demonstrated by their supported them. Similarly, pictures calcu- Champions. One can readily understand Champions that they have a controlled lated to appeal only to the average patron, why the operatic or ragtime musical like working knowledge of fundamental human somehow or other possessed the mysterious "One Night of Love," "Naughty Mariet- nature. Showmen, as demonstrated by the quality that appeals to the critical. ta," "Kid Millions," "Golddiggers," "Flirta- intelligent manner in which they marketed

If there were no such thing as universal tion Walk," "Gay Divorcee," et al, be- the Champions, demonstrated that they appeal, it would be interesting to hear came successes. too, having a similar knowledge, both un- some learned psychologist explain the suc- So one can appreciate the many ro- derstood what the producer was aiming at cess of such Champions as "Barretts of mances, dramas, comedies, the topical and how the public wanted their efforts called its Wimpole Street," "Count of Monte G-man cycle, and thrill action Champions. to attention. The public, appre- ciative of and sympathetic to Cristo," "White Parade," "Little Min- But it is another case entirely when one both, and ister," "Copperfield," "Scarlet Pimpernel," considers "Sequoia." Here Mother Na- also assured that it would get what it "Les Miserables," "Oil for the Lamps of ture was the "star"; a deer and a mountain wanted, responded. These three forces China" and "Anna Karenina," among lion were prominent "personalities." Nev- combined to make the Champions. BOX OFFICE CHAMPION DIRECTORS JAMES [Continued from page 15] WONG HOWE moulian, "Becky Sharp" and Tay Garnett, "China Seas." Of the 65 Box Office Champion direc- CAMERAMAN 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 BOX OFFICE CHAMPIONS the Nineties" and "Ruggles of Red Gap"; Clarence Brown, "Chained" and "Anna Karenina"; Victor Schertzinger, "One Night VIVA VILLA of Love" and "Love Me Forever"; Greg- ory LaCava, "Affairs of Cellini" and "She MANHATTAN MELODRAMA Married Her Boss"; Michael Curtiz, "Brit- ish Agent" and "Front Page Woman"; Henry Hathaway, "Now and Forever" and THE THIN MAN "Lives of a Bengal Lancer"; Sidney Frank-

lin, "Barretts of Wimpole Street" and POWER AND THE GLORY "Dark Angel"; Mark Sandrich, "The Gay Divorcee" and "Top Hat"; Irving Cum- mings, "The White Parade" and "Curly Top"; Frank Borzage, "Flirtation Walk" M - S - M and "Shipmates Forever"; Richard Bole- slawski, "The Painted Veil" and "Les Mis- erables"; Wesley Ruggles, "The Gilded Lily" and "Accent on Youth"; Edward

144 THE BOX OFFICE CHECK-UP OF 1935 a

Sutherland, "Mississippi" and "Diamond ment are summed up finally in these words Jim." Many of these pictures were at the THE EXHIBITOR from Charles S. Edwards of the Queen top of the Champion list for two months. theatre at Pilot Point, Texas: Picture for Me' belongs The following directors on the list turned WRITES HIS 'What the Did in one big money winner each. to us, and is the only place in the world Rowland V. Lee contributed "Count of OWN REVIEWS we can say what we want to, and wherein Monte Cristo"; George Nichols, Jr., di- we can tell the truth as we see it." rected "Anne of Green Gables"; Frank [Continued from page 73] Capra, "Broadway Bill"; Richard Wallace, "The Little Minister"; John Blystone, "The sons will enjoy." Of Douglas Fairbanks' BRITISH County Chairman"; George Cukor, "David "Headin' South," a contributor said: Copperfield"; Robert Florey, "Woman in "Plenty of action; the kind he is best liked PRODUCTIONS Red"; Harold Young, "Scarlet Pimpernel"; in here."

E. "Sweet Music"; William fea- Alfred Green, But as against these days of double DIGS in for SIEGE Wyler, "The Good Fairy"; William Seiter, turing—and sometimes triple billing — "Roberta"; Dick Rosson, "West Point of showman commented on Norma Tal- [Continued from page 116] the Air"; William Wellman, "Call of the madge's "De Luxe Annie": "Could have Wild"; Howard Hawks, "Barbary Coast"; been shorter, as a seven-reel picture makes studio, has the equipment and the experi- Chester Franklin, "Sequoia"; George Mar- a long show when you run a one or two- ence to make bigger pictures whenever

shall, "Life Begins at 40"; Busby Berkeley, reel comedy with it." they are wanted. Universal has an affilia-

"Golddiggers of 1935"; James Whale, To quote from all the letters of exhibition with a British production unit which

"Bride of Frankenstein"; William Keighley, tors who say they are benefiting directly takes it also out of the "just quota" class.

