A Plan from George Sidney (1951) 🇺🇸
The possessor of one of Hollywood’s best records offers a thought for an interchange of ideas in the trade
by Paul Manning
Whether in an airliner high above the storm clouds, on a glittering set in Hollywood, or off in search of a Mississippi steamboat to play a part in his latest for MGM, Showboat director George Sidney thinks of only one thing, to make pictures that tell stories. Always in open competition with the $25,000 camera which grinds out the films he directs, Sidney, a camera enthusiast, never leaves his own tiny camera very far from reach. This active object has given the world some of the most interesting camera shots ever taken by an amateur photographer. Recently, while traveling along the Father of the Waters to find a side-wheeler to use in Showboat, he collected with his curious lens a masterful collection of photos which will soon be published by a leading national magazine.
George Sidney is one of the most affable fellows in Hollywood, and his office has always been a haven of interest for members of the fourth estate. His roundness of physical form is in sharp contrast to the pin points with which he spears his philosophy into discussions concerning the making of motion pictures. And were we to take any of the Sidney-directed pictures into our finder, we would all readily agree that these pin points were decidedly well-aimed. A few of these bullseyes have been Anchors Aweigh, The Harvey Girls, Holiday in Mexico, The Three Musketeers, and Annie Get Your Gun. With Showboat now being scored and edited, he is directing his attention to the filming of the classic Scaramouche.
The other day Sidney and I were lunching at Romanoff’s. Between tossing salads we tossed about a few pertinent ideas. He is an avid exhibitor fan, and I do mean that honestly. Coming from a family of theatrical people, his father being Louis K. Sidney who formerly managed several large New York houses and now holds a top studio executive position in Hollywood, he, naturally, was impressed at a very early age of the importance of the role played by the exhibitor in this business. He gave me a whale of an idea, which I am taking the opportunity of passing on to you, exhibitors of the nation. It is in connection with our Laurel Awards poll to choose the Top-Liners of 1950 in all branches of production. George Sidney has a solid entry in Annie Get Your Gun.
Says Sidney, “This Laurel Awards poll is a great piece of interindustry good will, and is deserving of every bit of stuff you can swing with its potential lever. Why don’t you gather together a group of exhibitors interested in meeting us Hollywood people on our home grounds for an open forum on what’s right or what’s wrong with the business as it stands today? When the results of the Laurel Awards poll are announced, you will have some of the top producers, directors, players, etc., on deck here in Hollywood for presentation of the plaques. What a wonderful opportunity of bringing here for this presentation those exhibitors who are the rightful backbone of the business for a real let-your-hair-down series of talks. Whether I am lucky enough to get in on these awards or not is not the point. The principal thought is to get these guys together in an atmosphere of achievement, in an atmosphere conducive to the formulation of plans for a bigger and better movie season.”
This, I say, is constructive thinking, loyal action. To George Sidney goes not only the thanks of this editor but also, I am sure, the thanks of every exhibitor. I, for one, would certainly root for this coffee-klatch in Hollywood. Let me know what you think… will ya?
The more I get to know this remarkable fellow, George Sidney, the more I am amazed at his all-around interest in this business. Most producers and directors are too wrapped up in their own limited bailiwicks to pay any attention to what goes on beyond the Hollywood city limits, with the possible exception of Palm Springs, Cal., or Las Vegas, Nev. So, when you meet people like Sidney, it causes you to stop and admire.
In closing, please take another look at the informal Sidney family group picture. I know that I don’t have to go to the bother of explaining that faces like those of the Sidneys, with their individual warm and wonderful expressions mean that here is not only ability, but, more important, humility, understanding and the true gospel of getting on with their fellow men. Whether they’re in Hollywood, Nome, or Timbuctu, the Sidneys will get along with the world. — P. M.
—
George Sidney smiles as his mother gets an affectionate welcome to the set of MGM’s Technicolor Showboat from Joe E. Brown. In the background are Howard Keel and the director’s father.
Sidney took this shot of a silhouetted river boat while locationing for his forthcoming Showboat.
Collection: Exhibitor Magazine (Studio Survey), February 1951