Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 82 Page 83 Page 84 Page 85 Page 86 Page 87 Page 88 Page 89 Page 90 Page 91 Page 92 Page 93 Page 94 Page 95 Page 96 Page 97 Page 98 Page 99 Page 100 Page 101 Page 102 Page 103 Page 104 Page 105stores—perhaps for extra cash. Warner Bros seems to have kept him busy, however—with responsibilities for the ‘exploitation’ of 60 films released during the 1939 season. These included Four Daughters, Dodge City, The Light That Failed and Four’s A Crowd. While Snelling was flying high in the last years of the thirties, World War II was threatening Europe. During the first battles of 1939, New Zealanders seem to have remained optimistic. The 4 October edition of the Sam E. Morris News Parade (a typed newsletter offering Warner Bros head office information to cinema proprietors) included a caricature of Snelling wearing his pencil moustache and a fashionably flowing coat, alongside this poem by an in–house wit: It’s a wardrobe wide that can provide Doug Snelling with his flowing guise. ‘Though a war may rage’, comments that sage, ‘it makes the public Warner–Wise’. Apart from a few trade newspaper clippings from early 1940, highlighting his innovative film marketing strategies, that’s the last scrap of publicity so far found from Snelling’s two years in Kiwi showbusiness. According to the 1938 electoral rolls, Snelling was at this time living at 15 Portland Crescent, Wellington North. His 2ZB broadcasts—now called ‘Hollywood Today’—had been increased to twice weekly, on Tuesdays and Thursdays at 3.45pm. And his cinema visits were often extensively and imaginatively publicised. Perhaps the best example is the campaign developed by Mr C Grainger, manager of the De Luxe Theatre in Lower Hutt, to promote Snelling’s appearances there— ‘Added Attraction Extraordinary—Direct from Hollywood!’—on 10, 11 and 12 August 1938. Grainger’s typed publicity campaign included an introductory paragraph in the local paper one week before the appearances, 35 specially–printed broadsheet posters displayed outside local newsagencies, 1000 bookmarks given away at the local library, three spot announcements on 2ZB radio, window displays linking local shops to Snelling and the stars, announcement slides screened in both the King George and De Luxe Theatres, public address announcements broadcast to De Luxe film patrons in the days before Snelling’s appearances, several display advertisements in Wellington daily papers and a 45–minute lecture by Snelling to children at the Hutt Central School—where he signed autographs. Memorabilia from this campaign is in his scrapbooks. On 22 March 1939, Snelling was appointed to a permanent position with the National Commercial Broadcasting Service (proprietor of ZB radio stations). A letter from NCBS’s acting controller, B Shiel, stated that Snelling would report to him as an advertising assistant, beginning 1 April. Only four months later, an item in Wellington newspaper The Standard gave ‘exclusive film news’ that Snelling had been appointed publicity manager for the New Zealand office of American film studio Warner Bros. A similar item appeared in New Zealand Record several days later. A few months after joining Warner Bros, Snelling was getting more publicity in the trade newsletter Film Weekly. He declared that he was experiencing ‘great success’ with his new strategy to promote films via ‘composite pages’ in newspapers. Warners would buy full– page advertisements in major newspapers, then on–sell four smaller advertisements to local businesses, which would link their graphics and text to a new Warners film promoted in a ‘news’ report on the same page. The text would be written and laid out by Snelling and paid for from the profits of on–selling the advertisements. In Snelling’s scrapbooks, there also are some print advertisements that he might have designed for various shops and department DOUGLAS SNELLING DOUGLAS SNELLING 30 31 1937–1940 1937–1940