"G-Men"; Alexander Hall, "Goin' to from reading the reports in the depart- Paramount, Radio and Columbia, alone of Town"; John Robertson, "Our Little Girl"; ment would indeed require many columns the major companies, lack production affi- E. H. Griffith, "No More Ladies"; Mervyn of type. "These reports are valuable," "a liations which can, at need, be used to LeRoy, "Oil for the Lamps of China"; lot of benefit," "we have particularly en- make pictures for America.

Rouben Mamoulian, "Becky Sharp"; James joyed and profited from the reports," "I Alternative to the policy of big picture

Tinling, "Under the Pampas Moon"; J. think this section alone is worth the price," production by American companies in Eng-

Walter Ruben, "Public Hero No. I"; Frank "it is a pleasure to join in," "very helpful," land is the establishment of a liaison be- vast num- Tuttle, "The Glass Key"; Phillip Moeller, "I don't know what I would do without it," tween these companies and the "Break of Hearts"; Paul Gziner, "Escape "the most important department," "a fine ber of new independent British production Me Never" (foreign); Louis Friedlander, feature," "it means a lot to me"—and so enterprises. These companies have come "The Raven"; Tay Garnett, "China Seas" on, the comment reads. into existence with resources which can be and George Stevens, "Alice Adams." The function and conduct of the depart- guaged by the lavish scale on which they

ACIK CO»N>Ht\ Y

R E C T ° R A T A 1L E O F TWO CIT IES

BOX OFFICE CHAMPIONS: M-G-M h E L L E5 E L o w RED HEADED WOMAN

V 1 V A V 1 L. L A

THE BOX OFFICE CHECK-UP OF 1935 145 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 PETER NACIO HERB BROWN concerns are at present, so far as a world release is concerned, up in the air. One obvious result may be the ultimate ARTHUR FREED establishment of an independent distribut- MILNE- ing organization in America, handling only British films. Another may be that the UNDER Wrote the Screen Plays of product of these companies will find its the Following M. P. Herald CONTRACT way into major American outputs. Un- doubtedly, by one channel or another, these Box Office Champions for War- TO new companies will, in the next year, seek ner Bros. - First National: to place 30 or more films in America.

It is impossible to give a list of new METRO - GOLDWYN - MAYER British production enterprises and studio plans which would not quickly be obsolete, but the imminent enormous increase in the KENNEL output of worth-while films can be sensed from a mere statement of names of some companies already functioning. MURDER British National Films, backed by two

millionaires, is interested in the "Pinewood" studio at Iver, which is to have four big CASE floors and facilities for color production on SONGS AND LYRICS a big scale. It is one of eight British production companies which will release in FOR U. K. through the C. M. Woolf company, COLD DIGGERS General Film Distributors. The others are: Herbert Wilcox Productions, announc- BROADWAY MELODY ing ten big features a year. OF 1935 Garrett Klement Pictures, which has OF 1936 Anna Sten, Cary Grant, Harry Wilcoxon and other big stars signed and a formid-

able list of directors and technicians. "You Are My Lucky Star" Capitol Productions, sponsored by Max WOMAN Schach, associated with Karl Grune in n "Abdul the Damned." "I've Got a Feel i ' You're Denham Productions, which made "Mos- IN RED Foolin' cow Nights," with Harry Baur. Radius Films, first film is "No Monkey Business." "On a Sunday Afternoon" Cecil Films, controlled by Herman Fell- ner, lately production executive of Gau- mont-Brifish. "Sing Before Breakfast" Hammer Productions, which has just your shown "The Mystery of the Mary Celeste." Get money down on these

City Film Corporation, which is exploit- for future Box Office Champs. "Broadway Rhythm" 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 COLLEEN 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 The Walking MANAGEMENT guide to future British production. Some people, including John Maxwell, Dead believe that current production policies JOHN ZANFT, INC. are too optimistic and that a great deal of

investors' money will be lost. The final AGENCY * confirmation or contradiction of these With Old Man Collaboration doubts may be provided by the American box office.

