1941: Motion Pictures

Contribution to the National War Effort.

Among the interesting aspects of the year 1941 in motion pictures was the production of a series of Army training films under the supervision of the Research Council of the Motion Picture Academy, of which Lieutenant Colonel Darryl F. Zanuck, production head of Twentieth Century-Fox, is chairman. George Shaefer and Francis S. Harmon, as heads of a trade national defense organization, established the War Activities Committee Motion Picture Industry immediately after the United States declared war on the Axis powers. Aside from these angles, a number of Hollywood veterans have for several months been assisting Lieutenant-Colonel M. E. Gillette and Major Robert Presnell in the regular army laboratory at Fort Monmouth, N. J. American news reels have also been found useful in the defense program.

Jack Alicoate, publisher of Film Daily, stressed the importance of the motion picture theatre in the war program, for not only will its screen be used for entertainment, but it will also, as usual, serve drives for the Red Cross and other campaigns. The motion picture theatres were mainly responsible, in 1941, for the raising of $1,000,000 for the United Service organizations.

Production of 'Citizen Kane.'

The past year brought forth several excellent productions, although there was in many cases too much pandering to the box-office. When it came to the merits of various productions, there was the expected difference of opinion among critics, but, with the exception of the Hearst papers, there was overwhelming acclaim for Citizen Kane, a film which Orson Welles not only wrote and directed, but in which he played the leading role. This production was chosen by the New York Film Critics and the National Board of Review as the premier contribution of 1941.

Mr. Welles' technique in unfurling his story was somewhat similar to that of the old Lasky production, Power and the Glory. He had various characters recount incidents in the life of a mighty newspaper owner who had just died. However, Mr. Welles undoubtedly improved on the earlier film and introduced a striking psychological twist which kept his audience guessing.

Awards to Major Films and Players.

The picturization of the Richard Llewellyn novel, How Green Was My Valley, done in orthodox style, also aroused praise from all quarters. It was the foremost competitor of Citizen Kane among the New York Film Critics in the balloting for the year's outstanding screen offering. Sergeant York, a picture dealing with the experiences of the A. E. F. hero of heroes in World War I, also was considered in the voting and was mentioned in most of the newspaper writers' Best Ten lists.

Target For Tonight was a remarkable film. It was made in England and all its participants were active members of the Royal Air Force. Unfortunately, this splendid presentation was only half the length of the average feature film and, therefore, most of the film critics, while appreciating its undeniable merits, dismissed it as a documentary production. It is rare that a pictorial story is presented that can be termed actually flawless. Target For Tonight, however, was perfect in every detail; its suspense, its natural humor, the demeanor of the RAF men, and the depiction of their ground activities. This picture dealt with RAF bombers flying to Berlin to bomb strategic centers in the German capital. Naturally, certain aspects of the film were staged, but these incidents, coupled with glimpses of blazing structures, were duplicated amazingly well.

Target For Tonight seemed all too short, but those responsible for it evidently thought that this forthright drama might be spoiled by attempting to stretch it to feature length. It is to the credit of the film critic of the New York Times, Bosley Crowther, that he saw fit to include this production in his list of the year's outstanding pictures.

Mr. Crowther also did not fail to remember the excellence of another picture made in England — the film version of George Bernard Shaw's play, Major Barbara. The presentation of this sterling work was a notable occasion, for it was produced as effectively as that other Shaw film, Pygmalion. And what added to the interest of the evening — and many other evenings and afternoons — was the foreword spoken by the author's shadow. Notwithstanding his advanced age, Shaw revealed by his facial expressions and actions, his relish of his own comments. He began by saying: 'I am sending you my old plays, just as you are sending us your old destroyers. Our Government has very kindly thrown in a few naval bases as well ...'

The other eight productions on the Times critic's Best Ten, were:

The Lady Eve, written and directed by Preston Sturges, from a story by Monckton Hoffe, with Henry Fonda and Barbara Stanwyck in the leading roles.

Citizen Kane, in which other noteworthy players, besides the redoubtable Welles, were Dorothy Comingore and Everett Sloane.

Sergeant York, written by Abem Finkel, Harry Chandlee, Howard Koch and John Huston; directed by Howard Hawks, with Gary Cooper in the title role.

The Stars Look Down, based on the novel by A. J. Cronin and produced in England. The principal players were Emlyn Williams, Michael Redgrave and Nancy Price.

Dumbo, a charming Walt Disney feature-length cartoon.

How Green Was My Valley, directed by John Ford, with Donald Crisp, Walter Pidgeon and Roddy McDowall heading the cast.

One Foot in Heaven, adapted from the biography written by Hartzell Spence, directed by Irving Rapper. Fredric March and Martha Scott were the leading performers.

Here Comes Mr. Jordan, based on an unproduced play by Harry Segall and directed by Alexander Hall. The outstanding players were Robert Montgomery, James Gleason and Claude Rains.

As has been their custom, the New York Film Critics also voted on other awards, for acting and direction. The best performance by an actress was won by Joan Fontaine for her portrayal in Suspicion, a picture that held its own on some of the lists of foremost films. Gary Cooper's performance in Sergeant York was voted the best actor's work. Although Orson Welles' Citizen Kane carried off the honors for the outstanding screen offering, the direction award fell to John Ford, for his handling of How Green Was My Valley. This is the fourth time he has won this accolade.

