IN TWO SECTIONS— SECTION ONE
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the aet of March 3, 1879.
Harrison's Reports
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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
VoL_XX SATURDAY, JANUARY 1, 1938 No. "l
Box Office Performances of 1937-38 Season's Pictures — No. 3
Twentieth Century-Fox Excellent 1 ; Excellent-Very Good, 1 ; Excellent-Good,
"Hot Water," with Jed Prouty, Spring Byington, Shirley ] ; Very Good-Good, 3 ; Very Good-Fair, 2 ; Good-Fair,
Deane, and Russell Gleason, produced by Max Golden and 4 : Good-Poor, 2 ; Fair, 6 ; Fair-Poor, 2.
directed by Frank Strayer, from a screen play by Robert The first 22 of the 1936-37 season exclusive of the west-
Chapin and Karen DeWolf : Good-Poor (mostly Fair) . erns, were rated as follows :
"Life Begins in College," with the Ritz Brothers, Tony Excellent- Very Good, 1 ; Very Good, 2 ; Very Good-
Martin, and Gloria Stuart, produced by Harold Wilson and Good, 4 ; Good, 6 ; Good-Fair,2 ; Fair, 4 ; Fair-Poor, 3.
directed by William A. Seiter, from a screen play by Karl A decided improvement this season.
Tunberg and Don Ettlinger : Very Good-Good.
"Lancer Spy," with George Sanders, Dolores Del Rio, United Artists
Peter Lorre, and Virginia Field, produced by Samuel G. "Farewell Again," with Leslie Banks, Flora Robson, and
Engle and directed by Gregory Ratoff, from a screen play Sebastian Shaw, produced by Erich Pommer and directed
by Philip Dunne : Good-Poor. by Tim Whelan, from a screen play by Ian Hay : Fair.
"Roll Along, Cowboy," with Smith Ballew and Cecilia "Stand-In," with Joan Blondell, Leslie Howard, Hum-
Parker, produced by Sol Lesser and directed by Gus Meins, phrey Bogart, and Maria Shelton, produced by Walter
from a screen play by Dan Jarrett : Fair. Wanger and directed by Tay Garnett, from a screen play
"Heidi," with Shirley Temple, Jean Hersholt, Arthur by Gene Towne and Graham Baker : Good.
Treacher, Sidney Blackmer, and Marcia Mae Jones, pro- "52nd Street," with Ian Hunter, Leo Carrillo, Pat Pater-
duced by Raymond Griffith and directed by Allan Dwan, son, and Kenny Baker, produced by Walter Wanger and
from a screen play by Walter Ferris and Julien Josephson : directed by Harold Young, from a screen play by Grover
Excellent-Good (most reports said Very Good). Jones: Poor.
"Charlie Chan On Broadway," with Warner Oland, Joan "Nothing Sacred," with Carole Lombard, Frederic
Marsh, Keye Luke, and J. Edward Bromberg, produced by March, Charles Winninger, and Walter Connolly, pro-
John Stone and directed by Eugene Forde, from a screen duced by David O. Selznick and directed by William A.
play by Charles Belden and Jerry Cady : Good-Fair. Wellman, from a screen play by Ben Hecht : Excellent -
"Ali Baba Goes To Town," with Eddie Cantor, Tony Vefy Good.
Martin, Roland Young, and June Lang, produced by "Murder on Diamond Row," with Edmund Lowe, pro-
Lawrence Schwab and directed by David Butler, from a duced by Alexander Korda and directed by William K.
screen play by Harry Tugend and Jack Yellen : Very Good- Howard, from a screen play by Edward O. Berkman : Fair.
^a'r' Eleven pictures have been reported since the beginning
"Danger— Love At Work," with Ann Sothern, Jack Df the season, rated as follows :
Haley, and Mary Boland, produced by Harold Wilson and _ „ „ , „ „ „ „ . , „ , „
directed by Otto L. Preminger, from a screen play by Ben Excellent- Very Good 3 ; Excellent-Good 1 ; Good, 2;
Markson and J. E. Grant : Good-Fair (mostly Poor). Good-Poor, 1 ; Fair, 2; Fair- Poor, 1 ; Poor, 1.
"Dangerously Yours," with Cesar Romero, Phyllis The first eleven of the 1936"37 season were rated as
Brooks, and Alan Dinehart, produced by Sol Wurtzel and follows :
directed by Mai St. Clair, from a screen play by Lou Bres- Very Good-Good, 2 ; Good, 5 ; Good- Fair, 2; Fair-Poor,
low and John Patrick : Fair-Poor. ] ■ Poor, 1.
"Second Honeymoon," with Loretta Young, Tyrone A decided improvement this season.
Power, Lyle Talbot, Stuart Erwin, Claire Trevor, and
Marjorie Weaver, produced by Raymond Griffith and di- Universal
rected by Walter Lang, from a screen play by Kathryn "Law For Tombstone," with Buck Jones, produced by
Scola and Darrell Ware : Very Good-Good. Buck Jones and directed by W. B. Eason, from a screen
"Forty-Five Fathers," with Jane Withers, Thomas Beck, play by Frances Guilian : Fair,
and Louise Henry, produced by John Stone and directed by "Idol of the Crowds," with John Wayne and Sheila
James Tingling, from a screen play by Frances Hyland and Bromley, produced by Paul Malvern and directed by
Albert Ray : Very Good-Fair. Arthur Lubin, from a screen play by George Waggner and
"Dinner at the Ritz," with Annabella, Paul Lukas, and Harold Buckley: Fair-Poor.
David Niven, produced by Robert T. Kane and directed by "Trouble At Midnight," with Noah Beery, Jr., produced
Harold D. Schuster, from a screen play by Roland Pertwee by Ben Koenig and Barney Sarecky and directed by Floyd
and Romney Brent: Fair. Beebe, from a screen play by Maurice Geraghty"; Fair-
"Big Town Girl," with Claire Trevor, Donald Woods, Poor,
and Alan Baxter, produced by Milton H. Field and "That's My Story," with Gaudia Morgan, William
directed by Alfred Worker, from a screen play by I^ou Lundigan, and Bernardene Hayes, produced bv Robert
Breslow, John Patrick, Robert Ellis and Helen Logan: Presncll and directed by Sidney Salkow, from a screen
Fair. p]ay Dy Barry Trivers : Fair-Poor.
"Borrowing Trouble," with Jed Prouty, Spring Bying- "The Westland Case," with Preston Foster, Carol
ton, Shirley Deane, and Russell Gleason, produced by Max Hughes, Astrid Allwyn, and Frank Jenks, produced by
Golden and directed by Frank R. Strayer, from a screen Irving Starr and directed by Christy Cabanne, from a
play by Robert Chapin and Karen DeWolf : Fair. screen play by Robertson White : Fair-Poor.
The number of pictures reported since the beginning of "A Girl with Ideas," with Wendy Barrio, Walter Pid-
the season are 22. rated as follows: (Continued on last page)
2
"Tovarich" with Claudette Colbert
and Charles Boyer
( Warner Bros., Dec. 25 ; time, 97 min. )
There is no doubt as to the drawing power of this picture,
first, because of the popularity of the stars, and secondly,
because of the fame of the play from which it was adapted.
Its appeal, however, will be directed mostly to high-class
audiences. Those who saw the play will be somewhat dis-
appointed, for in its transition from the stage to the screen
it has lost some of its charm. The first half is spoiled by too
much burlesquing; but it gets much better in the second
half, where there is plentiful comedy and human appeal.
The best situation is that which takes place during a formal
dinner party to which the Soviet Commissar had been
invited ; the comedy arises from the fact that the host was
unaware that his butler and maid were Russian nobles,
and that the Commissar was their worst enemy. Human
interest is awakened by the eagerness of the butler and of
the maid to hold on to their jobs, which meant their
security and peace of mind : —
Although he had forty million francs deposited in his
name in the Bank of France, Boyer, a former Russian
Prince, refuses to touch one cent of it because the money
had been entrusted to him by the Czar to be held until he
would return to the throne. He and his wife (Miss Colbert),
a former Grand Duchess, live in squalid surroundings and
even resort to stealing for their food. They finally decide
to seek employment as butler and housemaid in the home
of wealthy Melville Cooper, without divulging to him
their social rank ; they are overjoyed when Cooper engages
them. In a short time Cooper, his wife (Isabel Jeans), his
daughter (Anita Louise), and his son (Maurice Murphy),
come to adore their two servants, because they display
talents as musicians, fencers, and poker players. At an im-
portant dinner party given by Cooper, at which the Soviet
Commissar (Basil Rathbone) had been invited, one of the
guests recognizes both Miss Colbert and Boyer and bows
to them. Cooper and his wife then learn who they are and
are terrified at what might happen upon the Commissar's
arrival. But the dinner passes off smoothly. After the
dinner Rathbone pays a visit to the kitchen and pleads with
Boyer to help Russia by turning over the money so as to
stave off the avaricious attempts of other nations to gain
control of Russia's oil wells. Although they despise Rath-
bone and everything he stood for, they turn the money over
to him for the sake of Russia. And their happiness is re-
stored when Cooper tells them they could remain in his
employ.
Jacques Deval wrote the original play and Robert E.
Sherwood, the English version ; Casey Robinson wrote the
screen play, Anatole Litvak directed it, and Robert Lord
produced it. In the cast are Morris Carnovsky, Gregory
Gaye, and others.
Suitable for all. Class A.
"Wise Girl" with Miriam Hopkins,
Ray Milland and Walter Abel
(RKO, December 31 ; time, 69l/2 min.)
Good ! In line with the type of comedies that are now
produced, "Wise Girl" has its share of foolishness ; but
underneath the wisecracks there is human appeal, awakened
by the loveableness of two children. These two children,
Betty Philson and Marianna Strelby, are extremely
talented, delivering their lines with charm and ease. There
are several situations that provoke hearty laughter; one
such situation is that in which Miriam Hopkins, unaccus-
tomed to the ways of the bohemians in Greenwich Village,
is shocked when her neighbors, both men and women, pay
her a visit while she was taking a bath : —
Miss Hopkins, daughter of millionaire Henry Stephen-
son, is determined to get her orphaned nieces, whom she
had never seen, away from their uncle (Ray Milland), a
penniless artist living in Greenwich Village ; the mother of
the children had been her sister, and the father, Milland's
brother. She goes to the Village, where, by posing as a poor
girl out of work, she wins Milland's sympathy. As a
matter of fact, she even goes to work, and is proud of the
money she earns. Milland is enraged when the Childrens'
Aid Society takes his nieces away from him. When he
finds out who Miss Hopkins was he feels certain that she
had something to do with it. In the court fight that follows,
Miss Hopkins comes out the victor and takes the children
to her home. But she cannot win their love, for they could
not forgive her for having taken them away from Milland.
She finally wins them over by explaining to them that it
January 1, 1938.
was for Milland's sake that she had done so, for she felt
that, if he were not burdened with responsibilities, he could
develop his talents as a painter. She and the children work
out a scheme whereby they bring Milland around to their
way of thinking. Everything is adjusted to the satisfaction
of all, for Miss Hopkins and Milland had fallen in love with
each other.
Allan Scott and Charles Norman wrote the story, and
Allan Scott, the screen play; Leigh Jason directed it, and
Edward Kaufman produced it. In the cast are Alec Craig,
Guinn Williams, Margaret Dumont, and others.
Suitability, Class A.
"Man-Proof" with Myrna Loy, Franchot
Tone, Rosalind Russell and Walter Pidgeon
(MGM, January 7 ; time, 74 min.)
The combination of the four stars should assure good
box-office returns. But the picture's appeal is directed
almost exclusively to sophisticated audiences, and at that
mostly to women. Its chief fault lies in the fact that the
audience is not in sympathy with the heroine, because she
shows weakness of character. In addition, there is practi-
cally a complete lack of action, the story being told mostly
by dialogue. The picture lacks emotional appeal : —
Myrna Loy, heartbroken because she had been jilted by
Walter Pidgeon, who had married wealthy Rosalind
Russell, decides to keep on fighting to get him back. Her
mother (Nana Bryant) convinces her that she should forget
him and devote her time to a career. Franchot Tone, a
newspaper illustrator, helps her to obtain a position on his
paper, and for a time she is happy. But a few encounters
with Pidgeon, who had returned from his honeymoon, sets
her back where she had started from. She calls up Miss
Russell and informs her that she still loved Pidgeon and
would not give him up. Her eyes are opened eventually
when Miss Russell, unwilling to give up her husband,,
shows him up for the weak character that he was. Pidgeon
is compelled to admit the truth of Miss Russell's statements,
and of the fact that he never really loved Miss Loy. Miss
Loy rushes to Tone for consolation. To the surprise and
happiness of both of them, they realize that they are in love
with each other.
The plot was adapted from the story "The Four Marys"
by Fanny Heaslip Lea. Vincent Lawrence, Waldemar
Young, and George Oppenheimer wrote the screen play ;
Richard Thorpe directed it, and Louis D. Lighton produced
it. In the cast are Rita Johnson, Ruth Hussey, and others.
Not particularly suitable for children. Suitability, Class
B.
"Bulldog Drummond's Revenge" with
John Barrymore, John Howard
and Louise Campbell
(Paramount, January 7; time, 55 min.)
As in the first picture of this series, Paramount has.
given it a good production ; the photography is especially
good. It should please followers of wild melodramas, for
although it lacks plausibility, the action is so exciting that
one is held in suspense to the end. And there is considerable
comedy, brought about by Reginald Denny who, during
his exciting escapades, worries about his wife. John Barry-
more's part is of minor importance in this version, most of
the sleuthing work being done by John Howard (Drum-
mond). The action starts in London, and continues on the
train ferry from Dover to Calais.
In the development of the plot, Howard, who had
promised his fiancee (Louise Campbell) to give up his.
adventurous way of living as soon as they were married,
innocently becomes embroiled in an exciting case involving
the theft of a powerful explosive. The inventor of this
explosive had been killed by his trusted secretary (Frank
Puglia), who had stolen it to sell it to an international spy
ring. Howard, with the help of Denny and his faithful
butler (E. E. Clive), finally overpowers Puglia, who had
boarded the train ferry disguised as a woman. He turns
Puglia over to Barrymore, Scotland Yard Inspector.
Apologizing to Miss Campbell for having neglected her,
he is overjoyed when she tells him that she enjoyed his
exciting way of living and did not want him to change
after their marriage.
H. C. McNeile wrote the story, and Edward T. Lowe,
the screen play ; Louis King directed it. In the cast are
Nydia Westman, Robert Gleckler, Lucien Lirtlefield, and
others.
The murders make it unsuitable for children. Class B.
HARRISON'S REPORTS
January 1, 1938
HARRISON'S REPORTS
3
"Crashing Hollywood" with Lee Tracy,
Joan Woodbury and Richard Lane
(RKO, January 7; time, 60 min.)
A fairly good comedy-melodrama ; the Hollywood studio
background gives it mass appeal. Although the story is
ordinary, it holds one's attention because of the amusing
characterizations. Credit must be given to Richard Lane, in
the part of a Hollywood producer, for giving the picture
most of its laughs. He takes ordinary lines and situations
and makes them seem so comical that one forgets about
the story defects. And for thrills, the closing scenes are
exciting enough to please most fans ; it is there that the
gangster is captured after a hectic chase through the
different studio sets. The romance is moderately pleasant:
Lee Tracy, bound for Hollywood, where he hoped to
make good as a screen writer, is amused when Paul Guil-
foyle, just previously released from prison, and his con-
niving wife (Lee Patrick) mistake him for a crook.
Although his brief case was filled with scripts, they
thought that it was full of stolen bonds. Guilfoyle, without
letting Tracy know about his background, offers to
collaborate with him on crook stories ; he supplies Tracy
with information about the robberies in which his gang
leader, "The Hawk" (Bradley Page), had been involved.
The stories appeal to Lane, an eccentric producer, and he
uses them for a new series with his leading actor (also
played by Bradley Page) in the title part. The first picture
is a great success. Tracy cannot go on, however, for he
had lost Joan Woodbury, a girl he had met on the train,
and with whom he had fallen in love ; she believed he
really was a crook. They meet again and everything is
explained. Then Miss Woodbury becomes his secretary.
Things go on smoothly until the gangster, who had seen the
picture and had become enraged, arrives in Hollywood.
He tries to kill Guilfoyle, but is prevented by Tracy, who
helps the police capture him. With the criminal out of the
way, Tracy and Guilfoyle are able to continue with their
script work.
Paul Dickey and Mann Page wrote the story, and Paul
Yawitz and Gladys Atwater, the screen play ; Lew Landers
directed it, and Cliff Reid produced it. In the cast are
Tom Kennedy, Frank M. Thomas, and others.
Suitability, Class A.
"Love and Hisses" with Walter Winchell,
Ben Bernie and Simone Simon
(20th Century-Fox, December 31 ; time, 84 min. )
A good box-office attraction, although not as entertain-
ing as "Wake Up and Live" ; the fault lies in the silly story.
Patrons who are still eager to see Winchell and Bernie,
may like it ; others may find the continued "feud" pretty
tiresome by this time. The real surprise is Simone Simon's
display of talent as a singer ; she has a good voice and a
charming delivery. In addition, she shows some improve-
ment in her acting, but her accent is still too thick. There is
plentiful music, some amusing clowning on the part of
Joan Davis and Bert Lahr, and a romance. The picture
ends with a big production number : —
When Winchell exposes Bernie's new singing find (Miss
Simon), whom he had never met, as a fraud, Bernie decides
to teach Winchell a lesson. Through a ruse, he brings about
a meeting between Miss Simon and Winchell, leading
Winchell to believe that she descended from an aristocratic
French family, who did not want her to go on the stage.
Winchell is so impressed with her voice that he is enraged
when Bernie refuses to engage her for his new cafe show.
Wherever Winchell takes her for a hearing, he is met with
rebuffs, for every one knew about Bernie's joke. Bernie's
idea was to have Miss Simon appear in his cafe on the
opening night and then inform the public how he had
fooled Winchell. But Winchell finds out about the plot and
decides to turn the tables on Bernie. Spreading a rumor
that Miss Simon had been kidnapped, he sends himself a
ransom note, demanding that $50,000 be brought to a
certain secluded spot. Bernie and Winchell rush to the
spot to plead with the gangsters to give them more time.
They order Winchell to go back to the city for the money
and hold Bernie as security, threatening to kill him unless
Winchell returned by twelve o'clock. When Winchell does
not return, the would-be kidnappers blindfold Bernie and
make him believe that they were taking him to a dock to
drown him. Instead, they take him to his cafe, where still
blindfolded, Bernie pleads for his life, to the amusement of
the assembled guests. When the bandage is removed from
his eyes and Bernie finds out that the joke was on him, In-
takes it good-naturedly. Miss Simon makes a hit. and i*
happy when her sweetheart (Dick Baldwin) is recognized
as a good song writer.
Art Arthur wrote the story, and he and Curtis Kenyon,
the screen play ; Sidney Lanfield directed it, and Kenneth
MacGowan produced it. In the cast are Peters Sisters,
Ruth Terry, Douglas Fowley, and others.
Suitable for all. Class A.
"The Shadow" with Charles Quigley
and Rita Hay worth
(Columbia, December 9; time, min.)
Just an average murder mystery melodrama of program
grade. It is mildly exciting, the only thing in its favor being
that the identity of the murderer is so well concealed that
the spectator is kept guessing to the very end. It is doubt-
ful if any one will suspect who the murderer is. The circus
background is neither novel nor exciting, and the settings
look pretty cheap. It is in the closing scenes that the picture
is somewhat thrilling ; there the heroine's life is endangered.
The romance is of slight importance : —
Upon the death of her father, Rita Hayworth takes over
the management of the circus he had owned. She is down-
cast when she learns that the star performer (Donald
Kirke), whom every one hated, held notes signed by her
father amounting to $60,000 for moneys he had lent him :
Kirke lets it be known that he intended to take over the
circus. Before Kirke could carry out his threat he is
murdered by a mysterious hooded figure. Kirke's crippled
assistant (Dwight Frye), who, as it develops, was his
brother, knows who the murderer is ; but before he can
give the information to the police he is murdered. Charles
Quigley, publicity agent for the circus, solves the case; he
shows that the murderer was Sally St. Clair, Kirke's wife,
who had been deserted by him some time previously. She
and another girl, by using a harness, had passed for
Siamese Twins and, therefore, had not been suspected. Miss
Hayworth and Quigley decide to marry.
Milton Raison wrote the story, and Arthur T. Horman,
the screen play ; C. C. Coleman, Jr., directed it, and Wallace
MacDonald produced it. In the cast are Marc Lawrence,
Arthur Loft, Marjorie Main, and others.
Unsuitable for children. Class B.
"She's Got Everything" with Gene
Raymond, Ann Sothern, Helen Broderick
and Victor Moore
(RKO, December 31 ; time, 72 min.)
Just moderately entertaining. Aside from lavish settings
and one comical situation, there is not much to recommend
in this romantic comedy, for the story is extremely silly.
Both Ann Sothern and Gene Raymond are handicapped
by the trite material, and, despite their efforts, there is
not much that they can do. Even Victor Moore and Helen
Broderick, who usually can be depended upon to provoke
hearty laughter, fail to get more than a smile, because of
the trite dialogue. The one really comical situation is that
in which Solly Ward, a fake hypnotist, puts Helen
Broderick to sleep and does not know how to awaken her.
In the closing scenes, everyone goes completely haywire
in an attempt to be comical : —
When Miss Sothern finds that her father's estate con-
sisted of nothing but debts, she decides to go to work to pay
the creditors. Moore and Miss Sothern's aunt (Helen
Broderick) decide that the best thing for Miss Sothern to
do would be to marry a millionaire. By promising that they
would be fully repaid, Moore is able to get financial back-
ing from three other creditors. Miss Sothern knows noth-
ing, of course, about the scheme. Moore obtains a job for
her with Raymond, millionaire coffee dealer, hoping that it
would end in a romance. His plans work, for Raymond
falls in love with Miss Sothern, as she does with him.
Raymond finds out about the scheme and, thinking that
Miss Sothern was in on it, becomes so incensed that he
publicly denounces her. This infuriates her. Raymond is
abashed when he learns the truth and apologizes, begging
Miss Sothern to marry him. She agrees, her purpose being
to pay him back for what he had done to her. And so she
jilts him on their wedding day. Raymond is not angry ;
instead, he rushes after her and prevents her from sailing,
compelling her to marry him instead.
Joseph Hoffman and Monroe ShafT wrote the story, and
Harry Segall and Maxwell Shane, the screen play; Joseph
Santley directed it and Albert Tx-wis produced it. In the
cast arc Parkyakarkus, Billy Gilbert. William Brisbane,
and others.
Morally suitable for all. Class A.
4
HARRISON'S REPORTS
geon, and Kent Taylor, produced by Edmund Grainger and
directed by S. Sylvan Simon, from a screen play by
Bruce Manning and Robert T. Shannon : Fair-Poor.
"Merry Go Round of 1938," with Mischa Auer, Alice
Brady, Joe Hodges, and Louise Fazenda, produced by
Buddy DeSylva and directed by Irving Cummings, from
a screen play by A. Dorian Otvos and Monte Brice : Good-
Fair.
"Boss of Lonely Valley," with Buck Jones, produced by
Buck Jones and directed by Ray Taylor, from a screen play
by Frances Guilian : Good-Fair.
"Some Blondes Are Dangerous," with Noah Beery, Jr.,
William Gargan, Nan Grey, and Dorothea Kent, produced
by E. M. Asher and directed by Milton Carruth, from a
screen play by Lester Cole: Fair.
"Courage of the West," with Bob Baker and Lois Janu-
ary, produced by Paul Malvern and directed by Joseph H.
Lewis, from a screen play by J. Norton Parker : Good-Fair.
"Adventure's End," with John Wayne and Diana Gibson,
produced by Trem Carr and directed by Arthur Lubin, from
a screen play by Ben Grauman Kohn, Scott Darling and
Sid Sutherland : Fair.
The number of pictures reported since the beginning of
the season are 17, rated as follows :
Excellent- Very Good, 1 ; Good-Fair, 3 ; Fair, 6 ; Fair-
Poor, 6; Poor, 1.
The first 17 of last season, exclusive of the westerns, were
rated as follows :
Excellent, 1 ; Excellent- Very Good, 1 ; Good, 1 ; Good-
Fair, 1 ; Fair, 7 ; Fair- Poor, 6.
A slight falling off in quality this season.
Warner Bros.
"The Great Garrick," with Brian Aherne, Olivia
DeHavilland, and Edward Everett Horton, produced by
Mervyn LeRoy and directed by James Whale, from a screen
play by Ernst Vajda: Good-Poor.
"It's Love I'm After," with Leslie Howard, Bette Davis,
Olivia DeHavilland, and Patric Knowles, produced by
Harry Joe Brown and directed by Archie L. Mayo, from a
screen play by Casey Robinson : Good- Fair.
"Expensive Husbands," with Beverly Roberts and
Patrick Knowles, produced by Frank Mandel and directed
by Bobby Connolly from a screen play by Lillie Hayward,
Jean Negulesco, and Jay Brennan : Fair-Poor.
"First Lady," with Kay Francis, Preston Foster, Verree
Teasdale, and Walter Connolly, produced by Harry Joe
Brown and directed by Stanley Logan, from a screen play
by Rowland Leigh: Good-Fair.
Up to "First Lady," the number of pictures reported is
seven, rated as follows :
Excellent- Very Good, 1 ; Very Good-Good, 1 ; Good-
Fair, 2; Good-Poor, 1 ; Fair, 1 ; Fair-Poor, 1.
The first seven of last season were rated as follows :
Very Good-Good, 1 ; Very Good-Poor, 1 ; Good-Fair, 2 ;
Fair, 3.
There has been an improvement this season.
INDIANA EXHIBITORS AGAINST
MGM BROADCASTING
Associated Theatres of Indiana, having ascertained that
the MGM air shows on Thursday evenings have hurt their
box offices, passed the following resolution :
"Whereas, we have found through a series of group
meetings held in the State of Indiana that the majority of
Exhibitors in attendance at these meetings, and all other
Exhibitors contacted, agree that the Metro Air Show has
definitely curtailed Box Office receipts on Thursday nights.
"Whereas, we hrve further found that screen stars ap-
pearing on Sunday night programs have affected Box Office
receipts.
"Whereas, it is deemed impractical for the Producing
Companies or their stars to attempt broadcasts at hours
not conflicting with peak theatre attendance hours, because,
of the difference in time in the various parts of the country,
therefore,
"Be It Resolved, that the Board of Directors of the
Associated Theatre Owners of Indiana assembled this third
day of December, 1937, have definitely gone on record as
being opposed to motion picture stars appearing over the
radio at any time and more particularly opposed to the
motion picture studio produced programs which are now
making their appearance on the air."
What this paper cannot understand is why these exhibi-
tors should have confined themselves to the MGM broad-
casts. If the MGM airshows hurt business, the other
airshows must hurt them just as much.
Harrison's Reports hopes that Associated Theatre
Owners of Indiana will pass another resolution condemning
not only the MGM, but also the Warner Bros, airshows, as
well as the airshows of Cecil B. de Mille and of all others ;
also the appearance of all stars no matter what company
they may be working for.
SEX RELATIONSHIP IN PICTURES
Before the revolt of the American people against sex
vulgarity in motion pictures, almost every producer be-
lieved that no picture could make a "tremendous" hit unless
it appealed to the sexual passions ; and that the greater the
sex appeal the larger would be the crowds that would go
to see it.
The revolt of the churches, which led to the formation of
the Legion of Decency and the consequent self-imposed
censorship shattered, of course, that belief to a certain
extent, with the result that the industry made more money
than at any other time in its history (until the last depres-
sion, of course), by reason of that fact that parents no
longer feared lest they and their sons and daughters see
in a picture something that would embarrass them.
Harrison's Reports has fought for clean pictures ever
since it was founded ; it was prompted to adopt such a
policy, not by any prudish feeling, but by a conviction that
the American people, in the main, resented vulgarity in
their entertainment.
If there were needed additional proof to demonstrate
convincingly this belief it has been furnished by Motion
Picture Herald's recent check-up of the popularity of the
different stars.
The Herald divided the stars into three main groups, in
accordance with the popularity of each star.
The first group consists of ten names, and at the head of
these stands, not Mae West, but Shirley Temple.
I looked into the second group, the "Honor Star" group,
as Motion Picture Herald has called it, consisting of fifteen
names, but Mae West's name was not in it. I looked into the
third group, consisting of thirty-six names, and there I
found it, standing thirty-fourth on the list. Alice Faye,
Bette Davis, Irene Dunne, Deanna Durbin, Kay Francis,
Janet Gaynor, Carole Lombard, Luise Rainer, Ginger
Rogers, Norma Shearer — all these women stars are ahead
of her in the list. Even Freddie Bartholomew tops her ; he
stands sixth in that list.
Let us now take sex pictures to see how they fare : In the
last three years I have not seen a sexier picture than
"Expensive Husbands," produced by Warner Bros. Accord-
ing to the old theory, this picture should have made a
"killing" business. But what does this week's box office
check-up indicate? It shows that it has done fair to poor
business.
What has prompted this editorial is not a desire to
criticize Warner Bros., for after all this company has made
pictures that have brought honor to this industry — "Louis
Pasteur," "Emil Zola," "Green Pastures" (even though
it was not a big success financially) and many others, but
merely to call the industry's attention to these facts to
the end that some of those persons who still adhere to the
old beliefs may be enlightened, and thus stop longing for
the old days. There are greater profits in pictures that make
people either laugh or cry than there are in pictures that
kindle their sexual passions. Sex has practically destroyed
the stage, and sex would have destroyed also the screen,
had not better counsel prevailed.
IN TWO SECTIONS— SECTION TWO
HARRISON'S REPORTS
Vol. XX
NEW YORK, N. Y., SATURDAY, JANUARY 1, 1938
No. 1
(Semi-Annual Index— Second Half 193 7 )
Title of Picture Reviewed on Page
Adventure's End — Universal (63 min.) Not Reviewed
Adventurous Blonde — 1st National (60^ min.) 179
Affairs of Cappy Ricks, The — Republic (56J/2 min.) . . 106
Alcatraz Island — First National (63!/2 min.) 175
Ali Baba Goes to Town — 20th Century-Fox (82 m.) . .175
All American Sweetheart — Columbia (62 min.) 202
All Over Town — Republic (62 min.) Not Reviewed
Angel — Paramount (90 min.) 162
Annapolis Salute — RKO (65 min.) 154
Arizona Gun Fighter — Republic (57 m.) . . . . Not Reviewed
Armored Car — Universal (64 min.) 107
Artists and Models — Paramount (96 min.) 131
Atlantic Flight — Monogram (58^ min.) 155
Awful Truth, The— Columbia (91 min.) 174
Back in Circulation — First National (81 min.) 150
Bad Guy— MGM (68 min.) 147
Barrier, The — Paramount (85 min.) 187
Beg, Borrow or Steal — MGM (71 min.) 202
Behind Prison Bars — Monogram
(See "The Outer Gate") 146
Behind the Mike — Universal (68 min.) 163
Between Two Women— MGM (88 min.) 122
Big City— MGM (79 min.) 150
Big Shot, The— RKO (60 min.) 122
Big Town Girl— 20th Century-Fox (69^ min.) 190
Black Aces — Universal (58 m.) Not Reviewed
Blazing Barrier — Monogram (65 min.) 126
Blonde Trouble — Paramount (66 min.) 134
Blossoms on Broadway — Paramount (87 min.) 195
Boothill Brigade — Republic (55 m.) Not Reviewed
Boots and Saddles — Republic (59 m.) Not Reviewed
Boots of Destiny — Grand Nat'l. (56 m.) Not Reviewed
Born to the West— Paramount (50 min.) . . . Not Reviewed
Borneo — 20th Century-Fox (75 min.) 143
Born Reckless — 20th Century-Fox (58 min.) 115
Borrowing Trouble — 20th Century-Fox (59^2 -min.) .. 186
Boss of Lonely Valley — -Universal (59 min.) Not Reviewed
Boy of the Streets — Monogram (76 min.) 198
Breakfast For Two — RKO (66 min.) 171
Bride for Henry, A — Monogram (58 min.) 163
Bride Wore Red, The— MGM (102 min.) 170
Broadway Melody of 1938— MGM (109^4 min.) 143
Bulldog Drummond at Bay — Republic (61 m.) 127
Bulldog Drummond Comes Back — Paramount (59 m.) 155
Californian, The — 20th C-Fox (58 m.) Not Reviewed
Carnival Queen — Universal (66 min.) 167
Charlie Chan at Monte Carlo— 20th Cent-Fox (71m.) .207
Charlie Chan on Broadway — 20th Cent. -Fox (67l/2 m.) 154
Colorado Kid — -Republic (56 min.) Not Reviewed
Confession — First National (85^4 min.) 138
Conquest— MGM (111 min.) 183
Counsel for Crime — Columbia (60 min.) 155
County Fair — Monogram (72 min.) 191
Courage of the West — Universal (57 min.) . .Not Reviewed
Crime in the Clouds — Warner Bros. (See "Fly
Away Baby") 103
Damaged Goods— Grand National (56 min.) 106
Damsel in Distress, A— RKO (100 min.) 195
Dance Charlie Dance — First National (63 min.) 135
Danger— Love at Work— 20th Cent.-Fox (80^ m.)..162
Danger Patrol— RKO (59 min.) 195
Danger Valley — Monogram (55 min.) Not Reviewed
Dangerous Adventure — Columbia (58 min.) 130
Dangerous Holiday — Republic (57 min.) 110
Dangerously Yours — 20th Century-Fox {b\l/2 m.) 178
Dark Journey — United Artists (81 min.) 142
Daughter of Shanghai — Paramount (61^2 min.) 207
Dead End— United Artists (93 min.) 138
Devil's Saddle Legion, The — Warner Bros.
(52 min.) Not Reviewed
Dinner at the Ritz— 20th Century-Fox (77 min.) 187
Doctor Syn — Gaumont-British (77l/2 min.) 174
Double or Nothing — Paramount (90 min.) 150
Double Wedding— MGM (86 min.) 174
Drums of Destiny — Crescent (62 min.) 114
Duke Comes Rack, The — Republic (64 min.) 198
Easy Living — Paramount (87 min.) 119
Ebb Tide— Paramount (90y2 min.) 178
Emperor's Candlesticks, The— MGM (89 min.) 119
Empty Holsters— First Nat'l. (62 m.) Not Reviewed
Escape By Night— Republic (67^ min.) 163
Ever Since Eve — First National (79 min.) 110
Exclusive — Paramount (77 min.) 127
Expensive Husbands — Warner Bros. (62 min.) 199
Farewell Again— United Artists (83 min.) 186
Federal Bullets — Monogram (61 min.) 178
52nd Street— United Artists (81 min.) 179
Fight For Your Lady— RKO (66 min.) 162
Fight to the Finish, A— Columbia (58 min.) Ill
Firefly, The— MGM (138 min.) 151
First Lady— Warner Bros. (82 min.) 194
Fit For a King— RKO (73 min.) 155
Flight From Glory— RKO (66^ min.) 138
Footloose Heiress — Warner Bros. (59 min.) 134
Forlorn River— Paramount (56 m.) Not Reviewed
Forty-Five Fathers— 20th Century-Fox (70^ min.) . . .187
Forty Naughty Girls— RKO (62y2 min.) 155
Frontier Town — Grand Nat'l. (58 min.) Not Reviewed
Game That Kills, The— Columbia (55^ m.) 158
Gangway — Gaumont-British (87 min.) 142
Girl With Ideas, A— Universal (66 min.) 182
Girls Can Play — Columbia (60 min.) 106
Glory Trail — Crescent (65 min.) 114
God's Country and the Man — Monogram (56 m.)
Not Reviewed
Great Gambini, The — Paramount (69 min.) 110
Great Garrick, The— Warner Bros. (88^ min.) 175
Heart of the Rockies — Republic (58 m.) Not Reviewed
Heidi— 20th Century-Fox (87l/2 min.) 171
Here's Flash Casey — Grand Nat'l. (57 min.) 174
Hideaway— RKO (58 min.) 130
Hideout in the Alps— Grand Nat'l. (75 m.) . . Not Reviewed
High Flyers— RKO (70 min.) 179
High, Wide and Handsome — Paramount (104 min.) . . .159
Hitting a New High— RKO (84^ min.) 203
Hold 'Em Navy— Paramount (63y2 min.) 187
Hollywood Roundup — Columbia (64 min.) . .Not Reviewed
Hoosier Schoolboy, The — Monogram (62 min.) 115
Hot Water— 20th Century-Fox (58 min.) 159
Hurricane, The— United Artists (103 min.) 194
I Cover the War— Universal (67 min.) 114
Idol of the Crowds— Universal (62l/2 min.) 163
I'll Take Romance — Columbia (85 min.) 206
It Can't Last Forever — Columbia (66 min.) 134
It Could Happen to You — Republic (64 min.) 114
It Happened in Hollywood — Columbia (67 m.) 146
It's All Yours— Columbia (80 min.) 134
It's Love I'm After— Warner Bros. (90 min.) 183
Joy Parade, The— 20th Century-Fox (See "Life
Begins in College") 162
King Solomon's Mines — Gaumont-Brit. (75y2 m.) . . . 118
Knight Without Armor— United Artists (107 m.)... 118
Lady Escapes, The— 20th Century-Fox (63 min.) 110
Lady Fights Back, The— Universal (63 min.) 167
Lancer Spy— 20th Century-Fox (83 min.) 167
Last Gangster, The— MGM (81 min.) 191
Law for Tombstone— Universal (59 m.) Not Reviewed
Lawman is Born — Republic (61 m.) Not Reviewed
Legion of Missing Men^Mono. (62 m. ).. Not Reviewed
Life Begins in College— 20th Cent.-Fox (93 m.) 162
Life Begins with Love— Columbia (68 min.) 166
Life of Emile Zola, The— Warner Bros. ( 1 16 m.) . ... 139
Life of the Party, The— RKO (76y2 min.) 147
Live, Love and Learn--MGM (78 min.) 182
Living on Love— RKO (61 min.) 179
London By Night— MGM (67^ min.) 134
Love in a Bungalow — Universal (66 min.) Ill
Love Is on the Air— First Nat'l. (59 min.) 159
Love on Toast — Paramount (641/. min.) 198
Love Takes Flight— Grand National (70 m.) 139
Love Under Fire— 20th Centurv-Fox (75 min.) 135
Lovely to Look At— 20th Cent.-Fox (See "Thin Ice") 146
Luck of Roarinc Camp — Monogram (59 m.) Not Reviewed
Madame X— MGM (71 min.) 166
Make a Wish — RKO (76 min .) 147
Man Behind the Law, The — Columbia (See "Counsel
for Crime") 155
Man from the Big City, The — 20th Century-Fox
(See "It Happened Out West") 83
Man Who Cried Wolf, The — Universal (65 min.) .... 143
Manhattan Mcrry-Go-Kound — Republic (83 min.) .... 191
Married Before Breakfast— MGM (70% min.) 106
Marry the Girl — Warner Bros. (67 min.) 130
Meet the Boy Friend — Republic (62 min.) 126
Merry Go Round of 1938— Universal (85 min.) 190
Midnight Madonna — Paramount (64 min.) Ill
Missing Witnesses — First National (61 min.) 198
Mountain Music — Paramount (77 min.) 110
Mr. Boggs Steps Out — Grand National (69 min.) .... 194
Mr. Dodd Takes the Air— First National (85 min.) ... 135
Murder in Greenwich Village — Columbia (66 min.).. 182
Murder on Diamond Row — United Artists (76 min.) . . 190
Murderers Welcome — Columbia
(See "Under Suspicion") 206
Music For Madame — RKO (80% min.) 154
My Dear Miss Aldrich— MGM (73 min.) 158
Mystery of the Hooded Horsemen —
Grand National (60 min.) Not Reviewed
Navy Blue and Gold— MGM (93 min.) 190
New Faces of 1937— RKO (99 min.) 115
Night Club Scandal — Paramount (73 min.) 179
Non-Stop New York — Gaumont-British (69 min.) ...199
Nothing Sacred— United Artists (74 min.) 199
Old Wyoming Trail, The — Columbia (56m.) Not Reviewed
On Again Off Again— RKO (67 min.) 122
On Such a Night — Paramount (72 min.) 159
Once a Hero — Columbia (See "It Happened in
Hollywood") 146
100 Men and a Girl — Universal (84 min.) 151
One Man Justice — Columbia (59 m.) Not Reviewed
One Mile from Heaven — 20th Century-Fox (67% m.) . 130
Outer Gate, The — Monogram (62 min.) 146
Outlaws of the Orient — Columbia (61 min.) 142
Over the Goal — First National (62 min.) 171
Paid to Dance — Columbia (55 min.) 186
Paradise Isle — Monogram (72 min.) 122
Partners in Crime — Paramount (61 3^ min.) 167
Perfect Specimen, The— First Nat'l. (96 min.) 170
Portia on Trial — Republic (74 min.) 182
Prairie Thunder — First Nat'l. (54 m.) Not Reviewed
Prescription for Romance — Universal (64% min.) . . . .202
Prisoner of Zenda — United Artists (100 m.) 151
Public Cowboy No. 1 — Republic (62 m.) . . . . Not Reviewed
Public Wedding— Warner Bros. (58 min.) ......... 115
Quick Money— RKO (59 min.) 198
Radio Murder Mystery, The — First National
(See "Love is on the Air") 159
Range Defenders — Republic (56 m.) Not Reviewed
Red Rope — Republic (60 min.) Not Reviewed
Renfrew of the Royal Mounted — Grand Natl. (57 m.) . . 166
Reported Missing — Universal (62 min.) 127
Rhythm in the Clouds — Republic (63 min.) 107
Riders of the Dawn — Monogram (53 m.) . .Not Reviewed
Ridin' The Lone Trail — Republic (56 min.) .Not Reviewed
Riding on Air— RKO (71 min.) 107
Road Back, The— Universal (104 min.) 107
Roaring Timber — Columbia (65 min.) 142
Roll Along Cowboy — 20th Century-Fox
(55 min.) Not Reviewed
Rustlers' Valley — Paramount (59% m.)...Not Reviewed
Salute to Romance — RKO (See "Annapolis Salute") . . 154
San Quentin— First National (69% min.) 130
Saratoga— MGM (91% min.) 123
Saturday's Heroes— RKO (60 min.) 158
Sea Racketeers — Republic (63 min.) 143
Second Honeymoon — 20th Century-Fox (79 min.) 191
Shadow Strikes, The — Gr. Nat'l. (61 m.) .. Not Reviewed
She Asked For It — Paramount (68 min.) 167
Sheik Steps Out, The— Republic (67 min.) 151
She Loved a Fireman — First National (57 min.) 203
She Married an Artist — Columbia (78 min.) 202
She's No Lady — Paramount (61 min.) 138
Sh! The Octopus— First National (54 min.) 203
Singing Marine, The — Warner Bros. (104 min.) Ill
Slim — Warner Bros. (86 min.) 106
Small Town Boy— Grand National (60% min.) 139
Some Blondes Are Dangerous — Universal (64 min.) . .186
Something to Sing About — Grand National (91% m.) 150
Sophie Lang Goes West — Paramount (61 min.) 159
Souls At Sea — Paramount (97 min.) 131
Springtime in the Rockies — Rep. (61 min.) .Not Reviewed
Stage Door— RKO (90 min.) 154
Stand-in— United Artists (89 min.) 175
Stars Over Arizona — Monogram (62 m.) .. Not Reviewed
Stella Dallas— United Artists (105 min.) 131
Submarine D-l — First National (98 min.) 195
Super Sleuth— RKO (69 min.) 118
Sweetheart of the Navy — Grand Nat'l. (61% m.) .... 115
Swing It Sailor — Grand National (62 min.) 186
Talent Scout — First Nat'l. (62 min.) 122
Tex Rides with the Boy Scouts — Grand National
(66 min.) Not Reviewed
Texas Trail — Paramount (58% min.) Not Reviewed
Thank You, Mr. Moto— 20th Century-Fox (67 min.) . .206
Thanks For Everything — Columbia (See "It's All
Yours") 134
That Certain Woman — First National (93 min.) ....143
That Navy Spirit — Paramount (See "Hold 'Em Navy) 187
That's My Story — Universal (62 min.) 183
There Goes the Groom — RKO (64 min.) 163
They Won't Forget— First Nat'l. (94 min.) 123
Thin Ice — 20th Century-Fox (78 min.) 146
Think Fast Mr. Moto— 20 Cent-Fox (66 m.) 139
Thirteenth Man, The — Monogram (70 min.) 119
This Way Please — Paramount (72 min.) 170
Thoroughbreds Don't Cry— MGM (79 min.) 199
Thrill of a Lifetime — Paramount (75% min.) 194
Thunder Trail — Paramount (53 min.) Not Reviewed
Toast of New York— RKO (108 min.)..... 127
To-morrow's Hero — Monogram (See "Hoosier
Schoolboy") 115
Topper— MGM (96 min.) 126
Trailin' Trouble — Grand Nat'l. (57 m.) Not Reviewed
Trapped by G-Men — Columbia (64% min.) 170
Trigger Trio — Republic (55 min.) Not Reviewed
Trouble At Midnight — Universal (68 min.) .Not Reviewed
True Confession — Paramount (83 min.) 203
Two Who Dared— Grand National (72% min.) 118
Under Suspicion — Columbia (63 min.) 206
Varsity Show — Warner Bros. (121 min.) 147
Victoria the Great— RKO (113 min.) 158
Walter Wanger's Vogues of 1938— U. A. (108 m.) . . .139
Wee Willie Winkie— 20th Century-Fox (99 min.) ... 123
Wells Fargo — Paramount (115 min.) 206
Westbound Limited — Universal (65 min.) 123
Western Gold — 20th Century-Fox (58 m.) . . Not Reviewed
Westland Case, The — Universal (62 min.) 178
West of Shanghai— 1st Nat'l. (65 min.) 183
Where Trails Divide — Monogram (59 m.) . . Not Reviewed
Wife, Doctor and Nurse— 20th Cent-Fox (84% m.)..158
Wild and Woolly— 20th Century-Fox (63% m.) 146
Wild Horse Rodeo — Republic (57 min.) ... Not Reviewed
Wild Money — Paramount (68 min.) 119
Windjammer— RKO (57 min.) 131
Wine, Women and Horses — Warner Bros. (63% m.) . . 146
Women Men Marry — MGM (60 min.) 159
Wrong Road, The — Republic (61 min.) 171
Yesterday's Hero — Mono. (See "Hoosier Schoolboy") 115
You Can't Have Everything— 20th Cent.-Fox (98%m.) 135
You're a Sweetheart — Universal (94 min.) 207
You're Only Young Once— MGM (76% min.) 207
Youth on Parole — Republic (62 min.) 166
RELEASE SCHEDULE FOR FEATURES
Columbia Features
(729 Seventh Ave., New York, N. Y.)
8281 Hollywood Roundup — Buck Jones (64 min.) Nov. 16
8008 She Married an Artist— Boles-Desti Nov. 25
8028 All American Sweetheart — Colton-Farr . . . Nov. 30
8004 I'll Take Romance — Moore-Douglas Dec. 1
8035 The Shadow — Quigley-Hayworth Dec. 9
8282 Headin' East— Buck Jones (67 min.) Dec. 13
8024 Under Suspicion— Jack Holt Dec. 16
8202 Outlaws of the Prairie— C. Starrett Dec. 31
8034 Women in Prison — Cahoon-Colton Jan. 1
No Time to Marry — Arlen-Astor Jan. 10'
First National Features
(321 IV. 44th St., New York, N. Y.)
270 She Loved a Fireman — Foran-Sheridan Dec. 18
274 The Patient in Room 18 — Knowles-Sheridan. . . Jan. 8
253 Hollywood Hotel — Powell-Lane (reset) Jan. 15
Gaumont-British Features
(1600 Broadway, New York, N. Y.)
1936-37 Season
•Gangway — Jessie Matthews (reset) Sept. 1
Dr. Syn — George Arliss (reset) Oct. 15
Sez O'Reilly to MacNab— Fyffe-Mahoney Nov. 20
Beginning of 1937-38 Season
Non-Stop New York — Anna Lee-John Loder (re.) Nov. 17
Look Out For Love — Neagle-Carmanati (reset) ..Dec. 24
Grand National Features
(1270 Sixth Ave., New York, N. Y.)
Beginning of 1937-38 Season
203 Sweetheart of the Navy — Linden-Parker (released
also in the 1936-37 season, as No. 123 ) June 18
209 Hideout in the Alps— Baxter-Bushell July 23
201 The Girl Said No — Hervey-Armstrong Sept. 3
204 Boots of Destiny — Ken Maynard (56 min.) . . .Sept. 3
202 The Shadow Strikes — LaRocque (61 min.) . . .Sept. 10
206 Love Takes Flight— Cabot-Roberts Sept. 17
205 Small Town Boy — Erwin-Compton Sept. 24
208 Trailin' Trouble— Ken Maynard (57 min.) . . .Sept. 24
210 Something to Sing About — James Cagney . . .Sept. 30
212 Renfrew of the Royal Mounted— Newill Oct. 8
213 Wallaby Jim of the Islands— Houston Oct. 15
211 Here's Flash Casey — Linden-Mallory Oct. 22
214 Tex Rides with the Boy Scouts— Ritter Oct. 29
215 Swing It Sailor— W. Ford-Jewell Nov. 5
216 Mr. Boggs Buys a Barrel (Mr. Boggs Steps Out) —
Erwin-Chandler Nov. 12
220 (217) Frontier Town— Tex Ritter (58 min.) Nov. 19
207 King of the Sierras — Thunder Horse (Released
also in the 1936-37 season, as No. 131) Nov. 26
Metro-Goldwyn-Mayer Features
(1540 Broadivay, New York, N. Y.)
813 Thoroughbreds Don't Cry — Rooney-Garland . .Nov. 26
814 Beg, Borrow or Steal (A Matter of Pride) —
F. Morgan-Rice-Beal (reset) Dec. 3
815 You're Only Young Once (Second Family Affair) —
Stone-Rooney-Parker (reset) Dec. 10
No release set for Dec. 17
816 Rosalie— E. Powell-Eddy-Bolger Dec. 24
812 Bad Man of Brimstone — Beery-Bruce (reset) .Dec. 31
817 Man-Proof (The Four Marys) — Loy-Russell-
Tone-Pidgeon (reset) Jan. 7
818 Three Men in the Snow — Young-Morgan-Rice Jan. 14
Monogram Features
(1270 Sixth Ave., New York, N. Y.)
3743 Boy of the Streets — Jackie Cooper Nov. 10
3708 County Fair — J. Farrell MacDonald Nov. 24
3731 Romance of the Rockies — Keene (53 min.) . .Dec. 15
3722 Telephone Operator — Allen- White Jan. 5
3727 West of Rainbow's End — McCoy No. 1 Jan. 12
3724 Saleslady — Nagel-Heyburn Jan. 26
3736 Where the West Begins— Randall Feb. 2
3719 My Old Kentucky Home— Venable-Hall Feb. 9
(3712 "Marines Are Here," listed in the last Index as a
November 17 release, has been postponed.)
Paramount Features
(1501 Broadway. New York, N. Y.)
3717 Night Club Scandal — Overman-Barrymore. .Nov. 19
3718 (3720) Blossoms on Broadway— Arnold (re.) Nov. 19
3719 Ebb-Tide — Homolka-Milland-Farmer Nov. 26
3754 Texas Trail— Boyd-Hayes (58^ min.) Nov. 26
3720 Love on Toast — Payne- Ardler (reset) Dec. 3
3721 Born to the West— Wayne-Brown-Hunt (50 m. )
(reset) Dec. 10
3765 Lives of a Bengal Lancer — reissue Dec. 10
3722 Daughter of Shanghai— Wong- Ahn (62 m.) Dec. 17
3723 True Confession — Lombard-MacMurray ....Dec. 24
3724 Wells Fargo — McCrea-Dee-Burns Dec. 31
Bulldog Drummond's Revenge — Barrymore ..Jan. 7
Every Day's a Holiday — West-Lowe Jan. 14
Thrill of a Lifetime (production No. 3718 has been
taken away from "Thrill of a Lifetime" and given
to "Blossoms on Broadivay") — Grable-Downs-
Whitney (reset) Jan. 21
3755 Partners of the Plains— Win. Boyd Jan. 28
{"The Big Broadcast of 1938," listed in the last Index as a
December 31 release, has been postponed.)
Republic Features
(1776 Broadway, New York, N. Y.)
1936- 37 Season
6001 Portia on Trial— Inescort- Abel Oct. 18
(2 more to come)
1937- 38 Season
7122 Ridin' the Lone Trail — Bob Steele (56 m.) . . .Nov. 1
7101 Springtime in the Rockies — Autry (61 m.) ..Nov. 15
7018 The Duke Comes Back — Lane-Angel-Tobin. .Nov. 22
7113 Wild Horse Rodeo— Three Mesq. (57 m.) ...Nov. 29
7017 Glamorous Night — Kruger-Ellis-Jory (61m.) Dec. 6
7123 Colorado Kid— Bob Steele (56 min.) Dec. 13
7019 Exiled to Shanghai — Ford-Travis (65 m.) . . .Dec. 20
Lady Behave — Eilers-N. Hamilton Jan. 5
7124 Paroled to Die— Bob Steele Jan. 10
Old Barn Dance — Gene Autry Jan. 15
RKO Features
(1270 Sixth Ave., New York, N. Y.)
1936- 37 Season
738 Damsel in Distress — Astaire- Fontaine Nov. 19
{more to come)
1937- 38 Season
810 High Flyers— Wheeler-Woolsey-Velez Nov. 26
812 Danger Patrol — Beal-Eilers-Carey Dec. 3
811 Quick Money — Fred Stone Dec. 10
814 Hitting a New High — Pons-Oakie-Howard. . .Dec. 24
815 Wise Girl— Hopkins-Milland- Abel Dec. 30
818 She's Got Everything — Sothern-Raymond. . . .Dec. 31
816 Crashing Hollywood — L. Tracy- Woodbury . . .Jan. 7
Twentieth Century-Fox Features
(444 W. 56th St., New York, N. Y.)
824 Borrowing Trouble — Prouty-Byington Dec. 10
No release set for Dec. 17
831 Thank You, Mr. Moto — Lorre-Regan Dec. 24
825 Love and Hisses — Winchell-Bernie-Simon. . . .Dec. 31
833 City Girl — Brooks-Cortez-Wilcox Jan. 7
823 Tarzan's Revenge — Morris-Holm (reset) Jan. 7
829 Headline Huntress — Whalen-Stuart Jan. 14
828 Hawaiian Buckaroo — Ballew-Knapp-Regas ...Jan. 14
United Artists Features
(729 Seventh Ave., New York, N. Y.)
Farewell Again — Banks-Robson (83 min.) Oct. 8
Stand-in— Howard-Blondell-Bogart Oct. 29
52nd Street — Baker- Paterson-Carrillo Nov. 19
Nothing Sacred — Lombard-March-Connolly Nov. 26
Murder on Diamond Row — Lowe-Shaw (reset) . .Dec. 10
The Hurricane — Lamour-Hall-Astor Dec. 24
Action For Slander — Brook-Todd (83 m.) (re.) . . .Jan. 14
Universal Features
(1250 Sixth Ave., New York, N. Y.)
1936- 37 Season
A1006 Reported Missing — Gargan-Rogers Aug. 15
(more to come)
1937- 38 Season
A2034 That's My Story— Morgan-Lundigan Oct. 24
A2024 The Westland Case— Foster-Hughes Oct. 31
A2015 A Girl With Ideas— Barrie-Pidgeon Nov. 7
A2006 Merry Go Round of 1938— Mischa Auer. . .Nov. 14
A2052 Boss of Lonely Valley— B. Jones (59 m.) . . Nov. 14
A2018 Some Blondes Are Dangerous — Gargan. . . .Nov. 28
A2054 Courage of the West— Bob Baker (57 m.) . .Dec. S
A2036 Adventure's End— John Wayne (63m.) (re.) Dec. 5
A2013 Prescription for Romance — Barrie (re.) . . .Dec. 12
A2053 Sudden Bill Dorn— Buck Jones (59 m.) . . .Dec. 19
A2004 You're a Sweetheart — Faye-Murphy Dec. 26
The Spy Ring — Hall-Wyman Jan. 2
The Jury's Secret — Taylor-Wray Jan. 16
Warner Bros. Features
(321 IV. 44th St., Nczv York, N. Y.)
201 Tovarich — Colbert-Boyer-Rathbonc Dec. 25
216 Sergeant Murphy — Reagan-Maguire (57 m.).. Jan. 1
SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel
8802 Set 'Em Up— Sport Thrills (9V> m.) Oct. 29
8903 Timberland Revels— R'wav Follies (10 m.) . . Nov. 5
8602 Silver Threads— Stra. As It Seems (10$$ m.) Nov. 12
8853 Screen Snapshots No. 3— (9]/2 min.) Nov. 18
8701 Railroad Rhythm— K. Kat (6l/2 mm.) Nov. 20
8654 Community Sing No. 4 — (lO1^ min.) Nov. 28
8754 Scrappy 's News Flashes — Scrappys (6m.) ••Dec. y
8603 The Boy Who Saved a Nation— Strange As It
Seems (10 min.) Dec. 10
8904 Brokers' Follies— B'way Follies (10y2 m.) ..Dec. 15
8803 Cadet Champions— World of Sport Dec. 17
8503 Hollywood Picnic — Color Rhapsody Dec. 18
8854 Screen Snapshots No. 4— (10 min.) Dec. 24
8552 El Salvador— Around the World Dec. 30
Columbia — Two Reels
8403 The Sitter-Downers— Stooge com. (15^ >n.) Nov. 26
8134 Murder at Sea— Jungle No. 14 (20^ m.) ... .Dec. 1
8141 The Howl of the Wolf— Mysterious Pilot No. 1
(29 min.) Dec. 4
8135 Give 'Em Rope— Jungle No. 15 (21 m.) Dec. 8
8425 He Done His Duty— All star com. (17j^ m.) Dec. 10
8142 The Web Tangles— Pilot No. 2 (2iy2 m.) . . .Dec. 11
8143 Enemies of the Air— Pilot No. 3 Dec. 18
8426 Man Bites Love Bug— All star com. (18 m.) Dec. 24
8144 In the Name of the Law— Pilot No. 4 Dec. 25
8145 The Crackup— Pilot No. 5 Jan. 1
8404 Termites of 1938 — Stooges comedy Jan. 7
8146 The Dark Hour— Pilot No. 6 Jan. 8
8147 Wings of Destiny— Pilot No. 7 Jan. 15
8427 Fiddling Around— All star com (17 y2 m.) ...Jan. 21
8148 Battle in the Sky— Pilot No. 8 Jan. 22
Metro-Goldwyn-Mayer — One Reel
1936- 37 Season
S-568 Romance of Radium — Pete Smith (10 m.) ..Oct. 23
W-538 Little Buck Cheeser— Happy Harm Dec. 18
(more to come)
1937- 38 Season
H-721 The King Without a Crown — Historical
Mysteries (9 min.) Oct. 9
C-732 Pigskin Palooka— Our Gang (11 m.) Oct. 23
T-653 Chile, Land of Charm — -Travel. (9 min.) . . .Oct. 30
F-752 A Night at the Movies— Benchley (10 m.) ..Nov. 6
C-733 Mail and Female — Our Gang (11 min.) ...Nov. 13
H-722 The Man in the Barn— His. Myst. (10 m.) Nov. 20
S-701 Decathlon Champion— Pete Smith (10 m.) Nov. 20
T -654 Copenhagen — Traveltalks (9 min.) Nov. 27
S-702 Candid Cameramaniacs — P. Smith Dec. 11
T-655 Land of the Incas — Traveltalks (9 min.) ...Dec. 25
M-671 What Do You Think No. 2— Miniatures . . .Dec. 25
S-703 Friend Indeed — Pete Smith Jan. 1
T-656 Natural Wonders of the West — Travel Jan. 22
Metro-Goldwyn-Mayer — Two Reels
C-241 The Perfect Day— Laurel-Hardy re. (20m.) Dec. 11
R-601 Our Gang Follies of 1938— Musical Dec. 18
C-418 County Hospital — Laurel-Hardy reissue . . .Jan. 22
Specials
J-771 Jimmy Fidler's Personality Parade (20 m.) . .Jan. 8
Paramount — One Reel
J7-2 Popular Science No. 2 — (10 min.) Nov. 12
A7-5 From the Minuet to the Big Apple — Headliner
(10 min.) Nov. 19
E7-4 Protek the Weakerist — Popeye (7y2 min.) . .Nov. 19
T7-4 The Foxy Hunter— Betty Boop (7 min.) . . .Nov. 26
Sc7-2 Magic on Broadway — Screen song (7l/2 m.) Nov. 26
EE7-1 Popeye the Sailor Meets Ali Baba's Forty
Thieves — Special (17 min.) Nov. 26
V7-5 Tuna — Paragraphics (9l/2 min.) Dec. 3
P7-5 Paramount Pictorial No. 5 — (9 min.) Dec. 3
R7-5 Ball Tossers— Sportlight (9l/2 min.) Dec. 3
L7-3 Unusual Occupations No. 3 — (9y2 min.) . . . .Dec. 10
A7-6 Oh Kay, Rhythm— Headliner (9 min.) Dec. 17
E7-5 Fowl Play — Popeye (7 min.) Dec. 17
T7-5 Zula Hula— Betty Boop (6y2 min.) Dec. 24
V7-6 Accent on Beauty — Paragraphics Dec. 31
R7-6 Water, Water Everywhere — Sport. (9 m.) . .Dec. 31
C7-3 Little Lamby — Color Classic Dec. 31
A7-7 Meet the Maestros — Headliner Jan. 7
P7-6 Paramount Pictorial No. 6 Jan. 7
J7-3 Popular Science No. 3 Jan. 14
RKO — One Reel
84602 Pathe Parade— (11 min.) Nov. 5
84103 The Old Mill— Disney cart. (9 min.) Nov. 5
84202 Phony Boy— Nu Atlas Musical (11m.) . . . .Nov. 19
84104 Pluto's Quinpuplets— Disney (&y2 m.) Nov. 26
84105 Donald's Ostrich— Disney cart. (9 m.) Dec. 10
84106 Lonesome Ghosts — Disney cart (9 m.) Dec. 24
84603 Pathe Parade Dec. 31
84203 Sweet Shoe— Nu Atlas Musical Jan. 14
RKO — Two Reels
83104 March of Time No. 4— (20 min.) Nov. 26
83501 Harris in the Spring— Phil Harris (20 m.) Dec. 3
83301 Rhythm Rangier*— Smart Set (19 m.) Dec. 17
83105 March of Time Dec. 24
83703 The Dummy Owner — Leon Errol Jan. 7
83106 March of Time Jan. 21
83403 Ears of Experience — E. Kennedy (18 m.) . . Jan. 28
4704
8907
8906
8508
2605
8603
8509
4705
8909
8605
8510
8908
8511
2006
8111
8108
8202
8110
8112
8307
8203
8113
Twentieth Century-Fox — One Reel
Italian Libya — Road Romance (10 m.) Nov. 12
(8905) Calling All Crooners — Song Comedy hit
(1034 min.J Nov. 19
Trailer Paradise — Cabin Kids (8^ min.) ...Nov. 26
The Timid Rabbit — Terry-Toon (6*/2 m.) ..Nov. 26
Filming Nature's Wonders — Adv. News
Cameraman (8J/2 min.) Dec. 3
Not So Dumb — Treasure Chest (9 min.) ...Dec. 10
The Billy Goat's Whiskers — T. Toon(6j4m.) Dec. 10
The Land of the Maple Leaf — Road to Romance
(9l/2 min.) Dec. 10
How To Dance the Shag— Song Hit Dec. 17
Grey Owl's Little Brother — T. Toon Dec. 24
Barnyard Boss — Terry-Toon (ty2 min.) Dec. 24
Love Goes West — Song Hit Dec. 31
The Lion Hunt — Terry-Toon Jan. 7
Trailing Animal Stories— Adv. News(8^m.) Jan. 14
Twentieth Century-Fox — Two Reels
Hooray lor Hooligan— West- Patricola Nov. 19
Playboy Number One (Bon Voyage) — Willie
Howard (17y2 mm.) Nov. 26
The Bashful Buckaroo— C. Kemper (20 m.) .Dec. 3
Koo-Koo Korrespondence Skool — Jefferson
Machamer (18J4 min.) Dec. 10
Dime a Dance— Coca-Kaye (19 min.) Dec. 24
Dates and Nuts— Timberg-Rooney Dec. 31
Hi Ho Hollywood— Hutchins-Johnson Jan. 7
Air Parade— Niela Goodelle Jan. 14
A2387
A2275
A23/4
A2276
A2388
A23/5
A2791
A2792
A2881
A2165
A2882
A2883
A2884
Universal — One Reel
Stranger than fiction No. 43 (9 min) . .
