I am not going to spoil the story for you by telling you what happen: I have been hauled over the coals before by readers who like to be left in suspense about the climax of a picture. TIl just add that the bad girl of the school, Renee, turns blackmailer, gets cigarettes and drink from Susanne, rings the fire bells. starts a riot. The film ends on high lyrical note, the sort of thing es you feel warm towards world, and vives you "uplift ne doctor goes to Pondicherry, but doesn't languish there for long, alone The general course of the film is exactly the same in both d a certain number of long. are common property. The advantage, where the films do differ slightly on the side of the Englis version. The effect, I think, is main-
Profit-Searching Eye; Three Pictures Yearly Scheduled It Hollywood were suddenly taken over by a cold-blooded banker whose eye ran only to figures (the statistical kind, mind you) a little girl named Deanna Durbin would immediately become the apple of his profit-searching eye, writes Harold Heffernan to the "Oregonian."
In the matter of dollars and cents invested and returns paid on that investment, the 15-year-old Deanna pays back a greater proportionate profit to her studio than any other star in Hollywood! The youngster draws approximately $1,750 a week—or about $30,000 for each of the three pictures she is scheduled to make in a year. Figured on the basis of Hollywood salary scales, this is an extremely low figure for a personality whose box-office appeal i such that ner pictures bring bac couple of millions each.
Which brings us to the point of this essay: That in a great many instances the money paid to the glamour boys and girls of film town is all out of proportion to the amounts they return to their not always smart employers through the box offices of the world's treattes. A few are paid too little while dozens are "getting away with murder."
Several months ago a group of enraged exhibitors threw a bomb at Hollywood's head paymasters. In the form of paid advertisements in a widely-read trade magazine, they accused producers of foisting stars upon them who were out and out "rat poison" at their box offices.
This first blast against filmdom's sacred cows was aimed at stars whom the exhibitors considered were getting wages far out of proportion to their drawing ability. Among those listed were Mae West, Joan Craw. ford. Marlene Dietrich, Kay Franc Katharine Hepburn and Edward P. Arnold.
Text read from the printed page and cleaned; old type leaves the occasional error.