IN TWO SECTIONS— SECTION ONE
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Vol. XXVI SATURDAY, JANUARY 1, 1944 No. 1
THE TAX QUESTION
According to a recent bulletin issued by Abram F. Myers, National Allied's General Counsel, the future of the proposed amusement tax of lc on each ?c or fraction of admission is uncertain.
Myers points out that, when the tax bill was re- ported out of the Senate Finance Committee, it seemed as if the Senate would pass on it quickly, and that an effort would be made to reconcile the differences be- tween both Houses so that the bill might be enacted before Congress recessed for the holidays.
". . . Since Congress recessed," states Myers, "Sec- retary Morganthau has launched an attack on the bill which appears to forshadow a determined fight against it by the Administration. Opposition to the bill is based on (a) its alleged failure to provide adequate revenue to finance the war and curb inflation ; (b) its limitations on the re-negotiation of war contracts.
"Therefore, we may wake up some morning early in 1944 to find that the Treasury is still waging its battle, perhaps more furiously than ever, to step up the tax to 3c on each 10c or fraction.
"If the storm signals are raised you will be duly notified. . . . When this fight is finished this office will issue a bulletin giving some of the details and making definite suggestions for the future. Every man and woman interested in any way in the operation of theatres must be organised to resist future attempts at discriminatory taxation."
Myers1 warning of a possible fight against the tax bill by the administration should be heeded by every exhibitor, for the campaign against discriminatory taxation is yet to be won. Any laxity at this stage of the game may prove fatal to your business. Keep on bombarding your Senators and Congressmen with letters and telegrams of protest. Tell them than an increase in the admission tax will prove ruinous, not only to yourself, but also to the industry as a whole. The intensive campaign waged thus far by you and your organizations has been chiefly responsible for the downward revision of the originally proposed 30% tax by both the Ways and Means and the Senate Finance Committees. Your efforts will have to be in- tensified even more if you are to frustrate the Treasury Department's attempts to impose on admissions a greater tax. Act now! — your business is at stake. * * *
Although the proposed tax increase on admissions is to be borne by the public, we cannot get away from the fact that the exhibitors will suffer from it. It is to
be expected that an increase in admission prices, owing to the tax rise, will have an adverse effect on theatre attendance. Public opinion, which for a time was geared for an increase in the general cost of living, has definitely changed, for the cost of living has by far outdistanced the rise in wages.
As a result, the public today is not in the mood to accept increased prices, whether they may be for com- modities or for entertainment. The devious methods employed by many sellers to circumvent OPA rulings; the deliberate flaunting of ceiling prices by arrogant and discourteous shopkeepers; and other rank abuses, to numerous to mention, has raised public indignation to a point where a price rise, even one that is justified and beyond the control of the seller, is resented deeply. So strong is this indignation that each day more and more people are assuming an 'Tll-simply-get-along- without it" attitude. And they mean it!
So far as the exhibitor is concerned, he can offset this resentment to some extent by educating his patrons to the fact that an increase in admission price repre- sents a government amusement tax. This can be done through trailers, handbills, and suitable notices posted in the lobby of the theatre.
Even though an exhibitor will take the precaution to inform his patrons that an admission price rise is the result of a government tax, I doubt if it will stem the decrease in patronage to an appreciable degree for, in addition to those who resent price increases in the be- lief that it is a form of profiteering, there are millions of workers whose pockets are not lined with excessive cash, and who find it difficult enough to make ends meet just buying the bare necessities of life. In the latter class is generally found the family man, who together with his wife and children make up a large percentage of the steady picture-going public, for the motion picture has always been the type of entertain- ment he can best afford. Without this family man's patronage, many small-town and neighborhood thea- tres could not exist. Yet the exhibitors are being com- pelled to raise their prices, thus risking his loss as a customer.
Since the exhibitor, burdened by high operating costs and exhorbitant film rentals, cannot afford to absorb the tax increase, thus retaining his present admission level in order to prevent decreased attend- ance, it naturally follows that he will suffer financial losses, perhaps to the extent, in some cases, of losing his business. For this reason something has to be done about it. (Continued on last page)
2
HARRISON'S REPORTS
January 1, 1944
"Tender Comrade" with Ginger Rogers and Robert Ryan
(RKO release date not set; time, 103 min.)
A good topical drama. It will undoubtedly do exeep- tional business because of Ginger Rogers' popularity, and of the several deeply emotional situations. The story re volvcs around the trials and tribulations of four women, who live together and seek solace from one another while waiting for their husbands to return from the war. The action is slowed down considerably by excessive dialogue, but it has much heart interest, and the characters because of their honesty towards each other, arouse one's sympathy. It has a good share of comedy, and several of the situations will tug at one's heart strings. Although Miss Rogers is cast in a sympathetic role, there is about her portrayal a harsh- ness that tends to detract from the characterization. The ending, where Miss Rogers is notified of her husband's death, is tragic and leaves one with a depressed feeling; in these days, it may remind many women that a similar tragedy might befall them. A good part of the action is in flashback, revealing incidents in the married life of Miss Rogers and Robert Ryan before his departure overseas: —
Ginger Rogers and Robert Ryan, a happily married young couple, are separated when war comes and Ryan is sent overseas. Ginger secures employment in a defense plant, where she makes friends with Ruth Husscy, a flighty mar- ried woman, who was not above going out with other men while her husband served overseas; Patricia Collinge, a middle-aged woman, whose husband and son were in the service; and Kim Hunter, a lovable young girl who had married Richard Martin one hour before his departure overseas. The four lonely wives pool their resources and live together. Their advertisement for a housekeeper is answered by Mady Christians, an educated German-born woman, who, unable to work in a defense plant because of non-citizenship, seeks to do her part by helping war work- ers. Moreover, her husband an American, was in the ser- vice. The wives accept Mady as one of the family, sharing their wages with her. When Ruth's husband is reported missing in action, the women are drawn closer together. All are delighted when Ginger announces that she is going to have a baby. With the birth of the child they act as if it were their own. To add to the cheerfulness, Ruth learns that her husband had been rescued at sea, and she deter- mines to turn over a new leaf. A surprise visit by Kim's husband gives each woman an opportunity to fuss over him as if he were their own. In the midst of this gaiety, Ginger receives a telegram notifying her of Ryan's death. Keeping the news from the others, she resolves that her son shall emulate his father in courage and faith; she determines to join the others in helping to entertain Kim's husband.
Dalton Trumbo wrote the story and screen play, David Hempstead produced it, and Edward Dmytryk directed it.
Morally suitable for all.
"Sing a Jingle" with Allan Jones, June Vincent and Edward Norris
(Universal, January 7; time, 62 min.)
A routine program musical, differing little from numerous such pictures that have come off Universal's assembly line. There is very little to the plot, which concerns itself with a famed radio personality who hides his identity in order to do his share in the war effort. The outcome is quite obvious, and there is nothing in the story really to hold one's interest. It should do as entertainment for the younger element, for Allan Jones' singing is pleasant, and the music is of the popular variety. Gus Schilling and Betty Kean provide some mildly effective comedy: —
Upon completion of a farewell broadcast over a nation- wide hookup, preparatory to his entering the Army, Ray King (Allan Jones), a popular baritone, learns from Wright Andrews (Jerome Cowan), his manager, that he had been rejected from service. Incensed, King reassumes his legal name, Steve Roberts and secures employment in a mid- western defense plant owned by S. P. Crane (Samuel H.
Hinds). Because of a housing shortage, Steve is given tem- porary lodging in the Crane mansion, where he meets Muriel (June Vincent), Crane's daughter, who falls in love with him. Muriel, a spoiled debutante, becomes piqued by Steve's indifference to her. She develops a sudden interest in the war effort, and goes to work in her father's plant. Together with Steve, she plans a war bond show for the employees. Meanwhile Jeffery Abbott (Edward Norris), a wealthy wastrel, who loved Muriel, is moved to jealousy by her interest in Steve. He manages to obtain Steve's person- nel record from the company's files, and notifies Andrews in New York of his whereabouts. Steve, to assure the show's success, promises to secure the services of the famous Ray King. When Andrews arrives in town, Steve induces him to publicize "King's" appearance. Steve reveals his iden- tity on the night of the show. Abbott goes on the stage and tries to expose him as a cheap publicity hunter. An- drews takes charge of the situation and, quieting the audi- ence, explains Steve's sacrifice of fame and fortune in order to serve his country. Steve wins the acclaim of the audi- ence, and he finishes his concert with Muriel in his arms.
John Grey, Eugene Conrad, Lee Sands, and Fred Bath wrote the screen play. Edward C. Lillcy produced and di- rected it.
Morally suitable for all.
"The Heavenly Body" with William Powell, Hedy Lamarr and James Craig
(MGM, no release date set; time, 95 min.)
An amusing marital farce-comedy, which will have to depend on the drawing power of the leading players for its box-office chances. The story is far-fetched, and none of the characters do anything to arouse sympathy, since most of their actions are ridiculous. The comedy is provoked by the marital difficulties encountered by an astronomer when his wife takes a sudden interest in astrology and believes a pre- diction that a new man would come into her life. Though some of the situations are laugh-provoking, there is not really one that will remain in one's mind. Miss Lamarr and Powell do their best with second-rate material: —
Feeling neglected and restless because William Powell, her astronomer-husband, was preoccupied with a new comet he had discovered, Hedy Lamarr seeks some diversion. Through Spring Byington, a neighbor Hedy meets Fay Bainter, an astrologist, and is told by her that, by the twenty-second of the month, she will fall in love with a man who had traveled widely. Hedy thoroughly honest, informs Powell of the prediction. Upset at Hedy's belief in astrology, Powell leaves her and goes to live in his observa- tory. Hedy patiently waits for her "man" to appear, but nothing happens. After an uneventful day on the twenty- second of the month, she telephones Powell and, admitting that she was wrong, asks him to return home. Just as mid- night approaches, James Craig, an air raid warden, repri- mands Hedy for violating a blackout rule. She invites him into the house and, questioning him, learns that he had traveled widely. Hedy feels sure that the prediction had come true. Powell arrives home just as Craig leaves, and senses Hedy's reaction. On the following day, Powell meets Craig and asks him to change his district. Craig, however, admits frankly that he had fallen in love with Hedy. De- spite Powell's efforts to keep them apart, fate keeps throw- ing Hedy and Craig together. Powell decides to employ astrology to repair his marriage. He visits Miss Bainter and compels her to write a fake horoscope for Hedy, in which his own untimely death is foretold. He feigns illness to gain her sympathy, but to no avail for Hedy learns of the fake horoscope. Powell gives up hope and leaves her once again. At Craig's urging, Hedy decides to go to Reno, but she changes her mind at the last moment and effects a recon- ciliation with Powell.
Michael Arlen and Walter Reisch wrote the screen play, Arthur Hornblow, Jr., produced it, and Alexander Hall directed it. The cast includes Henry O'Neill, Morris Ank- rum, Connie Gilchrist and others.
There are no objectionable situations.
January 1, 1944
HARRISON'S REPORTS
3
"Suspected Person" with Clifford Evans
(PRC, Js[ovember 29; time, 76 min.)
This English-made gangster melodrama is moderately entertaining program fare. It directs some human appeal, but the story is trite and lacks originality in treatment. Moreover, it is short on suspense and the action is slow, most of the excitement being concentrated in the closing scenes where the criminals are apprehended. On the whole, American audiences may find it a bit too "British." The romantic interest, though pleasant, is incidental: —
Acquitted of a bank robbery through lack of evidence, Robert Beatty and Eric Clavering, American gangsters, learn from an accomplice that Clifford Evans, an English- man, had taken the $50,000 stolen from the bank back to England. They set out to follow Evans. Upon his arrival in England Evans goes to live at an apartment house operated by his sister (Patricia Roc). There he meets and falls in love with Anne Firth, a cabaret singer. Suspicious of Evans' mysterious movements, Patricia searches his room and learns through newspaper clippings that he was involved in the robbery. Meanwhile Inspector David Farrar of Scotland Yard, informed by the New York police that the gangsters were en route to England, decides to shadow them in the hope that they will lead him to the stolen money. Upon their arrival, the gangsters, through underworld acquaint- ances, learn of Evans' whereabouts. They go to the apart- ment house and threaten him, but Evans, at gun-point, forces them to leave. Suspecting Evans, Farrar poses as a traveler and secures lodging at the house. He falls in love with Patricia. To change the stolen money into English currency, Evans travels to Holyhead. The gangsters follow him and knock him unconscious, but Evans, prepared for such an eventuality, had mailed the money to himself at Holyhead. As he calls for the package on the following day, Evans is confronted by Farrar. To the surprise of both men the package contains newspapers. Returning to Lon- don, Evans learns that the gangsters had kidnapped Anne. Desperate, he arranges to meet them at a dockside inn, promising to produce the money in exchange for Anne. Farrar and his men trail Evans to the inn and, after a gun battle arrest the gangsters. Later, Evans and Farrar learn that Patricia had substituted the newspapers for the money, and that she had mailed the $50,000 to the American em- bassy. Assured that Evans will turn over a new leaf, Farrar drops the investigation and proposes to Patricia.
Lawrence Huntington wrote the screen play and directed
it.
Adult entertainment.
"The Girl from Monterrey" with Armida, Jack LaRue and Edgar Kennedy
(PRC, September 24; time, 59 min.)
A pretty good program comedy-melodrama with music; it is fast-moving, has good comedy situations, and the story holds one's interest throughout. Although produced on a modest budget, its entertainment values make it worthy of playdates in situations other than the normal PRC market. Much of the enjoyment is derived from the engaging per- formances of the cast, particularly of Armida, as a fiery Mexican singer, who guides the boxing career of her brother and leads him to the world's championship. Edgar Kennedy is quite comical as a fight promoter, provoking much laughter with his well known exasperations:- —
Armida, popular entertainer in a Mexican cafe is visited by Anthony Caruso, her brother, who informs her that he had left college to become a prizefighter. Caruso comes to the attention of Edgar Kennedy, an American fight pro- moter, who signs him to a contract. Armida accompanies Caruso to New York, where she becomes his manager and trainer. In Kennedy's office, Armida meets Terry Frost, contender for the light heavyweight championship, and falls in love with him. Under Armida's guidance, Caruso wins one fight after another by knockouts. Meanwhile Frost works his way up to the championship, much to Armida's delight. Caruso's sensational record impresses the boxing commissioner, who orders a match between Caruso and
Frost. Frantic at the thought that her brother and sweet- heart would fight each other, Armida protests against the match, but to no avail. Jack LaRue, Frost's crooked fight manager, arranges with Veda Ann Borg, a cabaret enter- tainer, to keep Caruso out of condition, so that Frost would win the fight. Frost, however, was unaware of the arrange- ment. On the eve of the fight, Veda brings Caruso home in an intoxicated condition. Armida, suspecting foul play, forces a confession from Veda. Angry because Caruso re- sented her treatment of Veda, and disappointed because she believed Frost was involved in the plot, Armida attends the bout, but does not root for either man. After a furious battle, Caruso beats Frost and wins the championship. The two fighters disappear after the fight. They show up several days later in Army uniforms and effect a reconciliation with Armida.
Arthur Hoerl wrote the screen play from a story by George Green and Robert Gordon. Jack Schwarz produced it and Wallace Fox directed it. Harry D. Edwards was associate producer.
Morally suitable for all.
"Three Russian Girls" with Anna Sten and Kent Smith
(United Artists, January 14; time, 80 min.)
As a tribute to the valor of Russian nurses serving on the battlefront, this war film is forceful, for it depicts realis- tically the magnificent service they are rendering under the most trying conditions; as entertainment, however, it is no more than moderately engrossing program fare, for as far as the story is concerned it presents little in the way of novelty and lacks substance. It depends for its drama on a series of hackneyed situations that fail to impress. There are some exciting battle scenes towards the finish. Actual scenes of the Leningrad siege have been inserted to good effect. But on the whole, the action is slow. The production values, however, are good : —
As the citizens of Leningrad rise to the defense of their historical city, Red Cross headquarters calls all volunteer nurses to duty. Among those reporting are Anna Sten, whose love for Russia sets an example for the others; Mimi Forsaythe, a former dancer, who reluctantly exchanges her dancing slippers for military boots; and Cathy Frye, a 'teen-age girl who pleads that she be allowed to serve. Within a few hours, Anna leads a group of twenty nurses to the battlefront, where they convert an old house into a field hospital. Despite the terrifying bombardment, the nurses, under Anna's inspiring leadership, carry on with their work. Kent Smith, an American flyer who had been shot down while testing a plane, is brought to the hospital wounded seriously. Though an operation on him proves successful, Kent's legs remain numb from the shock. Anna cares for him day and night, and Kent, though despondent, slowly recovers his will to live. The approaching enemy forces the nurses to evacuate the patients, but, owing to a shortage of ambulances, Anna remains behind with some of the wounded, seeking refuge in a dugout. In this moment of danger Anna and Kent fall in love with each other. They are rescued on the following day and driven to another hospital far removed from the front. Smith recovers and walks again. Anna, though deeply in love with him, does not permit her personal feelings to interfere with her duty. When a call comes from the front for volunteer nurses, she goes without hesitation, as do Mimi and Cathy. At the front Anna acts as both soldier and nurse. Mimi is killed by a sniper's bullet, and Anna, wounded seriously in a pitched battle with the enemy, is taken to a hospital in Leningrad. Ordered to return to the United States for duty, Smith visits Anna at the hospital and bids her goodbye with the assur- ance that they will meet again when victory is their's.
Aben Kandel and Dan James wrote the screen play, Gregor Rabinovitch produced it, and Fedor Ozep and Henry Kesler directed it. Eugene Frcnke was associate producer. The cast includes Alexander Granach, Paul Guilfoyle and others.
Morally suitable for all.
4
HARRISON'S REPORTS
January 1, 1944
The pending tax bill provides that the new rates are temporary, and that they shall end "on the first day of the first month which begins six months or more after the date of the termination of hostilities in the present war."
It is reasonable to assume that, so long as this war lasts, and assuredly six months after, the distributors will enjoy as great, and even greater, profits as they are enjoying today. And, mind you, these profits are the greatest in their history, even though their revenue from foreign markets has been reduced substantially. In addition, they have a large backlog of product, which, .after the war, will net them millions of dollars from the foreign markets they are not serving now. In the midst of all this plenty, why not look to the dis- tributors to make up part of the losses the exhibitors will suffer during the period the emergency tax in- crease is in effect? For them to assume some of the exhibitors' burden would have little, if any, effect on their net profits. Moreover, by helping the small ex- hibitor now they help themselves, for when normalcy returns they will find the outlets for their product still intact. And in normal times the small independent exhibitor's business spells the difference between loss and profit.
One method by which the distributors can make up an exhibitor's losses is to reduce in an equitable amount their film rental rates, whether on flat terms or on per- centage. This reduction should, of course, be based on normal film rental rates and not on the inflated terms being demanded today because of an artificial product shortage.
The distributors have an opportunity to do them- selves and the industry in general a great service. Will they take advantage of it?
* * *
Assuming that the proposed tax of lc on each 5c or fraction is finally adopted, it would be foolhardy for an exhibitor to absorb any part of the tax increase in order to maintain his present level of admissions. Such a policy will create a competitive condition that may prove disastrous to the exhibitors. As pointed out by Mr. Myers recently, "the law not only does not con- template absorption of the tax, it actually provides that it shall be paid by the public. In essence, the tax is an excise on the right to buy a ticket not to sell it."
An exhibitor who attempts to absorb any part of the new tax would compel his competitor to do like- wise. This vitally important matter requires the im- mediate attention of all exhibitor organizations, for a unified policy is essential if an admission war be- tween competitors is to be averted.
CAUSES OF THE CHRISTMAS WEEK SLUMP
Here are some of the possible causes of the business slump during the days before Christmas: The pay- ment December 15 of a second installment of the 1944 taxes; the influenza epidemic; the inability of people to make quick purchases as a result of the jam at the stores, leaving them little time for taking the family to the picture show; the high cost of everything, drain- ing the family's pocket, and above all the poor quality of most pitcures.
"Son of Russia" with Robert Taylor and Susan Peters
(MGM, no release date set; time, 107 min.)
Lavishly produced, "Song of Russia" is a sensitive and stirring account of Russia at peace and at war, told in terms of an appealing romance between a famed American symphony orchestra conductor and a cultured Russian peasant girl. It is the type of pic- ture the masses should enjoy, for it deals with people whose actions and emotions they can understand. Music lovers should find the music by Tschaikowsky and by modern Russian composers a treat. The per- formances are exceptionally good, particularly that of Susan Peters; she makes the character of the peasant girl so real and so lovable that one's interest in her welfare is held throughout. The first half of the film concerns itself with the romance amid gay and charm- ing surroundings. This m<xxJ serves to accentuate the inhumaness of the Nazi invasion, which takes place in the second half. Several of the situations will draw tears. One such situation is where a Russian youngster is strafed by a Nazi plane, dying in his father's arms; few patrons, after witnessing this, will remain with dry eyes: —
Arriving in Russia for a symphonic tour, Robert Taylor, famed American conductor, is approached by Susan Peters, who unsuccessfully attempts to speak to him. Later, at a rehearsal, she sneaks on stage and attracts his attention by playing a brilliant piano solo. Speaking on behalf of music students in Tschaikovs- koe, a tiny Russian village, which celebrated a music festival each year, Susan pleads with Taylor to include the festival on his tour. Both are drawn to one another, and together they see the sights of Moscow. Taylor declares his love for her, but Susan, believing that their different backgrounds would not make for an harmonious marriage, returns home. Several months later Taylor visits the village, and after a whirlwind courtship overrules Susan's objections and marries her. They spend their honeymoon on his concert tour. When the Nazis attack Russia, Susan expresses her desire to return to her family. Taylor, being in sym- pathy with her desire to help her people, agrees that she go while he completes the tour. At the conclusion of his final concert, Taylor learns that the Nazis are closing in on the village. Worried about Susan, he secures passage to Tschaikovskoe as a musician going to the front to entertain soldiers. Taylor manages to reach the village after a series of adventures, and finds it in ruins as the result of shelling and the scorched- earth policy. He searches frantically for Susan and finds her setting fire to the wheat fields. Angered by the Nazi's brutality, he determines to stay in Russia to fight the invaders. But a kindly priest points out that he and Susan can contribute more by returning to the United States. Back in America, Taylor, with Susan playing the piano, devotes himself to telling of Russia's great fight through his inspiring music.
Paul Jarrico and Richard Collins wrote the screen play, Joseph Pasternak produced it, and Gregory Ratoff directed it. The cast includes Robert Benchley, John Hodiak, Felix Bressart, Michael Chekhov, Darryl Hickman, Jacqueline White and others.
Morally suitable for all.