The Mysterious Jug — Oswald (7 min.) .
Going Places with Thomas No. 43 (9 min.
Dumb Cluck— Oswald (7 min.)
Stranger Than Fiction No. 44 (9 min.) . .
Going Places with ihoinas No. 44
Universal — Two Reels
The Hidden Menace— Radio No. 11 (20 m
They Get Their Man— Radio No. 12 (20m
Jungle Pirates— Tim Tyler's Luck No. 1
(21 min.)
Oh, Say Can You Hear ?— Mentone (15 m.
Dead Man's Pass— Tyler No. 2 (21 m.) .
Into the Lion's Den — Tyler No. 3 (21 m.)
The Ivory Trail— Tyler No. 4 (21 m.)
.Nov. 29
.Nov. 29
) Dec. 6
..Dec. 20
..Dec. 21
..Jan. 3
) Dec. 13
) Dec. 20
..Dec. 27
) Dec. 29
. . Jan. 3
..Jan. 10
. .Jan. 1/
Vitaphone — One Reel
3503 Mysterious Ceylon— Color-Tour (10 m.) ....Nov. 20
3303 Danger High Voltage (The Live Corpse)— True
Adventures (13 min.) Dec. 4
3705 Jan Rubini & Orch.— Mel. Mas. (10^ m.) . .Dec. 4
3904 Vitaphone Frolics— Varieties (10^ m.) Dec. 4
3203 Pure Feud— Edgar Bergen reissue (10 m.) . .Dec. 4
3404 Woods Are Full of Cuckoos— M. M. (7/2m.) Dec. 4
3604 Porky 's Hero Agency— L. Tunes (7/2 m.) ..Dec. 4
3804 Clem McCarthy-Boxers-Dolls— Pictorial
Revues (11 min.) Dec. 11
3405 September in the Rain— Mer. Mel. (6y2 m.) Dec. 18
3204 Africa Speaks English— Bergen re. (10 m.) Dec. 18
3504 Land of the Kangaroo— Color-Tour (10^m.) Dec. 18
3304 Alibi Mark— True Adventures (13 m.) Dec. 25
3706 Henry King & Orchestra— Mel. Mast. (11m.) Dec. 25
3505 India's Millions— Color-Tour Adv Jan. 8
3805 Ice Cream— Jockeys-Negligees— Pic. Rev. ...Jan. 8
3905 Unreal Newsreel— Varieties (9 m.) Jan. 8
3707 Benny Meroff & Orch.— Mel. Masters Jan. 15
Vitaphone — Two Reels
3002 Man Without a Country— Tech. (21 m.) .... Nov. 27
3014 Here's Your Hat (A Tip for Cinderella) —
Revues (21 min.) Dec. 11
3026 One on the House— Gayeties (20 min.) Dec. 18
3021 Wedding Yells— Murray-Oswald (21 m.) ...Jan. 1
3009 Script Girl— Headliners Jan. 15
NEWSWEEKLY
NEW YORK
RELEASE DATES
Universal
621 Wednesday ..Dec. 8
022 Saturday ....Dec. 11
023 Wednesday . .Dec. 15
624 Saturday Dec. 18
625 Wednesday . . Dec. 22
626 Saturday Dec. 25
627 Wednesday ..Dec. 29
oza saiuruay Jan. 1
0^9 Wednesday ..Jan. 5
630 Saturday Jan. 8
001 Wednesday ..Jan. 12
002 Saturday ... .Jan. 15
0J3 Wednesday ..Jan. 19
0^4 Saturday Jan. 22
OjD Wednesday ..Jan. 26
OjO Saturday Jan. 29
03/ Wednesday . .freb. 2
03<4 Saturday Feb. 5
639 Wednesday ..teb. 9
640 Saturday Teb. 12
Fox Movietone
32 Saturday Jan. 1
33 Wednesday ...Jan. 5
34 Saturday Jan. 8
3 j W ednesday . . Jan. 12
30 Saturday Jan. la
37 Wednesday ...Jan. 19
38 Saturday Jan. 22
39 Wednesday ...Jan. 20
40 Saturday Jan. 2y
41 Wednesday ...i-eb. 2
42 Saturday Feb. 5
43 Wednesday ...Feb. 9
44 Saturday tcb. 12
Paramount News
43 Saturday Jan. 1
44 Wednesday ...Jan. 5
45 Saturday Jan. 8
46 Wednesday ...Jan. 12
47 Saturday Jan. 15
48 Wednesday . . .Jan. 19
49 Saturday Jan. 22
50 Wednesday ...Jan. 26
51 Saturday Jan. 29
52 Wednesday . . . Feb. 2
53 Saturday Feb. 5
54 Wednesday . . . Feb. 9
55 Saturday Feb. 12
Metrotone News
230 Saturday Jan. 1
231 Wednesday ..Jan. 5
232 Saturday Jan. 8
233 Wednesday . .Jan. 12
234 Saturday Jan. 15
235 Wednesday ..Jan. 19
236 Saturday Jan. 22
237 Wednesday ..Jan. 26
238 Saturday .... Jan. 29
239 Wednesday . . Feb. 2
240 Saturday ....Feb. 5
241 Wednesday . . Feb. 9
242 Saturday ....Feb. 12
Pathe News
85145 Sat. (0( ..Dec 25
85246 Wed. (E) .Dec. 29
85147 Sat. (O.) ..Jan. 1
85248 Wed. (E.) Jan. 5
85149 Sat. (O.) ..Jan. 8
85250 Wed. (E.) Jan. 12
85151 Sat. (O.) . Jau. 15
85252 Wed. (E.) Jan. 19
85153 Sat. (O.) ..Jan. 22
85254 Wed. (E.) Jan. 26
85155 Sat. (O.) . Jan. 29
85256 Wed. (E.) .Feb. 2
85157 Sat. (O.) ..Feb. 5
85258 Wed. (E.) .Feb. 9
85159 Sat. (O.) . .Feb. 12
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of Mareh 3, lK7a.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $16.00 Rn._ i R1 o Harrison's Reports, Inc..
U. S. Insular Possessions. 16.60 Room lou Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 ^ ^> • a
Great Britain 15.75 Motlon Picture Re^ewmg Sernce ....... , 1(n9
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Bstabhehed July 1, 1»19
India, Europe, Asia .... 17.50
■>^n u n„™ Tts Editorial Policy: No Problem Too Big for Its Editorial CIreie 7-4622
ooc a <^upy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, JANUARY 8, 1938 No. 2
THE INDEPENDENT EXHIBITORS'
RARE OPPORTUNITY
A feeling of resentment is prevailing in
Washington against some of the big business
people and against the monopolies. Assistant
Attorney-General Jackson recently made a
speech over the radio condemning monopolies
and laying the blame for the present business
recession to their keeping the prices up. Last
week, Secretary Ickes made a similar radio
speech accusing the "Sixty Families" that rule
the American financial world of going "on
strike" against the administration. Other prom-
inent members of the Administration, includ-
ing the President himself, are about to talk to
the American people over the radio on the same
subject.
The inability of the independent theatre own-
ers to obtain national legislative relief has so
far been owed to either hostile or indifferent
administrations. During the Harding, Coolidge,
and Hoover regimes no independent exhibitor
could hope to obtain such relief, for obvious
reasons ; but during the Roosevelt Administra-
tion, every independent theatre owner hoped
that he would at last obtain relief. He has, how-
ever, been disappointed ; for nothing was done
for him, either because the administration did
not believe that the situation is as serious as
the independent theatre owner has presented it, or
because the producers employed political influence
to prevent the taking of action.
But now that the administration itself is feel-
ing the pressure of big business, just as you
have felt it for several years, you should not
experience any difficulty in getting its attention
and enlisting its aid.
The questions to which you should call the
Government's attention, and the correction of
which would go a long way toward equalizing
conditions in the exhibition field and toward
improving the quality of pictures, are two :
Block-booking, with its companion, blind-sell-
ing, and ownership of theatres by producers
and distributors.
As to the former, enough work has already
been done in Washington to have made its ef-
fect upon independent exhibition clear; it is on
the latter that considerable work will have to
be done.
Of the two abuses, ownership of theatres by
producers and distributors is the worse, and its
correction should bring to the independents,
distributors as well as exhibitors, greater bene-
fits. It is an abuse in line with the abuses against
which the administration is fighting. For this
reason you should exert your greatest efforts
on it. And you should have no trouble obtain-
ing the sympathy of the administration if your
national leaders should have a theatre divorce-
ment bill introduced in Congress.
Because of the present state of mind of the
administration, Harrison's Reports suggests that
the next annual convention of Allied States Asso-
ciation be held in Washington, on a date that would
prove most profitable to the cause.
The advantage of holding the national con-
vention in Washington this year cannot be lost
to every exhibitor leader, for with Congress in
session the exhibitors will be able to call their
grievances to the attention of the administra-
tion and of all the congressmen more forcefully.
And they will be able to get much newspaper
publicity.
If you agree with these views, write to Mr.
Abram F. Myers, chairman of the board of di-
rectors and chief counsel of Allied, addressed
to him at the Securities Bldg., Washington,
D. C, as well as to Mr. Nathan Yamins, presi-
dent of the organization, in care of Empress
Theatre, Fall River, Mass., and make your sen-
timents known to them. You should take the
matter up also with the officers of your local
organization.
Let the slogan be : "On to Washington !"
A RESOLUTION FOR DISTRIBUTORS
Mr. Nate Blumberg, the new president of
Universal, in announcing the policies of his
company, made some observations that deserve
to be considered by all the other major com-
panies ; it should profit them greatly if they
should adopt the same policies.
Mr. Blumberg stated :
"The new management's policies will be
based solely on what is best for the company's
exhibitor customers and for its investors. This
industry exists on the money taken in at the
box-office and, in our opinion, the exhibitor is
the most important factor in the business. The
money he takes in provides what is essentially
a revolving fund which keeps the industry op-
erating.
"Universal will be an exhibitor-minded com-
pany. We will not tolerate within the organiza-
tion anyone who does not have the exhibitor's
viewpoint.
"Universal has the good will of exhibitors
everywhere. This was demonstrated in a most
gratifying manner only recently when we asked
(Continued on last f>apc)
6
HARRISON'S REPORTS
January 8, 193&
"Hollywood Hotel" with Dick Powell
and Rosemary Lane
(First National, January 15; time, 108J4 min.)
This is the type of musical that should appeal to the
masses. The Hollywood background, in addition to the
music and comedy, which are incidentally set to a feverish
tempo, should keep audiences well entertained. The title
alone may draw them in, considering that it is familiar to
millions of radio listeners-in, who will be curious to see how
the broadcasts from the Orchid Room are managed. Al-
though Dick Powell sings several numbers, the musical
burden does not rest on him alone ; he is given good support
by Rosemary Lane, Frances Langford, Jerry Cooper, and
Johnny Davis. The story is thin ; but it serves well enough
as a means of putting the music and comedy across : —
Dick Powell, saxophonist in Benny Goodman's Orches-
tra, leaves for Hollywood, there to embark on a motion
picture career with a major company that had given him
a contract. He is thrilled when told on the very day of his
arrival that he was to escort the company's most important
star (Lola Lane) to the premiere of her latest picture. He
did not know that it wasn't the star he was to accompany
but her double (Rosemary Lane) ; for Lola, owing to a
fit of temperament, had refused to go, and so the studio had
decided to use her double. Powell falls in love with Rose-
mary. When Lola finds out what had happened, she is en-
raged and demands that Powell be discharged immediately ;
the studio accedes to her wishes. But Powell is happy when
he finds out that the girl he loved was not the famous star
but just a waitress. Being unable to get placed with a
studio, Powell and his self-appointed manager (Ted Healy )
take jobs as dishwashers. Powell finally gets an oppor-
tunity to sing in a picture ; but he does not appear in it.
for only his voice was to be used for dubbing purposes so
as to make it appear as if the star (Alan Mowbray) were
singing. Louella Parsons, an important columnist, is so
impressed with Mowbray's voice that she insists he appear
on her radio program as a singer ; he accepts. Powell is
called on again to dub his voice for Mowbray. But Rose-
mary and Healy arrange things so that Mowbray could not
appear ; in this way they give Powell a chance to appear
before the public. The scheme works and Powell is cheered.
He and Rosemary are happily united.
Jerry Wald and Maurice Leo wrote the story, and
Messrs. Wald and Leo, together with Richard Macauley,
the screen play ; Busby Berkeley directed it, and Sam
Bischoff produced it. In the cast are Hugh Herbert, Glenda
Farrell, Mabel Todd, and others.
Class A.
"Rosalie" with Eleanor Powell,
Nelson Eddy and Frank Morgan
(MGM, December 24; time, 122 min.)
Super-colossal sets, Eleanor Powell's tap dancing. Nel-
son Eddy's singing, and Frank Morgan's clowning are what
"Rosalie" offers ; and if that is enough to satisfy audiences,
then this picture should go over. But these things are tied
together with one of the dullest stories imaginable. The
action is slow, the over-abundance of dialogue tiresome,
and the comedy, with the exception of Frank Morgan's bits,
dull. Only the most true and tried movie fans will be able
to sit through the two hours that this runs without yawning.
There is one personality, Ray Bolger, who is lost in this
picture ; although known as a marvelous dancer, he is not
even given a chance to show his ability — he is made only
to talk until he is "blue" in the face. Eddy's voice is ex-
cellent, but he seems ill at ease and acts rather stiffly. The
romance is pleasant : —
At a party given for the football stars, Eddy, West
Point's star football player, meets and falls in love with
Miss Powell, a student at Vassar. She does not let him
know that she was a Princess ; instead, she informs him
that she was going back to Romanza, her country, and
asks him to follow her there in the Spring, during festival
time. Miss Powell is disconsolate when, on the day of the
festival, Eddy does not show up. She knows that her father,
the King (Morgan), was urged by the Queen (Edna May
Oliver) to announce their daughter's engagement to a
Prince (Tom Rutherford), whom she did not love, and
who did not love her. She is overjoyed, however, when she
hears that an American had flown across the ocean and
had landed in her country, for it was none other than Eddy.
They meet and confess their love. Eddy is heartbroken
when he learns who she was and returns to West Point.
A revolution in their country sends Morgan, Miss Oliver,
and Miss Powell to America for safety. On a visit to West
Point, Miss Powell requests that Eddy be her escort. She
explains everything to him ; but still they do not know what
to do. Bolger, Eddy's pal, induces Morgan to abdicate and
to settle in America. Morgan gladly does so, for he wanted
freedom. And so Eddy and Miss Powell are able to marry.
Wm. Anthony McGuire and Guy Bolton wrote the play
from which this was adapted; Mr. McGuire wrote the
screen play, W. S. Van Dyke II, directed it, and Mr.
McGuire produced it. In the cast are Billy Gilbert, Reginald
Owen, and others.
Class A.
"Sergeant Murphy" with Ronald Reagan
and Mary Maguire
(Warner Bros., January 1 ; time, 57 min.)
Average program fare. Its appeal will be directed mainly
to horse lovers, for the story revolves around "Sergeant
Murphy," an Army horse. Young folk may enjoy the.
background of routine Army life. There are a few comedy
bits, caused by Ronald Reagan's attempts to discredit the
horse so that the Army officials might be glad to sell it to
him when his enlistment period expired ; he knew that the
horse had possibilities for becoming a great jumper. One
amusing situation is that in which Reagan hits the horse,
which was mounted by the Colonel (Donald Crisp), with a
bean from a bean shooter during a dress parade, thereby
causing the horse to run wild and upset the parade. The
race in the closing scenes, although comprised of stock
shots, holds one in fair suspense because of one's desire
to see "Sergeant Murphy" win. There is some human
appeal in one part ; it is brought about by Reagan's unhappi-
ness when one of his pranks causes an injury to his beloved
horse. Reagan's devotion to the horse and his patience in
training it for the races wins one's good will. It is this
devotion that brings about the romance with Mary Maguire,
the Colonel's daughter, who, too, thought a great deal of
"Sergeant Murphy." The horse's winning of the British
Grand National Sweepstakes race not only brings recogni-
tion and satisfaction to Reagan, but also becomes the direct
cause for his winning of Miss Maguire as his wife.
Sy Bartlett wrote the story, and William Jacobs, the
screen play ; B. Reeves Eason directed it, and Bryan Foy
produced it. In the cast are Ben Hendricks, William David-
son, Max Hoffman, Jr. and others.
Suitability, Gass A.
"Patient In Room 18" with Patric
Knowles and Ann Sheridan
(First National, January 8; time, 59 min.)
This murder mystery melodrama is only mild program
fare, for the plot is trite and the action drags. Even though
the murderer's identity is not divulged until the end, it
fails to hold the spectator's attention, -for it is not difficult
for one to detect who the murderer really is. All the stock
tricks are used to create an eerie atmosphere, such as
storms, mysterious openings of doors and windows, and
the like ; but they are not very effective. Although the in-
dividual players are competent, they cannot do much with
the parts given them. Two romances are woven in the
plot, but they are of secondary' importance. Most of the
action takes place in a hospital : —
A wealthy patient at the hospital is murdered, and radium
valued at $100,000, which had been placed on his chest,
stolen. Patric Knowles, a detective who had been confined
to the hospital suffering from a nervous breakdown, decides
to take charge of the investigation, despite the protests of
Ann Sheridan, a nurse, who was in love with him. Several
persons are suspected of the crime. In the meantime, another
murder is committed. Knowles finally proves that one of
the doctors at the hospital had committed the murders ; he
had killed the wealthy patient in order to get the radium,
and then the second man because he had been a witness to
the first murder. With the case finished, Knowles settles
down to becoming well under the supervision of Miss
Sheridan.
Mignon G. Eberhart wrote the story, and Robertson
White and Eugene Solow, the screen play ; Bobby Connolly
and Crane Wilbur directed it, and Bryan Foy produced it.
In the cast are Rosella Towne, Jean Benedict, Ralph San-
ford, and others.
Unsuitable for children. Class B.
January 8, 1938
HARRISON'S REPORTS
7
"Mama Runs Wild" with Mary Boland
and Ernest Truex
(Republic, January 19; time, 65 min.)
A very entertaining domestic comedy. Mary Boland's
artistic acting is responsible for most of the laughter ; she
is helped along by the well written dialogue, and by the
well conceived farcical situations. There are several spots
that provoke hearty laughter ; as a matter of fact, there is
hardly a dull moment. The photography and sound are
excellent : —
Miss Boland, leading member of several women's clubs,
is the domineering force in her family ; her henpecked hus-
band (Ernest Truex) is not permitted to think for him-
self. She is enraged when he buys a house, without first
having consulted her about it. The house is located in a
small suburban community, to which Miss Boland com-
plainingly moves. When her daughter (Lynn Roberts)
returns from college for a vacation, Miss Boland is annoyed
because she had chosen as her friend William Henry, son
of the owner of a cocktail bar. While entering the bank to
deposit some money. Miss Boland walks right into a holdup.
The crook takes her bag, withdraws the money from it, and
then gives it back to her. He unwittingly leaves his finger-
prints on it, and it is through these that the police are able
to trace him and to arrest him. This brings fame to Miss
Boland, for the police credit her with having gotten the
fingerprints. This starts her off on a campaign to clean up
their town ; she interests all the women to follow her. They
even decide to elect her Mayor. Disgusted with the turn of
events, the men band together and demand that Truex run
against his wife ; the upheaval causes husbands and wives
to separate. But peace is restored when Truex is elected
overwhelmingly. Miss Boland, heartbroken, prepares to
leave her home, but Truex convinces her that he loved her
and could not do without her.
Gordon Kahn wrote the story, and he and Hal Yates,
the screen play ; Ralph Staub directed and produced it. In
the cast are Max Terhune, Joseph Crehan, Dorothy Page,
and others.
Suitability, Class A.
"City Girl" with Phyllis Brooks,
Ricardo Cortez and Robert Wilcox
(20th Century-Fox, January 7; time, 60 min.)
A strong, realistic crook melodrama, with an unusual
twist. But, because of the theme, it is strictly adult fare.
One cannot help feeling pity for the heroine, who, because
of her love for luxury and for better surroundings than
those in which she lived, associates with the wrong persons
and drifts into a life of crime. Although her death in the
end is logical, it hurts one; this is perhaps owing to the
sympathetic portrayal of the heroine by Phyllis Brooks.
One's attention is held throughout, for one knows that the
heroine has to pay for her misdeeds in the end. Robert
Wilcox wins one's sympathy by his efforts to help the
heroine : —
Miss Brooks, a waitress in a cheap restaurant, hates her
work and the squalid surroundings in which she and her
family lived. To satisfy her yearning for a good time, she
accepts the invitation of Douglas Fowley, a petty crook,
and his pal (Chick Chandler) to go out with them ; she does
not tell her fiance (Robert Wilcox), a young struggling
attorney, what she was doing. She is horrified when Fowley
and Chandler attempt a holdup at a gas station, where, in
the excitement, she drops her purse. She is naturally called
for questioning, but manages to get out of the mess. Fowley
sends her a one hundred dollar bill for the way in which
she had handled the situation and, when he invites her, she
goes out with him again. Through him she meets Ricardo
Cortez, a big-shot racketeer, who falls madly in love with
her. Pie establishes her in a luxurious apartment, gives her
beautiful clothes and jewels, and takes her out. He decides
to go to Chicago to induce his wife to divorce him so that
he might marry Miss Brooks. While he is away, his former
mistress (Adrienne Ames) calls to see her, and in an
argument she accidentally shoots and kills Miss Ames.
She is arrested, tried, and convicted ; but Cortez' men, at
the point of guns, get her out of the courtroom, and rush
her to a hideout. On the way there her automobile is
wrecked and she is disfigured. After months of patience and
expert plastic surgery work, she is restored to her former
beauty. With her hair dyed, she could not be recognized.
In the meantime, the police had given her up for lost. When
Cortez becomes involved in a racket investigation, Miss
Brooks tries her best to help him. Wilcox, an assistant
district-attorney, recognizes her and goes to her apartment
to plead with her to give herself up. Cortez enters and draws
his gun to shoot Wilcox. Miss Brooks jumps in front of
him and receives the bullet ; she dies. Cortez is arrested on
a murder charge.
Frances Hyland, Robin Harris, and Lester Ziffren wrote
the original screen play ; Alfred Werker directed it, and
Sol M. Wurtzel produced it. In the cast are Esther Muir,
George Lynn, and others.
Unsuitable for children and adolescents. Class B.
"Spirit Of Youth" with Joe Louis
(Grand National, January IS; time, 66 min.)
With the exception of prizefight fans, this will have little
appeal for the average audience. It should go over, how-
ever, in theatres that cater to colored folk, because of the
popularity of Joe Louis, the negro fighter, who takes the
leading part. The story, production, and acting are amateur-
ish, to say the least. Louis is gawky and ill at ease before the
camera, and speaks his lines with difficulty. The only at-
tractive feature is an occasional shot of Louis in the ring,
showing him fighting ; but even these scenes have been
handled poorly.
The story opens showing Louis, the young son of poor
parents, being compelled to leave school in order to sup-
port his family ; his father had met with an accident and
was to be bedridden the rest of his life. Louis goes from
one job to another until, when grown, a friend realizes his
prowess as a fighter. Under the capable management of
Clarence Muse, Louis goes to the top. For a time he is in
jeopardy of losing everything he had built up because of
the schemings of a cabaret singer, with whom he was in-
fatuated, and who was working hand in hand with gamb-
lers, who wanted Louis to lose. But Louis comes to his
senses in time to win the championship and to marry the
girl who had loved him ever since they were children.
Arthur Hoerl wrote the original screen play ; Harry
Fraser directed it, and Edward Shanberg produced it.
Suitability, Class A.
"Lady Behave" with Sally Eilers
and Neil Hamilton
(Republic, January 5; time, 69 min.)
A pretty good comedy. Although the story is far-fetched
and the plot somewhat involved, one is kept amused because
of the sparkling performances by the players. One is in
sympathy with Sally Eilers (heroine), who, in an effort to
help her scatter-brained sister, almost ruins her own chances
for happiness. The misunderstandings in the closing scenes
result in exciting and comical action. It all ends to the
satisfaction of the spectator : —
When Miss Eilers learns that her fun-loving sister
(Patricia Farr), while under the influence of liquor, had
married millionaire Neil Hamilton, she is horror-stricken,
for Miss Farr already had a husband from whom she had
not been divorced. Hamilton, regretting his actions, leaves
town, with instructions for his attorney to annul the
marriage. Knowing that her sister would be charged with
bigamy were Hamilton's divorce proceedings to go through,
she decides to take the advice of a friend (Grant Mitchell)
to pose as Hamilton's wife. In the meantime, Mitchell would
try to contact Miss Farr's husband (Joseph Schildkraut)
and attempt to get him to divorce Miss Farr. Miss Eilers
goes to Hamilton's home where she finds his two motherless
children (Marcia Mae Jones and George Ernest) ; they let
her understand that they resented her presence. Schild-
kraut, upon learning of the mixup, refuses to go through
with the divorce, hoping instead to get a large sum of
money from Miss Eilers. He leads the children to believe
that he could do what he wanted with Miss Eilers ; and so
they promise to give him $30,000 if he would lure her away.
Hamilton returns unexpectedly and is pleasantly surprised
to find Miss Eilers posing as his wife. He falls in love with
her, and is angry when his children tell him what they had
done. After a hectic time, during which Miss Eilers tries
to run away, everything is settled legally ; this leaves the
way clear for Miss Eilers to marry Hamilton. The children
are happy, for they had grown to love her.
Joseph Krumgold wrote the story, and ho and Olive
Cooper, the screen play ; Lloyd Corrigan directed it, and
Albert E. Levoy produced it. In the cast are Warren
Hymer, Robert Greig, Charles Richman, and others.
Morally suitable for aft. Class A.
HARRISON'S REPORTS
January 8, 193&
for cooperation in the setting of January play-
dates for our new product. Big circuits and in-
dividual exhibitors responded immediately in
the most gratifying and important way of all.
They said it with play dates. That good will is
one of our most vital assets. The company is
rich, too, in manpower. Its studio facilities are
the best, its production talent excellent, and its
story properties, representing an accumulation
of 25 years, are valued at $5,000,000. Recently,
one of the leading companies offered us $800,000
for a selection representing only a small part of
these story properties.
"With assets such as these, Universal has
what is to me the greatest future of any com-
pany at this time."
This is sound logic. When a manufacturer
makes a product for sale, he tries to make that
product conform as nearly as possible to the
tastes and desires of his customers. He does not
design the product merely to please his own
fancies, then trying to force it upon prospective
buyers by holding a club over them. But in the
motion picture industry, that is exactly what
the manufacturer of the product has been doing.
Mr. Blumberg now says that his company
will deal with its customers, the exhibitors, just
as is done in other industries.
The exhibitor, being in close contact with
the picture-going public, knows what they
want, and if the producers will satisfy the wants
of the exhibitor, they will satisfy the ultimate
purchaser, the public.
Mr. Blumberg has made a fine start by set-
ting down the policy of his company in this
manner. If he will see that it is carried out not
only in the letter but also in the spirit, he will
be the gainer thereby.
CAUGHT IN A BEAR MARKET
Some exhibitors have been in the habit of
contracting for their new season's products
early in June, or in May, or even before those
months.
Most of those now regret their haste, for the
prices they agreed to pay and the terms they
accepted are now out of harmony with the box
office receipts. And naturally so, for at the time
they bought their products business was at the
peak of prosperity, whereas now it is as bad as
it was in 1932 and 1933.
Harrison's Reports hopes that these exhibi-
tors have learned their lesson. If they have,
they will profit from it, for the time is soon ap-
proaching when the salesmen will be calling on
them for the purchase of their 1938-39 season's
product.
A COMPLAINT AGAINST 40% PICTURES
"Contact," the house organ of the Philadel-
phia zone exhibitor organization, has made the
following observation in the issue of November
29, under the heading, "Abolish 40% Pictures" :
"Of the five or six hundred features released
annually not more than one or two justify a
40% gross. Yet the forty percenter is a red
herring in the face of the exhibitor — a constant
source of irritation between seller and buyer.
In nearly all cases the forty percenter, after
being played, must be adjusted downward to
35% or 30% — sometimes even to 25%. Few pic-
tures today justify a 35% gross — none a forty
percent take."
NO CANCELLATION CLAUSE IN THE
COLUMBIA 1937 38 CONTRACT
Many exhibitors, being under the impression
that their Columbia contracts contain a ten
percent cancellation clause, have sent to their
Columbia exchange requests for the cancella-
tion of certain pictures. Invariably the answers
they receive are to the effect that the booker
cannot understand under what provision these
exhibitors make such requests. It is then that
tbey receive the surprise of their lives, for they
find out that their Columbia contract contains
no cancellation provision.
In the series of articles entitled, "A Study of
the 1937-38 Season's Contracts," the first article
of which was printed in the August 21 issue of
Harrison's Reports, the following was said about
the Columbia contract on page 136:
"The contract does not contain either a 10%
cancellation provision, or an arbitration clause.
Harrison's Reports suggests, therefore, that,
before signing an application for a Columbia
contract, you insist upon having these provi-
sions incorporated in the contract. It can be
accomplished by attaching to each copy of the
application a Rider, signed by the exhibitor and
the salesman, containing the terms of the afore-
mentioned provisions."
There might be an excuse for exhibitors who
are not subscribers of Harrison's Reports to
have overlooked the fact that the Columbia con-
tracts do not contain a ten percent cancellation
provision, but there is no excuse for subscribers
to have failed to read what was said on the
subject, particularly when they had trouble
with Columbia also the previous season, in the
matter of the Capra pictures, and the fact had
been brought to their attention in the inter-
pretation of the 1936-37 season's Columbia
contract.
It may be interesting for you to note that, to
the 10-point demands made by Ed Kuykendall
of the producers, Columbia replied early this
year as follows on the point dealing with a
"stringless" cancellation provision:
"Columbia is willing to grant a cancellation
of 10% of the number of pictures offered if the
exhibitor contracts for all the pictures offered
at one time, provided this cancellation is re-
stricted to pictures in the lowest allocation
group."
Kuykendall certainly cannot feel very proud
at the way Columbia has kept its word to him !
ORDER YOUR MISSING COPIES
During the holidays the copy of an issue or
so may have been lost in the mails.
Look into your files and if you find the copy
of any issue missing, write to this office and it
will be supplied to you free of charge. A suffi-
cient number of copies of many back issues is
kept in stock for just such a purpose.
Entered as secend-oJaas matter January 4, 1921, at the poat office at New York, New York, under tne act o" March 3, 1873.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 RftA„ i oi m Harrison's Reports. Inc.,
U. S. Insular Possessions. 16.60 Room lOK Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . „ .. . _ ' „
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Australia, New Zealand. Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
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Kr. 9 p„„v Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
joc a t-opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX ~ SATURDAY, JANUARY 15, 1938 No. 3
THE TWENTY-FIFTH ANNIVERSARY
OF ALLIED OF NORTHWEST
On January 31, February 1 and 2, Allied The-
atre Owners of the Northwest will celebrate its
Silver Jubilee. Hotel Nicollet, Minneapolis, is
the place.
Mr. W. A. Steffes, its president, called affec-
tionately by all those who know him as "Al,"
has invited almost every industry leader to at-
tend, and many of them have already accepted.
Paramount will be represented by Neil Agnew,
general manager, Y. F. Freeman, head of the
theatre department, Charles Reagan, division
manager, and perhaps other executives ; Metro-
Goldwyn-Mayer will be represented by Mr. W.
F. Rodgers, and perhaps by Al Lichtman, Bob
Rubin, and other MGM executives; RKO may
be represented by Ned Depinet ; George Schae-
fer and Jack Schlaifer, of United Artists, have
promised to do everything in their power to be
there ; Nate Blumberg, the new President of
Universal, is eager to attend if he should be able
to find a lull in his time, which, as every one of
you no doubt knows, is occupied sixteen hours
out of each twenty-four ; Twentieth Century-
Fox will no doubt be represented — Harry Bux-
baum, an old timer in Minneapolis (he was
branch manager of Pathe there once) is eager to
go ; Ray Johnston and Eddie Golden of Mono-
gram will be there ; Herbert Yates, Sr., of Re-
public, will try to set aside everything to be
there ; Warner Bros, and Columbia will no
doubt be represented. Mr. C. C. Pettijohn will
represent Mr. Will H. Hays.
Allied States Association will be represented
by many national as well as local leaders.
Abram F. Myers and, no doubt, Nathan Yamins
will be there.
From outside the industry, there will be Gov-
ernors, State Supreme Court Justices, state and
national legislators of three states — Minnesota,
North Dakota, and South Dakota, and many
other state officials.
It is the intention of Mr. Steffes to make this
affair a means of bringing together the different
elements of the motion picture industry for the
purpose of conciliation. And no other exhibitor
leader than Mr. Steffes is in a better positon to
undertake such a mission ; with a theatre
divorcement bill in at least one state to his
credit, he commands great respect.
Al Steffes commands respect among the pro-
ducer-distributors also for another reason — he
has stood by his own, the exhibitors, lighting
for their interests against producer-distributors,
but he has always fought justly and honorably.
And from this fact comes the greatest respect
that he commands.
The celebration by Allied Theatre Owners of
the Northwest of its twenty-fifth anniversary is
going to be an outstanding affair, more out-
standing than any other exhibitor affair that
has been held in the last fifteen years.
If any of you can attend it, do so by all means.
For reservations, telegraph, telephone, or
write to Mr. W. A. Steffes, World Theatre
Building, Minneapolis, Minnesota.
ERADICATING "CHISELING"
CONCERNS
Frequently I read in exhibitor bulletins re-
quests for information as to the standing of
business concerns that are dealing with exhibi-
tors on business-building articles or methods.
As frequently, these bulletins warn the exhibi-
tors against this, that, or the other concern, or
traveling saleman.
The latest bulletin to deal with such a subject
has come from the Independent Theatre Own-
ers of Ohio. By it, Mr. P. J. Wood requests in-
formation regarding a company that handles
"Shirley Dolls" in a tie-up between merchants
and theatre owners ; a company that has repre-
sentatives traveling the State of Ohio making
tie-ups between merchants and theatre owners
involving the "shooting" of local scenes and of
subsequently showing them in the local thea-
tres ; and an individual who has been traveling
in the northern part of Ohio seeking to rent
theatres for one night.
It seems as if the exhibitors should have by
now learned their lesson from dealing with peo-
ple they know nothing about, without first com-
municating with the secretary of their organi-
zation for information as to the standing of the
company the traveling salesmen represent;
most of the times they come to grief.
If the traveling salesman represents a legiti-
mate concern, he will no doubt have credentials,
sworn to before a notary public, from chambers
of commerce as well as from the secretary of
their regional exhibitor organization, not to say
from other exhibitors with whom they had done
business. If he does not possess such creden-
tials, the chances are that ninety-nine times out
of each hundred they are fakers.
This paper suggests to the secretaries of all
the exhibitor organizations, in case such mat-
ters are called to their attention by exhibitors,
to communicate with NATIONAL BFTTER
BUSINESS BUREAU, Inc., at 405 Lexington
Ave., New York City, and with the Better Busi-
(Conlinued on last Page)
10 HARRISON'S REPORTS
"Every Day's A Holiday" with Mae West,
Edmund Lowe and Lloyd Nolan
(Paramount, January 14; time, 79 min.)
This is just as brazen and demoralizing as the previous
Mae West offerings. Not only does it go in for the typical
sexy insinuations for which she is known, but adds to her
accomplishments that of larceny and contempt for law and
order. Considering the fact that the public was aroused by
Miss West's offensive broadcast on a Sunday a few weeks
ago, a picture of this type can only add insult to injury.
The fact that in the end she reforms does not help matters
much. Judged solely on its merits, it lacks entertainment,
for the story is thin and silly. The pity of it is that Para-
mount must have spent a great deal of money in producing
it, for the sets and costumes are extremely lavish. The
background is New York during the year 1899: —
Miss West, a "con" woman, carries on her crooked
work by selling the Brooklyn Bridge to ignorant foreigners.
She refuses to heed the advice of Edmund Lowe, an honest
detective, to reform. Lloyd Nolan, the disreputable Chief
of Police, annoyed because she had refused to become his
mistress, issues orders to his men to pick her up. This
interferes with her plans to star in a musical revue, which
was produced by Walter Catlett, and which was financed
by millionaire Charles Winninger, who had been charmed
by her. Lowe, in order to save her from arrest, forces her
to take a train to Boston. Catlett hits upon the idea of bring-
ing her back, disguised in a brunette wig, and of passing her
off as a French music hall star. The idea works for a time,
and Miss West is a sensation. But Lowe recognizes her,
and again warns her. When Nolan threatens to close the
show because Miss West would not go out with him, she
pays him a visit at his office and practices her charms on
him ; he does not suspect who she is. While he is out of the
office, she steals from his files papers showing that he had
been mixed up in crooked deals ; at the same time she takes
the file containing records of her misdeeds. Once she has
these papers she makes her identity known to him. She
convinces Lowe that he should run for Mayor in opposi-
tion to Nolan ; and she decides to manage the campaign.
By giving the people free vaudeville shows and big
parades, and by exposing Nolan for the grafter that he
was, she wins the election for Lowe. She promises to
reform and to marry Lowe.
Mae West wrote the original screen play, A. Edward
Sutherland directed it, and Emanuel Cohen produced it.
In the cast are George Rector, Louis Armstrong, Charles
Butterworth, Herman Bing, and others.
Unsuitable for children and adolescents. Class B.
"Tarzan's Revenge" with Eleanor Holm
and Glenn Morris
(20th Century-Fox, January 7; time, 70 min.)
Neither from a production standpoint nor as enter-
tainment can this be compared with the Metro "Tarzan"
series. For one thing, it is just a rehash of the other
pictures, minus their thrills and human appeal ; for an-
other, the leading players are not as capable or as appeal-
ing as were Johnny Weismuller and Maureen O'Sullivan.
Its only good points are the occasional shots showing Miss
Holm and Morris swimming. The fact that Miss Holm
remains with Morris (Tarzan) at the end, deserting her
family, seems so ridiculous, because of the way it is
brought about, that audiences may be amused instead of
touched : —
George Barbier, his wife (Hedda Hopper), his daughter
(Miss Holm), and his daughter's fiance (George Meeker),
accompanied by a safari headed by Joseph Sawyer, set out
for the jungles to capture wild animals. C. Henry Gordon,
a powerful native potentate, seeking vengeance for the
insulting way in which Miss Holm had treated him when
they had met aboard a ship, pays Sawyer to lead the
hunting party into an ambush so that he might kidnap
Miss Holm. Before reaching the ambush, Miss Holm goes
swimming and meets Tarzan ; she is delighted by his
naivete. Gordon's plans arc finally carried out, and Miss
Holm is kidnapped and taken to his palace. Morris finds
out where she was taken and rushes to her rescue. He takes
her back to her parents, who had decided to set sail for
home immediately. Miss Holm tells them that she had
fallen in love with Tarzan and would stay with him in the
jungles.
Edgar Rice Burroughs wrote the story, and Robert L.
Johnson and Jay Vann, the screen play ; D. Ross Leder-
man directed it, and Sol Lesser produced it. In the cast are
Corbet Morris, John L. Johnson, and others.
Suitability, Class A.
January 15, 1938.
"Snow White and the Seven Dwarfs"
(KKO, not yet set; time, 86 min.)
Excellent I This animated color cartoon of Grimm's
fairy tale, produced by Walt Disney, is entertainment that
should be enjoyed by every one. Intelligent adults will
marvel at the mechanical ingenuity that went into the
making of it ; and it is something to marvel at, for at times
the characters seem almost lifelike. This is brought about
by the expert synchronization of the action with the music
and the dialogue. For instance, when Snow White dances,
her steps are in perfect time with the music; when the
Seven Dwarfs sing or talk, the movement of their lips is
in perfect coordination with the music and dialogue. In
addition, the story has charm, plentiful comedy, and ro-
mance ; and it holds the spectator's interest throughout.
There is no doubt as to the enjoyment children will receive
from it ; as the action develops, they will probably alternate
between tears and cheers. And there is no reason why
adults should not react to it in the same way. The picture's
novelty alone should draw crowds to the box-office, let alone-
its value as an entertainment : —
Because her magic mirror had told her that Snow White
was the fairest in the land, the cruel Queen, Snow White's
stepmother, instructs one of her soldiers to kill Snow
White. The soldier, unable to bear the thought of killing
the beautiful Princess, begs her to run away. Frightened,
Snow White runs through the woods and is guided by
friendly animals to the home of the Seven Dwarfs. Since
the Dwarfs were not in, she sets about cleaning up the
house and cooking their dinner. When they return and find
the house clean, they suspect evil spirits, but upon finding
Snow White they change their minds and take her to their
hearts. The cruel Queen, whose mirror had told her that
Snow White was still alive, disguises herself, by magic, as
a hag and prepares an apple with a poison that would
put Snow White in a death sleep, from which she could
be awakened only by a first love kiss. She calls on Snow
White and induces her to eat the apple, upon which the
young woman falls dead. The Dwarfs, who had rushed
home to save Snow White, chase the hag, causing her to
fall to her death. Heartbroken, they decide not to bury
Snow White, but to place her in a glass coffin. The Prince,
who had once seen Snow White and had fallen in love
with her, arrives and kisses her on the lips ; and, to every
one's joy she awakens. Bidding her friends farewell, she
goes away with the Prince.
David Hand was the supervising director.
Class A.
"Invisible Menace" with Boris Karloff
(Warner Bros., January 22; time, 54 min.)
A pretty good program murder mystery, suitable for
followers of this type of entertainment ; it keeps one guess-
ing to the end. The events leading up to the disclosure of
the murderer's identity are fairly logical and at times
gripping. But the comedy, dealing with the attempts of
Marie Wilson and of her soldier husband (Eddie Craven)
to spend their honeymoon together under trying circum-
stances, is at times somewhat offensive. Their romance is,
however, an important part of the plot, for it is through
Miss Wilson that the murderer is trapped. One is in sym-
pathy with Boris Karloff, who, because he was suspected of
being the murderer, is mistreated. The background is an
Army Post on a deserted island : —
Craven, an Army private, who had just been married to
Miss Wilson, smuggles her to the island where he was
posted, even though it was against regulations to do so. In
trying to hide her, he takes her to the explosive experi-
mental building, where, to their horror, they find a dead
body. The officials are naturally notified, and they start an
investigation. The Colonel (Henry Kolker) sends for a
special agent (Cy Kendall) from Washington to help him
solve the mystery. When Kendall finds Karloff there, he
immediately suspects him because he knew that the mur-
dered man had been his enemy — he had stolen Karloff's
wife and had been the cause of sending Karloff to prison
for eight years for a crime he had not committed. Karloff
insists that he was innocent. Miss Wilson inadvertently
stumbles on the solution, and the facts come out — Regis
Toomey, an officer, is proved to be the murderer. When his
victim had discovered that he was doing gun-running on
the side, he wanted to be cut in on the profits, and so
Toomey killed him.
Ralph S. Zink wrote the story, and Crane Wilbur, the
screen play ; John Farrow directed it, and Bryan Foy pro-
duced it. In the cast are Eddie Acuff, Charles Trowbridge,
and others.
Unsuitable for children and adolescents. Class B.
January ^15, 1938
HARRISON'S REPORTS
11
"Everybody's Doing It" with Sally Eilers
and Preston Foster
(RKO, January 14; time, 66^2 min.)
A mediocre comedy. The story is so thin that, in order to
pad it out to a full length feature, the producer had to use
up some of the footage in the most stupid type of slapstick
imaginable. For instance, towards the end, almost ten
minutes are devoted to men slapping and punching each
other ; for the first minute or so it is funny, but it soon
becomes annoying. The hero is presented as so weak a
character that one takes no interest in what happens to
him ; each time he is supposed to work he gets drunk.
There are a few other annoying characters (not the fault
of the players) : —
Preston Foster and Sally Eilers, advertising managers,
hit upon the idea of running a picture puzzle contest to
boost the sales of their company. The contest takes the
country by storm; but when it comes towards the end,
Foster, who had been drawing the pictures, tires of the
work. He wastes his time at cafes, where he draws pictures
for every one who buys him a drink. Miss Eilers, who
loved Foster and wanted him to succeed, pays Guinn Wil-
liams, trigger man for a gangster, to take Foster up to the
country and to hold him there until his work was completed.
But Williams double-crosses Miss Eilers by taking Foster
to his chief's hideout and making him a prisoner ; his
purpose was to get the correct answers to the puzzles from
Foster, so as to win the first prize of $100,000. From the
drawings sent in by Foster, Miss Eilers knows that some-
thing had gone wrong; the pictures give her the clues as
to where he was held. She rushes there with the police,
and after a hectic battle Foster is released. He goes back
to the city, promises to reform, and marries Miss Eilers
so that she might keep a watchful eye on him.
George Beck wrote the story, and Jay R. Bren, Edmund
Joseph, and Harry Segall, the screen play ; Christy
Cabanne directed it, and William Sistrom produced it. In
the cast are Richard Lane, Lorraine Krueger, and others.
Morally suitable for all. Class A.
"Checkers" with Jane Withers,
Stuart Erwin and Una Merkel
(20th Century-Fox, February 18 ; time, 78 min.)
Only moderately entertaining. All that remains of the
old "Checkers," made by Fox in 1919, is the title and the
fact that horse racing is the basis of the plot ; not even the
name of the author of the original story is listed on the
credits. The action is slow-moving, and the picture as a
whole may prove disappointing even to the Jane Withers
fans. With the exception of the races at the beginning and
at the end, little that takes place is exciting or interesting ;
as a matter of fact, the somewhat far-fetched situations and
the homespun atmosphere become pretty tiresome after a
while. The romance is mildly pleasant: —
During summer vacations, Jane travels to various race
tracks with her uncle (Stuart Erwin). Each fall they re-
turn to the farm owned by Una Merkel, Erwin's fiancee,
who had been waiting for seven years for him to give up
horse-racing ; she had refused to marry him unless he did
so. She is enraged when Erwin, whose one racing horse
had broken its leg during a race, returns not only with
the injured horse but also with a young jockey (Marvin
Stephens). Erwin pacifies her by leading her to believe that
the horse could not race again. In order to show Miss
Merkel how mercenary was Andrew Tombes, the town
hanker, who had been paying court to her, Erwin thinks of
a trick : He pours a barrel of oil into the creek on Miss
Merkel's farm, and then has his pal make Tombes believe
that there was oil on the property. Erwin then informs
Miss Merkel about the oil and wagers with her that
Tombes would propose marriage without telling her about
his "discovery." Miss Merkel throws Tombes out when he
calls to propose. Excited about the oil, she borrows $10,000
with the intention of starting to drill. Erwin, heartbroken
at what he had done, decides to race his horse, who had
recovered, so as to win enough to pay back the loan. Miss
Merkel, having found out from Jane about the hoax, is not
resentful. She changes her mind about racing and rushes
to the track, there to cheer Erwin's horse to victory. And
the horse wins, to everyone's joy.
Lynn Root and Frank Fenton wrote the original story,
and they and Robert Chapin and Karen DeWolf, the
screen play : H. Bruce Humberstone directed it, and John
Stone produced it. In the cast are June Carlson, Minor
Watson, and others.
Suitability, Class A.
"The Jury's Secret" with Kent Taylor
and Fay Wray
(Universal, January 16; time, 64 min.)
An interesting program drama. One is held in suspense
owing to the fact that an innocent man is tried for murder.
The absorbing part of the story is that which deals with the
manner in which the real murderer's resistance is gradually
worn down, compelling him to confess to the crime he had
committed. Although the murder is cold-blooded, one some-
how cannot help sympathizing with the murderer because it
is shown that his victim was a ruthless financier, who did
not hesitate to ruin financially thousands of poor people
who had invested in his company. Fay Wray awakens
sympathy, for she, although in love with the murderer, is
the one who is instrumental in getting him to confess : —
Kent Taylor, who, for many years, had been ghost-
writing for Samuel S. Hinds, editor of a newspaper, and
who had amassed a fortune thereby, is happy that his
contract was over and that he could be a free man again.
He is enraged when he receives a note from Hinds, telling
him that he had decided to continue running the column and
that he would expect Taylor to do the work as usual. When
Taylor confronts him, demanding his freedom, Hinds
threatens to ruin him financially by wrecking the company
in which Taylor had invested heavily unless he continued
with the work. In a fit of rage, Taylor stabs him with a
letter opener. Just as he was leaving, a poor labor leader
(Larry Blake), who had sneaked in to see Hinds to plead
with him to sponsor a flood control bill, finds him dead,
and is held for the murder. Kent, who had been called on the
jury, refuses to join the other jurors in finding Blake guilty ;
because of his obstinacy, the jury cannot agree, and so a
new trial is ordered. Miss Wray, a newspaper reporter,
who had been in love with Taylor for many years, finds out
about the ghost-writing and suddenly realizes that Taylor
was the murderer. Even though it meant losing the man
she loved and the happiness she had always wanted, she
induces him to confess.
Lester Cole wrote the story, and he and Newman A.
Levy, the screen play ; Ted Sloman directed it, and
Edmund Grainger produced it. In the cast are Nan Grey,
Jane Darwell, Halliwell Hobbes, and others.
Unsuitable for children. Class B.
"Spy Ring" with William Hall
and Jane Wyman
(UnwersaJ, January 9; time, 60y2 min.)
Mild program entertainment. It lacks the excitement and
suspense one generally associates with espionage pictures.
For one thing, the story is more concerned with the polo-
playing feats of the hero than with his activities in the
Intelligence Division ; for another, the espionage angle is
developed so obviously that it is doubtful if it could hold
the interest of adults. The closing scenes are fairly exciting :
When his pal, who had invented an important attachment
for machine guns, is found murdered, William Hall, Cap-
tain in the U. S. Army, knows that it must have been the
work of a spy ring, which probably wanted to steal the
invention. He is transferred from Washington to the Army
Post at Monterey, California, there to finish the experi-
ments on the invention and at the same time to try to dis-
cover the identity of the spies. Hall suspects Esther Ralston
of being connected with the spies. In order to get the neces-
sary proof, he pretends to be interested in her ; this brings
unhappiness to Jane Wyman, the Colonel's daughter, who
was in love with Hall, as he was with her. Eventually Miss
Ralston and her assistants show their hand ; they kidnap
Hall and Miss Wyman, hoping to get the invention secret
from them. Since the device looked like a cigar. Hall is
able to dispose of it by throwing it to his chauffeur, pre-
tending he was giving him a cigar. The chauffeur, not real-
izing that Hall was being kidnapped, is at first surprised. It
soon dawns on him, however, what had happened and he
rushes after the spies. With the aid of the device, which
he attaches to a machine gun, the chauffeur and Hall's pal
bring down the plane in which the kidnappers were trying
to escape. Hall and Miss Wyman are saved and the spy
leaders arrested.
Frank V. Mason wrote the story, and George Waggner,
the screen play ; Joseph H. l-cwis directed it, and Paul
Malvern produced it. In the cast are Leon Ames, Ben
Alexander, Don Barclay, and others.
Suitability. Class A.
12
HARRISON'S REPORTS
January 15, 1938
ness Bureau in the Capital or in any other big
city of their state. As a matter of fact, they
should try to obtain the addresses of all the
branches of Better Business Bureaus in their
state so that, whenever a traveling "chiseler"
calls upon any exhibitor and they are informed
of the fact, they may communicate at once with
all the Better Business Bureaus of their state.
Since a large number of "Fly-by-Night" con-
cerns have their headquarters in New York
City, it might not be a bad idea for these secre-
taries to communicate also with BETTER
BUSINESS BUREAU, Inc., of 280 Broadway,
New York.
THE CASE OF "IN OLD CHICAGO"
"In Old Chicago," the Twentieth Century-
Fox picture, which was sold this season, is now.
roadshown and may not be ready for general
release until after July 31, this year.
According to the roadshow provision in the
contract, Twentieth Century-Fox has the right
to exclude any picture roadshown, either na-
tionally or only in some zones, and the con-
tract holder will not have any rights to it.
Recently P. J. Wood, of the Ohio Allied unit,
asked Twentieth Century-Fox whether it is its
intention to exclude "In Old Chicago," and re-
ceived an answer to the effect that the picture
will be delivered to all contract holders, even if
its roadshowing should extend beyond July 31.
The letter is as follows:
"I confirm the understanding which you have
received from other sources that we propose,
commencing in January, to roadshow IN OLD
CHICAGO and we anticipate that such road-
showing may continue beyond August 1st,
1938, which would ordinarily bring it into our
1938-39 release season. However, because of the
fact that this decision to roadshow was not
arrived at until this fall and prior thereto, hold-
ers of our 1937-38 season contracts had reason
to expect that they would receive this picture
under their contracts and have been given to
understand that it is an important picture, Mr,
Kent and Mr. Clark have decided that any
holder of our 1937-38 season contract will re-
ceive the picture under that contract regardless
of the date of its release.
"This means, of course, that if in selling our
1938-39 product we should sell away from our
old customer in a given situation (which I
think you will agree with me is not our practice
except for cause) then IN OLD CHICAGO
would be expressly excluded from such new
1938-39 season contract so that our old cus-
tomer could get it under his 1937-38 contract."
The letter was read at the convention of the
Ohio exhibitors which was held last month in
Columbus, and it created so favorable an im-
pression that the exhibitors passed a resolution,
commending Twentieth Century-Fox highly.
The act of Messrs. Kent and Clark is so un-
usually fair that Harrison's Reports, too, wishes
to join in the commendation, for by it these two
executives have set in the motion picture indus-
try a new standard of ethics. They have taken
such a decision out of a desire to be fair : many
exhibitors had already brought the Twentieth
Century-Fox product before the decision to
roadshow the picture was made, and Messrs.
Kent and Clark no doubt felt that it would be
unfair to take it away from them.
This is the second time that a major company
shows a spirit of fairness ; the first time it was
shown by W. F. Rodgers and Nick Schenck, of
Metro-Goldwyn-Mayer, by the delivery of "The
Good Earth," when they could have excluded
it if they had seen fit so to do.
The acts of Messrs. Kent, Clark, Nick
Schenck, and Rodgers may establish in this in-
dustry a standard of fair dealing; certainly the
other companies now will not dare to take away
from their customers a roadshow picture in
defiance of what is morally right. And this may
be the beginning of better understanding be-
tween exhibitors and producer-distributors.
DISTRIBUTOR DRIVES ON AGAIN
Under the heading, "DRIVES," a special
bulletin of the Philadelphia zone exhibitor or-
ganization says the following:
"The distributors are inaugurating 'Drives.'
The organization has gone on record against
drives of all nature for the reason that they are
of no benefit to the exhibitor, and when an ex-
hibitor does cooperate in the drives, such co-
operation and help is soon forgotten by the dis-
tributor.
"Again the organization repeats that the ex-
hibitor is the only fellow who gets stuck in a
drive. He finds himself either overbought or
sold for too high a price. No matter how
friendly you may feel with the exchanges con-
ducting drives, do not let your personal feel-
ings get the better of your good sound business
judgment.
"Think twice and do not join in the 'big
push.' It is a wise man who buys what he needs
when he needs it ! What did these constantly
'driving' exchanges ever do to benefit you in
any of their drives?"
The subject of Drives was taken up at the an-
nual Allied convention in Milwaukee last year
and condemned. A resolution was passed at that
time empowering the president to recommend
to each Allied unit to appoint a Committee on
Drives, to which there should be referred all
requests for such Drives for approval or re-
jection, and to enjoin all the members from
helping any Drive unless it was first approved
by such a Committee.
Harrison's Reports is not in a position to
know whether each Allied Unit and all regional
exhibitor organizations that are cooperating
with Allied have appointed such committees or
not ; if not, they should appoint them at once.
The question is, not whether the exhibitor
derives any benefit from Drives, but whether
any harm is done to him. And it is the consen-
sus of opinion that much harm is done to him,
by reason of the fact that he has to disarrange
his bookings, and is often compelled to play
many of his pictures on days that bring him the
least returns. Besides, harm is done to all the
other distributors, who had to take off play-
dates on their pictures to accommodate the
play-dates of the company that conducts the
Drive.
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act or March 3, 1S7S.
Harrison's Reports
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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX ~~~~~ SATURDAY, JANUARY 22, 1938 No. 4
CAN SAM GOLDWYN
BE DEPENDED UPON?
According to Douglas W. Churchill, Holly-
wood correspondent of the New York Times,
Sam Goldwyn has gone on a "Sit-Down Strike"
with United Artists. For some time he has been
negotiating with Douglas Fairbanks, Mary
Picktord, and Charles Chaplin for the purchase
of their stock by him in conjunction with Alex-
ander Korda, who had brought English capital
with him; and just about when the deal was to
go through the three stars backed down. And
now Sam Goldwyn threatens to refuse to pro-
duce any more pictures for United Artists.
Goldwyn reasons thus : United Artists was
formed by stars who wanted to produce their
own pictures, the cost of production to be born
jointly. With Fairbanks and Pickford not pro-
ducing at all, and with Chaplin producing pic-
tures at long intervals, the cost of distribution
falls largely on the shoulders of his and Korda's
pictures, with the Selznick and the Wanger pic-
tures bearing part of the distribution cost.
Sam Goldwyn may be right in his contention,
but why should he try to take it out of the ex-
hibitors? In the beginning of the season, United
Artists, the distributing organization, announced
a certain number of pictures. Among these were
a given number to be produced by Sam Goldwyn
himself. And the exhibitors, relying on the word
of Sam Goldwyn, bought his and the other
United Artists product. But now Goldwyn, if
the press reports are correct, says that he will
not deliver the full number of pictures he an-
nounced for the 1937-38 season. Thus the exhi-
bitors will be made to suffer from this "family"
quarrel.
The negotiations for the sale of the Pickford-
Chaplin-Fairbanks stocks to Sam Goldwyn and
Alexander Korda began long before the selling
of the 1937-38 season's product had begun.
Goldwyn may have felt sure at that time that
the deal would go through, but nothing is sure
until signatures are attached to contracts. Con-
sequently, Goldwyn knew what he was doing
when he was offering to the exhibitors a certain
number of pictures. If he should now fail to
deliver the full number, he will be breaking
faith with them.
The exhibitors are not interested in Sam
Goldwyn's private quarrels ; they are interested
only in the pictures that he has sold them.
And they expect him to deliver them, regardless
of whether he can or cannot gain control of
United Artists ; and unless he delivers them, the
exhibitors of the United States are going to be-
lieve that Mr. Goldwyn does not keep his word.
THANKS, MR. DISNEY!
The subject that YVestbrook Pegler discus-
sed in his January 15 column, which, in New
York, appeared in the World-Telegram, dealt
with "Snow White and the Seven Dwarfs,"
Walt Disney's cartoon feature. Mr. Pegler thus
opened his column :
"You may thing it an extravagant opinion, but
I will say that W'alt Disney's new film 'Snow
White and the Seven Dwarfs,' is the happiest
thing that has happened in this world since the
armistice and stand on that. There are no words
on the keyboard capable of appreciating, much
less exaggerating, the beauty of this great artist's
achievement in a work which took three years.
The remainder of the column, which is devoted
to this subject entirely, is in the same vein and
mood.
If you should have happened to be standing in
the lobby of the Music Hall Saturday noon, the
third day of the picture's engagement, and
watched the faces of men, women and children
— particularly of women and children — eagerly
waiting to go in, and the faces of those coming
out, you would have bestowed upon Mr. Dis-
ney's work similar praises, and perhaps warmer,
for the picture deserves them.
I don't know how many of you realize what
this picture is going to do for the motion pic-
ture industry, but this paper will say that all the
good-will propaganda that has been done since
the inception of the motion picture industry
will not equal the good-will that this feature
will gain for it, and for those engaged in it, be
they producers, distributors or exhibitors. Mr.
Disney may well be considered a great bene-
factor of the motion picture industry.
Walt Disney is modest and conscientious. He
shuns publicity, and shuns glory. He feels that
he has a job to do ; and he is doing it.
"Snow White and the Seven Dwarfs" will no
doubt play in almost every theatre in the United
States, not to say of the world, and almost
every person who goes to pictures will see it.
And millions among those who don't go to pic-
tures, too, will see it. And that is why the pic-
ture will do an immense amount of good to the
motion picture industry, for every one of those
who will see it will go out of the theatre singing
the praises of the motion picture industry.
"Snow White" has opened a new world for
the motion picture industry ; it will bring home
vividly of how much benefit can motion picture>
be to the peoples of the world, let alone of the
(Continued on last poor)
14
HARRISON'S REPORTS
January 22, 1938
"Love Is a Headache" with Franchot Tone
and Gladys George
(MGM, January 14; time, 12l/2 min.)
Fair. Franchot Tone and Gladys George strive to make
something out of their parts, but they are handicapped by
an unbelievable story, which is interesting only mildly.
The picture is good in spots ; that is, in the parts that deal
with the two orphaned children (Mickey Kooney and
Virginia Weidler). Both children provoke hearty laughter
by their natural manner, particularly where they are shown
refusing to become "soft." And Ted Healy manages to get
several laughs in by his customary wisecracks. The trouble
with the story is that the comedy is forced to the point of
silliness. The romantic interest is fairly appealing: —
Although in love with each other, Franchot Tone, news-
paper columnist, and Gladys George, prominent actress, are
constantly quarreling. Miss George, having had a series
of "flops" to her credit, is happy when she is offered the
lead in a new play. But Tone, having read the play, and
feeling that Miss George would not suit the part, says so
in his column. Because of this, the producer withdraws his
offer to her. She becomes infuriated, and berates Tone for
what he had done. Healy, Miss George's press agent, realiz-
ing that she needed good publicity, conceives the idea of
having her adopt two orphaned children (Mickey and
Virginia), and proceeds with his plans without telling her
about it. Miss George is enraged when she arrives home and
finds the two children there ; but they soon endear them-
selves to her. Tone, believing that Miss George had taken
the children just for a publicity stunt, becomes angry. He
tries to get the Child Welfare League to take the children
away ; but Ralph Morgan, Miss George's millionaire ad-
mirer, vouches for her by saying that she was his fiancee.
After much excitement, during which the children disappear
and Miss George accuses Tone of having kidnapped them,
things are settled by her. She forces Tone to marry her ;
in that way she not only gets the man she loved, but is
assured of being able to keep the children.
The story idea was suggested by Lou Heifetz and Her-
bert Klein; Marion Parsonnet, Harry Ruskin, and William
R. Lipman wrote the screen play, Richard Thorpe directed
it, and Frederick Stephani produced it. In the cast are
Jessie Ralph, Frank Jenks, and others.
Suitability, Class A.
"I Met My Love Again" with Joan Bennett
and Henry Fonda
{United Artists, February 11 ; time, 73 min.)
A fair romantic drama. It should appeal particularly to
high class audiences because of the intelligent dialogue.