146 THE BOX OFFICE CHECK-UP OF 1935 ROBERT Edmund Grainger RISKIN PRODUCER 6 BOX OFFICE DIAMOND CHAMPIONS

JIM 1932 UNIVERSAL'S BOX OFFICE AMERICAN MADNESS STORY AND DIALOGUE THE CHAMPION OF YEAR (A CHAMPION FOR AUGUST, 1932) SHOPWORN DIALOGUE* (AN ANNUAL CHAMPION FOR 1932) NOW IN PRODUCTION 1933 SUTTER'S COLD LADY FOR A DAY SCREEN PLAY (A CHAMPION FOR SEPTEMBER AND OCTOBER, 1933)

RELEASED 1934 IT HAPPENED ONE NIGHT LOVE BEFORE BREAKFAST SCREEN PLAY (AN ANNUAL CHAMPION FOR 1934) WITH CAROLE LOMBARD AND PRESTON FOSTER 1935 INVISIBLE RAY BROADWAY BILL BORIS KARLOFF BELA WITH AND LUGOSI SCREEN PLAY (A SEMI-ANNUAL CHAMPION FOR 1935) THE GREAT THE WHOLE TOWN'S TALKING IMPERSONATION SCREEN PLAY* (A CHAMPION FOR MARCH, 1935) WITH EDMUND LOWE 1936 UNIVERSAL 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 3 7

148 THE BOX OFFICE CHECK-UP OF 1935 —

Inauguration of seasonal wear is oftimes preciation of the virtues of showmanship -AND THEN spotlighted by theatre tieups, such as the snaring of that unusual ticket-selling straw hats stunts on the recent Chevalier slant. THEY HAD picture, and what can be done to put over As, for example, the personal-column a merchandising drive is illustrated by idea used by J. Lloyd Dearth, of the Capi- TO BE SOLD Manager Billings Booth's "Uptown Color tol, Vancouver, B. C., on "Kid Millions" Week" campaign in Jamestown, N. Y., to wherein this showman ran a series of per- [Continued from page 108] build up interest in his showing of "Becky sonals from a fictitious couple stemming turned out to be a cageful of monkeys for Sharp" at the Winter Garden theatre. All supposedly from an accidental meeting, a build-up on "Baboona.” merchants in the theatre block combined the boy and girl exchanging messages in Neither birds nor fish are immune to ex- with Booth to stress color fashions of all the papers finally agreeing to meet at the ploitation as witness Max Cooper's annual kinds, and of course carried theatre pub- corner of the theatre. Curious crowds lobby exhibition at the Fox, Hackensack, licity in every medium of their advertising. gathered, only to discover via Dearth’s

N. J., of animals, fish and birds native to The above instances are just a few of posters that the couple had gone to see the State, put on in co-operation with the the hundreds of reports that first come to the picture. The city was excited for days. New Jersey Fish and Same Warden Asso- mind. Theatre men responsible for them Listed high must also be the campaign ciation. Canaries, too, have given their all have reached into different fields and con- offered by Manager Fred Souttar, of the for ballyhoo—Jack Simons at the Poli, tacted various mediums to put over their Lincoln in Belleville, III., who organized a Hartford, Conn., put on a concert of the exploitations, but what distinguishes each civic celebration in the form of a Dickens singing birds for "Naughty Marietta," stunt and tieup, what they all have in com- Day on "David Copperfield." The city naming the canaries after the stars in the mon, is definite box office showmanship, an fathers got behind the stunt enthusiastical- picture. exploitation skill that causes two admissions ly because Souttar discovered that in 1842 The influence of the motion picture upon to grow where only one grew before. Charles Dickens himself had spent the night style trends, and the general adoption of This rare and much discussed talent of in Belleville during his tour of America. keen showmanship in merchandising out- showmanship is also exemplified in the ac- The essence of showmanship is indicated side the theatre, is indicated in the scores complishments of the winners of the Silver also in Sig Solomon's angle of hiring a and scores of tieups made by theatre men and Bronze plaques given monthly as the Mae West proxy to serve for the star in a with their leading merchants. Evidence of main prizes in the Quigley Awards spon- highly publicized tour of Newark, N. J., as this is presented by the excellent grosses sored by the Managers' Round Table Club. part of the build-up at the Regent on gathered on "Roberta," for example, in all The plaques, First Mention and Honorable "Goin' to Town." The proxy visited the parts of the country, due in part to the Sheepskin Certificates voted theatre men, Mayor, was guested at luncheons, ball fashion shows arranged in conjunction with go in every instance to the entrants illus- games and the center of attraction at the the individual showings. trating in their campaigns the keenest ap- 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 —

