Word: filming
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Dates: during 1940-1949
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Instead of that, Labor M.P. and Editor Michael Foot of the weekly Tribune (whose pretty, 34-year-old bride is an independent film producer) thought the government should "use the opportunity presented by the spectacle of the rocking Rank empire to go into the film business itself." Foot wants to establish a state theater circuit and a national motion picture company to finance independent producers and distribute their films. But his idea got scant support. The government has not done very well with its venture into the movie business so far. It had set up the National Film Finance Corp...
...from Hollywood, two dozen movie stars were hard at work last week at a booming cinema sideline: the personal-appearance tour. Braving the clothes-tugging of fans and the baying of autograph hounds, seven- stars had journeyed to London to show themselves at this week's Royal Film Performance. O'nce disdained as a last resort of the screen's has-beens, personal appearances have grown into a multi-million-dollar studio campaign to pep up a sluggish box office. Hollywood has learned that a star in the flesh can fatten a cinemansion's receipts...
...onto the stages of 23 neighborhood theaters in three evenings. Al Jolson, who only two years ago turned down $40,000 for a week's engagement in Manhattan, has been appearing without pay for months as a living trailer for Jolson Sings Again. (His incentive: 40% of the film's profits...
...personal. On his way to make a movie in England, Robert Taylor found two bobby-soxers under his stateroom bed on the Mauretania. As a fledgling of 21, making his first tour, William Holden suffered hotel-room invasions by voracious women. In 1946, at London's first Royal Film Performance, a Hollywood contingent headed by Ray Milland touched off a mob scene that sent three fans to the hospital and 100 to first-aid stations...
...dialogue is mostly stock gangster talk, and the actors, generally accenting the wrong words, throw their eyes around as though they were at a tennis match. All the same, the film has moments of hard cynicism. The credibly forlorn scenes between the heroine and her brother (Arthur Kennedy) barely suggest a relationship that the Johnston Office might have scrutinized more closely. And Ladd's scenes with a cold and seedy blonde (June Havoc) show a consistent disconcern with what Hollywood knows as real love. Trying for and missing the punch of Double Indemnity, waltz-paced Deadline is further debilitated...