Although the action is not exciting, one's attention is held
well throughout. This is brought about by the sympathy
one feels for both the hero and the heroine, who go through
much unhappiness until they are finally brought together.
At first, the spectator is annoyed with the heroine who,
because of her actions, causes the rift in the romance. But
later, one comes to respect her, for she does not complain
about what she had done ; instead, she makes the best of
things. The second half is more interesting : —
Joan Bennett is irked by the delay in her marriage to
Henry Fonda, a young scientist who was trying to make a
place for himself in his field, and, bored by the dull life of
the small Vermont town where she lived, longs for excite-
ment. While out during a snow storm she loses her way and
seeks shelter in a cabin occupied by Alan Marshall, a
writer. His charming manner and sophistication thrill her,
and in a moment of haste she agrees to marry him. This
brings unhappiness not only to Fonda, but to Dame May
Whitty, Miss Bennett's aunt, with whom she had made
her home. Marshall is irresponsible; even after the birth
of their child he cannot settle down, compelling Miss Ben-
nett to lead his bohemian existence. At a party, Marshall
and a friend jestingly decide to fight a duel with what they
thought were unloaded pistols. But the friend's pistol was
loaded, and so Marshall, hit by the bullet, dies. Miss Ben-
nett is happy when she receives money from her aunt,
who wanted her to return with her child. When Fonda,
who had become a professor at the college, and she meet,
they realize that they had never stopped loving each other,
and decide to marry. Fonda's mother tries to stop the
match ; and so does Louise Piatt, a student, who imagined
herself madly in love with Fonda. But things are eventually
adjusted and Fonda and Miss Bennett finally marry.
The plot was adapted from a story by Allene Corliss ;
David Hertz wrote the screen play, Joshua Logan and
Arthur Ripley directed it, and Walter Wanger produced
it. In the cast are Alan Baxter, and others.
Morally suitable for all. Class A.
"Bad Man of Brimstone" with Wallace
Beery, Virginia Bruce and Dennis O'Keefe
{MGM, December 31 ; time, 88 min.)
A good Western. Despite a routine plot, it is exciting
entertainment by reason of skillful direction and acting;
it should thrill the outdoor melodrama lovers, for there is
riding, shooting, and fighting; in addition, it has some
comedy and human interest. The part of the "Bad Man,"
which Beery plays, is similar to the parts he has played
in other pictures — that of a ruthless, illiterate man, who
is nevertheless sentimental. One is held in suspense in the
closing scenes; there Beery and his gang are vanquished,
and law and order is established. Dennis O'Keefe, a new-
comer, plays the hero's part with conviction and makes
a good impression. He and Virginia Bruce handle the
romantic interest with charm : —
Wallace Beery, an outlaw, known as the bad man of
Brimstone, accidentally finds out that Dennis O'Keefe, a
young boxer, from whom he had stolen a watch when he
had held up the stage coach in which O'Keefe had been
traveling with his manager (Guy Kibbee), was his son.
He becomes aware of it through the picture of O'Keefe's
mother in the watch. Beery does not disclose his parentage ;
instead, he decides to take O'Keefe under his wing, even
though the young man irked him at times. O'Keefe falls
in love with Virginia Bruce, daughter of the village
lawyer (Lewis Stone) ; because of her, he decides to re-
main at Brimstone. He takes the hazardous job of tax
collector and, together with Beery, who had insisted on
accompanying him, manages to collect all the back taxes.
When Beery kills a man who had refused to pay, he be-
comes so disgusted that he beats him up. In order to save
O'Keefe from being killed by the outlaws, Beery insists
that Stone send him to a law school with money that he
(Stone) supposedly had in trust for him. O'Keefe finishes
his course and returns to find Beery and his gang more
powerful than ever ; he also learns that Stone had become
involved in their crooked work and is unhappy. Beery
sacrifices his life to help his son establish law and order;
the gang is wiped out. O'Keefe marries Miss Bruce.
J. Walter Ruben and Maurice Rapf wrote the story, and
Cyril Hume and Richard Maibaum, the screen play ; J.
Walter Ruben directed it, and Harry Rapf produced it. In
the cast are Joseph Calleia, Bruct Cabot, and others.
The shooting and killing makes it unsuitable for chil-
dren ; otherwise good. Class B.
"The Black Doll" with Nan Grey
and Donald Woods
{Universal, January 30; time, 66 min.)
Just an ordinary program murder mystery melodrama-
comedy. It starts off in a pretty interesting manner, holding
one's attention well. But the moment the blustering detec-
tive, played by Edgar Kennedy, enters the picture, it falls to
pieces. The comedy, based on the detective's stupid mis-
takes and loud-voiced heckling of suspects, changes the
mood from that of an engrossing melodrama to a burlesque,
all to its detriment, for thereafter the spectator cannot take
it seriously. The romance is mildly pleasant: —
C. Henry Gordon, a tyrannical millionaire, is frightened
when he finds on his desk a black doll. Thinking that his
two former partners (Addison Richards and John Wray)
were the only other persons who knew the meaning of the
black doll, he sends for them. Upon their arrival he accuses
them of attempting to frighten him into parting with his
fortune ; but they insist that they were innocent. In the
presence of his daughter (Nan Grey), Gordon is killed by
a mysterious slayer, who had thrown a knife in his back and
then had tossed the black doll on him. Miss Grey, frightened,
rushes to her sweetheart ( Donald Woods ) , a detective, who
had been camping in a trailer nearby. Somebody tries to
kill her but she manages to get away. Woods returns to
the house with her. During the investigation two more
persons are killed. Woods finally solves the case ; he proves
that the murderer was Holmes Herbert, a doctor, who was
in love with Gordon's sister-in-law (Doris Lloyd). He had
hoped that with Gordon's death, Miss Lloyd would inherit
a fortune. Having found out about Gordon's past, he had
used the black doll, which was a symbol of death, to cast
suspicion on others. With the case finished, Miss Grey
looks forward to a happy life with Woods.
William E. Hayes wrote the story, and Harold Buckley,
the screen play ; Otis Garrett directed it, and Irving Starr
produced it. In the cast are William Lundigan, Sid Sayloi%
and others.
Hardly suitable for children under twelve. Class B.
January 22, 1938
HARRISON'S REPORTS
15
"In Old Chicago" with Tyrone Power,
Alice Faye, Don Ameche and Alice Brady
(20th Century-Fox, Roadshow ; time, 110 mm.)
An excellent box-office attraction. The great spectacle
of the fire scenes in the end, showing buildings burn-
ing, cattle stampeding, houses crumbling, gas tanks ex-
ploding, and panicky people running for their lives, is
something that is unforgettable. Another attraction is the
interesting era it depicts — that of the start of a great
American city. The settings are lavish ; and they appear
authentic. But the story itself is not so good. The thing
against it is the fact that the leading character (Tyrone
Power) is a scoundrel, whose actions place him in dis-
favor with the audience. Even though he is regenerated in
the end, it leaves one cold, for up to that time nothing that
he does is pleasurable ; as a matter of fact, he is indirectly
responsible for the death of his brother (Don Ameche),
the story's real hero. Alice Brady is very appealing in a
serious part. From the first time she appears until the end
she displays traits that endear her to the audience. Power
and Alice Faye handle the romance effectively. Miss Faye
sings a few numbers in keeping with the times. The back-
ground is the year 1867 : —
In order to support her three fatherless sons, Mrs.
O'Leary (Alice Brady) becomes a laundress. Jack (Don
Ameche ) grows up into a serious minded lawyer, Dion
(Tyrone Power), into a politician, and Bob (Tom Brown)
becomes his mother's helper. Dion, having accidentally
come upon some information about a new street car route,
proceeds to benefit from it. He makes the acquaintance of
Belle Fawcett (Alice Faye), a singer at the cafe owned
by Gil Warren (Brian Donlevy), political boss; she was
the owner of a desirable corner plot, where the street car
line would run. Backed by a Senator and business men,
Dion and Belle open an ornate cafe ; Dion becomes the
political power for he was able to control the votes. He
elects his brother Jack, Mayor. This does not deter Jack
from proceeding with investigations into his brother's
political stronghold, The Patch. Jack tries to convince
Dion that he should change ; he even appeals to Belle to
help him. Dion marries Belle, disclosing after the cere-
mony that he had done so to prevent her from testifying
should an investigation be brought. This precipitates a fight
between the brothers. Mrs. O'Leary, who had heard about
the fight, rushes out of the barn, where she had been milk-
ing the cow, to go to her sons. The cow kicks over a
lighted oil lamp, thereby starting a fire that spreads rapidly.
Dion spreads a rumor that Jack had purposely set fire to
The Patch in order to ruin him. The infuriated mob sets
out to get Jack. In the meantime, Dion learns the truth
and tries to save Jack ; but in vain. Jack, in his efforts to
help stem the fire, grabs a torch to light the fuse to dynamite
buildings. Struck by a bullet from the crowd, who had be-
come enraged because of the dynamiting, he is unable to get
away in time, and so is blown up. Dion finds his mother
with Belle. The three are reconciled ; they feel that Jack
had not died in vain, for out of the debris would rise a city
of steel, ruled by the forces that Jack had advocated.
Niven Busch wrote the story, and Lamar Trotti and
Sonya Levien, the screen play ; Henry King directed it,
and Kenneth Macgowan produced it. In the cast are Andy
Devine, Phyllis Brooks, Sidney Blackmer, and others.
Class A.
"Women in Prison" with Wyn Cahoon
and Scott Colton
(Columbia, January 1 ; time, 58 mm.)
An ordinary program melodrama. Besides being ex-
tremely far-fetched, the story is unpleasant, for an innocent
person is made to suffer. The chain of circumstances lead-
ing up to the heroine's arrest and imprisonment are con-
trived so ridiculouly, that audiences may be amused instead
of touched. As a matter of fact, not one situation is
developed logically ; the most difficult things are assumed to
have been done with the utmost of ease, such as the escap-
ing from prison of the heroine and her pal, and other
similar difficult feats; the audience is supposed to just take
everything for granted : —
Arthur Loft, head of a gang of criminals, is unable
to convince Sarah Padden, warden of the prison in which
Mayo Methot was confined, that Miss Methot was worthy
of a parole. Miss Methot, who had double-c rosscd Loft in
a bank robbery by running away with the $100,000 loot,
does not want the parole ; instead, she is bent upon serving
her ten year term and, upon her release, to live in luxury
on the stolen money, which she had hidden. Loft frames
Miss Padden's daughter (Wyn Cahoon) on a charge of
killing a man while she was driving in an intoxicated con-
dition. She is tried and sent to prison ; there she is tortured
by the other prisoners. Her mother, afraid to show parti-
ality, is unable to help her. Loft approaches Miss Padden
with a proposition to clear Miss Cahoon if Miss Methot
were released; but she refuses to trade with him. Miss
Methot, realizing that an innocent person was suffering
because of her misdeeds, decides to help Miss Cahoon. The
two girls escape from prison. Miss Methot, who had told
Miss Cahoon where the money lay hidden, is killed by the
gang. By leading Loft to the hiding place, Miss Cahoon is
finally able to trap him into telling the truth. Her name
cleared, she is happily reconciled with her sweetheart
(Scott Colton), who had helped her to trap Loft.
Mortimer Braus wrote the story, and Saul Elkins, the
screen play ; Lambert Hillyer directed it, and Wallace
MacDonald produced it. In the cast are Ann Doran,
Margaret Armstrong, and others.
Unsuitable for children. Class B.
"Change of Heart" with Gloria Stuart
and Michael Whalen
(20th Century-Fox, January 14; time, 66 min.)
Moderately entertaining program fare. It is a domestic
comedy-drama, unfolding at a leisurely pace ; and since the
plot hasn't much substance the action is padded by an over-
abundance of dialogue. It has, however, some pleasant
moments, provoked by the charming performance of
Delmar Watson, a young boy ; he has an ingratiating per-
sonality, acts in a natural manner, and speaks his lines
well. The scenes on the golf course, where Delmar tries to
coach ill-tempered Whalen, are amusing. Incidentally, the
photography in these outdoor shots is very good : —
Because of Whalen's uncontrollable temper, his wife
(Gloria Stuart) leaves him. Overhearing the conversation
between two employees of his advertising agency, by
which they had expressed their sympathy for his wife,
Whalen asks his trusted manager (Chester Clute) to tell
him what was wrong with him. Clute lets him know that
he was considered overbearing, ambitious, and intolerant,
suggesting that he relax by playing golf. Whalen takes
his advice. By association with Delmar, a caddy, who had
refused to be "bulldozed" by him, Whalen changes for the
better. He meets Miss Stuart on the course; their mutual
interest in Delmar brings them together, and for a time it
looks as if they might become reconciled. But again his
temper gets the best of him — when he finds out that his
wife had been supporting herself by posing. Whalen
finally comes to his senses : accompanied by Delmar, he
follows Miss Stuart to London, where she had gone for
a tournament, and begs for forgiveness ; they are reconciled.
Frances Hyland and Albert Ray wrote the original
screen play ; James Tinling directed it and Sol M. Wurtzel
produced it. In the cast are Lyle Talbot and Jane Darwell.
Suitability, Class A.
"Hawaiian Buckaroo" with Smith Ballew
and Evalyn Knapp
(20th Century-Fox, January 14; time, 61 min.)
A fairly good Western. Despite a routine plot, it offers
followers of outdoor melodramas the type of exciting action
that they enjoy, including fast riding and fist fights; and
since the action is supposed to take place in Hawaii, the
interpolated native melodies are in order and add to the
picture's entertainment value. The photography in the
outdoor shots is very good : —
Finding that their services were no longer needed at the
ranch where they worked, cowboy Smith Ballew and hi3
pal, ranch cook, pool their savings and buy a pineapple
plantation in Hawaii. When they arrive there, they find that
the land they had bought was a desolate stretch with no
trees, and realize they had been duped. They seek employ-
ment at a cattle ranch owned by Evelyn Knapp, whom they
had met on the boat to Hawaii. Miss Knapp is up against a
gang of crooks who were trying to take her ranch away
by bankrupting her; they hoped to accomplish this by
preventing her from shipping her cattle to the United
States. The conspirators, realizing that Ballew stood in
their way, try to frame him in a brawl at a cafe. When
Miss Knapp hears of the brawl she angrily discharges
Ballew. When the gang tries to prevent her from shipping
her cattle, however, he comes to her help. He outwits the
gang, and overpowers their leader ; the cattle is shipped.
Realizing she loved Ballew, Miss Knapp asks him not to
leave her again.
Dan Jarrett wrote the story and screen play, Ray Taylor
directed it, and Sol Lesser produced it. In the cast are
George Regas, Pat O'Brien. Harry Woods, and others.
Suitability, Class A.
16
United States. It will make people happy. And
when people feel happy they will be less in a
frame of mind to tear one another apart, as is the
case in many parts of the world.
The number of persons who deserve the
thanks of the motion picture industry for hav-
ing benefitted it because of their pioneering
work is large, but none of them deserves its
thanks in the same degree as Walt Disney. He
has proved a pioneer, in a class by himself.
On behalf of its subscribers and the exhibi-
tors in general, Harrison's Reports wishes to
express to Mr. Walt Disney its thanks.
THE RELATIVE MERITS OF "IN OLD
CHICAGO" AND "SAN FRANCISCO"
Exhibitors, producers, distributors and critics
— all are discussing "In Old Chicago," each
desiring to ascertain whether the other thinks
"In Old Chicago" is as good a picture as was
"San Francisco" ; the theme of the one picture
bears so close a similarity to the other that the
discussion is a natural one.
In almost every discussion it is determined
that "San Francisco" is a far better picture. Not
that "In Old Chicago" is not a great picture, for
it is; only that "San Francisco" appealed to
the heart more powerfully.
Placing "In Old Chicago" in a lesser category
than "San Francisco" will not, of course, lose it
even a single dollar, for the picture is so power-
ful a melodrama that every one of those who
were to see it will see it just the same. But con-
structive criticism helps instead of harming,
and some producer on the Coast may profit by
a discussion of its defects.
The main defect in "In Old Chicago" is the
fact that the chief character is a scoundrel. The
result is that one does not take a deep interest
in his doings ; one becomes interested in him
only as his acts have an influence upon the
others — the persons with whom the spectator
is in sympathy. Consequently, when he is
seen wandering among the sufferers of the fire,
seeking his wife, his brother and his mother,
one is indifferent toward him ; in those scenes
one is impressed only with the realism of the
fire scenes — the burning of the buildings, the
explosions, and the efforts of the human beings
to find safety.
A similar scene is enacted in "San Francisco" ;
but how different the effect ! One travels in
spirit with the hero, inwardly praying that
he find the heroine ; and when he does find her
one rejoices, for the hero is presented as a he-
man, weak in the flesh perhaps, but strong in
the spirit.
The difference in effect is the result of char-
acterization : both characters are shown as con-
ducting a business in the underworld, but in the
case of "San Francisco" the author took care in
the very beginning to reveal the hero's soul :
when he had the heroine in his clutches, he did
not molest her, although no other woman had
escaped him. If anything, he had protected her,
and when later he was shown to have fallen in
love with her the spectator felt that his love
was pure.
But what happens in "In Old Chicago"? The
scenarist has Tyrone Power trifle with the spec-
tator's emotions, for he had made the spectator
believe that Power had repented, and that his
offer to marry the heroine was sincere. What a
shock then is it to him, the spectator, afterwards
when the hero reveals to his brother his real
self! — that he had married the heroine only
for the purpose of preventing his brother,
the Mayor, from having her testify against him
in the investigation !
The closing scenes in "San Francisco" moved
one deeply — the hero's eventually finding the
heroine is surcharged with emotion ; whereas
in "In Old Chicago" they leave one almost cold,
for the one who should have lived dies, and the
one who should have died lives.
The producers may justify such a twist in the
plot construction by a desire to preserve the
great love between the chief character and the
heroine. But men of the type depicted by Ty-
rone Power are incapable of feeling pure love ;
they feel only passion. Such being the case,
the scenarist would have done a merciful act
toward the heroine had he killed Tyrone Power
and let Ameche live so that two true souls might
find happiness in a union. Such a closing should
have been most effective, particularly if Ameche
has been shown as being secretly in love with
Alice Faye, but as being too noble a person to
take advantage of his love, since his brother
wanted her.
CECIL DEMILLE AND FILM RENTALS
At the Paramount district managers' con-
vention held recently in New Orleans, Cecil B.
DeMille stated that, because pictures today
cost more money to produce, the exhibitors
must pay higher rentals. They can afford it, he
implied, because they are making more money
than the producers.
I don't know how the exhibitors present an- .
swered him, but if I were there I would have
told Mr. DeMille that it would not be necessary
for the exhibitors to pay a higher percentage of
their intake in order for the producer to receive
more money for his pictures ; all they need to do
is to make better pictures.
Harrison's Reports tells Mr. DeMille that, if
the low quality of the present-day big pictures
continues, neither he nor any other producer
will be worrying as to what percentage of their
receipts the exhibitors should pay, for there
will be no exhibitors left — they will all be out
of business.
DOING A DIFFICULT JOB WELL
Nate Blumberg, the new president of Uni-
versal, is doing a difficult job well. He is work-
ing almost day and night, but he is getting
somewhere.
As things now look, Mr. Blumberg will soon
restore Universal to its former glory, which it
attained by its great service to the theatre
owners.
Harrison's Reports wishes Mr. Blumberg a
full measure of success.
THE SILVER JUBILEE OF THE
MINNEAPOLIS ZONE EXHIBITORS
If you have not yet made your plans to go to the
Minneapolis convention, make them now. Wire
for reservations to Hotel Nicollet.
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 187».
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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, JANUARY 29, 1938 No. 5
GRADWELL SEARS ASPIRING FOR
THE ROLE OF INDUSTRY SAGE
Children attract attention by making noise. Eld-
erly persons adopt different methods, but in sub-
stance they are the same.
In the motion picture industry, whenever any
one wants to attract attention, he issues a statement.
If he comes from the coast, he usually issues his
statement in the east; but if he is an easterner, he
makes such a statement in Hollywood, where he
has more chances of creating an impression.
Gradwell Sears, the Warner Bros, general sales
manager, went to Hollywood recently to visit the
Warner-First National studios and, in order to
attract attention, he issued a statement.
And what do you think the statement was about ?
That the exhibitors are not good showmen ! Why ?
Because they resort to bank nights, country store
nights, turkey nights, and other giveaways.
The best answer to Gradwell Sears' publicity out-
burst has been given by W. A. Steffes, president
of Allied Theatre Owners of the Northwest. Ac-
cording to Motion Picture Daily of January 21, Al
Steffes said that the cause of the giveaways is the
bad pictures Hollywood produces and that if it
had not been for the giveaways and the other kind
of premium offerings, the theatres would not be
able to make a profit, and some of them might even
be compelled to shut down. He further stated that,
since Warner Bros, is opposed to giveaways, he
has decided to bring the matter before the conven-
tion, so as to recommend that no theatre in his
territory play any Warner Bros, picture on give-
away nights, particularly if it has been bought on
percentage.
In one part of his statement Sears asked : "How
can exhibitors expect the studios to give them great
productions made at substantial costs if theatres
fail to make these pictures bring the revenue they
should?" The answer is that if the exhibitors were
to go "wild" with some of the poor big pictures
Hollywood has been dishing out lately, they would
have to misrepresent the quality of these pictures to
the public. And once the public finds out that "it
isn't so," they will not believe them when they show
a good big picture.
In another part of the statement, Sears said : "If
exhibitors would devote as much time to merchan-
dising these great shows to customers as they do
in putting over audience games which drive away
business the entire industry would be better off."
As you see, Gradwell Sears says to you that give-
away nights do not increase your business, even
though you exert great efforts in trying to put them
over, and that if you were to exert as much effort in
merchandising pictures, you would be taking in
more monev.
Gentlemen, the person who makes such a state-
ment is general manager of one of the major com-
panies !
If Sears should have addressed his admonition
to the producers, calling their attention to the "ter-
rible" quality of the pictures that have been coming
out of Hollywood lately, particularly of the pic-
tures of the so-called road-show caliber, he would
have rendered the motion picture industry the
greatest service imaginable. There is very little
difference in cost between a poor big picture and
a good big picture ; but what a difference at the box
office ! And all it would require is just a little more
intelligence in the selection of the story material
and in its treatment. Will he advise those who
spend the exhibitor's money to give a little more
attention to these?
BLUNDERS IN STORY TREATMENT
In last week's issue, a fundamental defect in
treatment and characterization of "In Old Chicago"
was dealt with.
"In Old Chicago" is not the only big picture de-
veloped faultily of late ; there is a grievous error
also in "Wells Fargo." In the closing scenes, the
scenarist evidently found himself up a blind alley
and did not know how to bring together hero and
heroine, who had been estranged and had become
separated for approximately seventeen years. The
cause of the estrangement, and of the immediate
separation, was the result of a note written by the
heroine, referring to the route the hero was to
take in transporting $2,000,000 of gold to Wash-
ington from San Francisco, by Wells & Fargo Ex-
press, on orders of President Lincoln, which note
she intended to send to the Confederates. After
writing the note, and before signing it, she changed
her mind about sending it and threw it into the fire.
But the note fell outside and, after the heroine
had left the room, her mother, who had never
tolerated the hero, because he, a commoner, had
married her daughter, a Southern aristocrat,
picked up the paper and sent it to the Confederates.
The express was accosted by the raiding Confed-
erate party and, in the fight that ensued, the Con-
federates were routed, and their commanding
officer was killed.
The hero searched the dead officer, and when lie
found the note in his wallet and recognized his
wife's handwriting, he thought that she had be-
trayed him, with the result that he kept away from
her for almost seventeen years.
After those years the hero, who happened to be
in St. Louis to receive honors from the company,
at the plea of his daughter, visits her and her
mother. The mother is naturally glad to see her
husband and leads him to the garden, where they
(Continued on last page)
18
HARRISON'S REPORTS
January 29, 1938
"Swing Your Lady" with Humphrey Bogart,
Nat Pendleton and Louise Fazenda
(Warner Bros., Jan. 29; time, 77 min.)
A fair comedy with music. Its appeal will be directed
mostly to those who like "low" comedy for the characters
it depicts, and their actions, are far from elevating. It may
however, go over with the masses, for the theme is novel,
and on occasion the action is extremely comical. In spite
of the fact that some spots are pretty draggy, it holds
one's attention fairly well. Most of the picture is a buildup
to the wrestling match in the closing scenes ; this match
has some good comical twists, and should prove exciting
to fight fans. The music, which is of the hillbilly type, is
peppy and amusing. The picture is more or less of a bur-
lesque on wrestling and on hillbilly folk.
In the development of the plot, Humphrey Bogart, wrest-
ling promoter, his protegee (Nat Pendleton), his trainer
(Frank McHugh), and his assistant (Allen Jenkins),
arrive in a small Missouri town, hoping to make some
money by matching Pendleton with one of the strong moun-
tain men. It develops that the only competition that could
be found was in the person of Louise Fazenda, a lady black-
smith, whose worthless husband had left her a long time
ago to care for herself and their three children. Thrilled
at the chance of making one hundred dollars with which to
buy bedroom furniture, Miss Fazenda readily accepts the
invitation to wrestle Pendleton. But the plans are disrupted
because Pendleton falls in love with Miss Fazenda, and
refuses to wrestle with her. Things brighten up again, how-
ever, when Miss Fazenda's big strong hillbilly suitor
(Daniel Boone Savage), having heard about Pendleton,
is ready to tear him to pieces. Bogart gives him his chance
to do so in a wrestling match, the winner of the match to
marry Miss Fazenda. Bogart tries to prevent Pendleton
from winning, and even goes so far as to tell Miss Fazenda
that Pendleton was already married. But Pendleton wins,
gets Miss Fazenda, and settles down as her husband and vil-
lage blacksmith. Bogart leaves for New York, with Savage
as his new protegee.
The plot was adapted from the play by Kenyon Nicholson
and Charles Robinson ; Joseph Schrank and Maurice Leo
wrote the screen play, Ray Enright directed it, and Sam
Bischoff produced it. In the cast are Penny Singleton,
Weaver Brothers and Elviry, and others.
Suitability, Class A.
"Mannequin" with Joan Crawford
and Spencer Tracy
(MGM, Jan. 28 ; time, 94 min.)
Good mass entertainment. It is a romantic triangle drama,
with a strong appeal to women. Joan Crawford appears
to better advantage here than in her last few pictures ; she
acts with conviction, winning the spectator's sympathy from
the very beginning and holding it throughout. The fact
that she divorces her husband to marry another man is
worked out logically and in such a way as to keep the
audience in sympathy with her. Spencer Tracy, by virtue of
an excellent performance, adds to the story's appeal : —
Miss Crawford, a factory worker, hates the squalid sur-
roundings where she lived, and resents the fact that her
lazy father and brother would not go to work. Unable to
stand conditions any longer, she pleads with her sweet-
heart (Alan Curtis), a fight promoter, to marry her; he
agrees. While in a Chinese restaurant with his manager
(Ralph Morgan), Tracy, a self-made man who had risen
from the slums to a position of wealth as owner of a fleet
of ships, notices the bridal party and sends over a bottle of
champagne. He meets the bride and is struck with her
beauty and honesty. Miss Crawford starts out her married
life with high hopes ; she leaves the factory for a job in
the chorus, and, since things were not so good with Curtis,
she is the main support. In the meantime, she again meets
Tracy and is annoyed when he tells her that Curtis was
worthless, and that he himself loved her. When she loses
her' position and things look bad, Curtis suggests that she
divorce him, marry Tracy, get a good cash settlement and
then go back with him (Curtis). Disgusted at the sugges-
tion, she leaves. Tracy meets her again and pleads with her
to marry him ; she finally succumbs. Together with Tracy
and a friend, she goes to Paris where she obtains her di-
vorce and then marries Tracy. During their honeymoon,
she falls deeply in love with him and is happy. Upon their
return, realizing that Curtis threatened to blackmail her,
she decides to leave Tracy, not knowing that labor troubles
had tied up his fleet, ruining him financially. At first Tracy
thmks that she wanted to leave him because he had been
ruined ; but she explains the situation and they are re-
conciled.
Katherine Brush wrote the story, and Lawrence Hazard,
the screen play; Frank Borzage directed it, and Joseph L.
Mankiewicz produced it. In the cast are Mary Phillips,
Oscar O'Shea, Elizabeth Risdon and others.
Though there are no offensive sex situations, it is mainly
adult fare. Class A.
"The Divorce of Lady X" with Merle
Oberon, Binnie Barnes and Laurence Olivier
{London I' Urns- United Artists., Feb. 18 ; time, 90 min.)
Only fair. Aside from the lavish background, and the
technicolor photography, which registers well in the out-
door scenes but not so good indoors, this comedy of mis-
taken identity is suitable mostly for sophisticated audi-
ences. Its two defects, as far as the masses are concerned,
are, first, a weak story, which occasionally verges on the
risque without being too subtle about it; and, secondly,
the fact that the atmosphere and accents are decidedly
British. There is an overabundance of padding in some of
the situations. This is so particularly in the beginning,
where one scene is dragged out for an entire reel. It is
doubtful if the names of Merle Oberon and Binnie Barnes
are a strong enough lure for the American picture goers.
The background is London : —
Because of an extremely thick fog, Miss Oberon, guest at
a fancy dress ball at a fashionable hotel, is unable to go
home. The management regretfully informs the guests that,
since there were no rooms available, they would have to
sleep on chairs. Miss Oberon sneaks into the suite of rooms
that was occupied by Laurence Olivier, a barrister, who
had refused the management's plea to give up his suite.
After much arguing she finally wins him over — she takes
the bedroom and he sleeps on the floor in the sitting room.
In the morning she leaves without giving him her name.
But she had fallen in love with him and had decided to
marry him. Olivier receives a visit from a titled gentle-
man (Ralph Richardson), who wanted him to handle a
divorce action against his wife (Binnie Barnes), because
she, on the night of the fancy dress ball, had spent the
night at a hotel with a strange man. From the way the
aggrieved husband explains the case, Olivier gets the idea
that Miss Oberon was the wife, and that he was the man
in the case. When he again meets Miss Oberon, he tells
her that he had received a visit from her husband. Amused,
she lets him continue thinking that she was the woman
involved. With the help of Miss Barnes and Richardson,
she eventually sets him straight ; but he is enraged for
having been made a fool of. Miss Oberon pacifies him and
makes him propose.
The plot was adapted from a story by Lajos Biro. He
and Robert E. Sherwood wrote the screenplay, Tim Whelan
directed it, and Alexander Korda produced it. Morton
Selten and others are in the cast.
Unsuitable for children and adolescents. Class B.
"Love on a Budget" with Jed Prouty
(20th Century-Fox, Feb. 25; time, 64 min.)
"The Jones Family" provide plentiful comedy in this
latest picture of their family affairs, which is as good as
the other pictures of this series. Most of the action revolves
around the marital troubles of the newly married couple
(Shirley Deane and Russell Gleason), who, because of a
shortage of funds, find many things to quarrel about.
Young folk will appreciate their troubles and feel sympathy
for them. There are many amusing situations. The most
comical situation is that in which Miss Deane invites her
family to her first dinner party and is humiliated because
everything turns out badly — the potatoes are burned, the
ducks shrink because they had been overcooked, and the
dessert is terrible. To complicate matters. Alan Dinehart,
Miss Deane's uncle, arrives and almost wrecks the marriage
by inducing Gleason to invest his hard-earned money, that
he had been saving up for furniture, in a wild idea. Once
the investment is made, the audience is held in tense sus-
pense, for fear lest Gleason lose everything. The fact that in
the end it all turns out right, insuring the future happiness
of Miss Deane and Gleason, is a surprise to Gleason, who
had expected the worse, for he knew Dinehart was not
to be trusted. The familiar family touches are all here,
with the younger daughter asserting her rights as a grown-
up and being squelched, as usual.
Robert Ellis and Helen Logan wrote the screen play,
Herbert Leeds directed it, and Max Golden produced it.
In the cast are Spring Byington, Florence Roberts, Ken-
neth Howell, George Ernest, and others.
Suitability, Class A.
January 29, 1938
HARRISON'S REPORTS
19
"My Old Kentucky Home" with Evelyn
Venable, Grant Richards, Clara Blandick,
Bernardine Hayes and J. Farrell MacDonald
{Monogram, February 9; naming time, 72 min.)
A fine dramatic entertainment. There is deep human in-
terest in many of the situations, awakened by the deter-
mination of the hero not to marry the girl he loved, be-
cause he was going blind and did not want her to have a
blind man on her hands. What makes the hero's character
more lovable is the fact that he made every effort to keep
the heroine ignorant of the fact that he was going blind.
The character of Granny Blair is most lovable ; and it
is impersonated with art by Miss Clara Blandick — she
makes the part live. The character of Gail, impersonated
by Bernardine Hayes, is not bad either ; she is the cause
of the hero's misfortune, but does everything in her power
to alone. There is considerable comedy, provoked by Miss
Blandick, who tears about with her cane like a cyclone,
putting everybody in his place, but commanding love and
respect while doing so. Another part that provokes much
laughter is that of Scipio, impersonated well by Paul
White, a colored boy. Stephen Foster's song, "My Old
Kentucky Home" and other music by this author is sung
effectively by the Hall Johnson Choir. The love interest
is strong : —
Larry Blair, the male descendant of a Kentucky aristo-
cratic family, and Lisbeth Calvert, also an aristocratic
Kentuckian, announce their engagement. This disturbs Gail,
whom Larry had helped to study music in Europe for a
career, and who had fallen in love with him, without Larry's
knowing anything about it. Gail's brother suggests to Larry
to call on her so as to pacify her, and Larry does so. As
Larry was about to leave Gail to return to his party, Gail
pours poison into a glass and is drinking it when Larry
knocks the glass out of her hand before she had a chance
to drink it all. Part of the poison is spilt on his eyes. He
orders the maid to call an ambulance and the two are taken
to a hospital. Gail is saved but Larry's eyesight is affected,
Lisbeth is shocked when she hears of the affair , and when
the newspapers headline it, making it appear as if Larry
were keeping Gail, she leaves New York and goes back
home, Blairstown, Kentucky. Granny Blair, head of the
Blair family, tries to console her. Realizing that both loved
each other yet, she arranges for the celebration of the
centennial of the founding of Blairstown by the Blair
family, her purpose being to bring the two together. But
Larry, having learned that he would eventually go blind,
and not wanting to burden Lisbeth with a blind husband,
sends for Gail and her brother so as to lead Lisbeth to
believe that he was still infatuated with Gail. While in
Blairstown, Trent, Gail's brother, becomes infatuated with
Lisbeth's young sister and turns her head with tales of
Paris, Riviera, Venice and the like. They are about to
elope when Larry is informed of it and, lead by the Cen-
tennial's publicity girl, intercepts the pair in the Mayor's
office. It is then when Gail informs Lisbeth of Larry's true
character. Reconciliation is effected between the two. A
specialist, sent for by Granny Blair, informs Larry that his
sight would be eventually restored.
The story was written and put into screen play form by
John T. Neville ; it was produced by E. B. Derr, and
directed by Lambert Hillyer.
Good for the entire family. Class A.
"The Buccaneer" with Fredric March,
Margot Grahame, Akim Tamiroff
and Franciska Gaal
{Paramount, Feb. 4; time 123 min.)
The lavish production given "The Buccaneer," in accord-
ance with the typical DeMille style, cannot hide the fact
that it lacks much in the way of entertainment. It is a highly
Actionized account of the doings of the pirate Jean LaFitte,
during the 1812 War between the Americans and the Brit-
ish ; but it is seldom stirring. For one thing, it has very little
emotional appeal ; for another, there are several twists in the
story that weaken its dramatic structure. For instance,
in the supposedly highly dramatic situation in which La
Fitte and his pirates help General Jackson hold back the
English, there is injected some clowning that makes the
situation seem ridiculous — a young girl, dressed in a
soldier's uniform, gets in every one's way. An attempt is
made to condone the actions of LaFitte and to win the
spectator's sympathy for him by showing that he would
not permit his men to attack ships flying the American
flag; but it is to no avail, for he is a pirate, just the same,
sending to death any one who contested his authority. Occa-
sional mob scenes are exciting, and one or two situations
hold one's interest fairly well. The best situation is that
which shows LaFitte sneaking into General Jackson's
quarters and bargaining with the General for the pardon
of his men and himself. Even the love interest is unbeliev-
able. Fredric March, with his hair descending down to
his temples, looks unromantic.
The story tells of the efforts of LaFitte to help America
in its fight against the English. He makes a proposition
to the Governor of Louisiana to supply him with one thou-
sand men (his pirates) and ammunition, in return for full
pardon for their misdeeds, and American citizenship for
them all. The Governor promises to think the proposition
over ; this cheers LaFitte, who felt that it would give him a
chance to become respectable, thus enabling him to marry
the beautiful society girl (Margot Grahame), with whom
he was in love. But Senator Crawford (Ian Keith), traitor-
ously working with the British, vetoes the plan, suggesting
that they attack LaFitte and his men on their Island. The
Americans attack the pirates, killing some, and capturing
others ; but most of them escape. LaFitte, disgusted at the
turn of events, sneaks into General Jackson's quarters to
bargain with the General. Jackson is intrigued with the
offer of help from LaFitte and orders the pirates released,
so that they might help him in the battle. LaFitte and his
men are instrumental in holding back the English. La Fitte
is at last accepted by society, and feted at a ball. But every-
thing is spoiled by the entrance of his right-hand man
(Akim Tamiroff), who had gone to the ball in company
with Gretchen (Franciska Gaal), a Dutch girl under La
Fitte's protection. LaFitte's fiancee recognizes the dress
and brooch worn by Gretchen as the property of her sister,
who had sailed on an American merchant vessel on her
honeymoon, and from whom she had not heard. LaFitte is
compelled to admit that, against his orders, his men had
looted and burned the vessel, bringing death to all the
passengers but to Gretchen. The guests are aroused and
ready to hang LaFitte; but Jackson, remembering his help,
gives him one hour head start to get out of the country
before they would pursue him. LaFitte, knowing that mar-
riage with his sweetheart would be impossible, sets sail with
his men ; he is happy to find that Gretchen, who loved him,
was aboard the ship.
Lyle Saxon wrote the story, and Edwin Justus Mayer,
Harold Lamb and C. Gardner Sullivan, the screen play ;
Cecil B. DeMille directed and produced it. In the cast
are Walter Brennan, Anthony Quinn, Hugh Sothern, and
others.
Hardly suitable for children. Class B.
"Happy Landing" with Sonja Henie,
Don Ameche and Cesar Romero
{20th Century-Fox, Jan. 28; time, 101 min.)
Very good. It is Miss Henie's marvelous skating routines
that make it exciting. She does not appear often, but when
she does, it is something to see. She executes the most
difficult feats on the ice with the utmost of ease and grace ;
as a matter of fact, her skating in this picture is superior
to that in her other pictures. The fact that the story is silly
and drags in spots will probably be overlooked by the
masses for, in addition to Miss Henie's skating, it offers
plentiful music, a few peppy numbers of the popular variety,
and some good comedy bits. And the romance is pleasant : —
Cesar Romero, conceited band leader, flies across the
ocean with his publicity agent (Don Ameche), leaving in
New York his enraged sweetheart (Ethel Merman) from
whom he was happy to escape. Because of lack of fuel, they
are unable to continue to Paris ; instead, they land in a
small town in Norway. The first person Romero meets is
romantic Miss Henie, who had refused to marry the man
of her father's choice, preferring to wait for a prince
charming. To her, Romero personified all that she had
waited for. Romero, following his typical tactics, makes
love to her and, at the village festival, dances with her
twice, without realizing that this signified a proposal of
marriage. Ameche gets him away in time. After fulfilling
an engagement in Paris, Romero goes back to New York,
and is annoyed when he learns that Miss Henie had fol-
lowed him there. Ameche tries to persuade her to go home,
but she refuses. Having fallen in love with her, he decides
to help her by building her up as a skating star. He suc-
ceeds ; she becomes an overnight sensation. But, being in
love with her, he cannot listen to her raving about Romero,
and so informs her that he had decided to turn her contract
over to another manager. His going away makes her
realize that she loved him. And so, after many complications
and misunderstandings, Ameche and Miss Henie are united.
Milton Sperling and Horis Ingster wrote the original
screen play, Roy Del Ruth directed it, and David Hemp-
stead produced it. In the cast are Jean Hersholt, Billy
Gilbert and others.
Class A.
20
might talk privately. There the hero takes the
old note out of his pocket and, handing it to her,
asks her to destroy it.
A poorer story development could not have been
made. By such a development, that is, by the hero's
handing the note to his wife, the author presents
the hero as lacking in all the essentials of a
gentleman, for it is the same as if he had said to
his wife : "Dear ! It is not my fault that I kept away
from you all these years. It was your fault ; you
betrayed me to the Confederates. A wife should
always be loyal to her husband ; and you proved
disloyal to me. But I am willing to forgive you."
In real life, a man in the position of the hero of
this story should have felt like a "heel" when his
wife would have told him that she had not sent the
note, punishing her for seventeen years for some-
thing she had not done. Besides, such an act on the
part of the hero placed the heroine in a position
where she had either to stand by her mother, con-
doning her act, or to think of her as having been a
contemptible creature. And the way the action un-
folds, it seems as if she chose the latter. You realize,
then, how unheroically did the hero act. He made
himself small.
A development much more pleasing to the spec-
tator would have been for the heroine's mother, on
her death bed, to confess to her daughter the inci-
dent about the note and to beg her forgiveness. It
is true that the mother might then seem to be out
of character, but such a development would have
been consistent just the same, for peoples' char-
acters may remain unchanged while in life, but a
change in character before death is not contrary to
the laws of drama. With such a development, the
meeting between the hero and the heroine would
have been far more dramatic, far more touching,
for the hero would have remained a gentleman, and
yet he could have learned from his wife that the
cause of their estrangement had been her mother.
As for the heroine's failure to communicate with
the hero after her mother's death, there could be
given many excuses : hurt pride might be one of
them.
Even with such a treatment, or better, it is bad
judgment to make the story of a $2,000,000 picture
depend on an undestroyed note for the solution.
Some producers may think that criticizing such
matters in big pictures is just like splitting hairs;
but it is not, for defects of this kind make a dif-
ference between a big picture and a great picture —
a picture that has a significant effect on the spec-
tator only while he is watching the action unfolding
on the screen, to be forgotten afterwards, and a
picture that will live long in the memory of those
who see it.
THE WISDOM OF DELAY IN BUYING
THE NEW SEASON'S PICTURES
In the last few years some exhibitors have made
it a habit of rushing to buy the new season's pic-
tures around May, and some of them even in April
or March.
Most of these exhibitors have learned their les-
son, I hope, from what has happened to them for
having bought their 1937-38 season's pictures
early ; the depression set in and they found them-
selves "holding the bag."
January 29, 1938
There are many reasons why they should not buy
their 1938-39 season's pictures early this time, but
the most outstanding reason is the fact that the
depression is still persisting, and no one knows
what kind of deals the producers will make with
the foreign markets : in England there is under
consideration a new Quota law, the provisions of
which may be much more burdensome to American
distributors in Great Britain than the old law.
This law may require the distribution of one
British picture for every American picture that is
distributed there. There are many Britishers who
demand such a ratio.
Even if the requirements of the law were not to
be made so exacting — even if the distribution of
one British picture were to be required for every
three American pictures distributed there, the
American distributors will be placed in a very
difficult position, and may be compelled to pro-
duce a large number of pictures in Great Britain
to comply with the provisions of such a law. If
that were to happen, many of these pictures, or all
of them, may be imported to the United States and
made part of the releasing schedule. You realize,
then, how wise it is for you and for every other
exhibitor to delay buying the new season's product
until what will happen is definitely known.
Early buying is dangerous under all conditions,
particularly when the contract terms are so burden-
some. The least an exhibitor can do then is to wait
until he learns whether the company whose product
he wishes to buy shows some signs that the pictures
it will produce will have considerable merit.
GIVE BEST PICTURES LONGER RUN
TO PREVENT SHORTAGE IN SUMMER
Unless the situation changes completely, Harri-
son's Reports fears that there is going to be a
serious shortage of pictures this summer, not only
of good pictures but of pictures in general. There
will not be sufficient funds in the treasuries of
some of the companies to enable them to com-
plete their schedules.
There was danger of a fund shortage even before
the depression had set in ; you may imagine, then,
what the situation is now, when the producers are
receiving less money from rentals, because of the
drop in attendance.
Harrison's Reports suggests that you give the
good pictures a longer run, so that you may have
accumulated some of the lesser grade pictures to
use if you should have a shortage of pictures in the
tail end of the season.
ALLIED MINNEAPOLIS SILVER JUBILEE
WILL PROVE OUTSTANDING
Al Steffes is going to put on a great show in
Minneapolis on the evening of February 2, the last
night of the Jubilee ; he has engaged the Varzos
orchestra, of radio fame, to play during the banquet.
At the banquet there will be many officials of
three states, Minnesota, North Dakota and South
Dakota — governors, assemblymen, senators, judges
and others, and perhaps some congressmen.
You will miss a great affair if you should fail to
come.
HARRISON'S REPORTS
Entered as second-class matter January 4, 1921. at the post office at New York, New York, under the act or March 3, 1873.
Harrison's Reports
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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, FEBRUARY 5, 1938 No. 6
PARAMOUNT'S MOVE AGAINST
NORTH DAKOTA'S THEATRE
DIVORCE LAW
North Dakota is, as you all no doubt know by
this time, the first state in the Union to have passed
an act making it unlawful for anyone connected
with the production or the distribution of moving
pictures to have an interest, directly or indirectly,
in a moving picture theatre. This law is to take
effect March 15, this year.
Shortly after the law was passed last year, Para-
mount, which is the only producing-distributing
company to have large theatre holdings in that
State, instituted suit to test the constitutionality of
the law.
In the last few weeks, investigations have been
conducted and depositions taken preparatory to
the trial of that action, which is to take place early
this spring before a court consisting of three Fed-
eral judges.
Paramount has now made an application for a
temporary injunction to restrain the State of North
Dakota from enforcing this law until the question
of its constitutionality has been determined.
The exhibitor leaders who sponsored this law,
and who are assisting the State of North Dakota
in the defense of it, expected such a move on the
part of Paramount, for the law requires all pro-
ducer-distributors interested in exhibition, directly
or indirectly, to dispose of such interests within
one year from the day the law had been approved
by the Governor of that State, and Paramount
naturally did not want to take such a step merely
on the command of the Legislature of that State;
it was to be expected that it would seek to have the
highest court in the land pass upon the right of the
Legislature of that State to enact such a law.
Since the outcome of judicial tests of laws passed
by State Legislatures, and even by the United
States Congress, has in recent years been uncer-
tain, the Court may, without undertaking to pass
upon the probable outcome of the action to test
the constitutionality of the law, grant the injunc-
tion. The court may feel that, by permitting Para-
mount to retain its theatre holdings during the
time that will be required to complete the action,
no one will be harmed, whereas, if it should deny
the injunction, Paramount will suffer irreparable
damage in case the U. S. Supreme Court declared
the law unconstitutional. If the court should take
such an attitude, as it probably will, it is fairly
certain that it will grant the injunction.
If the Court should issue such an injunction, you
should not become alarmed, for this would not be
an indication that your cause has been lost, or even
weakened. Nor would Paramount gain a victory
thereby, even though it might try to make it so
appear ; it would gain merely a technical victory,
of little real significance.
The exhibitor leaders feel sure that they can in-
duce the legislatures of other states to pass a simi-
lar law, but they are not taking any steps with that
end in view, by reason of the fact that, until the
present case is finally adjudicated in favor of
the State of North Dakota, that is, of the exhibi-
tors, it would be futile for them to take similar
steps in other states. They are merely biding their
time until the U. S. Supreme Court has handed
down a decision.
CECIL DE MILLE'S BLUNDER
In the issue of January 15, there was discussed
in these pages Cecil B. DeMille's New Orleans'
statement, by which he suggested that the exhibi-
tors should pay more money to the producers, be-
cause today pictures cost more.
In that discussion, I stated that the producer
could get more money from the exhibitors without
exacting from them a higher percentage of the in-
take, simply by making better pictures.
After looking at DeMille's "Buccaneer," I can
conscientiously say that a more sensible piece of
advice could not have been given to the producers
in general, and to Mr. DeMille in particular, for
the "Buccaneer" is not the sort of picture that
would entitle Mr. DeMille to demand a greater
share of the exhibitor's intake.
There are no individual blunders in any of the
situations or of the characterizations; it is the
whole story that is a blunder. How could Mr. De-
Mille hope to interest the picturegoers in the doings
of a leader of a band of cutthroats, a person who
sent to death any one who contested his authority ?
The making of the "Buccaneer" is a blunder also
from another viewpoint ; it offends the sensibilities
of the British people, for it shows a band of hooli-
gans defeating the British Army. Does Mr. De-
Mille think that the picture-going public in Great
Britain and the British Dominions will accept this
picture without resentment ?
I have heard it said that Mr. DeMille's pictures
go well abroad ; and since eighty per cent of the
"abroad" market consists of Great Britain and the
British Dominions, it is natural for one to assume
that Mr. DeMille exercises great caution in the
choice of his story material. But such does not
seem to be the case in this instance. For him, then,
to have spent nearly two million dollars on a pic-
ture that could not help offending the greatest part
(Continued on /</.«•/ page)
22
"Look Out for Love" with Anna Neagle,
Tullio Carminati and Robert Douglas
(Garumont British, January 15 ; time, 68 min.)
A pretty good picture, produced lavishly. Most of the
lavishness is in the cabaret scenes, where Anna Neagle
is shown as having reached great fame as a dancer. This
part rivals in lavishness similar parts in expensive Amer-
ican pictures. There is some human interest, too, most of
it being awakened by Tullio Carminati, whose funds en-
able the heroine to make a career as a dancer. The char-
acterization of Robert Douglas is somewhat faulty; in
the beginning he is not shown in his true character, and
later on the spectator finds out that he, Douglas, did not
deserve his sympathy. The love affair between the hero
and the heroine is fairly interesting: —
The attention of Andreani (Tullio Carminati— hero), a
cultured diplomat, is attracted by Jacqueline (Anna Neagle
— heroine), a poor orphaned girl, while she was dancing
to the tune of a barrel organ outside a fashionable West
End club. When later the police arrest her for violating
police regulations, Father Donnelly, the priest who was her
guardian, calls on Andreani and pleads with him to use
his influence to have the charges dropped. Andreani does
so. Jacqueline, who had been living with a poor family,
decides to obtain a position as a maid and, unable to
furnish references, has Father Donnelly obtain them from
Andreani. More and more Andreani takes an interest in
her. And so does young Nigel Taplow (Robert Douglas),
a colleague of his in the diplomatic service. Andreani
furnishes Father Donnelly with funds with which to
further Jacqueline's career as a dancer, without her knowl-
edge. Taplow and Jacqueline meet often secretly. Eventu-
ally they become engaged. Andreani becomes aware of
their meetings and warns Taplow, cautioning him that
Jacqueline was different. Andreani, to save Jacqueline from
falling in love with a man of Taplow's type, a libertine,
has him sent to China on a secret business mission. Taplow
pleads with her to wait for him, promising to marry her
after his return. In China, Taplow forgets his promises
and makes similar promises to another girl. When he gives
out the secrets of his mission, he is recalled. He is to be
disgraced when Jacqueline calls on Andreani and accuses
him of having purposely sent Taplow to China to be dis-
graced. Andreani, being in love with her, assumes the
blame for Taplow's violation of trust and resigns from his
post. When Jacqueline reads in the papers about his resig-
nation and disgrace, she calls on him, and when he refuses
to see her she forces her way in. But he, thinking that she
still loved Taplow, refuses to give her any encouragement.
Reading on the tags of his luggage the place of his destina-
tion, she follows him and, after she had assured him that
the incident of his resignation had made her realize that
she loved him and not Taplow, they become reconciled.
Ray Lewis wrote the story; it was produced and di-
rected by Herbert Wilcox, from a scenario by Florence
Tranter and Monckton Hoffe.
Nothing offensive is shown, even though both the hero
and his friend are supposed to be libertines. Suitability,
Class A.
"Saleslady" with Anne Nagel
and Weldon Heyburn
(Monogram, February 2; time, 64 min.)
A modest program offering. The routine marital plot is
developed without any new angles ; its familiarity weakens
one's interest in the outcome. One's attention is held only
because of the sympathy one feels for both the hero (Wel-
don Heyburn) and the heroine (Anne Nagel), in their
struggle to make the best of conditions and lead a happy
married life. One respects Miss Nagel particularly because
she had left a wealthy home, to make a place for herself in
the world without the help of her grandfather's millions.
Heyburn, too, shows likeable traits by refusing to accept
the" "soft" job offered him by the heroine's grandfather
(Harry Davenport), desiring instead to fend for himself
and to work for the money that he earned. Of course, it all
turns out just as the spectator expected it would — Heyburn
makes good in a big way in a business similar to that of
Davenport's. As a mater of fact, he is so successful, that
Davenport is compelled to take him in as apartner in order
to save his own business. Miss Nagel is happy at the
outcome.
Kubec Glasman wrote the story, and Marion Orth, the
screen play; Arthur G. Collins directed it, and Ken Gold-
smith produced it. In the cast are Doris Rankin, Harry
Hayden, and others.
Suitability, Class A.
"Paradise for Three" with Robert Young,
Florence Rice and Frank Morgan
(MGM, January 28; time, 78 min.)
A delightful comedy ; it keeps one chuckling from begin-
ning to the end. The story of mistaken identity is not un-
usual ; but because of competent performances and good
production values it holds one's attention throughout. The
romance is charming, and the background of the Swiss
Alps country, pleasant to the eye. There are several situa-
tions that provoke hearty laughter. A comical scene is
that in which Frank Morgan, who had been compelled to
wash dishes because he could not pay a hotel bill, places
the dishes in an electric washing machine, and, forgetting
to cover the machine, sets the motor going ; in a minute, all
the dishes come flying out and are smashed. It is the type
of entertainment that puts one in a good mood, and should
satisfy most audiences: —
Morgan, millionaire owner of a soap factory, is over-
joyed when he learns that he had, under an assumed name,
won one of the prizes in a slogan contest sponsored by his
own firm. He decides to take advantage of the reward, a
trip to the Alps, for he had always wanted to go away to
enjoy himself without any one's knowing that he was a
millionaire. The other contest winner, (Robert Young),
unemployed, looks forward to the trip as a chance to meet
influential people. Morgan's ever-watchful housekeeper
(Edna May Oliver), having found out about the trip, tele-
phones the hotel manager, informing him that the contest
winner was a millionaire and orders him to treat him ac-
cordingly. When the two contestants arrive, the manager,
assuming that Young was the millionaire, gives him a
suite of rooms ; and as for Morgan, he puts him in an attic
room, with a board for a mattress, broken windows, and
no heat; but Morgan enjoys it. Mary Astor, a scheming
divorcee, having accidentally found out who Morgan really
was, flatters him with her attentions. Morgan is annoyed
when his daughter (Florence Rice) and Miss Oliver follow
him to the hotel. Miss Rice and Young fall in love ; but she
does not tell him who she is. Morgan finds out about Miss
Astor's trickery, and, having learned his lesson, decides to
go home. Having found out from his attorney that he
owned the hotel in the Alps, he demotes the manager and
makes his dishwasher-friend the new manager. And he en-
gages Young as his advertising manager. At first, he and
Miss Rice have some trouble with Young, who resented
having been fooled, but eventually everything is adjusted.
Erich Kaestner wrote the story, and George Oppen-
heimer and Harry Ruskin. the screen play ; Edward Buz-
zell directed it, and Sam Zimbalist produced it. In the cast
are Reginald Owen, Henry Hull, Herman Bing, and Sig
Rumann.
Suitability, Class A.
"Double Danger" with Preston Foster
and Whitney Bourne
(RKO, January 28; time, 61 min.)
A mild crook melodrama, of program grade ; it lacks the
excitement and suspense one expects in pictures of this
type. The story is far-fetched, and the comedy, particularly
that which is provoked by a young girl's adolescent ap-
proach to love, is annoying. There is no human appeal ;
and, since the hero and the heroine are both crooks, one
feels no sympathy for them. The fact that they reform in
the end is not of much help : —
Samuel S. Hinds, Chief of Police, sets a trap to catch
the crook known as "The Gentleman." Although he sus-
pected Preston Foster, a novelist, who had written stories
about "The Gentleman," and who was his friend, he did
not have evidence with which to convict him. So he invites
to his home Foster, as well as Whitney Bourne, another
crook whom he suspected, and sets the trap for them both,
at the same time hoping to recover valuable diamonds
which Miss Bourne had stolen, and which had in turn been
stolen from her by Foster. He sets as bait imitation dia-
monds and lets the information drop that the diamonds
Foster had in his possession were paste. Foster does not
fall for the trap, but Miss Bourne does. Having fallen in
love with Miss Bourne, Foster risks his freedom to destroy
evidence Hinds had against her. He then returns the
jewels. Hinds, knowing that his two suspects had fallen in
love with each other, hints that he would not prosecute
them if they would leave the country; and so they take his
advice.
Arthur T. Horman wrote the story, and he and J.
Robert Bren, the screen play; Lew Landers directed it,
and Maury Cohen produced it. In the cast are Donald
Meek, Paul Guilfoyle, and others.
Unsuitable for children. Class B.
HARRISON'S REPORTS 23
February 5, 1938
"The Rat" with Ruth Chatterton, Anton
Walbrook and Rene Ray
(RKO, January 21 ; time, 69 min.)
This British-made melodrama is mediocre entertainment,
as far as intelligent audiences are concerned; but it may
find favor with those who go in for lurid melodramas. Both
the story and background, which hark back to the old days
of Paris underworld dramas, are sordid. And, with the ex-
ception of the heroine (Rene Ray), there is not a character
for whom one feels sympathy. A few situations are dis-
tasteful. One such situation is where the heroine, an inno-
cent young girl, is approached by a lecherous millionaire,
who attempts to make her surrender to him. Even the big
dramatic moment at the end, where Ruth Chatterton, a
wealthy woman of the world, who had become infatuated
with the hero, sacrifices her reputation to save him from
the guillotine, fails to make much impression, by reason of
the unpleasant nature of her testimony. Nor is the romance
developed in an appealing way : —
Walbrook, known in the Parisian underworld as "The
Rat," because of a promise, finds himself the guardian of
Rene Ray, a young innocent girl, whose father, a criminal,
had been sent to the guillotine. She lives at Walbrook's
apartment, and cooks, sews, and scrubs for him uncom-
plainingly ; but he treats her mostly in a harsh manner.
Miss Chatterton accompanies Hugh Miller, a millionaire,
whose mistress she was, for a thrill to an underworld dive.
There she notices Walbrook and finds him attractive.
Learning where she lived, Walbrook goes to her apartment
to steal her pearls ; but she catches him and induces him to
desist. He becomes infatuated with her, to Miss Ray's sor-
row, for she loved him desperately. Miss Chatterton's erst-
while millionaire lover calls on Miss Ray, and when he
attempts to seduce her she kills him. Walbrook, realizing
that he really loved Miss Ray, tries to shoulder the blame
for the murder. But Miss Chatterton, a spectator in the
court during the trial, knowing that the jury would be
more lenient with Miss Ray than with Walbrook, asks to
be heard. She testifies that Walbrook had spent the night
with her and, therefore, could not have committed the
murder. Because of this testimony, Walbrook is acquitted,
but Miss Ray is sentenced to a year in prison. She is not
unhappy, however, for she knew that Walbrook loved her
and would wait for her.
The plot was adapted from the play by Ivor Novello and
Constance Collier. Jack Raymond directed it, and Herbert
Wilcox produced it. In the cast is Beatrix Lehmann.
Unsuitable for children or adolescents. Class B.
"Penrod and His Twin Brother" with Billy
and Bobby Mauch and Frank Craven
{Warner Bros., February 26; time, 62 min.)
Good entertainment for the juvenile trade, suitable
mostly for showing on Saturdays. It hasn't as much human
appeal as "Penrod and Sam," which started this series, for
less stress is laid on the relationship between father and
son, and more on the doings of the boys' gang. It should,
however, prove exciting for juveniles, for the boys be-
come involved with a gang of bank robbers, and become
responsible for their capture ; they are aided considerably
by a dog and a carrer pigeon. Many laughs are provoked
by Philip Hurlic, a young colored boy, who endears him-
self to the audience by his natural manner and good deeds.
The closing scenes are fairly exciting: —
Billy Mauch (Penrod) is enraged when the police insist
that his dog had been biting different persons and would
have to be taken from him for examination, for he knew
that his dog never bit any one. Things are cleared up when
it is discovered that a new arrival in town (Bobby Mauch)
was the image of Billy and that it was his dog that had been
doing the biting. The gang decide to take Bobbv into their
organization of "Junior G-Men." Jackie Morrow, the
banker's son, the most disliked boy in the gang, feels
honored when the boys order him to go to a designated spot
to send the carrier pigeon back to them with a message.
Jackie accidentally becomes entangled with bank robbers,
who abduct him and take him to their hideout. He sends
the pigeon out with a message. Being unable to convince
the police that the message meant something, the boys set
out to investigate for themselves. They find Rodney, and
send for help. In the meantime, they trap the robbers and
turn them over to the police, when they arrive. The boys,
as well as Billy's dog, are honored for their good work.
The story is by Booth Tarkington ; William Jacobs and
Hugh Cummings wrote the screen play, William McGann
directed it, and Brvan Foy produced it. Tn the cast are
Spring Bvington, Charles Halton and Claudia Coleman.
Suitability, Class A.
"The Kid Comes Back" with Wayne Morris,
June Travis and Barton MacLane
{Warner Bros., February 19; time, 61 min.)
A fairly good program picture, revolving around prize-
fighting. Because of Wayne Morris' popularity, and the
appealing title, it probably stands a better-than-average
chance at the box-office. As entertainment, however, its
appeal will be directed more to men than to women, for the
action is concentrated on the fighting game. Although not
much footage is wasted on the romance, it is important to
the plot, for it has an effect on the hero's career. A humor-
ous note is injected into the story by the pleasant friendship
that develops between the hero and a precocious youngster :
Wayne Morris, a Texas cowboy stranded in New York,
is befriended by Barton MacLane, contender for the
heavyweight championship title, who sees in Morris ma-
terial for a good fighter. Under MacLane's tutelage,
Morris develops into a good boxer, with many victories to
his credit. MacLane is disappointed when the heavyweight
champion retires without first accepting his challenge. The
Boxing Commission names MacLane as the natural con-
tender for the title, informing him that, through the process
of elimination bouts, they would pick his opponent. Mac-
Lane feels that Morris would be the best man to meet him.
But since Morris and MacLane's sister (June Travis) had
fallen in love with each other, Morris had promised Miss
Travis that he would not fight her brother. MacLane, by
heaping insults at Morris, finally angers him to the point
where he accepts the challenge. Miss Travis, annoyed,
breaks with Morris. MacLane beats Morris, winning the
championship title he had long cherished. Reconciliation
between the friends follow ; Miss Travis forgives Morris.
E. J. Flanagan wrote the story, and George Bricker, the
screen play ; B. Reeves Eason directed it, and Bryan Foy
produced it. In the cast are James Robbins, Joseph Crehan,
Dickie Jones, and others.
Suitability, Class A.
"Everybody Sing" with Allan Jones, Judy
Garland and Fanny Brice
{MGM, February 4 ; time, 90 min.)
A tuneful, merry comedy; it should prove entertaining
to most audiences. It has no huge sets for a background ;
nevertheless it has more to offer in the way of entertain-
ment than "Rosalie," for it has fast action, spirited per-
formances, and amusing clowning. The story, which is a
variation on the "daffy" family theme, is nothing to get
excited about ; but it serves well as a means of putting
over the comedy and the music. Judy Garland and Allan
Jones sing the different popular songs so effectively that
one wants to hear more. And as for comedy, Fanny Brice,
the well-known stage comedian, brings to the screen her
individual type of clowning ; where she is known, she
should go over big; and where she is not known, there is
no doubt that she will make a good impression and please.