|MH||jlliH||] ::« WHAT THE PICTURE ! W { i in il l » DIE) ECD HE It (ill

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. Barometers GB Pictures of 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 ^1 The box-office pulse of the motion pic- —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 ture industry is consistently and accu- ing when you say goodbye.” Sound gers. Running time, 65 minutes.— Globe Theatre, Holyoke, Mass. Gen' rately reflected in these two straight-from-

Metro-Goldwyn- the-exhibitor features of Motion Picture AFTER OFFICE HOURS: Clf Bennett—Anyone who don’t like ailment. Lots of everything, Herald. sure does his stuff and Connie Rankin, Plaza Theatre, Tilb General patronage. ANNA KARENINA: Gret —Didn’t draw but you can’t ’ § They provide the final gauge of talent or the stars. Rather slow- town picture. Should have some older picture. Play P. Musselman, Princess T! value in authentic, concise form as re- town patronage. ANNA KARENINA: T’ Freddie Bartholomew— ported by those who sell motion pictures we have shown in the customers to come to se- No over acting. Right 1 public. your public. Played N- direct to the tre, Rosedale, Miss. S. BARRETTS OF WI ma Shearer, Fredric picture, as we all knr “What The Picture Did For Me” is a it ^ ness. If it don’t you a lot of good. V received many favor? Plaza Theatre, Til 1 picture reporting service conducted by patronage. BONNIE SCOTL glorified two-reel cc exhibitors and for exhibitors. tain following that lematical how long of a type.—A. E. bia, City, Ind. BROADWAY Merkel, Robert musical of the y mosa, Iowa. C CALM YOI Robert Youn- yes, yes, an< men in earl- Saturday Flayed Se tre, Camb’ CHIN/ PICTURE T MOTION Beery ter Me expect Harlo • Octal A Quigley Publication Catr

150 THE BOX OFFICE CHECK-UP OF 1935 THEATRE RECEIPTS 111 ill

Theatres Current Week Previous Week High and Low Gross

045,250, a decrease of

November '6, i

' t ekald 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 ( 12,000 the Industry “Girl Without a Room” ) >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 Only those representing theatres that are 4 "Lady Killer” and 1 “Girl Without a Room” ) Oon’t Bet on Blondes” and I ,imi 100% independent may participate. idies Crave Excitement” f 4

‘Design for Living" 26.000 “Music in the Air” 5,000

of Vampire” and I 64 k the ^ Theatre Receipts” is a tabulation of dette” ( 8.200 Love” and )

g of Flanders” 1 3,800 tiny on the Bounty”.. 22,000 grosses of individual pictures in key cities, entlemen Are Born" ) ‘Marie Galante” 1 3,800 House of Rothschild” 18,000 '” ; 4,000 representing 8,000 bookings in 157 key •Carried Her Boss”.. 17,000 s Gentlemen” and !

Wives” ( 4,100 theatres. t’» Paw” 16,000 rough” 3,000 -issue) ves Me Not”...... 66.000 flf Each is a definite guide to the nation- Day Princess 19,000 Ladies” 9,000 'ork Night” 3.000 wide trade value of the finished product. Vanted” 25.500 owes’ Amateurs) Nurse” 12,000 32,500 Hence both are followed by every branch Kernels” 8.000 Others” 27,000 rlude” 6,000 ’recious Thing of the industry—Exhibition, distribution 19,000 >w” 8.000 hschild" 30,000 and production alike — by showmen, by ove Story”.. 10,000

Boss” 7,500 actor and director as well. 1,400

27,500 .e” 2.900 39.000 <£eet”.... 4,000

28.000 Juan” 3.500 y”.... 12,000 2.000

9,000 HERALD ( 600

. 16,500 800 - - - 17,500 New York Hollywood Chicago London 4.000 500 TOO Oil

THE BOX OFFICE CHECK-UP OF 1935 151 : )

MUSIC HELPS STORY TELLING EWING AND SELLING [Continued from page 89] SCOTT tional requirement—had to stay right on the job.

