$5.99


This is an ORIGINAL 4" x 10" WARNER BROS. STUDIOS 11 page studio newsletter, dated October, 1960. It is OVER 57 YEARS OLD!!! This was a small newsletter sent out only to employees of the famed studios. It was an employee exclusive telling all the upcoming events at the studio at that time, called the:

WARNER BROS. RAMBLING REPORTER

It features on the cover the famous WARNER BROS. STUDIOS Aerial Photo image on the front. It was produced and given out to studio employees to let everyone know the news going on inside the studio. It's mostly one paragraph snips about each news item. No Photo images, but, it's a great WB studio ORIGINAL document right from Burbank.

What was making the news back in 1960 was:

ANGIE DICKINSON dressing fast for the set, DEBORAH KERR, PETER VIERTEL coming back to Hollywood soon, but is also rundown AUDREY HEPBURNS nun costume to be resused, HORST BUCHHOLZ completed Fanny, ANNE FRANCIS seeks audience identification, CLINT WALKER and his diet, DAVID KNAPP in PARRISH, JEAN HAGEN promotes in Europe, Shirley Knight's middle name, FILMS COMING SOON Announcement including: SUNRISE AT CAMPOBELLO, GIRL OF THE NIGHT, THE SUNDOWNERS, A FEVER IN THE BLOOD, DOROTHY PROVINE in an NBC series, JOHN BAER in BRONCO, GRANT WILLIAMS joins HAWAIIAN EYE, VAN WILLIAMS wife is expecting, BUGS BUNNY on PRIMETIME, EDD BYRNES moves to Beverly Hills, WILL HUTCHINS from SUGARFOOT to guest on MAVERICK, ROBERT BOB CONRAD puts his singing aside.

There is a small ad stating to watch on the ABC-TV Network these shows: MAVERICK, LAWMAN, THE CHEYENNE SHOW, SURFSIDE 6, THE BUGS BUNNY SHOW, HAWAIIAN EYE, 77 SUNSET STRIP, THE ROARING 20's.

Nice timeless Warner Bros item! DIRECT FROM THE STUDIOS, OVER 57 YEARS OLD!!!

MORE INFO ON WARNER BROS. Warner Bros. Entertainment, Inc., also known as Warner Bros. Pictures or simply Warner Bros. (the often-used Warner Brothers is incorrect, despite the fact that "bros." is an abbreviation of "brothers") is an American producer of film and television entertainment.

One of the major film studios, it is a subsidiary of Time Warner, with its headquarters in Burbank, California and New York City. Warner Bros. has several subsidiary companies, including Warner Bros. Studios, Warner Bros. Pictures, Warner Bros. Interactive Entertainment, Warner Bros. Television, Warner Bros. Animation, Warner Home Video, New Line Cinema, TheWB.com, and DC Comics. Warner owns half of The CW Television Network.

The corporate name honors the four founding Warner brothers (born Wonskolaser) Harry (born Hirsz), Albert (born Aaron), Sam (born Szmul), and Jack (born Itzhak), Jews who emigrated from Poland, which was at that time part of the Russian Empire, to Ontario, Canada. The three elder brothers began in the movie theatre business, having acquired a movie projector with which they showed films in the mining towns of Pennsylvania and Ohio. They opened their first theater, the Cascade, in New Castle, Pennsylvania in 1903. (The site of the Cascade is now the Cascade Center, a shopping, dining and entertainment complex honoring its Warner Bros. heritage.)

When this original theatre building in New Castle, Pennsylvania was in danger of being demolished, the modern Warner Bros. called the modern building owners, and arranged a 3 way even splitting of the cost of saving it, between the state, Warner Bros, and the modern owners. The owners noted the fact that they were taking phone calls fom all over the country in reference to the historical significance of the humble building that should be saved historically.

In 1904, the Warners founded the Pittsburgh-based Duquesne Amusement & Supply Company, to distribute films.

Within a few years this led to the distribution of pictures across a four-state area. In 1912, Harry Warner hired an auditor named Paul Ashley Chase. By the time of World War I they had begun producing films, and in 1918 the brothers opened the Warner Bros. studio on Sunset Boulevard in Hollywood. Sam and Jack Warner produced the pictures, while Harry and Albert Warner and their auditor and now controller Chase handled finance and distribution in New York City. It was during World War I and their first nationally syndicated film was My Four Years in Germany based on a popular book by former American Ambassador James W. Gerard. On April 4, 1923, with help from a loan given to Harry Warner by his banker Motley Flint, they formally incorporated as Warner Brothers Pictures, Incorporated. However, as late as the 1960s, Warner Bros. claimed 1905 as its founding date.