IN TWO SECTIONS— SECTION TWO
HARRISON'S REPORTS
Vol. XXVI
NEW YORK, N. Y., SATURDAY, JANUARY 1, 1944
No. 1
(Semi-Annual Index — Second Half of 1943)
Titles of Pictures
Reviewed on Page
Adventure in Blackmail — English Films (70 min.) .... 131
Adventure in Iraq — Warner Bros. (64 min.) 154
Adventures of a Rookie — RKO (65 min.) 135
Adventures of Tartu — MGM (see "Tartu") 126
Always a Bridesmaid- — Universal (61 min.) 146
Appointment in Berlin — Columbia (75 min.) 118
Arizona Trail — Universal (57 min.) not reviewed
Around the World— RKO (81 mm.) 191
Avenging Rider — RKO (56 min.) not reviewed
Bar 20 — United Artists (54 min.) not reviewed
Behind the Rising Sun— RKO (87 min.) 116
Best Foot Forward — MGM (93 min.) 106
Beyond the Last Frontier — Republic
(55 min.) not reviewed
Billy the Kid in Cattle Stampede — PRC
(58 min.) not reviewed
Billy the Kid in The Renegade — PRC (58 m.) .not reviewed Billy the Kid in Western Cyclone— PRC
(64 min.) not reviewed
Black Hills Express — Republic (55 m.) not reviewed
Black Market Rustlers — Monogram (59 m.) . .not reviewed
Blazing Frontier — PRC (59 min.) not reviewed
Bomber's Moon — 20th Century-Fox (70 min.) 110
Bordertown Gun Fighters— Republic (56 m.) .not reviewed Bullets & Saddles — Monogram (54 m.) not reviewed
California Joe — Republic (55 min.) not reviewed
Calling Dr. Death— Universal (64 min.) 204
Calling Wild Bill Elliott — Republic (55 m.) . not reviewed
Campus Rhythm — Monogram (61 min.) 158
Canyon City — Republic (54 min.) not reviewed
Career Girl— PRC (67 min.) 208
Chance of a Lifetime, The — Columbia (66 min.) 167
Charlie Chan in Secret Service — Monogram (64 min.). 204
Claudia — 20th Century-Fox (91 min.) 135
Coastal Command— RKO (69 min.) 119
Colt Comrades — United Artists (67 m.) not reviewed
Constant Nymph, The — Warner Bros. (112 min.) .... 107
Corvette K-2 2 5— Universal (98 min.) 158
Crazy House — Universal (80 min.) 170
Crime Doctor — Columbia (66 min.) 110
Crime Doctor's Strangest Case — Columbia (69 min.) . . 199
Cross of Lorraine, The— MGM (90 min.) 182
Cry "Havoc"— MGM (97 min.) 179
Dancing Masters, The — 20th Century Fox (63 min.) . . 174
Dangerous Blondes — Columbia (80 min.) 167
Danger! Women at Work— PRC (58 min.) 118
Days of Old Cheyenne — Republic (55 m.). . .not reviewed Death Valley Manhunt — Republic (55 m.) — not reviewed Death Valley Rangers — Monogram (56 m.) . .not reviewed
Deerslayer — Republic (67 min.) 184
Desert Song, The — Warner Bros. (96 min.) 202
Destination Tokyo — Warner Bros. (135 min.) 207
Destroyer — Columbia (94 min.) 136
Devil Riders, The — PRC (58 min.) not reviewed
Doughboys in Ireland — Columbia (63 min.) 203
Drifter, The — PRC (60 min.) not reviewed
Drums of Fu Manchu — Republic (68 min.) 203
Falcon and the Co-Eds, The— RKO (68 min.) 178
Falcon in Danger, The— RKO (73 min.) 116
Fallen Sparrow, The— RKO (94 min.) 134
Find the Blackmailer — Warner Bros. (55 min.) 171
Fired Wife— Universal (73 min.) 162
First Comes Courage — Columbia (85 min.) 147
Flesh and Fantasy— Universal (93 min.) 151
Follies Girl— PRC (70 min.) 115
Footlight Glamour — Columbia (70 min.) 187
For Whom The Bell Tolls— Paramount (168 min.) 115
Frontier Bad Man — Universal (76 min.) 132
Frontier Law — Universal (58 min.) not reviewed
Fugitive from Sonora- — Republic (55 m.) ... .not reviewed
Gals, Incorporated — Universal (60 min.) Ill
Gang's All Here, The— 20th Century-Fox (103 min.) . . 194
Gangway for Tomorrow — RKO (69 min.) 180
Gentle Gangster, A — Republic (57 min.) 106
Ghost Ship, The— RKO (69 min.) 198
Gildersleeve on Broadway — RKO (65 min.) 170
Girl Crazy— MGM (97 min.) 126
Good Fellows, The — Paramount (69 min.) 130
Good Luck, Mr. Yates — Columbia (69 min.) 119
Government Girl— RKO (93 min.) 178
Guadalcanal Diary — 20th Century-Fox (93 min.) 175
Gung Ho! — Universal (88 min.) 206
Gunsmoke Mesa — PRC (59 min.) not reviewed
Guy Named Joe, A — MGM (120 min.) 208
Hail to the Rangers — Columbia (57 min.) . . . .not reviewed Hands Across the Border — Republic (73 m.) . not reviewed
Happy Land — 20th Century-Fox (75 min.) 182
Harvest Days — Republic (see "The Old
Homestead") 1942,138
Harvest Melody— PRC (70 min.) 174
Headin' For God's Country — Republic (78 min.) 124
Heat's On, The — Columbia (79 min.) 194
Heaven Can Wait — 20th Century-Fox (112 min.) 119
Henry Aldrich Haunts a House — Paramount (72 m.) . . 182
Here Comes Elmer — Republic (74 min.) 166
Here Comes Kelly — Monogram (64 min.) 124
Hers to Hold — Universal (93 min.) 114
Hi Diddle Diddle — United Artists (72 min.) 128
Higher and Higher — RKO (91 min.) 200
His Butler's Sister — Universal (93 min.) 186
Hit the Ice — Universal (82 min.) 107
Hi 'Ya Sailor — Universal (62 min.) 162
Holy Matrimony — 20th Century-Fox (87 min.) 139
Honeymoon Lodge — Universal (63 min.) 122
Hoosier Holiday- — Republic (72 min.) 138
Hostages — Paramount (88 min.) 131
I Dood It— MGM (101 min.) 123
In Old Oklahoma— Republic (102 min.) 171
Iron Major, The— RKO (85 min.) 175
Is Everybody Happy? — Columbia (73 min.) 191
Isle of Forgotten Sins— PRC (82 min.) 174
Jack London — United Artists (94 min.) 191
Jive Junction — PRC (62 min.) 195
Johnny Come Lately — United Artists (97 min.) 138
Klondike Kate — Columbia (64 min.) 206
Lady Takes A Chance, A— RKO (86 min.) 135
Larceny With Music — Universal (64 min.) 146
Lassie Come Home — MGM (89 min.) 134
Law of the Northwest — Columbia (59 m.) . . .not reviewed
Law Rides Again — Monogram (57 m.) not reviewed
Leather Burners — United Artists (58 m.) . . . .not reviewed
Let's Face It — Paramount (76 min.) 126
Lone Rider in Law of the Saddle — PRC
(57 min.) not reviewed
Lone Rider in Raiders of Red Gap — PRC
(59 min.) not reviewed
Lone Rider in Wolves of the Range — PRC
(60 min.) not reviewed
Lone Star Trail, The — Universal (57 m.) . . . .not reviewed Lost Angel— MGM (91 min.) 179
Madame Curie— MGM (124 min.) 187
Mad Ghoul, The— Universal (65 mm.) 203
Man from Down Under, The— MGM (102 min.) 127
Man from Music Mountain — Republic
(71 min.) not reviewed
Man from the Rio Grande — Republic (55 m.) .not reviewed
HARRISON'S REPORTS Index -- Second Half of 1943, Page B '/>M
Man from Thunder River — Republic (55 m.) . not reviewed
Marshal of Gunsmoke — Universal (58 m.) . . .not reviewed
Melody Parade — Monogram (76 mm.) 124
Mexican Spitfire's Blessed Event — RKO (63 min.) .... 1 14
Minesweeper — Paramount (67 min.) 182
Mr. Muggs Steps Out— Monogram (63 min.) 180
Moonlight in Vermont — Universal (62 min.) 207
Murder on the Waterfront — Warner Bros. (48 min.) . . 128
My Kingdom for a Cook — Columbia (81 min.) 170
Mystery Broadcast — Republic (63 min.) 171
Mystery of the Thirteenth Guest — Monogram
(see The Thirteenth Guest) 155
Nearly Eighteen — Monogram (61 min.) 150
Never a Dull Moment — Universal 179
Nobody's Darling — Republic (71 min.) 132
Northern Pursuit — Warner Bros. (93 min.) 170
North Star, The— RKO (105 min.) 166
No Time lor Love — Paramount (83 min.) 183
Old Acquaintance — Warner Bros. (110 min.) 178
O, My Darling Clementine — Republic (70 min.) 195
Outlaws ol Stampede Pass — Monogram
(55 m.in) not reviewed
Pans After Dark— 20th Century-Fox (85 min.) 162
Passport To Suez — Columbia (72 min.) 139
Phantom ol the Opera, The — Universal (91 min.) .... 136
Petticoat Larceny — RKO (61 min.) 114
Pistol Packin' Mama — Republic (64 min.) 199
Prairie Chickens — United Artists (47 min.) 110
Pride of the Plains — Republic (56 min.) not reviewed
Princess O'Rourke — Warner Bros. (94 min.) 154
Raiders of San Joaquin — Universal (60 m.) . .not reviewed Raiders oi Sunset Pass — Republic (56 m.) . . .not reviewed Red River Robin Hood — RKO (57 min.) . . . .not reviewed
Return ol the Rangers — PRC (60 min.) not reviewed
Revenge ol the Zombies — Monogram (61 min.) 130
Riders ol the Rio Grande — Republic (55 in.). not reviewed
Riding High — Paramount (89 min.) 183
Robin Hood of the Range — Columbia (57 in ) .not reviewed Rookies in Burma — RKO (63 min.) 198
Saddles if Sagebrush — Columbia (55 m.) . . . .not reviewed
Sahara — Columbia (95 min.) 159
Saint Meets the Tiger, The — Republic (70 min.) 130
Salute to the Marines — MGM (101 min.) 122
Scream in the Dark, A — Republic (55 min.) 154
Seventh Victim, The— RKO (71 min.) 138
Sherlock Holmes Faces Death — Universal (68 min.).. 142
She's For Me— Universal (60 min.) 194
Silent Witness, The — PRC (see "Secrets of a
Co-Ed") 1942,162
Silver City Raiders — Columbia (55 nun.) . . . .not reviewed
Silver Spurs — Republic (68 min.) not reviewed
Sky's the Limit, The— RKO (90 min.) 116
Six Gun Gospel — Monogram (55 m.) not reviewed
Sleepy Lagoon — Republic (65 min.) 136
Smart Guy — Monogram (63 min.) 190
Someone to Remember — Republic (80 min.) 123
Song of Texas — Republic (69 min.) not reviewed
Son of Dracula — Universal (79 min.) 184
So's Your Uncle — Universal (64 min.) 190
So This Is Washington— RKO (64 min.) 134
Spider Woman — Universal (62 min.) 202
Spotlight Scandals — Monogram (73 min.) 118
Strange Death of Adolph Hitler, The — Universal
(72 min.) 166
Stranger from Pecos, The — Monogram
(57 min.) not reviewed
Striptease Lady — United Artists (see "Lady of
Burlesque") 71
Submarine Base — PRC (65 min.) 115
Sultan's Daughter, The — Monogram (64 min.) 186
Sweet Rosie O'Grady — 20th Century-Fox (76 min.). .155
Swing Fever— MGM (80 min.) 183
Swing Out the Blues — Columbia (71 min.) 206
Swingtime Johnny — Universal (60 min.) 207
Tartu— MGM (103 min.) 126
Tarzan's Desert Mystery — RKO (70 min.) 198
Texas Kid — Monogram (57 m.) not reviewed
Texas Rangers in Border Buckaroos — PRC
(59 min.) not reviewed
Texas Rangers in Fighting Valley — PRC
(59 min.) not reviewed
Texas Rangers in Trail of Terror — PRC
(63 min.) not reviewed
Texas Rangers in West of Texas — PRC
(59 min.) not reviewed
Thank Your Lucky Stars — Warner Bros. (127 min.).. 136
Thirteenth Guest, The — Monogram (61 min.) 155
Thi6 Is the Army — Warner Bros. (114 min.) 127
Thousands Cheer — MGM (124 mm.) 151
Tiger Fangs— PRC (58 mm.) no
Top Man — Universal (82 min.) 150
Tornado — Paramount (83 mm.) 132
True to Life — Paramount (93 min.) 131
Underdog, The — PRC (65 mm.) 186
Unknown Guest, The — Monogram (64 min.) 142
Victory Through Air Power — United Artists (65 in.). Ill
Wagon Tracks West— Republic (55 min.) .... not reviewed
Watch on the Rhine — Warner Bros. (114 min.) 123
West Side Kid, The — Republic (57 min.) 139
Westward Bound — Monogram (54 min.) .... not reviewed We've Never Been Lacked — Universal ( 103 mm.) .... 1 28
What a Man — Monogram (73 mm.) 202
What A Woman! — Columbia (94 min.) 200
What's Buzzin' Cousin? — Columbia (75 min.) 124
Where Are Your Children? — Monogram (72!/2 min.). 190
Whispering Footsteps — Republic (56 min.) 208
Whistling in Brooklyn — MGM (88 mm.) 158
Wintertime — 20th Century-Fox (82 min.) 146
Woman of the Town, The — United Artists (90 min). 204 Women in Bondage — Monogram (71 min.) 180
Yanks Ahoy — United Artists (60 min.) 106
Young Ideas — MGM (76 min.) 122
Youth Takes a Hand— PRC (see
"Behind Prison Walls") 39
RELEASE SCHEDULE FOR FEATURES Columbia Features
(729 Seventh Ave.. Hew York 19, >{. T.)
5024 Return of the Vampire — Lugosi Nov. 11
5017 There's Something About a Soldier —
Kcyes-Neal Nov. 30
5009 The Heat's On— West-Moore-Gaxton Dec. 2
5021 Crime Doctor's Strangest Case —
Baxtcr-Hobart Dec. 9
Klondike Kate — Neal-Savage Dec. 16
Cowboy in the Clouds — Starrctt Dec. 23
5005 What a Woman! — Russell-Aherne Dec. 28
The Racket Man — Neal-Bates Jan. 18
Swing Out the Blues — Haymes-Mernck Jan. 20
Beautiful But Broke — Davis-Frazee Jan. 28
Metro-Goldwyn-Mayer Features
( 1 540 Broadway, 7-lew York 19, \. T.) (Block 2 — release dates are tentative)
413 Thousands Cheer — Grayson-Kelly January
414 Cross of Lorraine — Aumont January
415 Lost Angel — O'Brien-Craig January
416 A Guy Named Joe — Tracy-Dunne February
417 Cry "Havoc" — Sullavan-Sothern February
418 Rationing — Beery -Main February
<*19 Broadway Rhythm — Murphy-Simms March
420 See Here, Private Hargrove — Walker-Reed March
421 Heavenly Body — Powell-Lamarr March
422 Song of Russia — Taylor-Peters April
423 Swing Fever — Kay Kyser April
490 Madame Curie — Garson-Pidgeon April
Monogram Features
(630 Tiinth Ave., Jiew Yor\ 19, H.. T.)
1942- 43
228 What a Man — Downs-McKay Jan 31
(End of 1942-43 Season)
1943- 44
308 Melody Parade — Quillan-Hughes Aug. 27
307 Spotlight Scandals — Fay-Gilbert Sept. 24
309 The Unknown Guest — Jory-Blake Oct. 22
HARRISON'S REPORTS Index -
- Second Half of 1943, Page C
351 Texas Kid— J. M. Brown (57 m.) Nov. 26
361 Death Valley Rangers — Trail Blazers (56 m.) .Dec. 3
310 Mr. Muggs Steps Out — East Side Kids Dec. 10
304 Women in Bondage — Patrick-Kelly (re.) Jan. 10
302 Where Are Your Children — Storm-Cooper
(re.) Jan. 17
362 Westward Bound— Trail Blazers (54 m.) Jan. 17
888 The Sultan's Daughter — Cono-Butterworth
(re.) Jan. 24
352 Raiders of the Border — J. M. Brown Jan. 31
315 Sweethearts of the U. S. A. — Merkel-Novis
(re.) Feb. 7
317 Charlie Chan in the Secret Service — Toler (re). Feb. 14
Voodoo Man — Lugosi-Carradine Feb. 21
Million Dollar Kid— East Side Kids Feb. 28
301 Lady Let's Dance — Belita Mar. 7
Paramount Features
(1501 Broadway, Hew Tor\ 18, H T.) (Block 3 — no national release dates)
4311 Henry Aldrich Boy Scout — Lydon
4312 Miracle of Morgan's Creek — Bracken-Hutton .
4313 Timber Queen — Arlen-Hughes
4314 Standing Room Only — Goddard-MacMurray .
4315 The Uninvited — Milland-Hussey
Special
4338 For Whom the Bell Tolls — Cooper-Bergman. .
Producers Releasing Corp. Features
(625 Madison Ave., Hew Yor\ 22, H- T.)
461 The Drifter— Buster Crabbe No. 3 (60 m.) . . .Dec. 20 407 Jive Junction — Moore-Thayer Dec. 20
453 Gunsmoke Mesa — Texas Rangers No. 3
(59 m.) Jan. 3
Career Girl — Langford-Norris Jan. 11
Nabonga — Crabbe-D'Orsay Jan. 25
462 Buster Crabbe No. 4 Jan. 27
454 Outlaw Roundup — Texas Rangers No. 4 Feb. 10
Men On Her Mind — Hughes-North Feb. 12
Republic Features
(1790 Broadway Hew Tor\ 19, H- T.)
303 Here Comes Elmer — Al Pearce Nov. 15
376 Overland Mail Robbery— Elliott (55 m.) Nov. 20
306 Deerslayer — Kellogg-Parker Nov. 22
304 Mystery Broadcast — Albertson-Terry Nov. 23
305 Drums of Fu Manchu — Brandon-Boyle Nov. 27
364 Canyon City — Barry (54 m.) Nov. 29
307 In Old Oklahoma — Scott-Dekker- Wayne Dec. 6
310 Pistol Packin' Mama — Terry-Livingston Dec. 15
352 Raiders of Sunset Pass — Eddie Dew (56 m.) . .Dec. 20
365 California Joe — Barry (55 m.) Dec. 29
309 Whispering Footsteps — Hubbard-Quigley Dec. 30
308 O, My Darling Clementine — Albertson-Gray . .Dec. 31
353 Pride of the Plains — Livingston (56 m.) Jan. 5
341 Hands Across the Border — Roy Rogers (73m.) .Jan. 5
Rootin' Tootin' Rhythm — Gene Autry
(reissue) Jan. 15
Women in War — Elsie Janis (reissue) Jan. 25
RKO Features
(1270 Sixth Ave., Hew Yor\ 20, H- T.) (No national release dates on features) Block 3
411 Around the World — Kyser-Davis
412 The Ghost Ship — Richard Dix
413 Tarzan's Desert Mystery — Weissmuller-Kelly
414 Rookies in Burma — Brown-Carnay
41'5 Higher and Higher — Sinatra-Haley-Morgan
Twentieth Century-Fox Features
(444 W. 56th St., Hew Tor\ 19, H- T.)
415 Happy Land — Ameche-Dee Dec. 3
416 The Gang's All Here — Faye-Miranda Dec. 24
The Lodger — Sanders-Oberon Jan. 7
Lifeboat — Bankhead-Lee Jan. 21
United Artists Features
(729 Seventh Ave., Hew Tor\ 19, H- T.)
Bar 20 — Hopalong (54 m.) Oct. 1
Jack London — O' Shea-Hay ward Dec. 24
Woman of the Town — Dekker-Trevor Dec. 31
Three Russian Girls — Sten-Smith Jan. 14
Knickerbocker Holiday — Eddy-Coburn Jan. 28
Bridge of San Luis Rey — Bari-Calhern Feb. 11
It Happened Tomorrow — Powell-Darnell Feb. 25
Voice in the Wind — Lederer-Gurie Mar. 10
Universal Features
(1270 Sixth Ave., Hew Tor\ 20, H- T.)
8041 She's For Me — Bruce-McDonald (re.) Dec. 10
8026 Calling Dr. Death— Chaney-Morison (re.).. Dec. 17
8025 Moonlight in Vermont — Gloria Jean Dec. 24
Gung Ho! — Randolph Scott Dec. 31
8034 Sing a Jingle — Allan Jones Jan. 7
Ali Baba and the Forty Thieves — Montez-Hall.Jan. 14 8021 Spider Woman — Rathbone-Sondergaard . . . .Jan. 21 8083 Marshal of Gunsmoke — Tex Ritter (58 m.) . .Jan. 21
Phantom Lady — Tone-Raines Jan. 28
8020 Swingtime Johnny — Andrews Sisters Feb. 4
The Imposter — Gabin-Whorf Feb. 11
Weekend Pass — O'Driscoll-Beery, Jr Feb. 18
Chip Off the Old Block— O'Connor-Ryan. . .Feb. 25
Warner-First National Features
(321 W. 44th St., Hew Tor\ 18, H- T.)