In large metropolitan productions plays DIRECTOR were quite thoroughly scored, of course, and the music set to cues. In lesser houses UNDER CONTRACT TO the pianist "ad libbed." In sad scenes he drifted into the tear-jerking "Hearts and PARAMOUNT 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 LITTLE AMERICA still-picture days who, either from scored music or using his own melodic judgment, NOW DIRECTING 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- BORDER stead of working with cues, as with stage productions, we have to work with definite timing. The recording has to be accurately FLIGHT timed and fitted. But the same old tech- Front His Own Original Story nique holds as to moods. Sad scenes are generally backgrounded by music convey- ing pathos, even though we’re a bit beyond the mawkish "Hearts and Flowers" era. Tramping of soldiers, and the stirring events of conflict, are colored by harmonies tinged tonefully with the blare of

brassy trumpets and the roll of drums. At- SIDNEY BUCHMAN mosphere is still atmosphere. DOWN to the WRITER SEA IN TANKS

William Darling adds a marine Box Office Champions novelty to production technique

ET designing and construction is one of the modern miracles of present- SHE MARRIED HER BOSS S day motion picture production. So important has the art become that in LOVE ME FOREVER (In Collaboration) every studio under the guidance of one accomplished chief, hundreds of techni- WHOM THE CODS DESTROY cians, artisans, draftsmen, painters, elec- tricians, sculptors and laborers, are regu-

larly in the mechanics of set In Collaboration employed SIGN OF THE CROSS ( construction. To them, as much as to producer, director, star and cameraman, I'LL LOVE YOU ALWAYS is due great credit for the elaborate and

authentic backgrounds of all pictures IF I HAD A MILLION made. To appreciate the work of these men, let us examine the efforts of one of them. William Darling, 20th Century-Fox art COLUMBIA PICTURES 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 DOR DIRECTOR

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 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 CLAUDINE WEST • WRITER month, but most of his masterpieces of construction are permanent fixtures, to be used over and over again.

BOX OFFICE CHAMPIONS: 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, tomorrow 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-

SMILIN' THRU (MGM) PRIVATE LIVES (MGM) REUNION IN VIENNA (MGM)

BARRETTS of Wimpole St. (MGM) DARK ANGEL (GOLDWYN)

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- Ralph Spence 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 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 Charles Vidor provided one of the most thrilling scenes in film annals. Huge blocks of ice, in- geniously contrived from five-gallon cans director 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 substantial, 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 HIS FAMILY TREE from floe to floe, somewhat reminiscent of the baying bloodhounds who pursued poor

Eliza. Huge turbines stirred the water at the THE GREAT SHADOW 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 RKO-RADIO 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 occasion the tank represented a swamp for Shirley Temple's "The Littlest Rebel." LAWRENCE HAZARD Not long ago, through an adroit bit of scene shifting, the tank became a canal flowing gently through the Ohio Valley, AT M-C-M 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- • WRITER OF WARREN DUFF tense bit of dialogue between Miss Gay- nor, Charles Bickford, Slim Summerville and a lad who identified himself as John Wilkes BOX OFFICE Booth. The hillside running up from the edge of the canal was verdant with grass. Sheep grazed peacefully, gazing curiously CHAMPIONS at the horses who plodded along the tow- path. For several years the tank represented a Broadway Gondolier Shanghai water-front. It rarely changed. Sweet Music Row upon row of dilapidated houses stretched back from the water, terminating

FasFiions of 1 934 in the distance in a painted drop which melted perfectly into the foreground. 'The Friends of Mr. Sweeney tides rose and fell against the piling, as completely dirty as any Chinese harbor FOR WARNER BROS. -FIRST NATIONAL 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" "DANCING FEET" "GIRL OF THE LIMBERLOST" "FORBIDDEN HEAVEN" "KEEPER OF THE BEES" "JANE EYRE" "HOOSIER SCHOOLMASTER" "TWO SINNERS" "FRISCO WATERFRONT" "HITCH HIKE LADY"