The first important deal for the company was the acquisition of the rights to Avery Hopwood's 1919 Broadway play, The Gold Diggers, from theatrical impresario David Belasco. However, what really put Warner Bros. on the Hollywood map was a dog, Rin Tin Tin, brought from France after World War I by an American soldier. Rin Tin Tin debuted in the short Where the North Begins. The short was so successful Jack Warner agreed to sign the dog to star in more short films for $1,000 per week. Rin Tin Tin became the top star at the studio. Jack Warner nicknamed him "The Mortgage Lifter" and the success boosted Darryl F. Zanuck's career. Zanuck eventually became a top producer for the studio and between 1928 and 1933 served as Jack Warner's right-hand man and executive producer, with responsibilities including the day-to-day production of films. More success came after Ernst Lubitsch was hired as head director;Harry Rapf left the studio and accepted an offer to work at MGM. Lubitsch's film The Marriage Circle was the studio's most successful film of 1924, and was on The New York Times best list for the year.

Despite the success of Rin Tin Tin and Lubitsch, Warners was still unable to achieve star power. As a result, Sam and Jack decided to offer Broadway actor John Barrymore the lead role in Beau Brummell. The film was so successful, Harry Warner agreed to sign Barrymore to a generous long-term contract; like The Marriage Circle, Beau Brummell was named one of the ten best films of the year by The New York Times. By the end of 1924, Warner Bros. was arguably the most successful independent studio in Hollywood, but it still competed with "The Big Three" Studios (First National, Paramount Pictures, and MGM). As a result, Harry Warner ? while speaking at a convention of 1,500 independent exhibitors in Milwaukee, Wisconsin ? was able to convince the filmmakers to spend $500,000 in newspaper advertising, and Harry saw this as an opportunity to finally be able to establish theaters in big cities like New York and Los Angeles.

As the studio prospered, it gained backing from Wall Street, and in 1924 Goldman Sachs arranged a major loan. With this new money, the Warners bought the pioneer Vitagraph Company which had a nation-wide distribution system. In 1925, Warners also experimented in radio, establishing a successful radio station, KFWB, in Los Angeles.

Warner Bros. was a pioneer of films with synchronized sound (then known as "talking pictures" or "talkies"). In 1925, at the urging of Sam, the Warners agreed to expand their operations by adding this feature to their productions. Harry, however, opposed it, famously wondering, "Who the hell wants to hear actors talk?" By February 1926, the studio suffered a reported net loss of $333,413.

After a long period of denying Sam's request for sound, Harry now agreed to accept Sam's demands, as long as the studio's use of synchronized sound was for background music purposes only. The Warners then signed a contract with the sound engineer company Western Electric and established Vitaphone. In 1926, Vitaphone began making films with music and effects tracks, most notably, in the feature Don Juan starring John Barrymore. The film was silent, but it featured a large number of Vitaphone shorts at the beginning. To hype Don Juan's release, Harry Warner also acquired the large Piccadilly Theater in Manhattan, New York and renamed it the Warner Theater.

Don Juan premiered at the Warner Theater in New York on August 6, 1926. Throughout the early history of film distribution, theater owners hired orchestras to attend film showings and provide soundtracks. Through Vitaphone, however, Warner Bros. produced eight Vitaphone shorts (which aired at the beginning of every showing of Don Juan across the country) in 1926, and got many film production companies to question the necessity. While Don Juan was a success at the box office, it did not earn back its production cost and Lubsitch left Warner for MGM. By April 1927, the Big Five studios (First National, Paramount, MGM, Universal, and Producers Distributing) had put the Warner brothers in financial ruin, and Western Electric renewed Warner's Vitaphone contract with terms that allowed other film companies to test sound.

As a result of the financial problems the studio was having, Warner Bros. took the next step and released The Jazz Singer starring Al Jolson. This movie, which has very little sound dialog but does feature sound segments of Jolson singing, was a sensation. It signaled the beginning of the era of "talking pictures" and the twilight of the silent era. However, as Sam died, the brothers were at his funeral and could not attend the premiere. Jack became sole head of production. Sam's death also had a great effect on Jack's emotional state, as Sam was arguably Jack's inspiration and favorite brother. In the years to come, Jack ran the studio with an iron fist. Firing of studio employees soon became his trademark. Among those whom Jack fired were Rin Tin Tin (in 1929) and Douglas Fairbanks, Jr. ? who had served as First National's top star since the brothers acquired the studio in 1928?in 1933.