The plot revolves around the eccentric family life of
Reginald Owen, a playwright, his actress wife (Billie
Burke), and their two children (Lynne Carver and Judy
Garland). Owen objects to Miss Burke's insistence on
having Reginald Gardiner as her leading man in a new
play, and every one in the household, including the maid
(Fanny Brice) and the cook (Allan Jones), are affected
by the quarreling and act in a slightly insane manner. Judy,
who had been expelled from school, decides that, since her
father was financially embarrassed, she would help him
out by singing at a cafe. This shocks her parents, who in-
sist on sending her off on a European tour with a guardian.
But she escapes from the boat, and rushes to Jones, who
had been discharged from her home, and who was devot-
ing his time to putting on a musical show. Since he was in
love with Judy's sister and wanted to help the family, he
decides to put Judy in the show. When Miss Burke receives
a cablegram informing her that Judy was not in Europe,
she refuses to go on with her own play because of over-
wrought nerves. The police finally locate Judy at the
theatre and, together with the parents, they rush there.
Judy's overwhelming success makes her parents change
their minds about her appearing in public. And so they are
reconciled — Judy remains in the show, Jones marries Miss
Carver, and the quarrelling is stopped. Even Miss Brice.
who, too, was appearing in the show, is happy, for she had
found her long lost lover from Russia.
Florence Ryerson and Edgar Allan Woolf wrote the
story and screen play, Edwin L. Marin directed it, and
Harry Rapf produced it. In the cast are Helen Troy.
Monty Woolley and Henry Armetta.
Class A.
of his foreign market, which brings him approxi-
mately fifty per cent of his pictures' total intake,
is an injustice, not only to the exhibitors, at home
as well as abroad, but to the Paramount organiza-
tion itself, which is entitled to receive some profit
from its hard work in selling his pictures.
In order for Paramount to obtain enough returns
to be enabled to recoup the cost of production and
pay the cost of distribution, even if it were to dis-
count any profits, Neil Agnew must devote the
energies of his entire organization to exploiting
this picture almost exclusively, taking money away
from the appropriation of other pictures, which
could perhaps have brought better results in pro-
portion ; and the exhibitors must try to make the
public believe that it is a great picture, with the
result that the picture-goers, if many of them
should find its entertainment values highly exag-
gerated, will lose faith in the exhibitor, to the detri-
ment of the entire industry.
But this is not altogether the fault of Mr. De-
Mille; the blame must be placed chiefly on the
shoulders of the bankers who, without knowing
the first principles of picture production, have
undertaken to take over film companies. They know
nothing about story material; consequently they
are in no position to pass upon the suitability of
stories presented to them by a director for approval.
They approve budgets amounting to millions of
dollars, without knowing the first principles of the
business. Any wonder then that they are compelled
to dig into their pockets for more funds to enable
the studios to finish their schedules ?
Harrison's Reports suggests to Mr. Agnew not
to exert his organization's greatest efforts on this
picture; he should retain the faith the public still
has in the Paramount trade mark to use it for
future pictures that may be entitled to such efforts.
PHILADELPHIA EXHIBITORS PROTEST
TO EDDIE CANTOR
The following telegram was sent to Eddie Can-
tor by Lewen Pizor, president of the Philadelphia
zone exhibitor organization :
"Your advertised personal appearance for arti-
sans in Philadelphia starting March sixteenth as
one of nine announced programs makes your ap-
pearance at an average admission of 28c. This
non-theatrical organization is in direct competition
with theatres charging admissions of 30c to 75c
who show your pictures at rentals demanded by
Twentieth Century of 30 to 40%. This is mani-
festly unfair and harmful to the industry by tend-
ing to undermine the already weakened theatrical
structure. Such fund raising methods give no per-
manency to screen and actor. It is surprising that
you as an outstanding artist would appear on a
coupon ticket with the admission averaging 28c.
If admission prices have to be reduced to meet
competition of this kind then production values,
salaries and everything else will crumble. This
organization resents personal appearances of you or
any other star at such ridiculously low admission
prices and further this organization protests against
non-theatricals using headline names and screen
personalities like yours in direct competition with
legitimate motion picture theatres for the sole pur-
pose of fostering and promoting the raising of
funds for themselves."
RUNNING A THEATRE ON A SYSTEM
Under the heading, "Percentage Operation u!
Theatres," The Indiana Exhibitor, house organ of
Associated Theatre Owners of Indiana, contains
the following editorial:
"Any business man who is worthy of the name
must be able to analyze his business periodically
to keep the various phases of his operation in bal-
ance. Our business is no different from any other
and the wise exhibitor KNOWS what he is doing
and why he is doing it, instead of just guessing as
he goes along.
"With the thought in mind that some of us may
be assisted with a 'cost set-up' on the various parts
of our theatre operation, we are publishing the
following schedule which has been found over a
period of years to follow approximately the suc-
cessful operation of a motion picture theatre.
Advertising 6%
Film Rental Including Shorts 25%
Management and Booking 5%
Salaries and Wages 20%
Rent 12 to 15 %
Heat, Light and Power 4%
Taxes 3%
Insurance 2%
Other Expenses 10%
Profit 10%
"If your costs are deviating materially from any
of the above percentages, we urge that you imme-
diately take steps to bring them into line. Make
sure that when your fiscal year ends something
hasn't slipped by your attention and cut deeply
into your profits."
LET'S HOPE THAT CAGNEY HAS
LEARNED HIS LESSON
James Cagney has gone back to Warner Bros.
There is no doubt in my mind that every exhibi-
tor feels glad to see him back in the old fold, for
during the period of his recalcitrance hundreds of
thousands of dollars were lost by producer, dis-
tributor, exhibitor, as well as himself. And this
loss cannot be recovered.
Harrison's Reports does not wish to criticize an
artist for refusing to submit to the arbitrariness of
the studio that employs him, but there are times
when the dispute is of no significance and could be
settled with the display of a little good will. The
dispute between Cagney and Warner Bros, was not
so serious that it could not have been settled by
arbitration. Hot-headedness, however, on both
sides, prevented its settlement.
Many an actor has lost his popularity by an in-
significant controversy, when he left the studio that
employed him. In most cases the actor's popularity
had been kept alive by good organization — a unit
producer who knew the sort of stories that fitted
him, who would choose the sort of directors that
could get the best there was in him. In his new
environment, the actor had lost the old crew, and
before the new crew could get to know his capa-
bilities as well as his failings, it was too late — his
popularity went to pieces.
Some of the times a player lost his popularity
because he remained off the screen too long.
Harrison's Reports hopes that Mr. Cagney's pop-
ularity has not diminished because of his long
absence from the screen.
IN TWO SECTIONS— SECTION ONE
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under th« act ot March 3, 1S79.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
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Mexico, Cuba, Spain 16.50 . „ ,, . .
Great Britain 15.75 Motlon Picture Reviewing Service TO,t„hil»h«d t„h, i w„
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is* * r™v Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
vsoc a i^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, FEBRUARY 12, 1938 : N0T7
THE CASE OF "SNOW WHITE"
Some exhibitors have written to this office com-
plaining against the supposed demand on the part
of the RKO sales representatives that children be
admitted to the performances of "Snow White" at
a 25c minimum admission price. They feel that it
is unfair to change the theatre's standard prices for
children, and may arouse the parents' resentment.
I communicated with the RKO Home Office
and have been assured that no minimum price has
been set for children, in any territory. Suggestions
have been made as follows : When the seating
capacity of an exhibitor's theatre is small, the ex-
hibitor might arrange for a special matinee for
children at the regular admission prices, for unless
such a step is taken the exhibitor will not receive
much money, by reason of the fact that many chil-
dren will stay to see the show twice. Such has been
the experience in New York.
But the representatives of RKO make this
merely as a suggestion ; the final decision must rest
at all times with the exhibitor. He may have some
other way of solving the problem. But it is up to
him to decide what to do.
If any RKO representative has insisted that you
charge 25c minimum for children, this paper is in
a position to say that he has either misread his
instructions or exceeded his authority. In such
cases, this paper will gladly undertake to make the
proper representations to the home office.
Another complaint has been to the effect that
an exhibitor cannot buy "Snow White" unless he
buys the entire RKO program. This complaint is
entirely unjustified, for any exhibitor can buy this
picture alone.
It is understood, of course, that, in localities
where RKO has a regular contract-holder, this ex-
hibitor receives preference in negotiating for the
picture — and no one should condemn RKO for
standing by its old customers ; but where there is
no RKO account, any exhibitor can buy the pic-
ture, provided he meets the sales terms.
As to the complaint that 50% of the gross receipts
is demanded for the picture, this is a matter that
must be determined by each exhibitor himself, All
this paper can say is that, in deciding the matter,
the exhibitor must take into consideration the atti-
tude of the public.
"DISH" PICTURES
Under the heading, "Warners, Giveaways and
Pictures," Contact, the house organ of the Phila-
delphia zone exhibitor organization, contained the
following editorial :
"Grad Sears is all het up because the boys give
away dishes and things with his 57-minute fea-
tures.
" 'Hollywood . . . can't sell the fine (?) product
it makes,' says the Warner sales chief, That's up
to the exhibitor. If exhibitors would devote as
much time to merchandising shows to their cus-
tomers as they do in putting over audience games
which drive away biz, the entire industry would
be better off.'
"We know you've got a sales drive on, Grad, and
we don't blame you for making a speech to keep the
Grad Sears Drive on the front page : but why pick
THAT one out of camphor?
"Exhibitors are not imbued with a year-round
Christmas spirit in giving away dishes and cash to
their customers. They've been driven to it by the
deliberate policy of the producers turning out
quickies to maintain their releasing schedule. And
one of the worst offenders in this respect has been
Warners.
"Let's look at the record. Among the Warner-
First National releases so far this year are :
'Adventurous Blonde,' Glenda Farrell and Bar-
ton MacLane, 61 min.
'Love Is on the Air,' Ronald Reagan and June
Travis, 61 min.
'Missing Witnesses,' Dick Purcell and Jean Dale,
61 min.
'Expensive Husbands,' Beverly Roberts, 62 min.
'Over the Goal,' Wm. Hopper and June Travis,
63 min.
'She Loved a Fireman,' Dick Foran and Ann
Sheridan, 57 min.
'Sh! The Octopus,' Hugh Herbert, 54 min.
'Invisible Menace,' Boris Karloff, 55 min.
'Sergeant Murphy,' Ronald Reagan and Mary
Maguire, 60 min.
'Wine, Women and Horses,' 60 min.
'Patient in Room 18,' Ann Sheridan, 59 min.
'The Kid Comes Back,' Wayne Moris and June
Travis, 61 min.
'He Couldn't Say No,' Frank McHugh and Jane
Wyman, 61 min.
"We're ignoring the 'Great Garricks' and 'First
Ladies,' which proved to be dish pictures after re-
lease ; but which were originally intended to be
upper-bracket pictures.
"Which of the above, Mr. Sears, do you think
the exhibitors should get behind and exploit? And
why? It would take the combined ad-skill of Char-
lie Einfeld, Howard Dietz and Pete Smith to coax
the customers into the theatres on larries like these
without dishes or cash give-aways.
"Some Broadway sage once said, 'It's always a
good season for a good play.' Likewise, a good
(Continued nn last f>a<ie)
26
HARRISON'S REPORTS
"Who Killed Gale Preston?"
with Don Terry and Wyn Cahoon
(Columbia, l<eb. 24; time, 60 min.)
A fair program murder mystery melodrama. It should
go over with the followers of this type of entertainment,
for it keeps one guessing throughout — the murderer's
identity is not revealed until the end. Several persons are
suspected, each one having had a motive for murdering the
victim. Although the manner in which the murderer is
finally trapped into confessing is not novel, it is exciting.
Since the murder takes place in a night club, the inter-
polated musical numbers are in order and add to the pic-
ture's entertainment value.
In the development of the plot, Rita Hayworth, a fiery-
tempered night club singer, who had many enemies, is shot
just as she had finished singing her number. Don Terry,
police inspector, who had been called in to take charge of
the case, chases after a suspect, (Dwight Fryc). Frye
climbs to the top of a building, shouting that he had killed
her ; he then kills himself by jumping from the roof. Terry
learns that Frye had been Miss Hayworth's husband. But
by checking the bullets from Frye's gun with the one taken
from the victim, he finds out that Frye's bullet was not the
one that had killed her. By investigating further, Terry
discovers how the murder had been committed — a gun had
been attached to the spotlight and had automatically gone
off after a few turns of the different colored lights. He de-
cides to trap the murderer by reenacting the crime ; and
his scheme works, for the murderer, who knew about the
automatic control, begs that the lights be turned off. He
confesses that he had killed Miss Hayworth because he
loved her and she would have nothing to do with him. Wyn
Cahoon, Miss Hayworth's sister, is happy when the case
is settled, for both she and her sweetheart had been under
suspicion.
Robert E. Kent and Henry Taylor wrote the original
screen play, Leon Barsha directed it, and Ralph Cohn pro-
duced it. Robert Paige and others are in the cast.
Unsuitable for children. Class B.
JFebruary 12, 1938
"Radio City Revels" with Jack Oakie,
Bob Burns, Milton Berle, Victor Moore
and Ann Miller
(RKO, Feb. 11 ; time, 90 min.)
Fairly good mass entertainment. The lavish production
and the list of popular players are its main attractions, for
the material is pretty weak. The action is slow in spots ; and
the comedy, except for one situation, is not of the uproari-
ous type. The most comical situation is that in which Jack
Oakie and Milton Berle use various methods to put Bob
Burns, who was suffering from insomnia, to sleep ; in the
end they fall asleep from exhaustion. There is plentiful
music, good singing by Kenny Baker and Jane Froman,
and dancing by Ann Miller ; the tunes are pleasant if not
exceptional. Ann Miller and Kenny Baker are an acceptable
romantic team : —
Oakie, a song writer, and Berle, his assistant, unable to
sell their songs, make a living by selling a correspondence
course in music to their only customer (Bob Burns), a show
boat performer in Arkansas. Burns, discouraged at his
progress, decides to go to New York to take his last four
lessons at once. When he arrives at Oakie's apartment and
claims to have lost his wallet, Berle wants to put him out ;
but Oakie permits him to stay. Burns falls in love with
Ann Miller, Oakie's dancing protegee, but she is in love
with Kenny Baker, a radio singer. Her sister (Helen Brod-
erick) feels that Burns would make an ideal husband, and
sets out to catch him for herself. Oakie and Berle discover
that Burns, while asleep, composed beautiful songs which
he would sing out loud. They copy the words and music as
he sings them in his sleep, and then sell the songs as their
own. This brings them considerable wealth, and a contract
to write the music for a new broadcasting program. But
Burns, who had found out about Miss Miller's love for
Baker, cannot sleep for grief. By hitting him over the head,
Berle finally puts him to sleep, and so is able to get the
songs Oakie needed. Miss Broderick, who had found out
about the trick, compels Oakie and Berle to admit that the
songs belonged to Burns, and to turn the money over to
him. Miss Broderick finally gets her man, thus making the
way clear for Miss Miller, who would not leave her sister,
to marry Baker.
Matt Brooke wrote the story, and he, Eddie Davis,
Anthony Veiller, and Mortimer Offner, the screen play;
Ben Stoloff directed it, and Edward Kaufman produced it.
In the cast are Buster West, Melissa Mason, and others.
Suitability, Gass A.
"Midnight Intruder" with Louis Hayward,
J. C. Nugent and Barbara Read
(Universal, Feb. 6; time, 68 min.)
Good 1 Although the story is not particularly novel, it is
presented in a refreshing way, enabling it to hold one's
attention throughout. One feels sympathy for the hero,
even though his actions in impersonating some one else are
not commendable. As it turns out, however, it is all for the
best, for by so doing he is able to bring about a reconcilia-
tion between a son and his parents. There is plentiful com-
edy, which is provoked by the many narrow escapes the
hero and his pal have owing to the impersonation. To add
to the excitement, a murder is committed, in which the
hero and the man he was impersonating become involved.
One is held in suspense until the real murderer is caught.
The romance is pleasant : —
Louis Hayward and J. C. Nugent, his pal, race track
frequenters, find themselves broke, hungry, and without
shelter. While walking through a country road in the
pouring rain, Hayward notices a house and, since it looked
unoccupied, decides to break in, despite Nugent's pleas not
to do so. They find a beautiful home, plentiful food, com-
fortable beds, and even night clothes. Just as they were
ready to go to bed, they are disturbed by the arrival of
servants, who were expecting the young son (Eric Linden)
of their master, a newspaper publisher. Linden had left
home several years previously to join a band. The servants,
never having seen him, naturally think Hayward was the
son and cater to him and to his pal. By reading a letter
Linden had written to his mother, Hayward finds out that
he had changed his mind about hving in the house; and
since the parents were in Europe, Hayward decides to
take advantage of the situation and to live in comfort as
long as he could. He meets and falls in love with Barbara
Read, daughter of Selmar Jackson, a judge, who had be-
come involved with a crooked politician. When this poli-
tician is murdered, Hayward believes Jackson had killed
him. But the police arrest Linden, who had threatened the
politician when he had become too attentive to his wife
(Sheila Bromley). Eventually the real murderer is
caught. Upon their return, the parents hear stories about
their son's virtues and are proud. The mother learns it was
really all Hayward's doings and thanks him, for it was
through him that Linden and his parents had become recon-
ciled. Hayward gets a job as a newspaper reporter, and
then proposes to Miss Read.
Channing Pollock wrote the story, and Lester Cole,
the screen play ; Arthur Lubin directed it, and Trem Carr
produced it. In the cast are Pierre Watkin, Joseph Crehan,
and others.
Suitability, Class B.
"Squadron of Honor" with Don Terry
(Columbia, Jan. 20; time, 55 min.)
A fairly exciting program melodrama, centering around
the American Legion. Considering the popularity of the
Legion, and the fact that the action takes place during one
of their Conventions, it has good exploitation possibilities.
The murder angle adds to the excitement. One is held in
suspense in the closing scenes, when the Legionnaires close
in on the murderers. A love interest is worked into the
plot, but it is of minor importance : —
Robert Warwick, munitions manufacturer, tries to bribe
Thurston Hall, American Legion Commander, to induce
the Legionnaires to go on record as being opposed to an
Arms Control Bill that was to come up in Washington.
Because of Hall's refusal to do so, Warwick frames him.
He does this by planting one of his men, dressed as a
Legionnaire, in Hall's office ; he then telephones to Arthur
Loft, race track owner, who had been quarreling with Hall
because he had demanded that Loft close the track during
the Legion Convention, to go to see Hall. When Loft ar-
rives, Warwick's henchman kills him with a gun owned
by Hall. Hall is naturally held for the murder. The Legion-
naires, headed by Don Terry, the District Attorney, refuse
to believe their Commander guilty, and decide to investi-
gate the case. They find sufficient proof to convince them
of Warwick's guilt. They close in on him and his gang,
forcing them to confess. Hall is freed. Terry, who had
fallen in love with Warwick's secretary (Mary Russell),
is happy to know that she was innocent of what had been
going on.
Martin Mooney wrote the story, and Michael L. Sim-
mons, the screen play ; C. C. Coleman, Jr. directed it. In the
cast are Marc Lawrence, Dick Curtis, George McKay
and others.
The murder makes it unsuitable for children. Class B.
February 12, 1938
HARRISON'S REPORTS
27
"Blondes at Work" with Glenda Farrell
and Barton MacLane
(Warner Bros., Feb. 5; time, 63 min.)
A moderately entertaining program comedy-melodrama.
It is the third in the series of "Torchy Blane " stories, with
the same players enacting the parts they did in the previous
pictures. In substance, it is practically identical to the
others, with Glenda Farrell, as the fast-working reporter,
getting all the scoops in town, and outwitting the entire
police force. For the most part, the story is far-fetched ; as
a matter of fact, there are a few supposedly serious spots
that may be greeted by the spectators with laughs. One
such situation is where Barton MacLane, the police lieu-
tenant, having found a handkerchief with lipstick on it as a
clue in the murder case, shows it to a young lady, who
worked in the cosmetics department at a store; she just
glances at it and knows what kind of lipstick it was and
what type person would wear it. This time, less stress is
laid on the romance.
In the development of the plot, a wealthy department
store owner is found murdered at a hotel, where he had
registered under an assumed name. Miss Farrell, ever on
the alert to get scoops for her newspaper, finds the murder
suspect, (Rosella Towne) before the police could get to her.
She promises to help Miss Towne, who pleaded that she
was innocent, if she would give herself up to the police. In
the meantime, MacLane arrests Miss Towne's fiance as the
murderer. At the trial, the jury finds him guilty of first
degree murder. Miss Farrell, who had sneaked into a room
adjoining the jury room and thus been able to get the ver-
dict to her newspaper before it was publicly announced,
is held for contempt of court and sent to jail. She is an-
noyed when she hears that Miss Towne had herself con-
fessed to the murder, and that she wasn't there to send the
news to her paper. But MacLane cheers her up by showing
her her newspaper with the story printed in it ; he had sent
it in for her.
Albert DeMond wrote the original screen play, Frank
McDonald directed it, and Bryan Foy produced it. In the
cast are Tom Kennedy, John Ridgely, and others.
Since the murder is not actually shown, it is suitable for
all. Class A.
"Action for Slander" with Clive Brook
(London Film-United Art., Jan 14; time, 81^4 min.)
This drama, revolving around a card-cheating scandal
in British society, should appeal mostly to sophisticated
audiences. The atmosphere is typically British and the
players, with the exception of Clive Brook, are unknown
here. The story lacks human appeal, because the hero
(Clive Brook), who is the victim of the scandal, does not
win one's sympathy. The reason for this is that, at the
beginning, it is established that he was having an affair
with a married woman, thereby bringing unhappiness to
his charming wife. The fact that he later puts an end to
this affair does not help matters much. The picture's high-
light is the courtroom scene in the end, where the hero's
lawyer tricks the accuser (Arthur Margetson), husband
of the woman with whom Brook had been having the affair,
into confessing that he had lied about the card-cheating
episode. It is evident to the spectators that he had done so
to avenge the wrong Brook had done him. The only sym-
pathetic character is the wife (Ann Todd), for she shows
nobleness in returning to Brook, when he needed her. It
is because of her that he eventually brings the libel action,
enabling him to clear his name and to take his place in
society again. He and Miss Todd are reconciled.
Mary Borden wrote the story, and Miles Malleson, the
screen play; Tim Whelan directed it, and Victor Saville
produced it. In the cast are Ronald Squire, Percy Marmont,
and others.
Unsuitable for children. Class B.
"International Settlement" with
George Sanders and Dolores Del Rio
(20th Century-Fox, Feb. 4; time, 83 min.)
A good program melodrama. Since part of the action
takes place during an air raid in Shanghai, the producers
have inserted newsreel shots of actual air raids and of
people rushing for shelter; this adds considerable excite-
ment. The story is somewhat far-fetched ; since the action
is, however, fast, it holds one's attention well throughout.
And the constant danger to the hero and the heroine keeps
one in suspense. June Lang and Dick Baldwin supply the
light touch with their amusing antics and pleasant ro-
mance : —
George Sanders, soldier of fortune, undertakes a dan-
gerous mission to act on behalf of Pedro DeCordoba, to
collect $1,000,000 for ammunitions DeCordoba had prom-
ised to deliver to Harold Huher and his partner (John
Carradine), in Shanghai. Sanders had to use DeCordoba's
name to do so. The moment he registers in the hotel trouble
starts : Dolores Del Rio, a cafe singer, mistaking him for
DeCordoba, tries to shoot him. Her shot misses, and when
she finds out that Sanders was not the man she wanted she
is happy. She later explains to him that she wanted to kill
DeCordoba because he had been responsible for her father's
death. Sanders completes the deal and returns with the
money to the boat, only to learn that DeCordoba had died
of heart failure. Wanting to return the money to Huber,
and not knowing where to find him, Sanders enlists Miss
Del Rio's aid. She arranges to take him to Huber's house
herself. But her husband (Leon Ames), having heard
about the money, gets to Huber's house first ; he kills Huber
and wounds Carradine, who manages to escape. When
Sanders arrives and is forced to turn the money over to
Ames, he feels that Miss Del Rio had doublecrossed him.
Ames shoots him in the arm. Just at that moment there is
an air raid and Sanders is wounded, too. Miss Del Rio
goes to his aid ; frantically rushing to the streets, she brings
back a doctor ; she gives her blood to save him. When the
doctor leaves, she goes out for help again ; but by this time
Sanders had regained consciousness and leaves. Under
government orders, Americans are compelled to evacuate
Shanghai. Miss Del Rio is overjoyed to find Sanders on
the boat. But until he learns the facts from Miss Lang he
refuses to talk to her. Miss Del Rio helps him get the
money back from Ames, who, too, was on the boat. Carra-
dine, another passenger, kills Ames. This clears the way
for Sanders and Miss Del Rio to marry.
Lynn Root and Frank Fenton wrote the story, and Lou
Breslow and John Patrick, the screen play ; Eugene Forde
directed it, and Sol M. Wurtzel produced it. In the cast are
Ruth Terry, Keye Luke, and others.
The shootings make it unsuitable for children. Class B.
"Goldwyn Follies" with Adolphe Menjou,
Andrea Leeds and Kenny Baker
(United Artists, Feb. 4; time, 121 min.)
An excellent box-office attraction, considering the mag-
nificent technicolor work, the drawing power of the indi-
vidual players, and the advance publicity the picture has
been given. And the Hollywood background may still
attract the masses. But it seems a pity that so much care
should have been given to everything but the story, which,
in itself, is trite. As a matter of fact, there is no story to
speak of ; it is more or less a grand and glorified vaudeville
show, with individual acts that vary between very good and
fair. The Ritz Brothers are, as usual, comical and provoke
hearty laughter by their antics, despite the material given
them. Edgar Bergen and Charlie McCarthy, in their few
appearances, are good and should delight all their fans,
who have become familiar with them through their broad-
casts. The outstanding feature is the dancing by Zorina
and by the members of the American Ballet. There is one
scene in which they appear against a background of blue
and white which, for sheer beauty, has not been surpassed
— it is breathtaking. There are scenes of beauty through-
out, as a result of the color photography. The music is good,
varying from the operatic (sung by Helen Jepson) to the
popular variety.
The story revolves around Andrea Leeds, a young
country girl, who had been brought to Hollywood by
Adolphe Menjou, a hardened producer, for he had felt
that her humane reaction to things and to people about her
would help him in his work. He sets her up in a house
away from the studio and forbids her to meet or speak to
actors, lest she would change. She meets and falls in love
with Kenny Baker, a young tenor, who ran a hamburger
wagon, but who aspired to become a motion picture star.
She manages to get Menjou to listen to Baker sing over
the radio, without letting him suspect that she had anything
to do with it. Because she had expressed her delight with
Baker's voice, Menjou engages him for a leading part in
his picture. But when he learns the truth he is enraged,
for he had planned to marry Miss Leeds himself. He in-
forms her that, unless she married him, he would remake the
picture with another singer in Baker's place ; therefore,
she agrees to marry him. Baker, having found out about
Miss Leed's position at the studio, berates her for having
fooled him and insults her about her relationship with
Menjou. But when he hears of her sacrifice, he cools down
and rushes to her side. He informs Menjou that he would
gladly give up his career to marry Miss Leeds. But Men-
jou. touched by the whole thing, relinquishes his claim on
Miss Leeds, and blesses the lovers; he gives Baker a five
year contract.
Ben Hecht wrote the story and the screen play ; George
Marshall directed it, and George Haight. in association
with Mr. Goldwyn, produced it. In the cast are Phil Baker.
Flla Logan, Bobbv Clark, Nvdia Westman, and others.
Class A.
28
picture needs no selling to the public and it's bad
business to deceive the customers by selling a poor
one. The Jimmy Fidlers on the air and the Louella
Parsons in the news sheets have established a pre-
release grapevine that make most exploitation fu-
tile. The patrons pretty well know when a picture
opens whether or not they want to see it.
"The truth of the matter is that no producer to-
day makes more than a dozen pictures a year that
can compete with the ten-inch plate or the $500
jackpot. When give-aways stop making money for
the exhibitors they'll discontinue them and not
before. Any forced concerted attempt to ban all
give-aways would bring about a complete disloca-
tion in the industry far greater than the evil it
seeks to correct.
"Maybe it's time to stop telling the exhibitors
how to run their theatres and concentrate on the
making of pictures to justify the present back-
breaking rentals."
THERE IS A RECESSION!
In a statement made to Box Office early last
month, Mr. Joseph M. Schenck said that the drop
in the gross receipts of the theatres has not been
greater than ten per cent.
"It seems to me," he said partly, "that the picture
business is not subject to the recession as much as
any other business. It is not off much and very good
films don't feel the recession.
"In towns where persons go to the movies four
times a week, they naturally pick the best show
first, the next best second, and so on until they
have seen four pictures. In other towns where peo-
ple go twice a week to the theatre they choose the
first two pictures they think best. . . ."
Of course, Mr. Schenck has film to sell, and it
is his business to present conditions brighter than
they really are ; but the facts, as gathered by this
paper from reputable exhibitors, are as follows :
big pictures draw as much as they drew before;
but the other pictures draw one-half as much, and
in many cases still less. They have told me that the
drop of theatre attendance since last fall has been
approximately thirty per cent, with no hope for
much improvement until next fall.
According to all forecasts, there is going to be
an improvement in business conditions this spring,
but exhibition will not feel it much for two rea-
sons : first, because there will be overdue grocery
bills to pay before people will think of appropriat-
ing liberally for moving pictures, and secondly be-
cause the quality of the pictures will be worse than
it was in the spring last year, by reason of the cur-
tailment of production budgets. I have also heard it
said on good authority that one major company
has already spent $22,000,000 out of an appropria-
tion of $30,000,000, for 19 pictures out of a total
of more than 60 promised. If this information's
correct, then this company must produce a mini-
mum of 30 pictures at $8,000,000, or approximately
$270,000 per picture ; and since the studio overhead
is approximately $150,000 per picture, it will have
to make these pictures at an actual expenditure of
$120,000 per picture. Can it be done by a major
company ? No ! What will happen, then ? Unless
more money is appropriated, the pictures will have
to be "slapped" together. And where is the money
coming from, if the box offices will not yield it?
Figure it out for yourself, if you are a magician!
February 12, 1938
WAS SHAKESPEARE WRONG?
According to Douglas W. Churchill, Hollywood
correspondent of the New York Times, Leo Spitz,
President of RKO, and now heading that com-
pany's production in Hollywood, has dropped from
his roster all players whose pictures have shown a
loss at the box office, and has retained those whose
pictures have shown a profit. It is a plan which,
according to Mr. Churchill, Hollywood has con-
sidered unworkable.
Mr. Spitz is, no doubt, ambitious and wants to
make a success of the job he has undertaken. But
to Harrison's Reports he seems to have started
from the wrong end : Dropping players who once
meant something to the box office but whose later
pictures did not show any profits, and retaining
those players whose late pictures have shown profits,
will not tend to make the pictures more entertain-
ing; it is the adapting of good stories that will do
it. Centuries ago Shakespeare said that the play is
the thing and neither Mr. Spitz nor any other studio
head can prove Shakespeare wrong.
MGM had a sad experience once with a picture-
that had six stars in it — "Night Flight," because
it had no story. The six stars were the following :
Clark Gable, Robert Montgomery, Myrna Loy,
John Barrymore, Lionel Barrymore, and Helen
Hayes, all at the height of their popularity at that
time. Yet the picture flopped, even though it was
produced on a lavish scale.
Further evidence that the story is the thing is
the fact that many a star's popularity has been
ruined by poor story material.
A producer needs players who will draw people
to the box office, but above all he needs persons
who know how to choose good stories — who know
a good story from a bad one, and who have a full
idea of the value of characterizations.
ALL THE SHOUTING FOR NOTHING!
From time to time there are spread rumors to
the effect that this, that, or the other major com-
pany has decided to move its home office to Holly-
wood, there to have production, distribution, and
the publicity department under one roof. Such
rumors give the trade press a chance to fill its col-
umns for a while. But in every instance the report
comes to nothing.
In the last few weeks similar rumors were again
spread. This time, the trade papers assured their
readers that it was no longer a rumor but a fact.
In truth, they had it for sure that Warner Bros,
were definitely committed to the removing of the
two departments, distribution and publicity, to
Hollywood.
That some of the Warner Bros, activities, par-
ticularly in the publicity line, have been transferred
to the Coast is true, but it is hardly likely that
this company's distribution department, too, or the
distribution department of any of the other major
companies, will be transferred there, for the reason
that New York is the closest point to Europe and
the European market cannot be taken care of prop-
erly from Hollywood. Nor can the American mar-
ket, for that matter, by reason of the fact that the
trade has come to look to New York for the trans-
action of business, and it is hard to change habits
that have ingrained themselves so deeply in the
consciousness of every one connected with the mo-
tion picture industry.
HARRISON'S REPORTS
IN TWO SECTIONS— SECTION TWO
HARRISON'S REPORTS
Vol. XX
NEW YORK, N. Y., SATURDAY, FEBRUARY 12, 1938
No. 7
(Partial Index No. 1 — Pages 2 to 24 Incl.)
Title of Picture Reviewed on Paqc
Bad Man of Brimstone— MGM (83 min.) 14
Black Doll, The— Universal (66 min.) 14
Buccaneer, The — Paramount (123 min.) 19
Bulldog Drummond's Revenge — Paramount (55 m.).. 2
Change of Heart — 20th Century-Fox (66 min.) 15
Checkers — 20th Century-Fox (78 min.) 11
City Girl — 20th Century-Fox (60 min.) 7
Crashing Hollywood— RKO (60 min.) 3
Divorce of Lady X, The— United Artists (90 min.) ... 18
Double Danger— RKO (61 min.) 22
Everybody Sing — MGM (90 min.) 23
Everybody's Doing It— RKO (66^ min.) 11
Every Day's a Holiday — Paramount (79 min.) 10
Forgotten Women — Columbia (See "Women in
Prison") 15
Happy Landing — 20th Century-Fox (101 min.) 19
Hawaiian Buckaroo — 20th Century-Fox (61 min.) ... 15
Headin' East — Columbia (67 min.) Not Reviewed
Hollywood Hotel— First National (108^ min.) 6
I Met My Love Again — United Artists (73 min.) .... 14
In Old Chicago— 20th Century-Fox (110 min.) 15
Invisible Menace — Warner Bros. (54 min.) 10
Jury's Secret, The — Universal (64 min.) 11
Kid Comes Back, The — Warner Bros. (61 min.) 23
Lady Behave — Republic (69 min.) 7
Look Out for Love — Gaumont-British (68 min.) 22
Love and Hisses — 20th Century-Fox (84 min.) 3
Love Is a Headache — MGM (72^4 min.) 14
Love on a Budget — 20th Century-Fox (64 min.) 18
Mama Runs Wild — Republic (65 min.) 7
Manhattan Music Box — Republic (See "Manhattan
Merry Go Round") 191
Mannequin — MGM (94 min.) 18
Man-Proof— MGM (74 min.) 2
March of a Nation, The — Paramount (See "Wells
Fargo" ) 206
My Old Kentucky Home — Monogram (72 min.) .... 19
Old Barn Dance — Republic (60 min.) Not Reviewed
Outlaws of the Prairie — Columbia (57m.) . . Not Reviewed
Paradise for Three— MGM (78 min.) 22
Paroled to Die — Republic (55 min.) Not Reviewed
Partners of the Plains— Paramount (70m.) .Not Reviewed
Patient in Room 18 — First National (59 min.) 6
Penrod and His Twin Brother — Warner (62 min.) ... 23
Rat, The— RKO (69 min.) 23
Romance of the Rockies — Monogram (53m.)
Not Reviewed
Rosalie— MGM (122 min.) 6
Saleslady — Monogram (64 min.) 22
Sergeant Murphy — Warner Bros. (57 min.) 6
Shadow, The — Columbia (57l/2 min.) 3
She's Got Everything — RKO (72 min.) 3
Snow White and the Seven Dwarfs— RKO (86 min.) . . 10
Spirit of Youth — Grand National (66 min.) 7
Spy Ring — Universal (60j^ min.) 11
Sudden Bill Dorn — Universal (59 min.) . . . Not Reviewed
Swing Your Lady — Warner Bros. (77 min.) 18
Tarzan's Revenge — 20th Century-Fox (70 min.) 10
Tovarich — Warner Bros. (97 min.) 2
Trial of Portia Merriman, The — Republic ( See
"Portia on Trial") 182
West of Rainbow's End — Monogram (57m.)
Not Reviewed
Wise Girl— RKO (69^ min.) 2
Women in Prison — Columbia (58 min.) 15
RELEASE SCHEDULE FOR FEATURES
Columbia Features
(729 Seventh Ave., Nezv York, N. Y.)
8281 Hollywood Roundup — Buck J ones (64 min.) Nov. 16
8008 She Married an Artist— Boles-Desti Nov. 25
8028 All American Sweetheart— Colton-Farr . . . Nov. 30
8004 I'll Take Romance — Moore-Douglas Dec. 1
8035 The Shadow— Quigley-Hayworth Dec. 9
8282
8024
8202
8034
&>20
8007
8030
8209
Headin' East — Buck Jones (67 min.) Dec. 13
Under Suspicion — Jack Holt Dec. 16
Outlaws of the Prairie— C. Starrett (57m.) . .Dec. 31
Women in Prison — Cahoon-Colton Jan. 1
No Time to Marry— Arlen-Astor (64^m.) . Jan. 10
Penitentiary — Connolly-Howard-Parker . . . .Jan. 17
Squadron of Honor — Terry-M. Russell Jan. 20
Little Miss Roughneck — Fellows-Carrillo ...Feb. 9
Cattle Raiders— C. Starrett Feb. 12
Wide Open Faces — Joe E. Brown-J. Wyman.Feb. 15
Heroes of the Alamo — Hodgins (75 min.) ..Feb. 17
Who Killed Gale Preston— Hayworth Feb. 24
Start Cheering — Durante-Starrett Mar. 3
Rolling Caravans — E. Stewart-J. Luden Mar. 7
Making the Headlines — Holt-Roberts Mar. 10
The Lone Wolf Returns — Lederer-Drake ..Mar. 17
First National Features
(321 W. 44th St., New York, N. Y.)
270 She Loved a Fireman — Foran-Sheridan Dec. 18
274 The Patient in Room 18 — Knowles-Sheridan. . .Jan. 8
253 Hollywood Hotel — Powell-Lane-Healy Jan. 15
279 The Daredevil Drivers — Roberts-Purcell Feb. 12
255 Gold Is Where You Find It— Brent-Rains . . .Feb. 19
Gaumont-British Features
(1600 Broadway, New York, N. Y.)
1936-37 Season
Gangway — Jessie Matthews Sept. 1
Dr. Syn — George Arliss Oct. 15
Sez O'Reilly to MacNab — Fyffe-Mahoney Nov. 20
Heart's Desire— R. Tauber Available at any time
(End of season)
Beginning of 1937-38 Season
Non-Stop New York— Anna Lee- John Loder Nov. 17
I Was a Spj — M. Carroll-H. Marshall (Reissue) Jan. 1
Look Out for Love — Neagle-Carmanati (reset) . . Jan. 15
Wife of General Ling— Jones-Inkijinoff (70 min.) .Feb. 1
The Girl Was Young— Nova Pilbeam Feb. 15
To the Victor — Fyffe-Loder-Lockwood Mar. 1
Sailing Along— Jessie Matthews Mar. 15
Grand National Features
(1270 Sixth Ave., New York, N. Y.)
208 Trailin' Trouble— Ken Maynard (57 min.) . . .Sept. 24
210 Something to Sing About— James Cagney . . .Sept. 30
212 Renfrew of the Royal Mounted — Newill Oct. 8
213 Wallaby Jim of the Islands — Houston Oct. 15
211 Here's Flash Casey— Linden- Mallory Oct. 22
214 Tex Rides with the Boy Scouts— Ritter Oct. 29
215 Swine: It Sailor — W. Ford-Jewell Nov. 5
216 Mr. Boggs Buys a Barrel— Erwin Nov. 12
220 Frontier Town— Tex Ritter (58 min.) Nov. 19
207 King of the Sierras— Thunder Horse (Released
also in the 1936-37 season as No. 131) Nov. 26
299 Spirit of Youth — Joe Louis Dec. 29
Metro-Goldwyn-Mayer Features
(1540 Broadivay. New York, N. Y.)
813 Thoroughbreds Don't Cry— Rooney-Garland.Nov. 26
814 Beg, Borrow or Steal— F. Morgan-Rice-Beal . Dec. 3
815 You're Only Young Once— Stone-Rooney Dec. 10
No release set for Dec. 17
816 Rosalie— E. Powell-Eddy-Bolger "..Dec! 24
812 Bad Man of Brimstone— W. Beery-Bruce Dec! 31
817 Man Proof— Loy-Russell-Tone-Pidgeon Jan. 7
821 Love Is a Headache— George-Tone Jan. 14
820 Mannequin— Crawford-S. Tracy-Curtis Jan. 21
818 Paradise for Three (Three Men in the Snow) —
F. Morgan— R. Young-Rice (reset) Jan. 28
819 Everybody Sing— Garland-A. Jones-Owen ...Feb. 4
822 Of Human Hearts— Huston-Stewart Feb 11
823 A Yank at Oxford— Tavlor-O'Sullivan Feb. 18
824 Arsene Lupin Returns— Douglas-William Feb. 25
Merrilv We Live— C. Rennett-Aherne-Rurke. Mar. 4
Wooden Wedding— Montgomerv-Briice- William
Mar. 11
Girl of the Golden West— MaeDonald-Fddv .. Mar. 18
Monogram Features
(1270 Sixth Ave., New York, N. Y.)
3743 Boy of the Streets — Jackie Cooper Nov. 10
3708 County Fair — J. Farrell MacDonald Nov. 24
3731 Romance of the Rockies — Keene (53 min.) ..Dec. 15
3722 Telephone Operator — Allen-White (61m.).. Jan. 5
3727 West of Rainbow's End— McCoy No. 1 57m.. Jan. 12
3724 Saleslady — Nagel-Hcyburn (reset) Feb. 2
3736 Where the West Begins— Randall (54 min.). Feb. 2
3719 My Old Kentucky Home— Venable-Hall (r.)Feb. 16
3733 The Painted Trail — Tom Keene Feb. 16
3725 The Port of Missing Girls— Allen-Stone . . . .Feb. 23
Paramount Features
(1501 Broadway, New York, N. Y.)
3717 Night Club Scandal — Overman-Barrymore. .Nov. 19
3718 Blossoms on Broadway — Arnold Nov. 19
3719 Ebb Tide— Homolka-Milland-Farmer Nov. 26
3754 Texas Trail— Boyd-Hayes (5&y2 min.) ....Nov. 26
3720 Love on Toast — Ardler- Payne Dec. 3
3721 Born to the West— Wayne-Brown (50m.) . . .Dec. 10
3765 Lives of a Bengal Lancer — Reissue Dec. 10
3722 Daughter of Shanghai— Wong-Ahn (62m.) . .Dec. 17
3723 True Confession — Lombard-MacMurray ...Dec. 24
3724 Wells Fargo — McCrea-Dee-Burns Dec. 31
3725 Bulldog Drummond's Revenge — Barrymore. . Jan. 7
3726 Every Day's a Holiday — West-Lowe Jan. 14
3727 Thrill of a Lifetime — Grable-Downs Jan. 21
3755 Partners of the Plains— Wm. Boyd (70m.) . .Jan. 28
3728 The Buccaneer — March-Tamiroff Feb. 4
Scandal Street — Ayres-Campbell Feb. 11
Romance in the Dark — Swarthout-Boles . . . .Feb. 18
3756 Cassidy of Bar 20— Wm. Boyd (56^ min.) . .Feb. 25
Big Broadcast of 1938— Fields-Raye Mar. 4
Dangerous to Know — Wong- Patrick-Hall ..Mar. 11
Bluebeard's Eighth Wife — Colbert-Cooper . .Mar. 18
Republic Features
(1776 Broadway, New York, N. Y.)
1936-37
6001 Portia on Trial— Inescort-Abel Oct. 18
(2 more to come)
1937-38 Season
7122 Ridin' the Lone Trail— Bob Steele (56 m.) . . . Nov. 1
7101 Springtime in the Rockies — Autry (61 m.) . .Nov. 15
7018 The Duke Comes Back— Lane- Angel-Tobin . .Nov. 22
7113 Wild Horse Rodeo— Three Mesq. (57 m.) ...Nov. 29
7017 Glamorous Night — Kruger-Ellis-Jory (61m.) Dec. 6
7123 Colorado Kid— Bob Steele (56 min.) Dec. 13
7019 Exiled to Shanghai— Ford-Travis (65m.) .. .Dec. 20
7005 Lady Behave — Eilers-N. Hamilton Jan. 5
7124 Paroled to Die— Bob Steele (55 min.) Jan. 10
7006 Mama Runs Wild— Boland-Truex Jan. 19
7114 Purple Vigilantes— Three Mesq. (58m.) ...Jan. 24
7102 Old Barn Dance— Autry (60m.) (reset) ...Jan. 29
7007 Outside of Paradise— Regan-McNulty Feb. 7
RKO Features
(1270 Sixth Ave., New York, N. Y.)
1936- 37 Season
738 Damsel in Distress — Astaire-Fontaine Nov. 19
(more to come)
1937- 38 Season
810 High Flyers— Wheeler-Woolsey-Velez Nov. 26
812 Danger Patrol— Beal-Eilers-Carey Dec. 3
811 Quick Money — Fred Stone Dec. 10
814 Hitting a New High — Pons-Oakie-Howard . . Dec. 24
815 Wise Girl— Hopkins-Milland-Abel Dec. 31
818 She's Got Everything — Sothern-Raymond ...Dec. 31
816 Crashing Hollywood — L. Tracy-Woodbury .Jan. 7
817 Everybody's Doing It — Foster-Eilers Jan. 14
862 The Rat— Walbrook-Chatterton-Ray Jan. 21
820 Double Danger — Foster-Bourne Jan. 28
823 Radio City Revels— Oakie-Miller-Bei le Feb. II
821 Night Spot — Woodbury-Lane-Joncs Feb. 25-
(891 "Snow White" is ready fur special release only)
Twentieth Century-Fox Features
(444 W. 5Gth St., New York, N. Y.)
824 Borrowing Trouble — Prouty-Byington Dec. 1Q
No release set for Dec. 17
831 Thank You, Mr. Moto — Lorre-Rcgan Dec. 24
825 Love and Hisses — Winchell-Bernie-Simon Dec. 31
833 City Girl — Brooks-Cortez- Wilcox Jan. 7
823 Tarzan's Revenge — Morris-Holm Jan. 7
829 Change of Heart (Headline Huntress) —
Whalen- Stuart Jan. 14
828 Hawaiian Buckaroo — Ballew-Knapp-Regas ..Jan. 14
832 Charlie Chan at Monte Carlo— W. Oland . . . Jan. 21
830 Happy Landing — Henie-Ameche- Romero ....Jan. 28
826 International Settlement — Del Rio-Sanders ...Feb. 4.
834 Checkers — Withers-Erwin-Merkel Feb. 11
835 The Baroness and the Butler — W. Powell-
Annabella Feb. 18.
873 County Chairman — Will Rogers reissue Feb. 18,
836 Love on a Budget — Prouty-Byington Feb. 25
827 Sally, Irene and Mary — Faye-Martin Mar. 4
Walking Down Broadway — Trevor-Brooks ..Mar. 11
837 Rebecca of Sunnybrook Farm — S. Temple . . . Mar. 18
819 Mr. Moto Takes a Chance — Lorre-Hudson . .Mar. 25
839 Josette — Simon-Ameche- Young Apr. I
United Artists Features
(729 Seventh Ave., Neiv York, N. Y. )
Farewell Again — Banks-Robson (83 min.) Oct. 8-
Stand-In— Howard-Blondell-Bogart Oct. 29
52nd Street — Baker- Pa terson-Carrillo Nov. 19
Nothing Sacred — Lombard-March-Connolly Nov. 26
Murder on Diamond Row — Lowe-Shaw Dec. 10
The Hurricane — Lamour-Hall-Astor Dec. 24
Action for Slander— Brook-Todd Jan. 14
I Met My Love Again — Fonda-J. Bennett Jan. 28
The Goldwyn Follies — Leeds-Menjou-Baker Feb. 4
Adventures of Tom Sawyer — Kelly- Robson Feb. 11
Divorce of Lady X — Oberon-Barnes-Olivier Feb. 18
Storm in a Teacup — Leigh-Harrison (86 min.) ...Feb. 25
Adventures of Marco Polo — Cooper-Rathbone . . . Mar. 4
The Gaiety Girls— J. Hulbert-P. Ellis Mar. 18
Return of the Scarlet Pimpernel — Stewart Mar. 25
Universal Features
(1250 Sixth Ave., New York, N. Y.)
1936- 37 Season
A 1006 Reported Missing — Gargan-Rogers Aug. 15
(more to come)
1937- 38 Season
A2034 That's My Story— Morgan-Lundigan Oct. 24
A2024 The Westland Case— Foster-Hughes Oct. 31
A2015 A Girl With Ideas— Barrie-Pidgeon Nov. 7
A2006 Merry Go Round of 1938— Mischa Auer. . .Nov. 14
A2052 Boss of Lonely Valley— B. Jones (59 m.) . . Nov. 14
A2018 Some Blondes Are Dangerous — Gargan Nov. 28
A2054 Courage of the West— Bob Baker (57 m.) . .Dec. 5
A2036 Adventure's End — John Wayne (63 min.) . .Dec. 5
A2013 Prescription for Romance — Barrie Dec. 12
A2053 Sudden Bill Dorn— Buck Jones (59m.) . . .Dec. 19
A2004 You're a Sweetheart — Faye-Murphy Dec. 26
A2033 The Spy Ring— Hall-Wyman (reset) Jan. 9
A2019 The Jury's Secret — Taylor-Wray Jan. 16
A2055 The Singing Outlaw — Baker (56 min.) . . Jan. 23
A2014 The Black Doll— Grey-Woods Jan. 30
A2016 The Midnight Intruder— Hayward-Read . . Feb. 6
Forbidden Valley — Beery, Jr. -Robinson ...Feb. 13
A2056 Border Wolves— Bob Baker Feb. 25
Mad About Music — Durbin-Marshall Feb. 27
State Police— William Hall Mar. 4
Crime of Dr. Hallett— Bellamy-Read Mar. 11
Night Club Hostess — Rogers-Clyde Mar. 18
Goodbye Broadway — Brady- W'inninger ...Mar. 25
Warner Bros. Features
(321 W. 44th St., New York, N. Y.)
201 Tovarich — Colbert-Boyer-Rathbone Dec 25
220 ( 216) Sergeant Murphy — Reagan-Maguire .Jan. 1
231 Bordertown — Paul Muni (reissue) Jan. 22
224 The Invisible Menace — Karloff-Wilson Jan. 22
211 Swing Your Lady — Bogart-Pendleton-McHugh
Jan. 29
225 Blondes at Work — Farrell-MacLane Feb. 5
214 The Kid Comes Back— Morris-Travis Feb. 12
226 Penrod and His Twin Brother — Mauch Twins. Feb. 26
(The production number of "It's Love I'm After," released
on November 20, has been changed from 208 to 207.)
SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel
8802 Set 'Em Up— Sport Thrills (9)4 m.) Oct. 29
8903 Timberland Revels— B'way Follies (10 m.) . .Nov. 5
8602 Silver Threads— Stra. As It Seems (I0y2 m.) Nov. 12
8853 Screen Snapshots No. 3— (9)4 min.) Nov. 18
8701 Railroad Rhythm— K. Kat (6)4 min.) Nov. 20
8654 Community Sing No. 4 — (10^ min.) Nov. 28
8754 Scrappy's News Flashes — Scrappys (6 m.)..Dec. 8
8603 The Boy Who Saved a Nation— Strange As It
Seems (10 min.) Dec. 10
8904 Brokers' Follies— B'way Follies (10^4 m.) ..Dec. 15
8803 Cadet Champions— World of Sport (9m.) . . .Dec. 17
8503 Hollywood Picnic— Color Rhapsody (8m. ) . . Dec. 18
8854 Screen Snapshots No. 4 — (10 min.) Dec. 24
8552 El Salvador— Around the World (9 min.) . .Dec. 30
8755 The New Homestead — Scrappys (7 min.) . . .Jan. 7
8855 Screen Snapshots No. 5 — (9)4 min.) Jan. 7
8504 Bluebird's Baby — Color Rhapsody Jan. 21
8804 Snow Foolin'— World of Sport ( 10 min.) . . . Jan. 21
8756 Scrappy's Trip to Mars- — Scrappys Feb. 4
8856 Screen Snapshots No. 6 Feb. 4
8702 Sad Little Guinea Pigs— K. Kat Feb. 7
8505 The Horse on the Merry-Go-Round — Color
Rhapsody Feb. 17
8805 Feminine Fun — World of Sport Feb. 18
Columbia — Two Reels
8403 The Sitter-Downers— Stooge com. (15^ m.) Nov. 26
8134 Murder at Sea— Jungle No. 14 (20^ m.) ... .Dec. 1
8141 The Howl of the Wolf— Mysterious Pilot No. 1
(29 min.) Dec. 4
8135 Give 'Em Rope— Jungle No. 15 (21 m.) Dec. 8
8425 He Done His Duty— All star com. (\7y2 m.) Dec. 10
8142 The Web Tangles— Pilot No. 2 (2Zy2 m.) . . .Dec. 11
8143 Enemies of the Air— Pilot No. 3 (24^m.) . . .Dec. 18
8426 Man Bites Love Bug— All Star com. (18m.) .Dec. 24
8144 In the Name of the Law— Pilot No. 4 (25m.) . Dec. 25
8145 The Craclcup— Pilot No. 5 (24^m.) Jan. 1
8404 Termites of 1938— Stooges comedy (14^m.) Jan. 7
8146 The Dark Hour— Pilot No. 6 (23m.) Jan. 8
8147 Wings of Destiny— Pilot No. 7 (19^m.) . . . Jan. 15
8427 Fiddling Around— All Star com. (\7y2m.) . Jan. 21
8148 Battle in the Sky— Pilot No. 8 (23^m.) . . . Jan. 22
8149 The Great Flight— Pilot No. 9 Jan. 29
8428 A Doggone Mixup— All Star (18^m.) Feb. 4
8150 Whirlpool of Death— Pilot No. 10 Feb. 5
8151 The Haunted Mill— Pilot No. 11 Feb. 12
8405 Wee Wee Monsieur — -Stooges comedv Feb. 18
8152 The Lost Trail— Pilot No. 12 Feb. 19
8153 The Net Tightens— Pilot No. 13 Feb. 26
8429 The Old Raid Mule— All Star comedy Mar. 4
8154 Vengeance Rides the Airways — Pilot No. 14. Mar. 5
8155 Retribution— Pilot No. 15 Mar. 12
8430 Time Out for Trouble— All Star comedy. . . .Mar. 18
Metro-Goldwyn-Mayer — One Reel
1936- 37 Season
S-568 Romance of Radiums-Pete Smith (10 m.) . .Oct. 23
W-538 Little Buck Cheeser— Happy Harm. (8m.). Dec. 18
W-539 Bosko in Bagdad— Happy Harm. (10m.) . Jan. 1
W-540 Pipe Dream — Happy Harmony Feb. 5
(One more to come)
1937- 38 Season
H-721 The King Without a Crown — Historical
Mysteries (9 min.) Oct. 9
C-732 Pigskin Palooka— Our Gang (11 m.) Oct. 23
T-653 Chile, Land of Charm— Travel. (9 min.) ...Oct. 30
F-752 A Night at the Movies— Benchley (10 m.) ..Nov. 6
C-733 Mail and Female — Our Gang (11 min.) . . .Nov. 13
H-722 The Man in the Barn— His. Myst. (10 m.) Nov. 20
S-701 Decathlon Champion— Pete Smith (10 m.) Nov. 20
T-6S4 Copenhagen — Traveltalks (9 min.) Nov. 27
S-/02 Candid Cameramaniacs — P. Smith (9m.) ..Dec. 11
T-655 Land of the Incas — Traveltalks (9m.) Dec. 25
M-671 What Do You Think No. 2— Minia. (10m.). Dec. 25
S-703 Friend Indeed— Pete Smith (10m.) Jan. 1
M-672 What Do You Think No. 3— Minia. (11m.). J an. 15
T-656 Natural Wonders of the West— Trav. (9m.).Jan. 22
H-723 Captain Kidd's Treasure— Hist. Myst Jan. 22
S-704 Jungle Juveniles No. 2— (9m.) Jan. 29
M-673 Stroke of Genius — Miniatures Feb. 5
S-705 Three on a Rope— Pete Smith Feb. 19
T-657 Glimpses of Austria — Traveltalks Feb. 19
Metro-Goldwyn-Mayer — Two Reels
C-241 The Perfect Day— Laurel-Hardy re. (20m.) Dec. 11
R-601 Our Gang Follies of 1938— Mus. (21m.) . . .Dec. 18
C-418 County Hospital — Laurel-Hardy reis.(19m.)Jan. 22
R-602 The Canary Comes Across — Mus. (21m.) . Jan. 29
P-611 What Price Safety — Crime Doesn't Pay . . .Feb. 5
Specials
J-771 Jimmy Fidler's Personality Parade (20m.) Jan. 8
A-7'61 The New Audioscopiks (8m.) Jan. 15
Paramount — One Reel
J7-2 Popular Science No. 2— (10 min.) Nov. 12
A7-5 From the Minuet to the Big Apple — Headliner
(10 min.) Nov. 19
E7-4 Protek the Weakerist— Popeye (7)4 min.) . .Nov. 19
T7-4 The Foxy Hunter— Betty Boop (7 min.) . . .Nov. 26
Sc7-2 Magic on Broadway — Screen song (7)4 m.) Nov. 26
EE7-1 Popeye the Sailor Meets Ali Baba's Forty
Thieves — Special (17 min.) Nov. 26
V7-5 Tuna — Paragraphics (9)4 min.) Dec. 3
P7-S Paramount Pictorial No. 5— (9 min.) Dec. 3
R7-5 Ball Tossers— Sportlight (9)4 min.) Dec. 3
L7-3 Unusual Occupations No. 3 — (9)4 min.) Dec 10
A7-6 Oh Kay, Rhythm— Headliner (9 min.) Dec. 17
E7-5 Fowl Play— Popeye (7m.) Dec. 17
T7-5 Hello Hawaii (Zula Hula)— Boop (6y2m.) .Dec. 24
V7-6 Accent on Beauty — Paragraphics (9)4m.) ■ ■ .Dec. 31
R7-6 Water Water Everywhere— Sport. (9m.) ..Dec. 31
C7-3 Little Lamby— Color Classic (7^m.) Dec. 31
A7-7 Meet the Maestros — Headliner (10m.) Jan. 7
P7-6 Paramount Pictorial No. 6— (9m.) Jan. 7
J7-3 Popular Science No. 3 — (10m.) Jan. 14
E7-6 Let's Celebrake — Popeye (7m.) Jan. 21
A7-8 Himber Harmonies — Headliner (10m.) Jan. 28
V7-7 California Giants — Paragraphics (9m.) Jan. 28
R7-7 Good Looking Winners — Sportlight (9m.) .Jan. 28
T7-6 Riding the Rails— Boop (6m.) Jan. 28
SC7-3 You Took the Words Right Out of My
Heart — Screen Song (8m.) Jan. 28
P7-7 Paramount Pictorial No. 7— (10m.) Feb. 4
L7-4 Unusual Occupations No. 4 Feb. 11
A7-9 Listen to Lucas — Headliner Feb. 18
E7-7 Learn Polikeness — Popeye (7m.) Feb. 18
V7-8 Gold— Paragraphics Feb. 25
R7-8 A Fascinating Adventure— Sport. (9y2m.) . .Feb. 25
T7-7 Be Up to Date— Betty Boop Feb. 25
C7-4 The Tears of an Onion — Color Classic Feb. 25
P7-8 Paramount Pictorial No. 8 Mar. 4
A7-10 The Star Reporter No. 3— Headliner Mar. 10
RKO — One Reel
(There have been a few changes made in the release sched-
ule for the one-reelers, and so zve are reprinting the releases
from the beginning of the season.)
