Meet Henry King — Director (1950) 🇺🇸
Actor, producer, writer, director, and what have you in some of the finest motion pictures made, Henry King ranks as one of the top all-around movie men of the day.
by Paul Manning
Seventh Heaven, State Fair, Lloyd’s of London, In Old Chicago, The Song of Bernadette, Wilson, A Bell for Adano, Prince of Foxes, Twelve O’Clock High, and many other outstanding pictures including the forthcoming 20th Century-Fox films, “I’d Climb the Highest Mountain” and the Biblical story of David and Bathsheba, attest to his ability.
“The Flying King,” as he is sometimes called, pilots his own Waco cabin plane about the country to his many distant locations. These flights, usually made solo, give him time to gather his thoughts, and clarify his shooting plans. He has made many trips visiting exhibitors, exchange managers, and practically every element of show business. These visits allow him to reach into the minds of those people, closer to the public pulse, than Hollywood can possibly get. They are always casual and informative, without a great degree of fanfare.
On the sound stages, Henry King never has been known to “act up” as millions of laymen have come to regard the average Hollywood director. His orders to start or stop a particular scene are delivered with a quiet but authoritative voice. Actors working with him have found him to be extremely clear about the feeling of the picture, and what is expected and hoped for in each individual performance. Thus he is able to maintain a keen sense of story appreciation from his players, and thereby is explained the sterling quality of the finished product.
Even though he does not believe in promiscuous praise, he is always the first to say “well done” or “bravo” after some exceptional effort. Honest and sincere reflections of worthy achievements are what makes show business the great institution it is, claims King. “Give credit where credit is due” is the general attitude on a King set. And that goes for everyone from the prop boy to the stars of the show. He seldom argues with anyone, firm in the belief that the other fellow may be right. A lively discussion will find an interesting audience in King, but unless he feels that he is well qualified to enter the discussion, he remains on the sidelines, enjoying the truly democratic exchange of thoughts and ideals. This is Henry King, 20th Century-Fox ace director. — P. M.
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Good Things to Come from Hollywood… Harvey
by Paul Manning
Universal-International’s Harvey is the most delightfully pixillated bit of whimsical humor of the movie season. If ever the “wabbit” world desires to establish better relations with us humans, it could select no better press agent than Harvey, giant member of the furry, pink-eyed clan. Harvey and all its wonderful rollicking complications will set just right with the world. Jimmy Stewart fits like a motorman’s glove. Josephine Hull and Jesse White reenact their stage roles with devastating effect, devastating on the laugh muscles that is! The entire cast glistens, and “merry goes the movie.” Director Henry Koster and producer John Beck have made the movie better than the smash hit play. See if I’m not right. The oil portrait of Harvey shown in the picture may not be as artistically great as Bill Goetz’s widely discussed Van Gogh but, take it from me, it will undoubtedly wind up in higher favor with exhibitors, and, most important of all, Johnny Q. Public. — P. M.
Two of the many amusing moments in U-I’s Harvey come when, left, Josephine Hull shows Cecil Kellaway the painting of her brother, James Stewart, and his inseparable companion, Harvey, and when Stewart attempts to introduce his invisible rabbit pal to dowager Grace Mills while Miss Hull and Victoria Horne look on with apprehension at the droll proceedings.
Henry Koster, left, directed U-I’s screen version of the prize-winning Broadway hit, Harvey, and John Beck, right, produced it. Release of the film is slated during the Christmas season.
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Schwarz Completes Korean Film
Hollywood — Jack Schwarz Productions, alert producer of timely exploitation pictures, recently completed actual shooting on the first Korean battle feature picture to reach the screen. The film, “Korean Patrol,” deals with the U. S. Military Advisory Mission to South Korea on patrol when the North Korean Red invasion breaks loose. Planned for release before the end of this year, this will be the first Hollywood motion picture with a Korean struggle background. A strong national exploitation campaign is being mapped out by Eagle Lion Classics.
A former exhibitor, Schwarz has concentrated his Hollywood production activities on motion pictures which offer top grade exploitation angles. This program has been well received by exhibitors with an eye toward timeliness of release. With the distinct added advantage of international headlines constantly dealing with the Korean conflict and the ensuing ramifications, Korean Patrol seems destined to hit sizeable grosses.
Collection: Exhibitor Magazine (Studio Survey), November 1950