THE BOX OFFICE CHECK-UP OF 1935 161 —

and "Oil for the Lamps of China" were too much of a bore, and he entered the

filmed. In the case of the latter picture, Academy of Fine Arts at Budapest. Though Warner Brothers rented the set for a week, at twenty-three he was recognized as a a practice not uncommon in Hollywood. fine portrait painter, he continued his BOX OFFICE A month from now, a submarine may studies in art schools of Vienna, Paris,

push its periscope to the surface of Bill Munich and other centers, spending most CHAMPIONS Darling's tank. Perhaps miniature shots of of his time perfecting the peasant art. And a naval engagement will be filmed there. to attain this end he lived with the peas-

It is no worry of Darling's. He waves his ants of France, Hungary, Germany and hand or rubs his lamp, and new sets are Austria. Union Depot magically provided. Film technicians work Coming to America in 1910, he worked such miracles as simply as boiling an egg. in factories and shipyards, on the wharfs, For seventeen years, Darling has been in brick yards and even at building roads. Make Me a Star creating sets, and his structures alone have An accident brought him into pictures. entailed average aggregate expenditure While driving through Santa Barbara his The Phantom President of more than $5,000,000 yearly. automobile broke down near the American

Early in his youth Darling had an ambi- Film studios. Learning that a position of International House tion to become a civil engineer in his scenic artist and draftsman was open, he

native Hungary. After two years of study, applied for a trial. College Rhythm the mechanics of civil engineering proved P. S.— He got the job. Stanley Morris. Ruggles of Red Gap INDEX TO ADVERTISERS Big Broadcast of 1936 Fred Astaire 105 Douglas MacLean 137 Lloyd Bacon 50 George Marshall 122 Earl Baldwin 51 Metro-Goldwyn-Mayer 62 Richard Boleslawski 126 William A. McGuire 139 Samuel Bischoff 155 Norman McLeod 110 WITH MUCH John G. Blystone 159 John Meehan 161 Joe E. Brown 86 Peter Milne 146 APPRECIATION TO Nacio Herb Brown 146 Jane Murfin 95 Sidney Buchman 152 Paramount 3-4

David Butler 107 Diversion Pictures 141 FRANCIS MARTIN James Cagney 87 Carl Pierson 157 Roy Chanslor 161 Lew Pollack 148 RALPH SPENCE William Conselman 56 Dick Powell 97 Consolidated Film Corp 81 Le Roy J. Prinz 142

Claudette Colbert . . . 99 RKO Radio 20-21 HARLAN THOMPSON Edward F. Cline 142 RCA 101 Jack Conway 145 Regal Productions 58 Gary Cooper 57 Reliance Productions 32 AND A FEW Frank Copra 130 Republic 72

Joan Crawford ...... 82 Robert Riskin 147 DIRECTORS SUCH AS John Cromwell 121 J. J. Robins 154 Michael Curtiz 127 Casey Robinson 134

Delmer L. Daves 131 Ginger Rogers 103

NORMAN TOUROG G. B. DeSylva 88 J. Walter Ruben 141

William Dieterle . . . 135 Wesley Ruggles 69 LEO McCAREY Laird Doyle 114 Roy Del Ruth 134 First Division 19-14 Mark Sandrich 126 EDWARD SUTHERLAND Fox 27 Ewing Scott 152 Arthur Freed 146 William A. Seiter 67 Tay Garnett 38 David O. Selznick 65

Lewis E. Gensler 153 Harry Sherman Prod 61 Edmund Grainger .... 147 Ralph Spence 156 Howard Hawks 74 John M. Stahl 72 Lawrence Hazard 160 Guy Standing 149

E. R. Hickson 161 George Stevens 125 WALTER Edward Everett Horton 138 Hunt Stromberg 118

William K. Howard 113 A. Edward Sutherland. . . 109 James Wong Howe 144 Norman Taurog 133

Harold Hurley . . . 93 Dwight Taylor 153

DE LEON I mperial 39 Shirley Temple 26 Talbot Jennings 157 United Artists 33 Buck Jones 44 Universal 78-79 UNDER CONTRACT TO Arlin Judge 154 Charles Vidor 160 William LeBaron 130 King Vidor 148 Walter De Leon 162 Claudine West 156 PARAMOUNT Albert Lewin 117 Carey Wilson 138 Frank Lloyd 159 Harold Young 123 Robert Lord 112 Waldemar Young 129 Arthur Lubin 155 Zeidman Film 45

162 THE BOX OFFICE CHECK-UP OF 1935 REASON

MUST

THERE

Scanned from the collection of Karl Thiede

Coordinated by the Media History Digital Library www.mediahistoryproject.org

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