CHANGED TITLES.

New Zealand Herald, Volume LXIX, Issue 21159, 16 April 1932, Page 11 (Supplement)

CHANGED TITLES.

FILM DIRECTORS* WHIMS. THEORIES OF PUBLIC TASTE. SOME CLASSIC EXAMPLES. The changing of the title of "Carmen to " Gipsy Blood " recalls the many alterations names of books and plays have undergone when brought to the scieen. Producers maintain that the title of a picture is of such importance that a good one increases the monetary value of the production 25 per cent. It is explained that the principal reasons for title changes of stories are brevity, clarity and to attract attention. Two of the most favoured words in film names are "love" and " sin." Classic examples of title alterations are those of the old silent film days. Sir James M. Barrie's play, " The Admirable Crichton," became " Male and Female," because it was thought that in the first place the majority of film-goers would imagine that the original title referred to a naval yarn, and it was also doubtful if many would be able to pronounce the last name. Then there is " Annie Laurie, a special film tale, which was presented under that caption at the Embassy several years ago, but after it left Broadway was known as " The Ladies From Hell," as the kilted soldiers were dubbed during the war. " Hell "is another popular word in motion picture appellations and the joining of " ladies " with it made it attractive to those who probably imagined they were going to behold something quite different from old-time battles between Scottish clans.

Talbot Mundy's title, " King of the Khyber Rifles," did not meet with the approval of the studio experts. It was argued that people would not want to see a picture with a king in it, and who had heard of the Khyber Pass, let alone the regiment ? So after several conferences Mr. Mundy's tale emerged as " The Black Watch," which may not have meant much more than the original caption to thousands. Perhaps some thought that it was a theme built round a timepiece, while others regarded it as a narrative of a vigil or a wake. For several days Samuel Goldwyn was hesitant about releasing the film conception of the play, " The Dark Angel," under that title, as it might spell a chronicle of death to patrons of the cinema. After many titles had been suggested in its place, Mr. Goldwyn finally decided to risk putting the film out under the author's original heading. Met ro-Goldwyn-Mayer officials agreed that the title " Anna Karenina ' was not sufficiently lustrous for a film of the Tolstoy work and they therefore called their production Love." Jacob Wassermann's novel, "The Wife of felephen

Tromholt," was known in film form as " Wonder of Women," and Hermann Sudermann's book, " The Undying Past," reached the cinpmas as " Flesh and the Devil." The film version of the novel, " The House of Troy," blossomed forth in pictorial state as " In Gay Madrid." The appellation of Ferenc Molnar's play, " The Swan," was deemed to bo more than a triflo enigmatic and therefore the picture of it boro the gilt-edged title of " One Romantic Night." Rida Johnson Young's narrative, " Out of tlie Night," was changed to " liell Harbour." " The Beachcomber," by Mildred Crain, not as yet released by Paramount, underwent a rather interesting change in name when it was filmed, for it was called " Sinners in the Sun."

When Universal filmed Tolstoy's " Resurrection " the sales force wanted another title for the picture. Carl Laemmle, Universal's president, sent letters to cinema critics all over the country asking them for their opinion concerning the advisabilit of changing it, and the majority of those who replied urged him to stick to the original title. " Strangers in Love " has been chosen for the Paramount production featuring Fredrick March and Kay Francis, which was filmed under the titles " The Black Robe " and " Intimate." " The Girl in Headlines " has replaced " The Man Who Had No Private Life " as the final title of the Paramount picture that will introduce Sari Maritza to the screen, and George Bancroft's next picture, " Bed Harvest " has been renamed " The World and the Flesh."

Universal is to distribute the British pictorial transcription of A. A. Milne's play, " Michael and Mary," in which Herbert Marshall and Edna Best have the leading roles. After a lengthy discussion as to what the film was to be called, the title " Michael and Mary—Their Secret," won out, but for a time there was a strong temptation to call it " Bigamy." At the present moment Universal is wrestling with a title change for the novel, " Hot News," which so far has been known in (he studio as " Ambition " and " The Scandal Market."

There are, however, names of stage and literary works that defy altering. Among them are " Frankestein," " Murders in the Rue Morgue," " Dr. Jekyll and Mr. Hyde," " Oliver Twist," " Tom Sawyer," " Huckleberry Finn." "An American Tragedy," " Street Scene," " Five Star Final," and " Grand Hotel." The other day Zoo Akins's play, " The Greeks Had a Word for It," was exhibited as " The Greeks Had a Word for Them," which was an idea of Mr. Goldwyn's. Ben Lucien Burman's novel. " Mississippi," was turned into a film called " Heaven on Earth." Busy salesmen wero responsible for altering the title of " Shepper-New-founder " to " Part-Time Wife." " The Cradle Snatchers " was heralded from the cinemas as "Why Leave Home?" Another instance of the favouring of Hades as a lure is the change of George Grossmith's story, " Women Everywhere," to " Hell's Beiles."

" The Hurdy-Gurdy Man," by Le Boy Clemens and John B. Hymnr, decorated the tlieatre's portals as " Love, Live and Laugh." Vincent Lawrence's title for his play, " Among the Married;" was taboo and the picture of it was labelled " Men Call It Love." Llewellyn Hughes' story, " Chap Called Bardell," decorated the screens as " Tho Sky Hawk."