Leading Money Makers and Stars.

In its last issue of the year, Variety, the well-known amusement publication named the biggest money-making pictures, stars and directors, from December 1940, to December 1941. It should be pointed out that quite a number of productions had not been released long enough to be considered on these lists.

The biggest gross money for the year was taken in by Sergeant York. Then came: The Great Dictator, Honky Tonk, A Yank in the RAF, Philadelphia Story, Dive Bomber, Caught in the Draft, Charley's Aunt, Men of Boys Town and Andy Hardy's Private Secretary.

The leading money-making stars were: Gary Cooper, Abbott and Costello, Clark Gable, Mickey Rooney, Bob Hope, Charles Chaplin, Dorothy Lamour, Spencer Tracy, Jack Benny and Bing Crosby.

Up to the time this survey was made, Sergeant York was said to have grossed in the domestic market more than $4,000,000; Chaplin's The Great Dictator had taken $2,750,000 in the United States and Canada, and around $1,500,000 in Britain; Honky Tonk had box-office receipts amounting to $2,500,000, and A Yank in the RAF about the same sum.

According to the annual poll of the Motion Picture Herald, the ten most popular screen idols are: Mickey Rooney, Clark Gable, Abbott and Costello, Bob Hope, Spencer Tracy, Gene Autry, Gary Cooper, Bette Davis, James Cagney and Judy Garland. Mickey holds first place for the third consecutive time in this particular survey.

Investments and Prices Paid By Major Film Companies.

Loew's Inc., net profit for the company's fiscal year ending Aug. 31, 1941, was, according to Variety, $11,134,593, which is the best showing since 1937, when the figure was $14,426,062. Twentieth Century-Fox was expected to have a $4,000,000 net profit. Figures on the profits of other major companies were not listed then.

Warner Brothers was the heaviest investor in the 1940-1941 plays, according to Variety. This producing concern paid nearly $500,000 for five theatrical productions and $18,000 for two other shows. Paramount was not far behind, paying $475,000 for three plays, including $285,000 for Lady in the Dark and $150,000 for Louisiana Purchase. Columbia spent $344,000, the largest payment being made for My Sister Eileen, which was $225,000. Twentieth Century-Fox bought the screen rights to Tobacco Road, for $200,000, plus a percentage arrangement, and Charley's Aunt, for a reported $110,000.

Metro-Goldwyn-Mayer acquired three stage shows for $225,000, two of which were the musical comedies, Du Barry Was a Lady — $80,000, and Panama Hattie — $130,000. Metro also invested $50,000 for Bittersweet, which goes back to 1929, and $15,000 for Red Hot and Blue, a 1936 musical comedy.

Universal bought only one stage production at that time. It was Hellzapoppin, for which $200,000 is said to have been paid, plus 40 per cent of the net receipts. David O. Selznick gave $137,500 for Claudia.

Other Awards and Distinctions.

Film Daily as usual conducted its annual poll of critics throughout the country and owing to its late release after being road showed, Gone With the Wind came out first, with 452 votes. Its nearest competitor was the more recently produced Sergeant York, which received 413 votes. Philadelphia Story was third, with 341. Then came Citizen Kane, Here Comes Mr. Jordan, The Little Foxes, Kitty Foyle, The Great Dictator, Meet John Doe and Blossoms in the Dust.

According to published figures of receipts, Gone With the Wind, has grossed more than $18,000,000 in the domestic market and around $25,000,000 in the world market. This amazingly successful film venture repeats as the old sentimental plays did, and, it is conjectured, it may be in circulation for another five or six years.

The little Fifth Avenue Playhouse attracted great crowds at the beginning of 1941 with its screening of old Chaplin comedies, the interest in them being increased owing to the release of his production The Great Dictator.

Philadelphia Story may have been third in the national vote of critics, but it was a first for New York's Radio City Music Hall. This worthy film was mentioned in these columns last year, as it happened to be showing just after that first of January. However, it is interesting to note that it rivaled Rebecca in staying at this immense theatre for six weeks. It was witnessed at the Radio City Music Hall by 875,475 persons and the receipts for that period were $594,000.

The second most popular picture at this theatre was That Hamilton Woman, which stayed for four weeks. Then came the film of the play, The Little Foxes.

Just before the close of 1941, RKO decided to make a film of the life of the late Major General William Mitchell, early advocate of military aviation, who was posthumously made a major general by Congress. His outspoken advocacy of air armament led to his reduction in rank in 1926 and subsequent resignation from the Army. He died in 1936. This biographical picture will be produced by William Hawks and it may be titled General Billy Mitchell.

The New York Times having noted its Ten Best selection, also undertook to publish on the same page the major films it considered, or the critic did, the Ten Worst. First came the screen version of Hellzapoppin, referred to as a 'frantic gibberish of stage gags.' On this list also were: The Shanghai Gesture. Sundown, This Woman is Mine, Dr. Jekyll and Mr. Hyde, The Shepherd of the Hills, One Night in Lisbon, Pot of Gold, Tobacco Road, and Hudson's Bay.

See also MUSIC.