308 Old Acquaintance — Davis-Hopkins Nov. 27
327 Crime School — Bogart (reissue) (86 m.) Dec. 4
328 Girls on Probation — Reagan (reissue) (63m.). Dec. 4
309 Destination Tokyo — Grant-Garfield Jan. 1
310 The Desert Song — Morgan-Manning Jan. 29
SHORT SUBJECT RELEASE SCHEDULE Columbia — One Reel
5752 Way Down Yonder in the Corn — Fox £•? Crow
(7|/2 m.) Nov. 25
5655 Community Sings No. 5 (10 m.) Nov. 25
5804 Ten Pin Aces — Sports (10 m.) Nov. 26
5703 The Playful Pest— Phantasies (6]/2 m-) Dec. 3
5855 Screen Snapshots No. 5 (9 m.) Dec. 17
5656 Community Sings No. 6 Dec. 24
5657 Community Sings No. 7 Dec. 24
5805 Winged Targets— Sports Dec. 24
5503 The Herring Murder Mystery — Col. Rhap.. .Dec. 30
5704 Polly Wants a Doctor — Phantasies Jan. 6
5954 Film Vodvil No. 4 Jan. 7
5903 Camera Revelations — Panoramics Jan. 14
5856 Screen Snapshots No. 6 Jan. 14
5601 Amoozin' But Confoozin' — Li'l Abner Jan. 28
5806 The Swing's the Thing — Sports Feb. 4
5705 Magic Strength — Phantasies Feb. 4
5753 The Dream Kids— Fox & Crow Feb. 5
Columbia — Two Reels 5410 Who's Hugh? — Herbert (15J/2 m.) Dec. 17
5161 The Sign of the Skull— The Phantom (30m) .Dec. 17
5162 The Man Who Never Dies — Phantom (20m).Dec. 24
5404 A Gem of a Jam — Stooges (17 m.) Dec. 30
5163 A Traitor's Code — Phantom (20 m.) Dec. 31
5164 The Seat of Judgment — Phantom (20 m.) . . Jan. 7
5165 The Ghost Who Walks— Phantom (20 m.) . .Jan. 14
5431 To Heir is Human — Merkel Jan. 14
5432 Dr. Feel My Pulse — Vera Vague Jan. 21
5166 Jungle Whispers — Phantom (20 m.) Jan. 21
5167 The Mystery Well— Phantom (20 m.) Jan. 21
5168 In Quest of the Keys — Phantom (20 m.) Jan. 28
5405 Crash Goes the Hash — Stooges Feb. 5
5169 The Fire Princess— Phantom (20 m.) Feb. 5
5170 The Emerald Key— Phantom (20 m.) Feb. 12
5171 The Fangs of the Beast— Phantom (20 m.) . .Feb. 19
5172 The Road To Zoloz— Phantom (20 m.) Feb. 26
5173 A Lost City — Phantom (20 m.) Mar. 4
5174 Peace in the Jungle — Phantom (20 m.) Mar. 11
Metro-Goldwyn-Mayer — One Reel
1942- 43
K-490 This Is Tomorrow — Passing Parade (11m.) .Nov. 27 W-454 What's Buzzin' Buzzard — Cartoon (8 m.).Nov. 27
S-474 Water Wisdom— Pete Smith (9 m.) Nov. 27
W-455 Baby Puss— Cartoon (8 m.) Dec. 25
(More to come)
1943- 44
T-511 Through the Colorado Rockies — Traveltalk
(10 m.) Oct. 23
HARRISON'S REPORTS Index
- Second Half of 1943, Page D fhjifif
T-512 Grand Canyon, Pride of Creation — Traveltalk
(9 m.) Nov. 27
T-513 Salt Lake Diversion— Traveltalk (9 m.) Dec. 25
S-551 Practical Joker — Pete Smith Ian. 8
Metro-Goldwyn-Mayer — Two Reels
A-402 Heavenly Music — Special (22 m.) May 1
A-403 Shoe Shine Boy— Special (20 m.) Dec. 25
Paramount — One Reel
L3-1 Unusual Occupations No. 1 (10 m.) Nov. 12
R3-2 Ozark Sportsmen — Sportlight (9 m.) Nov. 19
E3-1 Her Honor the Mare — Popeye (7 m.) Nov. 26
P3-1 No Mutton for Nuttin' — Noveltoons (7 m.) .Nov. 26
U3-2 Good Night Rusty— Mad. Mod. (7 m.) Dec. 3
J3-2 Popular Science No. 2 (10 m.) Dec. 10
Y3-1 Tails of the Border— Speaking of Animals
(8 m.) Dec. 17
R3-3 G. 1. Fun— Sportlight (9 m.) Dec. 24
D3-1 Eggs Don't Bounce— Little Lulu Dec. 24
E3-2 Marry Go Round— Popeye (8 m.) Dec. 31
Paramount — Two Reels FF3-2 Carribean Romance — Musical Parade (20m). Dec. 17
RKO — One Reel
1942- 43
34110 Home Defense— Disney (8 m.) Oct. 29
34111 Pelican and the Snipe — Disney Dec. 17
(More to come)
1943- 44
44201 Flicker Flashbacks No. 1 (9 m.) Sept. 3
44301 Field Trial Champions — Sportscope (9 m.).Sept. 10
44202 Flicker Flashbacks No. 2 (9 m.) Oct. 1
44302 Joe Kirkwood — Sportscope (9 m.) Oct. 8
44203 Flicker Flashbacks No. 3 (9m.) Oct. 29
44303 Stars and Strikes — Sportscope (9 m.) Nov. f
44204 Flicker Flashbacks No. 4 (9 m.) Nov. 26
44304 Mountain Anglers — Sportscope (9 m.)....Dec. 3
44205 Flicker Flashbacks No. 5 (9 m.) Dec. 24
RKO — Two Reels 43402 Unlucky Dog— Edgar Kennedy (15 m ). . .Nov. 12
43101 Sailors All— This is America (20 m.) Nov. 19
43204 Music Will Tell— Head. Rev. (18 m.) Dec. 3
43102 Letter to a Hero — This is America (18 m.).Dec. 17 43703 Wcdtime Stories— Leon Errol (17l/2 m.). . .Dec. 24
Twentieth Century-Fox — One Reel
4510 The Helicopter — Terrytoon (7 m.) Jan. 21
4155 Realm of Royalty — Magic Carpet (9 m.) Feb. 4
451 1 The Wreck of the Hespurus — Terry. (7 m.) . .Feb. 1 1 4202 Silver Wings — Adventure (9 m.) Feb. 18
4512 A Day in June — Terrytoon (7 m.)
4153 Steamboat on the River — Magic Carpet (9m). Mar. 10
4513 The Champion of Justice — Terrytoon (7 m.).Mar. 17 4201 Sails Aloft — Adventure (9 m.) Mar. 31
Twentieth Century-Fox — Two Reels Vol. 10 No. 3 Youth in Crisis — March of Time
(18 m.) Nov. 5
Universal — One Reel
8354 Wings in Record Time — Var. Views (9 m.).Dec. 27
8355 Amazing Metropolis — Var. Views (9 m.)...Jan. 17
8356 Magazine Model — Var. Views (9 m.) Jan. 24
8375 Mrs. Lowell Thomas, Fur Farmer — Per. Odd.. Jan. 31
Universal — Two Reels
8124 Radio Melodies — Musical (15 m.) Dec. 29
8125 New Orleans Blues— Musical (15 m.) Jan. 26
Vitaphone — One Reel
1942- 43
8725 Little Red Riding Habit— Mer. Mel. (re.)
(7 m.) Jan. 1
8726 What's Cookin' Doc— Mer. Mel. (re.) (7m). .Jan. 8
(End of 1942-43 Season)
1943- 44
9301 A Feud There Was— Mer. Mel. (reissue)
(7 m.) Sept. 11
9601 Hit Parade of the Gay Nineties — Mel. Mas.
(10 m.) Sept. 18
9402 Bees A" Buzzin — Varieties (10 m.) Sept. 18
9302 Early Bird Gets the Worm — Mer. Mel.
(reissue) (7m.) Oct. 2
9501 Tropical Sport Land— Sports (10 m.) Oct. 9
9602 Sweetheart Serenade— Mel. Mas. ( 10 in.) Oct. 23
9303 My Little Buckaroo — Mer. Mel. (nriUMf)
(7 m.) Nov. 6
9401 Alaskan Frontier — Varieties (10 in.) Nov. 6
9502 Desert Playground — Sports (10 m.) Nov. 13
9603 Cavalcade of the Dance — Mel. Mas. (10m). Nov. 20
9304 Fighting 69j/2— Mer Mel. (reissue) (7 m.).Dec. 4
9604 Freddie Fisher His Band— Mel Mas.
( 10 in.) Dec. 18
9403 Hunting the Devil Cat — Varieties (10 m.). . .Dec 18
9503 Into the Clouds— Sports (10 m.) Jan. 1
9305 Cross Country Detourb — Mer Mel. (reissue)
(7 m.) Jan. 15
9504 Baa Baa Blacksheep— Sports (10 m.) Jan. 22
9605 Ted Wcems ii Merchant Marine — Mel. Mas.
(10 m.) Jan. 29
9701 Meatless Fly Day— Mer. Mel. (7 m ) Jan. 29
9306 Hiawatha's Rabbit Hunt — Mer. Mel. (reissue)
(7 rn.) Feb. 12
9702 Tom Turk Daffy— Mer. Mel. 7 m.) Feb. 12
9505 Dogic Round up— Sports (10 m.) Feb. 26
9721 The Three Bears— Bugs Bunny (7m.) Feb. 26
9703 I've Got Plenty of Mutton— Mer. Mel.
(7 m.) Mar. 11
9307 The Bear's Tale— Mer Mel. (reissue) (7m). Mar. 11
9606 Songs of the Range — Mel Mas. (10 m.) . . . .Mar. 18
9506 Chinatown Champs — Sports (10 m.) Mar. 18
9704 The Weakly Reporter— Mer. Mel. (7 m ). . .Mar. 25
9404 Struggle for Life— Varieties (10 m.) Mar. 25
Vitaphone — Two Reels
9102 Over the Wall — Featurctte (20 m.) Dec. 25
9109 Gun to Gun— Sante Fe Western (20 m.) Jan. 8
9103 Grandfather's Follies — Featurette (20 m.). . .Feb. 5 9004 The Devil Boats — Special (20 m.) Feb. 19
9110 Roaring Guns — Sante Fe Western ( 20 m.) .. Mar. 4
NEWSWEEKLY
NEW YORK RELEASE DATES
Pathe News Paramount News
45137 Sat. (O) . .Jan. 1 - .
45238 Wed. (E) .Jan. 5 " *u,n (°> ; - Jan- \
45139 Sat. (O) ..Jan. 8 Jhu,s( <£' -Jan- «
45240 Wed. (E) .Jan. 12 Jj ft* *°JL_ ' ' ' ,!
45141 Sat. (O) . .Jan. 1? JJ Jhurs; <E> 1 ' an *
45242 Wed. (E) .Jan. 19 " <°> ■ ■ ■ Jan \*
45143 Sat (O) .. an.22 Jf ™Ur5,n(E) ' ' an'
45244 Wed. (E) .Jan. 26 JJ <%; ■ ■ -jan- \\
45145 Sat (O) . . an. 29 J_ Thur5;r<E> ' |an g
45246 Wed. (E) .Feb. 2 J_ <°> " ■ ' -Ja? 30
45147 Sat. (O) ..Feb. 5 JJ J^jJP 3
45248 Wed (E) .Feb. 9 JJ Sun. .0) ...Feb. 6
45149 Sat. (O) . .Feb. 12 ™UrS, <E) 1 ^ ?
_____ 47 Sun. (O) Feb. 13
Fox Movietone
35 Tues. (O) . . .Jan. 4
36 Thurs. (E) ..Jan. 6 All American News
37 Tues. (O) . . .Jan. 11 /VI VT
38 Thurs. (E) ..Jan. 13 (Negro Newsreel)
39 Tues. (O) . . .Jan. 18 62 Friday Dec. 31
40 Thurs. (E) . .Jan. 20 63 Friday Jan. 7
41 Tues. (O) ...Jan. 25 64 Friday Jan. 14
42 Thurs. (E) . .Jan. 27 65 Friday Jan. 21
43 Tues. (O) ...Feb. 1 66 Friday Jan. 28
44 Thurs. (E) ..Feb. 3 67 Friday Feb. 4
45 Tues. (O) ...Feb. 8 68 Friday Feb. 11
46 Thurs. (E) . .Feb. 10
47 Tues. (O) ...Feb. 15
Metrotone News Universal
233 Tues. (O) ..Jan. 4 254 Fn. (E) Dec. 31
234 Thurs. (E) .Jan. 6 255 Wed. (O) ..Jan. 5
235 Tues. (O) ..Jan. 11 256 Fri. (E) Jan. 7
236 Thurs. (E) .Jan. 13 257 Wed. (O) . .Jan. 12
237 Tues. (O) . .Jan. 18 258 Fri. (E) Jan. 14
238 Thurs. (E) .Jan. 20 259 Wed. (O) . .Jan. 19
239 Tues. (O) . .Jan. 25 260 Fn. (E) Jan. 21
240 Thurs. (E) .Jan. 27 261 Wed. (O) . .Jan. 26
241 Tues. (O) ..Feb. 1 262 Fri. (E) Jan. 28
242 Thurs. (E) .Feb. 3 263 Wed. (O) ..Feb. 2
243 Tues. (O) ..Feb. 8 264 Fn. (E) Feb. 4
244 Thurs. (E) .Feb. 10 265 Wed. (O) ..Feb. 9
245 Tues. (O) ..Feb. 15 266 Fn. (E) Feb. 11
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
Harrison's Reports
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Vol. XXVI SATURDAY, JANUARY 8, 1944 No. 2
THE VALUE OF ORGANIZATION
Mr. Maxwell A. Alderman, executive secretary of Allied Theatres of Connecticut, said the following in the organization's "Service Bulletin" of December 24 :
"If I were an independent exhibitor with all the years of experience that goes with the business, I would sit down and ponder as to how I could better my lot in the future. In making my New Year Resolu' tion, I would wonder whether I was helping myself as well as other independent exhibitors. Petty, fancied, personal grievances or jealousies should be set aside for the larger overall part I should play in my business in the future. I would, after thinking for awhile, make up my mind that every independent exhibitor owes it to himself to join a truly independent trade associa' tion. There may be individuals who believe that they are self-sufficient and can go it alone, but they are only kidding themselves. The time is coming and soon, when they will find out for themselves that they are a part, however small, in this business. The outside forces will continue to pound, so that the shell into which you have withdrawn, will eventually crack and you will find yourself alone to battle for your very existence. I would ask myself how far I could get if I set out to adjust tax or other legislative matters both in Congress and in our own state? And these problems are multiplied many times over during the course of the year (just remember two men in a booth and other legislative proposals in our own legislature the past several years.)"
I wanted to write something to support Mr. Alder- man's appeal as to the value of organization and then I remembered that I had written something on the subject in the first issue of 1932. I read it and felt that nothing more appropriate could be written on the subject. So I have decided to reprint as much of it as applies to the present conditions :
"Business to thrive needs protection.
"One of the greatest protecting factors is organiza- tion. When the members of a particular business are organized, they are able to put up an effective defense against all hostile forces.
"And yet, in the exhibiting branch of the moving picture business, there is no other factor in greater disrepute than is organization. Though it is an insur- ance, most exhibitors consider it a nuisance. And they commit the gravest of abuses toward it. I have heard of a case in which an organization spent five hundred dollars to protect the interests of an exhibitor. It saved him seventy-five dollars a week, the total amount he saved in the seven years he kept his theatre being more than twenty-five thousand dollars. And yet this exhibi- tor refused, not only to reimburse the organization for
whatever money it had spent, but even to pay his dues.
"This is only one case of ingratitude; I could go on filling page after page, in some of them the exhibitor betraying ingratitude just as unbelievable.
"What makes many exhibitors so blind to the need of organization? Let us study nature itself for a lesson : Animals, birds, insects, fish; in fact all living organ- isms, travel in groups, for they know by instinct that protection lies in grouping. Cattle, when attacked by wolves, post themselves back to back to fight off the attackers. The outcome would be obvious were they to attempt to fight them singly. It was several centuries before Christ that one of the Greek philosophers pointed out to mankind the need of organization most convincingly: Aesop, in one of his fables, showed to the Greeks how easy it was to break a bundle of sticks a stick at a time, and how difficult to break them as a bundle."
The best illustration of the value of organization is the present increase in the theatre ticket tax: The Allied leaders did everything there was in their power to convince Congress that the motion picture is, not a luxury, but a necessity. Unfortunately they did not have the full support of every exhibitor in the coun- try, if we are the judge by their inability to prevent the increase of the tax. Had they been backed up by the exhibitors one hundred per cent, the story might have been different.
The proof that these leaders have not had the sup- port of the majority of the exhibitors, Allied members and not, may be gathered by an incident in another issue where full exhibitor support was needed. I am referring to the fact that, out of thousands of ques- tionnaires that were sent by Allied States Association to exhibitors at large, members and non-members, on their experiences under the Consent Decree, only a small percentage replied.
Many exhibitors, members of an exhibitor unit, pay their dues promptly, but there is a large number of them who either don't pay them, or do so reluctantly; they feel as if they are asked to contribute to charity. They forget that the exhibitors who head the organi- zation, with the exception of the secretaries, work for nothing. In most instances all they get is abuse.
If you are not a member of a regional unit, you should become one at once; if you are already a mem- ber and you are behind in your dues, sit down at once and make out a check. It is the best encouragement you can give to those who are trying to protect the interests of all exhibitors unselfishly. Harrison's Reports prefers that you join an Allied unit, but if for some reason you are unwilling to do so, join any unit, but do join!
6
HARRISON'S REPORTS
"The Lodger" with Merle Oberon, Laird Cregar and George Sanders
(20th Century-Fox, ]an. 7; time. 84 min.)
An interesting murder mystery melodrama. The story, which is more or less a character study of a maniacal mur- derer, takes place in London at the turn of the century, dur- ing the period of the famous "Jack the Ripper" murders that terrorized the populace. Though one becomes aware early in the picture of the murderer's identity, one is held in suspense because of the constant danger to the heroine who, unaware of his maniacal tendencies, is fascinated by his queer mannerisms. The London fog and the darkened streets give the proceedings an effective eerie atmosphere. Laird Cregar, as the murderer, overacts in spots, but on the whole he gives a creditable performance. Merle Oberon is quite charming as a Music Hall dancing star of that day: —
A series of murders, committed by a mysterious person known as "Jack the Ripper," terrorizes London and baffles Scotland Yard. Soon after the latest murder, Sir Cedric Hardwickc and Sara Allgood, a middle-aged couple, rent a room to Laird Cregar, a peculiar but pleasant man, who identifies himself as a pathologist. As the "Ripper" con- tinues his killings, Miss Allgood becomes suspicious of Cregar because of his unorthodox hours and weird move- ments. Hardwickc, however, dispels her fears by assuring her that all scientists were odd. Miss Allgood's house is brightened by the arrival of her niece, Merle Oberon, a saucy dancing star. Intrigued by Cregar's peculiarities, Merle in- vites him to the theatre. Cregar refuses, frankly telling her that he disliked actresses because they had ruined the life of his brother, whom he loved dearly. Merle is visited by In- spector George Sanders, who shows concern for her safety. He explains that the police had learned that the murder victims were at one time or other associated with the stage. When Sanders comes to the house one evening to escort Merle to the theatre, Miss Allgood informs him of Cregar's strange ways. Sanders investigates Cregar's quarters and discovers a fingerprint that matches that of the "Ripper." He is dismayed to learn that Cregar had accepted an invita- tion to attend that evening's performance. While Sanders and his men search for him, Cregar hides in Merle's dressing room. He locks the door when she enters and threatens to kill her, because of the evil of her beauty. As Cregar holds a dagger to her throat, Sanders bursts into the room and shoots him. Cregar, wounded, dashes out of the room and tries desperately to evade the police by hiding in the wings backstage. Cornered on a balcony, he leaps through a win- dow and drowns in the Thames.
Barre Lyndon wrote the screen play, Robert Bassler pro- duced it, and John Brahm directed it.
Not for children.
"Henry Aldrich, Boy Scout" with Jimmy Lydon, Charles Smith and Darryl Hickman
(Paramount, no release date set; time, 66 min.)
Although this latest of the "Henry Aldrich" program comedies is below par for the series, it should be received well by children, for most of the action revolves around boy scouts and their activities. Adults will probably find it of little interest, for the story, which deals with the now familiar trials and tribulations of "Henry," is trite and obvious. The comedy situations, too, will appeal more to youngster than to their elders. An old-fashioned cliff-hang- ing sequence, in which "Henry" saves the life of a junior scout, should thrill the kids: —
As senior patrol leader of Centerville Boy Scout Troop No. 1, Jimmy Lydon's chief ambition is to win a scout in- spection, principally to impress Joan Mortimer, his girl- friend, and to best David Holt, leader of Centerville's Troop No. 2 and his rival for Joan's affections. Jimmy's father (John Litel), seeking to impress Minor Watson, wealthy manufacturer, that Centerville would be an ideal site for his new factory, induces Jimmy to take into the troop Darryl Hickman, Watson's unruly son. Troops one
and two go to a regional 6Cout competition to compete for a pennant. Jimmy finds his troop trailing in the competi- tion, chiefly because of Darryl's sly tricks. Jimmy tolerates the boy's pranks, but a bespectacled scout challenges Darryl to a fight and whips him. The beating changes Darryl's opinion of Scout life, and he determines to help the troop win the final event — a cross-country hike. Meanwhile Holt, determined to win, tampers with the compass of the Sunny- grove troop, which he considered his most dangerous com- petitor. As a result, the Sunnygrove troop loses its way, and Jimmy's troop wins the contest. Later, when the Sunny- grove troop reports that its compass had been tampered with, Jimmy accuses Darryl. The boy, heartbroken, runs away. Jimmy and Charles Smith, his pal, set out to find the boy. They locate him on a ledge above a deep ravine, where he had fallen. Risking his life, Jimmy saves him. Holt, repentant, admits his guilt and clears Darryl. Jimmy is re- warded for his heroism by an appointment as Junior scout master.
Muriel Roy Bolton wrote the screen play, Michel Kraike produced it, and Hugh Bennett directed it. The cast in- cludes Olive Blakeny, Richard Haydel and others.
"Standing Room Only" with Paulette Goddard, Fred MacMurray and Edward Arnold
(Paramount, no release date set; time, 83 min.)
A moderately amusing romantic comedy-farce. It will probably do better-than-average business because of the players' popularity. Based on a theme that has been done a number of times in recent pictures, the story, which is some- what silly, treats farcically of present-day life in war-time Washington. The servant problem, the lodging shortage, and the difficulties encountered in attempting to obtain an inter- view with a busy official, are among the conditions ridiculed. It holds one's attention mainly because of engaging per- formances, fast-moving action, and lavish production. Occa- sionally, slapstick is resorted to for laughs. There is not much the characters do to awaken sympathy, but they are not objectionable: —
Fred MacMurray, manager of a toy factory owned by Edward Arnold, goes to Washington with Paulette God- dard, his secretary, to see an important official (Clarence Kolb) about a war contract. On arrival, Paulette cancels their hotel reservations because their rooms were without baths and, as a result, both spend the night sleeping in the park. On the following day, while MacMurray waits his turn to see Kolb, Paulette, determined to find rooms, applies to Roland Young in answer to his advertisement for servants, and represents both MacMurray and herself as a servant couple — he a butler, and she a cook. MacMurray, tired and sleepy, accepts the situation. Finding it difficult to obtain an interview with Kolb, MacMurray continues the masquerade in order that he have a place to sleep. MacMurray's oppor- tunity to see Kolb comes when the official, a guest in Young's home, slyly asks MacMurray and Paulette to work for him. Kolb's wife, however, fires them on the first day, and they return to Young. Complications arise when Arnold, furious at the delay in obtaining the contract, arrives in Washington with Hillary Brooke, his daughter, who was MacMurray's fiancee. Hillary misunderstands his relationship with Paulette and breaks the engagement. Learning that Porter Hall, a competitor, had inveigled an invitation to a reception in Kolb's home, MacMurray and Arnold attend as butlers, in order to prevent Hall from securing the contract. MacMurray deliberately dumps a pot of soup over Kolb, and the official rushes to his room to change clothes. MacMurray follows him and hides his trousers, refusing to give them to him until he is heard. When both come downstairs, MacMurray holds the signed contract. With no reason to carry the mas- querade further, MacMurray and Paulette rush into each other's arms to the amazement of the assembled guests.
Darrell Ware and Karl Tunberg wrote the screen play, Paul Jones produced it, and Sidney Lanfield directed it.
Morally suitable for all.
January 8, 1944
HARRISON'S REPORTS
7
"The Racket Man" with Tom Neal, Hugh Beaumont and Jeanne Bates
(Columbia, Jan. 21; time, 65 mm.)
Just a minor program gangster melodrama, with a topical angle. The formula story has been given so hackneyed a treatment that one knows in advance just what is going to happen. Moreover, the production values are modest, and the players do not mean anything at the box-office. Even the performances are stilted, but the fault lies with the ma' terial and not with the players:—
On the eve of his induction into the army, Tom Neal, a notorious racketeer, bids farewell to a group of intimate friends, including Hugh Beaumont, a boyhood pal now a policeman; Larry Parks, a cub reporter; and Jeanne Bates, with whom both Neal and Beaumont were in love — all dis- liked Neal's "business," but loved Neal as a friend. As a soldier, Neal is insubordinate and surly, incurring the dis- like of his entire platoon. When Tony Caruso, a sergeant, forfeits his chevrons by refusing to report Neal for an in' fraction of discipline, the racketeer changes his attitude and seeks to redeem himself. His request for overseas duty is denied for more important work— combating the "black market." Neal's superior explains that, because of his under- world "connections," his services would be invaluable. Ac cepting the confidential assignment, Neal is nominally dis- charged from the army, much to the dismay of his friends. Their unhappiness is increased by his apparent interest in his former racket. Working secretly, however, Neal is in- strumental in exposing the "black market" operations of his former associates. Because of a series of "black market" articles written by Parks, Doug Fowley, a gangster leader, murders the reporter. Neal resolves to avenge his friend's death and goes to an abandoned warehouse in search of Fowley. Meanwhile Beaumont, zealously discharging his duty, mistakenly believes that Neal was responsible for Parks' death. He follows Neal. While Neal and Fowley stalk each other with drawn guns, Beaumont walks into the line of fire. Neal, to save his friend, deliberately stops a bullet, and fires point-blank at Fowley, killing him. As Neal lies dying, a government agent arrives and reveals to Beau- mont and Jeanne that the racketeer was really a hero.
