Meet Compton Bennett — Film Director (1950) 🇺🇸
Compton Bennett, the British director, whose latest film, “King Solomon’s Mines”, will be released shortly by MGM, was brought to Hollywood in 1946 when it was discovered that the first full-length feature film he had ever made, “The Seventh Veil,” was becoming one of the most successful and profitable films Britain had ever turned out.
by Paul Manning
This film hyped the growing popularity of British films in this country, introduced James Mason, and created a great demand for the services of Bennett in Hollywood.
Bennett was born in England in 1900. He worked at difficult jobs, served in World War I as a signaller, and was honorably discharged in 1919. His first contact with show business was when he organized a dance band a few years after the war. From this he studied advertising and art work, and his prime interest became centered on the 16 mm. camera which he and a friend purchased. They did such enthusiastic work with this small camera that their film subjects were sought after by the British film studios.
Bennett was the jack of all trades, as was required by every shoe-string outfit in those early days. He wrote, acted in, and directed these miniature pictures. As a result of this effort, he was given a permanent berth with a leading film studio, and worked for Alexander Korda of London Films for almost 10 years. Leaving Korda, he went to the Denham Studios. In 1943, Sidney Box asked Bennett if he would like to direct semi-documentary for him. Bennett jumped at the chance, and came through in such fine style that a short time later Box offered Bennett the director’s berth on The Seventh Veil. This was the rocket ship which carried Bennett to his great international success.
Brought to Hollywood by Paramount, he directed My Own True Love, with Phyllis Calvert and Melvyn Douglas. MGM then called on his talents for That Forsyte Woman and the soon-to-be-released King Solomon’s Mines.
Even though Compton Bennett could elect to work permanently in Hollywood should he choose, he would rather hop about the globe making pictures. Every different country has different approach to films, and the blending of all these elements have present distinct advantages to the director who will study them, and use them toward making his films along universal appeal lines. — P. M.
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Good Things to come from Hollywood… “Mister 880”
20th-Fox’s “Mister 880” is headed for that old bull’s eye, dead center. This simple story, right out of the Treasury files, about the loveable counterfeiter who made phoney $1 bills is a sure fire hit.
by Paul Manning
Credit that great character actor, Edmund Gwenn, with another smash as big as his Miracle on 34th Street. Also credit Burt Lancaster and Dorothy McGuire with top support. The direction of Edmund Goulding, the production of Julian Blaustein, and the brilliant screen play of Robert Riskin leave absolutely nothing to be desired.
Should there appear an occasional lead nickel, quarter, or even a $1 bill as phoney as the ones manufactured by Mister 880, the grosses racked up by this little gem will still make thousands of happy exhibitors. Here is the sort of film fare which every type of audience is crying for. Be sure to hop on this Mister 880 gravy train, and head for the tall “sugar” cane country.— P. M.
Edmund Gwenn, upper left, portrays a gentle old counterfeiter in 20th-Fox’s Mister 880, and at upper right he is pictured in a scene from the film with Dorothy McGuire, and Burt Lancaster, in the role of a government agent. Based on a story in The New Yorker, the picture was produced by Julian Blaustein, lower left, and directed by Edmund Goulding, lower right.
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Schwalb Producing for Mono
Hollywood — Steve Broidy, president, Monogram, announced last week the selection of Ben Schwalb to produce Blue Blood, Cinecolor special that originally was on the production slate of the late Jeffrey Bernerd.
Schwalb will continue to function in his regular duties as liaison between the studio producers and Broidy.
A veteran of more than 25 years in the business, Schwalb has produced at Paramount, Columbia, PRC, and Liberty Films. At PRC he served as executive producer as well as general manager before that company’s merger with Eagle Lion.
He also was general manager and executive assistant to Sam Briskin for Liberty.
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Lex “Tarzan” Barker recently arrived in New York City from a six-week location safari for RKO’s Tarzan’s Peril, the latest series entry.
Collection: Exhibitor Magazine (Studio Survey), September 1950