Thanks to the success of The Jazz Singer, the studio was suddenly flush with cash. Jolson's next film for the company, The Singing Fool was also a success. With the success of these first talkies (The Jazz Singer, Lights of New York, The Singing Fool, and The Terror), Warner Bros. became one of the top studios in Hollywood and the brothers were now able to move out from the Poverty Row section of Hollywood and acquire a big studio in Burbank, California. They were also able to expand studio operations by acquiring the Stanley Corporation, a major theater chain. This gave them a share in rival First National Pictures, of which Stanley owned one-third. In a bidding war with William Fox, Warner Bros. bought more First National shares on September 13, 1928; Jack Warner also appointed producer Darryl Zanuck as the studio's manager of First National Pictures.

In 1929, Warner Bros. also bought the St. Louis-based theater chain Skouras Brothers. Following this take-over, Spyros Skouras, the driving force of the chain, became general manager of the Warner Brothers Theater Circuit in America. He worked successfully in that post for two years and managed to eliminate the losses and eventually even increase the profits. This was a welcome gain given the financial hardships occasioned by the Great Depression.

In addition, Harry Warner was also able to acquire a string of music publishers and form Warner Bros. Music. In April 1930, the Warner Bros. acquired Brunswick Records. Harry also obtained a string of radio companies, foreign sound patents, and even a lithograph company. After establishing Warner Bros. Music, Harry appointed his son, Lewis, to serve as the company's head manager.

In 1929, Harry was also able to produce an adaptation of a Cole Porter musical titled Fifty Million Frenchmen. Through First National, the studio's profit increased substantially. After the success of the studio's 1929 First National film Noah's Ark, Harry also agreed to make Michael Curtiz a major director at the Burbank studio. Mort Blumenstock, a First National screenwriter, became a top writer at the brothers' New York headquarters.

In the third quarter of 1929, Warner Bros. gained complete control of First National, when Harry purchased the company's remaining one-third share from Fox. The Justice Department agreed to allow the purchase if First National was maintained as a separate company. When the Great Depression hit, Warner asked for and got permission to merge the two studios; soon afterward Warner Bros. moved to the First National lot in Burbank. Though the companies merged, the Justice Department required Warner to produce and release a few films each year under the First National name until 1938. For 30 years, certain Warner productions were identified (mainly for tax purposes) as 'A Warner Bros. First National Picture.'

In the latter part of 1929, Jack Warner hired sixty-one year old actor George Arliss to star in Disraeli, which was a surprise success. Arliss won an Academy Award for Best Actor and went on to star in nine more movies with the studio. In 1930, Harry acquired more theaters in Atlantic City, despite the beginning of the Great Depression. In July 1930, the studio's banker, Motley Flint, was murdered by a disgruntled investor in another company.

By 1931, however, the studio began to feel the effects of the Depression as the general public became unable to afford the price of a movie tickets. In 1931, the studio reportedly suffered a net loss of $8 million, and an additional $14 million the following year. In 1931, Warner Bros. Music head Lewis Warner died from an infection.

Around that time, Warner Bros. head producer Darryl Zanuck hired screenwriter Wilson Mizner. While at the studio, Mizner had hardly any respect for authority and found it difficult to work with studio boss Jack Warner, but nevertheless became a valuable asset. As time went by, Warner became more tolerant of Mizner and helped invest in Mizner's Brown Derby restaurant. On April 3, 1933, Mizner died from a heart attack.

In 1928, Warner Bros. released Lights of New York, the first all-talking feature. Due to its success, the movie industry converted entirely to sound almost overnight. By the end of 1929, all the major studios were exclusively making sound films. In 1929, National Pictures released their first film with Warner Bros., Noah's Ark. Despite its expensive budget, Noah's Ark was profitable. In 1929, Warner Bros. released On with the Show, the first all-color all-talking feature. This was followed by Gold Diggers of Broadway which was so popular it played in theatres until 1939. The success of these two color pictures caused a color revolution (just as the first all-talkie had created one for talkies). Warner Bros. released a large number of color films from 1929 to 1931, including The Show of Shows (1929), Sally (1929), Bright Lights (1930), Golden Dawn (1930), Hold Everything (1930), Song of the Flame (1930), Song of the West (1930), The Life of the Party (1930), Sweet Kitty Bellairs (1930), Under A Texas Moon (1930), Bride of the Regiment (1930), Viennese Nights (1931), Woman Hungry (1931), Kiss Me Again (1931), Fifty Million Frenchmen (1931), and Manhattan Parade (1932). In addition to these, scores of features were released with Technicolor sequences as well as a numerous variety of short subjects. The majority of these color films were musicals.

