. Bank rate and the money market in England, France, Germany, Holland, and Belgium, 1844-1900; . do-mestic theatres, will also appeal to theforeign audiences so essential to indus-try sustenance. Thus, the front contem-plated is not compressed within the bor-ders of continental United States, but willgirdle the globe. As this is posed in the straight eco-nomic approach, the industry by the samejuncture may easily prove to be a greatinternational force in driving home theblessings of the democratic way merelyby continuing to tell, always in a coatingof entertainment, the why, the where-fore and
. Bank rate and the money market in England, France, Germany, Holland, and Belgium, 1844-1900; . do-mestic theatres, will also appeal to theforeign audiences so essential to indus-try sustenance. Thus, the front contem-plated is not compressed within the bor-ders of continental United States, but willgirdle the globe. As this is posed in the straight eco-nomic approach, the industry by the samejuncture may easily prove to be a greatinternational force in driving home theblessings of the democratic way merelyby continuing to tell, always in a coatingof entertainment, the why, the where-fore and the how of the American more essential, no more potentiallysignificant development has ever stuckits head above the routine Hollywoodskyline. The opportunity is enormous, fraughtwith the most far-reaching consequencesfor world good and representative of thesort of task this industry, by the inher-ent characteristics of the medium in whichit deals, should undertake to do in duty-bound. BOXOFFICE BAROMETER THE BOX-OFFICE BAROMETER FOR 1939! GARY GRANT • VIGTOR MLAGLENDOUGLAS FAiRBANK. SAM JAFFE-EDUARDO CIANNELLMOAN FONTAINE PANDRO S. BERMAN IN CHARGE OF PRODUCTIONPRODUCED AND DIRECTED BY GEORGE STEVENS fnm a Story by BEN HECHT iml CHARLES MacARTHURInspired by RUDYARD KIPLINGS Poem Screen Play by Joel Soyre and Fred Guiol R K ORADIO f93^ An ^^jentj^ui Ije^A/i in Ji(HUjMMK9d By IVAN SPEAR VIEWING, in retrospect, industry de-velopments in the film capital dur-ing 1938, one must necessarily arriveat the conclusion that one of the mostimportant, and certainly the most im-pressive, features thereof viras, the rapidand precedental grovirth of liberalism—in varied quarters and with almost limit-less ramifications. This enhancement of democratic senti-ment reflected itself principally on twofronts: The recognition, support and coopera-tion that has bren won by such groups asthe Hollywood Anti-Nazi League and kin-dred organizations — the Motion PictureArtists, Committee, the
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