Hollywood always loves a good war: Movies mobilize the public -- for a profit Final Edition

[Leo Rosten], however, was not convinced of Hollywood's fiscal or creative health and suggested that such social forces as "trade unionism, collective bargaining, the revolt of independent theatre owners, the trend toward increased taxation, the strangulation of the foreign market and a sc...

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Bibliographic Details
Published inThe Ottawa citizen (1986)
Main Author Katherine Monk, Compiled Katherine Monk
Format Newspaper Article
LanguageEnglish
Published Ottawa, Ont Postmedia Network Inc 21.01.2002
Subjects
VANCOUVER
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Summary:[Leo Rosten], however, was not convinced of Hollywood's fiscal or creative health and suggested that such social forces as "trade unionism, collective bargaining, the revolt of independent theatre owners, the trend toward increased taxation, the strangulation of the foreign market and a score of frontal attacks on the citadels of the screen" would prove Hollywood's undoing. For a time, Rosten was celebrated as a soothsayer as Hollywood's overseas revenues declined in the wake of Europe's fall to Axis powers. By the mid point of 1941, Britain was Hollywood's last standing trans-Atlantic customer and things began to look rather bleak for the movie moguls. Among the big, flag-waving weepies to emerge at the time were such hand-over-heart efforts as Action in the North Atlantic (1943), Crash Dive (1943), Five Graves to Cairo (1943), The Immortal Battalion (1943), The Immortal Sergeant (1943), Mr. Winkle Goes to War (1944), Sahara (1943), Air Force (1943), Bataan (1943), Fighting Seebees (1944), Guadalcanal Diary (1943), Objective, Burma! (1945) and So Proudly We Hail (1943).
ISSN:0839-3222