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GEORGE STEVENS JR.: Breaking in is tougher than
ever.
Yesterday’s movies
today’s film cult
By Dick Kleiner
HOLLYWOOD - (NEA) -
A lot of moviegoers no longer
ask the favorite, old question,
“What’s new at the movies?”
Instead, often the question is,
“What’s old at the movies?”
George Stevens Jr., direc
tor of the American Film In
stitute, says that more and
more movie fans are in
terested in “the whole body of
film creativity,” rather than,
merely the newest releases.
New generations want to see
Chaplin, Cagney and John
Ford films.
The AFI is attempting to
make it possible for them to
do just that.
“There’s been a prolifera
tion of retrospectives,”
Stevens says, “such as AFl’s
series in Kennedy Center,
Washington, D.C., and at the
Los Angeles Art Museum.
“People are coming to the
idea that there’s tremendous
life in the old film classics.
When AFI started, we dis
covered there was no nega
tive or print of the original
‘Stagecoach.’ ‘Mona Lisa'
survived for 450 years but
‘Stagecoach’ couldn’t make it
for 20. Then Duke Wayne
looked in his garage and
found an unused print.”
Stevens says that of all
movies made since the indus
try began more than half are
gone forever. Os the 30 films
that Theda Bara made, only
two are left. Os the 137 films
that John Ford directed,
there are only around 60 still
available.
That’s one of AFl’s aims —
to preserve what’s left and to
see that such a tragedy
Decline and fall
of creative teevee
By Dick Kleiner
HOLLYWOOD - (NEA) -
I have reached the reluctant
conclusion that American
television is fast approaching
an era of almost total crea
tive darkness.
Watching this season’s new
shows, I find none of them
have a spark of originality.
They are all pale copies of
things that have been on
before, in better version.
And, worse, the comedy
shows exhibit an almost com
plete lack of that essential in
gredient for comedy,
laughter. There isn’t a
chuckle in the whole lot of
them.
I was particularly incensed
at something called Lotsa
Luck which seems to be try
ing to be unfunny. It is a
tasteless, ugly show, with
tasteless, ugly people doing
tasteless, ugly things. It
Bagwell wins
first place
in Speak-Up
Ken Bagwell of the Griffin-
Spalding County Jaycees won
first place in the fall quarterly
state Speak-Up competition and
board meeting held in Atlanta.
********
Perfect gentleman
CHELTENHAM, England
(UPI) — The burglar behaved
like a perfect gentleman when
Mrs. Jean Skidmore found him
robbing her house.”
“Where do you suggest I
wait. Madam?” he asked as
she telephoned the police, a
court heard in testimony
Thursday.
Then he waited for the police
to arrive and showed them
where he had hidden $225 worth
of Mrs. Skidmore’s property,
according to testimony.
Cheltenham Crown Court
gave Peter Evans, 51, a two
year suspended sentence after
he pleaded guilty to burglary.
★★★★★★★★
doesn't happen again. But,
the future is of equal impor
tance to the Institute’s mis
sion. Affiliated with it is a
school for young film makers.
“To choose this as a profes
sion,” Stevens says, “a young
man has to be optimistic and
bold. There always was a
problem breaking into the
movies but now there’s so
much less to break into.”
One new young director the
AFI had nothing to do with is
Ron Honthaner. If the name
is familiar, you are an avid
reader of TV credits — he’s
been with Gunsmoke for six
years and is now that show’s
associate producer.
His first film is the soon-to
be-released black horror
movie, “The House on Skull
Mountain.” It was produced
by Gunsmoke’s publicity
director, Joe Hartsfield. He
wanted to make a movie.
Honthaner and some friends
had written a story. They all
got together Hartsfield
raised $200,000 (from black
businessmen in Georgia) and
they shot the film.
Quite a few Gunsmokers
were involved. It was shot in
Georgia in 12 days. There
were all kinds of problems,
problems with power and
painters and everything.
It’s that anomaly, a G-rated
film. Honthaner says it would
have been easy to throw in a
little violence, a little blood, a
little sex — “but we wanted a
film everybody could see.”
Now he’s back working on
Gunsmoke but they’ve prom
ised to let him direct a few of
those shows next season.
(NEWSPAPER ENTERPRISE ASSN >
deserves Lotsa Luck — all
bad.
Deborah Kerr came back
to Hollywood, and opened at
the Shubert Theater in a mild
little play called “The Day
after the Fair.” After the
opening, there was a party at
Jade West, and I had a reu
nion with the producer, an
old friend named Arthur
Cantor.
He has an interesting theo
ry about Broadway. This Los
Angeles stop for his play, he
said, was simply one stop on a
long tour — and Broadway is
another stop. He says that
New York these days is just
another place to go with a
tour.
Deborah Kerr said she
doesn’t want to go to New
York with the play — she
likes touring with the play,
but doesn’t want to have to
settle down in one place, like
New York, for a long run. I
don’t think she was much to
worry about.
Hollywood’s old guard
turned out to welcome the
very popular Miss Kerr back
to Hollywood — people like
Irene Dunne, Jack Oakie and
Jane Wyatt were there. Also
some of the new guard, like
Rock Hudson, who didn’t stay
long at the party — Rock only
drinks rum these days, and
the Jade West bar didn’t have
any.
One of Miss Kerr’s costars
in the play is a fine young
English actress named Vick
ery Turner, who is Mrs. War
ren Oates. Warren was there,
wearing a tuxedo in a non
tuxedo world, to beam
proudly at Vickery’s work.
Speaking of Rock Hudson,
as I was two paragraphs ago,
reminds me that there was a
sudden spate of gossip
around town when Rock and
Doris Day were sighted, din
ing together a few nights in a
row. But Rock hastens to say
this is not a sign of romance,
but of business. The two, old
friends and old costars, are
cooking up a movie together
(perhaps with their old
coworker, Tony Randall) and
the meetings were just to
work on details of that ven
ture.
(NEWSPAPER ENTERPRISE AS«N.)
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