Beginning of 1937-38 Season
84401 A Frozen Affair— Condor mus. (10m.) ...Aug. 27
84601 Pathe Parade— ( 13m.) Sept. 10
84201 Rhythm in a Night Court— Nu Atlas (10m) Sept. 24
84101 Hawaiian Holidav — Disnev cart. (8m.) ...Sept. 24
84102 Clock Cleaners— Disney cart. (8m.) Oct. 15
84202 Phony Boy— Nu Atlas Musical (11m.) (r.).Oct. 15
84602 Pathe Parade— ( 11m.) Nov. 5
84103 The Old Mill— Disnev cart. (9m.) Nov. 5
84402 Murder in Swing Time — Condor (10m) (r)Nov. 19
84403 Prairie Swingaroo — Musical (,10m. ) (r.).. Nov. 19
84203 Sweet Shoe— Nu Atlas musical (11m; (r). Nov. 26
84104 Pluto's Quinpuplets— Disney (8^m.) Nov. 26
84204 Deviled Ham— Nu Atlas (10m.) Dec. 3
84105 Donald's Ostrich— Disney cart. (9m.) Dec. 10
84106 Lonesome Ghosts — Disney cart. (9m.) Dec. 24
84603 Pathe Parade— ( 10m.) (reset) Jan. 14
84205 A Radio Hook-Up— Nu Atlas (10m.) Jan. 28
84301 White Magic— Sportscopes (10m.) Jan. 28
84107 Self Control— Disney cart. (9m.) Feb. 11
84206 Latin Rhythm— Nu Atlas (11m.) Feb. 18
RKO — Two Reels
83104 March of Time No. 4— (20 min.) Nov. 26
83501 Harris in the Spring— Phil Harris (20 m.) Dec. 3
83301 Rhythm Ranglers— Smart Set (19 m.) Dec. 17
83105 March of Time— (19m.) Dec. 24
83703 The Dummy Owner — Leon Errol (19m.) ..Jan. 7
83106 March of Time— (16m.) Jan. 21
83403 Ears of Experience — E. Kennedy (18m.) ...Jan. 28
83602 Music Will Tell— Headliner (18m.) Feb. 11
83107 March of Time Feb. 18
83202 The Stupor-Visor— Radio Flash. (17m.) ..Feb. 25
Universal — Two Reels
A2791 The Hidden Menace— Radio No. 11 (20 m.) Dec. L3
A2792 They Get Their Man— Radio No. 12 (20m.) Dec. 20
A2881 Jungle Pirates— Tim Tyler's Luck No. 1
(21 min.) Dec. 27
A2165 Oh, Say Can You Hear?— Mentone (15 m.) Dec. 29
A2882 Dead Man's Pass— Tyler No. 2 (21 m.) ...Jan. 3
A2883 Into the Lion's Den— Tyler No. 3 (21 m.) . Jan. 10
A2884 The Ivory Trail— Tyler No. 4 (21m.) . . . .Jan. 1/
A2885 Trapped in the Quicksand — Tyler No. 5
(20 min.) Jan. 24
A2166 Rhapsody in Zoo — Mentone (15j^m.) Jan. 26
A2886 The Jaws of the Jungle — Tyler No. 6
(2l'/2 min.) Jan. 31
A2887 King of the Gorillas— Tyler No. 7 (20m.) . .r-eb. 7
A2888 The Spider Caught— Tyler No. 8 (21m.) . .t-eb. 14
A2889 The Gates of Doom— Tyler No. 9 (21m.) . .Feb. 21
A2167 Down on the Barn — Mentone Feb. 23
A2160 Breathless Moments— Special Feb. 28
A2890 A Race for Fortune— Tyler No. 10 (21m.) .r-eb. 28
A2891 No Man's Land— Tyler No. 11 (20m.) ....Mar. 7
Special
A2472 Bombing of the U.S.S. Panay— (22m.) . . . .Dec. 30
Twentieth Century-Fox — One Reel
4704 Italian Libya— Road Romance (10 m.) Nov. 12
8907 Calling All Crooners— Song com. hit (10m.). Nov. 19
8906 Trailer Paradise— Cabin Kids (8^m.) Nov. 26
8508 The Timid Rabbit— Terry-Toon (6^m.) ..Nov. 26
2605 Filming Nature's Wonders — Adv. News
Camera (8^m.) Dec. 3
8603 Not So Dumb— Treasure Chest (9m.) Dec. 10
8509 The Billy Goat's Whiskers — T. T'n (6^m.) .Dec. 10
4705 The Land of the Maple Leaf— Road to
Romance (9^m.) Dec. 10
8909 How to Dance the Shag— Song Hit (7^m.) .Dec. 17
8605 Grey Owl's Little Brother— T. Toon (10J4.) .Dec. 24
8510 Barnyard Boss — Terry-Toon (6j^m.) Dec. 24
8908 Love Goes West— Song Hit (10^m.) Dec. 31
8511 The Lion Hunt — Terry-Toon (7m.) Jan. 7
2606 Trailing Animal Stories — Adv. News (8^m.)Jan. 14
8512 Bugs Beetle and His Orch.— T. T. (6^m.) . Jan. 21
4706 Modern Dixie— Along Rd. Rom. (10m.) ...Jan. 28
8513 His Off Day— Terry-Toon (6^m.) Feb. 4
8606 Songbirds of the North Woods— T. Chest . . .Feb. 11
8514 Just Ask Jupiter— Terry-Toon (6^m.) Feb. 18
Twentieth Century-Fox — Two Reels
8111 Hooray for Hooligan — West-Patricola Nov. 19
8108 Playboy Number One (Bon Voyage)— Willie
Howard (17H min.) Nov. 26
8202 The Bashful Buckaroo— C. Kemper (20 m.) .Dec. 3
8110 Koo-Koo Korrespondence Skool — Jefferson
Machamer (18J4 min.) Dec. 10
8112 Dime a Dance — Coca-Kaye (19 min.) Dec. 24
8307 Dates and Nuts— Timberg-Rooney (19m.) ..Dec. 31
8203 Hi Ho Hollywood— Hutchins (16^mJ Jan. 7
8113 Air Parade— Niela Goodelle (19^m.) Jan. 14
8204 Getting an Eyeful— C. Kemper (18m.) Jan. 21
8114 The Miss They Missed— W. Howard (18m.) Jan. 28
8115 Cupid Takes a Holiday— D. Kaye (15Hm.).Feb. 4
8303 Uncle Sol Solves It— Mirthquake Feb. 11
Universal — One Reel
A2387 Stranger Than Fiction No. 43 (9 min) .... Nov. 29
A2275 The Mysterious Jug— Oswald (7 min.) ...Nov. 29
A2374 Going Places with Thomas No. 43 (9 min.) Dec. 6
A2276 Dumb Cluck— Oswald (7 min.) Dec. 20
A2388 Stranger Than Fiction No. 44 (9 min.) . . . .Dec. 27
A2375 Going Places with Thomas No. 44 (9m.) . Jan. 3
A2277 The Lamplighter — Oswald cart. (7m.) Jan. 10
A2389 Stranger Than Fiction No. 45 (9m.) Jan. 17
A2376 Going Places with Thomas No. 45 (9m.) . Jan. 31
A2278 Man Hunt— Oswald cartoon (7m.) Feb. 7
A2390 Stranger Than Fiction No. 46 (9m.) Feb. 21
A2377 Going Places with Thomas No. 46 (9m.) . .Feb. 28
Vitaphone — One Reel
3503 Mysterious Ceylon — Color-Tour ( 10 m.) Nov. 20
3303 Danger High Voltage (The Live Corpse) — True
Adventures (13 min.) Dec. 4
3705 Jan Rubini & Orch.— Mel. Mas. (10J4 m.) ..Dec. 4
3904 Vitaphone Frolics— Varieties (10J/2 m.) Dec. 4
3203 Pure Feud — Edgar Bergen reissue (10m.) ..Dec. 4
3404 Woods Are Full of Cuckoos— M. M. (7l/2 m.) Dec. 4
3604 Porky 's Hero Agency — L. Tunes m.) . .Dec. 4
3804 Clem McCarthy-Boxers-Dolls — Pictorial
Revues (11 min.) Dec. 11
3405 September in the Rain— Mer. Mel. (6^ m.) Dec. 18
3204 Africa Speaks English — Bergen re. (10 m.) Dec. 18
3504 Land of the Kangaroo— Color-Tour (lO^m.) Dec. 18
3304 Alibi Mark— True Adventures (13 m.) Dec. 25
3706 Henry King and Orch.— Mel. Mast. (11m.) . .Dec. 25
3205 Two Boobs in a Balloon — Bergen re. (10m.) Jan. 1
3406 Daffy Duck and Egghead— Mer. Mel. (7K-) Jan. 1
3505 India's Millions — Color-Tour (10m.) Jan. 8
3805 Ice Cream-Jockeys-Negligees — Pic. (10m.). Jan. 8
3905 Unreal Newsreel — Varieties (9m.) Jan. 8
3206 Free and Easy — Bergen reissue (10m.) Jan. 15
3709 Leon Navarro & Orch. — Mel. Mast. (11m.) . Jan. 15
3605 Porky 's Poppa — Looney Tunes (7m.) Jan. 15
3908 Ski Flight— Varieties (10m.) Jan. 22
3305 The Bolted Door— True Adv. (13m.) Jan, 22
3407 My Little Buckaroo— Mer. Mel. (7^m.) . . . Jan. 29
3708 Enric Madriguera & Orch.— Mel. M. (10m.) Jan. 29
3507 Malayan Jungles — Color-Tour (10m.) Feb. 5
3606 Porky at the Crocadero — L. Tunes (7>2m.) .Feb. 5
3806 Kellogg Ranch-Hockey-Shoes— Pict. (10m.). Feb. 5
3710 Carl Hoff & Orch.— Mel. Mast. (10m.) Feb. 12
3906 Alibi Time— Varieties (11m.) Feb. 12
3306 Hit and Run — True Adventures (13m.) Feb. 19
3408 Jungle Jitters— Mer. Melodies (7m.) Feb. 19
3807 Dogs-Billiards-Lithography— Pictorial Mar. 5
3707 Benny Meroff & Orch.— Mel. Mast. (11m.)
(re.) Mar. 5
3409 Sneezing Weasel — Mer. Melodies (7m.) ...Mar. 12
3502 What the World Makes— Color-Tour Mar. 12
3907 Vitaphone Gambols— Varieties (lO^m.) ...Mar. 19
Vitaphone — Two Reels
3002 Man Without a Country— Tech. (21 m.) .... Nov. 27
3014 Here's Your Hat (A Tip for Cinderella) —
Revues (21 min.) Dec. 11
3026 One on the House — Gayeties (20 min.) Dec. 18
3021 Wedding Yells— Murray-Oswald (21 m.) . . Jan. 1
3009 Script Girl— Headliners (21m.) Jan. 15
3003 Romance Road— Tech. Prod. (19m.) Jan. 29
3015 The Candid Kid— Revues (20m.) Feb. 12
3027 Not Yet Titled— Gay-Eties -....Feb. 26
3010 Little Me— Wini Shaw Mar. 5
3005 Romance of Louisiana — Technicolor Mar. 12
NEWSWEEKLY
NEW YORK.
RELEASE DATES
Universal
640 Saturday Feb. 12
641 Wednesday ..Feb. lo
642 Saturday Feb. 19
643 Wednesday ..Feb. 23
644 Saturday Feb. 26
645 Vv cdnesday . Mar. 2
046 Saturday . . . Mar. D
647 Wednesday .Mar. 9
648 Saturday . . . Mar. 12
649 Wednesday .Mar. 16
650 Saturday . . .Mar. 19
651 Wednesday .Mar. 23
652 Saturday . . . Mar. 26
653 Wednesday . Mar. 30
Fox Movietone
44
Saturday
, Feb. 12
45
Wednesday .
..Feb. 16
46
Saturday
Feb. 19
47
Wednesday .
..Feb. 23
48
Saturday . . ,
, Feb. 26.
4y
Wednesday
..Mar. 2
50
Saturday . .
..Mar. 5
51
Wednesday
..Mar. 9
52
Saturday . .
. . Mar. 12.
53
Wednesday
. . Mar. 16
54
Saturday . .
. . Mar. 19
55
Wednesday
. . Mar. 23
56
Saturday . .
..Mar. 26
57
Wednesday
..Mar. 30
Paramount News
55 Saturday Feb. 12
56 Wednesday . . .Feb. 16
57 Saturday Feb. 19
58 Wednesday . . .Feb. 23
59 Saturday Feb. 26
60 Wednesday . . Mar. 2
61 Saturday .... Mar. 5
b2 Wednesday . . Mar. 9*
63 Saturday .... Mar. 12
64 Wednesday . . Mar. 16
65 Saturday .... Mar. 19
66 Wednesday . . Mar. 23
67 Saturday Mar. 26
68 Wednesday ..Mar. 30
Metrotone News
242 Saturday . . . .Feb. 12
243 Wednesday . . Feb. 16
244 Saturday . . . .Feb. 19
245 Wednesday ..Feb. 23
246 Saturday .... Feb. 26
247 Wednesday .Mar. 2
248 Saturday . . . Mar. 5
249 Wednesday .Mar. 9
250 Saturday ...Mar. 12
251 Wednesday .Mar. 16
252 Saturday ...Mar. 19
253 Wednesday . Mar. 23-
254 Saturday . . . Mar. 26
255 Wednesday . Mar. 30
Pathe News
85159 Sat. (0.)..Feb. 12
85260 Wed. (E.).Feb. 16
85161 Sat. (O.).. Feb. 19
85262 Wed. (E.). Feb. 23
85163 Sat. (O.).. Feb. 26
85264 Wed. (E.).Mar. 2
85165 Sat. (0.)..Mar. 5
85266 Wed. (E.).Mar. 9
85167 Sat. (0.)..Mar. 12
85268 Wed. (E.).Mar. 16
85169 Sat. (0.)..Mar. 19
85270 Wed. (E.). Mar. 23
85171 Sat. (O.).. Mar. 26
85272 Wed. (E.). Mar. 30
Bnter«4 as second-class matter January 4, 1921, at the post office at New York, New York, under the act of Maroh 3, lrw.
'S
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weehly by
United States $15.00 1 R1 O Harrison's Reports, Inc.,
U. S. Insuiar Poesessions. 16.50 rvoom XOiA Publisher
Canada 1C.50 New York, N. Y. P. S. HARRISON, Bdltor
Mexico, Cuba, Spain 16.50 , . _. _ „
Great Britain 13 75 A Motion Picture Reviewing Service
Australia, ~New ' Zealand. ' Devoted Chiefly to the Interests of the Exhibitors Bstabitahed July 1, 1919
India, Europe, Asia .... 17.50 _
oc. f-mw Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-46»2
aoc a ^opy Columns, if It is to Benefit the Exhibitor.
Previewing service free from the influence of film advertising
Vol. XX SATURDAY, FEBRUARY 19, 1938 == No. 8
COOPERATIVE ADVERTISING SHOULD
NOT BE DROPPED
A representative of Warner Bros, has an-
nounced that his company will discontinue joining
hands with the exhibitor in advertising certain pic-
tures by sharing the cost of advertising. As a
reason, he gives the fact that many exhibitors have
taken advantage of Warner Bros, by not spending
in the advertising partnership as much money as
they spent before.
According to Motion Picture Herald, S. Barrett
McCormick, advertising and publicity director of
RKO, stated that it is impossible for an exhibitor
to take advantage of a distributor in cooperative
advertising, by reason of the fact that a distributor
may easily check up the advertising that had been
done by an exhibitor individually over a long pe-
riod of time ; such distributor could then compel
the exhibitor to live up to his agreement.
Since the pictures that bring the real money to
the distributor are played on percentage, dropping
the cooperative advertising will injure the distribu-
tor as much as the exhibitor, for the less a picture
takes in the less the distributor will receive.
It seems to this paper as if there is no more jus-
tification to this complaint than there is to Grad-
well Sears' complaint against the exhibitors for
trying to increase their business by means of pre-
mium nights instead of confining themselves to
exploiting the pictures.
Not only should cooperative advertising be con-
tinued ; it should be complemented by institutional
advertising. As matters now stand, the advertising
done for each particular picture benefits the dis-
tributor and the exhibitor who plays it only for
that picture ; there is not much good will created
among the public. Institutional advertising, that is,
advertising that mention^the industry and not any
particular picture, will benefit the entire industry
far more, for it will create good will for the entire
industry and not for any particular company.
Institutional advertising is needed to give the
picture-going habit to millions who are not going
to picture shows now. It should be coupled with a
picture-going period, for one month at least, dur-
ing, not the fall, but the spring. Either May, or the
period between May 15 and June 15, should prove
much more advantageous than the month of
August.
NEELY BLOCK-BOOKING BILL
REPORTED FAVORABLY OUT
OF COMMITTEE
The Neely Bill (S. 153), which is the same as
the Pettengill Bill now pending before the House
of Representatives, and which is designed to out-
law block-booking as well as blind-selling of mo-
tion pictures, has been reported favorablv out of
the Senate Committee on Interstate Commerce. In
other words, the Committee recommended to the
Senate that this Bill be passed.
No hearing was held, the previous hearings for
the same Bill being considered sufficient to make its
purport known to the public.
The move of the Committee places the Bill on
the Senate Calendar for action when bills reported
favorably by the different Senate committees are
to be considered.
Because of the fact that, when a Senator asks
that a particular bill be "passed over," the bill re-
mains on the calendar, no vote being taken whether
such bill should or should not be "passed over,"
ability of the proponents of the Neely Bill to bring
it to a vote without a dissenting voice depends on
the voters back home. For this reason every one of
you should write to the Senators from your state
as well as to every Senator you should happen to
know, urging them to support Bill S. 153. In addi-
tion, you should urge as many of the prominent
citizens of your town as you can to write to your
Senators urging them to give this Bill their whole-
hearted support. No time is to be lost. Remember
that a large number of civic, fraternal, and reli-
gious organizations are supporting this Bill ac-
tively.
The Pettengill Bill (H. R. 1669), which is, as
said, companion to the Neely Bill, is still before the
House Committee on Interstate and Foreign Com-
merce.
Passage of the Neely Bill by the Senate should
exert much influence in obtaining favorable action
on the Pettengill Bill by the House Committee.
For this reason you should see to it that your Sen-
ators are swamped with mail, telegrams, or tele-
phone calls, urging immediate action on the Bill.
In addition, you should urge that similar messages
be sent also to Hon. Clarence F. Lea, Chairman of
the House Committee on Interstate and Foreign
Commerce, as well as every member of the Com-
mittee. Their names are as follows :
Robert Crosser, Ohio; Alfred L. Bulwinkle,
North Carolina ; Virgil Chapman, Kentucky ; Paul
H. Maloney, Louisiana ; William P. Cole. Jr.,
Maryland; Samuel B. Pettengill, Indiana; Edward
A. Kelly, Illinois; George G. Sadowski, Michigan ;
John A. Martin. Colorado ; Edward C. Eicher,
Iowa; Martin J. Kennedy, New York; Thomas J.
O'Brien, Illinois ; Henry Ellenbogen, Pennsyl-
vania; Herron Pearson, Tennessee; Jerry J.
O'Connell, Montana ; George B. Kelly, New York ;
Lvle H. Borcn, Oklahoma; Gardner R. Withrovv.
Wisconsin; Carl E. Mapes, Michigan; Charles A.
Wolverton. New Jersey; James Wolfenden. Penn-
sylvania; Pehr G. Holmes, Massachusetts: B.
Carroll Reece. Tennessee ; James W. Wadsworth,
New York ; Charles A. Halleck. Indiana.
30
February 19, 193a
"Night Spot" with Parkyakarkus,
Allan Lane and Joan Woodbury
(RKO, February 25 ; time, 60 min.)
Ordinary program fare. The story, which is developed
on the familiar pattern without any new angles, offers only
moderate excitement. Even the performances are only fair ;
but this is probably due to the fact that the players were
unable to cope with the material at hand. The burlesqued
detective part played by Parkyakarkus is entirely out of
keeping with the melodramatic moot! of the story. The
closing scenes, during which the gangster leader tries -to
escape by using the heroine as his shield against the police,
are exciting in spots ; but the method etnployed by the hero
to trap the gangster is so ludicrous that audiences may be
amused instead of thrilled. The routine romance is fairly
pleasant : —
Without suspecting that she was shielding a criminal,
Joan Woodbury testifies on behalf of Bradley Page, gang-
ster owner of a night club, in a murder action. Her testi-
mony brings about his acquittal. To show his appreciation,
he gives her a job as a singer in his club. There she meets
and falls in love with Allan Lane, one of the musicians ; she
was unaware of the fact that he and his musician friend
(Gordon Jones) were detectives, who were trying to get
evidence to prove that Page and his gang were jewel
thieves. Lane finally gets the information he needed ; he
discovers that, through microphones attached to the lamp
on each table, Page could listen in on comments by his
patrons about the jewels they owned, and could plan his
robberies accordingly. When Page is trapped, he grabs
Miss Woodbury, to use as his protection against the police.
He takes her to the edge of the roof and threatens to throw
her to her death unless the police left. Lane risks his life
to save her. He succeeds ; and Page is arrested.
Anne Jordan wrote the story, and Lionel Houser, the
screen play ; Christy Cabanne directed it, and Robert Sisk
produced it. In the cast are Frank Thomas, and others.
The activities of the gangsters make it unsuitable for
children. Class B.
"Start Cheering" with Walter Connolly,
Jimmy Durante, Charles Starrett
and Joan Perry
{Columbia, March 3; time, 77 min.)
This comedy with music should go over well with the
masses. The plot is unimportant; it is used just to tie to-
gether a series of vaudeville acts and musical numbers. Al-
though not big as compared with some of the musicals pro-
duced by Metro and Warner, it is peppy entertainment,
with a youthful spirit, and it has plentiful comedy, music,
and dancing. One of the specialty acts that should go over
big with audiences is that which shows Chaz Chase eating
lit cigarettes, papers, and anything he could lay his hands
on. Jimmy Durante handles most of the comedy in his cus-
tomary style, provoking laughter by his misuse of words
and his outbursts of temper. The romance is pleasing : —
Charles Starrett, motion picture star, tired of Holly-
wood, is determined to leave picture work in order to go to
college. This decision almost drives insane Walter Con-
nolly, his manager, whose livelihood depended on Starrett's
continuing to work. So Connolly and his assistant (Du-
rante) follow Starrett to college, in an effort to get him
ousted. But their efforts are in vain, for the college needed
some one sensational on their football team in order to
bolster up the depleted treasury, and Starrett was the an-
swer to their prayer. But the students, thinking that Star-
rett had enrolled just for publicity, ignore him, thus making
him unhappy ; his only friend was Joan Perry, the Dean's
daughter, who had fallen in love with him. At Miss Perry's
request, the students agree to take Starrett into their fra-
ternity ; they put him through the regular initiation and
then put a pin on him. Starrett later finds out that the boys
had played a joke on him, and that he really did not belong
to the fraternity. Disgusted, he leaves the college for New-
York. But by this time Connolly did not want him to leave,
for he had put through a deal for Starrett to broadcast
from the college grounds. After a hectic chase, Connolly
finds Starrett and gets him back to college in time to com-
plete the broadcast. The students apologize to Starrett,
making him happy. He declares his love for Miss Perry.
The plot was adapted from the story "College Hero," by
Corey Ford ; Eugene Solow, Philip Rapp and Richard
Wormser wrote the screen play, Albert S. Rogell directed
it, and Nat Perrin produced it. In the cast are Three
Stooges, Virginia Dale, Ernest Truex, and others.
Suitable for all. Class A.
"The Girl Was Young" with Nova Piibeam
(Gaumont- British, February 15; time, 70 min.)
Good melodramatic entertainment. Because of the nov-
elty of the story, rthe interesting plot developments, and the
expert direction by Alfred Hitchcock, one's attention is
held from the beginning to the end. Particularly thrilling
are the closing scenes, where the heroine searches for the
murderer at a hotel, her only clue being that he had a ner-
vo\is twitching of the eyes. The manner in which the break-
down of the murderer is brought about holds one in tense
suspense. The background is England : —
When a well known actress is found strangled to death,
the police arrest Derrick deMarney, an acquaintance of
hers, who had found the body. The belt she had been
strangled with belonged to a raincoat, and the police scoff
at deMarncy's story that his raincoat had been stolen. He
escapes from the police, his one desire being to find the
person who had stolen his raincoat and thus establish his
innocence. He unwittingly drags into the case Nova Pii-
beam, the Constable's daughter, into whose car he had
jumped. At first she is reluctant to help him or to believe
in him; but in a short time she realizes he was telling her
the truth, and so she decides to help him. Their investiga-
tions lead them from a pub to a hobo hotel, where de-
Marney finds the tramp who had his coat. The tramp
swears that he had not stolen it, but that it had been given
to him by a man who had a peculiar twitch of the eyes.
Through a package of matches, which bore the name of a-
certain hotel, they get their first clue. Miss Piibeam and
the tramp go to the hotel, to search for the mysterious man.
. When the police close in on them and the case seems most
hopeless, they suddenly find their man — a musician
(George Curzon) in the orchestra. He hysterically admits
that he had killed the actress, his wife, because he believed
she had been having affairs with other men. His name
cleared, deMarney declares his love for Miss Piibeam.
Josephine Tey wrote the story, and Charles Bennett,
Edwin Greenwood, and Anthony Armstrong, the screen
play ; Mr. Hitchcock directed and produced it. In the cast
are Edward Rigby, Percy Marmount, and others.
The murder makes it unsuitable for children. Class B..
"Scandal Street" with Lew Ayres
and Louise Campbell
(Paramount, February 11 ; time, 61 min.)
Mild program fare. It revolves around malicious small-
town gossipy characters, whose actions are annoying, to>
say the least. With the exception of a few spots in which
Virginia Weidler, an imaginatjve child, provokes laughs by
her antics, the comedy falls flat, for it is neither novel nor
particularly comical. The injection of the murder angle
fails to add excitement or to hold one in suspense, for one
knows who the murderer is. Nor is the manner in which his
confession is obtained edifying, for it is brought about by
the made-up stories of little Virginia, who hated him and
felt certain that he was the murderer. Lew Ayres is lost in
a negative part ; he makes but two appearances — once in
the beginning and then again at the end :—
When her sweetheart (Ayres) leaves for the tropics in.
connection with his work, Louise Campbell goes to a small
town to establish a new library. Her good looks and pleas-
ing manner set the women, including Elizabeth Patterson^
with whom she boarded, against her. Roscoe Karns, mar-
ried to wealthy Esther Howard, tries to force his attentions
on Miss Campbell, but she resists him. The women in the
town believe, however, that she was leading him on. Karns,
who had entered into a mail-order scheme with Porter
Hall, a new-comer to the town, finds out that the scheme
was illegal. He telephones Hall, urging him to call to see
him immediately. In the meantime, Miss Campbell, who
wanted to return some money she had borrowed from
Karns, calls while his wife was out. Karns' manner offends
her and she soon leaves ; but later she returns for her
glasses, which she had inadvertently left there. When she
finds Karns dead, she is horror-stricken ; circumstances
are against her and she is held for the murder. Ayres ar-
rives in town the day of the questioning and naturally
stands by his fiancee. The neighbors, because of their evil
minds, build up a case against Miss Campbell : they all tes-
tify against her. But little Virginia, who loved Miss Camp-
bell, gives Ayres information that helps him trap Hall into
confessing that he had killed Karns. Miss Campbell, freed,
is glad to leave the hateful town with Ayres, whom she was
going to marry.
Very Caspery wrote the story, and Bertram Millhauser
and Eddie Welch, the screen play ; James Hogan directed
it. In the cast are Cecil Cunningham and others.
Unsuitable for children. Class B. •
HARRISON'S REPORTS 31
February 19, 1938
"Penitentiary" with Walter Connolly,
John Howard and Jean Parker
{Columbia, January 17 ; time, 78 min.)
A fairly strong prison melodrama. When this was first
made by Columbia in 1931 under the title ''The Criminal
Code," it was excellent entertainment, holding one in tense
suspense. But the remake is not as effective as the first
version. For one thing, the background and action are not
as novel now as they were in 1931, owing to trie fact that
many prison melodramas have been produced since then.
For another, the tempo seems to be slower here. It is doubt-
ful if women will find this very enjoyable, for some of the
situations are pretty gory ; the scene in which a prisoner
stabs a guard and then is shot down himself is sickening.
The pleasantest part is the hero's regeneration under the
heroine's influence : —
Howard, while intoxicated, loses his head during a quar-
rel and kills a man. Since the murder had not been pre-
meditated, he is convicted and sentenced to a ten year
prison term. By the end of six years his spirit is broken and
he is on the verge of a nervous breakdown. Walter Con-
nolly, the former district attorney, who had been instru-
mental in sending Howard to prison, becomes the warden.
The prison doctor brings Howard's case to his attention,
recommending a change in prison work. Connolly makes
Howard his chauffeur. Howard falls in love with Jean
Parker, the warden's daughter, and becomes regenerated.
Just on the eve of his parole, a squealer is murdered. Since
Howard had been in the room and knew who the murderer
was, he is questioned but refuses to talk ; for this he is
thrown into solitary confinement. The prisoner who had
committed the murder finally confesses. At the same time,
he kills the head keeper (Robert Barrat), against whom
he had had a grudge ; he is then killed by the guards. Miss
Parker confesses to her father her love for Howard ; he
consents to their marriage once Howard is paroled.
The plot was adapted from the play by Martin Flavin ;
Fred Niblo, Jr., and Seton I. Miller wrote the screen pfay ;
John Brahm directed it, and Robert North produced it. In
the cast are Arthur Hohl, Marjorie Main, and others.
Unsuitable for children. Adult fare. Class B.
"The River"
(Rel. by Paramount ; running Jime, 31 min.)
This is a United States Documentary Film, produced by
the Farm Security Administration, Department of Agri-
culture, and written and directed by Pare Lorentz.
Every American should be interested in seeing it. It is
exciting, not only because of its subject matter — the history
of the Mississippi River valley — but also because of the
way in which it has been presented, with excellent com-
mentary by Thomas Chalmers, and stirring musical accom-
paniment.
Mr. Chalmers employs simple terms to describe how the
impoverishment of the valley was brought about by cotton
planters, by timber interests who stripped the mountain
ranges, and by recurring floods ; but what he says is effec-
tive enough to touch one's heart and to fill one with a desire
to do something about it.
He describes vividly the plight of the poor tenant farmers
and share-croppers, who live in squalor and are helpless to
better their conditions.
Although the purpose of this picture is to propagate the
news about the Government's work in the Tennessee basin,
where the experimental work in power dams and reforesta-
tion and adequate housing for the workers is going on, it
has been produced so expertly, and the subject matter is so
interesting, that one forgets it is propaganda.
Stacy Woodward, Floyd Crosby, and Willard VanDyke
photographed it. and Virgil Thomson wrote the music.
Suitable for all. Class A.
"Bringing Up Baby" with Katharine
Hepburn and Cary Grant
(RKO [1936-37] February 18; time, 101 min.)
An excellent farce. The story is novel and has been
treated so well that one is kept laughing from the begin-
ning to the very end. There are many situations that pro-
voke hearty laughter ; but perhaps the most comical situa-
tion is at a night club, where Cary Grant, having acci-
dentally stepped on Katherine Hepburn's gown, rips away
part of the skirt, then trying to cover up the torn part in
the back with his hat, thus annoying Miss Hepburn, who
did not know that her dress had been torn. Grant, nlaying a
semi -serious part, is the perfect foil for Miss Hepburn's
clowning. And audiences, accustomed to seeing Miss Hep-
burn in serious parts, will be amazed at her capabilities as a
comedian. The romance is delightful ; although one knows
how it will end, one is kept in suspense because of the tricks
Miss Hepburn resorts to in her effort to win over Grant : —
Grant, while on the golf course with the attorney for a
wealthy woman who was contemplating endowing him
with $1,000,000 to continue research work at his museum,
accidentally becomes acquainted with Miss Hepburn, a
slightly scatter-brained girl. Before he knows what was
happening, he finds himself becoming involved in the care
of a tamed leopard that had been sent to Miss Hepburn by
her brother ; she wanted to hide the leopard at her country
home, because she thought that her aunt (May Robson), if
she would find out about the leopard, would not give her
the million dollars she had promised her. It develops that
the aunt was none other than the woman from whom Grant
had expected to get his million dollars. Things go com-
pletely haywire when the tamed leopard, and at the same
time a wild leopard from a zoo, escape; every one, includ-
ing Miss Robson's friend (Charlie Ruggles), is arrested
by Walter Catlett, the Sheriff, who mistakes them for
members of a gang. When Miss Hepburn learns that Miss
Robson had been expecting the leopard as a pet she is
heartbroken and determines to find it. She manages to es-
cape from jail, and soon returns with what she believed
was the tame leopard ; but when she sees her leopard in the
jailhouse, she realizes she was dragging a wild leopard;
then she becomes terrified. Grant finally tricks the wild
leopard into a cell. The prisoners are released, and Grant
goes back to his museum, minus the million dollars. His
staid fiancee breaks their engagement. Miss Hepburn
finally calls to see him and confesses that she loved him ;
he is happy, for he, too, loved her.
Hagar Wilde wrote the story, and Dudley Nichols and
Hagar Wilde, the screen play ; Howard Hawks directed it,
and Cliff Reid produced it. In the cast are Barry Fitz-
gerald, Fritz Feld, and others. (Qass A.)
"Gold Is Where You Find It" with
George Brent, Olivia deHavilland
and Claude Rains
{First National, February 19 ; time, 94 min.)
A very good technicolor box-office attraction, despite a
slow start. The first half is concentrated mostly on impress-
ing the spectator with the gorgeous outdoor photography,
which becomes somewhat monotonous because of repetitious
shots of certain scenes. Once the action starts, however,
one is less conscious of the striving for effects and becomes
absorbed in the plot. The real thrills are in the closing
scenes, where the hero, in order to protect the farmers,
dynamites the miners' plant, causing a flood. The techni-
color photography heightens the excitement in these scenes.
There are some situations that stir the emotions. The situa-
tion in which the young son of the leading farmer is killed
by the miners is one of them. The romance is simple but
pleasing. The action takes place in the year 1870 : —
When George Brent, engineer for a mining outfit, ar-
rives in Sacramento to supervise the hydraulic work of
digging for gold, he finds out that there was enmity between
the miners and the farmers. The farmers, who lived in the
lower valley, were being ruined by the miners, who worked
in the upper valley, because the waste matter of the dig-
gings was washed down the river, destroying their crops
and even washing away some of the wooden shacks in which
the farmers lived. Claude Rains, the most prosperous wheat
grower, tries to keep the farmers from taking the law into
their own hands; he insists that instead they start injunc-
tion proceedings. When he learns that Brent was in love
with his daughter (Olivia deHavilland), he is angry and
orders him off the premises, for he mistrusted any one con-
nected with the miners. Brent, after a trip to San Francisco
to see his superiors, returns to Sacramento and is shocked
to learn that he had been replaced by brutal Barton Mac-
Lane, whose orders were to shoot the farmers if they tried
to serve the injunction papers. When Rains' son, who had
gone up to serve the papers, is killed, Rains gathers the
farmers with the purpose of shooting it out with the miners.
Brent, in order to prevent bloodshed, risks his life by dyna-
miting the hydraulic plant. Some of the men are drowned
in the flood, but at least the conflict is over. The action
finally comes to court, and the Judge finds in favor of the
farmers. This hrings joy to the farmers, for it meant that
they could go ahead with their plans to make Sacramento
a great farming center. Brent, who had turned farmer,
marries Miss deHavilland.
Clements Ripley wrote the story, and Warren Duff and
Robert Bnckner, the screen play : Michael Curtiz directed
it, and Sam Bischoff produced it. In the cast are Margaret
Lindsay, John Litcl, Sidney Toler, and others. (Class A.)
32
THE 35% PICTURES MUST GO!
The Hollywood Reporter, in its issue of Sat-
urday, February 12, writes as follows under
"Tradeviews" :
"Everywhere you go in Hollywood you hear:
'I've never seen it so dead'; 'When are things go-
ing to pick up?'; 'Is this the start of a general
knifing of all work and pay ?' ; 'What's going to
happen next?'
"All are questions bearing on the slowed condi-
tion of production, on the gradual pruning of all
staffs, on attempted cuts in many new contracts,
plus a general uncertainty of the whole layout.
"Production has slowed down to a walk, because
studios, for the most part, are well ahead of their
programs, in addition to the fact that the home
office execs and their distributing heads have re-
quested the present pace in an effort to 'take stock,'
analyze present conditions, attempt to figure on
the immediate future, and, ABOVE ALL, con-
centrate on the lowering of production costs to
conform with the conditions of the ticket sales now
and for some time to come.
"The reason there is more worry now on the
part of the creators than in the past few years is
because of the dizzy pace installed by all studios,
born of a temporary box-office boom and an afflu-
ence that went to the heads of everyone from the
top production head down to the slate boy.
"The ticket sales, the greatest the business has
ever known, turned $25,000 directors into those
drawing picture checks for $100,000 and more ;
took artists who were happy to collect $500 and
$750 a week and sent them up into pay brackets
exceeding two and three times that amount ; per-
mitted writers the largest weekly salaries they ever
received and the greatest amount of time for their
work. It was all heaven here in Hollywood. But
there was a sudden box office jerk, even in the f ace
of the greatest pictures this industry has turned
out, and with that jolt, the companies felt the need
of their present move. . . ."
If every Senator and every member of the
House of Representatives should read this editorial
of Mr. Wilkerson's there should be no trouble in
convincing them that the way out of this Holly-
wood mess is the passage of the Neely-Pettengill
Bill, because the outlawing of block-booking as
well as of blind-selling will compel the producers
to put every director, every star and every writer
on his own merits. The raising of $25,000 directors
to the $100,000 class, and of $500 a week players
to the $2,000 and even $3,000 class ; the permitting
of ordinary writers to spend weeks at a time at
Palm Springs and at other resorts, mountain as
well as sea, in an effort to get some inspiration to
write the particular story that had been assigned
to them, is made possible only because pictures are
sold, not on merit, but on quantity, the result of the
prevailing block-booking system. When the time
comes for pictures to be sold on merit, it will not
be necessary for the studio heads to declare a pro-
duction holiday in order to find means by which
production costs could be lowered ; the box office
will tell what each artist is worth. It is the unfailing
barometer.
The impression you should receive from this ex-
pose of present conditions in Hollywood is the fact
that Hollywood, in the mood it is now in, will pro-
- February 19^193S
duce pictures that are in keeping with such mood.
No producer could expect from a $25,000 director
$100,000 work, when he cuts the salary of such
director to what he is worth to the box office ; nor a
$500 player, $3,000 worth of weekly work when he
puts such player to the pay level he belongs. The
same is true of writers. The producers have made
many of these artists live in a fools' paradise, and
it is hard for them to make these artists put out
decent work when their salaries are cut. They don't
want to know what has caused the reductions ; all
they know is that they are not receiving less now.
The question, however, now is this : when most
of you signed contracts for the 1937-38 season's
product, conditions were of the best since 1929.
Naturally you agreed to pay prices commensurate
with the quality of last season's product. How can
yon, then, pay those prices for product that is not
coming up to the quality you were made to believe
that you would receive ?
A readjustment of the contracts all along the
line is necessary. The 35% pictures must go.
THE DRIVE AGAINST DOUBLE
FEATURES AMONG THE PUBLIC
It is hardly possible for any one of us to know
who is back of the move against double features
among the picture-going public. Certainly the move-
ment in Chicago has not started spontaneously ;
some one must have primed it.
There is much that can be said against double
features, and much for them. For instance, by
showing double features, an exhibitor is com-
pelled to show many pictures that are unsuitable
for showing. But if it were not for the double
features, the independent producers could not have
survived. And without independent production,
the industry would certainly have been monopo-
lized more closely than it is today.
The cause for the double feature evil is the
theatre-owning producers themselves. Being in
control of theatres in the choicest locations, and
being in a position to make deals among themselves
and with the producers who do not own theatres,
they deprive the independent exhibitor of an op-
portunity to show first run films. He is, therefore,
compelled to show two features on the same bill,
for one feature alone would not, in many instances,
draw a corporal's guard in his theatre. Often even
double features will not draw ; he then finds it nec-
essary to establish premium nights, which, in many
instances, outdraw the finest feature pictures, with
the most popular stars.
Such is the situation as concerns the exhibitor.
On the independent producer's side, double fea-
tures are a matter of life and death for his business,
for the affiliated circuits, having, as said, a mon-
opoly of exhibition, will not buy his pictures, or if
they buy them they do not give him sufficient rev-
enue to enable him to make a substantial number
of his feature pictures suitable for single billing.
Even when he now and then makes a meritorious
picture, established as a money-maker beyond any
doubt, they chisel him down to the point where he
is not encouraged to make other such pictures.
The double-feature problem cannot be settled'
arbitrarily ; it will have to be decided by each ex-
hibitor himself, in accordance with his particular
requirements.
HARRISON'S REPORTS
Hntared a» second-class matter January 4, 1921, at the post office at New York, New York, under the act ot March 3, 187*.
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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, FEBRUARY 26, 1938 No. 9
CAN THE CONTRACT HOLDERS
COMPEL FIRST NATIONAL TO
DELIVER "BOY MEETS GIRL"?
When First National started selling its prod-
uct last summer, its contract form named three
pictures either by title and stars or by stars
alone: "Adventures of Robinhood" (251), with
Errol Flynn and Olivia de Havilland ; "Food for
Scandal" (252), with Carole Lombard, Fernand
Gravet, and Ethel Merman ; and No. 253, de-
scribed as a "Big Musical," with Dick Powell,
Ginger Rogers, and Benny Goodman and his
orchestra as the stars.
About the middle of August First National
altered the contract form, putting "Boy Meets
Girl," the Broadway success, in place of "Big
Musical."
Holders of the second form of contract have
now been notified that No. 253 has been given
to "Hollywood Hotel," and that they must ac-
cept this picture instead of "Boy Meets Girl."
An exhibitor has written to this office asking
whether he is or is not under an obligation to
accept "Hollywood Hotel," instead of "Bov
Meets Girl."
I looked into the contract and found that the
rights of the distributor to make the substitu-
tion are contained in the Eighth Clause, which
reads as follows :
"(a) "The Distributor shall have and hereby
reserves the right in the sole discretion of the
Distributor to change the title of any of the
said motion pictures, to make changes in, al-
terations and adaptation of any story, book or
play and to substitute for any thereof any other
story, book or play. The Distributor also shall
have and hereby reserves the right to change
the director, the cast or any member thereof of
any of said motion pictures.
"(b) The Exhibitor shall not be required to
accept for any feature motion picture described
in this Schedule as that of a named star or stars,
director or named well-known author, book or
play, any motion picture or any other star or
stars, director, author, book or play nor to ac-
cept any other feature motion picture in place
of any thereof which in the Schedule is desig-
nated 'no substitute.' ..."
In other words, the distributor has the right
to give you any other picture he sees fit to de-
liver in place of the one it has sold you, unless
the word "No Substitute" is contained near the
title of the original picture ; and since the phrase
"No Substitute" is not contained in the space
opposite No. 253, and described as a "Big Mu-
sical." First National is within its contractual
rights in taking away "Boy Meets Girl" from
those of you who have it and in delivering
"Hollywood Hotel" in its place.
What has prompted the Warner Bros, execu-
tives to make this substitution is, no doubt, the
fact that they have decided to put in the leading
part of "Boy Meets Girl" James Cagney, with
whom they have made peace. They may hold
"Boy Meets Girl" back, to release it in the 1938-
39 season, as a sort of "come on" for that season.
In view of the fact that Warner Bros, is de-
livering "Emil Zola" in place of "The Gam-
blers," which was contained in the original
form, those of you who bought both products
may feel that the "swap" is even ; it is only in
the cases where an exhibitor bought only the
First National product that injustice will be
done.
What should, however, impress you is not the
fairness of the "swap" but the fact that the con-
tract contains the "joker" provision. The type
the contract is printed in is so fine that I doubt
whether one out of each hundred exhibitors has
noticed it.
INDEPENDENT PRODUCTION
DESERVES YOUR SUPPORT
During the 1937-38 season, independent pro-
duction, from the point of view of story treat-
ment, direction, and star values, has shown no-
ticeable progress. Several independent pictures
are drawing well. The production of Republic
pictures, are more costly, with more popular
stars, better directed and acted than formerly,
and the studio is striving for still better results.
Monogram is so far superior to the old Mono-
gram that there is really no comparison. Dur-
ing its first season in business, it has come for-
ward with several money-makers. Grand Na-
tional is the only discordant note. With pros-
pects greater than those of any other indepen-
dent company, it has fallen by the wayside, be-
cause of, what this paper believes, poor manage-
ment. But Monogram and Republic have com-
pensated for the poor performance of Grand
National.
The independents have proved that they can
make better pictures as pieces of work, and bet-
ter money-makers as works of entertainment.
But have you. the independent exhibitors,
shown a proper spirit towards them? Have you
given them the encouragement they deserve, in
the only way possible — play-dates? Unfortu-
nately, such does not seem to be the case. Many
of you would rather buy the major "junk" at
(Continued on fast />«(;<* )
34
"The Big Broadcast of 1938" with W. C.
Fields, Martha Raye and Dorothy Lamour
(Paramount, March 4; time, 90 mill.)
Good in box-office possibilities, but only fair in enter-
tainment value. Despite a lavish production, popular
players, and good tunes, it is slow-moving and dull in
spots. The story is so thin that it falls to pieces. The pic-
ture is a hodge-podge of comedy and melody, the individual
situations ranging from good to fair. W. C. Fields provokes
laughter as usual. The funniest scene is where he plays
golf, driving around the course in a peculiar looking motor-
cycle. Comical also is the situation where he plays pool
with a silly Englishman. But with the exception of these
two scenes, he is at a disadvantage, because of poor
material. Martha Raye runs through the picture rather
aimlessly and is given only one chance to sing and dance.
The outstanding feature for class audiences is the singing
of one aria by Kirsten Flagstad, the world famous operatic
star, and the two songs sung by Tito Guizar. For the rest,
Bob Hope, from the stage, makes a fairly good impression ;
Dorothy Lamour, appearing in a rather negative part, sings
one song effectively, and the rest do the best they can with
the material at hand.
The story revolves around a race between two ocean
liners, one of which was owned by W. C. Fields. Leif
Ericson, an officer on Fields' ship, is discouraged when
Fields orders him not to use his new electrical invention,
which could send up the speed and bring victory to their
ship. Dorothy Lamour, a passenger, sympathizes with
Ericson. Fields makes a nuisance of himself ; he knocks out
the Captain, and insists on steering the boat himself
through the dangerous ice-berg vicinity. Ericson finally sets
his electrical invention going. He is overjoyed when they
win the race. Miss Lamour promises to marry him.
Frederick Hazlitt Brennan wrote the story, and Walter
DeLeon, Francis Martin, and Ken England, the screen play ;
Mitchell Leisen directed it, and Harlan Thompson produced
it. In the cast are Lynne Overman, Ben Blue, Grace
Bradley, Patricia Wilder, and others.
Suitability, Class A.
"Romance in the Dark" with Gladys
Swarthout, John Boles and John Barrymore
(Paramount, Feb. 18; time, 78 min.)
This comedy with music is entertainment primarily for
class audiences, despite its attempts at light-hearted com-
edy, for it tends too much towards the operatic for mass
appeal. It seems a pity that Paramount has not yet found
a good story for Miss Swarthout, for she has charm, good
looks, and a beautiful voice. Aside from singing, this gives
her very little else to do but stand around and look pretty.
The plot is silly and the action slow ; the over-abundant
music is dragged in by the ear. The action takes place in
Budapest :—
At her music school graduation, Miss Swarthout is
thrilled when John Boles, a famous singer, guest of honor,
gives her a medal ; she believes him when he tells her that if
she ever visited Budapest she should look him up. When she
finally goes to Budapest, her many attempts to see him
are in vain ; and so she becomes a maid in his home. Boles,
who was having his troubles keeping his manager (John
Barrymore) away from his latest love (Claire Dodd),
thinks of a scheme to trick Barrymore, and keep him away
from Miss Dodd. Having heard Miss Swarthout sing, he
leads her to believe that he was interested in furthering her
career. He gives her money to buy clothes and jewels and
then takes her to his country estate, to which he lures
Barrymore. He passes Miss Swarthout off as a Persian
princess, and Barrymore is thrilled ; he signs her to sing.
When she learns why Boles had helped her, she is furious
and refuses to believe that he had actually fallen in love
with her. She goes to Budapest with Barrymore to start on
her career. The house is completely sold out for the night
of her debut. Everything goes well until a newspaper re-
porter finds out that she was a fake. She is cheered at the
end of the first act. But during intermission the customers
read the newspaper extra exposing her and return to their
seats to boo her. The tenor refuses to go on, but Boles
saves the day by taking over the tenor's part, thereby
quieting the audience. At the end they cheer them both.
Miss Swarthout forgives Boles.
The plot was adapted from a play by Herman Bahr ;
Frank Partos and Anne M. Chapin wrote the screen play ;
H. C. Potter directed it, and Harlan Thompson produced
it. In the cast are Curt Bois, Fritz Feld, and others.
It is doubtful if children will understand the innuendos.
Class A.
"The Baroness and the Butler"
with William Powell and Annabella
(20th Century-Fox, Feb. 18; time, 79 min.)
A sophisticated comedy-drama, lavishly produced, but
suitable mostly for class audiences. Since the story lacks
mass appeal, the picture will have to depend on William
Powell's popularity to attract people to the theatre. There
are several situations that provoke laughter ; but occasion-
ally the action is forced and somewhat slow-moving. Al-
though Annabella is extremely good-looking and wears
clothes well, she is handicapped by a thick accent, which at
times makes her speech unintelligible : —
Powell, butler to the family of the Hungarian Prime
Minister (Henry Stephenson), is a devoted servant, his
family having served Stephenson's family for generations.
He is secretly in love with the Prime Minister's daughter
(Annabella), who was married to unfaithful Joseph Schild-
kraut. The family is completely surprised when on election
night they learn that Powell had been elected to Parliament
on the opposition ticket. Stephenson is amused at the idea,
but his wife (Helen Westley) and his daughter are enraged.
Annabella insists that her father discharge Powell, but he
refuses. Powell soon assumes leadership of his party and,
because of his duties, is compelled to neglect his butlering
work ; and so Stephenson reluctantly discharges him.
Schildkraut, who wanted to advance himself politically,
invites Powell to his home. Annabella entertains him ; when
Powell confesses his love for her she realizes that she, too,
loved him. Schildkraut offers to divorce his wife without
a scandal, provided Powell appointed him to a position of
importance. Powell agrees to this ; but Annabella publicly
denounces her husband and insists that Powell himself be
appointed to the position. The members of Parliament cheer
her and follow her suggestion. She obtains her divorce and
marries Powell, now a political power.
The plot was adapted from the play by Ladislaus Bus-
Fekete ; Sam Hellman, Lamar Trotti, and Kathryn Scola
wrote the screen play ; Walter Lang directed it, and Ray-
mond Griffith produced it. In the cast are Nigel Bruce,
J. Edward Bromberg, Lynn Bari, and others.
Morally nothing wrong with it. Suitability, Class A.
"To the Victor" with Will Fyffe, John Loder
and Margaret Lockwood
(Gaumont-British, March 1 ; tune, 72 min.)
Judged solely on its merits, this is an outstanding English
production. And as such, it should appeal to audiences that
appreciate novelty of story, natural settings, and unusually
fine performances. It is doubtful, however, if the American
masses will give it the support it deserves, for the story is
sombre and the Scottish accents pretty thick. And since
the story is, in the main, about dogs, its appeal is further
limited. It should please dog fanciers, however, who will
be particularly thrilled by the situation in which the sheep
trial for dogs is held. The outstanding performance is
given by Will Fyffe, in the part of the inflexible Scottish
sheep herder, whose unapproachable manner makes every
one in the countryside his enemy. The romance is pleasant :
John Loder, a sheepherder and a newcomer to the
countryside, learns that his neighbor (Fyffe) is disliked
by all. While on a visit to Fyffe's cottage, to remonstrate
with him for setting his dog (Black Wull) on his sheep,
Loder meets Fyffe's daughter (Margaret Lockwood) and
falls in love with her. But Fyffe will have nothing to do
with Loder, particularly after Loder's dog (Owd Bob)
wins the sheep trials contest, thereby ruining Fyffe, who
had bet all his money on his own dog. When Fyffe turns
his daughter out because of her friendship with Loder,
she seeks shelter with Loder, and in a short time they
marry. In the meantime, many sheep are killed, and the
herders feel certain that Black Wull was the killer. When
they get their proof of this one night, they order Fyffe to
shoot Black Wull, in accordance with the rules. Fyffe does
this reluctantly for he loved the dog more than anything else
in the world. Alone and destitute, Fyffe accepts his daugh-
ter's hospitality. He knows joy once more when, from the
litter of a dog belonging to Loder, of which Black Wull
was the father, he sees a pup that resembles Black Wull.
Loder gives the pup to him.
Alfred Ollivant wrote the story, and J. B. Williams, the
screen play ; Robert Stevenson directed it. In the cast are
Graham Moffatt, Moore Marriott, Wilfred Walter, and
others.
Morally suitable for all. Class A.
February 26,_1938
"Of Human Hearts" with James Stewart,
Walter Huston and Beulah Bondi
{MGM, Feb. 11 ; time, 102 man.)
An excellent, heart-warming, human-interest drama,
well acted and directed. It will, however, need exploiting to
pull people in, because of the lack of box-office names.
Once the spectators are in the theatre, however, there is no
doubt that the)' will enjoy the picture. Nothing has been
overlooked to give it realism; each player, down to the
smallest character bit, fits his part to perfection. Primarily,
it is a story of mother love and sacrifice ; but with this is an
interesting study of pioneering life before the Civil War,
with all its hardships and bleakness. Particularly good is
the first half, showing the development of the young son,
played well by Gene Reynolds, making vivid the understand-
ing that existed between him and his mother (Beulah
Bondi), and his inability to live up to his father's strict
demands. The father, a preacher (Walter Huston), al-
though»he loved his son, could not understand his romantic
dreams. This conflict between him and his son is carried
on until the father's death. In a way, the son (James
Stewart), when grown, is not as appealing as in his youth
for, in his eagerness to carve out a career for himself, he
overlooks his mother, putting almost completely out of his
mind the sacrifices she had made for him. The manner in
which he is brought to his senses is stirring: Having
obtained his medical degree, he enlisted as a surgeon in
the Union Army, during the Civil War. He receives a letter
from Washington, ordering him to see President Lincoln.
The President at first speaks highly of his medical accom-
plishments, and then gradually brings up the subject of his
mother, to whom Stewart had neglected to write for two
years. The President informs him that his mother, thinking
he had been killed in the war, had written to him, asking
him to locate her son's grave. The President berates him
for his neglect and orders him to write to his mother
weekly. Stewart is ashamed of himself, and is heartbroken
for having brought unhappiness to his mother. He uses his
first leave of absence to rush back to see his mother ; their
reunion is a joyful one. (The romance between Stewart and
Ann Rutherford is just hinted at.)
Honore Morrow wrote the story, and Bradbury Foote,
the screen play ; Clarence Brown directed it, and John W.
Considine, Jr. produced it. In the cast are Guy Kibbee,
Charles Coburn, John Carradine, and others.
Suitable for all. Class A.
"A Yank at Oxford" with Robert Taylor,
Maureen O'Sullivan and Lionel Barrymore
(MGM, Feb. 18; time, 102 mm.)
Excellent. This comedy-drama of student life at Oxford
College, produced by MGM in England, has mass appeal.
The fact that it was made in England, with the supporting
cast mostly English players,- is all to the picture's benefit
because the atmosphere becomes authentic. From the view-
point of story, sound, photography, direction, and acting,
it is as good as the best of American pictures. It has plenti-
ful comedy, some of it of the uproarious type ; a delightful
romance, which is carried through in a natural manner ;
and human appeal, of the type to tug at one's heartstrings.
And it has plentiful action, too, along the lines of sport
events, with Taylor and other students participating in boat
races, track races, and other sports : —
Taylor, all-around American college athlete, whose
father (Lionel Barrymore) ran a small-town newspaper, is
happy when his father informs him that he wanted him to
complete his education at Oxford. At Oxford, he boasts of
his athletic prowess, and the students, who thought his
conduct vulgar, decide to play a trick on him by arranging
for a false reception. This so angers him that he decides to
quit Oxford. But his attendant's kindly advice makes him
desist. His exuberance and skill in different sports soon
win him many friends ; and he falls in love with Maureen
O'Sullivan, a fellow student. But he makes an enemy of
her brother (Griffith Jones), who had been the ringleader
in the tricks played on him. Miss O'Sullivan worries about
an affair Jones was having with a married woman (Vivian
Leigh), for, if he were caught, he would be expelled. One
night Miss Leigh goes to Jones' room. Her husband follows
her and, in the presence of the Dean, demands that the
door be opened. Since Jones was not in, Miss I^eigh did not
know what to do. Taylor descends through the window of
his room on the floor above to Jones' room and pulls her up
to his room, where she is found. For this he is expelled. On
the day he was to leave, his father arrives at the college.
This makes him feel miserable. He tells him what had
happened without involving Jones. But Barrymore realizes
that his son was shielding some one and. calling on Miss
Leigh, appeals to her to help him clear Taylor. By placing
the blame on one of the other students, who always wanted
to be expelled, she brings about Taylor's reinstatement.
Jones is so touched by Taylor's self-sacrifice, that he asks
for his friendship. Barrymore and Miss O'Sullivan are
thrilled watching Taylor stroke his crew to victory.
The plot was based on a story idea by John Monk
Saunders ; Malcolm Stuart Boylan, Walter Ferris, and
George Oppenheimer wrote the screen play, Jack Conway
directed it, and Michael Balcon produced it. In the cast
are Edmund Gwenn, C. V. France, and others.
Class A.
"Outside of Paradise" with Phil Regan
and Penny Singleton
{Republic, Feb. 7; running time, 68 min.)
Average entertainment. The story is the routine one of
romantic misunderstandings and eventual reconciliation,
and it is developed without one new twist. The redeeming
feature, as far as the masses are concerned, are the musical
interpolations by Phil Regan, and the clowning by Bert
Gordon, a newcomer to the screen, whose dialect and
straight-faced delivery of comedy lines should prove amus-
ing to most spectators. With the exception of the closing
scenes, in which a chorus and specialty performers appear,
the sets are not particularly lavish : —
Regan, leader of a jazz band, receives a cable notifying
him that he had fallen heir to an estate in Ireland. Since
he was broke, the members of his band contribute what
they had in return for a share in the inheritance. With the
collection, Regan goes to Ireland. When he arrives there,
he is annoyed to learn that he was only a half owner of the
estate, the other owner being Penny Singleton, member of
an enemy clan, who was determined not to sell the castle.
Regan, at the suggestion of a wealthy titled girl (Ruth
Coleman), who had taken a fancy to him, opens up a
hamburger stand in his half of the castie, and does well.
The members of the band, hearing about the business,
decide to go to Ireland to help their partner. Once there,
they feel that if the castle were turned into a night club,
they could make money. But not having the necessary
money, they induce Miss Coleman to advance it for a share
in the business. At first, Miss Singleton, who had fallen in
love with Regan, approves of the night club idea ; but when
she learns that Miss Coleman's money was backing it, she
is enraged, believing that Regan had lied to her when he
told her his friends had invested the money. Eventually she
is made to understand that Regan had been innocent of what
had been going on ; and so the lovers are reconciled.
Harry Sauber wrote the original screen play; John H.
Auer directed it and Harry Sauber produced it. In the cast
are Leonid Kindsky, Mary Forbes, Lionel Pape, and others.
Suitability, Class A.
"The Adventures of Tom Sawyer"
{United Artists, Feb. 11 ; time, 90 min.)
Disappointing ! Although it is entertainment primarily
for children, the closing scenes, where Injun Joe chases
Tom Sawyer through the cave, are so terrifying that
most children should have nightmares after seeing it. And
adults should for the most part be bored, for half the picture
centers around the romantic actions of Tom Sawyer and
Becky Thatcher. The sight of children acting coy and
self-conscious in their attempt to imitate adults, as the
girls do, somehow does not ring true. There are a few
outstanding scenes. The situation where Tom sneaks into
the house to see his Aunt Polly, who believed that he had
drowned, and kisses her, stirs the emotions. And the
scene where the three boys, who were believed to have
drowned, watch their own funeral services, is fairly amus-
ing. Except for the closing scenes, where Tom and Becky
are lost in the cave and become frightened, the action
moves along at a slow pace. There is some comedy, pro-
voked by Tom's sissified brother Sidney, who takes de-
light in watching Aunt Polly slap Tom : also by the boyish
pranks Tom plays.
Those who saw the Paramount version in 1930 will find
that, except for a more lavish production, this is developed
along the familiar lines of the story.
Tommy Kelly, the new find, plays the part of Tom
Sawyer appealingly ; Becky is played by Ann Gillis ;
Aunt Polly, by May Robson ; Sidney, by David Holt ;
Huckleberry Finn, by Jackie Moran ; Muff Potter, by
Walter Brennan ; Injun Joe, by Victor Jory ; others in the
cast are Charles Richman, Victor Kilian, Nana Bryant, and
Margaret Hamilton.
Although it may frighten most children, there is nothing
morally wrong with the picture ; therefore, Class A.
36
HARRISON'S REPORTS
February 26, 1938
high prices, than give living rentals to the in-
dependents.
Most affiliated circuits are finding all kinds of
excuses to refrain from booking independent
pictures ; and whenever they book such pic-
tures they hand the producers of them the
crumbs from their tables. Consequently, the
proper support must come from the indepen-
dent exhibitors to enable them to continue im-
proving their product.
Keeping the independent producer-distribu-
tors in business is not a matter that concerns
the independent producer-distributors alone ; it
concerns also every independent exhibitor, for
without independent production the major com-
panies will have a completely monopoly of the
business. And when such a condition is brought
about, you will not be needed ; your theatre can
be operated by them just as well as it can by
you.
The prosperity of the independent producer
should be of as great concern to you as it is to
the independent producer himself, for a pros-
perous independent producer will be the great-
est incentive to a major producer for better pic-
tures. Do you suppose that Samuel Goldwyn,
for example, is not bothering his head to find
out how Monogram, with its limited resources,
has been able to accomplish in "Boy of the
Streets" what he accomplished in "Dead End"
with $1,400,000? You may rest assured that he
has given the matter deep thought, and there is
no question in my mind that Mr. Goldwyn, if he
should ever -produce a similar picture, will try
to outdo Monogram. That is how you, the in-
dependent exhibitors, will benefit: healthful
competition makes for improvement.
Don't chisel down the independents. Give
them what their pictures are worth. Don't pay
big prices for the inferior product of the major
companies and then try to make up your loss
by taking it out of the independents.
OHIO PLAY-DATE LAW DECLARED
UNCONSTITUTIONAL
The United States District Court for South-
ern Ohio declared the law against compulsory
play-dating of pictures unconstitutional, on the
ground that the law did not prohibit the exhibi-
tion of any picture, no matter how improper, in
any day of the week. The exhibitors had pro-
pounded the argument that the law was neces-
sary to enable each exhibitor to show suitable
pictures on Sundays.
The opinion says partly: "It is claimed that
the act is intended to allow the local distributor
(exhibitor?) to make a proper choice of pic-
tures for Saturday, Sunday and Holidays, when
children attend the theatres in great numbers.
But the statute contains no requirement as to
the kind of pictures which shall be shown at
these times or seasons. It establishes no stand-
ards of taste or morals to guide the local exhibi-
tor in the exhibition of any film. The statute
does not prohibit the exhibition of any film, no
matter how improper, at any particular time or
place, no matter how unsuitable. In fact this
law would not prevent the showing of any en-
tirely immoral picture. The Ohio Board of Cen-
sors is already clothed with ample authority to
reject films which affect the public morals, but
this statute in no way extends or touches upon
that power of rejection. . . . We cannot assume
that the local exhibitor would put aside pecuni-
ary considerations in the interest of the public
morals to any greatest extent than the whole-
sale distributor. ..."
It took only great optimists to have had any
hope that this statute would have been upheld
by the courts.
But although the law has been declared un-
constitutional, the efforts the exhibitors have
exerted and the money they have spent in put-
ting this law through the Ohio legislature have
not been in vain, for in that opinion the court
sets down certain principles that will prove of
great value to them in future efforts to put an
end to industry abuses by legislation. For in-
stance, the distributors asserted that the public
exhibition of motion pictures is not affected
with a public interest and hence is not subject
to regulation. The court said that this conten-
tion "carries no weight," and proceeds to prove
it by citing the fact that the Ohio censorship
law has been upheld by the U. S. Supreme
Court, which stated: "We would have to shut
our eyes to the facts of the world to regard the
precaution unreasonable or the legislation to
effect it a mere wanton interference with per-
sonal liberty."
In regard to the contention of the plaintiff
that undue restriction is placed upon interstate
commerce, the judge said: "No undue burden
or restriction is placed upon interstate com-
merce by this statute. The statute concerns ex-
hibitions in Ohio, and no authority needs to be
cited to the effect that the exhibition of motion
pictures in Ohio and the time and manner of
their display is a purely local matter. ..."
As to the plaintiff's contention that the law-
affected copyrights, the court said: "Neither
does the act, if it be otherwise constitutional,
place an invalid limitation upon copyrights."
Commenting on the Court's decision, Mr.
Abram F. Myers, Counsel for Allied States As-
sociation, made the following observation :
"The court did not stop with deciding the
case in favor of the distributors on the point
mentioned, but expressly overruled all other
points raised by the distributors against the
constitutionality of the statute. In doing so,
the court helped materially to clarify the law
regarding the power of the States to regulate
the motion picture business in a way which will
be helpful to the exhibitors in other phases of
the legislative campaign. ..."
Further on, Mr. Myers says that part of the
Court's opinion should prove helpful in uphold-
ing the North Dakota theatre-divorcement law.
and that another part should prove of helpful-
ness with the pending appeal in the Interstate
Amusement Company case. He then states :
"The respective spheres of the Federal and
State governments has been further clarified
and the distributors can no longer hide behind
the protection of the former when the States
undertake to impose valid regulations relating
to the exhibition end of the business. ..."
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act 01 Ma.ro n s, ir/».
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aoc a ^op> Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, MARCH 5, 1938 No. 10
Box Office Performances of 1937-38 Season's Pictures — No. 1
This is the third series of articles giving the box office First National
performances of 1937-38 season's pictures. The first series "The Patient in Room 18," with Patric Knowles and
was printed beginning with the October 23 issue ; the sec- Ann Sheridan, produced by Bryan Foy, and directed by
ond, beginning with the December 18 issue. Bobby Connolly and Crane Wilbur, from a screen play by
Columbia Robertson White and Eugene Solow : Fair.
"Hollywood Hotel," with Dick Powell, Rosemary Lane,
"All American Sweetheart," with Scott Colton and Lda Lane, and Hugh Herbert, produced by Sam Bischoff,
Patricia Farr, produced by Wallace MacDonald, and di- and directed by Busby Berkeley, from a screen play by
rected by Lambert Hillyer, from a screen play by Grace jerry Wald, Maurice Leo, and Richard Macauley : Good.