Paul Yawitz and Howard J. Green wrote the screen play, Wallace MacDonald produced it, and D. Ross Lederman directed it.
Morally suitable for all.
"None Shall Escape" with Alexander Knox, Marsha Hunt and Henry Travers
(Columbia, February 3; time, 87 min.)
A powerful anti-Nazi drama. Although a few of the situ- ations are a bit too stagy, it is on the whole a well made pic ture, with outstanding performances and a good directorial job. The time of the story is the future, after victory is won by the Allies, and it concerns itself with the post-war trial of an arrogant Nazi general, who had abused, murdered, and robbed the people of a tiny Polish village. While it is an emotionally stirring film, and one feels deep sympathy for those against whom the atrocities are committed, the action throughout is far from cheerful. One of the most powerful sequences is where a Jewish Rabbi exhorts his people to turn on their tormenters so that they, too, might die with them. Alexander Knox, as the Nazi general, is excellent. Whether or not your patrons desire this type of entertainment today is a matter that you must judge for yourself. It should be said, however, that "None Shall Escape" ranks with the better war films.
The story opens with the trial of Alexander Knox, charged with committing atrocious crimes against the people of Litzbark, a small Polish village. His accusers include Marsha Hunt, a schoolteacher; Henry Travers, a priest; and Erik Rolf, his brother. Their testimony reveals that Knox had returned to the village in 1919, after serving in World War I with the German Army, to resume his career as a schoolteacher. Embittered because of the German defeat, and because of Masha's postponement of their marriage, Knox, in a moment of frenzy, had raped one of his pupils,
causing her to commit suicide. He had fled the infuriated villagers and had returned to Germany, where he had found haven in the happy home of his brother, who had been a newspaper editorial writer. He had become an ardent fol' lower of Hitler, eventually reaching a high position in the Nazi party. Disturbed lest his brother's anti-Nazi views would become known to the party, thus embarrassing him, Knox had used his authority to jail Rolf. Six years later, Knox had led victorious Nazi troops into Litzbark, where he had maltreated the villagers, particularly the Jews, and had plundered their homes. Knox had on his staff Richard Crane, Rolf's son, in whom he had taken a special pride; the boy had become a thoroughly indoctrinated Nazi as a result of his teachings. Crane's interest in Dorothy Morris, Marsha's daughter, had angered Knox, for the girl had taught the boy to become more humane. He had committed the girl to a house of prostitution, where she had been shot in an at' tempted escape. Infuriated, Crane had torn off his Nazi decorations, and had entered Travers' church to attend Mass for Dorothy. As Crane prayed over Dorothy's prostrate form, Knox had shot him in the back. The trial ends with the Judge charging the jury, telling them that final victory lies in a people's justice.
Lester Cole wrote the screen play, Samuel Bischoff pro- duced it, and Andre de Toth directed it. The cast includes Richard Hale and many others.
Morally suitable for all.
"Timber Queen" with Richard Arlen and Mary Beth Hughes
(Paramount, no release date set; time, 66 min.)
An undistinguished program comedymelodrama, ham- pered by a story that creaks with age, and by obvious melo- dramatic situations. At times, the action is slowed down considerably by excessive dialogue. George E. Stone and Sheldon Leonard, as gangsters, provide the comedy, but much of it is too ridiculous to be effective. There is some excitement towards the finish, where Richard Arlen, in a low-flying plane, dynamites a dam and breaks up a log jam. The love interest, though pleasant, is incidental: —
Honorably discharged after serving in the South Pacific, Captain Richard Arlen seeks out Mary Beth Hughes, a cabaret singer, widow of a pal killed in action. Arlen learns that Tony Hughes, his unscrupulous business associate, held a $30,000 mortgage on a rich lumber tract left to Mary by her husband, and that he planned to foreclose unless payment was made within sixty days. Arlen breaks relations with Hughes, and suggests to Mary that they pay off the mortgage by cutting and selling the timber on the land. June Havoc, Mary's pianist, induces Sheldon Leonard, her boy-friend, manager of a gambling club, to finance the logging operations with $10,000 of the club's money, which he borrows without the knowledge of the club's gangster- owners. Hughes, determined to foreclose on the mortgage, arranges for two of his henchmen (Edmund MacDonald and Bill Haade) to join Arlen's logging crew to sabotage their operations. Meanwhile Leonard arrives at the camp to hide from the gangsters, who were after him for taking the money. As a result of MacDonald's sabotage, one of the men dies in an accident. Haade, claiming the work is too dangerous, incites the crew to quit, leaving Arlen with- out help. Leonard contacts the gangsters and convinces them that the only way for them to save their money was to pitch in and help cut the timber. Aided by the gangsters, Arlen finds that enough lumber will be cut to pay the mortgage within the alloted time. MacDonald, as a last desperate measure, dynamites the sides of a stream used for floating the logs, damming the water and creating a log jam. Attaching explosives to the bottom of his hydroplane, Arlen blasts the dam, and the rush of water breaks the jam, sending the logs on their way to the mill. The gangsters round up Hughes and his henchmen.
Maxwell Shane and Edward T. Lowe wrote the screen play, William Pine and William Thomas produced it, and Frank McDonald directed it. The cast includes Dick Purcell, Horace McMahon and others.
Morally suitable for all.
8
HARRISON'S REPORTS
January 8, 1944
"The Uninvited" with Ray Milland, Ruth Hussey and Gail Russell
(Paramount, no release date set; time, 98 min.)
An excellent ghost picture, with touches of rich humor. Since the story deals with the supernatural, it is, of course, fantastic, but it has been handled so ex- pertly that the suspense does not let up for one mo- ment. It should appeal to all classes of audiences, ex- cept perhaps children, who may find the proceedings a bit too deep. Credit is due Lewis Allen for his direc- torial skill in building up situations that hold one tense. An extremely thrilling, as well as chilling, situ- ation is the one in which a fake seance is held to ease the troubled mind of a young girl, only to have the seance turn out as the "real" thing. Eerie effects have been used to good advantage. The performances of the cast arc uniformly excellent Gail Russell, a newcomer, has a charming personality and shows promise: —
Impressed with the beauty of a deserted mansion on a cliff high above the sea, Ray Milland and Ruth Hussey, his sister, buy it from Donald Crisp, the austere owner, despite his warning that the house was reputedly haunted. Gail Russell, Crisp's grand- daughter, is disturbed by the sale. From a village tobacconist, Milland learns that Gail's mother had been mysteriously killed in a fall from the cliff, and that she was remembered as a saintly woman, while her artist-husband was recalled as a bad sort, who had carried on an affair with a Spanish model. The model, too, had died. After settling in the house, Milland and Ruth are almost frightened out of their wits by sor- rowful wailings and by a strange cold, accompanied by an overpowering aroma of minosa, which perme- ated the house at odd times. Milland makes Gail's acquaintance and learns that she is obsessed with the thought that her mother's ghost lived in the house. Although forbidden by Crisp to set foot in the man- sion, Gail defiantly visits Milland and Ruth. As she speaks with Milland in his studio, the strange cold and odor of minosa sweep into the room. Gail rushes out of the house and heads for the cliff, but Milland catches her as she is about to leap. She is treated for nervous shock by Alan Napier, a local physician. Milland conspires with the doctor to hold a fake seance to receive a "message" from Gail's mother, in order to ease the girl's mind. Both men are shocked when the seance proves to be the real thing — glasses are smashed; the cold and minosa scent fill the room; and Gail goes into a trance, jabbering in rapid gypsy Span- ish. At that moment Crisp arrives in a rage and takes Gail home. Later, he sends her to an insane asylum operated by Cornelia Otis Skinner, who had been her mother's nurse. Meanwhile Milland and the doctor, disturbed by the supernatural doings, decide to inves- tigate. They learn from old medical records that Gail is really the child of the Spanish model, and they de- duce that the ghost of Gail's supposed mother, seeking vengeance, sought to impel Gail to hurl herself from the cliff; the ghost of the Spanish model, Gail's real mother, sought to hold her back. Milland rushes to the asylum to rescue Gail, only to learn that Miss Skinner, obviously bent on taking Gail's life, had sent the girl back to the mansion. Speeding back, Milland arrives in time to rescue Gail as she again rushes towards the cliff. When Gail is told of her identity, a happy laugh is heard from the ghost of the Spanish model, for the vengeful ghost had lost its power.
Dodie Smith and Frank Partos wrote the screen play from the novel by Dorothy Macardle. Charles Brackett produced it and Lewis Allen directed it.
"The Miracle of Morgan's Creek" with Betty H utton, Eddie Bracken and William Demarest
(Paramount, no release date set, time, 100 min.)
This is a rowdy, romantic comedy, the kind that should go over well in crowded houses because of the gags and funny situations. It has a bizarre story, some- what silly most of the time, but every one in the cast works hard to put it over, and whatever entertainment values the picture has are owed solely to their efforts. The action revolves around a fun-loving girl, who, sobering up after a "wild" party, recalls that she had married a soldier but cannot remember who he was. Her subsequent pregnancy, and the efforts of a simple, stuttering admirer to save her reputation result in a series of humorous complications, some of which will provoke hearty laughter. A good deal of the comedy is slapstick. In highly religious communities, patrons may resent the light treatment of marriage. Brian Donlevy and Akim Tamiroff are included in the cast, but they take a very minor part in the action: —
When William Demarest, Morgan Creek's only constable, forbids Betty Hutton, his elder daughter, to go to a soldiers' farewell party, she asks Eddie Bracken, a stuttering bank clerk, to take her to a movie. Bracken, madly in love with her, is thrilled. Betty, however, persuades him to go to the movie alone, and asks him to wait for her return from the party. She shows up on the following morning intoxi- cated, and Demarest blames Bracken for her condi- tion. Sobered, Betty recalls that she had married a soldier, whose name she did not remember. Moreover, she did not have a marriage certificate. She shares her secret with Diana Lynn, her sophisticated young sister, who suggests that she marry Bracken. Betty rejects the idea. A month later, Betty learns that she is to have a baby. Worried lest Bracken be blamed, she confides in him. The young man conceives the idea of dressing as a soldier, and marrying Betty under a false name, in order that she may have a certificate to prove her marriage. They travel to another state for the ceremony, and all goes well until Bracken bungles, causing the Justice of the Peace (Porter Hall) to arrest him for abduction and impersonation of a soldier. Hall brings the young couple back to Morgan's Creek, where Demarest jails Bracken. Later, when Demarest learns the truth from Betty, he permits Bracken to escape in the hope that he will locate Betty's unknown husband. Months later, Bracken returns after a futile search and is arrested. Meanwhile Demarest, having lost his job, is living with his daughters on a farm. Learning of Bracken's capture, Betty insists upon go- ing to town to clear him. Before she can confess, how- ever, she is rushed to a hospital where she gives birth to sextuplets. Pleased at the fame brought to his state, Brian Donlevy, the governor, takes charge of matters and declares that Betty and Bracken were married legally by Hall. Bracken, believed to be the father, is acclaimed as a hero.
Preston Sturges wrote the screen play and directed
it.
Although it treats morality lightly, it is not offen- sive.
"Song of Russia" with Robert Taylor and Susan Peters
(MGM, no release date set; time, 107 mm.) In the review of this picture, printed in last week's issue, the title was reported as "Son of Russia" through a typographical error.
IN TWO SECTIONS— SECTION ONE
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SATURDAY, JANUARY 15, 1944 No. 3
Vol. XXVI
WEST COAST EXHIBITORS OBJECT TO THEATRE OWNING BY EXCHANGEMEN
At a recent meeting of members of the Pacific Coast Conference of Independent Theatre Owners, a resolution was adopted condemning the ownership of theatres by persons connected with exchanges.
Part of the resolution reads as follows:
"WHEREAS, in recent years there has developed a vicious, unfair and inequitable practice by means of which some exhibitors seek to engage in unfair competition with others by taking into their theatrical exhibition enterprises persons who are in positions of trust and responsibility with said distributors and/or producers; and
"WHEREAS, a continuance of such practice and technique is regarded by this association as a form of commercial bribery, dishonesty, unfair trade practice and unfair competition, now therefore be it —
"RESOLVED, that any practice or technique whereby persons employed by distributors or pro- ducers are permitted to acquire, directly or indirectly, an interest in any motion picture theatre enterprise ... is hereby condemned and considered dishonest, deceitful and fraudulent. . .
In following paragraphs, the resolution demands that the distributors take steps to put an end to such a practice by requiring of their employees a state- ment, sworn to before a notary public, that they have no interest whatever in any motion picture theatre served by the company.
Harrison's Reports has condemned this practice for years. Several years ago proof was submitted in some of the instances that exchangemen were in partnership with exhibitors, and the facts were pub- lished in these columns.
As a general rule, the producer-distributors object to their employees in the field owning either a whole or a part of a theatre, by reason of the fact that ad- vantage is taken of them in the matter of film rentals. I know at least of one person who, when he read in Harrison's Reports that one of his branch managers was a partner in a picture theatre with other ex- changemen, compelled him to divest himself of his theatre interest. That person was none other than Bill Rodgers, of Metro-Goldwyn-Mayer. The execu- tives of other companies, too, feel likewise, I am sure. So it is up to the exhibitors to present proof of an exchangeman's partnership in a theatre.
In the January 7 issue of Motion Picture Daily, Red Kann has a story to the effect that the producer- distributors have submitted to the Department of Justice on the Consent Decree certain proposals. Among these is an offer to freeze the number of theatres they own. I don't know whether this theatre freezing offer will have any effect upon theatre ownership by distributor employees. If it will not act as a preventive, then it is up to the exhibitor leaders to call the attention of Mr. Clark, Assistant Attorney General, to this form of abuse to the end that some clause may be incorporated in the Consent Decree making its continuance impossible.
THE SMOULDERING EXHIBITOR RESENTMENT ON REISSUES
In the December 29 issue of "The Exhibitor" (New York, Philadelphia, Washington), Jay Eman- uel, editor, published on the subject of reissues an editorial that is so full of dynamite that Harrison's Reports takes the liberty of reproducing it in full. Mr. Emanuel, being a publisher of the Jay Emanuel Publications, is an exhibitor himself, owner of sev- eral theatres: therefore he knows what he is talking about :
"There seems to be a mistaken impression in some circles (not this department) that exhibitors are not only able to ease their tight booking difficulties by playing reissues and repeats, but that they are coining money with them besides. It is not difficult to figure out that because a few reissues have been strong gross- ers the belief has grown that all of them are, and this view is shared only by the sales departments.
"There used to be a time when exhibitors would be able to book reissues at their own discretion and practically their own terms. The exchanges, with plenty of product on hand, didn't pay much attention to the reissues, and concentrated on the playoff of the annual product, looking at the reissue or repeat busi- ness as extra gravy. Thus, every once in a while, ex- hibitors would discover that in a reissue rested some additional money. The exchange, while learning of this fact, would figure the exhibitor would be entitled to whatever he made, and let it go on that.
"But since the amount of new product has lessened, the distributors have begun to watch every avenue of revenue closely. First, they removed any possibility of 'sleepers' appearing. By testing product, watching every release, the distributors made it impossible for (Continued on last page)
10
HARRISON'S REPORTS
January 15, 1944
"You're a Lucky Fellow, Mr. Smith" with Allan Jones and Evelyn Ankers
(Universal, October 22; time, 64 min.)
A dull program comedy, with music, in which someone bursts into song at the slightest provocation; it may get by as a supporting feature in situations where audiences are not too discriminating. The story, which is unimaginative and is quite familiar, concerns itself with the plight of an heiress, who has difficulties with her soldier-husband after he learns that she had married him for the sole purpose of satisfying a condition of her uncle's will. Few of the situa- tions provoke more than a grin. The music is sung by Allan Jones, Patsy O'Connor, and the King's Men. Billie Burke is wasted in a minor part: —
Accompanied by Patsy O'Connor, her younger sister, Evelyn Ankers entrains for Chicago, where she plans to marry David Bruce, a prudish socialite, merely to comply with a condition of her uncle's will, which required that she be married by her twenty-fourth birthday in order to receive a $95,000 inheritance. On the train, Evelyn makes the ac« quaintance of Allan Jones, one of a group of soldiers. Patsy, opposed to the idea of Evelyo'a marry iiig Brace, decides to do something about it. She feigns an attack of measles, thus compelling the conductor to side-track and quarantine the railroad car in which Evelyn, the soldiers and she had ac- comodations. Evelyn, realizing that she will not reach Chicago in time to save her inheritance, tricks Jones into marrying her aboard the train. Patsy, pleased at this turn of events, clears up the measles hoax, and the journey is resumed. To make Jones keep his distance, Evelyn frankly tells him of her motive in marrying him, and announces that she will seek an annulment. Jones, however, finds himself holding the upper hand when the terms of the will reveal that Evelyn cannot spend any part of her fortune without her husband's consent. He refuses to countersign checks for her, thereby causing her no end of grief with her creditors. Jones eventually agrees not to contest the annulment, pro- viding Evelyn places her money in a trust fund for her future security. When the judge unexpectedly denies the annulment, Evelyn discovers for the first time that she really loves Jones.
Lawrence Riley, Ben Barzman, and Louis Lantz wrote the screen play, Edward Lilley produced it and Felix Feist directed it.
Morally suitable for all.
"Beautiful But Broke" with Joan Davis, Jane Frazee and John Hubbard
(Columbia, January 28; time, 74 min.)
Just- a moderately entertaining program comedy with music. It should appeal mainly to young people because the music and dancing are of the popular "jitterbug" variety. Adults will find little to attract them, for the story is inane and much of the comedy is slapstick. Joan Davis manages to provoke hearty laughter occasionally, but for the most part she is hampered by the weakness of the material. By far the best part of the picture is the slapstick comedy act of Willie, West, and McGinty; their antics, while building a house, should cause riotous laughter. The production could stand some judicious cutting: —
Discouraged because a talent shortage interfered with his operations, John Eldredge, an agent, gives his business to Joan Davis, his secretary, then joins the army. Joan con- tacts Jane Frazee and Judy Clark, her pals, and makes them her partners. When a Cleveland theatre owner comes to the office, in search of an orchestra, the girls, through trickery, secure an engagement for a non-existant band. Joan manages to form a band made up of girls, and all head for Cleveland. En route, they are put off the train to make room for army pilots. They go to a hotel as guests of the railroad, only to be evicted by the management when Joan, who had lost her purse, is unable to produce the railroad tickets. They find an empty house a few miles from town and decide to spend the
night there, unaware that it was located on a proving ground for high explosives. After narrowly escaping with their lives as a result of shelling, the girls are taken in hand by John Hubbard, an engineer, who takes them to town and gives them the use of his apartment. To raise funds for Hub- bard's pet project — a baby station to care for infants, while their mothers work in defense plants — the girls put on a show. The townspeople take them to their hearts, and the girls decide to stay until Joan raises the necessary funds to take them to Cleveland. By the time Joan's pocketbook is found, Jane and Hubbard fall in love, and the other girls decide to remain as defense workers to help win the war. With no band to accompany her, Joan, too, decides to remain.
Monte Brice wrote the screen play, Irving Briskin pro- duced it, and Charles Barton directed it. The cast includes Bob Haymes, Byron Foulger and others.
Morally suitable for all.
"Ali Baba and the Forty Thieves" with Jon Hall and Maria Montez
(Universal, January 14; time, 87 min.)
Lavishly produced and photographed in Technicolor, this mixture of adventure, romance, and comedy should delight the youngsters, as well as the adult action fans. Like "Arabian Nights," its predecessor, this, too, has a mythical story, based on a famous fable. Ancient Bagdad is the setting, and the brilliant-hued costumes, enhanced by the color photography, give the film a pageantry-like quality. The thrilling situations are many. But it is in the closing scenes, where All Baba and his band of thieves come to the rescue of the heroine and rout the Mongols, that the excitement reaches its highest pitch. Jon Hall is quite dashing as Ali Baba, and Maria Montez very "fetching" as the girl in dis- tress. Andy Devine, as one of the thieves, handles the comedy fairly well. Wherever "Arabian Nights" proved successful, this, too, should go over: —
Aided by Prince Cassim (Frank Puglia), a traitor, Hulagu Khan (Kurt Katch), leader of the Mongols, murders the Caliph of Bagdad and seizes the city. Ali (Scotty Beckett), the Caliph's son, escapes into the hills with the seal of Bagdad. There he comes upon a horde of thieves, led by Baba (Fortunio Bonanova). Ali makes his identity known and offers to lead the thieves against Khan. Admiring the boy's spunk, Baba names him Ali Baba and takes him into the band. Ten years later, with Bagdad despoiled by the Mon- gols, only the thieves led by Ali (Jon Hall) still resist Khan. When a scout reports a rich caravan bearing Amara (Maria Montez), Cassim's daughter and future bride of Khan's, Ali and Abdullah (Andy Devide) ride to investigate. Ali is captured by the Mongols, but Abdullah escapes to warn the thieves. Caged and hauled to Bagdad, Ali is placed in the public square to await death. The thieves, however, swoop into the square and rescue Ali, who in turn kidnaps Amara and takes her to his secret cave. When Amara learns of Ali's identity, and Ali realizes that Amara is Cassim's daughter, both recall that as children they had pledged themselves to each other. Ali's love for Amara overcomes his desire for revenge against Cassim and Khan. He sends her back to Bagdad. When Jamiel (Turhan Bey), Amara's faithful servant, comes to Ali and informs him that Amara is marry- ing Khan against her will, Ali determines to rescue her. He disguises himself as a wealthy merchant and, on the day of the wedding feast, hides his men in forty large jars sup- posedly containing fine oils, and joins a procession of wealthy merchants and princes bearing gifts to Khan. Within the palace gates the thieves, at a given signal, pounce upon Khan's guards, while Bagdad's citizens rise in revolt. The Mongols are destroyed by the surprise attack, and Ali is restored to his rightful place as Caliph.
Edmund L. Martman wrote the screen play, Paul Mal- vern produced it, and Arthur Lubin directed it. The cast includes Yvette Dugay, Moroni Olsen, Ramsay Ames and others.
Morally suitable for all.
January 15, 1944
HARRISON'S REPORTS
11
"Lifeboat" with Tallulah Bankhead, William Bendix and Henry Hull
(Twentieth Century-Fox; January 21; time, 96 min.) Very good! Although somewhat depressing because of its depiction of human suffering, this drama tells an absorbing tale of six men and three women, each with varied back- grounds, who survive the torpedoing of a ship and are cast adrift in a lifeboat for many torturous days. The story com- bines heart interest, romance, murder, and mystery, and deals with the survivors' gradual disintegration under the strain of extreme hardships and personal conflicts. The film is unusual in that, throughout its ninety-six minutes running time, all the action takes place within the confines of the lifeboat; and yet it holds one's interest tightly, for the construction of the plot is skillful, the acting of the highest order, and Alfred Hitchcock's direction so expert that he keeps one in a high pitch of excitement from beginning to end: —
Only one lifeboat remains afloat after the sinking of a freighter by a Nasi sub, which in turn had been sunk by the freighter's gun crew. The survivors include Tallulah Bankhead, a sharp-witted, chic journalist; John Hodiak, a hardy, outspoken engine crew member; Hume Cronyn, a radio operator; William Bendix, a sailor with a wounded leg; Henry Hull, a wealthy industrialist; Canada Lee, a colored steward; Heather Angel, a half-crazed woman with a dead baby; and Walter Slezak, Nazi captain of the sunken sub- marine. Despite Hodiak's demands that Slezak be thrown overboard, the others permit him to stay. Miss Angel, grief- stricken over the baby's death, jumps overboard while the others sleep. In the course of events, all come to depend on Slezak, a cold, calculating person, despite their hatred for him. When Bendix's life is threatened by gangrene, Slezak amputates his leg, and when a powerful wind blows the boat out of control the Nazi saves all their lives by his quick thinking. After many days without food and water, all except Slezak feel the effects of hunger and thirst. They accept his leadership, fully aware that he will lead them to a Nazi supply ship. One night, as the others sleep, Slezak pushes Bendix overboard when the crippled sailor catches him drinking from a hidden flask. Bendix's cries awaken the others, who suspect Slezak and discover the water flask. Mute with anguish at his cold-bloodedness, they hurl them- selves at the Nazi, beat him severely, and throw him over- board. All are grateful when a ship hoves in sight, even though it is Nazi. A sudden flash over the horizon, followed by an explosion near the ship, reveals to them the presence of an Allied cruiser. They narrowly miss death when the Nazi ship tries to run them down before it disintegrates in a terrific explosion. All wait patiently to be rescued by the cruiser.