Three years later, the audience had grown so tired of musicals, the studio was forced to cut the musical numbers of many of the productions and advertise them as straight comedies. The public had begun to associate musicals with color and thus the movie studios began to abandon its use. Warner Bros. had a contract with Technicolor to produce two more pictures in that process. As a result, the first mysteries in color were produced and released by the studio: Doctor X (1932) and Mystery of the Wax Museum (1933). In the latter part of 1931, Harry Warner rented the Teddington Studios in London, England. The studio focused on making films for the London market, and Irving Asher was appointed as the studio's head producer. In 1934, Harry Warner officially purchased the Teddington Studios.

In February 1933, however, Warner Bros. produced 42nd Street, a very successful musical that saved the company from bankruptcy. In the wake of 42nd Street's success, the studio produced further profitable musicals. These starred Ruby Keeler and Dick Powell and were mostly directed by Busby Berkeley. In 1935, the revival suffered a major blow when Berkeley was arrested after killing three people while driving drunk. By the end of the year, people again tired of Warner Bros. musicals, and the studio after the huge profits made by the 1935 film Captain Blood shifted its focus on producing Errol Flynn swashbucklers.

With the collapse of the market for musicals, Warner Bros., under production head Darryl F. Zanuck, turned to more socially realistic storylines, "torn from the headlines" pictures some said glorified gangsters; Warner Bros. soon became known as a "gangster studio". The studio's first gangster film, Little Caesar, was a great box office success and Edward G. Robinson was a star in many of the subsequent wave of Warner gangster films. The studio's next gangster film, The Public Enemy, made James Cagney arguably the studio's new top star, and Warner Bros. was now convinced to make more gangster films.

Another gangster film the studio produced was the critically acclaimed I Am a Fugitive from a Chain Gang, based on a true story and starring Paul Muni. In addition to Cagney and Robinson, Muni was also given a big push as one the studio's top gangster stars after appearing in the successful film, which got audiences to question the legal system in the United States. By January 1933, the film's protagonist Robert Elliot Burns who was still imprisoned in New Jersey and a number of different chain gang prisoners nationwide in the United States were able to appeal and were released. In January 1933, Georgia chain gang warden J. Harold Hardy who was also made into a character in the film sued the studio for displaying "vicious, untrue and false attacks" against him in the film. After appearing in the film The Man Who Played God, Bette Davis became a top star for the studio.

In 1933, relief for the studio came after Franklin D. Roosevelt became president and was able to stimulate the economy with the New Deal; because of this economic rebound, Warner Bros. again became profitable. The same year, long time head producer Darryl F. Zanuck quit. One reason was Harry Warner's relationship with Zanuck had become strained after Harry strongly opposed allowing Zanuck's film Baby Face to step outside Hays Code boundaries. Also, the studio reduced Zanuck's salary as a result of the losses as a result of the Great Depression, and Harry continued to refuse to restore it in the wake of the New Deal's rebound. Zanuck resigned and established his own company. In the wake of Zanuck's resignation, Harry Warner agreed to again raise the salary for studio employees.

In 1933, Warner was able to bring newspaper tycoon William Randolph Hearst's Cosmopolitan films into the Warner Bros. fold. Hearst had previously been signed with MGM, but ended the relationship after a dispute with the company's head producer Irving Thalberg over the treatment of Marion Davies; Davies was a longtime mistress of Hearst and was struggling for box office success. Through his partnership with Hearst, Warner was able to sign Davies to a studio contract. Hearst's company and Davies' films, however, could not increase the studio's profits. In The 1998 Warner Bros Pictures logo The Warner Bros Studios In Burbank CA is tinted gold and then the WB shield appears on the sky background.

In 1934, the studio lost over $2.5 million, of which $500,000 was the result of a fire at the Burbank studio at the end of 1934, destroying 20 years worth of early Vitagraph, Warner Bros., and First National films. The following year, Hearst's film adaption of William Shakespeare's A Midsummer Night's Dream failed at the box office and the studio's net loss increased. During this time, Warner Bros. President Harry Warner and six other movie studio figures were indicted of conspiracy to violate the Sherman Antitrust Act, through an attempt to gain a monopoly over theaters in the St Louis area. In 1935, Harry was put on trial; after a mistrial, Harry sold the company's movie theaters, at least for a short time, and the case was never reopened. 1935 also saw the studio rebound with a net profit of $674,158.00.