Neville, Fred Niblo, Jr., and Michael L. Simmons : Fair- „The Daredevil Drivers," with Beverly Roberts and Dick
r- Purcell, directed by B. Reeves Eason, from a screen play
"I'll Take Romance," with Grace Moore, Melvyn Doug- bv Sherman Lowe : Fair,
las, and Stuart Erwin^ produced by Everett Riskin, and ' „Gold u vyhere Yqu Fjnd j „ with G Bfent
directed by Edward H Griffith from a screen play by 0Hvia deHavil,and> and Claude Rains> produced by Sam
George Oppenheimer and Jane Murfin : Good-Fair (some Rischoff> and directed by Michael CurtiZ) {rom a screen
reports Poor;. pIay by Warren Duff and Robert Buckner: Excellent to
"The Shadow," with Charles Quigley and Rita Hay- Good,
worth produced by Wallace MacDonald, and directed by Sixteen ictures have alread been released. Grouping
C. C. Coleman, Jr., from a screen play by Arthur T. Hor- {he pictures of the different ratings from the beginning of
man: hair-Poor. the seasorij we get tne following results:
"Headin' East," with Buck Jones and Ruth Coleman, „ „ ^ . , r*ir***ir*j*r~j
produced by L. G. Leonard, and directed bv Ewing Scott, r E*"11^11;0^' 1 j ^ Good-Good, 2; Good, 3 ; Good-
from a screen play by Ethel LaBlanche: Fair-Poor. hair, 3; hair, 6; hair-Poor, 1.
"Under Suspicion," with Jack Holt, Craig Reynolds, . '[ he first 16 Plctures of the 1936"37 season were rated as
and Rosalind Keith, produced by Larry Darmour, and di- follows .
rected by Lewis D. Collins, from a screen play by Joseph Very Good-Good, 2; Good, 3; Good-Fair, 3; Fair, 2;
Hoffman and Jefferson Parker: Fair-Poor. Fair-Poor, 4; Poor, 2.
"Outlaws of the Prairie," with Charles Starrett and There has been an improvement so far this season.
Iris Meredith, directed by Sam Nelson, from a screen plav «» , /> u *»
by Ed Earl Repp : Fair. Metro-Goldwyn-Mayer
"Women in Prison," with Wyn Cahoon and Scott Col- "Be&> Borrow or Steal," with Frank Morgan, Florence
ton, produced by Wallace MacDonald, and directed bv Rice and J°hn Beal- produced by Frederick Stephani, and
Lambert Hillyer, from a screen play bv Saul Elkins : Fair. directed by William Thiele, from a screen play by Leonard
"xt t-~ * at., " u * , j r>- i . Lee, Harry Ruskin, and Marion Parsonnet : Good-Fair.
No lime to Marry, with Mary Astor and Richard „
Arlen, produced by Nat Perrin, and directed by Harry "You're Only Young Once, with Lewis Stone, hay
Lachman, from a screen play by Paul Jarrico : Fair. Holden, Mickey Rooney and Cecilia Parker, directed by
.<D •. .• ii ... ,,r ,. r~ it t i tT j George B. Seitz, from a screen plav bv Kay Van Riper:
Penitentiary, with Walter Connolly, John Howard r a
and Jean Parker, produced by Robert North, and directed 100 ' _, _ „ „
by John Brahm, from a screen plav by Fred Niblo, Jr., "Rosalie, with Eleanor Powell, Nelson Eddy and Frank
and Seton I. Miller: Fair. Morgan, produced by Wm. Anthony McGuire, and directed
„c i r xt " i, ' t\ rv j »» r. by W. S. Van Dyke, II, from a screen play bv Mr. Mc-
Squadron of Honor, with Don lerry and Mary Rus- t< ■ n„ A A . /„ T?„„a\\~L,.\
,,- "J. . . , r- A i t c J , , Guire: Very (jood-bood (a few Excellent).
sell, directed by L. L. Coleman, Jr., from a screen play by „.,„,-.. ™ , ,. . .
Michael L. Simmons : Poor. Bad Man of Brimstone, with Wallace Beery, Virginia
"i -..I ir r> it » t- i • . i r- ii j x Bruce and Dennis O'Keefe, produced bv Harry Rapf, and
Little Miss Roughneck, with Edith hellows and Leo • • . , . T r>„u ' r,„„, „„„„„ _i_„ u„ r,.,-;i
r- . mi a a u wr ii \s r\ u i . . , directed by J. Walter Kuben, from a screen plav by Cyril
Carnllo, produced by Wallace MacDonald, and directed xx Jp d- i i m„-i ' \t _ r„ a r^A
uAu c^r i l -o j xtmli x Hume and Richard Maibaum : Verv Good-Good,
by Aubrey Scotto, from a screen play by hred Niblo, Jr., .„.,,, T x- ■ ^ r» i> j
Grace Neville and Michael L. Simmons : Fair. Man Proof- wlth .Myfna L°y- Franchot Tone. Rosalind
<>r r> a » /~l i c , , . ,, Russell and Walter Pidgeon, produced bv Louis D. Lisjhton,
A-^f ??ie"<! W£h,Cha,rles Starrett an,d r"s TMere: and directed bv Richard Thorpe, from a screen play by
d.th directed by Sam Nelson from a screen play by Joseph yj t Lawrence, Waldemar Young, and George Oppen-
F. Poland and Ed Earl Repp : Fair. hejmcr . Good.Fair
Twenty-four pictures have alread) been released. Group- ..Loye T Headache," with Franchot Tone and Gladvs
ing the pictures Of the different ratings (including West- George, produced by Frederick Stephani, and directed by
erns) from the beg.nn.ng of the season, we get the follow- Richasrd {r>m a screcn p,av'bv Marjon Parsonnet,
ing results . Harry Ruskir1i and William R. Lipman : Good-Fair.
Excellent, 2; Good-Fair, 2; Good-Poor, 1; Fair, 8; "Mannequin," with Joan Crawford and Spencer Tracy,
Fair-Poor, 10; Poor, 1. produced by Joseph L. Mankiewicz, and directed by Frank
The first 24 of the 1936-37 season, excluding the west- Borzage. from a screen play by Lawrence Hazard : Very
erns, were rated as follows: Good-Good.
"Paradise For Three," with Robert Young. Florence Rice
Excellent, 1 ; Very Good, 1 ; Very Good-Good, 1 ; Good, and Frank Morgan, produced bv Sam Zimbalist, and di-
2; Good-Fair, 3; Fair, 4; Fair-Poor, 6; Poor, 6. rected by Edward Buzzell. from a screen play by George
The comparison indicates that the box-office perform- Oppenheimer and Harry Ruskin : Good-Fair,
ances of this season's pictures are inferior to last season's. ( Continued on Inst page)
38
HARRISON'S REPORTS
March 5, 1938
"The Wife of General Ling" with Griffith
Jones, Inkijinoff and Adrianne Renn
(Gaumont British, Feb. 1 ; time, 69 min.)
A moderately entertaining British-made program melo-
drama, with an appeal mostly to men. The picture has
been cut poorly, and at times it seems disconnected ; and
the photography is, in spots, pretty bad. But these defects
are, from the point of view of the American picture-goer,
of minor importance, as compared to that of showing a
white woman married to an oriental, even though it is
brought out that the marriage was platonic, for American
audiences are not, as a rule, in sympathy with such mar-
riages. Aside from these points, those who like stories of
intrigue and secret service work may enjoy this picture,
even though the plot is developed in the routine manner.
The closing scenes are fairly exciting. Shanghai is the
background : —
Griffith, an Englishman connected with the British In-
telligence Service, suspects that Inkijinoff, a Chinese phil-
anthropist, had been supplying with arms a villainous war
lord, who had been crushing the Chinese people. But all
his efforts to get evidence to this effect are thwarted.
Inkijinoff's white wife (Adrianne Renn), with whom
Jones was in l|ove, refuses to believe Jones' accusations. In
the meantime, it develops that Inkijinoff was himself the
murderous Chinese war lord, who had posed as the phil-
anthropist so as to avoid detection. With the help of Miss
Renn, who had finally found out about her husband, Jones
manages to get into Inkijinoff's warehouse in which the
guns were hidden ; he is surprised there by the war lord.
He orders Jones to call the Governor to tell him that again
he had accused Inkijinoff unjustly ; but Jones tells the Gov-
ernor to send troops. Inkijinoff shoots Jones, who falls to
the floor, presumably dead. But since he wore a bullet-
proof vest, he remained unharmed. As soon as the troops
arrive, Jones jumps to his feet, and rushes to save Miss
Renn. Just as he enters her room, Inkijinoff, who, too, had
gone there, falls dead from a bullet wound inflicted by a
British soldier. This leaves the way clear for Jones and
Miss Renn to marry.
Dorothy Hope and Peter Cheyney wrote the story, and
Reginald Long, the scenario; Ladislaus Vajda directed it.
The scenes showing the brutal war lord shooting human
beings may make it unsuitable for children. Otherwise all
right. Therefore, its suitability is Class A.
"A Slight Case of Murder"
with Edward G. Robinson
(First Nat'l., March 5 ; time, 84 min.)
This burlesqued gangster melodrama is one of the fun-
niest comedies produced in a long time. For one thing, the
story is different; for another, the action is both exciting
and comical, holding one's attention throughout. The situ-
ations in which the bodies of four dead gangsters are made
the butt of jokes are a little gruesome, but people will not
be able to refrain from laughing at the reaction of Robin-
son and his henchmen when they find the bodies, and at
what they do with them. The production is not particu-
larly lavish ; but that does not matter, for there are other
things that make up for it — novelty of plot, comical dia-
logue, and fast action. Many laughs are provoked by a
young orphan, who matches his toughness with Robinson's
henchmen. A romance is worked into the plot ; but that, too,
is treated in a comical vein : —
With the repeal of prohibition, Robinson, big-time boot-
legger, decides to go into legitimate business as a brewer.
Never having tasted his own beer, he does not know that
it was so bad that people could not drink it; and so, after
four years of legitimate business, he is broke. In order to
cut down expenses, he brings back from Paris his daughter
(Jane Bryan), who had been studying at an expensive
school. Together with his wife (Ruth Donnelly), daughter,
and three henchmen (Edward Brophy, Harold Huber, and
Allen Jenkins), he leaves for a vacation at Saratoga
Springs. And, in accordance with his custom of taking
along with him each summer one young boy from the orphan
asylum where he had been reared, he chooses a tough
youngster (Bobby Jordan). Upon arrival at their rented
house, Jenkins finds in one of the bedrooms the bodies of
four well-known gangsters. Robinson decides that they
must have been four of the five gangsters who had held
up a bank truck, stealing $500,000 in cash ; also that the
fifth one had killed them, and taken the money. Robinson
and his men decide to distribute the bodies, one each at
the doorstep of four people they disliked the most. Upon
their return, the henchmen read that a reward of $10,000
had been offered for each gangster, dead or alive. Realizing
that Robinson needed the money, they decide, without con-
sulting him, to bring back the bodies and then claim the
reward. But many complications set in ; for one thing,
Bobby finds the bag with the money hidden under his bed.
In order to obtain an extension of the mortgage on his
brewery, Robinson makes use of the money to impress the
bank officials. Then, when he finds out that the four bodies
were in a closet in his house, he pretends that they were
alive and dangerous, and induces his prospective son-in-
law (Willard Parker) a state trooper, to shoot them
through the door. By accident Parker shoots also the fifth
one, who had been hiding in the house. Robinson returns
the money ; and Parker is considered a brave man for hav-
ing killed the gangsters. Robinson, who had finally tasted
his beer, learns what was wrong with his business, and
chides his friends for not having told him about it.
The plot was adapted from the play by Damon Runyon
and Howard Lindsay ; Earl Baldwin and Joseph Schrank
wrote the screen play, Lloyd Bacon directed it, and Sam
Bischoff produced it. In the cast are John Litel, Eric Stan-
ley, Paul Harvey, Margaret Hamilton, and others.
Not particularly suitable for children. Class B.
"No Time To Marry" with Richard Arlen
and Mary Astor
(Columbia, Jan. 10; time, 64 min.)
A mildly amusing program comedy. It centers around
two newspaper reporters (Richard Arlen and Mary Astor),
whose efforts to get married are thwarted by the demands
of their editor (Thurston Hall). Just when chances for
their marriage look brightest, Hall sends them off on an
errand to find two goats he had promised his young son
for Christmas. Their mission leads them into some comical
situations. While at the zoo, in search of goats, Lionel
Stander, Arlen's friend, accidentally enters a bear's cage,
and in an effort to escape opens the trap door to the lion's
cage; this is one comical situation. Another is the scene
at the police station, where they are held for disturbing
the peace. A melodramatic twist is given by the efforts
of a crooked bondsman (Jay Adler), to hold for ransom
a young supposedly missing heiress (Virginia Dale), who
had attached herself to Arlen's party without Arlen's
realizing who she was. Miss Astor, realizing suddenly who
the girl was, outwits Adler, thus winning a scoop for her
paper, and a reward. They get the goats, receive their edi-
tor's blessing, and look forward to being married.
Paul Gallico wrote the story, and Paul Jarrico, the screen
play; Harry Lachman directed it, and Nat Perrin pro-
duced it. Marjorie Gateson and Paul Hurst are in the cast.
Suitability, Class A.
"Daredevil Drivers" with Beverly Roberts
and Dick Purcell
(First Nat'l., Feb. 12; time, 59 min.)
A routine program melodrama. Only in one situation
does it thrill the spectator; that occurs when the heroine
was driving a busload of children home from a picnic ;
while going down a sharp hill, she discovers that the brakes
would not hold. Otherwise, the plot is trite : —
Dick Purcell, automobile racer, is disqualified for reck-
less driving on the track. While on his way to another
track, he meets with an accident when a bus with faulty
brakes crashes into his car ; his racer, which was attached
to the car, is smashed. He arrives in town, determined to
punch the owner of the bus line in the nose ; but he has to
control his temper when he discovers that the owner is a
woman (Beverly Roberts). Being without funds, he joins
the rival bus company as a test driver ; and, at the advice
of the president (Donald Briggs), he institutes suit against
Miss Roberts. Briggs' plan was to run Miss Roberts out
of business by means of the lawsuit. But Purcell, who had
fallen in love with her, at her request, drops the suit, and
so he tells Briggs. Unknown to Purcell, Briggs proceeds
with the suit and obtains a verdict against Miss Roberts on
behalf of Purcell. But Purcell outwits him by filing a peti-
tion in bankruptcy against Miss Roberts and appointing
himself Receiver. He races in order to get together enough
money to put the company on its feet again. And he suc-
ceeds. Miss Roberts accepts his marriage proposal.
Charles R. Condon wrote the story, and Sherman Lowe,
the screen play; B. Reeves Eason directed it. In the cast
are Gloria Blondell, Gordon Oliver, and others.
Suitability, Class A.
March 5, 1938
HARRISON'S REPORTS
39
"Love, Honor and Behave" with Wayne
Morris and Priscilla Lane
{Warner Bros., Mar. 12 ; time, 70 min.)
Just fair. It is saved from mediocrity by the excellent
performances of Wayne Morris and Priscilla Lane. The
first half is boresome because of the preachment it tries to
put over. One never knows just what it is in favor of, —
whether it is aggressiveness or humbleness that it con-
siders a virtue. But whatever it is, the arguments are not
sound enough to give conviction to either side. In the sec-
ond half, when Morris and Miss Lane appear, things pick
up. Most of the laughs are provoked by Miss Lane, whose
breeziness, natural manner, and wisecracking charm one.
The most amusing situation is the end, where Morris, who
had realized that his meekness was offensive to his wife,
asserts himself by giving her a good spanking.
The story tells of the conflict between Barbara O'Neill
and her husband (Thomas Mitchell), caused by the man-
ner in which Miss O'Neill was bringing up their son
(played by Dickie Moore as a child). Miss O'Neill believed
in good sportsmanship, in losing with a smile, while Mit-
chell believed in fighting and taking advantage of situa-
tions. When she finds Mitchell kissing their next-door
neighbor (Mona Barrie), she again acts like a good sport.
This infuriates Mitchell. Their dickering results in a di-
vorce. And Miss Barrie, too, obtains a divorce from her
husband (John Litel), leaving him to take care of the
education of their daughter. The two children, when
grown, meet and fall madly in love ; and, on the spur of
the moment, they marry. This makes Miss O'Neill miser-
able, for she had planned Morris' career as a doctor, which
plans his marriage had naturally disrupted. Miss Lane,
realizing that Wayne's mother was a bad influence for him,
tries to instill in him the desire to fight, instead of losing
gracefully. But things do not work out as she had planned,
and so she is ready to leave him. Morris, taking his father's
advice, refuses to permit her to leave his home, and, to her
delight, gives her a good spanking ; this brings about their
reconciliation. He decides to start out on his career dig-
ging ditches, instead of taking a soft job.
Stephen Vincent Benet wrote the story, and Clements
Ripley, Michel Jacoby, Robert Buckner, and Lawrence
Kimble, the screen play ; Stanley Logan directed it, and
Lou Edelman produced it. In the cast are Dick Foran,
Minor Watson, and others.
Suitability, Class A.
"Little Miss Roughneck" with Edith
Fellows and Leo Carrillo
{Columbia, Feb. 9; time, 62 min.)
Mild program fare. The story is ordinary and some of
the characterizations unpleasant. Edith Fellows, as a
spoiled child actress, and her mother (Margaret Irving)
are the two most annoying — Edith, by her precociousness,
and Miss Irving, by her silliness. The fact that Edith sings
operatic arias is nothing to get excited about, considering
that motion-picture goers do not rush to hear the best
singers of that type of music. Leo Carillo is the only one
with whom one is in sympathy. The typical mob scene
ending, in which a gang tries to get to an innocent man
they believed guilty, in order to lynch him, is sickening.
The love interest is of slight importance : —
Scott Colton, a Hollywood agent, agrees to manage
Edith, a child actress, because he had fallen in love with
her older sister (Jacqueline Wells). But because of her
mother's interference, he finds it difficult to place Edith.
When he finally does get her a job as an extra, Miss Irving
again interferes ; this results in Edith's dismissal. When
Edith overhears her mother suggesting to Colton that they
use a kidnapping scare to get Edith's name in the news-
papers, she decides to take matters into her own hands.
She runs away, leaving a ransom note in her room. The
mother thinks Colton had planned it, and he thinks she had
arranged it, and so the police arrest them both. Edith rides
on a freight train and lands in a small village ; she seeks
shelter in the hut where Carrillo lived with his wife and
children. Learning to love them, she hates to leave when
he finally insists on taking her back to the orphanage where
she had pretended to have run away from. By a ruse, she
leads Carrillo to believe their car was out of order and
promises to wait until he could bring back a mechanic from
the town. She gives him a ransom letter to mail, and he, not
being able to read, does not know what it is about. He is
caught mailing it and is arrested as the kidnapper. In the
meantime, a policeman finds Edith and notifies her mother.
When Edith hears that the mob was closing in on Carrillo,
she pleads with the police to rush her to the scene. She
arrives in time to save Carrillo from harm, by informing
the mob that it had all been a hoax. Because of the publicity,
she finally wins the long-desired studio contract.
Fred Niblo, Jr., and Grace Neville wrote the story,
and they and Michael L. S immons, the screen play ; Aubrey
Scotto directed it and Wallace MacDonald produced it.
Morally suitable for all. Class A.
"Born to Be Wild" with Ralph Byrd,
Doris Weston and Ward Bond
{Republic, Mar. 16; time, 66 min.)
Fair program entertainment, suitable for neighborhood
theatres. The fact that the action takes place on the open
road, with the hero at the wheel of a truck most of the
time, may prove tiresome to some spectators. The story is
developed along familiar lines; nevertheless, it holds one
in suspense because of the constant danger to the hero and
to his pal, who, in line with their duty as truck drivers,
were conveying a truck-load of dynamite to a designated
spot. The excitement is caused by the attempts of the vil-
lain, an unscrupulous ranch owner, and his henchmen to
stop the delivery of the dynamite, which was to be used
to blow up a dam, an act that was necessary to save the
small ranch owners, who would otherwise be ruined. Com-
edy, romance, and a few songs are interpolated naturally.
The romance is developed in a familiar manner, with quar-
rels and misunderstandings, for the hero believed the
heroine to be in league with the villain. She had at first
been in league with the villain, believing him to be honest
and eager to save her father's ranch. But when she realized
that the villain had tricked her, as well as the other ranch
owners, she helps the hero to get the dynamite to the dam.
They do this coasting the truck down hill and then jump-
ing to safety, permitting the truck to smash into the dam
and to explode the locks, thereby letting the water rush
through. The villain and his henchmen are rounded up.
Explanations follow ; and the lovers are reconciled.
Nathanael West wrote the original screen play ; Joe
Kane directed it, and Harold Shumate produced it. In the
cast are Robert Emmett Keane, and others.
Morally suitable for all. Suitability, Class A.
"Walking Down Broadway" with Claire
Trevor, Phyllis Brooks and Michael Whalen
{20th Century-Fox, Mar. 11 ; time, min.)
This drama, centering around the lives of six chorus girls
during one year, is fair entertainment. Because of the
theme, which is somewhat morbid, its appeal should be
directed mostly to women ; a drawback, as far as men are
concerned, is the fact that the action revolves mostly
around the women, and is slowed up by an over-abundance
of dialogue. The light note is supplied by Dixie Dunbar,
the silliest of the group, who disturbs her companions with
her inane remarks.
The six girls — Miss Trevor, Miss Dunbar, Phyllis
Brooks, Leah Ray, Lynn Bari, and Jayne Regan, at the
close of the show in which they had appeared, sign a pledge
to meet the following year. Miss Bari, who had just signed
a Hollywood contract, seems the one destined for success ;
but that very night she is run down and killed by a truck.
Miss Ray, divorced and mother of a child, craves excite-
ment and accepts a position as a singer in a night club.
She innocently becomes involved in a murder and is sen-
tenced to life imprisonment. Miss Brooks, engaged to
wealthy Michael Whalen, is unfaithful to him. When he
finds out about her, calling off their engagement, she goes
out to the balcony of her apartment and threatens to kill
herself. She accidentally trips and falls to her death. Miss
Trevor, who loved Whalen, helps him to get out of the
apartment before the police arrived. Miss Regan, who
loved Thomas Beck, a clerk in Whalen's office, is heart-
broken when she learns that Beck had stolen money from
his firm and was running away. Together with Miss Tre-
vor, she goes to see Whalen to plead for Beck. But he is
adamant. Miss Trevor, disgusted, first admits that she loved
him, and then tells him what contempt she had for him.
Realizing how stupid he had been, he helps Beck out of
the mess, and then rushes after Miss Trevor, who had
boarded a boat for Europe. They are happily reconciled.
Miss Dunbar marries a silly old millionaire.
Robert Chapin and Karen DeWolf wrote the screen play,
Norman Foster directed it. and Sol M. Wurtzel produced
it. In the cast are Jed Pnuity and others.
Not particularly suitahle for children. Class B.
40
"Everybody Sing," with Allan Jones, Judy Garland and
Fanny Brice, produced by Harry Rapf, and directed by
Edwin L. Marin, from a screen play by Florence Ryerson
and Edgar Allan Woolf: Good-Fair (some Very Good).
"Of Human Hearts," with Walter Huston, James Stew-
art, and Beulah Bondi, produced by John W. Considine,
Jr., and directed by Clarence Brown, from a screen play
by Bradbury Foote : Good.
Twenty-two pictures have already been released. Group-
ing the pictures of the different ratings from the begin-
ning of the season, we get the following results :
Very Good-Good, 8 ; Good, 6 ; Good-Fair, 7 ; Fair, 1.
The first 22 pictures of the 1936-37 season were rated as
follows :
Excellent, 1 ; Very Good, 2 ; Very Good-Good, 1 ; Good,
1 ; Good-Fair, 1 ; Fair, 8 ; Fair-Poor, 5 ; Poor, 3.
Though there has been no Excellent picture in this sea-
son's group, nor any of the Very Good grade, the number
of Very Good-Good and of Good grade is so large that it
more than offsets the "shortage." One may, therefore, con-
sider that the performances of this season's pictures have
been at least the same as last season's, if not better than
those of last season.
THE PRODUCERS WORRYING ABOUT
THE NEELY-PETTENGILL BILL
The producers are beginning to express great concern
about the Neely-Pettengill Bill ; they are becoming appre-
hensive lest it will become a law during this session of
Congress. And the best proof of it is the fact that they
have appointed Pat Casey, a very capable man, to lead the
right against the Bill.
If they were to judge the effect that this Bill will have
on their interests unimpassionately, they would realize that
it is the best thing that could happen to them ; it will save
them millions of dollars a year in waste, which occurs now.
No "crackaloo" will, then, be able to start a picture when
the shooting script is only on his cuff, as is the case fre-
quently now ; the scenario will have to be complete in the
main details before a unit producer starts shooting.
But even if the law were to harm their interests, no one
else may be blamed excepting themselves, for they have
refused consistently to institute reforms in the manner of
selling their pictures. If anything, they are growing worse,
for even those producers who gave the titles of a few of
their pictures have decided, according to trade-press re-
ports, to eliminate them altogether, identifying the pictures
they will offer for sale only by numbers. The exhibitors
feel that they are entitled to some relief from this perni-
cious practice, and when they can't get it from the pro-
ducers themselves it is natural for them to try to get it
through legislation.
It is time the producers realized that they cannot keep
on doing things the way they have been doing. If they are
not yet "ripe" for employing common sense in their rela-
tions with the buyers, that is just too bad. There is already
talk about anti-chain legislation in Washington, to include
theatres, not to mention other anti-monopolistic legislation,
such as licensing corporations in order for them to have the
right to engage in interstate business, the license to be
withdrawn if they resorted to monopolistic practices.
Legislation of this sort will prove more injurious to their
interests than will voluntary reforms.
CAN THE DOUBLE FEATURES BE
REGULATED BY LAW?
Commenting on the statement of Barnet Hodes, Chica-
go's Corporation Counsel, to the effect that the City Coun-
cil of the City of Chicago has the power to pass an ordi-
nance prohibiting the moving picture theatres from show-
ing two features on the same bill, on the ground that they
cause loss of sleep to children, the Chicago Daily News of
February 18 thus comments partly:
"If the city council can bar double features, what about
the practice of many restaurants giving a second, third or
fourth cup of coffee ? Coffee is a stimulant and it frequently
induces loss of sleep.
"And what about the double feature, the two-pants suit?
Some of them are certainly hard on the eyes."
In another part of the editorial, the following comment
is made : "For the city to attempt to regulate such a matter
by ordinance is a silly, but nonetheless dangerous, abuse of
police power."
Mr. Edward Golden, general sales manager of Mono-
gram Pictures Corporation, attributes the agitation of the
groups of women, in Chicago, to selfish interests. He states
that these women are acting merely as "stooges" of these
interests, whose object is to effect a monopoly, not only in
production, but also in exhibition. He gives a history ot the
agitation against double features for many years, including
the time the Code Authority was organized under the Na-
tional Recovery Act, and observes partly as follows on the
attempt of these groups to ban the showing of two features
on the same bill :
"Why stop there? With an auspicious victory here,
double-headed baseball games will soon be too much for
them, particularly since they may keep husbands away
from home too long. Football games during inclement
weather are too conducive to pneumonia. Why not make
them taboo? Swimming resorts may become a danger.
Why should people spend so much time in the water, or
expose themselves to sunburn ? Two pair of pants to a suit
seem like too much. Round trip railroad tickets may arouse
their resentment. As a matter of fact, any legitimate means
of stimulating business in any industry may prove objec-
tionable to these women. We need not consider these fan-
tastic analogies, for the extent of their demands will de-
pend entirely upon what they accomplish in the film in-
dustry. Are we to permit them to use us as guinea pigs
for the destruction, not only of our own enterprise, but
who knows what next?"
In another part of his statement, Mr. (iuldcn says:
"The elimination of double features will mean that no
theatre in the United States will require more than three
hundred pictures a year for a single feature policy. May 1
repeat the statement for the edification of those short
sighted exhibitors who sanction the elimination of the
double bill ? With a single feature policy, only 300 features
will be required per year! W hat prices will be demanded
for such product? What recourse ztrill one have to such
demands and who will make these demands?"
The elimination of the double feature will, as said re-
peatedly in these columns, mean the elimination of the in-
dependent producer. And the elimination of the indepen-
dent producer cannot by any stretch of the imagination
prove beneficial to the independent exhibitor. Besides, how
can those independent exhibitors who favor the abolition of
the double feature demand of the major companies the
right to make a living when they themselves seek to de-
prive the independent producers from making a living?
Either a law or a city ordinance designed to bar tin-
showing of two feature pictures on the same bill will be as
constitutional as the law to take away from the producers
the right to designate play-dates. The efforts of exhibitors
and the expenditure of money will, therefore, be wasted.
LET THE NEWSPAPER ASSOCIATIONS
TAKE A HAND IN THIS
Mr. Karl Thiesing, executive secretary of New York
State Publishers Association, impressed by what this paper
said editorially in the February 19 issue relative to insti-
tutional advertising, sent a special bulletin to the members
of his organization, urging them to act on the recommenda-
tions of this paper.
"An institutional campaign for moving picture exhibi-
tors and a specific recommendation that one month in the
spring be set aside as 'Picture-Going period,' " he says in
the special bulletin, "are urged in the February 19 issue of
Harrison's Reports, a trade paper service for movie
exhibitors.
"... this advice from Harrison's Reports, a reliable
service which declares itself 'free from the influence of film
advertising,' should be brought to the attention of ex-
hibitors by newspaper advertising men."
After copying part of the editorial, Mr. Thiesing re-
marks : "Here is an opportunity for an enterprising adver-
tising man to launch a 'Go-to-the-Movies' promotional
campaign among his city's theatre men, backing up his
sales talks with the words of Harrison's Reports."
The New York State Publishers Association should not
be the only one that should follow Mr. Thiesing's sugges-
tion ; every publishers' association should do so.
Harrison's Reports recommends to the American
Newspaper Publishers Association and to other similar
associations that their representatives call on Mr. Will H.
Hays to discuss the matter of institutional advertising and
of a "Movie Month." In its opinion, conditions are ripe for
such a movement and they should take some action at once.
Entered'as see«nd-elass matter January i, 1921, at the post office at New York, New York, under the aet et March 3, irrw.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published WeeWy by
United States $15.00 R^,m1oi, Harrison's Reports, Inc.,
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Canada 16.50 New York, N. Y. p. s. Harrison, Editor
Mexico, Cuba, Spain 16.50 . ,, .. .. _ . . „
Great Britain 15.75 A Motion Picture Reviewing Service w-.i.iwh.a n.w , ,«,<,
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,r p_nv Rs Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
ijc a i,op> Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, MARCH 12, 1938 No. 11
The Neely-Pettengill Bill Will Not Harm the Independents
The major producers, having awakened to the realiza-
tion that the Neely-Pettengill Bill may pass, have become
alarmed and are spreading propaganda with a view to mak-
ing the independent exhibitors believe that, if this Bill
were enacted into a law, the independent producer will go
out of business. And with the independent producer out of
business, the independent exhibitors' interests would be hurt.
They say that it is impossible for any producer, who
should attempt to sell pictures before they are completed,
to comply with the provision that requires a producer to
submit to the exhibitor, at the time of the sale, a synopsis
consisting of no fewer than one thousand words, setting
forth the main points of the story. The reason is that al-
terations of situations as well as of characterizations are
often made, and frequently the plot itself is changed radi-
cally, during production. Consequently, he will be com-
pelled to produce a picture before selling it, for only in
this manner can he submit an accurate synopsis of the
story. And without such a synopsis, he runs the risk of
violating the penalty provisions of the law.
With the system of producing a picture before selling it,
the producers will be compelled to sell one picture, or no
more than a small group of pictures, at a time. Under such
conditions, the position of the independent producer, they
reason out, will be made precarious ; he will eventually be
driven out of business, for, according to them, no indepen-
dent has enough funds available to produce pictures before
selling them. And to sell them a few at a time will make
the selling cost prohibitive.
Under the prevailing system, they say, the independent
uses the contracts he obtains from the exhibitors as col-
lateral security on loans. This enables him to carry on pro-
duction. The income from the first pictures is used to repay
the loans and to pay the cost of distribution ; and with addi-
tional borrowings he is enabled to carry on production
until he completes his entire program.
With the Neely-Pettengill Bill made in a law, he will
have no exhibition contracts for use as collateral security.
Consequently, he will be compelled to produce one picture,
or two pictures at the most, at a time, and then sell them.
But the cost of selling will be, as said, so prohibitive, that
no independent producer will be able to stay in business,
whereas the major companies, with plentiful funds at their
disposal, will have things their own way.
To the innocent, this argument may sound logical but to
those who have studied the matter deeply it sounds as if the
sympathy they offer to the independent producer as well as
to the exhibitor is like the famous wooden horse of the
Trojan war: there is something inside the horse. What is
it ? Let us see :
The established independent producers today have
enough available funds, obtained either from capital invest-
ments or from loans secured by mortgages on property
they own, tu enable them to complete at the beginning of
the season as big a group of pictures as the major produ-
cers. Furthermore, since their overhead is infinitesimal as
compared with the overhead of the major studios, they are
able to produce pictures at much less cost than the major
producers. Consequently, they will not be put out of busi-
ness, and they will not be in an inferior position to the
majors, so far as having completed pictures is concerned.
But admitting, for the sake of argument, that they may
be placed in a slightly disadvantageous position, they will
have one advantage that will far outweigh all disadvan-
tages : they will have a free market, a market where their
pictures, if they are money-makers, will find available play-
dates, whereas now, no matter how meritorious are their
pictures, they have difficulty in getting play-dates : the
affiliated circuits refuse to book them, and if they do book
them, they pay very little for them ; and since the inde-
pendent exhibitors are compelled to buy their pictures from
the major companies in blocks of fifty or sixty pictures, the
available play-dates for the independent producers shrink
still more.
With a market free for pictures of merit, people of brains
and ability, who are now working for major studios, but
who want their freedom, will not find it difficult to obtain
funds for the production of single pictures, for they will be
able to sell them, whereas now they cannot obtain funds,
because the investors know that the market is closed to
them.
And who will derive the greatest benefit from a free
market? The independent exhibitor, of course! He will
have a greater number of meritorious pictures at his
disposal.
As to the argument that film rentals will double, and
even treble, eventually crushing the independent exhibitor,
allow me to make the following observation : Suppose the
exhibitor could pick the best pictures out of the product of
each producer without being compelled to buy any of the
dead weight, would he be willing to pay twice, and even
three times, as much money as he is paying now ? Of course
he would ! With two and even three money-making pictures
a week, instead of fewer than one, as is the case at present,
he would be making so much money that he would be glad
to pay more for his film.
An additional advantage to the independent exhibitor
will be the following: With the Neely-Pettengill Bill a
law, his money will be good money, whereas now it is no
good, for no matter how much he offers he cannot buy the
run of pictures he wants if the affiliated circuit wants the
same run. Give the independent exhibitor an even break at
buying pictures and he can hold his own against any com-
petition from affiliated theatres. And that is exactly what
the Neely-Pettengill Bill will do if it should become a law.
And that is exactly why the theatre-owning producer
wants to prevent it. Hence the propaganda against the Bill.
LET THE PRODUCERS GO SLOW ON
MAKING CARTOON FEATURES
According to an article in the Hollywood Reporter of
February 19, the major producers, having been impressed
by the unexpected great success "Snow White" is making
at the box office, are looking around for material with a
view also to producing cartoon features, in color. That
article reports that Paramount is one of these majors ; it
is negotiating with Max Fleischer to produce a cartoon
feature "that will fit both the child and the adult taste."
Just because "Snow White" has made a great success at
the box office is no reason why other cartoon features will
prove successful. The producers must remember that
through many years Mr. Disney has built up a reputation
that can hardly be equaled by any other cartoon picture
creator. And without that reputation "Snow White" would
not have proved as great a success.
When they are approached for a contract tor a cartoon
feature exhibitors should be careful. The appearance of a
single swallow does not indicate that summer is here. Let
the cartoon feature prove itself first.
42 HARRISON'S REPORTS March 12, 1938
"Dangerous to Know" with Gail Patrick,
Akim Tamiroff, Lloyd Nolan and
Anna May Wong
(Paramount, March 11 ; time, 69l/2 min.)
A fairly good program gangster melodrama. It is some-
what lurid; but, since the story is fairly interesting, it will
probably satisfy those who enjoy pictures centering around
racketeers. It is, however, strictly adult fare, because of
the gangster's demoralizing actions, and of the implica-
tions of the relationship between the gangster and his
Chinese hostess. The gangster pays for his misdeeds in the
end, of course, but the manner in which this is brought
about is not particularly satisfying. One is in sympathy
with the hero, who is persecuted by the gangster for per-
sonal reasons : —
Akim Tamiroff, gangster-racketeer, covers up his crimes
so cleverly that it is impossible for the law to get the evi-
dence needed to prosecute him. Lloyd Nolan, police in-
spector, hoped to be able to send Tamiroff to prison some
day. Tamiroff, having amassed a fortune, turns his eyes
towards society. His Chinese hostess (Anna May Wong),
who was his closest friend, warns him not to step out of
his class. But when he meets Gail Patrick, of society, he
forgets Miss Wong's advice and is determined to make her
his wife. He sets out to do this, first, by framing her fiance
(Harvey Stephens), a bond salesman, and then by demand-
ing that Miss Patrick marry him in return for his clearing
Stephens. She warns him that she would make his life
miserable, but this does not discourage him. On the night
that he was to leave with Miss Patrick, Miss Wong tear-
fully pleads with him not to leave and, while he played the
organ, she stabs herself. Tamiroff, who realized that he had
lost his best friend, bends over her in tears. Just then Nolan
enters and, finding Tamiroff with the knife in his hands,
arrests him for the murder of Miss Wong. Stephens is
cleared; he and Miss Patrick leave for their honeymoon,
happy to be together.
Edgar Wallace wrote the story, and William R. Lipman
and Horace McCoy, the screen play; Robert Florey di-
rected it, and Edward T. Lowe produced it. In the cast
are Anthony Quinn, Roscoe Karns, and others.
Unsuitable for children. Adult fare. Class P>.
"Sally, Irene and Mary" with Alice Faye
and Tony Martin
(20th Century-Fox, Mar. 4; time, 84 min.)
Although this is just fair entertainment, it has good
box-office possibilities because of the popularity of the
players. The story creaks with age, following, with very
few new twists, the formula back-stage musical. For mass
appeal it has catchy tunes, good production values, and a
few comical situations. Fred Allen, the famous radio star,
Jimmy Durante, Gregory Ratoff, and Joan Davis handle
the comedy competently. The fact that not everything they
do or say is comical is not their fault, for at times they
are up against some trite material. One chorus number,
"The Minuet in Jazz," is peppy and novel ; it should please
well. The romance is developed in a familiar way : —
Sally (Alice Faye), Irene (Joan Davis), and Mary
(Marjorie Weaver), three manicurists with ambitions to
go on the stage, are happy when their chance finally
comes. Their manager (Fred Allen) engages them for a
musical show he was producing with money supplied him
by Joyce Taylor (Louise Hovick). Joyce was backing it
because she had fallen in love with Tommy Reynolds
(Tony Martin), a singer, and wanted him to play the lead.
While attending a rehearsal, she notices the naturalness
with which Tommy sings his love songs to Sally ; en-
raged, she demands that Sally be discharged. Tommy, in
love with Sally, leaves, too; and so the show folds up.
Just when things looked the bleakest, Mary is notified
that she had inherited a boat. They all rush down to see
it and decide it would be a good place in which to give
shows ; but, not having the money with which to repair it,
they are again disconsolate. Tommy, by promising to
marry Joyce, obtains $25,000 from her to back the show-
boat, and Sally does the same thing with a Baron (Ratoff) ;
each one was motivated by the same desire — to help the
other. But the manager fixes matters up by having the
Captain, during a stage number in which he was supposed
to marry Sally and Tommy, actually marry them.
Karl Tunberg and Don Ettlinger wrote the story, and
Harry Tugent and Jack Yellen, the screen play ; William
A. Seiter directed it, and Gene Markey produced it. In the
cast are J. Edward Bromberg, Barnett Parker, and others.
Suitability, Class A.
"Hawaii Calls" with Bobby Breen
(RKO, Mar. 11; time, /l mm.)
A moderately entertaining comedy-melodrama, with
music. It should go over best with the Bobby Breen fans,
who will enjoy his singing of several numbers, including
native Hawaiian melodies. Bobby has improved consider-
ably ; his acting is not as stilted as it used to l)e, and his
singing is without affectations. The story is simple but
somewhat far-fetched, and up to the closing scenes the ac-
tion is slow. It has some human appeal, as a result of the
friendship and devotion between Bobby and his Hawaiian
friend. The closing scenes, where Bobby foils the plans
of crooks, are fairly exciting : —
Bobby and his pal (Pua Lani), stowaways on a boat
bound from San Francisco to Hawaii, are found hiding in
a lifeboat by Ned Sparks, member of the ship's orchestra.
He takes the boys to his room and gives them food ; but
shortly thereafter they are found by the Captain, who
promises to leave Pua in Hawaii, since his relatives lived
there, but insists on Bobby's returning. When the boat
docks, the two boys elude the officers, jump from the ship,
and swim to shore, where they are cared for by Pua's rela-
tives, who hide them from the police. Warren Hull, a
United States Naval officer, who had first met Bobby on
the boat, meets him again at a native feast and impresses
upon him the error of his ways. Bobby, feeling like a
fugitive from justice, decides to go back. While he was
driven to town by the chauffeur of Hull's friend, he finds
out that important Government papers had been stolen
from Hull ; from conversations he and Pua had over-
heard, carried on by strange men in a cave they had dis-
covered, Bobby suddenly realizes that the chauffeur was
one of the culprits. Bobby escapes from the car and rushes
to Pua, with instructions to have Hull and the police
follow him to the cave. And they arrive just in time, for
the criminals were abducting him. The papers are recover-
ed, and Bobby is honored for his bravery. Hull adopts him.
Don Blanding wrote the story, and Wanda Tuchock,
the screen play ; Edward F. Cline directed it, and Sol Lesser
produced it. In the cast are Irvin S. Cobb, Raymond Paige
and orchestra, Gloria Holden. and others.
Suitability, Class A.
"Wide Open Faces" with Joe E. Brown
and Jane Wyman
(Columbia, Feb. 15; time, 66 min.)
A typical Joe E. Brown comedy ; it should more than
satisfy his fans. Again he is a sap, taken in by crooks,
only to emerge victorious. He goes through all his tricks,
provoking laughs by his innocence, which leads him into
trouble and danger. The closing scenes provide thrills as
well as comedy, for there Brown gives chase to the crooks,
and captures them. Though the plot is far-fetched, it holds
one's attention because of the comical developments. The
routine love affair is pleasant : —
In the development of the plot, Brown, who had been
partly instrumental in the capture of a notorious bank
robber (Stanley Fields), becomes front-page news. Re-
membering that Fields wanted him to drive him to a de-
serted inn, Brown goes there to investigate things for
himself. He is surprised by Jane Wyman and her aunt
(Alison Skipworth), who had just arrived to live at the
inn, which Miss Wyman had inherited. Brown falls in love
with Miss Wyman, as she does with him. He helps her set
the inn in order and sends customers her way. He does not
realize that all the customers were gangsters and their
molls, who had gone to the inn to search for the $100,000
loot, which they believed Fields had hidden there. Lyda
Roberti and Barbara Pepper, two molls, believing that
Brown was in league with Fields and knew where the
treasure was hidden, try to "worm" the information out of
him. He is embarrassed when Miss Wyman finds Miss
Roberti kissing him. Brown accidentally finds the money,
but Alan Baxter, a gangster, and Miss Roberti take it
away from him. They leave, with all the other gangsters
on their trail. Brown, who was suspected of having aided
the criminals, decides to clear himself by capturing them.
After a hectic chase, he finally causes them to surrender.
The money is returned to the police officials, and Brown
receives $25,000 in rewards for having captured the gang-
sters. He plans to marry Miss Wyman.
Richard Flourney wrote the story, and Earle Snell, Clar-
ence Marks, and Joe Bigelow, the screen play; Kurt
Neumann directed it, and David L. Loew produced it with
Edward Gross as associate producer. In the cast are Berton
Churchill, Lucien Littlefield, and others.
Suitability. Class A.
HARRISON'S REPORTS
43
"When G Men Step In" with Don Terry,
Robert Paige and Jacqueline Wells
(Columbia, March 24; time, 6U min.)
A fairly good program melodrama. Although the story
is not novel, the action is fast ; for that reason one's atten-
tion is held tnroughout. Ihe only unpleasant feature is
the fact that brother is pitted against brother — one being
the racketeer (Don i'erry) and the other the G-Man
(Robert Paige). One is held in suspense because at first
Paige does not know that Perry was the racketeer leader
for whom he was looking ; but when he eventually finds
this out he does not let it interfere with his duties as a
federal agent, thereby winning one's respect. The closing
scenes, in which Terry's henchmen turn against him, are
the most thrilling : having been informed by one of the
racketeers, who wanted to become their leader, that Paige
was Terry's brother, they are led to believe that Terry
was double-crossing them in order to help his brother.
Knowing that Terry had a fortune in his safe from the
sale of fake bonds, they call to see him and surprise him
just as he was preparing to leave the country. At the
point of a gun, they force him to follow them to one of
his offices where the gang had collected. To his dismay,
he finds that they had made prisoner also, his brother,
who had gone there to get evidence against Terry, and
Jacqueline Wells, a young society girl, with whom Terry
had fallen in love. Terry, realizing that it was the inten-
tion of his gang to kill all three, tries to bargain for his
brother and Miss Wells. The police, as pre-arranged with
Paige, arrive just as Terry is shot and killed by one of
the gangsters ; but they save Miss Wells and Paige. Miss
Wells, who had fallen in love with Paige, consoles him.
Arthur T. Herman and Robert C. riennett wrote the
story, and Arthur T. Horman, the screen play ; C. C.
Coleman, Jr., directed it, and Wallace MacDonald pro-
duced it. In the cast are Gene Morgan and others.
Unsuitable for children. Good for adults. Class B.
"Mad About Music" with Deanna Durbin,
Herbert Marshall and Arthur Treacher
{Universal, Feb. 27; time, 95 min.)
Excellent ! The story is a grand combination of comedy
and human interest, and is entertaining enough to stand
on its ow n ; but, coupled with the music and Deanna Dur-
bin's singing, as well as her charming personality, it is
outstanding. Miss Durbin receives excellent support from
a capable cast, particularly Herbert Marshall and Arthur
Treacher. Marshall is warm and sympathetic, winning the
spectator's sympathy by his understanding of Miss Dur-
bin's plight and by his willingness to help her. And
Treacher, as Marshall's valet, provokes hearty laughter
by his disgust at his master's paternal obligations. Par-
ticularly amusing is the boyish attachment Jackie Moran
forms for Miss Durbin and his bashful attempts to be-
come her friend. The outstanding feature is, of course,
Miss Durbin, who is just as refreshing as ever: —
Miss Durbin, a pupil at a fashionable school in Switzer-
land, compelled to keep secret the fact that her mother
(Gail Patrick) was a glamorous screen star, is envious of
the letters the other girls received from their parents. She
longed for a father, and since her own father was dead,
she writes letters to herself from an imaginary father,
supposedly an explorer. Taunted by one of her school-
mates, who did not believe the stories about the father,
she pretends that her "father" was arriving and that she
was going to the station to meet him ; her intention was
to spend an hour there, and return to the school with the
story that her father had gone away again. But the pupils'
following her to the station compels her to find a father.
She picks on Marshall, who alights from the train, and by
pretending that it was a Swiss custom to show a new-
comer around she attaches herself to him. He is puzzled
by her actions, until he gets from her the facts. He helps
her out by continuing with the hoax — he visits the school
and delights both teachers and pupils. On the day that he
was to leave for Paris, Miss Durbin reads that her mother
was visiting the Paris Exhibition. She follows him on the
train, informing him that she was going to see her mother.
Once in Paris, she rushes to the hotel, but is heartbroken
when her mother's manager (William Frawley) asks her
not to see her mother because her career would be ruined
if her admirers found out that she had a daughter. Tearful
and lonely, she goes to Marshall's apartment. He takes
her to a motion picture theatre, where her mother's picture
was playing. He recognizes her mother from a snapshot
she had shown him. Relieving that it was time they were
reunited, he takes her to his mother. In the meantime, Miss
Patrick, having found out that Frawley had sent her
daughter away, is heartbroken and determined to end the
secrecy of her parentage. Marshall arrives with Miss
Durbin just at the moment when Miss Patrick was an-
nouncing to the press the fact that she had a daughter.
There is a joyful reunion between mother and daughter.
And a romance develops between Marshall and Miss Pat-
rick, which brings happiness to Miss Durbin.
Marcella Burke and Frederick Kohner wrote the story,
and Bruce Manning and Felix Jackson, the screen play ;
Norman Taurog directed it, and Joseph Pasternak pro-
duced it. In the cast are Helen Parrish, Marcia Mae
Jones, Christian Rub, Nana Bryant, and others.
Suitable for all. Class A.
"Hollywood Stadium Mystery" with Neil
Hamilton and Evelyn Venable
{Republic, Feb. 21 ; time, 65 min.)
A pretty good program murder-mystery melodrama.
Since the murderer's identity is not revealed until the
end, and the motivation for the crimes is concealed clev-
erly, one's attention is held throughout. A note of comedy
is injected into the story by the rivalry between Neil Hamil-
ton, the district attorney, and Evelyn Venable, a writer of
detective stories, who try to outwit each other in getting
clues. The story is developed in an interesting way, with
plentiful fast action, comedy, and romance : —
Just before the start of a major championship bout, the
radio commentator (Jimmy Wallington) makes an an-
nouncement that he had just received word of the passing
away of a famous fighter. In memory of the fighter, the
lights are dimmed for a minute. When they are raised,
the crowd is shocked to find that the contender for the
title had been murdered. Miss Venable, a well known
writer of detective stories, offers a solution ; the police
captain, feeling that she knew too much, arrests her as a
suspect. But she is released when Hamilton, the District
Attorney, arrives, for he had met her and could vouch for
her. During the investigation, another man is killed. Miss
Venable finally hits upon the solution, and realizes that
Wallington was the murderer. Wallington abducts her
and takes her to his apartment, where he forces her to
write a note of confession involving herself as the mur-
deress. Just as he was ready to kill her, Hamilton enters
with the police. Hamilton, having become suspicious of
Wallington, had followed him to his apartment, arriving
there in the nick of time. With the case solved, they look
forward to furthering their romance.
Stuart Palmer wrote the story, and he, Dorrell Mc-
Gowan, and Stuart McGowan, the screen play; David
Howard directed it, and Armand Schaefer produced it.
In the cast are Barbara Pepper, Lucien Littlefield, Lynn
Roberts, and others.
The murders make it unsuitable for children. Class B.
"Merrily We Live" with Constance Bennett,
Brian Aherne and Billie Burke
(MGM, March 4; time, 94 min.)
Very good. Although the plot is typical of the many
farces that have been produced, centering around an irre-
sponsible family, this takes on freshness by virtue of
excellent performances and of comical dialogue. The be-
ginning is a little slow ; but it picks up as it goes along,
with excellent results. The best dialogue falls to Billie
Burke ; she tops all her previous performances. Her part
is completely nonsensical ; as the scatter-brained mother,
she is bereft of common sense so completely that most of
the things she says provoke hearty laughter. Although
the others in the family — the father (Clarence Kolb), the
older daughter (Constance Bennett), the younger daugh-
ter (Bonita Granville), and the son (Tom Brown), are
more on the sane side, they, too, are up to pranks that are
extremely comical. And to add to the turbulence, Alan
Mowbray, the butler, and Patsy Kelly, the cook, are not
much better than the family. The one really sensible person
is Brian Aherne, a writer, who, because of his shabby
appearance, had been mistaken by Miss Burke for a tramp ;
and since her greatest weakness was to save the souls of
tramps, when Aherne had knocked on the door for per-
mission to use her telephone, she insisted that he accept
employment as her chauffeur. Aherne, having seen Miss
Bennett, decides to keep up the hoax so as to be near her.
Many comical situations arise by reason of his presence
in the house. Under his influence, every one changes for
the better. He and Miss Bennett fall in love with each
other. The picture ends with a riotous slapstick scene, in
which Aherne, who was supposed to have been killed in
an automobile accident, returns to the household, thereby
causing every one to faint. He finally convinces them that
he was alive. Miss Bennett rushes into his arms.
Eddie Moran and Jack Jevne wrote the screen play,
Norman Z. Mcl.cod directed it, and Milton H. Bren pro-
duced it. In the cast arc Marjorie Rambeau, Ann Dvora*k,
Willie Best, and others.
Suitability, Class A.
44
HARRISON'S REPORTS
March 12, 1938
Box Office Performances of 1937-38 Season's Pictures - No. 2
Paramount
"Daughter of Shanghai," with Anna May Wong, di-
rected by Robert Florey, from a screen play by Gladys
Linger and Garnett Weston : Fair.
"True Confession," with Carole Lombard and Fred Mac-
Murray, produced by Albert Lewin, and directed by Wes-
ley Ruggles, from a screen play by Claude Binyon : Good.
"Wells Fargo," with Joel McCrea, Frances Dee, and
Bob Burns, produced and directed by Frank Lloyd, from a
screen play by Paul Schofield, Gerald Geraghty, and Fred-
erick Jackson : Excellent- Very Good.
"Bulldog Drummond's Revenge," with John Barrymore,
John Howard, and Louise Campbell, directed by Louis
King, from a screen play by Edward T. Lowe: Fair.
"Every Day's a Holiday," with Mae West, Edmund
Lowe, and Lloyd Nolan, produced by Emanuel Cohen, and
directed by A. Edward Sutherland, from a screen play by
Mae West: Good-Fair. (Some, Poor.)
("Thrill of a Lifetime," already reported in the issue of
December 25, 1937, as Poor. Release order in schedule
altered.)
"Partners of the Plains," with William Boyd and Gwen
Gaze, produced by Harry Sherman, and directed by Lesley
Selander, from a screen play by Harrison Jacobs : Good-
Fair.
"The Buccaneer," with Fredric March, Margot Gra-
hame, and Akim Tamiroff, produced and directed by Cecil
B. DeMille, from a screen play by Edwin Justus Mayer,
Harold Lamb, and C. Gardner Sullivan : Excellent-Good.
"Scandal Street," with Lew Ayres and Louise Campbell,
directed by James Hogan, from a screen play by Bertram
Millhauser and Eddie Welch : Fair.
Thirty-two pictures have already been released. Group-
ing the pictures of the different ratings, including the West-
erns, from the beginning of the season, we get the following
results :
Excellent- Very Good, 1 ; Excellent-Good, 1 ; Very Good,
1 ; Very Good-Good, 1 ; Very Good-Fair, 1 ; Good, 3 ;
Good-Fair, 5; Good-Poor, 1; Fair, 10; Fair-Poor, 5;
Poor, 3.
The first 32 pictures of the 1936-37 season, excluding
Westerns, were rated as follows :
Excellent, 1 ; Excellent-Very Good, 2 ; Very Good, 2 ;
Very Good-Good, 2 ; Good, 5 ; Good-Fair, 3 ; Fair, 5 ; Fair-
Poor, 10; Poor, 2.
If we were to exclude the Westerns from this season's
check up, the number of pictures on which box-office re-
ports have been obtained is 27, rated as follows :
Excellent- Very Good, 1 ; Excellent-Good, 1 ; Very Good,
1 ; Very Good-Good, 1 ; Very Good-Fair, 1 ; Good, 3 ;
Good-Fair, 2; Good-Poor, 1; Fair, 8; Fair-Poor, 5; Poor,
3.
The first 27 of the 1936-37 season were rated as follows :
Excellent, 1 ; Excellent- Very Good, 2 ; Very Good, 1 ;
Very Good-Good, 2; Good, 4; Good-Fair, 2; Fair, 4; Fair-
Poor, 10; Poor, 1.
It seems as if the box office power of this season's pic-
tures are considerably lower than last season's.
RKO
"Danger Patrol," with John Beal, Sally Eilers and Harry
Carey, produced by Maury Cohen, and directed by Lew
Landers, from a screen play by Sy Bartlett: Fair- Poor.
"Quick Money," with Fred Stone, produced by Maury
Cohen, and directed by Edward Killy, from a screen play
by Arthur T. Horman, Frankln Coen, and Bert Granet :
Fair-Poor.
"Hitting a New High," with Lily Pons, Jack Oakie and
John Howard, produced by Jesse L. Lasky, and directed by
Raoul Walsh, from a screen play by Gertrude Purcell and
John Twist : Good-Fair.
"Wise Girl," with Miriam Hopkins, Ray Milland and
Walter Abel, produced by Edward Kaufman, and directed
by Leigh Jason, from a screen play by Allan Scott : Good-
Fair.
"She's Got Everything," with Gene Raymond, Ann So-
thern, Helen Broderick and Victor Moore, produced by
Albert Lewis, and directed by Joseph Santley, from a
screen play by Harry Segall and Maxwell Shane : Fair.
"Crashing Hollywood," with Lee Tracy, Joan Wood-
bury and Richard Lane, produced by Cliff Reid, and di-
rected by Lew Landers, from a screen play by Paul Yawitz
and Gladvs Atwater : Fair-Poor.
"Everybody's Doing It," with Sally Eilers and Preston
Foster, produced by William Sistrom, and directed by
Christy Cabanne, from a screen play by Jay R. Bren, Ed-
mund Joseph, and Harry Segall : Fair-Poor.
"The Rat," with Ruth Chatterton, Anton Walbrook and
Rene Ray, produced by Herbert Wilcox, and directed by
Jack Raymond, from a play by Ivor Novello and Con-
stance Collier : Fair-Poor.
"Double Danger," with Preston Foster and Whitney
Bourne, produced by Maury Cohen, and directed by Lew
Landers, from a screen play by Arthur T. Horman and
J. Robert Bren: Fair-Poor.
"Radio City Revels," with Jack Oakie, Bob Burns,
Milton Berle, Victor Moore and Ann Miller, produced by
Edward Kaufman, and directed by Ben Stoloff, from a
screen play by Matt Brooke, Eddie Davis, Anthony Veiller,
and Mortimer Offner : Good-Fair.
"Night Spot," with Parkyakarkus, Allan Lane, and
Joan Woodbury, produced by Robert Sisk, and directed
by Christy Cabanne, from a screen play by Lionel Houser :
Fair-Poor.
Twenty-three pictures have already been released. Group-
ing the pictures of the different ratings from the begin-
ning of the season, we get the following results :
Excellent-Good, 1 ; Good-Fair, 5 ; Fair, 5 ; Fair-Poor,
10 ; Poor, 2.
The first 23 pictures of the 1936-37 season were rated
as follows :
•Very Good-Good, 1; Good, 1; Good-Fair, 5; Fair, 7;
Fair-Poor, 5 ; Poor, 4.
UNITED ARTISTS CORPORATION
729 Seventh Avenue-
New York, N. Y.
March 3rd, 1938.
Mr. Pete Harrison,
Harrison's Reports,
1270 Sixth Avenue,
New York, N. Y.
Dear Pete :
When we were discussing your review on TOM SAW-
YER, I mentioned the fact that we were opening the pic-
ture in Scranton, Pa., and Denver.
For your information, I think you would like to know
that in Scranton we took in $2,235.00 on Saturday at the
Strand Theatre. The picture will show a new attendance
record at that theatre for the past year.
In Denver it opened on Tuesday at the Denver Theatre
and beat NOTHING SACRED, A STAR IS BORN and
THE PRISONER OF ZENDA, other sensational Selz-
nick hits, on the opening day by more than $500.00 and on
the second day was better than opening day.
As you know, the reviews all over the country were
sensational. Fidler gave it five bells, the Daily Nczvs four
stars, and wherever they have a star rating, or any other
rating of that kind, it got tops.
The picture is now plaving the Sparks Circuit in Florida
to 145% of normal ; at the Sheridan Theatre in Miami to
135% of normal.
I thought you would like to have this information since,
when we talked about this picture, you said you were
always open to conviction.
Kind regards.
Sincerely,
Monroe W. Greenthai..
WAR AGAINST DOUBLE FEATURES
IN CHICAGO ABANDONED
On February 28, the Board of Aldermen of Chicago
held a hearing on the complaint against double features,
with a view to determining whether an ordinance pro-
hibiting them in the city of Chicago should or should not
be passed, but for some reason the proponents of the
measure refused to take the floor to speak. As a result,
the hearing was dismissed, without any action taken.
ORDER YOUR MISSING COPIES
Look over your files and if you should find any copies
missing order them from this office at once ; they will be
supplied to you free of charge.
A sufficient number of copies of each issue is kept in
stock for just such a purpose.
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act or Marcn 3, ir/y.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Pubhsbed Weekly fey
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,K„ „ rr.,,^ Tts Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4632
joc a ^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, MARCH 19, 1938 No. 12
An Answer to the Producer Attack of the Neely Bill
As said in last week's issue, the major producers have destroy the industry in order to avoid it. But if we look at
become alarmed at the possibility of seeing the Neely- the bill we find that a penalty is imposed for violation of
Pettengill Bill become a law and have started a campaign Section 4 (synopsis provision) only for (a) failure to fur-
with the view of making you, the independent exhibitors, nish a synopsis or (b) knowingly making a false statement
believe that, if this Bill should become a law, you will be therein. Can it be that the great motion picture industry
put out of business. Through their Association, they have can not survive under a system which would require it to
released a pamphlet setting down their reasons for their tell its customers what it proposes to deliver without re-
belief that this Bill would bring about such a result. sorting to statements that are knowingly false?
An effective answer is given by Mr. Abram K. Myers,
Chief counsel of Allied States Association, by a statement "FALSE ADVERTISING AND SUBSTITUTION
he issued on March 9. Let me only add that the Bill is no "Now since the question of motive has been raised, is it
longer in the hands of the independent exhibitors ; it is in not in order to inquire what the Haysites are seeking to
the hands of the civic, fraternal and religious organiza- protect by their opposition to the bill ? The manifest purpose
tions, which have become interested in it as a result of of the bill is not to censor pictures or to hamstring the pro-
exhibitor pleadings. ducers in making pictures. It is merely to afford a right of
The following is Mr. Myers' answer : selection to independent exhibitors and the theatre-going
public. Eliminating the public for the time being and speak-
"NEELY BILL HYSTERICS ing bluntly, it is to confer on independent exhibitors at least
"Allied leaders have not joined in the debate on the some of tne advantages which the great chains enjoy under
Neely-Pettengill Anti-Compulsory Block-booking and their selective contracts. It is a curious thing that op-
Blind-selling Bill this year because there were so many ponents of the bill never mention the explanatory sentence
other matters calling for attention and because it was at the bottom of Section 4 which describes the scope and
thought that all of the charges made against the bill during purpose of the provision—
the debate two years ago had been fully answered. it ;s the purpose of this section to make available
"However, the reporting of the bill by unanimous action to the exhibitor sufficient information concerning the
of the Senate Committee on Interstate Commerce and the contents of the film and the manner of treatment to
wide popular support being given the measure have thrown enable him to determine whether he desires to select
the opponents of the bill into a panic and the trade press and the film for exhibition and later to determine whether
the mails are flooded with name-calling and highly hys- the film is fairly described by the synopsis,
terical articles and statements deliberately calculated to „AU exhibitors are familiar with the adual elimination
cause terror ,n independent exhibitor ranks. from the exhibjtion C0Iltracts used by the distributors of
"Some of these statements are by men whose ability has provisions under which an exhibitor could claim a substi-
captured the admiration of the undersigned and who are tution. Thus under the standard contract now in use, the
quite capable of presenting their side of the controversy distributor can deliver any picture he chooses— or none,
without resort to abuse or misstatement. That they have The iurid announcement books and work sheets are not
abandoned the traditional methods of honorable opponents binding on the distributor. The exhibitor must sign up for
and are deliberately misrepresenting the provisions and such pictures as the distributor sees fit to release regardless
effect of the bill and the motives of those who honestly be- of his advertising and the oral representations of the film
heve in the measure is a sure indication of the strength the salesman. On several occasions during the past three years
bill has mustered. particular distributors have flagrantly disregarded their
"The ghost that has been conjured up to frighten little promises on the strength of which they solicited and ob-
children is that the bill, if enacted, will compel (or result tained contracts.
in) the selling of finished pictures one at a time. It would "That the distributors are seeking to perpetuate this
be a strange thing if this requirement were found in the bill highly unethical practice is evidenced by the following ex-
because it was drawn with great care to avoid any such cerpt from a recent issue of Box Office:
result. Copies of the bill have been sent to all Allied re-
gional associations and we ask that all leaders read it again "NUMBERS, NO STARS, NO TITLES
and see if they can find in it any suggestion that exhibitors New York— Major companies next season will hold
may not buy as many pictures at a time from any distribu- t0 the policy of selling bv numbers, either as produc-
er as he sees fit to purchase. If they do not find any such tjon numbers or in groups and again eliminate the
suggestion they are requested to so inform their members star and title system, it is learned by Box Office.
so that they will not be misled by the storm of misrepre- Certain companies now sell the entire season's line-up
sentation and vituperation that is raging about them. with a list of production numbers, while others stick
"Some of the spokesmen for the Hays group, recognizing to a plan of offering groups of 48. 52 or 50, whatever
this weakness in their position, go on to say that the single the bulk output may be for their respective organiza-
selling of finished pictures will inevitably result from the tions.
enactment of the bill even though there is no such require- . « v
ment contained therein. This is a result which thev deplore Contracts will provide for all pictures to be dis-
and which they say will be ruinous to the industry, but, tributed within releasing seasons. Some companies
apparently they are willing to go beyond the reasonable begin distributing new product in August and others
requirements of the law to bring it about. Wiry ? in September.