Jo Swerling wrote the screen play from an original story by John Steinbeck, and Kenneth Macgowan produced it. Adult entertainment.
"Million Dollar Kid" with the East Side Kids
(Monogram, February 28; time, 64 min.)
This program comedy should have no trouble pleasing the followers of the "East Side Kids." Like the previous pictures in the series, this, too, depends for its laughs on the rowdy antics of the "Kids," led by Leo Gorcey. The story, though thin, is somewhat more appealing than that of any of the other pictures, for this time the "Kids" set out to clear their neighborhood of ruffians. In the process, they help to regen- erate a thrill-seeking youth, son of a millionaire, who had taken up with shady companions: —
Attacked by hoodlums, Herbert Heyes, a millionaire, is rescued by the East Side Kids. Heyes shows his appreciation by inviting the boys to his mansion and giving them the use of a fully equipped gymnasium, which, he explains, was never used by Johnny Duncan, his 'teen-aged son. While searching for Heyes' attackers, the boys discover that one
of the hoodlums was Johnny, who had taken up with bad companions for the thrill. The boys keep their discovery from Heyes and try to reform Johnny, but the young man refuses their counsel. The Kids are at Heyes' mansion one afternoon when word comes that the millionaire's elder son had been killed in action. Heyes, upset by the news, suffers a heart attack, and the Kids go in search of Johnny. They find him in a poolroom and take him back to the gymnasium, where Gorcey whips him in a boxing match to cool him down. News of his brother's death and of his father's heart attack, make Johnny see the error of his ways. He joins the boys in capturing the ruffians who had attacked his father, and admits to the police his part in the crime. The Kids, however, manage to get him absolved.
Frank Young wrote the story and screen play, Sam Katz- man and Jack Dietz produced it, and Wallace Fox directed it. The cast includes Huntz Hall, Gabriel Dell, Billy Bene- dict, Louise Currie, Noah Beery, Sr., Mary Gordon, Iris Adrian and others.
Morally suitable for all.
"There's Something About a Soldier" with Tom Neal, Evelyn Keyes and Bruce Bennett
(Columbia, November 30; time, 81 min.)
This comedy-drama, which deals with the training of soldiers at Officers' Candidate School, is entertaining pro- gram fare. The story itself is the familiar one about the "cocky" soldier, disliked by his fellows, who eventually is made to see the error of his ways. The good treatment given the production, however, more than compensates for the lightweight plot. The gruelling training undergone by the soldiers is presented in an interesting way, with rich touches of humor. Credit is due the producer for giving the story a logical ending: The hero is expelled from school for an act unbecoming an officer and gentleman, even though it was done in self-sacrifice. He does, however, win the girl. The performances and direction are good : —
Soon after his arrival at Officers' Candidate School, Tom Neal, a glib ex-newspaperman, incurs the dislike of his fellow squad members, because of his "cockiness" and of his refusal to join them in helping each other with their studies. A rivalry springs up between Neal and Bruce Bennett, a serious-minded soldier, when both vie for the attentions of Evelyn Keyes, civilian secretary at the school. Unknown to Neal, but known to Evelyn, Bennett had seen service in North Africa, and had won his appointment through dis- tinguished service. When Evelyn berates Neal for his atti- tude towards Bennett and the others, he becomes more co- operative. He offers to tutor Bennett in mathematics, a subject in which he was weak, but Bennett suspects his motive and refuses. As a result, Bennett finds the mathema- tic examinations difficult, and openly worries that it will interfere with his chances of graduation. Neal, to assure Bennett's graduation, steals his examination paper and cor* rects the errors. He is caught returning the paper to the files, and the commandant, believing that Neal was cof recting his own paper, expells him from school. Neal ac- cepts the order without revealing the truth. Following the graduation exercises, Bennett is congratulated by one of the instructors for his high "math" marks. He states frankly that there must be some error, and requests permission to examines his paper. The re-check discloses the true story, and Bennett brings the facts to the attention of the commandant. Bennett is assured that, even if he had failed in mathematics, his general average assured his graduation. Both Bennett and Evelyn rush to the railroad station, arriving in time to bid Neal goodbye. Accepting Bennett's proffer of friendship, Neal promises fr> work {pi another appointment, so that Ke Can return to Evelyn.
Horace McCoy and Barry Trivers wrote the screen play, Sam Bischoff produced it, and Alfred E. Green directed it. The cast includes John Hubbard, Jeff Donncll, Frank Sully, Jonathan Hale and others.
Morally suitable for all.
12
HARRISON'S REPORTS
January 15, 1944
a low allocation picture to spurt into the higher gross- ing class. If a show which might ordinarily be an un- important 'B' showed box office prowess, the distribu- tor knew about it, and allocated it where he would get a higher share.
"Having checked this avenue, the distributor then turned to the reissue. First a system of home office ap- proval was instituted whereby the local authority of the exchange was taken away, and a home office check put on all such bookings. Then, to make certain even more that not a nickel should be lost, 'official' re' issues were instituted wherein the salesmen were in- structed to take new deals all the way down the line, following key runs. The old method of 'date it in, we only have the print for a short time' was forgotten, and the 'official' reissues were handled according to the territory's release schedule.
"Furthermore, instead of spot bookings at flat prices, percentage was asked.
"One distributor even refuses reissue or repeat business because he feels it slows down his sales on the new pictures he is trying to sell at peak prices.
"Costs of practically all of these pictures had been written off years ago, but, regardless, the distributor insists on percentage or a higher flat price.
"Thus another avenue of revenue has been blocked for the exhibitor.
"The consent decree has been a bonanza for the distributors.
"Recently one prominent distributor told an ex' hibitor who had complained on the low gross of one of his big 'specials' : 'Look at the money you made on that reissue.'
"Can anyone wonder why exhibitors are wary of distributors' promises of good faith?"
BENEFITS YOU DERIVE BY JOINING AN ORGANIZATION
Many exhibitors seem to feel as if a membership in an exhibitor organization is a liability rather than an asset.
Here are some of the benefits that a member derives : The secretary and business manager of the organi- sation keeps his ear on the ground for any proposed or even contemplated adverse legislation, and enlists the support of the members for fighting such legisla- tion. There are states where there has been no anti- industry laws for many years, owing to the vigilance of the organization's executives.
The secretary, who as a rule lives in the center of distribution, undertakes to adjust differences that may arise between a member and a distributor regarding his rights under the contract, usually with good results.
, The organization mails periodically an information bulletin relative to matters that are of importance to every member.
When a number, away from the exchange city, wishes to make a purchase of anything, he communi- cates with the secretary and obtains the information at no cost.
There are held at stated intervals meetings at which the members discuss problems that are of great importance in the operation of a theatre. The experi- ence and wise counsel of one member help guide the other members. Pooling of experiences and offering suggestions cannot help bringing benefit. Even when a member cannot attend, he receives the benefit just the same, for the information is imparted to him by means of the service bulletin.
The secretary or business manager is usually able to lower a member's liability insurance rates.
In general, the organization's executive secretary or business manager acts as the personal representative of each member, ready to serve him at all times.
For all these benefits an exhibitor receives when a member of a regional unit, a membership in an or- ganization is a privilege that should be valued by every exhibitor.
If you are not a member of an organization, you should become one at once. This paper believes that Allied States Association of Motion Picture Exhibi- tors represents the sentiment of the independent ex- hibitors, and for this reason it suggests that you join an exhibitor unit that is affiliated with it; but if for any reason you do not desire to join such a unit, join an exhibitor organization anyway, no matter what its affiliations, as long as you do not join one that is controlled by producers and distributors.
A NOTABLE EVENT
Allied Theatre Owners of New Jersey will cele- brate its Silver Jubilee sometime in June.
The writer takes personal pride in the fact that the New Jersey organization has reached the age of twenty-five, for even though it is not known gener- ally he is the father of this organization. When I called the first meeting of the New Jersey exhibitors in my office, four appeared. We postponed the meet- ing for one week with the hope that more exhibitors would attend, but the following week the same four exhibitors appeared, and we decided to proceed with the election of the officers.
Among those four exhibitors present, one was Sidney Samuelson, at that time operating the Park Theatre, at Newton, New Jersey. Mr. Samuelson was elected secretary and in the years that followed he built a strong organization through his tirelessness. It was and still is so strong, in fact, that there has been not a piece of adverse legislation enacted in the State of New Jersey in the last twenty years.
The writer hopes that he will be present at the celebration of that organization's Golden Jubilee. It is a daring wish, but why can't I wish? Strange things do happen sometimes.
ORDER YOUR MISSING COPIES OF HARRISON'S REPORTS
Because of the heavy mails during the Christmas rush, one or two of your copies may have gone astray. Look over your files and if you find a copy missing, ask for a duplicate copy; it will be supplied to you free of charge.
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXVI SATURDAY, JANUARY 22, 1944 No. 4
TOM CLARK REJECTS THE DISTRIBUTORS' CONSENT DECREE PROPOSALS AGAIN
In rejecting the proposals for revision of the Con- sent Decree, submitted to him early last November by the major distributors, U. S. Assistant Attorney Gen- eral Tom C. Clark said: "We're so far apart now that unless they come across with a good deal more we might as well go ahead with the case in New York, or bring another one elsewhere." In commenting upon the distributors1 statement that they went as far as they could, Clark stated: "... I can't help thinking that they're just horsing along." Clark pointed out that the distributors had made a minimum offer as a basis for trading. He made it clear, however, that there would be no trading, and that his department would lose no time in reopening the anti-trust suit unless their proposals were bettered.
That Clark meant business then and means business now can be gathered from his rejection last Monday of the distributors' latest proposals after a lengthy con- ference in Washington with high officials of the con- senting companies.
According to the reports in the trade press, Clark found, in addition to some minor points, three princi- pal provisions of the proposed revised decree totally inacceptable, namely, cancellation privileges, theatre acquisition, and arbitration.
Clark, because he felt that the proposals submitted to him were not yet final, was reluctant to discuss in detail his reasons for their rejection. Film Daily, how- ever, reports that the Department of Justice is seeking a twenty per cent cancellation clause, to be operated on a cumulative basis. The distributors, however, are balking on these terms. Nor are Clark's demands re- garding theatre acquisition acceptable to them. In the matter of arbitration, there are differences of opinion on a number of minor issues, the main difference being Clark's insistence that appeal boards be set up locally in each of the arbitration districts, while the distribu- tors are holding out for all appeals to be handled through the arbitration board's main office in New York, as at present.
As matters stand at this writing, the distributors are to submit an amended draft by Friday, January 21. This draft, said Clark, will then be used as a basis for discussion at conferences with exhibitor organisation leaders, so that each organization will be given a chance to express its views. Clark made it clear, how- ever, that even if the distributors were to meet his terms, it would in no way mean that their proposals are acceptable, for he will still feel free to ask for fur-
ther concessions should the exhibitors prove to him the inacceptability of any particular provision.
It is apparent that Clark is determined to make the distributors toe the line. He is to be commended for taking into account the views of the independent ex- hibitor so that the revised decree, if any, will be an equitable one.
Thus far, Clark has done much to restore the ex- hibitors' faith in government agencies.
DON'T ALLOW YOUR SCREEN TO BECOME A BILLBOARD
It seems as if concealed advertising is sneaking back into pictures once again.
In Universal's "You're a Lucky Fellow, Mr. Smith," there is one sequence in which a young lady, upon being offered a stick of chewing gum, asks if it is "Spearmint." The donor replies, "No, it is 'Double- mint.' " In Republic's "Wispering Footsteps," one scene shows a display of Adams Hats in a shop window.
Harrison's Reports is not in a position to know if either Universal or Republic inserted these advertise- ments for commercial gain. It does know, however, that the inclusion of these advertisements was im- proper, not only because it had no bearing on the stories, but also because it was an imposition on both the public and the exhibitor.
The person who pays his money at the box-office does so for the privilege of seeing pure entertainment. He is entitled to get what he pays for. When an ad- vertisement is "slipped" over on him, he feels that he has become the victim of an advertising stunt, and rightfully resents it.
The exhibitor, too, is taken advantage of, for when he buys a picture solely for entertainment purposes and finds that advertising has been injected, it means that the producer has appropriated his screen without paying for the privilege. Even more important, how- ever, is the fact that the concealed advertisement in- curs the ill will of the exhibitor's patrons.
In 1931, when concealed advertising in motion pic- tures was rampant, Harrison's Reports carried on a vigorous campaign against the practice and was in- strumental in compelling the producers to abandon it. No need exists today for carrying on such a campaign, for it is seldom that concealed advertisements show up. Nevertheless, this paper will bring every violation to the attention of its readers in an effort to prevent a recurrence of the practice.
Let us leave advertisements to the proper medium. The motion picture's medium is entertainment.
14
HARRISON'S REPORTS
January 22, 1944
"Uncensored" with Eric Portman, Phyllis Calvert and Griffith Jones
(20th Century-Fox, Jan. 21 ; time, 83 min.) Produced in Britain about two years ago, this war melodrama has an interesting story and exciting ac- tion- but its box-office possibilities in this country are questionable, for the all-British cast is unknown to American audiences. The action revolves around a group of Belgian patriots, who revive "La Libre Belgique," the famed underground newspaper of the last war, and use it to combat the propaganda of the Nazi invaders. The secret methods by which the paper is published and distributed, and the futile efforts of the Nazis to locate and suppress it, provide many tense moments. The romantic interest is mild but
pleasant: — , .
When the Nazis occupy Belgium and set up their own newspaper, Eric Portman, a cabaret entertainer, and Griffith Jones, a priest, resurrect "La Libre Belgique." Portman enrolls Frederick Culley, a for- mer pro-Nazi editor, to write the leading articles^ Ignorant of Culley 's association with the underground paper the Nazis arrange with him to write for their paper believing that he is still one of their supporters. Direct contact with the Nazis enables Culley to secure confidential information, and he is able to attack his own writings in ensuing issues of the patriotic paper. Portman, using his profession to cover up his under- ground activities, ingratiates himself with the Nazis and succeeds in thwarting their efforts to locate the hidden printing press. Peter Glenvillc, Portman s cabaret partner, jealous with rage because of Port- man's influence with the Nazis, turns informer. As a result, the priest and the printers are seized by the Nazis, and the German commandant (Raymond Lovcll) orders Culley to write a story for the Nazi newspaper announcing that "La Libre Belgique" had been suppressed and that its leaders had been cap- tured. Portman, who had evaded capture, determines to put out another issue of the paper so that the com- mandant would become the laughing stock of the city. Together with Phyllis Calvert, Culley 's daughter, Portman goes to a museum and prints the paper on an ancient hand press. He distributes the copies among the people, ridiculing the commandant and giving them hope for the future.
Rodney Ackland and Terrencc Rattigan wrote the screen play, Edward Black produced it, and Anthony Asquith directed it.
Morally suitable for all.
"Broadway Rhythm" with George Murphy, Ginny Simms and Charles Winninger
(MGM, no release date set; time, 1 1 5 min.) This will undoubtedly prove a good box-office at- traction because of the popularity of the players, the lavish production, and the Technicolor photography. But judged solely on the merits of the story, which is of the typical backstage variety, it is no more than a fair entertainment, with an appeal mostly to those who enjoy musicals that are along the order of a revue. There are a number of musical and dance routines, fashioned in the usual MGM lavish style, with Tommy Dorsey and his orchestra providing the tune- ful musical backgrounds. Outstanding specialty num- bers are contributed by the Ross Sisters, an acrobatic dance trio, and by Dean Murphy, whose impersona- tions of famous people are uncanny. There are also songs by Ginny Simms and Lena Home, and a piano
solo by Hazel Scott. Charles Winninger, Ben Blue, Nancy Walker, and Eddie "Rochester" Anderson provide some effective comedy. The extensive running time could be cut down, for the action drags consid- erably in spots: —
In search of a star for his new musical comedy, George Murphy, a Broadway producer, informs Ginny Simms, a Hollywood star, that he would like her for his play, but could not use her because she wasn't the "Spanish type." On the following day Ginny, posing as a Brazilian actress, auditions for the part and wins Murphy's approval. She refuses the part, however, informing Murphy that she did not like the play. Charles Winninger, Murphy's father, an old vaudcvillian, agrees with Ginny that the play is no good, and suggests to Murphy that he produce an old play of his (Murphy's) , which he had neglected for years. When Murphy refuses, Winninger and Ginny decide to produce the play themselves, with Ginny in the starring role. Murphy, knowing that a t ailure would break his father's heart, threatens to stop the show, but Winninger overcomes the threat by proving that the play had been copyrighted in his name. Murphy then appeals to Ginny not to appear in the play, but she decides to stay with Winninger. The old vaudevillian rents a summer theatre and makes preparations for the show. During rehearsals, Ginny, upset by the rift between Murphy and his father, de- cides to take matters in hand. She goes to New York and informs Murphy that Winninger's show is off because the leading man had broken his ankle, and asks that she be given a part in his show. Furious be- cause Ginny had walked out on his father, Murphy leaves for the summer theatre so that the show can be staged on schedule. Meanwhile Winninger, aware of Ginny 's motive, keeps up the ruse. When Murphy opens the show with himself as leading man, he is surprised no end to find Ginny prepared to play the leading lady.
Dorothy Kingley and Harry Clark wrote the screen play, based on the musical play "Very Warm for May." Jack Cummings produced it, and Roy Del Ruth directed it.
Morally suitable for all.
"Sweethearts of the U. S. A." with Una Merkel, Parkyakarkus and Donald Novis
(Monogram, Feb. 7; time, 64 mm.)
A poor program comedy, with music and dancing. The only possible attraction it can have for any one are the musical interludes, which are of the popular variety, but even this phase of the production is un- distinguished. On the whole it is a hopeless muddle, with forced comedy situations, and an extremely ridic- ulous story. Parkyakarkus, of radio fame, can usually be depended upon to say something that will provoke laughs, but the dialogue assigned to him is so lacking in comedy that no matter how hard he tries it is a hopeless task. Most spectators will not know what the story is all about. Something always happens for no apparent reason, and, in general, confusion has been substituted for comedy, with poor results. Donald Novis and Lillian Cornell sing a number of songs, while the orchestras of Jan Garber, Henry King, and Phil Ohman furnish the music. The acting and direc- tion are amateurish.
The story, such as it is, revolves around Una Merkel, a defense worker, whose ineptness and general ineffi- ciency was a constant source of annoyance to Ralph
January 22, 1944
HARRISON'S REPORTS
15
Sanford, manager of the plant. Knocked unconscious when she accidentally hits herself with a hammer, Una dreams that she meets Parkyakarkus, a bungling detective, who had lost his job after unwittingly help- ing three crooks to rob a local bank. Una joins him in his search for the crooks, and in the course of events meets Henry King and Donald Novis, a pair of draft- deferred musicians, who decide to organize a 4-F band, with Parkyakarkus as manager. Cobina Wright, Sr., wealthy owner of a huge mansion, permits the band to use her home as a night-club to entertain de- fense workers. In addition to their duties at the night- club, Una and Parkyakarkus continue their search for the crooks and, after a series of inane situations, cap- ture them in Parkyakarkus1 boarding house, a weird old house inhabited by a collection of assorted ghosts. These ghosts, incidentally, appear in the proceedings from time to time, but no reason is given for their presence. It may be that the producers had a gag in mind. If so, it falls flat.
Arthur St. Claife, Sherman Lowe, and Mary Shel- don wrote the screen play, Lester Cutler produced it, and Lew Collins directed it.
Morally suitable for all.
"The Fighting Seabees" with John Wayne and Susan Hay ward
(Republic, no release date set; time, 100 mm.)
The first film to pay tribute to the U. S. Navy's Construction Battalions, better known as the "Sea- bees," this war melodrama shapes up as a virile enter- tainment, the sort that should undoubtedly please the action fans. Although the story is a bit incredulous at times, it is aided by smooth direction and good per- formances, moves along at a fast pace, and holds one's attention throughout. A romantic triangle, made up of sympathetic characters, should appeal to women. The battle sequences are exceptionally good, ranking with the best yet seen in recent war pictures. Particu- larly thrilling, and quite grim, is the battle that takes place towards the finish, where the Seabees, though outnumbered, wipe out the Jap attackers. The produc- tion values are very good : —
Disturbed because a few of his workmen had been killed while building a Pacific island base, John Wayne, a contractor, blames Lt. Comdr. Dennis O'Keefe. The young officer explains that the rules for- bid the arming of civilians, and tries to interest Wayne in a plan to make fighting battalions out of civilian workmen. Wayne, however, refuses to cooperate. He accompanies his men to another Pacific island job, de- termined that they will be given a chance to defend themselves. En route, he meets and falls in love with Susan Hayward, O'Keefe's fiancee, who was a war correspondent. Arriving at the island, Wayne finds O'Keefe in charge. When the Japs attack and force a landing, Wayne, without O'Keefe's knowledge, arms his men and leads them into battle. This move inter- feres with O'Keefe's battle plans and, though the Japs are driven off, many of Wayne's men are killed. Susan, seriously wounded, confesses her love to Wayne, and is overheard by O'Keefe. Sobered by his mistake, Wayne returns to Washington with O'Keefe and offers to help train a battalion of civilian work- men. The battalion is named the Seabees, and Wayne is made a commander. Meanwhile Susan recovers from her wounds and seeks out Wayne. In deference to O'Keefe, now his friend, Wayne indicates that he does not love her. Wayne and O'Keefe lead the Sea-
bees to a Pacific island partially occupied by the Japs. During construction, Jap snipers take their toll of Wayne's men, but O'Keefe warns him not to leave the work. Wayne ignores the warning and orders his men into the interior to wipe out the snipers. As a result, O'Keefe's men are outnumbered when the Japs make' a surprise attack. Wayne returns to his post and finds O'Keefe's men threatened with anni- hilation. To save them, Wayne, sacrificing his life, sets fire to an oil tank, and the flaming oil wipes out the enemy. O'Keefe and Susan are reunited, and both witness a ceremony honoring Wayne posthumously.
Borden Chase and Aeneas MacKenzie wrote the screen play, Albert J. Cohen produced it, and Edward Ludwig directed it. The cast includes Leonid Kinskey, William Frawley, Addison Richards and others.
Morally suitable for all.
"Nabonga" with Buster Crabbe, Fifi D'Orsay and Barton MacLane
(PRC, Jan. 25; time, 71 min.)
