George Hirliman Among Hollywood’s Most Prolific and Able Producers (1936) 🇺🇸
The time-worn phrase, “quantity without quality,” loses its import when mention is made of George Hirliman, for here is a man who, within the short space of two years, has carved a considerable niche for himself in this fabulous fairyland, Hollywood.
Presented by David J. Hanna
His product is almost double that of even the most facile producers, he works on no million-dollar budgets, he has no long list of players, directors, writers and technicians under contract, yet his keen knowledge of showmanship and understanding of public reaction is evidenced in every film bearing the Hirliman name.
It is true that none of his films have earned fame as box-office “knockouts,” but practically every one has been of a high standard for independent production. Hirliman is a believer in consistency, a virtue that is most valuable in the commercial-artistic business of making motion pictures. Without some fair degree of this asset, even the most brilliant of the producers may be responsible for several consecutive flops and find themselves on the well-known rocks.
Today Hirliman is perhaps best known as the producer of the George O’Brien Westerns. In landing this star, he won the most valued hoss opera player in the world, for none have maintained the consistent appeal that has been O’Brien’s. Including the 16 Westerns featuring this star, the prolific Hirliman will produce a total of 36 features during 1937!
His recent alignment with the Van Bueren and M. H. Hoffman interests will bring the varied Hirliman interests into a more compact organization. Under the name of Condor Pictures, the new combination will absorb the producer’s programs for Grand National and RKO releases, as well as his Metropolitan productions. E. H. Buckman, a Chicago banking firm, is behind Condor Pictures, which is capitalized at $2,500,000. Hirliman is president, and Albert H. Iberman, treasurer.
Their first production will hit the cameras sometime in January and will be a Grand National release. Based on the Anne Morrison Chapin story, “Love Takes Flight,” it will boast an all-star cast. The production will be filmed in Hirliman’s own color process known as “Hirlicolor.” Conrad Nagel will direct, this being the actor’s first megaphone assignment. No members of the cast have been announced but the Studio currently is negotiating with several top box-office names for the leads.
“Numerous of our productions cannot be announced as yet,” said Mr. Hirliman, “because in 1937 many of them will have news angle stories. And because the trend of news is ever-changing, it would hardly be possible to imagine our entire next season’s output now. The headline is still the best form of exploitation, and if we can find or create sufficient dramatic interest in any news-worthy story, it will be filmed. Roughly, our program of three dozen pictures will be divided as follows: For Grand National release, eight pictures starring Conrad Nagel and Eleanor Hunt, and eight color pictures. These will be the “specials” of the season, having all-star casts and will be filmed entirely in Hirlicolor. For RKO there will be the usual program of sixteen Western stories starring George O’Brien. At the present time, the remaining four are merely numbers.”
It is interesting to note that although film production in Hollywood has mounted to its highest point in motion picture history, one phase of picture-making has steadily declined, until, today, the making of Spanish versions for international release is in the hands of one man, our interviewee of the week. Four or five years ago practically every major Studio had a commitment of Spanish versions of its English pictures. But one by one, they gave up the fight. Independents now and then blossom forth with a Spanish speaking piece, but soon pass back into the oblivion from which they came. But Hirliman finds it a most lucrative field and the newly-formed Condor Pictures will continue to produce pictures for the Spanish speaking people.
“It’s strange, though,” remarked Mr. Hirliman, “this catering to Latin tastes. Quite the contrary of American films, except for gangster stories, which fill the house every night. But for instance, a good bloody, thundering adventure yarn must have rollicking music as well as colorful romance. American Westerns they dislike. Since their own Pampas workers are quiet, easy-going peasants, it is difficult for them to visualize the American cowboy. They consider them ridiculous. In South America the likes and dislikes of the nations of themselves are varied, in that the people of Paraguay will tolerate little that has to do with Brazil, nor do those of Argentine care to see anything of the Chileans.
“Several pictures on our next season’s program,” continued the producer, “will be filmed in Spanish. “Love Takes Flight” will have a Latin version and will be released through MGM. Some of the color musicals on the Grand National schedule will also have Spanish versions.”
Hirliman’s contract list is small. George O’Brien, Eleanor Hunt and Vince Barnett comprise the artists’ list. Megaphoners are Ewing Scott, Louis Gasnier [Louis J. Gasnier] and David Howard. On the writing staff are David Levy, Dan Jarett and Ewing Scott.
Like every newcomer to the motion picture industry, Condor Pictures will have to battle for its existence. Not financially perhaps, since there seems to be plenty of money behind the corporation, but like anything new, it must first establish itself before the industry accepts it. However, we feel that with George Hirliman at the helm, it has a better than even chance to succeed. His record proves he has succeeded, not in the easy role of a seat-warming producer in a major studio but in the more difficult role of the ever-bandied “Indie.” With skimpy budgets, pictures usually sans top flight box-office names, hastily written scripts and a too brief period before the camera, Hirliman has made money for the exhibitors, his distributors and himself.
Now, with a fresh influx of capital, some competent assistance from his new associates and his own aims and ability, our Mr. Hirliman may realize his ambition to produce real “specials” with outstanding talent working under him.
This man has imagination, vision and a keen knowledge of box-office values. The end of the new year should rind him very firmly entrenched as one of the most dependable men in production.
Collection: Independent Exhibitors Film Bulletin, December 1936