"The contention is that because the bill requires that the "Another provision which the Hays spokesmen care-
distributors furnish a synopsis of each picture offered, thev Mly sm'cki from exhibitor eyes in their tirades against the
will not assume the risk that the delivered pictures will \Teely Bill is also found in Section 4. This provision is much
conform to the synopsis. This must be a very grave risk to too attractive to the long suffering exhibitors to even risk
frighten these industrial titans to the point where they will (Continued on last page)
46
"The Maid's Night Out" with Allan Lane
and Joan Fontaine
( k'KO, March 4; time, 64 min.)
A mild program comedy. The story is far-fetched, and
the comedy situations forced. It may, however, go over in
neighborhood theatres because of the last action in the
closing scenes. A few situations provoke laughter, but there
are not enough of them to bolster up a weak story. The
players try liard enough, but they are up against trite
material, which puts them at a disadvantage. Although the
romance is developed in a familiar way, it is pleasant : —
Allan Lane, who wanted to go in lor the study of fish,
cannot obtain his father's financial aid because his father
wanted him to go into his dairy business. Lane makes a bet
with his father, the understanding being that if he would
work one month on the milk route without missing a day.
he would be allowed to use his father's yacht to go to the
South Sea Islands to continue his fish studies. While on
his route, he meets Joan Fontaine and, since she was wear-
ing a dust cap and was cleaning a coat, he mistakes her for
the maid and makes an appointment with her. After a few
meetings, they fall in love. Lane's father is enraged when
he learns that his son was in love with a maid, while Miss
Fontaine's mother (Hedda Hopper) is heartbroken that
her daughter should be in love with a milkman. Lane and
Miss Fontaine meet at a charity affair, to which they had
each gone with a different partner; each one accuses the
other of having lied about their social position. Lane gets
into a fight and lands in jail. His pal sneaks into Miss
Fontaine's room and tells her that, unless Lane continued
his route one more morning, he would lose his bet. She dons
Lane's milk-driving clothes and delivers the milk for him ;
and when he obtains his release from jail he joins her on
the route. And so he wins his bet and a bride. Both his
father and Miss Fontaine's mother are happy when they
realize the match was a good one.
Willoughby Speyers wrote the story, and Bert Granet,
the screen play ; Ben Holmes directed it, and Robert Sisk
produced it. In the cast are Billy Gilbert, Hilda Vaughn,
Wm. Brisbane, and others.
Morally suitable for all. Class A.
"Prison Nurse" with Marian Marsh
and Herbert Wilcoxon
(Republic, March 1 ; time, 67 min.)
This prison melodrama shapes up as fairly good program
entertainment. There is an undercurrent of excitement
from the very beginning, for it is established almost im-
mediately that it was the intention of a few of the convicts
to make a jail break. Although the methods they employ
to accomplish this break are pretty far-fetched, one is held
in suspense, because of the danger to the hero, another con-
vict, who had been forced to accompany the jail-breakers.
The occasional wisecracks by one of the nurses help to
relieve the tension. One is in sympathy with the hero, who
had been convicted for a mercy death. Consequently, his
eventual freedom pleases one : —
Ma rian Marsh, Bernadene Hayes, and Minerva Uercal,
three nurses, arrive at a men's prison to assist the doctor.
A typhoid epidemic had broken out as a result of flood
conditions. Miss Marsh meets Henry Wilcoxon, one of the
prisoners, and recognizes him as a well-known surgeon
who had been convicted and sent to prison because of a
mercy killing. She appeals to him to help them out and,
although at first he refuses, he succumbs, particularly after
learning that the prison doctor himself had been stricken.
He and Miss Marsh fall in love. This gives him new hope.
The day before his parole was to be taken up before the
Board, Wilcoxon, at the point of a gun, is forced to join
Ben Welden, a dangerous criminal, and two other convicts
in a jailbreak; they drive away in a prison ambulance.
When Wilcoxon gets the upper "hand and threatens to kill
them unless they returned to the prison, Welden purposely
crashes the ambulance. He dies ; the only other witness to
Wilcoxon's innocence is killed by a trooper. Wilcoxon is
sent back to prison and re-tried on a murder charge, one
of the guards having been killed in the escape. He is con-
victed for first degree murder. At the last minute. Miss
Marsh finds the diary of one of the escaped prisoners. The
details of the jailbreak in the diary clear Wilcoxon. This
wins the parole for him. He and Miss Marsh look forward
to a new life.
Adele B. Ruffington wrote the story, and Earl Felton and
Sidney Salkow, the screen play; James Cruze directed it,
and Herman Schlom produced it. In the cast are Ray
Mayer, John Arledge, Addison Richards, and others
Unsuitable for children. Adult fare. Class B
March 19, 1938
"He Couldn't Say No" with Frank McHugh
and Jane Wyman
(Warner Bros., March 19; time, 57 min.)
A mildly diverting program comedy. The story, based on
the familiar theme of the meek, harassed hero who eventu-
ally rebels, is trite, offering just slight entertainment, bor
the most part, it is extremely silly and, considering the
lack of star names, it will probably make a weak showing
at the box-office. Frank McHugh does the best he can in the
role of the timorous clerk, ruled by his fiancee (Jane
Wyman) and by her overbearing mother (Cora Wither-
spoon). The one comical situation is that in which Mc-
Hugh, against the wishes of Miss Wyman and her mother,
bids for and obtains a large statue of a girl called "Cour-
age." He wanted the statue because it resembled a society
girl (Diana Lewis), whom he had worshipped from afar,
never having met her. It develops that Miss Lewis had
actually been the model for the statue. This brings about
many complications, for her father (Berton Churchill),
fearing that, if it became known that his daughter had been
the model for the statue, his political career would be
ruined, makes many attempts to buy it from McHugh, who
steadfastly refuses to sell it, much to Miss Lewis' delight.
Eventually McHugh does sell it to an art institution for
$5,0(M), making a profit of $4,900 for himself. And he had
also to outwit some gangsters, who wanted to steal it. His
wealth gives him courage to denounce Miss Wyman and
her mother, and to demand a large increase in his salary.
And to his joy, Miss Lewis promises to marry him.
Joseph Shrank wrote the story, and he, Robertson White,
and Ben Grauman Cohn, the screen play ; Lou Seiler di-
rected it, and Bryan Foy produced it. In the cast are Ray-
mond Hatton, Tom Kennedy, and others.
Morally suitable for all. Suitability, Class A.
"Arsene Lupin Returns" with Melvyn
Douglas, Virginia Bruce and
Warren William
(MGM , February 25 ; running time, 80 min.)
This crook melodrama offers entertainment for both the
masses and class audiences. Good performances, an inter-
esting story, and fast action, are the predominant features ;
and, incidentally, they cover up a few implausible situa-
tions. The classes may enjoy it because the leading char-
acters are suave, talking and acting in an intelligent man-
ner. One is held in suspense throughout, out of the knowl-
edge that the hero, a reformed crook, was in danger of
becoming involved in a robber and murder he did not com-
mit. Comedy is provoked by the way in which the hero and
a clever detective outwit each other. The romance is pleas-
ant : —
Warren William, a private detective, engaged by John
Halliday, a titled Frenchman, to guard the valuable emer-
ald necklace he was taking back to France, sails with Halli-
day and his niece (Virginia Bruce). In France, he meets
Miss Bruce's fiance (Melvyn Douglas), a country gentle-
man. One night, the necklace is stolen ; upon examination
William finds the name "Arsene Lupin" written across the
safe. Every one is surprised, for "Lupin" was supposed to
have been killed by the police long before. Without telling
the police anything about his suspicions, William starts an
investigation into Douglas' past and finds that he is
"Arsene Lupin." But Douglas, who had gone straight and
knew that some one else was using his former name to
throw suspicion on the wrong person, does some investigat-
ing himself, particularly since he knew that William was
aware of his identity and had been trying to pin the guilt
on him. Douglas learns the identity of the diamond cutter
to whom the necklace had been taken and, together with
his two former accomplices, he goes there. Although they
find the diamond cutter murdered, they continue with their
search, until they find the necklace, and send it back to
Halliday by messenger. This puzzles the police, but not
William. Eventually he and Douglas, working together,
solve the mystery ; they prove that the criminal was none
other than a relative of Halliday's. who. being beset by
debts, had stolen the necklace to hock it. William does not
give Douglas away ; instead, he leaves, giving Miss Bruce
and Douglas his blessings.
James Kevin McGuinness, Howard Emmett Rogers, and
George Harmon Coxe wrote the screen play ; George Fitz-
maurice directed it, and John W. Considine, Jr., produced
it. In the cast are Nat Pendelton, Monty Woolley, E. E.
Clive, and others.
Not for children. Class B.
HARRISON'S REPORTS
HARRISON'S REPORTS
47
"Condemned Women" with Sally Eilers,
Louis Hayward and Anne Shirley
(RKO, March 18; time, 77 mm.)
A good program prison melodrama. It holds one's in-
trest throughout, particularly because of the sympathy one
feels for the leading characters — it is established that Sally
Eilers, one of the prisoners, had been a victim of circum-
stances, and that Anne Shirley, another prisoner, had sac-
rificed her freedom to protect the man she loved, so as to
insure their future happiness. The prison break, lead by
the most vicious of the inmates (Lee Patrick, is thrilling,
because of skilful manipulation. It is pretty strong, though,
for Miss Patrick, while escaping, is shown killing two
women, the prison doctor and Miss Shirley. Miss Shirley's
death saddens the spectator. The romance is developed
logically : —
Louis Hayward, prison psychiatrist, while testing the
different prisoners, recognizes Sally Eilers as the girl who
had tried to jump off the boat bound for the prison and
whom he had saved. She is dispirited and refuses his offer
to help her see things in a different light. He asks the
Warden to assign her to him as his nurse. Close association
with Hayward soon changes her, and she falls in love with
him, as he does with her. The Warden, who had found out
about the affair from his malicious head matron, appeals to
Miss Eilers to break up the romance for Hay ward's sake,
for he felt that Hay ward's career would be ruined if he
were to marry an ex-convict. Miss Eilers, feeling that,
what the Warden had said was true, arranges with Miss
Patrick, another prisoner, to join her in a prison break.
Everything goes off as they had planned : by breaking a
steam pipe and letting the smoke seep through the prison,
they start a panic. Miss Patrick, who had stolen a gun,
kills a woman doctor, because she had tried to stop her,
and then Miss Shirley, who had accidentally stepped in her
way. Miss Eilers and Miss Patrick escape in a car ; but
Miss Patrick, who had received a gun wound, dies. Miss
Eilers is finally caught. At her trial for murder she refuses
to talk. Hayward, who had found out the truth, obtains
the court's permission to interrogate witnesses. He brings
out the fact that she had been motivated to join the break
just to help him. The Judge dismisses the murder charge,
ordering Miss Eilers to finish her first prison term. The
lovers part looking forward to the day when they would
be married.
Lionel Houser wrote the story and screen play ; Lew
Landers directed it, and Robert Sisk produced it. In the
cast are Esther Dale, Leona Roberts, and others.
Unsuitable for children. Class B.
"Monastery"
(World Pictures; running time, 65 min.)
This picture, centering around two Catholic monastic
orders, is fine entertainment for persons of the Catholic
faith. As for the general public, its appeal will be directed
to those interested in the unusual.
The first Order shown is the St. Bernard Monastery, at
Switzerland ; the Monks at this Monastery do heroic work
in rescuing travellers lost or injured on the St. Bernard
Pass. They are all skilled skiers, who have no thought of
personal danger when they set out on their hazardous
work. If the Monks arrive too late, the victim is brought
ba:k to the Monastery, where he is buried. One scene shows
the cellar, where the remains of the victims are on display.
The Monks at St. Bernard are always busy, doing some-
thing useful, but, of course, not neglectful of their prayers.
The Trappist Monks at a Monastery in France, next
shown, lead a different kind of life. It is more secluded,
and the routine is one of constant self-denial and complete
devotion to prayers. The Monks eat but once a day, and at
tint a simple meal, during which prayers are read to them.
They very seldom speak, for theirs is a contemplative sort
of existence, in which prayer suffices.
The narration by the Reverend Michael J. Ahern, S.J.,
offers all the explanations one needs about the customs.
Robert Alexandre directed it.
Suitability, Class A.
"Kathleen" with Sally O'Neil
(/. H. Hoffberg; time. 70 min.)
Although not perfect technically, "Kathleen" should en-
tertain Irish audiences well, since the background is Ire-
land, and the characters are all natives, who participate in
the music, dancing, and comedy. The story is very simple
and comes to an obvious conclusion. Aside from the occa-
sional singing by Tom Burke, and the novelty of seeing
the Irish countryside, it holds little for those who are not
of Irish descent. With the exception of the situation near
the end, where Miss O'Neil and Burke attempt to overtake
and prevent her uncle from illegally crossing the border
with horses, the story lacks excitement : —
Since the death of her father and mother, Miss O'Neil
had been supporting her young brother and sister. With
the help of Burke, who loved her and wanted to marry her,
she is able to accept the invitation of her aunt (Sara All-
good) to return to Ireland with her sister and brother and
to live at her farm. But Miss Allgood's husband (Pat
Noonan), who lived off the bounty of his wealthy but skin-
flint sister (Jeanne Stuart), resented the fact that he had
to feed three more persons. His sister, who managed the
estate of her wealthy nephew (Jack Daly), insists that the
two younger children be sent to a convent. Miss O'Neil
believes this was Daly's desire ; but she soon realizes that
she had been mistaken. She and Daly fall in love with each
other. Burke arrives in Ireland with the good news that he
was at last able to marry Miss O'Neil. In the meantime,
Miss Stuart, thinking that Daly wanted to marry Miss
O'Neil, plans to involve him in a scandal by having Noonan
drive horses belonging to Daly across the border. Miss
O'Neil and Burke rush after him to prevent him from doing
this. In a struggle, Noonan falls in front of the oncoming
horses and is killed. Burke finds out that Miss O'Neil
loved Daly and gives her up. Having been discovered as a
singer, Burke rises to fame ; Miss O'Neil marries Daly.
John Glen wrote the story, and Marjorie Deans, the
screen play ; Norman Lee directed it, and John F. Argyle
produced it. Ethel Griffies and Baby Brenda are in the cast.
Suitability, Class A.
"The Adventures of Marco Polo" with
Gary Cooper, Basil Rathbone
and Sigrid Gurie
(United Artists, March 4; time, 104 min.)
Expert performances and a lavish production are the
highlights of this adventure-comedy. But its entertainment
value lies in the comedy more than in the adventure, for,
with the exception of the thrilling closing scenes, the story
lacks fast action. Because of this, its appeal should be di-
rected more to sophisticated audiences. There is no doubt,
however, that it will draw well at the box-office, first, be-
cause of Gary Cooper's popularity, and, secondly, because
of the fame of the character he portrays. The picture is
"big" from a production standpoint — that is in sets and
mob scenes. The romance is handled in good taste, and with
an eye to comedy. The action unfolds in ancient times : —
Marco Polo (Cooper), in company with his trusted book-
keeper Binguccio (Ernest Truex), leaves Venice for China,
there to open up trade between the two nations. Marco and
Binguccio go through storms, shipwrecks, sandstorms, and
much hardship until they, bedraggled, finally arrive in
Pekin, their destination. Marco is received by the great
Kublai Khan (George Barbier) and his right-hand man, a
cruel Saracen, Ahmed (Basil Rathbone). Marco meets and
falls in love with Princess Kukachin (Sigrid Gurie). When
this becomes known to Ahmed, he contrives to have Marco
sent to the camp of the enemy Lord Kaidu (Alan Hale),
as a spy. Kaidu sees in Marco a chance for release from his
marital slavery, and orders him to keep his wife (Binnie
Barnes) amused, so that he might carry on other affairs.
In the meantime, Ahmed tricks Kublai Khan into leading
his Army in battle against Japan, knowing it was a losing
battle. With the Khan gone, he takes over the powers, and
informs the Princess that she would have to marry him.
The defeated Khan returns, helpless to assert his authority
against Ahmed. The princess sends word to Marco to help
her. Marco induces the over-taxed Kaidu to attack the Pal-
ace. Ahmed tricks them, and for a time it looked as if they
would all I)'.' killed. But Marco, succeeding in blowing up
the Palace Gates with gunpowder, leads the army in. He
rushes into the palace in time to stop the wedding cereemony
between Ahmed and the Princess. In a fierce fight with
Marco, Ahmed falls into a pit of hungry lions and is de-
voured. Marco restores peace between the Khan and Kaidu.
He obtains the coveted trade agreements, and then sets
sail with the Princess, presumably to escort her to her
fiance, King of Persia. But Marco and the Princess had
other ideas ; they would make it their own honeymoon trip.
N. A. Pogson wrote the story, and Robert E. Sherwood,
the screen play : Archie Mayo directed it, and George
Haight, in association with Mr. Goldwyn, produced it. In
the cast are H. H. Warner. Robert Grieg, and others.
Suitability, Class A.
48 HARRISON'S REPORTS
discussing it. It is intended to restore to exhibitors some of
the rights which they enjoyed (and which are enjoyed by
the buyers of every other class of goods) when pictures
were sold by name with an outline of the story and with
mention of the directing and acting personnel and before
all provisions protecting the exhibitors against substitu-
tions were removed from the contract. The provision in
question reads as follows :
If a motion-picture film which has been leased in
commerce is substantially different from the synopsis
hereinabove required, whether in respect of the outline
or the manner of treatment, the exhibitor may cancel
the lease as to such film without liability for breach of
contract and may recover all damages suffered by him
because of such difference, or he may retain the lease
and recover damages for a breach of warranty.
"WHOSE FAITH IS AT STAKE?
"It is easy to say that exhibitors who favor the Neely
Bill or other legislation beneficial to themselves are prompt-
ed by a spirit of vengeance or are otherwise acting in bad
faith. But it is not legitimate argument against the merits
of the bill and it has the unfortunate effect to open the way
to an inquiry concerning the faith — good or bad — of those
who raise this false issue. Allied does not have to apologize
for its efforts to settle industry disputes within the industry.
Allied leaders have always been on hand and have always
cooperated when there appeared to be any chance of ac-
complishing good for the industry. During all these years
the distributors belonging to the Hays Association alone
have had the power to remedy abuses in the sale and dis-
tribution of films and conditions have groivn steadily worse.
"Thousands of exhibitors who in recent years have been
induced by distributor advertising to sign contracts in the
belief that certain pictures would be delivered thereunder,
and have suffered from all manner of substitution under
the standard contract, and have had their product taken
away from them by distributor-owned chains, will not be
concerned about charges of bad faith against their leaders
when they recall that at the Trade Practice Conference in
1927 the distributors adopted the following resolutions pub-
lished as Rules Three, Five and Fourteen :
"Rule Three
"Resolved, That the substitution by a producer or
distributor for any photoplay contracted for by any ex-
hibitor, as the photoplay of a specified star or of a
specified director, or based upon a specified story,
book, or play, or any photoplay in which such specified
star does not appear, or which has not been directed
by such specified director, or which is not based upon
such specified story, book, or play, as the case may be,
unless with the consent of the exhibitor, is an unfair
trade practice.
"Example . — This resolution was adopted with the
understanding that if the contract mentions neither
star, cast, director, nor author in the description of
the story, which in the work sheet is described as a
play of college life, but when delivered proves to be a
story dealing with the mining fields of Pennsylvania,
would be a substitution within the meaning of the
resolution.
"Rule Five
"Whereas the use of misleading or salacious adver-
tising is recognized as an evil, and
"Whereas the distributors of motion pictures repre-
sented in the membership of the film boards of trade
themselves will not use misleading or salacious ad-
vertising in connection with their product :
"Resolve, That it is a fair trade practice to use
their best efforts to discourage others in the industry
from using misleading or salacious advertising.
"Rule Fourteen
"Resolved, That the use of buying power for the
purchase of more photoplays than an exhibitor can
consume, in order to deprive a competing exhibitor of
the opportunity of purchasing his supply of photo-
plays, whether it be an attempt to corner the market
against such competing exhibitor, or whether it he
with the thought of forcing a competing exhibitor out
of business, or the compelling of such competing ex-
hibitor to sell his theater, is an unfair trade practice.
Aiiram F. Myers."
March 19^1938
BOX OFFICE PERFORMANCES OF
1937-38 SEASON'S PICTURES— No. 3
Twentieth Century-Fox
"Thank You Mr. Moto," with Peter Lone, Thomas
Beck and Jayne Regan, produced by Sol M. Wurtzel, and
directed by Norman Foster, from a screen play by Mr.
Foster and Willis Cooper: Good-Fair.
"Love and Hisses," with Walter Winchcll, Ben Bernie
and Simone Simon, produced by Kenneth MacGowan, and
directed by Sidney Lanlield, lrom a screen play by Art
.Arthur and Curtis Kenyon: Very Good-Good.
"City Girl," with Phyllis Brooks, Ricardo Cortez and
Robert Wilcox, produced by Sol M. Wurtzel, and di-
rected by Allied Werker, from a screen play by Frances
Hyland, Robin Harris, and Lester Ziffren: Good-Fair.
"Tarzan's Revenge," with Eleanor Holm and Glenn
Morris, produced by Sol Lesser, and directed by D. Ross
Lederman, from a screen play by Robert L. Johnson and
Jay Vann : Poor.
"Change of Heart," with Gloria Stuart and Michael
Whalen, produced by Sol M. Wurtzel, and directed by
James Tinling, from a screen play by Frances Hyland and
Albert Ray : Fair.
"Hawaiian Buckaroo," with Smith Ballew and Evalyn
Knapp, produced by Sol Lesser, and directed by Ray
Taylor, from a screen play by Dan Jarrett : Good-Poor.
"Charlie Chan at Monte Carlo," with Warner Gland,
produced by John Stone, and directed by Eugene Ford
from a screen play by Charles Belden and Jerry Cady :
( iood-Fair.
"Happy landing," with Sonja Henie, Don Ameche and
Cesar Romero, produced by David Hempstead, and di-
rected by Roy Del Ruth, from a screen play by Milton
Sperling and Boris Ingster : Excellent-Very Good.
"International Settlement," with George Sanders and
Dolores Del Rio, produced by Sol M. Wurtzel, and di-
rected by Eugene Forde, from a screen play by Lou Bres-
low and John Patrick : Good-Fair.
"Checkers," with Jane Withers, Stuart Erwin and Una
Merkel, produced by John Stone, and directed by H. Bruce
Humberstone, from a screen play by Lynn Root, Frank
Fenton, Robert Chapin, and Karen DeWolf : Good-Pair.
Thirty -two pictures have already been released. Group-
ing the pictures of the different ratings, including the
W esterns, from the beginning of the season, we get the
following results :
Excellent, 1; Excellent- Very Good, 2; Excellent-Good,
1; Very Good-Good, 4; Very Good-Fair, 2; Good-Fair,
9; Good-Poor, 3; Fair, 7: Fair-Poor, 2; Poor, 1.
The first 32 of the 1936-37 season, excluding the West-
erns, were rated as follows :
Excellent, 1 ; Excellent- Very Good, 2 ; Very Good, 3 ;
Very Good-Good, 4; Good, 9; Good-Fair, 4; Fair, 6 : Fair-
Poor, 3.
United Artists
"The Hurricane," with Dorothy Lamour, Jon flail and
Mary Astor, produced by Samuel Goldwyn, and directed'
by John Ford, from a screen play by Dudley Nichols :
Excellent- Very Good.
"Action for Slander," with Clive Brook, produced by
Victor Saville, and directed by Tim Whelan, from a screen
play by Miles Malleson : Fair.
"I Met My Love Again," with Joan Bennett and Henry
Fonda, produced by Walter Wanger, and directed by
Arthur Ripley and Joshua Logan, from a screen play by
David Hertz : Good-Fair.
"The Goldwyn Follies," with Adolphe Menjou, Andrea
Leeds and Kenny Baker, produced by George Haight. in
association with Samuel Goldwyn, and directed by George-
Marshall, from a screen play by Ben Hecht : Very Good-
Good.
Fifteen pictures have already been released. Grouping
the pictures of the different ratings from the beginning of
the season, we get the following results :
Excellent-Very Good, 4 ; Excellent-Good. 1 ; Very
Good-Good, 1; Good, 2; Good-Fair, I; Good-Ponr, 1;
Fair, 3; Fair-Poor, 1 ; Poor, 1.
The first IS of the 1936-37 season were rated as follows r
Excellent, 1: Very Good-Good, 3; Good, 5; Good-Fair,
3 ; Fair, 1 ; Fair-Poor, 1 : Poor, 1
Kntersd as second -class matter January 4, 19G1, at the peat ofri«e at New Yerk, New York, une"er the ad ef Uarea g, ir?».
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE PubBsteed Weekly by
Vnited States $16.00 R,^™, 1 *1 9 Harrison's Report*. Iwe.,
I' S Insular Possessions. 16.50 IVOOTIAOI* Publisher
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aac a cx>py Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, MARCH 26, 1938 No. 13
SIDNEY KENT'S BLOCK-BOOKING VIEWS
Under date of March 10, Mr. Sidney R. Kent, president had a morality motive behind it, but such a motive is not
of Twentieth Century-Fox, sent a circular letter to every justified today; pictures are now clean,
independent theatre in the United States condemning the (9) The Bill will not prohibit an exhibitor from show-
Neely-Pettengill Bill, urging the owners of such theatres jng a picture such as "Ecstacy," which was bought by
to fight against its enactment into a law. thousands of exhibitors, "of their own accord" ; the same
"Independent exhibitors of this country," starts Mr. is true 01 ma»y so-called hygiene pictures, shown in many
Kent's circular letter, "will rue the day the Neely Bill be- theatres without the approval of the Production Code Ad-
comes a law. Setting aside for a moment the question of mimstrator (Joe Breen). All these pictures were bought
exhibitor grievances that may be legitimate, let me say that singly, and not as a part of any block of pictures,
any exhibitor leader who tells his following that this legis- ( 10) The clique that advocates this Bill is the same one
lation is for their good is either ignorant or false. An article that wants to destroy the producer-distributors. But the
published this week states 'Exhibitors can still buy in blocks real destruction will, in his opinion, be brought to the ex-
under the Neely Bill as before.' This is also misleading. A hibitors if the Bill should go through.
detailed synopsis and a statement of the treatment of the (U) Qnly a few companies, including Twentieth Cen-
dialogue of each picture must be made a part of each con- tury-Fox, will be able to survive, because of the necessity
tract. Yes, they could if any producer were stupid enough to for largc monev reserves for production,
try and write an accurate description of the kind called for ,.~ .... . , , , , .
• .1.- iD-ii j .i • i c ■ • i +r (12) When pictures have to be bought one at a time,
m this Bill and run the risk of criminal prosecution and to a. j c u-u-*. ■« <_ u ui i • * • *u •
i r , • ,<•..• \ a. it ... u-ii ■, „K :ii thousands of exhibitors will not be able to maintain their
be hned in addition. Actually the Bill itself will make any . , , , .
i • -ui . „ , r i < •„+.„..., -,<■*„,- present position, for in a vear or two the supply of pictures
sale impossible except the sale of a finished picture attei 1 . . . v ', . *i , c . , u- u- ~
■ . • .i • . * * .„ , „,v,„ will be even smaller than the supply of today, which is con-
screening. There isn t a man in the industry today who . , , . _ . ^ J "
could take a finished picture, let alone a projected one for siaeiea insumcient.
the future, and based on the finished picture write a de- For all these reasons, Kent says, the exhibitor who be-
scriptive analysis that would be safe or stand up— not one 1'eves that this Bill will prove a triumph to him is writing
that couldn't be picked to pieces technically if some one his own bankruptcy. And he says that he had weighed care-
wanted to— and, in my opinion, no producer would run the f«Hy every statement he made in that letter before making
risk or could afford to run it. . . ." lt-
, - , , . , „„■ „ He closed his letter by urging every exhibitor who agrees
Since almost every independent exhibitor has received a ^ . hf g « • *QJ. maki hJs y- knQwn_
copy of this circular letter, it is hardly necessary for this ...,■»«• «- , .
paper to reproduce it in whole. It might only be added that This paper regrets, indeed, that Mr. Kent should have
Air. Kent attempts to establish the following facts : descended to vituperation by calling the proponents of the
Neely-Pettengill Bill either ignorant or false, for this
( 1 ) No accurate synopsis can be written from a finished matter concerns an issue, and issues are not resolved by
picture. personal abuse. A man of his position and standing should
(2) No producer will be able to sell to the exhibitor have kept himself above pettiness, confining himself to
pictures until they are finished. proving his views by the presentation of facts.
(3) The selling will have to be done at the exchange, Let us now examine Mr. Kent's statements with a view to
where the exhibitor will have an opportunity to view the determining whether he has presented any facts, and if so
picture ; and since many exhibitors are far away from the whether his views of what the Bill will do are sound or
exchange city it will be highly inconvenient for them to buy unsound :
pictures satisfactorily under the Neely-Pettengill law. During the hearing of the Bill before the House Com-
(4) The circuits will have the advantage over every in- niitee on Interstate and Foreign Commerce, Mr Kent was
dependent exhibitor, because they will have buyers in every one of the witnesses who expressed his views of the Bill,
centre, an expense the independent exhibitor cannot afford. The following is part of the questions by Congressman
( 5 ) The Neely-Pettengill Bill is more drastic than the ^ttengill and Mr. Kent's answers :
English Quota Law, for under the English law all a dis- "MR. PETTENGILL. Now, how does the exhibitor in
tributor has to do is to tradeshow a picture and his respon- England buy your product?
sibility ceases, whereas under the Neely-Pettengill Law "MR. KENT. He buys as many pictures as we have
the provisions of the law will not be satisfied when a pic- trade shown and can give him at one time. You see, the law
ture is shown to others ; it must be shown to the buyer there, as I tried to explain is that you must first finish your
himself. "A picture might have played in a thousand thea- picture and then show it. If you have got 15 completed
tres and yet, under this Bill, you couldn't lease it without vou can show 15 ( Rec. p. 261).
screening it for every account that hadn't seen il and still "MR PETTENGILL. Now, if the motion picture in-
turmsn a synopsis. (,ustrv CM operate| and j asslmie with a profit, in Great
(6) He demands to be told the names of the exhibi- Britain, or you would not he there-
tors who have been forced out of business because of the «-up' vpwt V#>c sir
prevalence of block-booking and blind-selling. On the other 1! ' XI t , . n
hand, he states that he is willing to name all the exhibitor MR. PL 11 ENGILL. \\ lu re the pictures are actually
leaders who are supporting this Bill and to point out to produced before they are sold, why can that be done in
the fact that most of them today own more theatres than England and not in the United Mates
they owned twenty years ago. He also calls the exhibitors' "MR. KENT. That is because of the law in England,
attention to the fact that there are major picture companies That is the distinction that I made when 1 said to you, so
that are still in the courts for reorganization, meaning by far as I am concerned, it would not bother inc. or the l <>\
this that they are not doing so well as the exhibitor leaders Films, if you gentlemen passed a law which is as fair to
whom he has offered to name. the man who makes the merchandise as it is to the man who
(7) The Neely-Pettengill Bill is a minority Bill, worked buys it, because in England it applies to both sides. While
out with a punitive purpose in mind. I have to finish my picture before he buys it, be also has to
(81 The original draft of the Bill (the Brookhnrt Bill) (Continued on last page i
50
HARRISON'S REPORTS
MarchJ>6, 1938
"The First Hundred Years" with Robert
Montgomery, Virginia Bruce and
Warren William
(MGM, March 11 ; time, 73 min.)
This sophisticated marital comedy-drama, produced
pretty lavishly, should appeal to high-class audiences. It
is doubtful if it will attract the masses. For one thing, it
lacks fast action — the story is developed mostly by dia-
logue ; for another, the story itself has little substance. The
actions of the heroine are not such as to awaken sympathy,
for she is concerned more with her own career than witii
the happiness of her husband. On one or two occasions the
witty dialogue provokes laughter, although it occasionally
becomes risque : —
Robert Montgomery, boat designer, having been sup-
ported for a long time by his wife (Virginia Bruce), a
successful actors' and writers' agent, is happy when he ob-
tains a job with a large shipbuilding concern at $15,000 a
year. Miss Bruce is happy, too, until she learns that Mont-
gomery expected her to give up her business and live
in a small Massachusetts town near the shipyards. She
rebels at this ; and so they part. Upon the advice of her
partner (Warren William) and their lawyer (Alan Dine-
hart), she starts an action for separation. She is furious
when the Judge, after a futile attempt to bring the couple
together, orders that she pay Montgomery alimony; and
to add to her anger, Montgomery, in order to teach her a
lesson, takes the money. When she discovers that she was
to become a mother, she rushes to him to beg for reconcilia-
tion ; but before she had a chance to tell him about the
baby, he informs her that he had no desire to take her back.
Crestfallen, she leaves. But she doesn't get far, for Mont-
gomery, having heard the news from William, goes after
her; they fall into each other's arms.
Norman Krasna wrote the story and produced it. Mel-
ville Baker wrote the screen play, and Richard Thorpe
directed it. In the cast are Binnie Barnes, Harry Daven-
port, and Nydia Westman.
Not particularly suitable for children. Adult fare. Class B.
"Bluebeard's Eighth Wife" with Claudette
Colbert and Gary Cooper
{Paramount, March 25 ; time. 90 min.)
The combination of Claudette Colbert and Gary Cooper
together with the unusual title, should mean something to
the box-office. But it is doubtful if patrons will be enter-
tained, for, aside from the first ten or fifteen minutes which
are extremely amusing, this picture falls flat. Most of the
time only Miss Colbert and Cooper are on the screen-
talking, talking, talking, to the point where one begins to
squirm. The picture lacks the familiar Lubitsch touch deal-
ing with subtle hints at sex; instead, the innuendos here
are rather crude and at times just vulgar. The fact that
the picture is not in the excellent class is no reflection on
the two stars, who are both good :—
Cooper an American vacationing in Paris, goes shop-
ping in a high-class department store ; but he finds it diffi-
cult to convince the salesman that all he wanted to buy was
the top part of pajamas. Miss Colbert, another shopper
comes to his rescue by offering to buy the bottom of the
pajamas Although very much attracted by her beauty and
charm, Cooper refrains from asking for her name. Having
complamed about his suite at the hotel. Cooper is escorted
to the suite that was occupied bv Edward Everett Horton
ail impoverished nobleman, who had been ordered out'
Cooper is amazed to find Horton wearing the bottom part
M VT"1/13 Mlsus.Co'bert had bought. He learns that
Miss Colbert was his daughter. They finally meet and
Cooper convinces her that she should marry him The day
meZM hf rmarriaf',¥isS Co,bert learns- t0 »er amaze^
ment that Cooper had been married seven times, divorcing
hem because they bored him. At first she refuses to marrv
thZ'h? I ft6" SiC °hangeS )er mind' First' she dema"ds
that he settle a large sum of money on her; then, on the
honeymoon, she treats him as if he were a stranger Her
idea was to tram him so that he would not want to leave
her Complications set in when her plans to make him
affSrUft nSs£heVi2g that She had havi^ an
affair with David Niven, he agrees to give her a divorce
and leaves. After a search, Miss Colbert finds him a
sanitarium recovering from a case of nerves. By having
htm tied in a strait-jacket, she forces him to listen to her I?
ends m a reconciliation.
The plot was adapted from the play by Alfred Savoir-
Charles Brackett and Billy Wilder wrote the screen Xv
rr K^^ch directed and produced it. In the casf are
Elizabeth Patterson, Warren Hvmer. and others
Not particularly suitable for children. Class B
"Jezebel" with Bette Davis, Henry Fonda
and George Brent
(Warner Bros., March 26; time, 103 min.)
Powerful dramatic entertainment, it is unusual in its
way, for it makes no concessions to the box-office either in
characterizations or development of plot; and it is from its
honesty that it derives its power. For instance, the heroine
is not painted as a lily; she is shown to be hot-tempered,
emotionally uncontrolled, a person who resorts to con-
temptible tricks to get what she wants. Nevertheless, one
understands her and even sympathizes with her. In the end,
one's heart goes out to her, because of the great sacrifice
she makes. It is not what one would call cheerful entertain-
ment, and may not appeal to the rank and file, but it should
please those who like good acting. The action takes place
in New Orleans, in the '50's : —
Bette Davis, madly in love with Henry Fonda, makes
life miserable ior both by her irascibility. Although he, too,
loved her madly, he breaks off the engagement and leaves.
During the year that he was away, she changes, living in
hopes that he would come back to her. At the end of a year
he returns, but married, to a Yankee (Margaret Lindsay).
This was more than Miss Davis could stand. Even though
they were her guests at her plantation, she makes herself as
vicious as possible, going so far as to start a quarrel be-
tween Fonda and one of her guests (George Brent), hoping
it would end in a duel. Fonda receives word that his partner
at New Orleans had been stricken with yellow fever, which
was raging there. He rushes to him. Miss Davis, continu-
ing tlie taunting, arouses the anger of Fonda's young broth-
er (Richard Cromwell) ; this causes a duel between him
and Brent, in which Cromwell kills Brent. Word comes to
them that Fonda, too, had been stricken, and that he had
been taken to Miss Davis' town house. Without a word.
Miss Davis rushes to him, ignoring the danger to herself.
Miss Lindsay and the others follow. When word comes
that Fonda, like all the other victims, would be sent to a
leper colony for isolation, Miss Davis pleads with Mis>
Lindsay, who wanted to go with her husband, to permit her
to go instead; Miss Lindsay finally agrees to this. Miss
Davis rides away on a cart where Fonda and other victims
had been put, perhaps to death.
The plot was adapted from the play by Owen Davis ;
Clements Ripley, Abem Finkel, and John Huston wrote
the screen play, William Wyler directed ft, and Henry
Blanke produced it. In the cast are Fay Bainter, Donald
Crisp, and others.
No part of the action is immoral, but it is too depressing
for children, and for many adults. Suitability, Class A.
"Over the Wall" with Dick Foran
and June Travis
( Warner Bros., April 2; time, 66 min.)
A fair program prison melodrama. It differs somewhat
from the general run of pictures of this type in that it is
not as depressing; it is more concerned with the building
up of the character of one of the prisoners than with prison
life itself. But the story is far-fetched, particularly in the
closing scenes, which are somewhat ridiculous. Dick Foran
sings a few songs pleasantly : —
Foran, a truck driver, is eager to become a prizefighter.
He finally induces his manager (Ward Bond) to arrange a
bout for him with a fighter managed by Dick Purcell, a
gangster. Foran is knocked out during the first round, for
Bond, who had been working with Purcell, had framed the
fight by putting a piece of lead in the glove of Foran's op-
ponent. When Foran comes to and learns about the frame-
up, he rushes to Purcell's apartment to see Bond ; he knocks
him out and then leaves. Purcell, who felt that Bond knew
too much about him, sees an opportunity to kill Bond and
place the blame on some one else. While Bond was still un-
conscious, he crushes his skull, killing him ; he then calls
the police, accusing Foran of the murder. Foran is ar-
rested, tried, and sentenced to five years imprisonment. He
becomes an unmanageable convict, resenting the fact no
one believed him innocent. But he changes under the in-
fluence of the prison Chaplain (John Litel), who promises
to further his career as a singer. Foran learns from George
E. Stone, another convict who was on his deathbed, how
Purcell had framed him. His sweetheart (June Travis),
who had taken a job with Purcell to get evidence against
him, appeals to Litel for help. Purceil is finally arrested
and held for the murder. Foran is pardoned, looking for-
ward to a career as a singer, with Miss Travis as his wife.
Warden Lewis E. Lawes wrote the story, and Crane
Wilbur and George Bricker, the screen play ; Frank Mc-
Donald directed it. and Bryan Foy produced it. In the cast
are Mary Hart. Veda Ann Borer, and others.
The murder makes it unsuitable for children. Class B.
March 26, 1938
HARRISON'S REPORTS
51
"The Gaiety Girls" with Jack Hulbert
and Patricia Ellis
(London Film-United Art., March 18; time, 73 min.)
A fairly entertaining musical comedy. The story of mis-
taken identity, with its backstage atmosphere, lacks nov-
elty ; but, since the action unfolds at a fast pace, one's at-
tention is held. The chief trouble with it is the fact that
American audiences have seen bigger and better musicals
than this one. There is nothing outstanding in this produc-
tion, for the music and dance routines are only fair, and the
leading players have little drawing power at the box-office.
Where patrons are not, however, too exacting in their de-
mands, it should satisfy, for in addition to the music, there
is comedy and romance : —
Patricia Ellis, late for rehearsal, accepts a lift from a
chauffeur driving an expensive car owned by millionaire
Jack Hulbert. On the way to the theatre, they meet with
an accident. The chauffeur, having been summoned to
court, calls at the theatre to ask Miss Ellis to testify on his
behalf. Seeing the car, and learning to whom it belonged,
the chorus girls believe that Miss Ellis was engaged to
Hulbert. The rumor spreads and soon Miss Ellis is besieged
by tradespeople who send her all kinds of expensive things.
And the producer, being badly in need of cash, makes her
the star, hoping she would use her influence with Hulbert
to finance the show. Hulbert, shocked at receiving bills for
a chorus girl's clothes, goes to the theatre to see her. Miss
Ellis, mistaking him for a newspaper reporter, tells him
some silly story of how she had met Hulbert. Hulbert,
charmed by her beauty, falls in love with her and decides
to continue the hoax. When the producer demands that she
arrange a meeting between him and her millionaire suitor,
she asks Hulbert to pretend to be the millionaire. He gives
the producer a check for a million francs ; but Miss Ellis
tells the producer to tear it up because, as she thought, he
was just a poor newspaper reporter. Eventually everything
is cleared up. The play is successful, the producer becomes
rich, and Miss Ellis wins a millionaire-husband.
Arthur Macrae wrote the scenario, Thornton Freeland
directed it, and Gunther Stapenhorst produced it. In the
cast are Arthur Riscoe, Googie Withers, Sydney Fair-
brother, and others.
Suitability, Class A.
"Accidents Will Happen" with Ronald
Reagan and Gloria Blondell
(Warner Bros., April 9; time, 62 min.)
A fair program melodrama, centering around the fake
accident racket. Although the idea is somewhat novel, it is
developed along familiar lines, lacking freshness, in dia-
logue as well as in action. For instance, Ronald Reagan
(hero), in order to uncover the workings of the fake acci-
dent ring, joins their gang so as to get the evidence he
needed against them. To Sheila Bromley falls the lot of
playing a most obnoxious character — a wife who betrays
her own husband, choosing to involve him in a fake acci-
dent claim, so as to make money for herself thereby, know-
ing well that it would mean the end of his job as an insur-
ance adjuster. She does this by joining up with Addison
Richards, a lawyer, and Dick Purcell, heads of a loan
company, the brains behind the fake accident racket. Being
indebted to them for a $500 loan she had made on her car,
she tells them she could be of assistance to them in their
racket, because, if she were to testify, her husband would
believe in the validity of the claim. And that is just what
happens. But it is discovered that the claim had been a
fraudulent one and so Reagan is discharged from the insur-
ance company. Down and out he takes the suggestion of
Gloria Blondell, owner of a cigar stand in the building
where he worked, to fight the crooks. By pretending to run
a fake accident racket himself, he becomes acquainted with
them, and eventually agrees to become partners with them ;
he takes Miss Blondell in as his assistant. In the meantime,
Miss Bromley obtains a divorce, her intention being to
marry Richards. A fake accident is perpetrated, with Miss
Blondell as the "victim." At the trial, she is brought into
the courtroom on a stretcher. To the surprise of all, she
jumps off the stretcher. Reagan, their attorney, and she
then give all the facts to the Judge with reference to the
ring. The crooks, including Miss Bromley, are rounded up
and arrested. Reagan receives his old job back, at an in-
crease, and he and Miss Blondell look forward to marriage.
George Bricker wrote the story, and he, Anthony Colde-
way, and Morton Grant, the screen play ; William Clemens
directed it, and Bryan Foy produced it. In the cast are
Hugh O'Connell, Kenneth Harlan, and others.
Not suitable for children. Class B.
"The Crime of Dr. Hallet" with Ralph
Bellamy, Josephine Hutchinson
and William Gargan
(Universal, March 11 ; time, 68 min.)
Somewhat depressing entertainment. Practically all the
action takes place in the jungle where Ralph Bellamy, a
doctor, and his assistants, do research work in connection
with a serum for the cure of red fever. It may appeal to
those who find scientific talk and procedure interesting;
but the masses will probably be bored. For one thing, the
jungle background and the crude living and working quar-
ters are not particularly appealing ; for another, the sight
of sick monkeys, in which had been injected the fever
germ, and of persons in the throes of the disease, is not
exactly conducive to enjoyment. The love interest is mildly
pleasant : —
Bellamy and his assistant (William Gargan), over-
worked and despondent because of their failure to discover
a serum for the cure of red fever, are delighted when they
receive word that another doctor was to be sent to assist
them. But when the doctor (John King) arrives, they are
disappointed, for he was a young man. They give him
menial work to do and refuse to discuss with him their re-
search work. King, working on his own, discovers the
cure, which he writes up in his diary. Just as he was going
to disclose his findings to Bellamy, Bellamy himself hits
on what he thought was a cure. King injects himself with
the fever germ to permit Bellamy to test his cure. But it
does not work, and King dies. Bellamy finds King's notes.
Feeling miserable because he had not shown confidence in
King, he decides to do something to bring King's name to
the public. He posts a notice of his own death and, assum-
ing King's name, continues the work on his discovery,
using King's money. Josephine Hutchinson, a competent
doctor, arrives as the new assistant. Just when things were
going along well, King's wife (Barbara Read) arrives and
discovers the deception. She accuses Bellamy of having
killed her husband, and informs him she would prosecute
him. But she is taken ill with the fever. Bellamy saves her
life with her husband's serum discovery. Gargan, by ap-
pealing to her vanity, convinces her that if she were to take
Bellamy back for trial she would only be giving him pub-
licity, whereas, if she went home alone, with the record of
her husband's discovery, she would become famous. Every
one is happy when she finally sails. Bellamy and Miss Hut-
chinson, who had fallen in love with each other, look
forward to a useful life together.
Carl Dreher wrote the story, and Lester Cole and Brown
Holmes, the screenplay; Sylvan Simon directed it, and
Edmund Grainger produced it. Charles Stevens and Nella
Walker are in the cast.
Morally suitable. Class A.
"Rebecca of Sunnybrook Farm"
with Shirley Temple
(20th Century-Fox, March 18; time, 81 min.)
Delightful entertainment. As a matter of fact, many pic-
ture-goers may feel it is the best picture Shirley Temple
has yet appeared in. The young star, not only touches one's
heartstrings by her acting, but also gives one great joy by
her expert tap dancing. With Bill Robinson, the famous
colored dancer, as her mate in the closing scenes, she acts
like a regular trouper. The friendship between Shirley and
Randolph Scott is heart-warming. There is a romance, too,
between Gloria Stuart and Scott.
Very little has been left of the original Kate Douglas
Wiggin story, only the title, and the fact that the young
heroine lives for a time at her aunt's farm. In this instance,
she had been left with her aunt by her step-father, a loafer
who had vainly tried to induce Scott to recognize her sing-
ing talents so as to give her a job, to enable him to live
on her earnings. But in vain. When Shirley eventually be-
comes famous as a radio star, the step-father again appears
on the scene, and with the aid of a crooked lawyer he is
able to take her away from her aunt. But Shirley, who had
learned to love her aunt (Helen Westley), as well as her
cousin (Miss Stuart) and the talent scout (Scott), and
wanted to be with them and not witli her step-father, pre-
tends that she had lost her voice when she was brought
before the microphone. In this manner she causes her step-
father to lose his contract for her. Eventually she is re-
stored to those she loved.
Karl Timbers; and Don Fttlinger wrote the screen play.
Allan Dwan directed it, and Raymond Griffith produced
it. Phyllis Brooks, Slim Summerville, The Raymond Scott
Quintet, Alan Dinchart and others are in the cast.
Good for the entire family — Class A.
52
HARRISON'S REPORTS
March 26, 1938
wait until he sees it before he can buy it. That is the dis-
tinction I made; but this bill does not do that. . . . (Hear-
ings p. 262.)
"MR. PETTENGILL. So, if the density of population
were comparable, you do not think that the British system
would work a hardship in this country?
"MR. KENT. I say, so far as I am concerned, Mr.
Chairman, if this Committee passes that kind I British J
of a bill it is O. K. with me so long as you treat both sides
alike ; so long as I am not asked to spend $20,000,000 and
speculate on production which is the risk, and then I have
handcuffs put on me by this [Neely-Pettengill] bill, while
the other man does not have the same regulation.
"I say if you legislate and say to me , 'Mr. Kent, here-
after you must only sell your pictures after they are made,
because we want to protect the morals of the community,'
and 'you can only sell your pictures after they are finished,'
I say fine, but do not let the man who buys the product
have any advantage over me. Let him also buy the product
after it is finished so that he cannot have an alibi then and
we can sell each one on merit. That is all right with me."
(Hearings, p. 263.)
By this testimony you see that Sidney Kent, at the time
he was testifying before the Committee, did not think that
the Neely-Pettengill Bill would prevent the exhibitor from
buying his pictures in a block. As a matter of fact, he was
convinced of it so thoroughly that he told the Committee
that the fair thing it could do would be so to modify the bill
as to make it compulsory for the exhibitor to wait until
the picture is finished before he might have the lawful right
to buy it.
So much for his views at that time. But there is another
time during which his views were entirely different from
his present views. Not very many of you realize, or are
aware of the fact, that Sidney R. Kent is the first promi-
nent leader in the motion picture industry to advocate the
elimination of block-booking and blind-selling. In the be-
ginning of the 1923-24 season, when he was general mana-
ger of Famous Players- Lasky (Paramount), he sold the
Paramount pictures on the Selective Booking System, un-
der the slogan ,"Look Before You Book !" The following is
the first paragraph of an editorial that appeared in the
September 15. 1923, issue of Harrison's Reports:
"You have, no doubt, read Famous Players-Lasky's an-
nouncement informing the trade that commencing Novem-
ber its pictures, before being offered to exhibitors, will first
be shown in Key-City theatres owned either by Famous
Players-Lasky or by independent exhibitors with whom it
has entered into a business arrangement for the purpose.
The object of this new policy is, first, to give an opportu-
nity to each exhibitor to see what he buys, and secondly,
to enable Famous Pla\'ers-Lasky to set on each picture an
exhibition value according to its drawing powers, so that
the price an exhibitor would be asked to pay should not be
arbitrary, as is now the case, but one that has been arrived
at by some definite method."
The Kent plan did not succeed then, because the other
companies did not follow his lead, and Paramount alone
could not have enforced it. But with a law to back up Mr.
Kent's former block-booking and blind-selling views, is
there any doubt that the system will succeed ?
Let us now take up the different points in the Kent cir-
cular, as classified in the beginning of this editorial :
(1) If Kent's publicity director, who is paid $75,000 a
year salary, cannot write an accurate synopsis, and if no
one else in his highly organized publicity department can do
it, then he is wasting his company's money. Personally, I
am inclined to believe that Mr. Kent did not write the cir-
cular; his health is not of the best and it is natural for him
to allow his subordinates to do the writing for him, for
we all know that even a school boy can write an accurate
synopsis after viewing a picture.
(2) This is true. But it will prove to the exhibitors'
advantage.
(3) The selling will not have to be done at the exchange,
for the exhibitors will be able to receive reliable reports as
to the quality of the different pictures, and they will be
guided in the choice of the pictures by the synopses.
(4) The present disadvantage to the exhibitor will not
increase, for the circuits now can take away from the inde-
pendent exhibitor any picture they want, no matter how
much more money than the circuits he may be willing to
pay. There will be no need for a buyer in each exchange
center, either, for the reasons given in paragraph (3).
(5) Nowhere in the Bill is there a provision that com-
pels the distributor to show the picture to the exhibitor
before selling it. The statement to the contrary is a fallacy,
conceived perhaps out of the theory that an accurate synop-
sis cannot be written.
(6) If some exhibitors have now more theatres than
they had twenty years ago, then some exhibitors must have
gone out of business, for the proportion of new theatres is
very small. This makes the presentation of names un-
necessary. The fact that the major companies have now
the best theatres in the country, which formerly were
owned mostly by independent exhibitors, is further proof
that many independent exhibitors have gone out of business.
Some of these may have sold their theatres voluntarily, but
Mr. Kent knows, just as we know, that most of them sold
their theatres because they knew that, with a circuit
threatening to erect a competitive theatre, they had to sell.
As to his statement that some of the major companies
are still in bankruptcy, allow me to say that this is the
result, not of poor business, but of incompetence, nepotism,
overexpansion, extravagance and enormous salaries.
(7) This is a rash statement, unworthy of a man of Mr.
Kent's position. But, as I have stated elsewhere in this edi-
torial, I doubt whether Mr. Kent wrote the circular.
(8) The Neely-Pettengill Bill, besides having a morality
purpose, is an economic measure, intended to save the
independent exhibitor from being either gobbled up by
the affiliated circuits or driven out of business.
(9) If the Bill will not prevent an exhibitor from show-
ing a dirty picture, then the producers should have one
more reason for letting it go through, for it will take away
the alibi from an exhibitor who is in the habit of showing
pictures of this type and of then putting the blame on the
block-booking and blind-selling system.
(10) This statement, too, is unworthy of a person of
Mr. Kent's standing.
(11) Why should Mr. Kent worry about the companies,
which, he says, cannot survive under this Bill, when these
companies do not object to the Bill ?
(12) Why should he worry about the independent ex-
hibitors, since they favor this Bill ? Isn't his sympathy
for them gratuitous ?
His reasons are not sufficient to convince us that the
Neely-Pettengill Bill will prove injurious, either to the in-
dependent producer-distributors or to the independent ex-
hibitors. And since his company and some other companies
will be able to survive under this Bill, he should not bother
his head about what will happen to the independents, who
want the Bill passed.
But that is not the real motive that is prompting Mr. Kent
to lead the campaign against the Bill ; the real motive is
that the Bill will destroy the monopoly of play-dates en-
joyed by the theatre owning major companies.
Mr. Kent is of the conviction, as said, that the independ-
ent producers, unable to obtain sufficient funds to produce
pictures first and then sell them, will not be able to carry on,
and that, as a result of this condition, the supply of film,
small noWj will become still smaller. I have taken up these
views of his again, for I feel able to prove to him and to
all those who are in accord with such views, that the oppo-
site will be true. Let us examine the facts :
Today an exhibitor sells to the independent distributor
a portion of his playing time. In his exhibition contract, he
agrees to offer that olaying time as it becomes available.
But what actually happens, particularly in the case of the
big circuit operator? Try and get it! He holds off booking
the smaller pictures until he gets good and ready to book
them. In the meantime, he holds up the subsequent-run ex-
hibitors for weeks and wrecks. Under the Bill, there will
be no procrastination ; since the selling of unmade pictures
will be made impossible, the playing of the produced pic-
tures will be expedited to such an extent that there will be
no waste of playing time. There will be a greater turnover
than the most sanguine person could have ever dreamed.
A picture will go the round in sixty or ninety days at the
most, instead of from six months to a year, as is the case
now. This will make available more money for production
than the most optimistic persons can ever imagine. It will
then be possible to have produced and ready for selling, not
a few pictures, but twice or even three times as many as
there are ready at any one time now.
As to the quality of the pictures, can any one doubt that it
will improve highlv? With block-booking out of the way.
the meritorious pictures will bring to the producer real
money. And with good pictures bringing in such money,
there will be no incentive on the part of the producers to
make junk, as is the case now.
IN TWO SECTIONS — SECTION ONE
Entered as aeeond-Tslaes mattw January 4, 1H1, at the pest office at New York, New T»rk, under the aot of ftlarcn 3, mrj.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE PubHshed Weekly by
United St»t*s S1S.00 Harrisons Reports, tee
L\ S. Insular PoseoMions. 16.S0 l\«nn loi* Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . „ ., _. , _ . _
Oreat Britain 15 75 Motion Picture Reviewing Service
Australia, New Zealand. Devoted Chiefly to the Interests of the Exhibitor* Established Jury 1, 1919
Tnd'a, Europe, Asia .... 17.60
. rv.,w Ils Editorial Policy: No Problem Too &\g for Its Editorial CIrHe 7-4*22
sac a t-flpy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, APRIL 2, 1938 No. 14
AGAIN ABOUT THEATRE OPERATING
DISTRIBUTOR EMPLOYEES
It seems as if the theatre-operating activities of film
salesmen and of exchange managers is on the increase.
That is what I gather from the multiplication of complaints
received at this office.
In one particular territory, the branch manager of a
major company has two sons-in-law, one of them on the
payroll of the company, whom he is sending around with a
view to getting hold of theatres. In one instance he sent one
son-in-law to a city in one of the neighboring states to
check up the business of an exhibitor, whom he is trying
to force into selling him his theatre.
This manager has been accused of frequently checking up
exhibitors with such a purpose in mind, and when he fails
to induce the exhibitor to sell he "peddles" the information
about the exhibitor's business to the other exchanges.
In another instance this branch manager compelled an
exhibitor to give one of his sons-in-law a job at $75 a
week, even though he knows nothing about the business of
exhibiting pictures.
In still another instance he approached an exhibitor
building a new theatre and offered to buy in a part interest.
He threatened to sell his films to the opposition if he
refused.
It is hard enough for an exhibitor to conduct his theatre
profitably when he has as competitors only circuit theatres,
but when he has to fight also against distributor employees
his lot becomes, indeed, much harder, for such employees,
because of their connections, are in a position to make it
difficult, and even impossible, for the exhibitor to obtain
product.
It is my intention to take up this evil again with a view
to putting an end to it if possible. I want to call the atten-
tion of the home offices to any such activities on the part
of their field representatives. In talking to a prominent
attorney, well versed in anti-trust law matters, last week,
I was told that such activities on the part of distributor
employees may involve their companies in conspiracy ac-
tions by exhibitors.
But even if there were no danger of such involvement,
the home office executives of the guilty distributor employ-
ees must take some action to put an end to this evil, for
often their own receipts are affected. It is not illogical, for
example, to think that their branch managers may let the
theatres in which they are silently interested have the film
at rentals and terms far below those they could have ob-
tained from independent exhibitors.
Send me whatever information you can on this subject.
Let me have as many facts (not guesses) as possible for
presentation to the different home office executives with
a request that they conduct their own investigation with a
view to ascertaining whether the accusations are founded
on fact, so that when they find them accurate they may
take appropriate action. Be assured that the source of in-
formation will under no circumstances be disclosed to these
executives ; only the facts will he given to them.
BITING THEIR OPPONENT'S NOSE
Under the title. "Fight Clean. Allied." Chick Lewis
wrote an editorial in the March 19 issue of his Showmen's
Trade Review accusing the Allied leaders, particularly
Mr. Abram F. Myers, of fighting uncleanly.
"In a Bulletin reeking with charges, abuse and insults."
says part of Mr. Lewis' editorial. "Allied conies forth to
flav its critics for not agreeing with it and its policies.
Nothing since the start of the Neelv Bill agitation, can
match this document for tactlessness and in some instances
■stupidity.
"In the first place, Mr. Myers, in his zeal to push through
the Neely Bill and perhaps put himself in line for a swell
job on some Federal Commission that will enforce the bill,
stops at nothing in his attempt to prove that all who do not
agree with Allied are subsidized by the Big Eight and are
tools of the Hays Association. Among those he attacks is
Sidney R. Kent, who issued a statement opposing the bill."
The rest of the editorial is in the same vein, most of it
devoted to assuring the exhibitors that he is not subsidized,
and that he is independent in thought in the matter of the
Neely-Pettengill Bill as in all matters.
By this editorial Mr. Lewis would have us believe that
he is fighting very clean ! Oh, indeed, yes ! His expression,
"Mr. Myers, in his zeal to push through the Neely Bill and
perhaps put himself in line for a swell job on some Federal
Commission" is not an insinuation unworthy of a man who
is supposed to be a moulder of thought ; it is sweet-smelling
roses.
I have always made it a point to refrain from employing
language that says one thing and means another, by reason
of the fact that abuses against the persons of those who are
opposing an issue is indicative of weakness of position.
I feel that people may differ on issues, but should not resort
to personalities. The producers, by allowing their friends
to resort to personal abuse, convey the impression that
their position is very weak.
Mr. Lewis takes to task Mr. Myers for abusing Mr.
Kent. 1 have read the statements Mr. Myers issued on
March 14 and 16, but I fail to find anything indicative of
personal abuse against Mr. Kent. On the contrary, I find
much in them that is respectful. In the statement of March
14, Mr. Myers said partly the following about Mr. Kent :
"So far as Mr. Kent is concerned, Allied has admired
his great ability as a salesman and on occasion has com-
pared his sales methods with those employed by his less
ethical competitors. But since he has taken it on his should-
ers to carry the Big Eight's battle to the exhibitor it be-
comes proper to inquire why it is that he is always put
forward in these struggles and why the exhibitors should
beware of him when he pretends to offer them advice con-
cerning their own welfare."
Now I ask Mr. Lewis to point out what part of this
statement is abusive of Mr. Kent. On the contrary, it is
highly restrained and respectful.
At the close, the Myers statement says : "With the
writing of the letter dated March 9, he forfeited the right
to be considered in exhibitor circles in any wise different
from the other representatives of and spokesmen for the
Big Eight who have made no pretense of being the ex-
hibitors' friend."
This statement, too, is restrained.
Mr. Myers did, of course, criticize Mr. Kent for having
sent that letter, but his criticism of him was well justified,
for it adhered only to facts. For instance, reproducing his
testimony before the House Committee on Interstate and
Foreign Commerce so as to show the inconsistency of his
statement of what the Neely Bill, if enacted into a law.
would do is perfectly proper, a method accepted by civilized
society, which decrees that those who take part in a con-
troversial issue must be ready to receive criticism, as long
as such criticism is fair, well tempered, and adheres to
facts.
