William Dieterle — Never Underrate Them (1951) 🇺🇸
William Dieterle, with a record of hits, knows that exhibitors have the ability to determine their audience’s requirements
by Paul Manning
Probably one of the main reasons why William Dieterle stands so high in the exhibitors’ esteem is the simple fact that he does not underrate the theatre owners’ ability to determine audience requirements. When we spoke to Dieterle recently regarding his views toward the “other side of the fence”, the exhibition field, he told us that independent theatre operators and circuit buyers formed a sort of Gallup Poll as far as he was concerned.
“I am certain the improvement in motion picture production quality in the past year is due to exhibitor demands. The key to box-office success is in the time-worn word we often consider a cliche, quality. I have discussed production with more than a score of operators during the past year, and all say the same thing, ‘not so many pictures, but give us more with taste and adult appeal’. They all say they want the type of product that will merit longer runs in their houses. When the retailer requests a certain type of merchandise, it’ is up to the manufacturer to provide a saleable commodity for him. I think we on the production end are now giving the retailer a product he can readily sell to the consumer.”
Dieterle, for many years, has been giving the exhibitor box-office pictures, all with the stamp of quality. His The Story of Louis Pasteur, The Life of Emile Zola, Love Letters, The Hunchback of Notre Dame, and Rope of Sand were artistic as well as financial successes.
Dieterle recently made his first move into the exploitation type of picture by directing Boots Malone, an expose of behind-the-scenes activities of a racetrack, following this up with This is Dynamite, at Paramount, an honest evaluation of crime in America today.
His switch to exploitation pictures was caused by the exhibitor’s request that he be given a timely product. Other media of information, newspapers, television, and radio have made the public acutely news-conscious, thereby creating the demand for exciting contemporary subjects, opines Dieterle.
“Interesting, however, is the requirement of the ‘specialized house’,” the director reminded us. “Although these so-called ‘art’ outlets only provide a minimum of playdates, they are important sources of film revenue in the metropolitan areas of the nation. There appears to be a great demand for products for these houses, and I hope to help to provide some worthwhile releases. This year, my first picture of this type, Volcano, will be released in this country. It’s an unusual story against a beautiful background, and once more brings the great Italian actress, Anna Magnani, before the audiences of this country.”
Although William Dieterle has spent most of his career making films for the major companies, he predicts the exhibitor may expect much of his pictures from the independents in the months ahead. He believes the urge of important motion picture artists to enter the independent field inevitably will result in a boom for this type of production activity. He points out that John Huston, Mark Robson, Billy Wilder, Irving Rapper, Alfred Hitchcock, and many others have now allied themselves, with independent production, thus guaranteeing a more active market for unusual films.
Dieterle says there is a marked demand for pictures with unusual backgrounds. “Look at the current production schedules and you’ll notice a global plan of production,” he said. “I intend to make at least one picture abroad next year, having filmed two productions in Italy in 1950 and 1951. Getting away from the four walls of the studio sound stage into the open where the audiences can find excitement in new surroundings is a procedure that often provides foolproof entertainment.”
Last year, the director made September Affair in and about Capri. It proves his point that interesting backgrounds can increase the entertainment value of motion pictures. Although many of his films get Academy Award recognition, Dieterle does not make his films for the people in the motion picture industry. He does not concur either with the platitude that inferior products appeal to small town audiences.
“Rural patronage often can be as sophisticated as that of the big city,” he continued. “The ‘pat’ situations and dialogue often annoy the small town audiences as much as they do the most jaded of New York theatregoers. Any exhibitor will tell you not to underestimate the I.Q. of an audience. Although basic adventure stories and comedies are still in demand, the highly intelligent motion pictures will pull in just as many customers, if all other box-office ingredients are equal.”
William Dieterle goes to the bat three times during the next 12 months to prove his point that the exhibitor knows his market. If past performance is any indication, his modus operandi will succeed again. — P. M.
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Taking time out for coffee during a lull in the shooting of Columbia’s forthcoming Boots Malone, on location in Mexico City, Dieterle talks things over with actor William Holden, starred in the film.
Dieterle directs the cameramen on the set of Paramount’s forthcoming This is Dynamite.
Collection: Exhibitor Magazine (Studio Survey), October 1951
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