Word: hollywoodized
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Dates: during 1940-1949
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...Hollywood...
...Hollywood last week seemed to have a rendezvous with the U.S. Government. In Manhattan the Department of Justice suit against the major studios, to divorce producers from control of theaters, was in its third week. On the West Coast, the Bureau of Internal Revenue was sniffing at the heels of the independent producers, who seemed to be getting too much money through a loophole in the Revenue Code. Variety predicted that the outcome might well be no suits to recover more than $30,000,000 in back taxes...
...many a Hollywood artist, this situation was intolerable: they wanted to make better pictures. Led by such stalwarts as Nunnally Johnson, Fox's highest paid writer ($3,500 a week), the gilded slaves quit, to start their own personal corporations...
Virtue's Reward. But artistic integrity had more than its own reward. By going independent-and by an artistic use of the capital gains tax-they could also make money fabulous even for Hollywood. A corporation can hold its picture for six months, then sell it and call the profit a capital gain, taxable at 25% instead of 85-95%, the top tax on ordinary income. A producer can either 1) sell his interest as a stockholder in the corporation; or 2) dissolve the company that made the picture. An example: Independent Producer Lester Cowan, who made Story...
There is very little to distinguish this show from the bright, glossy Technicolored musicals which Darryl Zanuck dishes out several times each year. Like all the others, The Dolly Sisters, which launches George Jessel as a Hollywood producer, has a plot concocted of time-tested staples: the kindly, absent-minded accent (S. K. Sakall); the handsome, threadbare song-plugger (John Payne); the rich, respectable fop (Reginald Gardiner); the old-time hit tune (I'm Always Chasing Rainbows); the lavish dance sequence (performed in blackface on a 75-foot banjo to the tune of Darktown Strutters' Ball). The only...