A pretty dull jungle melodrama of program grade. It may get by with the action fans, because of the sev- eral fist fights, and of the murderous antics indulged in by a huge gorilla. The story is up to the intelligence of ten-year-old children; adults will consider it too ridiculous to take it seriously. The idea of a girl, about seven years of age, existing in a jungle and growing to womanhood with a gorilla as her only companion is just one example of the film's exaggerations. A good part of the footage is comprised of stock shots showing scenes of animal life : —
Flying to South Africa with his small daughter (Jackie Newfield) and a fortune in stolen jewels, Herbert Rawlinson, an embezzler, crashes in the Bel- gian Congo, where he dies. His daughter, finding a wounded gorilla, nurses the creature back to health and is adopted by it. Years later, Buster Crabbe, whose father, a bank president, had been unjustly accused of stealing the jewels, comes to the Congo to clear his father's name. Crabbe saves the life of a native, who, grateful, informs him of a plane that had fallen into the jungle years previously, and offers to lead him to it. He tells him also of a "white witch," who ruled the jungle aided by a giant gorilla named "Nabonga." Barton MacLane, a sinister trader, and Fifi D'Orsay, his half-caste woman associate, learn of Crabbe's plan to recover the jewels, and follow him. Meanwhile, deep in the jungle, Rawlinson 's daughter (Julie London), now a young woman, lives happily under the protection of Nabonga. Crabbe and the native find the wreckage of the plane, but the gorilla, who had been trailing the two men, kills the native. Crabbe is saved from a similar fate by the arrival of Julie, who orders Nabonga away. Crabbe tells the girl of his mission, but failing to understand the com- plexities of civilization, Julie refuses to part with the jewels. With the arrival of MacLane and Fifi, Crabbe is forced to fight for possession of the treasure. The gorilla, recognizing MacLane and Fifi as enemies, kills them both. Nabonga dies, however, from gun shots inflicted by MacLane. Realizing that her possession of the jewels had brought her only tragedy, Julie gives them to Crabbe and agrees to accompany him back to civilization.
Fred Myton wrote the screen play, Sigmund Neu- feld produced it, and Sam Newfield directed it. Morally suitable for all.
16
HARRISON'S REPORTS
January 22, 1944
THE ADMISSION TAX SITUATION
The latest developments in the admission tax situa- tion indicate that the many letters and telegrams of protest, sent to Congressmen by exhibitors throughout the country, have borne fruit.
A group of non-partisan Senators including James Mead (Dem.), N. Y.; George A. Wilson (Rep.), Ia.; Harlcy M. Kilgore (Dem.), W. Va.; Wallace R. White, Jr. (Rep.), Me.; Sheridan Downey (Dem ), Calif.; Kenneth Wherry (Rep ), Neb.; and Chap- man Revercomb (Rep ), W. Va., have taken up the fight in behalf of the industry.
On Tuesday, January 18, Senator Mead introduced an amendment providing for the elimination from the proposed tax bill of any increase in the present admis- sion tax rate, but it was defeated in the Senate by a voice vote. In doing so, however, the Senate adopted an amendment offered by Senator Walter F. George, Chairman of the Senate Finance Committee, in be- half of Senator Wilson, providing for the tax to be imposed at the rate of one cent on each five cents "or major fraction thereof," instead of one cent on each five cents or "any fraction thereof." In other words, a twelve cents admission price would call for a two cents tax, while a twelve and one-half cents price would call for a three cents tax.
At this writing there are two more amendments awaiting action by the Senate. One, introduced by Senator Revercomb, provides that the one-cent-on- each-five-cents tax stand for all amusements except motion pictures, which would retain the present one- cent-on-each-ten-ccnts tax. In view of the defeat of Senator Mead's proposal, it is felt that Senator Rever- comb's proposal will suffer a similar fate. The other proposal, introduced by Senators Wilson and Wherry, provides that the present tax rate be retained for towns with a population of 5,000 or fewer. This last proposal has a number of supporters.
The feeling persists that President Roosevelt will veto the tax bill, because the amount of revenue to be derived falls far below the amount requested by the Treasury Department. A veto of the bill would, of course, delay an increase in the present admission tax rate until a new bill is agreed upon. In such a case, the concessions won thus far by the industry would have no bearing on a new bill. Those concessions, however, as well as the industry's fight to win them, will have a strong effect on the attitude of the legislators when they consider the tax rates for the new bill.
Until the issue is settled finally, it is important that no exhibitor relax his efforts to hold the tax down. Keep your Congressmen informed of your feelings.
ABOUT THE PLIGHT OF THE INDEPENDENT EXHIBITORS
Mr. A. P. Archer, president of Civic Theatres, of Denver, Colorado, has sent a long but interesting letter concerning the plight of the independent exhibitors. Although the views expressed in this letter are not entirely in accord with the views of Harrison's Re- ports, it contains enough provocative ideas, which may invite discussion and arouse action, to warrant reproducing the following portion:
"The defunct 'Tumpi,' or Industry Unity Group, which failed in its effort to unite all exhibitors for the good of the motion picture business, was unable to consider our collective views on problems affecting the business. It was a notable effort by capable, sincere leaders, but it failed in applying its high ideals and
purposes to the general welfare of the independent on a national basis.
"The important issue now is a fair successor sales plan to the consent decree blocks of five trade screened groups. The proposed 'Tumpi' plan of blocks of 12, five trade screened with no cancellation, and seven unscreened with a restricted cancellation option, had serious defects. This scheme merely added seven pic- tures to the present plan of five. It offered no relief. The option to cancel was inadequate. It should be 20% of all pictures licensed in blocks of 5 or 12 more.
"With this cancellation privilege in the hands of a buyer as a curb on the producer-distributor to stay in line on quality deliveries commensurate with prices paid, it is firmly believed that the standard of motion pictures will be raised immeasurably, and the violent and destructive controversies between producer-dis- tributors and independent exhibitors will be removed.
"The privileged classes of the motion picture indus- try, the producer-distributor and the affiliated circuits, are mainly responsible for the so-called ills of our busi- ness. There are no ills which a 20% unrestricted- unconditional cancellation privilege won't cure.
"The government has tried the consent decree plan of five which has failed to help the independent — it is willing to try other proposals. Why not the 20% idea? Let's fight for it! The producer-distributor will oppose its adoption with barrels of money and political mlluence. The restricted-protected and mandatory type of selling under which they are flourishing has proven to be manna from Heaven for them and misery for the independent throughout the land.
"For the past several years they have asked for what they claimed to be reasonable increases to make up for the enormous losses of the European market due to the war. The records show that what they chose to call a restricted market has actually doubled and trebled the profits of the producer-distributors and their affiliate, the circuit theatre.
"Only aroused and active enough independent ex- hibitors throughout the Nation are going to correct these injustices."
"HONORED HUNDRED" CONTEST TIME EXTENDED
In fairness to countless showmen who have been concentrating on bond sales since January 1, Charles P. Skouras, national chairman of the industry's Fourth War Loan drive, has made arrangements with the Treasury Department for a liberal extension of time limits governing the "Honored Hundred" contest in the Fourth War Loan. Rules and regulations of this contest were printed in last week's special bond issue.
The new ruling will assure fairness, not only for theatres that have been concentrating on general bond sales since January 1, but also for those whose bond premieres and other activities were scheduled before January 1 8, official opening date of the drive, and those whose activities will continue after Febru- ary 15, the official closing date.
All sales made in February and January will be con- sidered eligible in the contest. In other words, the period of credit for the "Honored Contest" will be exactly the same as campaign credit, which means that all "E" bonds sold in January and February will count in the final tally.
The contest officials feel that this gives theatremen more freedom of action and puts the contest on a basis every exhibitor wants.
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXVI SATURDAY, JANUARY 29, 1944 No. 5
MORE ABOUT CONCEALED ADVERTISEMENTS IN FILMS
In last week's issue the disclosure was made that the practice of putting concealed advertising into pictures has again come into vogue.
Since that article appeared, this paper has had further evidence of the practice.
In Metro-Goldwyn-Mayer's "Rationing," one sequence showing a small-town general store includes a fairly large display sign advertising the sale of "Kodak" films. In Uni- versale "Phantom Lady," there is a sequence in which one of the characters orders a drink at a bar and asks the bar- tender for "Pinch Bottle and water." The bartender lifts the familiar Haig and Haig bottle and pours the drink.
Like the concealed advertisements disclosed in last week's issue, these, too, had no bearing on the stories and added nothing to the films' entertainment values. Nor were these advertisements necessary for the sake of realism.
Harrison's Reports, in accordance with its announced policy, intends to bring to the attention of its subscribers every violation, in an effort to stamp out this predatory prac- tice. It must be stopped before it reaches the proportions it did in 1931, when the newspapers of the country cracked down on the motion picture industry, not only because ad- vantage had been taken of an unsuspecting public, but also because they resented the industry's intrusion into the adver- tising field.
Even if the producers do not receive any compensation for inserting these advertisements, the public has no way of knowing what has and what has not been paid for. The mere presence of advertising in films is a violation of public confidence. The public looks to motion pictures for enter- tainment, and pays an admission price to get just that. It does not want to pay for the privilege of seeing and hearing advertisements. A person who buys a newspaper knows be- forehand that it contains advertisements, and he can decide for himself whether he wants to read them or not. When a person listens to the radio he has no right to object to the advertising blurbs, because the entertainment he receives is free. Besides, he can eliminate the advertising by a quick twist of the radio dial. He cannot, however, shut off a motion picture screen.
In 1931, the late Carl Laemmle, one of the industry's great men, came out strongly against concealed advertising in films. He realized that deceiving theatre patrons, or tak- ing advantage of them, could do great harm to the industry. In an appeal to both producers and exhibitors, he said:
"Believe me, if you jam advertising down their throats and pack their eyes and ears with it, you will build up a resentment that will in time damn your business.
"Your screen is a sacred trust. It is not actually yours. It belongs to the people who pay to see what is on it. In heaven's name, don't prostitute it."
Harrison's Reports calls upon the producers to refrain from "shooting" anything that might be taken by the public as "sponsored" advertising. The practice is unethical and, unless it is checked immediately, may result in irreparable harm to the industry as a whole.
WHERE DO YOU FIT INTO THIS TAX PICTURE?
In a recent bulletin intended for all exhibitors, regardless of their organization affiliations, Mr. Abram F. Myers, Gen- eral Counsel of Allied States Association, makes a compre- hensive analysis of the tax fight, and offers a constructive plan whereby all exhibitor groups, affiliated or unaffiliated,
can coordinate their efforts in the handling of future tax fights. Because Mr. Myers' words apply with equal force to all branches of the industry, the bulletin is herewith repro- duced in its entirety: —
"OBSERVATIONS ON THE TAX FIGHT
"A review of the recent admission tax fight will afford valuable lessons for the future.
"Although an effort to increase the tax was inevitable, the industry was unprepared for it when it came.
"UMPI was the only industry-wide attempt ever made to cope with such emergencies. But the UMPI Committee on Taxation never functioned and died along with the other branches of that ill-fated organization.
"It is a reflection on the industry that there were available no authentic current statistics as to the number of theatres in the several admission price categories or figures showing the simple, much less the weighted, average admission price of all theatres.
"When the emergency arose, the producers and distribu- tors bowed out, taking the position that since they were not directly affected by the tax it would be inappropriate for them to oppose the increase. In view of the political handi- caps under which they now suffer, that may have been a wise decision.
"Thus the burden fell upon the several exhibitor organi- zations, with very little time in which to co-ordinate their efforts. At the outset leaders of groups not affiliated with either Allied or M.P.T.O.A. were co-operative. Most of them authorized the General Counsel of Allied to represent them at the hearings. As a result, he spoke for a total of 23 associations with members in 28 States and the Territory of Alaska.
"At the hearing before the House Committee on Ways & Means the speakers were mercifully limited to three — Kuy- kendall, Myers and W. F. Crockett of the M.P.T.O. of Virginia. On this occasion, all elements were united in oppo- sition to any increase in the existing rate of lc on each 10c or fraction.
"AN ENTHUSIASTIC RESPONSE
"Exhibitors in some territories were slow in getting into action. But the action of the Committee in tentatively ap- proving the Treasury's recommendation of a tax of 3c on each 10c or fraction jarred them out of their lethargy. There- after the work done in the territories was energetic, well directed and effective. As a result, the Committee rescinded its first action and reduced the rate to 2c on each 10c or fraction.
"The exhibitors followed closely the suggestions of their leaders. They did not waste time on hollow protests. They wrote interesting, intelligent letters to their Congressmen explaining just how the increased tax would affect their busi- ness. Those who were on friendly terms with their Congress- men made long distance calls. The exhibitors did not func- tion as a pressure group; they merely exercised their right under the First Amendment to petition Congress.
"THE LET DOWN
"By the time the bill reached the Senate, there was a noticeable let down of enthusiasm among the rank and file and a well-meant but not altogether helpful resurgence of activity among the unaffiliated leaders.
"Rugged individualists awakened to the publicity value of an appearance before a Congressional committee. While the associations for which the General Counsel had spoken be- fore the House Committee renewed their authorizations, it was disturbing to find that a score of exhibitors and leaders had applied to the Senate Committee on Finance for leave to be heard. (Continued on last page)
18 HARRISON'S REPORTS January 29, 1944
"Phantom Lady" with Franchot Tone, Ella Raines and Alan Curtis
(Universal, January 28; time, 87 min.)
An exceptionally good murder mystery melodrama. It is a tensely exciting film, lillcd with intrigue and suspense, and it grips one's attention from beginning to end. Joan Harri- son, the producer whose initial effort this is, reveals that she learned much in the handling of this type of entertainment through her association with Allred Hitchcock, whom she served as assistant for a number of years. As a matter of fact, it appears as if the pupil could teach the master a trick or two. The story is of the psychological sort, revolving around a paranoic who commits a murder and, to divert sus- picion from himself, builds up a strong case of circumstan- tial evidence against his best friend, who is convicted for the crime. Although the spectator is aware of the murderer's identity, he is held in suspense throughout owing to the constant danger to the heroine, whom the murderer pre- tends to aid in solving the crime. The direction and per- formances are competent. Word-of-mouth advertising should be of considerable aid at the box-office: —
Accused of strangling his wife, Alan Curtis, an architect, claims that, at the time of the murder, he had been with a young woman (Fay Helm) he had met in a bar, and that she had accompanied him to the theatre on the condition that he would not seek to learn her identity. All he could remember about her was that she wore an odd hat. Inspector Thomas Gomes, to substantiate his story, questions Andrew Tombes, a bartender; Matt McHugh, a cab driver; Elisha Cook, Jr., a musician; and Aurora Miranda, a dancer, whom Curtis claimed had seen him with the woman. All, how- ever, maintain that he had been alone. As a result, Curtis is convicted on circumstantial evidence and sentenced to die. Unconvinced of Curtis' guilt, Ella Raines, his secretary, who loved him secretly, determines to find the mysterious woman. She is aided in her search by Gomez, who, too, be- lieved Curtis innocent, and by Franchot Tone, a brilliant sculptor and Curtis' friend. Unknown to Ella and Gomez, Tone, a paranoic, had murdered Curtis' wife in an insane moment, and had bribed the witnesses to refute Curtis' alibi. Ella's efforts to track down the mysterious woman are frus- trated by Tone, who continues to pose as her friend. After a series of adventures, in which Cook and Tombes are mur- dered, Ella succeeds in locating the missing woman, only to find that she is mentally deranged. Ella humors her into giving her the odd hat. hoping that it will serve as new evidence to re-open Curtis' case. While Ella waits for Gomez in Tone's studio, Tone, in an insane fit, reveals him- self as the murderer and threatens to kill her. She is saved by the timely arrival of Gomez, whose appearance causes Tone to commit suicide. Curtis is cleared and reunited with Ella.
Bernard C. Schoenfeld wrote the screen play and Robert Siodmak directed it.
Adult entertainment.
"Passport to Adventure" with Elsa Lanchester, Gordon Oliver and Lenore Aubert
(RKO, no release date set; time, 64 min.)
A moderately entertaining program comedy-drama. Lack- ing box-office names, it should serve its purpose as the lower half of a double bill in theatres that cater to patrons who are not too discriminating in their demands for story plausi- bility. The film tells a far-fetched tale about a London scrub- woman, who, in these times, manages to make her way to Berlin for the purpose of killing Hitler. Her experiences in the Chancellery give the film some humorous moments, and at times the action is mildly exciting. If one can put himself in the mood to accept the story, he might get an hour's pleasure out of it: —
While cleaning out an old trunk, Elsa Lanchester, a scrub- woman, finds a glass eye, to which her late husband, a teller of tall stories, attributed his many escapes from death. Her husband had told her that a Hindu princess gave him the "magic eye." Later after narrowly missing death in an air raid, Elsa becomes convinced that the "eye" will always pro- tect her. Firm in this belief, she determines to go to Berlin to shoot Hitler. She stows away on a ship, which is tor- pedoed off the French coast, and reaches shore in a lifeboat. Pretending to be a deaf mute, she resolutely works her way to Berlin and, posing as a refugee from devastated Hamburg, manages to obtain a cleaning job in the Chancellery itself. There, while waiting for a chance at Hitler, she overhears
a quarrel getween Lionel Royce, a Gestapo official, and Loid Haw-Haw (Gavin Muir), who had fallen in disfavor with the Nazis, and from them learns that Lenore Aubert, English-born fiancee of Capt. Gordon Oliver, a German ace, had been imprisoned. She helps Oliver free the girl by loaning him the "eye." In aiding Oliver, however, Elsa arouses Royce's suspicions. The Gestapo official investigates and uncovers Elsa's masquerade. He arrests her, as well as Oliver and Lenore. While Royce questions the trio, an R.A.F. squadron bombs Berlin and, in the ensuing excite- ment, the three escape, steal a Nazi plane, and fly to Eng- land. Elsa, though she had failed in her self-appointed mission, is acclaimed a heroine. In going through her hus- band's effects again, she discovers a box full of glass eyes, souvenirs of a glass blowers' convention, and realizes that her husband had been a liar.
Val Burton and Muriel Roy Bolton wrote the screen play, Herman Schlom produced it, and Ray McCarey directed it. The cast includes Fritz Feld, Lloyd Corrigan and others.
Morally suitable for all.
"Casanova in Burlesque" with Joe E. Brown and June Havoc
(Republic, February 19; time, 74 min.)
Amusing program fare. It is better than most of the recent comedies in which Joe E. Brown has appeared, and should please his followers. In spite of the fact that the story is thin and somewhat illogical, it serves well enough as a means of putting the comedy and music across. Brown, cast in a dual- personality role, provokes considerable laughter by the pre- dicaments he gets himself into while trying to keep his double life a secret. The most amusing part of the picture takes place towards the finish, where Brown and a burlesque troupe stage a "swing" version of Shakespeare's "The Tam- ing of the Shrew." The musical interludes are tuneful: —
Cleverly concealing the fact that he leads a double life, Joe E. Brown is a dignified Shakespearean professor in the winter, and a burlesque comedian in the summer. On the eve of Brown's return to college, June Havoc, a strip-tease queen, learns of his secret and decides to use it to further her career. Brown returns to school and learns that Marjorie Gateson, middle-aged wealthy patroness of the college, had chosen him to stage a Shakespearean drama festival with herself as the star. Brown's troubles begin when June ar- rives shortly thereafter and demands that she be made the star lest she expose his double life. Brown agrees, making her understudy to Miss Gateson, whom he promises to get out of the way on opening night. During rehearsals, the sup- porting case of Shakespearean actors leave the show because of June's "hammy" acting. June, however, demands that Brown find another cast. That night, Brown, in a drunken state, telephones the burlesque troupe to come to the school. When they arrive the next day, Brown wonders what to do with them until Dale Evans, Miss Gateson's "jitterbug"' niece, suggests that they stage a swing version of Shake- speare. Brown agrees and secretly rehearses the troupe in a burlesque version of "The Taming of the Shrew." On the night of the big performance, Brown tricks Miss Gateson into staying away from the theatre, but she manages to get there in time for the final act. Her anger is dissipated, how- ever, when her friends, wildly enthusiastic, congratulate her for having sponsored such an original idea. She gives Brown a free hand to stage the other Shakespearean plays in the same manner.
Frank Gill, Jr., wrote the screen play, Albert J. Cohen produced it, and Leslie Goodwins directed it. The cast in- cludes Ian Keith, Lucien Littlefield, Roger Imhoff and others.
Morally suitable for all.
"Rationing" with Wallace Beery and Marjorie Main
(MGM, no release date set; time, 93 min.) A moderately entertaining comedy, of program grade. It might interest the family trade in small-town and neighbor- hood theatres. The action moves slowly offering its only bit of excitement in the closing scenes, where Wallace Beery, single-handedly, captures a gang of black market operators. The story revolves around a feud between Beery and Mar- jorie Main, who, as supervisor of a small-town ration board, makes life miserable for him. A good part of the comedy is slapstick, and for the most part it is ineffective. Beery and Miss Main do the best they can, but they are handicapped by the weak story material. A youthful romance has been worked into the plot: —
January 29, 1944
HARRISON'S REPORTS
19
Wallace Beery, owner of a small-town general store, and Marjorie Main, post-mistress and ration board supervisor, carry on an old feud that started with their broken romance years previously. The only tie between them was the romance between Tommy Batten, Beery's adopted son, and Dorothy Morris, Marjorie's daughter. To finance their marriage, Beery sells a half interest in his store to Howard Freeman, an unscrupulous person. Peeved and befuddled by the rules of rationing, particularly as administered by Marjorie, Beery goes to Washington to see Senator Henry O'Neill, an old friend. O'Neill to appease Beery, appoints him co- supervisor of the ration board. Meanwhile, during Beery's absence, customers crowd his store demanding meat. Free- man decides to take advantage of the situation. Without Beery's knowledge, he buys a cargo of condemned meat from black market operators. Butchers from towns nearby complain to Beery that he is monopolizing the meat busi- ness, and accuse him of abusing his authority. Beery, aroused, investigates and learns of Freeman's black market dealings. Despite the feeling against him, Beery does not defend himself lest it hurt his chances of smashing the black market. He compels Freeman to reveal the racketeers' hideout, and goes there all alone to capture them. Arriving there, Beery is slugged and bound. Meanwhile a wedding ceremony had been arranged for Dorothy and Tommy, and Beery's ab- sence arouses suspicion. The wedding guests form a posse and go to the hideout, where they find Beery, who had freed himself, battling the gangsters. They help him to round up the gang. Beery and Marjorie forget their feud and agree to try marriage.
William R. Lipman, Grant Garrett and Harry Ruskin wrote the screen play, Orville O. Dull produced it, and Willis Goldbeck directed it. The cast includes Donald Meek, Douglas Fowley, Gloria Dickson and others.
Morally suitable for all.
"The Voodoo Man" with Bela Lugosi, John Carradine and George Zucco
(Monogram, February 21; time, 62 min.)
Fair. As is the case with most horror melodramas, this, too, has an extremely far-fetched story, but the combination of a mad doctor, a weird voodoo priest, two half-wits, and a bevy of beautiful "undead" zombie women, makes it creepy enough to satisfy the followers of this type of entertainment. Intelligent audiences, however, will probably find the fan- tastic happenings more amusing than horrifying, particularly when George Zucco chants in a guttural tone while per- forming a weird voodoo ceremony. On the whole it is made up of familiar ingredients. A mild romance has been added to the story : —
Bella Lugosi, a retired physician, seeks to bring back to normalcy his wife (Ellen Hall), who was an "undead" zombie. Lugosi hoped to accomplish this feat by means of voodooism, but in order to succeed he requires the aid of a woman whose mental plane had to be the exact mental plane that his wife formerly had. Aided by George Zucco, a voo- doo priest, and John Carradine, a half-wit, Lugosi kidnaps numerous girls and subjects them to voodooism. The experi- ments fail, however, and the girls become zombies. The girls' disappearances mystifies the police. Michael Ames, a re- porter, becomes involved in the case when Louise Currie, a cousin of Wanda McKay, his fiancee, disappears near Lu- gosi's home. Both Wanda and Ames report her disappear- ance to the police. Meanwhile Louise, who had turned into a zombie after an unsuccessful experiment, is inadvertently let out of the house by Carradine. The police find her walk- ing on a lonely road and take her to Wanda's home. Lugosi, learning of Louise's whereabouts, visits Wanda's home and offers to treat Louise. He explains her illness as shock and orders that she be left alone in her room. Returing to his home, Lugosi orders Zucco to bring Louise back through voodooism. Zucco succeeds. He then orders Zucco to employ voodooism to place Wanda in a trance and to bring her to the house. Wanda responds to Zucco's chants and goes to Lugosi's home. Ames, hunting for Wanda, discovers evi- dence indicating that Lugosi had kidnapped her. Together with the police he rushes to the house, arriving in time to kill Lugosi and to save Wanda. Lugosi's death causes his wife to die, and her death releases the kidnapped girls from their zombie state.