By 1936, contracts of musical and silent stars were not renewed and new talent, tough-talking, working-class types, were hired who more suitably fit in with these sort of pictures. Stars such as Dorothy Mackaill, Bebe Daniels, Frank Fay, Winnie Lightner, Bernice Claire, Alexander Gray, Alice White, and Jack Mulhall that had characterized the urban, modern, and sophisticated attitude of the 1920s gave way to stars such James Cagney, Joan Blondell, Edward G. Robinson, Warren William, and Barbara Stanwyck who would be more acceptable to the common man.

The studio was one of the most prolific producers of Pre-Code pictures and had a lot of trouble with the censors once they started clamping down on what they considered indecency (around 1934). As a result, Warner Bros. turned out a number of historical pictures from around 1935 in order to avoid confrontations with the Breen office. In 1936, following the success of The Petrified Forest, Jack Warner also signed Humphrey Bogart to a studio contract. Warner, however, did not think Bogart was star material, and decided to only cast Bogart in infrequent roles as a villain opposite either James Cagney or Edward Robinson over the next five years.

After Hal B. Wallis succeeded Zanuck in and the Hays Code began to be enforced in 1935, the studio was forced to abandon this realistic approach in order to produce more moralistic, idealized pictures. The studio naturally turned to historical dramas which would not cause any problems with the censors. Other offerings included melodramas (or "women's pictures"), swashbucklers, and adaptations of best-sellers, with stars like Bette Davis, Olivia de Havilland, Paul Muni, and Errol Flynn. In 1936, Bette Davis, by now arguably the studio's top star, was unhappy with the roles Warner was giving her. She fled to England and tried to break her contract with Warner Bros. Davis lost the lawsuit and soon returned to America. Although many of the studio's employees had problems with Jack Warner, they considered Albert and Harry fair.

This period also saw the disappearance of a large number of actors and actresses who had characterized the realistic pre-Code era but who were not suited to the new trend into moral and idealized pictures. Warner Bros. remained a top studio in Hollywood since the dawn of talkies, but this changed after 1935 as other studios, notably MGM, quickly overshadowed the prestige and glamor that previously characterized Warner Bros. However, in the late 1930s, Bette Davis became the studio's top draw and was even dubbed as "The Fifth Warner Brother."

In 1935, Cagney sued Jack Warner for breach of contract. Cagney claimed Warner had forced him to star in more films than his contract required. Cagney eventually dropped his lawsuit after a cash settlement. Nevertheless, Cagney left the studio to establish an independent film company with his brother Bill. The Cagneys released their films though Grand National Films, however they were not able to get good financing for their productions and ran out of money after their third film. Cagney then agreed to return to Warner Bros., after Jack Warner agreed to a contract guaranteeing Cagney would be treated to his own terms. After the success of Yankee Doodle Dandy at the box office, Cagney again questioned if the studio would meet his salary demand and again quit to form his own film production and distribution company with his brother Bill.

Another employee with whom Warner had troubles was studio producer Bryan Foy. In 1936, Wallis hired Foy as a producer for the studio's low budget B-films leading to his nickname "the keeper of the B's". Foy was able to garnish arguably more profits than any other B-film producer at the time. During Foy's time at the studio, however, Warner fired him seven different times.

During 1936, the studio's film The Story of Louis Pasteur proved a box office success and Paul Muni, the film's star, won the Oscar for Best Actor in March 1937. The studio's 1937 film The Life of Emile Zola gave the studio its first Best Picture Oscar.

In 1937, the studio hired Midwestern radio announcer Ronald Reagan. Although Reagan was initially a small-time B-film actor, Warner Bros. was impressed by his performance in the final scene of Knute Rockne, All American, and agreed to pair him with Errol Flynn in their film Santa Fe Trail (1940). Reagan then returned to B-films.

This item is part of Backlot Movie Memorabilia and collectibles in-store inventory from our shop which is located in the heart of Hollywood, where we have been in business for OVER 40 years!!!

WARNER BROS Studio DOCUMENT Angie Dickinson DEBORAH KERR Anne Francis EDD BYRNES
Item #BMM0004257