Robert Charles wrote the screen play, Sam Katz and Jack Dietz produced it, and William Beaudine directed it. Barney A. Sarecky was the associate producer.
Children may find it a bit too frightful.
"The Song of Bernadette" with Jennifer Jones and Charles Bickford
(20th Century-Fox, no release date set; time, 157 min.)
Excellent! Adopted from the widely read novel by Franz Werfel, this production is a profound achievement, one that Twentieth Century-Fox, as well as the entire industry, can well be proud of. It assuredly takes its place as one of Hollywood's greatest pictures. The production, direction, and acting are of the highest order. The story deals with the life of Bernadette Soubirous, the simple peasant girl of Lourdes, France, who became Sister Marie Benarde and was canonized by Pope Pius in 1933. It is interesting and stir- ring, not only because of its spiritual values, but also be- cause of its deep human interest. Considering that it deals with a delicate theme — religion — it has been handled with such good taste and understanding that no one can raise objections to it.
A foreword to the picture reads: "For those who believe in God, no explanation is necessary. For those who do not believe in God, no explanation is possible." It is doubtful that even a firm unbeliever will fail to be moved deeply by the honesty, sincerity, and sweetness of the simple little peasant girl, who despite the disbelief accredited to her state- ments and the persecutions brought against her by both public and church officials, irrevocably maintained to her dying day that she had been visited by an apparition she called "The Lady."
The story, which takes place in 1858, traces Bernadette's career from the time she was a fourteen-year-old girl to the time she died in a nunnery while still a young woman. The eldest of four children living in a poverty-stricken home, Bernadette, a frail, backward child, goes to the dump at Massabielle to collect firewood, and there, in a cave in a hill, sees a Vision — a beautiful woman, garbed in flowing white raiment, and bathed in golden radiance. Bernadette's terror turns to adoration when the Vision smiles at her. The townspeople are amazed upon hearing her story and con- sider it incredulous. Bernadette's family accompanies her to the grotto on the following day, and once again Bernadette sees the Vision, although the others cannot. Bernadette tells her family that the "Lady" asked her to come to the grotto each day for fifteen days. Each time she goes the Vision gives her a different message. The news of Bernadette's ex- periences spreads all over France, much to the dismay of the town's authorities, who feared that Lourdes would become a laughing stock. Church officials, believing Bernadette's story was an ingenious scheme to bring wealth and glory to her poor family, ignore the incident. The authorities have her examined for traces of insanity, and she is persecuted by unbelievers in many devious ways, but all fail to shake her firm belief in "The Lady." When a spring with curative water forms near the grotto, peasants and noblemen alike flock to Lourdes to partake of its healing powers. The Dean of Lourdes, impressed by this miracle and baffled by Berna- dette's unshakable story, induces the Bishop of Tarbes to convene a Commission to investigate the happenings at Lourdes. After four years of exhaustive investigation, a lingering doubt still remains. When Bernadette reaches the age of twenty, the Dean of Lourdes, convinced that she is a Saint, persuades her to become a Sister at Nevers. There she contracts tuberculosis and, after a brief illness, dies protest- ing that she did see "The Lady."
Jennifer Jones, in her first major role, gives an unforget- table performance as Bernadette. Charles Bickford, as the doubting Dean of Lourdes, who eventually becomes her staunchest defender; Vincent Price, as the cynical prosecu- tor, who fails to shake her story; Charles Dingle, as the blustering police commissioner, who, too, persecutes her un- successfully; Ann Revere and Roman Bohnen, as her hard- working, devoted parents; Lee J. Cobb, as the sympathetic local doctor; and Gladys Cooper, as the doubting nun, who envies her, are among those in the large supporting cast who portray their characterizations with great skill.
Although the film's running time is quite long, it holds one's attention throughout.
George Seaton wrote the screen play, William Pcrlberg produced it, and Henry King directed it. The cast includes Patricia Morison, Sig Ruman, Blanche Yurka, Marcel Dalio, William Eythe, Jerome Cowan, Tala Birell, Edith Barrett and many others.
20
HARRISON'S REPORTS
January 29, 1944
"The record shows that four witnesses, without previous consultation with other exhihitor representatives (at least, not with the General Counsel of Allied), volunteered com- promise plans which involved an increase over the existing rate. That is to say, these men advocated formulas which, while preferable to the provision approved by the House, nevertheless involved increases over the existing rate which others were seeking to maintain.
"It has since been learned that at least one circuit operator, who did not appear at the hearing, made known to members of the Committee his preference for a tax of lc on each 5c or fraction, which was finally adopted.
"These men had just as much right to petition their Sen- ators and to air their views as had the spokesmen for the national associations. Nevertheless their insistence on this right had the effect to weaken those who were holding out against any increase. Compromise proposals should have been withheld until it appeared that there was no chance to maintain the existing rate; even then an effort should have been made to secure the concurrence of those acting as spokesmen.
"HANDICAPS TO EFFECTIVE ACTION "Those who led the fight were burdened by numerous handicaps, some resulting from imperfect organization, others from the dwindling good will of the industry as a whole.
"1. The exhibitor groups that have taken an interest in legislative matters and have trained their members to re spond to calls for action did an outstanding job. But there are still a few organizations that seem to be impotent in legislative crises because they have not evolved a technique for handling such matters.
"2. Generally speaking, Congressmen and Senators are interested only in the views of their constituents. While there are many exhibitors, they are scattered throughout the country and the number in any one State or Congressional district is not large. This makes it necessary for the exhibi- tors in each district to organize for intensive effort and to cultivate the acquaintance and friendship of their Congress- men and Senators.
"3. While the teamwork on the House side was excellent, there was no adequate co-ordination of effort after the bill reached the Senate.
"4. There was a serious lack of pertinent statistical in- formation.
"5. Off the record conversations with individual Con- gressmen and Senators indicated that the prestige and good will of the industry as a whole have fallen dangerously low in some quarters. Among the contributing causes, as gleaned from such conversations, are:
"(a) Excess wartime earnings. "(b) Immoderate salaries. (A new list was re- leased on the day of the hearing before the House Committee.) "(c) Maladorous exhalations from the extortion
trial in New York. "(d) Alleged political propaganda in the films favorable to the Administration. (Cited by Republicans.)
"THERE SHOULD BE NO RECRIMINATION
"Allied has urged exhibitors to pass on the increase in the tax and to inform the public the reason for the increase in the cost of theatre attendance.
"Allied did not mean to suggest public criticism of the Treasury officials or the Congress and we are disturbed by proposals in some quarters to run trailers which would re- flect on Government officials. It is not smart to offend them.
"Those officials have a tremendous burden in financing the cost of the war, running into hundreds of billions, and they have treated representatives of the exhibitors with courtesy and consideration. The original proposal of a tax of 3c on each 10c or fraction was by the House Committee scaled down to 2c on each 10c or fraction. The Senate Com- mittee further modified this to lc on each 5c or fraction. It now appears that it may emerge from the Conference Com- mittee as a tax of lc on each 5c or major fraction thereof.
"It has been apparent for several days that this is the best we could hope for. We are obliged to Senators Mead and Revercomb for their efforts to eliminate any increase over the present rate. We are indebted to Senator Wilson for his several proposals and especially for the one that commended itself to Chairman George, namely, the proposal to insert the word 'major.' Exhibitors in their respective States should send a note of appreciation to their Senators and to Senator George.
"IT COULD HAVE BEEN WORSE
"There has been some criticism of the manner in which the fight was conducted, mostly from exhibitors who did not lift a finger to help and who are not identified — at least not prominently — with any exhibitor association.
"Offsetting this are the heartening expressions received from those who followed the struggle closely and have a real understanding of what was accomplished in the face of many burdens and obstacles.
"These thoughtful observers realize that while the Treas- ury two years ago recommended a tax on film rentals such as was imposed during World War I, we have thus far been spared such a tax.
"Also that while the increase in the admission tax is bur- densome, it is not out of line with the tax imposed on many other lines in which increased business has not been 60 marked. Here are a few of the increases provided in the bill: Cabarets, roof gardens, etc. 5% to 20%; furs 10% to 20%; toilet preparations 10% to 20%; electric light bulbs 5% to 15%. The tax on distilled spirits already was in the clouds, hence the rate of increase was not so high — $6.00 per gallon to $9.00 per gallon; but this, nevertheless, means that on a quart of whiskey the purchaser will have to pay Uncle Sam $2.25 for the smell before he takes the first gulp.
"THERE'S WORK TO BE DONE
"The war goes on, expenditures increase and the public debt mounts. There have been 17 tax bills in the last 11 years. The future holds the prospect of tax bills and still more tax bills.
"If the exhibitors are not to become the whipping boys of the revenue raisers they will have to strengthen as many of the above sources of weakness as lie within their power. At the very minimum, the following must be done: "By Individual Exhibitors "(a) Join and support the exhibitor association in your territory.
"(b) Volunteer for service on the legislative com- mittees to be established by the associations.
"(c) Resolve to submerge your own views and, if need be, your identity in an all out effort to protect the inter- ests of the exhibitors as a whole.
"By Regional Associations "(d) Establish a committee of alert, intelligent exhibi- tors in each Congressional district to cultivate friendly relations with the Congressman of that district and ac- quaint him with the important public service rendered by and the needs and aspirations of the motion picture theatres.
"(e) Establish similar committees to cultivate friendly relations with the Senators of each State.
"(f) Train all members in times of crises, and on signal from their association, to write intelligent, infor- mative letters to their Congressmen and Senators explain- ing just how proposed taxes will affect their business.
"(g) Affiliate with a national association, clear all national legislative action through it, and be ever ready to respond to its appeals for speedy, effective action. "By Rational Associations "(h) Keep the regional associations advised of all de- velopments on the legislative front.
"(i) Prepare and submit necessary information, sta- tistics and arguments to legislative committees.
"(j) Cooperate with all elements in the business, through a national conference committee or otherwise, in an effort to avoid the taking of inconsistent and conflict- ing positions in matters of taxation.
"LET ALL TAKE HEED "This bulletin is addressed to all exhibitors regardless of their membership or non-membership in any association. It is not a false cry of 'wolf, wolf; it is a solemn warning based on much observation and experience. It is devoid of industry politics.
"Each exhibitor to whose attention this bulletin may come should talk it over with the other exhibitors in his vicinity. If they are members of a regional association, they should encourage the officers of that association to put this plan into execution. If they are not members of a regional association, they should join one and work within its ranks for the adoption of the plan.
"So far as Allied is concerned, the subject will be given extended consideration at its annual board meeting which will be held in Chicago during the week beginning January 31. A plan already has been discussed with other elements in the industry looking to the co-ordination of effort as sug- gested in sub-paragraph (j) above, which plan will be pre sented to the board."
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXVI SATURDAY, FEBRUARY 5, 1944 No. 6
HERE AND THERE
WITHOUT INDICATING his appraisal of the latest draft of the proposed consent decree submitted to him recently by the five major distributors, Assistant Attorney General Tom C. Clark revealed its principle provisions to trade press representatives in Washington early this week. According to the reports, the gist of the main proposals is as follows :
The arbitration provision calls for a continuance of the present system, with the board of appeals located in New York. This is at variance with Clark's wishes that appeal boards be set up in each of the arbitration regions. The distributors have agreed, however, to arbitrate clearance with regard to their own theatres, and to arbitrate runs as they affect exhibitors in competition with their own theatres.
In the matter of cancellations, a 20% cancellation clause is offered to theatres paying an average film rental of $100 or less; 10% to those paying $101 to $200; and 5% to those paying over $200. Exhibitors with 20% cancellation privi' leges may cancel one of the first three pictures and, there after, one out of each five pictures.
In the matter of theatre acquisition, the distributors agree to secure the court's approval before adding to their hold' ings, except that no approval will be required for the replace- ment of a theatre damaged by fire or otherwise; the purchase of a "show case"; or the acquiring of a theatre in an area in which they had been "locked out" for one year or more.
The distributors have agreed to discontinue pooling ar- rangements in theatres or circuits owned or operated by them jointly, or in which they have a joint buying arrange- ment. They agree also to divest themselves of stock interests in these enterprises, leaving no more than one member of the pool to take over the entire ownership.
In the matter of franchises, the defendant distributors agree to cancel immediately existing exclusive franchises be- tween them, and to make an effort to cancel the exclusive franchises now existing between them and the non-defend- ants. Failing that, they agree not to renew such franchises when they expire.
The withholding of prints to give a competitor prior play- ing time would be prohibited.
A distributor found guilty of forcing shorts or newsreels would be subject to a fine of $250 for the first offense, and a fine of $?00 for subsequent offenses, the money to be paid to the exhibitor aggrieved.
The tradeshowing of features would continue as at present.
An exhibitor would have the right to cancel a film on moral, religious, or racial grounds, within five days after notice of availability.
Offhand, Harrison's Reports is inclined to feel that these "final" proposals are no more than half-measures, and that they are inadequate to afford proper relief to the inde- pendent exhibitors. It will, however, withhold comment, pending receipt of a more detailed account of the contents of these proposals.
* * *
ABRAM F. MYERS' comprehensive analysis of the re- cent admission tax fight, which was reproduced in last week's issue, leaves no doubt that there is a definite need for a uni-
fied exhibitor front in matters dealing with adverse tax legislation.
As Myers pointed out, there was no lack of cooperation from the individual exhibitors. The many letters and tele- grams of protest they sent to their Congressmen were most effective in inducing Congress to lower the Treasury De- partment's recommended admissions tax of 3 cents on each 10 cents or fraction, to 1 cent on each 5 cents or major frac- tion. There was, however, a decided lack of cooperation on the part of several exhibitor leaders and others, who, as spokesmen for their particular groups, appeared before the Senate Finance Committee and advocated certain tax formu- las, without making an effort either to coordinate with the representatives of the other groups, or merely to consult with them. In such a state of affairs, there could not possibly be a united exhibitor front. The conflicting ideas presented by the different groups tended to weaken the exhibitors' case, rather than to strengthen it.
There is a definite need for closer cooperation among ex- hibitor organizations, particularly when all exhibitors are faced with a common problem, such as burdensome taxation or hurtful legislation. Harrison's Reports earnestly urges upon the different exhibitor groups throughout the country that they adopt Mr. Myers' proposal for the formulation of a national conference committee, made up of representatives from each of the organizations. All matters pertaining to proposed legislatoin could be cleared through this committee, which would be in a position to formulate unified plans for all groups, eliminate inconsistent theories, and obviate the possibility that groups having a common interest may take conflicting positions.
One need not have psychic powers to foresee what the future holds in the way of increased taxes. To meet the con- stantly mounting public debt, our Government will have to resort to higher taxation, and the motion picture industry will undoubtedly have to stand its share of the burden. Hav- ing long been a favorite target of the tax legislators, our industry may find itself saddled with a greater tax load than it can bear, unless we take steps to set up machinery that will ward off discriminatory taxation. And now is the time to do it.
* * *
ONE OF THE FIRST STEPS that should be taken by a national committee representing all exhibitor associations is to pass a resolution calling on the trade papers to discon- tinue publishing figures of theatre receipts and of the high salaries paid to stars and directors. The publicity given to these figures leads tax legislators to believe that every one connected with the motion picture industry is a wealthy person, and that an industry composed only of wealthy people should be taxed heavily to make up the Federal gov- ernment's financial needs. The same holds true for the State governments and, occasionally, the city governments.
In addition to the harm done in the matter of taxation, the publishing of weekly gross receipts is of no particular value to the independent exhibitor, because they are, for the most part, estimated receipts. Accordingly, one is not sure of their accuracy. An inaccurate report might lure an ex- hibitor into paying a high film rental for a mediocre film.
22
HARRISON'S REPORTS
February 5, 1944
"Jane Eyre" with Joan Fontaine and Orson Welles
(20th CenturyFox, no release date set; time, 97 min.)
No one can deny the excellence of the production values given to this somber romantic drama, and also the fact that it is an artistic achievement. As entertainment, however, it is only fair, and its appeal will be limited to class audiences. It is doubtful if the masses will find it to their taste, for it is not a cheerful entertainment. Moreover, what may have been considered a great emotional drama years ago strikes one today as being archaic. One or two situations touch one's emotions, but this is due mainly to the appealing way in which they are played. Joan Fontaine, as "Jane Eyre," gives her usual good performance, but Orson Welles, as "Edward Rochester," leaves much to be desired; he overacts the part completely, and his lines are frequently inaudible. Margaret O'Brien is appealing as "Rochester's" French ward. The best performance of the lot, however, is the one given by Peggy Ann Garner, who enacts the role of "Jane Eyre" as a child. This is the third time the story has been brought to the screen. W. W. Hodkinson produced it in 1921, and Mono- gram in 1934. The action takes place in England, early in the nineteenth century: —
Jane Eyre, a discontented orphan residing in the home of a wealthy aunt (Agnes Moorehead), is sent to a charitable institution that is little more than a reformatory. Grown to womanhood, she leaves the institution to become a governess to the ward of Edward Rochester, an eccentric millionaire, with whom she eventually falls in love. The huge mansion in which they lived was fraught with mystery, because of the inexplicable happenings therein. Rochester gradually be- comes attracted to Jane, and proposes marriage to her. Their wedding ceremony is interrupted by a man who accuses Rochester of already being married. His secret out, Rochester reveals to Joan that the mysterious happenings at the man- sion were caused by his insane wife, whom he had secretly taken care of in a hidden part of the mansion ever since she had lost her mind years previously. Jane leaves him. Months later, a premonition that something had happened to Ro- chester brings her back. She discovers that the insane wife had set fire to the mansion, and that she had been burned to death. Rochester, in an heroic attempt to save her, had lost his eyesight. A happy reconciliation takes place.
Aldous Huxley, Robert Stevenson, and John Houseman wrote the screen play from the novel by Charlotte Bronte. William Goetz was in charge of production, and Mr. Stev- enson directed it. The cast includes John Sutton, Sara All- good, Henry Daniell and others.
Morally suitable for all.
"The Bridge of San Luis Rey" with Lynn Bari, Akim Tamiroff and Francis Lederer
(United Artists, February 11; time, 107 min.) From the standpoint of production, direction, and acting, this drama is good, but on the whole it is no more than a fair entertainment, of which the box-office appeal is doubtful. The story, which is based on Thornton Wilder's Pulitzer Prize novel of the same title, was produced once before, in 1929, by MGM, and at that time it did not make a good entertainment because it was an incoherent aggregation of incidents, revolving around a priest who delved into the lives of five persons in an endeavor to learn why the Al- mighty chose them to die in a fall from an ancient bridge. The story has been altered somewhat for this version, and the different incidents in the life of each person have been tied together to form one coherent plot, but there is nothing really shown in it that would cause the spectator to take a deep interest in the fate of the characters. Moreover, talk has been substituted for action, giving the film a number of slow-moving, dull stretches. The story takes place during the period when Spain ruled Peru : —
When an ancient bridge spanning a deep gorge near Lima, Peru, breaks, hurtling five persons to their doom, Donald Woods, a priest, decides to make a searching study of the lives of the victims, and of others who were spared death at the bridge, to determine whether he can find some clue to God's intention in thus casting them into eternity at a precise moment. His search brings him to Lima, where he investi- gates the lives of Lynn Bari, a street dancer, who became Lima's most famous actress and a favorite of Louis Calhern, the Spanish Viceroy, only to find much unhappiness because of her aristocratic ambitions; Akim Tamiroff, a dramatic tutor, who guided the actress' career, and influenced the Viceroy in his dealings with the people; Francis Lederer, a dashing sailor, who won the actress despite the Viceroy's opposition; Lcderer's twin brother (also played by Lederer), a public letter writer, who attempts suicide to show his dis- satisfaction with his brother's infatuation for the actress; and Nazimova, a scheming aristocrat, who jealously resented the actress' influence with the Viceroy, and plotted against her. The priest, after weighing carefully the lives of all those involved in the collapse of the bridge, which killed both the good and the bad, admits failure in solving the riddle of God's purpose.
Howard Estabrook wrote the screen play, Benedict Bo- gcaus produced it, and Rowland V. Lee directed it. The cast includes Abner Biberman, Blanche Yurka and others.
Morally suitable for all.
"Escape to Danger" with Ann Dvorak and Eric Portman
(RKO, no release date set; time, 84 min.)
Produced in Britain, this is a fairly good program es- pionage melodrama; however, it has a far-fetched story. But since the performances are good, and the story, though fan- ciful, is fairly engrossing, one's interest is held throughout. The action moves at a fast pace, and there is considerable excitement in several of the situations. Stock shots of the British fleet and of coastal defense batteries have been in- serted to good effect. Ann Dvorak, the heroine, is the only member of the cast known to American audiences: —
When the Nazis invade Denmark, Ann Dvorak, a teacher, pretends friendship for them in order to obtain vital infor- mation for the Alllies. This simulated collaboration induces the Nazis to select her as a secret agent, and they send her to England to obtain details about the movements of British invasion barges. On board a neutral vessel, she meets Ronald Adam, a German spy, and Eric Portman, a drunken English- man, who was actually a secret British agent. As part of his plan to get into England with Ann, Adam signals a U-boat to torpedo their ship as they pass an escorted British convoy. Both Ann and Adam jump from the boat before the torpedo strikes, and Portman, too, manages to save himself. All three are rescued by a British destroyer. In the ship's sick-bay, Adam, delirious, reveals his activities to Portman. Ann, fearing that Adam would betray them both, decides to kill Portman, whom she did not trust. The Englishman, how- ever, cleverly tricks her into killing Adam by changing beds with the Nazi. Upon his arrival in England, Portman, learn- ing of Ann's true sympathies, puts her through an acid test to establish her loyalty. He then reveals his identity and ar- ranges with her to continue working with the Nazis, in order to lure the German navy into a trap. Working with Ivor Barnard, a German agent, Ann installs an automatic trans- mitter in a barge, so that the radio beam would betray its position to the enemy. The installation complete, Portman intervenes. Barnard, recognizing the hoax, kills Ann before he is arrested. Laying its plans carefully, the British Ad- miralty sends the barge out to sea as a decoy. German naval and air forces follow the beam, only to be led into a trap where British forces meet and destroy them.
Patrick Kirwan wrote the story, Victor Hanbury produced it and Lance Comfort and Mutz Greenbaum directed it.
Morally suitable for all.
February 5, 1944
HARRISON'S REPORTS
23
"Weekend Pass" with Martha O'DriscolI and Noah Beery, Jr.
(Universal, February 18; time. 63 min.)
Routine program fare. It is no better and no worse than the majority of Universale "assembly-line" comedies with music, which are more to the taste of adolescents than of adults. Like most of the other pictures, this, too, has a mere thread of a story, which serves mainly as an excuse for some one to burst into song. Most of the comedy situations are inane, depending on slapstick for laughs. Ballroom dancing by Mayris Chaney; harmonica music by Leo Diamond and his Harmonaires; and singing by The Sportsmen, the Delta Rhythm Boys, and Martha O'DriscolI, make up the musical portion of the film: —
Granted a weekend vacation, his first in eighteen months, Noah Beery, Jr., decides to go to a quiet hotel for a rest. En route, he unwillingly makes the acquaintance of Martha O'DriscolI, who leads him on a merry chase when she inad- vertently drives off with his coat. After a day full of hectic experiences, in which he tries to protect her from a drunken admirer, Beery reaches his hotel in the early hours of the morning, just as a newsboy delivers papers announcing that Martha had been reported missing by her grandfather (George Barbier), head of a naval academy. Martha per- suades Beery to trail the newsboy and destroy every paper in town. Later, he learns that she ran away from home be- cause she wanted to join the WACS, while her grandfather wanted her to join the WAVES. Beery, sympathizing with her, helps her to hide. A search is instituted for Martha, and Beery soon finds that he is being sought as her "kidnapper." Tired and angry, Beery locks Martha into a dog-catcher's truck, and drives her to the naval academy. There, after a series of misunderstandings, Martha vindicates Beery and promises her grandfather that she will join the WAVES. Tired but happy, Beery returns to the shipyard.
Clyde Bruckman wrote the screen play, Warren Wilson produced it, and Jean Yarbrough directed it.
Morally suitable for all.
"In Our Time" with Ida Lupino and Paul Henreid
(Warner Bros., February 19; time, 110 min.)
An interesting topical drama, with an appealing romance. The action takes place in Poland, prior to and including the Nazi invasion, and, in terms of a romance between an Eng- lish girl and a young Polish Count, it depicts forcefully the class distinction that existed in that country at that time, and portends that it was one of the main reasons for Poland's quick capitulation to the Nazis. Many of the situations are filled with deep human interest. Miss Lupino gives an excel- lent performance. Throughout the spectator feels intense sympathy for her, because of her efforts to help her husband become self-sufficient, despite the opposition of his aristo- cratic family. The others in the cast perform well. There are no actual war scenes : —
Shortly before the war's outbreak in 1939, Ida Lupino, an English girl, accompanies her employer (Mary Boland), an antique dealer, on a buying expedition to Warsaw, where she meets and falls in love with Paul Henreid, a nobleman. They marry, despite the opposition of his family. In Poland, Ida finds many vestiges of the middle-ages — baronial estates; titled aristocrats; and peasants who were near-serfs. Alia Nazimova, Henreid's mother, lived in memories of the past; Nancy Coleman, his sister, was disdainfully aloof; Victor Francen, his wealthy uncle, controlled the family purse- strings, and was a political leader and advocate of appease- ment with the Nazis. Only Michael Chekhov, another uncle, had progressive ideas, but he was ineffectual because the fam- ily ignored him. Despite his family's insistence that he main- tain rigid formality and detachment from the peasants, Hen- reid, inspired by Ida, teaches the peasants modern farming methods and gives them a share of the estate's profits. His efforts are successful, enabling him to manage without Fran-
cen's financial aid. When the Nazis attack Poland, Henreid joins his regiment, while Ida helps the peasants to gather the harvest. Henreid, wounded, soon returns, and reports that the Polish armies are in collapse. Francen, and Henreid's mother and sister, flee to Monte Carlo, but Ida, Henreid, and Chekhov refuse to go. Rallying the peasants, Ida and Hen- reid help them to set fire to the estate and to the crops. They join thousands of other Poles in falling back, sad but con- fident that the democratic ideals for which they fight will sur- vive.
Ellis St. Joseph and Howard Koch wrote the screen play, Jerry Wald produced it, and Vincent Sherman directed it. Morally suitable for all.
BOX-OFFICE PERFORMANCES
(Continued from bac\ page)
Universal
"Follow the Band" : Fair. "Cowboy in Manhattan": Fair. "We've Never Been Licked" : Fair. "Captive Wild Woman": Fair. "All by Myself": Fair-Poor. "Mr. Big" : Good. "Two Tickets to London" : Fair. "Get Going": Fair-Poor. "Hit the Ice" : Very Good. "Gals, Inc." : Fair. "Hers to Hold": Very Good. "Honeymoon Lodge": Fair. "Phantom of the Opera": Good. "Fired Wife" : Fair.
"The Strange Death of Adolph Hitler": Poor.
"Larceny with Music" : Fair-Poor.
"Top Man": Good.
"Sherlock Holmes Faces Death" : Fair.
"Always a Bridesmaid" : Fair.
"Corvette K-225": Good-Fair.
"Crazy House": Good-Fair.
"Hi' Ya' Sailor" : Fair.
"You're a Lucky Fellow, Mr. Smith" : Fair-Poor.
"Flesh and Fantasy": Good-Fair.
"Son of Dracula" : Fair.
"The Mad Ghoul": Fair.
"His Butler's Sister": Very Good.
"So's Your Uncle" : Fair.
"She's for Me": Fair.
"Calling Dr. Death" : Fair.
"Moonlight in Vermont": Fair.
Thirty-two pictures, excluding five westerns, have been checked with the following results:
Very Good, 3; Good, 3; Good-Fair, 3; Fair, 18; Fair- Poor, 4; Poor, 1.
Warner Brothers
"Mission to Moscow" : Fair.
"Action in the North Atlantic": Very Good-Good.
"Background to Danger": Good-Fair.
"The Constant Nymph": Good-Fair.
"This Is the Army" : Excellent.
"Watch on the Rhine": Very Good.
"Thank Your Lucky Stars": Very Good-Good.
"Murder on the Waterfront": Fair-Poor.
"Adventure in Iraq" : Poor.
"Princess O'Rourke": Very Good-Good.
"Find the Blackmailer": Fair-Poor.
"Northern Pursuit": Good.
"Old Acquaintance": Very Good-Good.
Thirteen pictures have been checked with the following results:
Excellent, 1; Very Good, 1; Very Good-Good, 4; Good, 1; Good-Fair, 2; Fair, 1; Fair-Poor, 2; Poor, 1.
24
HARRISON'S REPORTS
February 5, 1944
BOX-OFFICE PERFORMANCES
(The previous box-office performances were printed in the June 19, 1943, issue.)
Columbia
"Redhead from Manhattan": Fair-Poor.
"The More the Merrier" : Excellent- Very Good.
"The Boy from Stalingrad" : Poor.
"It's a Great Life": Good-Fair.
"Two Senoritas from Chicago": Fair.
"Crime Doctor" : Good-Fair.
"Good Luck, Mr. Yates": Fair-Poor.
"What's Buzzin' Cousin": Fair.
"Appointment in Berlin": Fair.
"Passport to Sues" : Fair.
"First Comes Courage": Fair.
"My Kingdom for a Cook" : Fair.
"Destroyer": Good.
"Dangerous Blondes": Good-Fair.
"Footlight Glamour": Good-Fair.
"Doughboys in Ireland": Fair-Poor.
"Sahara": Very Good.
"The Chance of a Lifetime": Fair.
"Return of the Vampire": Poor.
"There's Something About a Soldier": Fair.
"The Heat's On": Fair-Poor.
"Crime Doctor's Strangest Case" : Fair.
"Klondike Kate": Fair.
"What a Woman!": Very Good-Good.
Twenty-four pictures, excluding three westerns, have been checked with the following results:
Excellent- Very Good, I; Very Good, 1; Very Good- Good, 1; Good, 1; Good-Fair, 4; Fair, 10; Fair-Poor, 4; Poor, 2.
Metro-Gold wyn-Mayer
"Bataan": Very Good-Good.
"Harrigan's Kid": Fair.
"Presenting Lily Mars": Good.
"The Youngest Profession": Good-Fair.
"Pilot No. 5": Good-Fair.
"Dubarry Was a Lady" : Fair.
"Hitler's Madman": Poor.
"Random Harvest": Excellent-Very Good.
"The Human Comedy": Very Good.
"Salute to the Marines": Very Good-Good.
"Above Suspicion": Good-Fair.
"I Dood It": Fair.
"Swing Shift Maisie" : Good-Fair.
"Best Foot Forward": Good.
"Adventures of Tartu": Fair-Poor.
"Dr. Gillespie's Criminal Case" : Fair.
"Young Ideas": Fair.
"Girl Crazy": Good.
"Lassie Come Home": Good.
"The Man from Down Under": Fair-Poor.
"Whistling in Brooklyn": Fair.
"Thousands Cheer": Excellent-Very Good.
"Cross of Lorraine": Good-Fair.
Twenty-three pictures have been checked with the fol- lowing results:
Excellent-Very Good, 2; Very Good, 1; Very Good-Good, 2; Good, 4; Good-Fair, 5; Fair, 6; Fair-Poor, 2; Poor, 1.
Paramount
"High Explosive" : Fair-Poor.
"China": Very Good-Good.
"Aerial Gunner": Good-Fair.
"Five Graves to Cairo": Good.
"Salute for Three": Fair-Poor.
"Dixie": Very Good-Good.
"Henry Aldrich Swings It" : Good-Fair.
"Alaska": Fair-Poor.
"So Proudly We Hail": Very Good.
"Submarine Alert": Fair.
"Let's Face It": Very Good-Good. "The Good Fellows" : Fair-Poor. "True to Life" : Fair. "Tornado": Fair-Poor. "Hostages": Fair.
"The City That Stopped Hitler": Poor. Sixteen pictures have been checked with the following results:
Very Good, 1; Very Good-Good, 3; Good, 1; Good-Fair, 2; Fair, 3; Fair-Poor, 5; Poor, 1.
RKO
"Squadron Leader X": Poor.
"Mr. Lucky": Very Good.
"Gildersleevc's Bad Boy": Fair-Poor.
"The Leopard Man" : Fair-Poor.
"Petticoat Larceny": Fair.
"The Sky's the Limit": Good.
"The Falcon in Danger": Fair.
"Behind the Rising Sun": Good.
"Mexican Spitfire's Blessed Event": Fair-Poor.
"Bombardier": Good.
"Coastal Command" : Poor.
"The Fallen Sparrow": Good.
"Adventures of a Rookie": Fair.
"The Seventh Victim": Poor.
"So This Is Washington": Fair-Poor.
"A Lady Takes a Chance": Good.
"The Iron Major": Good.
"Gangway for Tomorrow": Fair.
"Government Girl": Good.
"Gildersleeve on Broadway": Fair- Poor.
"The Falcon and the Co-Eds": Fair.
"The North Star": Very Good-Good.
Twenty-two pictures, excluding two westerns, have been checked with the following results:
Very Good, 1; Very Good-Good, 1; Good, 7; Fair, f; Fair-Poor, 5; Poor, 3.
Twentieth Century-Fox
"Ox-Bow Incident": Fair. "Jitterbugs": Good-Fair. "Coney Island": Excellent-Very Good. "Stormy Weather": Fair. "Heaven Can Wait": Very Good. "Bomber's Moon": Good-Fair. "Holy Matrimony" : Good-Fair. "Claudia": Very Good-Good. "Wintertime": Good.
"Sweet Rosie O'Grady": Excellent-Very Good. "Paris After Dark": Good-Fair. "Guadalcanal Diary": Excellent-Very Good. "Battle of Russia": Poor. "The Dancing Masters" : Fair-Poor. "Happy Land": Fair. "The Gang's All Here" : Very Good. Sixteen pictures have been checked with the following results :
Excellent- Very Good 3; Very Good, 2; Very Good-Good, 1; Good, 1; Good-Fair, 4; Fair, 3; Fair-Poor, 1; Poor, 1.
United Artists
"Prairie Chickens": Poor.
"Stage Door Canteen" : Excellent- Very Good.
"Somewhere in France" : Fair-Poor.
"Nazty Nuisance" : Fair-Poor.
"Victory Thru Air Power" : Fair-Poor.
"Yanks Ahoy" : Fair-Poor.
"Hi Diddle Diddle": Fair.
"Johnny Come Lately" : Good.
"The Kansan" : Fair.
"The Woman of the Town": Fair.
Ten pictures, excluding four westerns, have been checked with the following results:
Excellent-Very Good, 1; Good, 1; Fair, 3; Fair-Poor, 5. (Continued on inside page)
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
Harrison's Reports
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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXVI SATURDAY, FEBRUARY 12, 1944 No. 7
HERE AND THERE
THIS PAPER'S RECENT editorials about con- cealed advertising in pictures brought forth the fol- lowing comment in an official bulletin, dated February 3, of the New York State Publishers Association:
" 'Don't Allow Tour Screen to Become a Billboard.'
"This is the headline used by the Harrison's Reports on movies in its January 22 issue to protest the fact that 'concealed advertising is sneaking back into pic- tures again.'
"The usual method, as described by this motion picture reviewing service, is for an actor to prominent- ly display a particular brand of liquor or to call for a brand of chewing gum by name, and so forth.
"It is to be remembered that in 1933 the New York State Publishers Association co-operated with Harri' son's Reports in protesting against indecency and commercial advertising in pictures. It is also worthy of note that Mr. George B. Williams, Geneva Daily Times, who called our attention to the recent outbreak of this concealed advertising, played a prominent part in getting the situation corrected in 1933."
To the New York State Publishers. Association, Harrison's Reports says, "Thanks for remember- ing."
WHILE ON THE SUBJECT of concealed adver- tising, here is another violation, which has been brought to this paper's attention by a Cincinnati exhibitor :
In 20th Century-Fox's "Guadalcanal Diary," one sequence deals with the approach of the zero hour for a battle attack. As the commanding officer looks at his wrist watch, the camera shifts to a full close-up of the timepiece as it ticks away the final seconds .Shown plainly on the watch is the nameplate "Gruen."
Unlike other violations cited by this paper, the close-up of a watch in this sequence had a definite place in the development of the story, for it added to the suspense. Care should have been taken, however, to show a watch that did not display legibly the name- plate of the manufacturer.
Whether or not the advertisement given to "Gruen" watches was paid for is immaterial. The practice is objectionable. The producers should exercise greater care in such matters, for they should know that the public assumes an antagonistic attitude towards adver- tisements in pictures, and the one way it shows its displeasure is by staying away from the theatres.
Let us keep the advertisements out and bring the patrons in.
A MOST IMPORTANT and encouraging de- velopment in exhibitor relations was the joint confer- ence of independent exhibitors held in Chicago two weeks ago under the auspices of National Allied.
This group, as most of you already know, met for the specific purpose of studying the consenting dis- tributors' proposals for changes in the consent decree, a draft of which was sent to them by Assistant At- torney General Tom C. Clark.
In attendance at the conference were Allied's ex' ecutive board, and representatives of the Pacific Coast Conference of Independent Theatre Owners; North Central Allied; Motion Picture Theatre Owners of Virginia; Unaffiliated Independent Exhibitors of New York; Allied Independent Theatre Owners of Iowa- Nebraska; Independent Exhibitors, Inc., of New England; and Allied Theatre Owners of the North- west.
Naming itself the National Council of Unaffiliated Exhibitors, the group, after a thorough analytical study of the distributors' proposals, appointed a com- mittee to set forth its views in a brief that was to be submitted last Wednesday (February 9) at a meeting in Washington with Mr. Clark.
In keeping with a promise made to Mr. Clark, no public announcement was made of the decisions reached at the conference. But enough has been printed in the trade papers to indicate that those at the conference felt that the distributors' recommenda- tions were far from satisfactory.
The committee appointed to meet with Clark in- cluded Abram F. Myers and Col. H. A. Cole, of Allied; William Crokett of the MPTO of Virginia; Robert Poole, of the PCCITO; and Jesse Stern, of the UIE of New York.
A unified independent exhibitor front, such as the National Council of Unaffiliated Exhibitors, should go far in inducing Mr. Clark either to obtain greater concessions from the distributors, or to proceed against them with the anti-trust suit.
* * *
IT SEEMS AS IF the hue and cry raised by this paper, Film Bulletin, and numerous independent ex- hibitor organizations, against Columbia's failure to keep its promises to its 1942-43 contract-holders, and its utter disregard for the rights of its customers, have reached the shores of Australia.
The Australasian Exhibitor, a leading trade journal in that country, has taken up the cry, devoting the front page of its November 25, 1943 issue to a resume of the facts that led up to Columbia's being branded as the "company of worthless promises."
(Continued on last page)
20
HARRISON'S REPORTS
February 12, 1944
"The Return of the Vampire" with Bela Lugosi and Frieda Inescort
(Columbia, N.ov. 11; time, 69 min.)
Strictly for the horror fans. It belongs to the cycle of horror pictures fashioned after the "Dracula" stories, and although it is eerie enough it is an unpleasant entertainment; it docs not hold one's interest because it is wholly uncon- vincing, and could appeal only to morbid natures. This time, to add to the gruesomeness, Bela Lugosi, in his familiar role as the vampire, is aided and abetted by a "wolf man," his slave. The situations that show the different characters either hammering a spike into a dead man's body, or pulling it out, are sickening to watch. It is also unpleasant to watch Matt Willis' face become distorted as it changes into that of a "wolf man." Though horrifying, the film is made up of familiar ingredients. The action takes place in England: —
Lugosi, aided by Willis, attacks the six-year-old daughter of Professor Gilbert Emery, who lived in a sanatorium operated by Frieda Inescort, a scientist. Recognizing that his daughter had been attacked by a vampire, Emery, assisted by Miss Inescort, tracks Lugosi to his crypt and, together, they drive a spike through his heart. With the death of his master, Willis regains his normal human features, and Miss Inescort takes him to her home and rehabilitates him. Twenty years later, a Nazi bomb strikes Lugosi's grave, and his body is thrown above the ground. Workmen, seeing the spike through his heart, remove it, causing Lugosi to return to life. Vowing vengeance, Lugosi brings Willis under his spell and attacks Emery's daughter (Nina Foch) once again. Miss Inescort, aware that Lugosi had returned, visits Miles Mander, head of Scotland Yard, for help. Mander considers her story fantastic, but agrees to aid her. After a series of incidents in which Lugosi evades the police, he succeeds in luring Nina to his secret crypt. Willis, whom Lugosi had abandoned in favor of Nina, his new slave, finds a crucifix on the floor of the crypt and, holding Lugosi in its shadow, causes him to disintegrate completely. Willis dies with his master, and Nina becomes her normal self.
Griffin Jay wrote the screen play, Sam White produced it, and Lew Landers directed it.
Too horrifying for children.
"Lady in the Dark" with Ginger Rogers, Ray Milland and Jon Hall
(Paramount, no release date set; time, 100 min.)
A very good entertainment, and an outstanding box-office attraction. The extremely lavish production values, enhanced by Technicolor photography, are breathtaking in their beauty. The exquisite gowns worn by Ginger Rogers and the female supporting cast will make women gasp. As a matter of fact, the glamorous clothes is one of the film's chief attractions. Based on the highly successful Broadway stage play of the same title, the story, which alternates be- tween realism and fantasy, revolves around a businesslike but neurotic young woman editor of a fashion magazine, whose emotional confusion is depicted in a series of three fantastic but spectacular dream sequences, which are tune- ful, imaginative, and rich in humor. Though the story deals with the anguish of a human being, it is not a depressing entertainment; the dialogue is quite witty, and it has a num- ber of very good comedy situations. Since psychoanalysis is the theme, it is doubtful if children will understand the story. Ginger Rogers, as the repressed heroine, is excellent. Cast in a role that runs the gamut of emotions, she makes the most of every opportunity to display her versatility, whether it be singing, dancing, or playing a highly dramatic scene. The supporting cast is excellent throughout: —
Ginger finds herself on the verge of a nervous breakdown for reasons she cannot fathom. She believes herself in love with Warner Baxter, her publisher, but shrinks from the idea of marrying him when he obtains a divorce from his wife. Ray Milland, the magazine's crack advertising man- ager, irritated her; he constantly poked fun at her for being a career woman who scorned glamour. In desperation, Ginger visits a psychiatrist (Barry Sullivan) who, through his in-
terpretation of her weird dreams, learns what caused her neuroses. He finds that, as a child, Ginger had been frus- trated by her parents, and that, as an adolescent, she had lost out on her first romance to a better looking girl. She then built a wall around herself by determining to become a career woman, so as not to compete against other women as a woman. Sullivan informs her that her illness was due to her failure to satisfy her subconscious female desires. He suggests that she change her mode of living, and that she find a man capable of dominating her. Realizing that Baxter was the sort of man who needed mothering, Ginger rejects his love. She meets Jon Hall, a handsome film star, and accepts his marriage proposal after a whirlwind courtship. But Ginger breaks the engagement when she learns that he is an insecure person, one who could not manage his own affairs. When Milland resigns as advertising manager, and admits to her frankly that he resented her being his boss, and that he coveted her job, Ginger asks him to remain, agreeing to share her authority with him, Enthusiastic, Milland takes immediate charge of the magazine's affairs. Ginger comes to the realization that she was in love with Milland and, as he takes her into his arms, she changes into a completely happy personality, free from repressions and fears.
Frances Goodrich and Albert Hackett wrote the screen play based upon the play by Moss Hart, Dick Blumenthal produced it, and Mitchell Leisen directed it. Buddy G. De Sylva was the executive producer. The cast includes Mischa Auer, Mary Philips, Phyllis Brooks, Edward Fielding, Gail Russell and many others. Morally suitable for all.
"The Imposter" with Jean Gabin
(Universal, Feb. 11; time, 94'/2 min.)
A moderately entertaining war melodrama, of program grade. The story, which is rather weighty, is more or less a character study of an escaped French convict, whose re- generation is brought about when he joins the Free French forces. The effective acting of Jean Gabin holds one's inter- est, but there are times when the picture drags and becomes tiresome. There is no comedy relief, or romantic interest, and a tragic note is sustained throughout. One feels sym- pathy for Gabin because of his desire to compensate for his past. Ellen Drew, the only woman in the cast, appears in a few brief sequences: —
Jean Gabin, about to be guillotined for killing a police- man, escapes from a Paris prison during a Nazi air raid. Heading for the south of France, he hails a ride on a military truck transporting soldiers. The truck is strafed and bombed by a Nazi plane. Gabin, seeing his chance to assume a new identity, changes clothes with a dead soldier and steals his papers. He makes his way to a seaport, where he boards a freighter together with a group of French soldiers including Richard Whorf, John Qualen, Allyn Joslyn, Peter Van Eyck, and Eddie Quillan. The ship sails to a free French port in Equatorial Africa, where the six men join DeGaulle's army. Gabin and his new-found friends are commissioned to build an airfield in the jungle. Through the months of hard and dangerous work, Gabin becomes the natural leader of the men and wins their devotion. He is promoted to Lieu- tenant, and distinguishes himself in a desert battle. Return- ing to his camp, Gabin is decorated for bravery, only to learn that the medals he received were for a previous act of bravery on the part of the dead soldier, whose identity he had assumed. Gabin confesses the truth to one of his buddies, who advises him to remain silent. Later, Gabin is recognized as an imposter by Ellen Drew, the dead soldier's fiancee, who had come to the camp in search of her sweetheart, and by Milburn Stone, who had served in battle with the dead man. Gabin confesses to the authorities and, at a court mar- tial, is demoted to the rank of private. Sent to the desert front, Gabin, completely ignoring his own safety for that of his comrades, dies a hero as he wipes out a machine gun nest.
Julien Duvivier wrote the screen play, produced it, and directed it. The cast includes Ralph Morgan and others.
Morally suitable for all.
February 12, 1944
HARRISON'S REPORTS
27
"The Sullivans" with Thomas Mitchell, Anne Baxter and Selena Royle
(20th Century-Fox, no release date set; time, 111 mm.)
Excellent entertainment for the masses. Twentieth Cen- tury-Fox has taken the life story of the Sullivans — the five brothers who lost their lives in the sinking of the cruiser Juneau — and made of it a delightful combination of comedy and drama, with deep human appeal. Although the story is simple, it