Mr. Lewis, in making an abusive reply to Mr. Myers'
statement, has not contributed anything toward clarifying
the issue regarding the Neelv Mill : it merely demonstrates
that the opponents of the Neely-Pettengill Bill are acting
like the person who, unable to convince his opponent that
he is richt, hites his opponent'* nose.
54
April 2, 193a
"Let's Make a Night of It" with
June Clyde and Buddy Rogers
(Universal, [British-made], March 25; time, 66 min.)
A fair program musical comedy. Its appeal will be di-
rected mostly to young folk who enjoy popular music. It
was produced in England, and the players, with the excep-
tion of June Clyde and Buddy Rogers, are not well known
here. Except for lavish sets, there is nothing about it that
is particularly outstanding. The picture consists of a series
of musical and dancing numbers, all held together by a thin
story. As a matter of tact, the almost continuous playing oi
jazz music becomes a bit tiresome. Six bands take part in
the proceedings ; but since they are not as well known here
as they are in England their presence in the picture won't
arouse much excitement at the box-office. The typically
English comedy falls somewhat Hat. .Rogers and Miss
Clyde put over their numbers fairly well, and make a
pleasant romantic team : —
Rogers, a former band leader, reduced to the position of
waiter at a fashionable resort hotel, falls in love with Miss
Clyde, daughter of wealthy Fred Emney and Iris Hoey.
He tries his best to win her attention, even following the
family when they leave for London. Having learned that
Emney, unknown to his family, had become financially in-
volved in a night club, Rogers appeals to him for a job.
He is engaged, and soon makes it the most successful club
in town. In the meantime, Emney 's wife, unknown to him,
purchases the down-and-out night club next door to his ;
she had been duped by a fake Count, who, with his part-
ners, had run away after she had paid over the cash. The
police raid both places, arresting every one connected with
them. They are finally released, and decide to join forces
by breaking through the wall and making one club out of
the two. Since there was no doubt as to the success of the
venture, Rogers and Miss Clyde turn their thoughts to
matrimony.
The plot was adapted from the radio play "The Silver
Spoon," by F. McGrew Willis; Hugh Brooke wrote the
screen play, Graham Cutts directed it, and Walter C.
Mycroft produced it. In the cast are Jack Mclford, Claire
Luce, and others.
Morally suitable. Class A.
"The Girl of the Golden West" with
Jeanette MacDonald and Nelson Eddy
(MGM, March 18; time, 120 min.)
Very good ! When First National produced it in 1930
without music, it was just fair entertainment. Although the
story has not improved with age, this version is much more
entertaining, because of the excellent production values,
and of the singing by Jeanette MacDonald and Nelson
Eddy. Miss MacDonald is particularly appealing both in
voice and appearance, and is largely responsible for the
entertainment the picture offers. She acts the part of the
western mountain girl with such warmth and understand-
ing, that she makes the character believable. Typical of
westerns, it has plentiful shooting and horseback riding.
Towards the end, one is held in suspense, this being caused
by the fact that Eddy, a notorious bandit, was in danger of
being caught by the Sheriff. The outdoor scenes, photo-
graphed in sepia tint, are beautiful. The one large number
is a colorful fiesta scene, with large groups of dancers and
singers : —
Miss MacDonald, owner of a saloon in a mining camp, is
respected by all, and loved by Walter Pidgeon, the Sheriff.
While on a trip to visit a Padre (H. B. Warner), whom
she had known for many years, she meets and falls in love
with Nelson Eddy, outlaw leader of a gang of robbers,
whom she believed to be a Lieutenant in the Army. She
returns home, filled with thoughts of him ; and so, when
Pidgeon asks her to marry him, she refuses. Eddy arrives
at the camp for the purpose of stealing the money the hero-
ine had in safe-keeping for the miners ; but when he sees
her, he naturally does not carry out his purpose. She in-
vites him to her cabin ; he proposes marriage and she ac-
cepts. Pidgeon, who had discovered Eddy's identity, goes
to Miss MacDonald's cabin, revealing the fact to her ; this
makes her unhappy. When Pidgeon leaves, she orders
Eddy, who had been hiding, to go. Wounded by one of the
Sheriff's men, Eddy goes back to her cabin; again she
hides him. Pidgeon returns ; knowing that Eddy was there
he agrees to play Miss MacDonald a game of poker to
settle the matter. She loses, which meant that Eddy was
to go free and she would marry Pidgeon. On the day of the
marriage, the lovers accidentally meet at the church. Pid-
geon, overhearing their conversation, decides to give up
Miss MacDonald. The lovers marry, and leave for another
state tn start life anew. •
The plot was adapted from the play by David Belasco ,
Isabel Dawn and tioyce DeGaw wrote the screen play;
Robert Z. Leonard directed it and Wm. Anthony McGuire
produced it. In the cast are Leo Carrillo, Buddy Ebsen, and
others. (This play was produced by First National also in
1923, and by Paramount in 1915, with House Peters.)
Suitable for all. Class A.
"State Police" with John King, Constance
Moore and William Lundigan
(Universal, March 18; time, b0'/2 min.)
This program melodrama is of minor importance. Obvi-
ously produced without much care, and lacking strong box-
office names, it will serve its purpose as a second feature in
neighborhood houses, where patrons go for action pictures,
regardless of production values. The plot is a rehash of the
old cops-and-robbers theme, and as such is mildly exciting.
It is, however, so far-fetched in some spots that patrons
may laugh at the wrong time. A romance is hinted at: —
John King, a State Trooper, when assigned to arrest a
criminal wanted for the murder of a miner, decides to take
with him recruit William Lundigan. His purpose was to
try to teach Lundigan, whose father wanted him to advance
in the service, to take his work seriously, for Lundigan
had contempt for it all. When they arrive at the mining
town, which was run by racketeers who were looting mines
and underselling the legitimate coal dealers, they find an
aroused populace, who wanted to take matters into their
own hands. King induces them to desist for a while, prom-
ising to round up the gang himself. Because of Lundigan's
inattention to duty, the murderer, whom King had arrested,
escapes, injuring another State Trooper in the act. King is
trapped by the gangsters, but manages to get the upper
hand by threatening to turn them over to the mob that had
collected unless they obeyed his orders. In this way he is
able to hold them off until additional State Troopers ar-
rive. The gang is then rounded up. Lundigan, sorry for
the trouble he had caused, comes to his senses and promises
to concentrate on his work. King looks after Miss Moore,
whose brother, unknown to her, had been the racketeer
leader.
George Waggner wrote the story and screen play, John
Rawlins directed it, and Paul Malvern produced it. In the
cast are David Oliver, I^arry Blake, and others.
Suitability, Class A.
"Storm in a Teacup" with Vivien Leigh,
Rex Harrison and Sara Allgood
(London Film-United Art., February 25 ; time, 2>5l/2 min.)
Definitely a picture for high-class audiences, who enjoy
brilliant acting and novelty of plot. It stands its best chance
in a small arty theatre that caters to those who go in for
something different in screen entertainment. The thick
Scottish and British accents, in addition to the subtle com-
edy, make it unsuitable for the masses. There are a few
situations that have general appeal and provoke hearty
laughter. The most comical situation is that in which the
home of the pompous Provost is overrun by dogs on the
night he was dining a politically important lord. Inter-
mingled with the comedy is a pleasant romance : —
Vivien Leigh returns to her home in Scotland to find her
father, the Provost (Cecil Parker), embroiled in a politi-
cal campaign. Rex Harrison, newspaper reporter sent to
interview Parker, is eye-witness to a distasteful scene —
that of Parker ejecting forcibly from his home a poor
woman (Sara Allgood), who had tearfully pleaded with
him to release her dog that had been sent to the pound be-
cause she could not pay for a license. Harrison, taking
advantage of the editor's absence, prints in place of the
interview a scathing article denouncing the Provost for
his cruelty. This so arouses the populace that they cause a
near riot when Parker tries to address them at a public
meeting; they all bark at him. The affair has far-reaching
effects, jeopardizing Parker's political chances. In order
to stop Harrison, Parker brings an action against him for
corrupt practices. Miss Leigh, who had fallen in love with
Harrison, in order for her to avoid testifying against him,
tells the Court that she was married to him. During a
recess in the trial, she convinces her father that he was in
error. He admits in open court that he had been inconsid-
erate, promising to change. The people, including Miss
Allgood, cheer him, insuring his future political career,
and Miss Leigh is united with Harrison.
The plot was adapted from the play by Bruno Frank.
Ian Dalrvmple wrote the screen play, he and Victor Saville
directed it, and Alexander Korda produced it. In the cast
are Ursula Jeans. Gus McNaughton, and others.
Suitability. Has? A.
April 2, 1938
"Her Jungle Love" with Dorothy Lamour
and Kay Milland
(Paramount, April 15 ; time, 80 min.)
Aside from the delighttul antics of Jiggs, a chimpanzee,
the only thing in favor of this picture is the beautiful out-
door technicolor photography. Its entertainment value is
practically nil, for the story is ridiculous and trite, measur-
ing up to the intelligence of seven year old children.
Paramount probably thought this would be a good follow-
up to "Jungle Princess." But it is just the opposite, for what
might have seemed novel then becomes ridiculous by repe-
tition. For instance, here again the heroine, a savage jungle
girl, learns how to talk English practically overnight, and
the hero, in the end, leaves civilization to live on the island
with the jungle girl. For the most part, the supposed thrill
scenes are nauseating, particularly the one in which a white
man is thrown to the crocodiles. Other horrible scenes are
those in which tribesmen are trapped during an earthquake
and attacked by crocodiles : —
Ray Milland and Lynne Overman, aviators scouring the
South Pacific for signs of a fellow aviator who had been
lost, meet with trouble during a storm ; they crash on an
island. While Overman was exploring the island, Milland
narrowly escapes when a knife is thrown at him. It had
been thrown by a native girl. Eventually he wins her con-
fidence and she takes him to her cave. J. Carrol Naish, a
university bred Eurasian, who had left London because of
his hatred for a white woman who had betrayed him, rules
over a tribe of savages ; his power lay in the fact that he
could hypnotize Miss Lamour, making the natives believe
she was a goddess. Without knowing that Milland and
Overman were looking on, Naish goes through a ceremony
during which the lost aviator, whom he had captured, is
thrown to the crocodiles. When he returns the next day and
finds Milland and Overman, he prepares to kill them in the
same way. But they are interrupted by an earthquake, in
which all the tribesmen, including Naish, are either killed
or eaten by the crocodiles. Miss Lamour, Milland, and
Overman escape; they are overjoyed to find that friends
of theirs had come in a yacht to find and rescue them. They
are taken aboard ; but Miss Lamour, jealous of Milland's
fiance, swims back to her island. She is overjoyed when
Milland follows her.
Gerald Geraghty and Kurt Siodmak wrote the story, and
Joseph Moncure March, Lillie Hayward and Eddie Welch,
the screen play ; George Archainbaud directed it and
George M. Arthur produced it. In the cast are Dorothy
Howe, Jonathan Hale, and others.
It should frighten sensitive children. Suitablity, Class A.
"Tip-Off Girls" with Lloyd Nolan
and Mary Carlisle
(Paramount, April 1 ; time, 61 min.)
This program melodrama, although familiar in theme
and development, should go over very well in houses that
cater to the rougher type. The action is fast and exciting,
and there is plentiful fighting and shooting, holding one in
tense suspense throughout. Particularly thrilling are the
closing scenes, where the villain finds out that the hero,
supposedly a member of his hijacking gang, is really a
G-Man. Thrilling are also the methods employed by the
hero in outwitting the villain and his gang. A pleasant ro-
mance is worked into the plot, but it is of slight importance.
J. Carrol Naish, together with other owners of trucking
concerns, calls on the District Attorney to ask for his help
in stopping the hijacking that was going on. Unknown to
the others, Naish was really the brains behind the hijack-
ers. Lloyd Nolan and Roscoe Karns, two G-Men, by pre-
tending to be hijackers, become connected with Naish's
gang. When on several occasions the gang's attempts to
hijack trucks are interrupted by G-Men, Naish becomes
suspicious. He finds out Nolan's identity and tries to beat
information out of him. but to no avail. Naish and his men
plan a little surprise for the G-Men, who were arranging
to blockade the road and round up the gang. Instead of fill-
ing a truck with merchandise, the gangsters hide in it, their
scheme being to surprise the officers and kill them. But
Nolan, who had escaped from Naish, arrives in time to pre-
vent the scheme : instead he and the G-Men round up the
gang. Miss Carlisle, Naish's secretary, who had been un-
aware of her employer's activities, is happy at Nolan's suc-
cess, for she had fallen in love with him.
Maxwell Shane. Robert Yost, and Stuart Anthonv wrote
the original screen play : Louis King directed it. In the cast
are Larry Crabbe, Anthony Quinn, Evelyn Rrent, Benny
Baker, and others.
Not for children. Good for adults. Class B.
55
"Bulldog Drummond's Peril" with
John Barrymore, John Howard
and Louise Campbell
(Paramount, March 18; time, 65 min.)
This is the most exciting of the three "Bulldog Drum-
mond" pictures so far produced. The production values are
up to the standard set for this series ; and the same players
continue in the parts in which they were first assigned. As
in the others, there is plentiful action, which, though not
always believable, is exciting. There are chases, fights, and
shooting ; and intermingled with this is comedy and ro-
mance. The closing scenes where the hero rescues the hero-
ine from the villain are thrilling. Howard, Denny, and
Cliye do most of the sleuthing this time, without much
assistance from Barrymore, Scotland Yard Inspector, who
refused to believe their stories about danger.
The action opens in a villa in Switzerland, where
Howard and Miss Campbell had gone to be married. One
of the guests (Matthew Boulton), a diamond dealer, mar-
vels at a gift sent to the couple— a synthetic diamond, made
in the laboratory of scientist Halliwell Hobbes. Boulton,
realizing that such a discovery would revolutionize the
diamond industry, orders his secretary to steal it ; in doing
so, he kills the detective guarding the gifts. He and Boul-
ton then escape. When the theft and murder are discovered,
Howard, in company with Clive and Denny, start out
after the two men. He fears for Hobbes' safety, knowing
that Boulton would stop at nothing to get rid of the for-
mula. Howard sends a telegram to Barrymore, asking him
to arrest Boulton, but Barrymore, thinking it to be a joke,
disregards the message. Porter Hall, an envious scientist,
becomes involved in the plot when he tries to get the dia-
mond formula away from Hobbes, whom he had abducted
and was holding prisoner ; his motive was to blackmail
Boulton, once he could get the formula. Miss Campbell,
who had arrived in London in search of Howard, is trapped
by Hall and held prisoner by him. Howard eventually over-
comes Hall, rescues Hobbes and Miss Campbell, and turns
the crooks over to Barrymore, who, having suddenly be-
come interested in the case, had arrived in time to help out.
Miss Campbell chides Howard for having missed their
wedding date.
H. C. Sapper McNeile wrote the story, Stuart Palmer,
the screen play, and James Hogan directed it. In the cast
are Elizabeth Patterson, Nydia Westman, and others.
Suitability, Class A.
"Judge Hardy's Children" with
Lewis Stone, Mickey Rooney
and Cecilia Parker
(MGM, March 25; time, 77 min.)
Good program family entertainment. It is a continuation
of the Hardy family series (the last one was "You're Only
Young Once"), with the same players portraying the dif-
ferent characters. The enjoyable thing about this series is
the naturalness with which the story unfolds. Comedy is
provoked by the actions of the members of the family, parti-
cularly by Mickey Rooney, who cannot resist pretty girls.
His chief concern is getting a tuxedo, so as to be able to
attend dances with young ladies. The situation that shows
him dressed for the first time in the tuxedo, drinking in the
admiration of his family, is delightful. There is human ap-
peal in the relationship between the parents and their two
children, for no matter what the children do to hurt them,
their parents are willing to help them, regardless of what
the sacrifice is. In this particular case, the naivete of Cecilia
Parker, the daughter, brings embarrassment to her father,
who had been called by the Government to Washington to
head a Commission for investigating the activities of a
monopolistic utility company. She had innocently passed
on remarks that her father had made about the case to
persons directly connected with the utility company. These
persons had made records of what she had said, tlieir pur-
pose being to blackmail Stone into giving a decision in
their favor. But Stone outwits them by announcing over
the radio that his daughter had worked with him in giving
out the information so as to befuddle those working against
the government interests. In this wav he is able to hand
down an honest opinion against the utility company, and to
save his daughter from disgrace. The family again is happy.
The story is based on the characters created by Aurania
Rouverol ; Kav Van Rinner wrote the screen plav, and
George B. Seitz directed it. In the cast are Fay Holden.
Betty Ross Clark. Ann Rutherford, and others.
Suitability, C!ns<; A.
HARRISON'S REPORTS
56
HARRISON'S REPORTS
April 2, 1938
THE PRODUCERS HAD BETTER USE
GOOD STORIES FOR MUSICALS
Mr. Howard Barnes, the eminent moving picture critic
of the New York Herald Tribune, said partly thus in his
column of Sunday, February 27 :
"If the screen producers are wise, they will refrain from
turning out new musicals until they have taken careful
stock of a form which is forever eluding them. The mere
fact that Hollywood, with its enormous resources, can
generally out-Ziegfeld Ziegfeld, is no reason for them to
think that they can go on selling the public short on col-
lections of gags, songs and dances. The screen musical has
gone through several weird sea-changes since the advent
of sound suggested the possibilities of embellishing a script
with hoofing and hot-cha. The present trend is far from
promising.
"Unless I am mistaken, the current Hollywood musical
show is a disreputable offspring of that defunct stage form
known as vaudeville. We have had opera and revue, bur-
lesque and straight musical comedy on the screen, but the
present type of entertainment is too helter-skelter to fall
into any of these classifications. No matter what it pretends
to be, and it is usually full of pretensions, it is no more
than a random assortment of variety turns, joined together
for no better reason than that they follow one another
through an hour or two of continuous presentation. If the
headline acts are the sort to capture the public imagination,
well and good for the box office. Even when they are, they
rarely add up to satisfactory entertainment. . . ."
Mr. Barnes deserves the thanks of every exhibitor for
calling the attention of the producers to this shortcoming
of theirs. There have been produced lately several $2,000,-
000 musical comedies, the stories of which are so inane that
they should have never been used. The excuse for their
adoption has been, no doubt, to serve the purpose Mr.
Barnes says they have served — just to bind together a
group of vaudeville sketches, some entertaining, some
fairly so, and some mediocre.
When sound first came, the musical comedies and oper-
ettas flourished ; all an exhibitor had to do was to tell the
public that it was a musical, and the public would flock to
his theatre to see it. But because of the fact that as little
attention was paid to story values then as it is paid today,
the public began losing interest in such type of moving pic-
tures and after a while an exhibitor could not draw even
a corporal's guard to the most expensive musical. That
is exactly what is going to happen again unless the pro-
ducers use interesting stories as a foundation.
The producers of musical pictures should have a heart
when they set out to spend $2,000,000 of their companies'
money on a musical. They would not put up a $100,000
building on a plan that is worthless, and yet they spend
$2,000,000 on a story that is worthless.
BOX OFFICE PERFORMANCES OF
1937-38 SEASON'S PICTURES— No. 4
Universal
"Some Blondes Are Dangerous," with Noah Beery, Jr.,
William Gargan, and Nan Grey, produced by E. M. Asher,
and directed by Milton Carruth, from a screen play by
Lester Cole : Fair.
"Courage of the West," with Bob Baker and Lois Janu-
ary, produced by Paul Malvern, and directed by Joseph H.
Lewis, from a screen play by Norton S. Parker : Fair.
"Adventure's End," with John Wayne and Diana Gibson,
produced by Trem Carr, and directed by Arthur Lubin,
from a screen play by Ben Kohn : Fair.
"Prescription for Romance," with Wendy Barrie, Kent
Taylor, and Mischa Auer, produced by Edmund Grainger,
and directed by S. Sylvan Simon, from a screen plav .by
James Mulhauser, Robert Shannon, and Albert R. Per-
kins : Fair.
"Sudden Bill Dorn." with Buck Jones and Noel Francis,
produced bv Buck Jones, and directed by Ray Taylor,
from a screen play by Frances Guihan : Fair.
"You're a Sweetheart," with Alice Faye, George Mur-
phy and Ken Murray, produced by B. G. DeSylva, and di-
rected by David Butler, from a screen play by Monte Brice
and Charles Grayson : Very Good-Good.
"The Spy Ring," with William Hall and Jane Wyman,
produced by Paul Malvern, and directed by Joseph H.
Lewis, from a screen play by George Waggner : Fair-Poor.
"The Jury's Secret," with Kent Taylor and Fay Wiay,
produced by Edmund Grainger, and directed by Ted Slo-
man, from a screen play by Lester Cole and Newman A.
Levy : Fair.
"The Singing Outlaw," with Bob Baker and John Bar-
clay, produced by Paul Malvern, and directed by Joseph
H. Lewis, from a screen play by Harry O. Hoyt : Fair-
Poor.
"The Black Doll," with Nan Grey and Donald Woods,
produced by Irving Starr, and directed by Otis Garrett,
from a screen play by Harold Buckley : Fair-Poor.
"The Midnight Intruder," with Louis Hayward, J. C.
Nugent and Barbara Read, produced by Trem Carr, and
directed by Arthur Lubin, from a screen play by Lester
Cole : Good-Fair.
Twenty-five pictures have already been released. Group-
ing the pictures of the different ratings (including West-
erns) from the beginning of the season we get the following
results :
Excellent- Very Good, 1 ; Very Good-Good, 1 ; Good-
Fair, 3; Fair, 10; Fair- Poor, 9; Poor, 1.
The first 25 pictures of the 1936-37 season, excluding the
Westerns, were rated as follows :
Excellent, 1 ; Excellent- Very Good, 1 ; Good, 2 ; Good-
Fair, 3; Fair, 9; Fair-Poor, 9.
Warner Bros.
"Tovarich," with Claudette Colbert and Charles Boyer,
produced by Robert Lord, and directed by Anatole Litvak.
Jacques Deval wrote the original play and Robert E.
Sherwood, the English version: Very Good-Good.
"Sergeant Murphy," with Ronald Reagan and Mary
Maguire, produced by Bryan Foy, and directed by B.
Reeves Eason, from a screen play by William Jacobs :
Fair-Poor.
"The Invisible Menace," with Boris Karloff, produced
by Bryan Foy, and directed by John Farrow, from a screen
play by Crane Wilbur: Fair-Poor.
"Swing Your Lady," with Humphrey Bogart, Nat Pen-
dleton, and Louise Fazenda, produced by Sam Bischoff,
and directed by Ray Enright, from a screen play by
Joseph Schrank and Maurice Leo: Good-Fair.
"Blondes at Work," with Glenda Farrell and Barton
MacLane, produced by Bryan Foy, and directed by Frank
McDonald, from a screen play by Albert DeMond : Fair-
Poor.
"The Kid Comes Back," with Wayne Morris. June-
Travis and Barton MacLane, produced by Bryan Foy, and
directed by B. Reeves Eason, from a screen play by George
Bricker : Good-Fair.
"Penrod and His Twin Brother," with Billy and Bobby
Mauch and Frank Craven, produced by Bryan Foy, and
directed by William McGann, from a screen play by
William Jacobs and Hugh Cummings : Good-Fair.
Fourteen pictures have already been released. Grouping
the pictures of the different ratings from the beginning of
the season we get the following results :
Excellent-Very Good, 1 ; V ery Good-Good, 2 ; Good-
Fair, 5 ; Good- Poor, 1 ; Fair, 1 ; Fair-Poor, 4.
The first 14 pictures of the 1936-37 season were rated as
follows :
Very Good-Good, 3; Very Good-Poor, 1 ; Good-Fair, 4;
Fair, 5; Fair-Poor, 1.
Editor's Note : In reference to "The Kid Comes Back,"
one of the exhibitors who sent in his figures as to the box
office performances of pictures has written on the blank the
following :
"Very cheap production. Warner Bros, pictures are in
general very cheap this year. We also suspect them of
building two and even three pictures around one setting
or atmosphere such as 'Mountain Justice' and 'White
Bondage,' and 'San Quentin' and 'Alcatraz,' etc. Warners
have slipped to the Independents class, insofar as production
is concerned, and they refuse to reduce accordingly, but
they'll pay for it on our deal for 1938-39."
Warner Bros, is not the only company that resorts to this
practice : with the exception of MGM, and perhaps Twen-
tieth Century-Fox, almost every other company resorts
to it.
IN TWO SECTIONS— SECTION TWO
HARRISONS REPORTS
Vol. XX
NEW YORK, N. Y., SATURDAY, APRIL 2, 1938
(Partial Index No. 2— Pages 26 to 52 Incl.)
No. 14
Title of Picture Reviewed on Page
Accidents Will Happen — Warner Bros. (62 mm.).... ol
Action for blander— United Artists {6ll/2 mm.; 2/
Adventures oi Marco Polo, 'Ihe — United Artists
(1U4 min.) 4/
Adventures of Tom Sawyer, ihe — United Art. (90 m.) 3d
Arsene Lupin Keturns — MUM (80 min.) 40
iiaroness and the Butler, The — zOth Century-fox
(/y min.) 34
Benefits forgot— MUM (See "Ut Human Hearts').. 33
tsig broadcast oi 1966, The — Paramount (90 min.) .... 34
blondes at Work — Warner Bros. (63 min.) 2/
muebeard s Eighth Wife — Paramount (90 mm.) oil
border Wolves — Universal (56 min.) Not Reviewed
liorn to Be Wild — Kepublic (66 min.) 39
Bringing Up tfaby — RKO (101 min.) 61
Lassidy of Bar 20 — Paramount (S6l/2 m.) ..Not Reviewed
<^uiiueimied Women — KKU (/7 min.) 4/
Urime of Dr. Hallet — Universal (68 min.) 51
Dangerous to Know — Paramount {69l/2 min.) 42
Daredevil Drivers — First National (59 min.) 66
uaugiiter of the Orient — Paramount (See "Daughter
ox shanghai") 207
Exiled to Shanghai — Republic (65 min.) .. .Not Reviewed
First Hundred Years, The — MGM (73 min.) 50
lorbidden Valley — Universal (67 min.) Not Reviewed
Uaiety Girls — United Artists (73 min.) 51
Girl Was Young, The — Gaumont-British (70 min.)... 30
Glamorous Night — Republic (62 min.) Not Reviewed
Gold Is Where You Find It— First National (94 m.) . . 31
Goldwyn Follies — United Artists (121 min.) 27
Hawaii Calls— RKO (71 min.) 42
He Couldn't Say No — Warner Bros. (57 min.) 46
Hollywood Stadium Mystery — Republic (65 min.).... 43
International Settlement — 20th Century-Fox (83 m.) . 27
Jezebel — Warner Bros. (103 min.) 50
Kathleen— J. H. Hoffberg (70 min.) 47
Little Miss Roughneck — Columbia (62 min.) 39
Love, Honor and Behave — Warner Bros. (70 min.) ... 39
Mad About Music— Universal (95 min.) 43
Maid's Night Out, The— RKO (64 min.) 46
Merrily We Live— MGM (94 min.) 43
Midnight Intruder — Universal (68 min.) 26
Monastery — World Pictures (65 min.) 47
Night Spot— RKO (60 min.) 30
No Time to Marry — Columbia (64 min.) 38
Of Human Hearts— MGM (102 min.) 35
Outside of Paradise — Republic (68 min.) 35
Over the Wall— Warner Bros. (66 min.) 50
Painted Trail, The — Monogram (50 m.) . . . Not Reviewed
Penitentiary — Columbia (78 min.) 31
Prison Nurse — Republic (67 min.) 46
Purple Vigilantes — Republic (58 min.) Not Reviewed
Radio City Revels— RKO (90 min.) 26
Rebecca of Sunnybrook Farm — 20th Century-Fox
(81 min.) 51
River, The — Paramount (31 min.) 31
Romance in the Dark — Paramount (78 min.) 34
Sally, Irene and Mary — 20th Century-Fox (84 min.) . . 42
Scandal Street — Paramount (61 min.) 30
Sez O'Reilly to MacNab— G.-B. (82 min.) . .Not Reviewed
Singing Outlaw, The — Universal (56 m.) . .Not Reviewed
Slight Case of Murder, A — First National (84 min.) . . 38
Squadron of Honor — Columbia (55 min.) 26
Start Cheering — Columbia (77 min.) 30
Three Men in the Snow — MGM (See "Paradise for
Three") « 22
To the Victor — Gaumont-British (72 min.) 34
Walking Down Broadway — 20th Century-Fox
(68J/2 min.) 1 39
When G Men Step In — Columbia (60 min.) 43
Where the West Begins — Mono. (54 m.) . . .Not Reviewed
Who Killed Gale Preston?— Columbia (60 min.) 26
Wide Open Faces — Columbia (66 min.) 42
Wife of General Ling. The— G-B (69 min.) 38
Yank at Oxford, A— MGM (102 min.) 35
RELEASE SCHEDULE FOR FEATURES
Columbia Features
(729 Seventh Ave., New York, N. Y.)
8035 The Shadow— Quigley-Hay worth Dec. 9
8282 Headin' East— Buck Jones (67 min.) Dec. 13
8024 Under Suspicion — Jack Holt Dec. 16
8202 Outlaws of the Prairie — C. Starrett (57m.) . .Dec. 31
8034 Women in Prison — Cahoon-Colton Jan. 1
8020 No Time to Marry— Arlen-Astor (64^4m.) . Jan. 10
8007 Penitentiary — Connolly-Howard-Parker ....Jan. 17
8030 Squadron ot Honor — ferry-M. Russell Jan. 20
8017 Little Miss Roughneck — Fellows-Carrillo. . .Feb. 9
8203 Cattle Raiders— C. Starrett (61 min.) Feb. 12
8010 Wide Open Faces — Joe E. Brown-J. Wyman.Feb. 15
8209 Heroes of the Alamo — Hodgins (75 min.) . . .Feb. 17
8038 Who Killed Gale Preston ?— Hay worth Feb. 24
8009 Start Cheering— Durante- Starrett Mar. 3
8210 Rolling Caravans — E. Stewart (55 min.)... Mar. 7
8022 Making the Headlines— Holt-Roberts Mar. 10
Woman Against the World — Moore Mar. 17
The Lone Wolf in Paris (The Lone Wolf
Returns) — Lederer-Drake (reset) Mar. 24
8031 When G Men Step In— Don Terry Mar. 31
8283 The Overland Express — Buck Jones Apr. 11
Flight Into Nowhere— Holt- Wells Apr. 18
There's Always a Woman — Blondell-Douglas.Apr. 20
Extortion — Colton-Doran ; Apr. 25
8204 Call of the Rockies— Starrett (54 min.) Apr. 30
First National Features
(321 IV. 44th St., New York, N. Y.)
270 She Loved a Fireman — Foran- Sheridan Dec. 18
274 The Patient in Room 18 — Knowles-Sheridan. . .Jan. 8
253 Hollywood Hotel — Powell-Lane-Healy Jan. 15
279 The Daredevil Drivers — Roberts-Purcell Feb. 12
255 Gold Is Where You Find It— Brent-Rains. . . .Feb. 19
256 A Slight Case of Murder — Robinson-Bryan. .Mar. 5
252 Fools for Scandal — Lombard-Gravet Apr. 16
261 Women Are Like That — Francis-O'Brien. .. .Apr. 23
267 Beloved Brat — Granville-D. Costello Apr. 30
Gaumont-British Features
(1600 Broadway, New York, N. Y.)
Beginning of 1937-38 Season
Non-Stop New York — Anna Lee-John Loder Nov. 17
I Was a Spy — M. Carroll-H. Marshall (Reissue) .Jan. 1
Look Out for Love — Neagle-Carmanati Jan. 15
Wife of General Ling — Jones-Inkijinoff Feb. 1
The Girl was Young — Nova Pilbeam Feb. 15
To the Victor — Fyffc-Loder-Lockwood Mar. 1
Sailing Along — Jessie Matthews Mar. 15
Floating City No. 1 (F. P. 1.) — Reissue Apr. 1
The Show Goes On — Neagle-Carmanati-Banks. . . Apr. 15
Grand National Features
(1270 Sixth Ave., New York, N. Y.)
299 Spirit of Youth— Joe Louis Dec. 29
Metro-Goldwyn-Mayer Features
(1540 Broadzuay, New York, N. Y.)
818 Paradise for Three — R. Young-Rice-Morgan. Jan. 28
819 Everybody Sing — Garland-A. Jones-Owen ...Feb. 4
822 Of Human Hearts— Huston-Stewart Feb. 11
823 A Yank at Oxford— Taylor-O'Sullivan Feb. 18
824 Arsene Lupin Returns — Douglas-William ....Feb. 25
825 Merrily We Live — C. Bennett- Aherne-Burke. Mar. 4
826 The First Hundred Years (Wooden Wedding)
— Montgomerv-Bruce-William Mar. 11
827 Girl of the Golden West— MacDonald- Eddy .. Mar. 18
828 Judge Hardy's Children — Stone-Parker Mar. 25
829 Port of Seven Seas — Beery-O'Sullivan Apr. 1
No release set for Apr. 8
No release set for Apr. 15
831 Test Pilot— Gable-Loy-S. Tracy Apr. 22
R30 Swiss Miss— laurel-Hardy Apr. 2F>
Monogram Features
(1270 Sixth Ave., New York, N. Y.)
3708 County Fair— J. Farrell MacDonald Nov. 24
3731 Romance of the Rockies — Keene (53m.,) . . . .Dec. 15
3743 Boy of the Streets — Jackie Cooper (re.) Dec. 22
3722 Telephone Operator— Allen-White (61m.) ..Jan. 5
3727 West of Rainbow's End— McCoy (57m.) (r.)Jan. 19
3724 Saleslady — Nagel-Heyburn Feb. 2
3736 Where the West Begins— Randall (54m.) ...Feb. 2
3719 My Old Kentucky Home— Venable-Hall Feb. 16
3733 The Painted Trail— Tom Keene (50m.) (r.) .Feb. 23
3725 The Port of Missing Girls— Allen (re.) . . . .Mar. 2
3728 Code of the Rangers— Tim McCoy Mar. 9
3715 Rose of the Rio Grande — Movita-Carroll . . .Mar. 16
3739 Land of Fighting Men— Jack Randall Mar. 30
3713 Female Fugitives — Venable-Reynolds Apr. 6
3729 Renegade Law — Tim McCoy Apr. 13
Paramount Features
(1501 Broadway, New York, N. Y '.)
3722 Daughter of Shanghai — Wong-Ahn (62m. )..Dec. 17
3723 True Confession — Lombard-MacMurray ...Dec. 24
3724 Wells Fargo — McCrea-Dee-Burns Dec. 31
3725 Bulldog Drummond's Revenge — Barry more. .Jan. /
3726 Every Day's a Holiday — West-Lowe Jan. 14
3727 Thrill of a Lifetime — Grable-Downs Jan. 21
3755 Partners of the Plains— Wm. Boyd (70m.) . Jan. 26
3728 The Buccaneer — March-Tamiroff Feb. 4
3729 Scandal Street — Ayres-Campbell Feb. 11
3730 Big Broadcast of 1938— Fields-Raye (re.) ..Feb. 18
3756 Cassidy of Bar 20— Boyd-Hayes (56^m.) . .Feb. 25
3731 Romance in the Dark — Swarthout-Boles (r.)Mar. 4
3732 Dangerous to Know — Tamiroff-Patrick . . . .Mar. 11
3733 Bulldog Drummond's Peril — Howard Mar. 18
3734 Bluebeard's Eighth Wife — Colbert-Cooper
(reset) Mar. 25
3735 Tip-Off Girls— Nolan-Carlisle-Naish Apr. 1
No release set for Apr. 8
3736 Her Jungle Love — Lamour-Milland Apr. 15
3757 Heart of Arizona— Wm. Boyd (67]/2m.) ...Apr. 22
3737 College Swing — Burns-Allen-Raye-Hope ..Apr. 29
Stolen Heaven — Raymond-Bradna-Farrell . . May 6
Professor Beware — Harold Lloyd May 13
Republic Features
(1776 Broadway, New York, N. Y.)
1936- 37 Season
6001 Portia on Trial— Inescort- Abel (re.) Nov. 8
(End of Season)
1937- 38 Season
7102 Old Barn Dance— Autry (60m.) Jan. 29
7007 Outside of Paradise — Regan-McNulty Feb. 7
7020 Born to Be Wild— Byrd- Weston-Bond Feb. 16
7021 Hollywood Stadium Mystery — E. Venable ..Feb. 21
7125 Thunder in the Desert— Steele (55m.) Feb. 21
7008 Prison Nurse — Wilcoxon-Marsh Mar. 1
7115 Call of the Mesquiteers — Three Mes. (56m.). Mar. 7
King of the Newsboys — Ayres-Mack Mar. 18
Arson Gang Busters — Livingston-Keith .... Mar. 28
Invisible Enemy — Marshall-Correll Apr. 4
Call of the Yukon — Aden- Roberts Apr. 11
7116 Outlaws of Sonora — Three Mesquiteers . . . .Apr. 11
7126 The Feud Maker— Bob Steele Apr. 18
RKO Features
(1270 Sixth Ave., New York, N. Y.)
1936- 37 Season
738 Damsel in Distress — Astaire-Fontaine Nov. 19
739 Bringing Up Baby — Hepburn-Grant Feb. 18
(more to come)
1937- 38 Season
820 Double Danger — Foster-Bourne Jan. 28
891 Snow White — Disney (For special release) ..Feb. 4
823 Radio City Revels— Oakie-Miller-Berle Feb. 11
821 Night Spot — Woodbury-Lane-Jones Feb. 25
822 Maid's Night Out — Fontaine-Lane Mar. 4
846 Hawaii Calls — Breen-Sparks Mar. 11
813 Condemned Women — Eilers-Hayw'd-Shirley. Apr. 1
824 This Marriage Business — Moore-Lane Apr. 8
826 Joy of Living — Dunne-Fairbanks Apr. 15
827 Law of the Underworld — Morris-Shirley . . . .May 6
Twentieth Century-Fox Features
(444 W. 56th St., New York, N. Y.)
824 Borrowing Trouble — Prouty-Byington Dec. 10
No release set for Dec. 17
831 Thank You, Mr. Moto — Lorre-Regan Dec. 24
825 Love and Hisses — Winchell-Bernie-Simon Dec. 31
833 City Girl — Brooks-Cortez- Wilcox Jan. 7
823 Tarzan's Revenge — Morris-Holm Jan. 7
829 Change of Heart (Headline Huntress) —
Whalen-Stuart Jan. 14
828 Hawaiian Buckaroo — Ballew-Knapp-Regas ..Jan. 14
832 Charlie Chan at Monte Carlo— W. Oland . . . .Jan. 21
830 Happy Landing — Henie-Ameche-Romero . . . .Jan. 28
826 International Settlement — Del Rio-Sanders ...Feb. 4
834 Checkers — Withers-Erwin-Merkel Feb. 11
835 The Baroness and the Butler — W. Powell-
Annabella Feb. 18
873 County Chairman — Will Rogers reissue Feb. 18
836 Love on a Budget — Prouty-Byington Feb. 25
827 Sally, Irene and Mary — Faye-Martin Mar. 4
838 Walking Down Broadway — Trevor-Brooks . .Mar. 11
837 Rebecca of Sunnybrook Farm — S. Temple. . . .Mar. 18
841 (819) Mr. Moto's Gamble (Mr. Moto Takes a
Chance) — Lorre-Luke-Baldwin Mar. 25
839 Josette — Simon-Ameche- Young Apr. 1
842 Rawhide — Ballew-Gehrig-Knapp Apr. 8
840 In Old Chicago — Power-Faye-Ameche Apr. 15
843 Island in the Sky— Stuart-Whalen-Kelly ....Apr. 22
844 Kentucky Moonshine — Ritz Brothers-Martin .Apr. 29
United Artists Features
(729 Seventh Ave., New York, N. Y.)
Troopship (Farewell Again) — Banks-Robson ....Oct. 8
Stand-in— Howard-Blondell-Bogart Oct. 29
52nd Street — Baker- Paterson-Pitts-Carrillo Nov. 19
Nothing Sacred — Lombard-March-Connolly Nov. 26
Murder on Diamond Row — Lowe-Shaw Dec. 10
The Hurricane — Lamour-Hall-Astor Dec. 24
Action for Slander — Brook-Scott-Todd Jan. 14
I Met My Love Again — J. Bennett-Fonda Jan. 28
The Goldwyn Follies — Leeds-Menjou-Baker . ...jFeb. 4
Adventures of Tom Sawyer — Kelly-Robson Feb. 11
Storm in a Teacup — Leigh-Harrison Feb. 25
Adventures of Marco Polo — Cooper-Rathbone. . . .Mar. 4
The Gaiety Girls— J. Hulbert-P. Ellis Mar. 18
Divorce of Lady X — Oberon-Olivier (re.) Apr. 15
The Return of the Scarlet Pimpernel — Stewart-
Scott-Lister (reset) Apr. 29
Universal Features
(1250 Sixth Ave., New York, N. Y.)
A2033 The Spy Ring— Hall-Wyman Jan. 9
A2019 The Jury's Secret — Taylor-Wray Jan. 16
A2055 The Singing Outlaw— Baker (56m.) Jan. 23
A2014 The Black Doll— Grey- Woods Jan. 30
A2016 The Midnight Intruder — Hayward-Read ..Feb. 6
A2035 Forbidden Valley — Beery, Jr.-Robinson ...Feb. 13
A2056 Border Wolves— Bob Baker (56m.) Feb. 25
A2002 Mad About Music— Durbin-Marshall Feb. 27
A2017 Crime of Dr. Hallett— Bellamy-Read Mar. 11
A2029 State Police— William Hall (reset) Mar. 18
A2041 Let's Make a Night of It (Night Club
Hostess) — Rogers-Clyde (67m.) (re.) .Mar. 25
Goodbye Broadway — Brady-Winninger . . Mar. 25
Reckless Living — Grey- Wilcox Apr. I
A2057 The Last Stand— Bob Baker Apr. I
Nurse from Brooklyn — Eilers-Kelly Apr. 15
Lady in the Morgue — Foster-Eilers Apr. 22
Warner Bros. Features
(321 W. 44th St., New York, N. Y.)
211 Swing Your Lady — Bogart-Pendleton-McHugh
Tan. 29
225 Blondes at Work — Farrell-MacLane Feb. 5
214 The Kid Comes Back — Morris-Travis Feb. 12
226 Penrod and His Twin Brother — Mauch Twins. Feb. 26
216 Love. Honor and Behave — Morris-P. Lane . .Mar. 12
221 He Couldn't Say No— McHugh-Wyman Mar. 19
204 Jezebel — Davis-Fonda-Brent-Lindsay Mar. 26
212 Over the Wall — Foran-Travis-Litel Apr. 2
222 Accidents Will Happen — Reagan-G. Blondell . Apr. 9
SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel
8504 Bluebird's Baby— Color Rhap. (7m.) Jan. 21
8804 Snow Foolin'— World of Sport (10m.) Jan. 21
8756 Scrappy's Trip to Mars — Scrappys (6j^m.) .Feb. 4
8856 Screen Snapshots No. 6— (9y2m.) Feb. 4
8655 Community Sing No. 5— (10m.) Feb. 5
8702 Sad Little Guinea Pigs— K. Kat (6y2m.) . . . .Feb. 7
8505 The Horse on the Merry-Go-Round — Color
Rhapsody (6/2m.) Feb. 17
8805 Feminine Fun— World of Sport (9l/2m.) . . . .Feb. 18
8656 Community Sing No. 6 — (10m.) Feb. 25
8703 Auto Clinic— K. Kat Mar. 4
8857 Screen Snapshots No. 7— (9^m.) Mar. 4
8806 Unusual Hunting— World of Sport Mar. 15
8657 Community Sing No. 7 Mar. 18
8506 The Foolish Bunny— Color Rhapsody Mar. 26
8857 Screen Snapshots No. 8 Apr. 1
8807 Sport Stamina— World of Sport Apr. 10
8704 Little Buckaroo— K. Kat Apr. 11
8507 The Big Birdcast— Color Rhapsody Apr. 14
Columbia — Two Reels
8425 He Done His Duty— All star com. (17J4 m.) Dec. 10
8142 The Web Tangles— Pilot No. 2 (23l/2 m.) . . .Dec. 11
8143 Enemies of the Air— Pilot No. 3 (24j^m.) . . .Dec. 18
8426 Man Bites Love Bug— All Star com. (18m.) .Dec. 24
8144 In the Name of the Law— Pilot No. 4 (25m. ) . Dec. 25
8145 The Crackup— Pilot No. 5 (24^m.) Jan. 1
8404 Termites of 1938— Stooges comedy (14^m.) Jan. 7
8146 The Dark Hour— Pilot No. 6 (23m.) Jan. 8
8147 Wings of Destiny— Pilot No. 7 (\9y2m.) . . . Jan. 15
8427 Fiddling Around— All Star com. (17^m.) ..Jan. 21
8148 Battle in the Sky— Pilot No. 8 (23^m.) . . . Jan. 22
8149 The Great Flight— Pilot No. 9 (22m.) Jan. 29
8428 A Doggone Mixup— All Star (\8l/2m.) ....Feb. 4
8150 Whirlpool of Death— Pilot No. 10 (23^m.).Feb. 5
8151 The Haunted Mill— Pilot No. 11 (24^m.) ..Feb. 12
8405 Wee Wee Monsieur — Stooges com. (17j4m.).Feb. 18
8152 The Lost Trail— Pilot No. 12 (23m.) Feb. 19
8153 The Net Tightens— Pilot No. 13 (25^m.) . .Feb. 26
8429 The Old Raid Mule— All Star com. (17^4m.).Mar. 4
8154 Vengeance Rides the Airways — Pilot No. 14
(2V/2 min.) Mar. 5
8155 Retribution— Pilot No. 15 Mar. 12
8161 The Isle of Fear — Secret of Treasure Island
No. 1 Mar. 17
8430 Time Out for Trouble— All Star (16^m.) . .Mar. 18
8162 The Ghost Talks— Secret No. 2 Mar. 24
8431 Cuckoorancho — All Star comedy Mar. 25
8406 Tassles in the Air — Stooge (17m.) Apr. 1
8432 Jump Chump Jump — All Star com. (19^m.).Apr. 15
Metro-Goldwyn-Mayer — One Reel
1936- 37 Season
W-540 Pipe Dream — Happy Harmony (8m.) ....Feb. 5
W-541 Little Bantamweight— Happy Har. (8m.). Feb. 12
(End of Season)
1937- 38 Season
H-723 Captain Kidd's Treasure— Hist. My. (10m) Jan. 22
S-704 Jungle Juveniles No. 2— (9m.) Jan. 29
M-673 Stroke of Genius — Miniatures (11m.) ....Feb. 5
C-734 Canned Fishing— Our Gang (11m.) Feb. 12
S-705 Three on a Rope— Pete Smith (10m.) Feb. 19
T-657 Glimpses of Austria— Traveltalks (9m.) ...Feb. 19
H-724 The Ship That Died— Hist. Myst. (10m.) . .Feb. 19
W-681 Cleaning House— Cartoon (8m.) Feb. 19
M-674 Life in Sometown. U.S.A.— Minia. (11m.) .Feb. 26
C-735 Bear Facts — Our Gang (11m.) Mar. 5
M-675 An Optical Poem— Minia. (Tech.) Mar. 5
S-706 La Savate— Pete Smith (8m.) Mar. 12
T-658 Glimpses of New Brunswick — Trav. (8m.). Mar. 19
F-753 How to Figure Income Tax— Bench. (8m.). Mar. 19
C-736 Three Men in a Tub— Our Gang Mar. 26
W-682 Blue Monday— Cartoon (9m.) Apr 2
S-707 Penny's Party— Pete Smith (Tech.) (9m.). Apr. 9
C-737 Came the Brawn — Our Gang Apr. 16
T-659 Beautiful Budapest— Traveltalks Apr. 16
Metro-Goldwyn-Mayer — Two Reels
P-61 1 What Price Safety— Crime Doesn't Pay
C21 min.) Feb. 5
P-612 Miracle Money— Crime Doesn't Pay Mar. 26
Paramount — One Reel
L7-4 Unusual Occupations No. 4— (10m.) Feb. 11
A7-9 Listen to Lucas— Headliner (9}4m.) Feb. 18
E7-7 Learn Polikeness — Popeye (7m.) Feb. 18
V7-8 Gold !— Paragraphics (9m.) Feb. 25
R7-8 A Fascinating Adventure— Sport. (9l/2m.) ..Feb. 25
T7-7 Be Up to Date— Betty Boop (6m.) Feb. 25
C7-4 The Tears of an Onion — Color Clas. (7m.) ..Feb. 25
P7-8 Paramount Pictorial No. 8— (9m.) Mar. 4
A7-10 The Star Reporter No. 3— Head. (9l/2m.) .Mar. 11
E7-8 The House Builder-Upper — 'Popeye (6m.) .Mar. 18
J7-4 Popular Science No. 4— (lOj^m.) Mar. 18
V7-9 Jungle Glimpses — Paragraphics Mar. 25
R7-9 Cops and Robbers— Sportlight (9}4m.) ....Mar. 25
T7-8 Honest Love and True — Betty Boop (8m.) . .Mar. 25
SC7-4 Thanks for the Memory — Screen Song Mar. 25
P7-9 Paramount Pictorial No. 9— (9^m.) Apr. 1
A7-11 Hall's Holiday— Headliner (9}4m.) Apr. 8
E7-9 Big Chief Ugh-Amugh-Ugh — Popeye ., Apr. 15
L7-5 Unusual Occupations No. 5 Apr. 15
84202
84602
84103
84402
84403
84203
84104
84204
84105
84106
84603
84205
84301
84107
84206
84302
84108
84604
84109
84207
84303
84110
84208
84304
84111
84209
84605
83107
83801
83202
83704
83108
83404
83502
83109
83302
83705
83110
83405
RKO — One Reel
Phoney Boy— Nu Atlas Musical (11m.) ...Oct. 15
Pathe Parade— (11m.) Nov. 5
The Old Mill— Disney cart. (9m.) Nov. 5
Murder in Swing Time — Condor (10m.) ..Nov. 19
Prairie Swingaroo — Musical (10m.) Nov. 19
Sweet Shoe — Nu Atlas Musical (11m.) Nov. 26
Pluto's Quinpuplets — Disney (8^m.) Nov. 26
Deviled Ham— Nu Atlas (10m.) Dec. 3
Donald's Ostrich — Disney cart. (9m.) Dec. 10
Lonesome Ghosts — Disney cart. (9m.) Dec. 24
Pathe Parade— (10m.) Jan. 14
A Radio Hook-Up— Nu Atlas (10m.) Jan. 28
White Magic — Sportscopes (10m.) Jan. 28
Self Control — Disney cart. (9m.) Feb. 11
Latin Rhythm— Nu Atlas (11m.) Feb. 18
In the Swim — Sportscopes (10m.) Feb. 18
Boat Builders — Disney cart. (7m.) Feb. 25
Pathe Parade— (10m.) Feb. 25
Donald's Better Self— Disney (8m.) Mar. 11
No Sale— Nu Atlas (11m.) Mar. 11
Windward Way — Sportscopes (10m.) Mar. 11
Moth and the Flame — Disney (8m.) Apr. 1
Skyline Revue — Nu Atlas (11m.) Apr. 1
Swinging Mallets — Sportscopes (10m.) Apr. 1
Donald's Nephews — Disney (8m.) Apr. 15
Maids and Music — Nu Atlas Apr. 22
Pathe Parade— (11m.) Apr. 22
RKO — Two Reels
March of Time— (19m.) Feb. 18
Quintupland— Special (19m.) Feb. 18
The Stupor-Visor— Radio Flash. (17m.) ..Feb. 25
His Pest Friend — Leon Errol (18m.) Mar. 14
March of Time— (19m.) Mar. 18
False Roomers — Edgar Kennedy (17m.) ..Mar. 25
Twenty Girls and a Band — Stuart (18m.) . . Apr. 8
March of Time Apr. 15
A Buckaroo Broadcast — Whitney Apr. 22
Berth Quakes — Errol (16m.) May 6
March of Time May 13
Kennedy's Castle— E. Kennedy (17m.) May 28
Twentieth Century-Fox — One Reel
8513 His Off Day— Terry-Toon (6^m.) Feb. 4
8606 Songbirds of the North Woods— T. Chest
(10 min.) Feb. 11
8514 Just Ask Jupiter— Terry-Toon (6^m.) Feb. 18
8910 All's Fair— Song Hit (10m.) Feb. 25
8607 Sky Fishing— Treasure Chest (9V2m.) Feb. 25
8515 Gandy the Goose— Terrv-Toon (6y2m.) Mar. 4
8516 Happy and Luckv— Terry-Toon (6^m.) . . .Mar. 18
8610 Music from the Stars— Treasure Chest Mar. 25
8517 A Mountain Romance— Terry-T. (6y2m.) . . Apr. 1
8608 Return of the Buffalo— Treasure Chest Apr. 8
8518 Robinson Crusoe's Broadcast— T.-T. (6^m.)Apr. 15
8604 Kingdom for a Horse— Treasure Chest Apr. 22
8519 Maid in China— Terry-Toon Apr. 29
Twentieth Century-Fox — Two Reels
8303 Uncle Sol Solves It— Mirthquake ( \Sy2m.) . . Feb. 1 1
8116 Wanna Re a Model ?— Machamer ( 16'^m.) . . Feb. 25
8308 Love and Onions— Timbere-Rooney (19'/2tn) Mar. 11
8117 Beautiful But Dummies— West- Patricola. . .Mar. 25
8309 Sine for Sweetie— Lee Sullivan Apr 15
8118 Not Yet Titled— Jefferson Machamer Apr. 29
Universal — One Reel
A2J90 Stranger Thau Miction No. 46 — (9m.) Feb. 21
A22/9 Yokel Boy Makes Good— Oswald (7m.) . . .Feb. 21
A2677 Going Places with Thomas No. 46— (9m.) .Feb. 28
A2280 Trade Mice— Oswald (7m.) Feb. 28
A2Jyl Stranger 1 nan Fiction No. 47 — (9m.) Mar. 14
A2281 Feed the Kitty— Oswald cart. (?'m.) Mar. 14
A2378 Going Places with Tho's No. 47— (9^m.) .Mar. 21
A2392 Stranger Than Fiction No. 48 — (8j^m.) . . .Apr. 4
A2379 Going Places with Thomas No. 48 — (9m.) .Apr. 11
A2393 Stranger Than Fiction No. 49— (8^m.) . ..Apr. 18
A2380 Going Places with Thomas No. 49 Apr. 25
Universal — Two Reels
A2167 Down on the Barn — Mentone (17m.) Feb. 23
A2100 Breathless Moments— Special (19m.) ....Feb. 28
A2890 A Race for Fortune— Tyler No. 10 (21m.) .Feb. 28
A2891 No Man's Land— Tyler No. 11 (20m.) .... Mar. 7
A2892 The Kimberly Diamonds— Tyler No. 12
(21 min.) Mar. 15
A2581 New Worlds to Conquer — Flash Gordon's
Trip to Mars No. 1 (20 min.) Mar. 22
A2168 Somewhere in Paris — Mentone (17m.) ...Mar. 23
A2582 The Living Dead— Flash No. 2 (20m.) . . . .Mar. 29
A2583 Queen of Magic— Flash No. 3 (21}4m.) . . .Apr. 5
A2584 Ancient Enemies — Flash No. 4 (19m.) Apr. 12
A2585 The Boomerang— Flash No. 5 (19}4m.) . . . Apr. 19
A2586 Tree-Men of Mars— Flash No. 6 (20m.) ..Apr. 26
Latin Hi-Hattin' — Mentone Apr. 27
Vitaphone — One Reel
3504 Land of the Kangaroo— Color-Tour (lOj^m.) Dec. 18
3304 Alibi Mark— True Adventures (13 m.) Dec. 25
3706 Henry King and Orch. — Mel. Mast. (11m) . .Dec. 25
3205 Two Boobs in a Balloon — Bergen re. (10m.) .Jan. 1
3406 Daffy Duck and Egghead— Mer. Mel. (jy2.) Jan. 1
3505 India's Millions — Color-Tour (10m.) Jan. 8
3805 Ice Cream-Jockeys-Negligees — Pic. (10m.).. Jan. 8
3905 Unreal Newsreel — Varieties (9m.) Jan. 8
3206 Free and Easy — Bergen reissue (10m.) Jan. 15
3709 Leon Navarro & Orch.— Mel. Mast. (11m.) . Jan. 15
3605 Porky 's Poppa — Looney Tunes (7m.) Jan. 15
3908 Ski Flight— Varieties (10m.) Jan. 22
3305 The Bolted Door— True Adv. (13m.) Jan. 22
3407 My Little Buckaroo— Mer. Mel. (7y2m.) Jan. 29
3708 Enric Madriguera & Orch.— Mel. M. (10m.) Jan. 29
3507 Malayan Jungles — Color-Tour (10m.) Feb. 5
3606 Porky at the Crocadero — L. Tunes (7^m.).Feb. 5
3806 Kellogg Ranch-Hockey-Shoes— Pict. (10m.). Feb. 5
3710 Carl Hoff & Orch.— Mel. Mast. (10m.) Feb. 12
3906 Alibi Time— Varieties (11m.) Feb. 12
3306 Hit and Run— True Adventures (13m.) ....Feb. 19
3408 Jungle Jitters— Mer. Melodies (7m.) Feb. 19
3607 What Price Porky— L. Tunes (7^m.) Feb. 26
3807 Dogs-Billiards-Lithography— Pict. (10m.) .Mar. 5
3707 Benny Meroff & Orch.— Mel. Mast. (11m.) .Mar. 5
3409 Sneezing Weasel — Mer. Melodies (7m.) Mar. 12
3502 What the World Makes— Color-Tour (10m) Mar. 12
3907 Vitaphone Gambols— Varieties (10^m.) ...Mar. 19
3307 Shopgirl's Evidence — True Adv. (12^m.) . .Mar. 19
3608 Porky 's Phoney Express — L. Tunes (7m.). Mar. 19
3711 Mike Riley & Orch.— Mel. Mast. (10m.) ...Mar. 26
3808 Song Writers-Bowling-Rubber— Pict. (10m) Apr. 2
3508 Crossroads of the Orient— Color-T. (10m.). Apr. 2
3410 A Star Is Hatched— Mer. Mel. (8m.) Apr. 2
3909 The Crawfords— Varieties (9^m.) Apr. 9
3609 Porky's Five and Ten— L. Tunes (7m.) .. ..Apr. 16
3712 Rubinoff & His Violin— Mel. Mast Apr. 16
3308 Not Yet Titled— True Adventures Apr. 16
3809 Silverware-Ice Btg.-Trains — Pictorial Apr. 30
3713 Carl "Deacon" Moore & Orch. — Mel. Mast.. .May 7
Vitaphone — Two Reels
3014 Here's Your Hat— Revues (21m.) Dec. 11
3026 One on the House— Gay-Eties (20m.) Dec. 18
3021 Wedding Yells— Murray-Oswald (21m.) ...Jan. I
3009 Script Girl— Headliners (21m.) Jan. 15
3003 Romance Road— Tech. Prod. (19m.) Jan. 29
3015 The Candid Kid— Revues (20m.) Feb. 12
3027 Waiting Around— Gay-Eties (21m.) Feb. 26
3010 Little Me— Wini Shaw (22m.) Mar. 5
3005 Romance of Louisiana — Tech. (I8m.) Mar. 12
3022 Under the Wire— Comedy (20m.) Mar. 26
3016 Got a Match — Revues Apr. 9
3028 Hold That Ball — Gav-Eties Apr. 23
3011 Forget Me Knots— Claire (Tech.) May 7
3023 Stocks & Blondes— Comedy May 21
3004 Out . Where the Stars Begin— Tech May 28
NEWS WEEKLY
NEW YORK
RELEASE DATES
Universal
654 Saturday Apr. 2
655 Wednesday ..Apr. 6
656 Saturday ....Apr. 9
657 Wednesday ..Apr. 13
658 Saturday Apr. 16
659 Wednesday ..Apr. 20
660 Saturday .... Apr. 23
661 Wednesday ..Apr. 27
662 Saturday .... Apr. 30
663 Wednesday . May 4
664 Saturday . . . May 7
665 Wednesday . May 1 1
666 Saturday ...May 14
667 Wednesday .May 18
Fox Movietone
58 Saturday Apr. 2
59 Wednesday ...Apr. 6
60 Saturday Apr. 9
61 Wednesday ...Apr. 13
62 Saturday Apr. 16
63 Wednesday ...Apr. 20
64 Saturday Apr. 23
65 Wednesday . . . Apr. 27
66. Saturday Apr. 30
67 Wednesday . . May 4
68 Saturday May 7
69 Wednesday . .May 11
70 Saturday .... May 14
71 Wednesday . . May 18
Paramount News
69 Saturday Apr. 2
70 Wednesday ...Apr. 6
71 Saturday Apr. 9
72 Wednesday ...Apr. 13
73 Saturday Apr. 16
74 Wednesday ...Apr. 20
75 Saturday Apr. 23
76 Wednesday . . .Apr. 27
77 Saturday Apr. 30
78 Wednesday . . May 4
79 Saturday .... May 7
80 Wednesday . . May 1 1
81 Saturday . . . .May 14
82 Wednesday ..May 18
Metrotone News
250 Saturday ...Mar. 12
251 Wednesday .Mar. 16
252 Saturday ...Mar. 19
253 Wednesday . Mar. 23
255 Wednesday . Mar. 30
256 Saturday ....Apr. 2
257 Wednesday . . Apr. 6
258 Saturday ....Apr. 9
259 Wednesday ..Apr. 13
260 Saturday ....Apr. 16
261 Wednesday ..Apr. 20
262 Saturday .... Apr. 23
263 Wednesday ..Apr. 27
264 Saturday Apr. 30
265 Wednesday .May 4
266 Saturday . . . May 7
267 Wednesday .May 11
268 Saturday . . .May 14
269 Wednesday . May 18
Pathe News
85173 Sat. (0.)..Apr. 2
85274 Wed. (E.) Apr. 6
85175 Sat. (0.)..Apr. 9
85276 Wed. (E.) Apr. 13
85177 Sat. (0.)..Apr. 16
85278 Wed. (E.) Aor. 20
85179 Sat. (O.) . . Apr. 23
85280 Wed. CE.) Apr. 27
85181 Sat. (O.).. Apr. 30
85282 Wed. (E.) May 4
85183 Sat. (O.) .May 7
85284 Wed. CE.) May 11
85185 Sat. (O.) .May 14
85286 Wed. (E.) May 18
Entered as seconfl-clasB 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. xx Saturday, april 9, 1938 No. Ts
LET THE RECORD SPEAK FOR ITSELF!
Sidney R. Kent, evidently irked by Abram F.
Myers' bulletin of March 16, wrote to Mr. Myers
a long letter in an effort to prove to him that,
what he, Mr. Kent, had said to Congressman
Pettengill at the House Committee's hearing of
the Pettengill Bill against block booking is not
inconsistent with what he said in his circular
letter to fourteen thousand theatres, or with his
present attitude towards the Neely Bill, which
is similar to the Pettengill Bill.
Let us make a comparison of his statements to
see whether there is any inconsistency or not :
In his letter to the exhibitors, Mr. Kent said :
"There are thousands of independent exhibi-
tors who can never maintain their present posi-
tion by buying their pictures one at a time, as I
say they will be forced under this Act." In other
words, he said to the exhibtors that, with the
Neely-Pettengill Bill a law, the exhibitor will
not be able to buy more than one picture at a
time ; he will be "forced" to do so under this Act.
In his testimony before the House Committee
on Interstate and Foreign Commerce, he said :
"I say, if you legislate and say to me, 'Mr.
Kent, hereafter you must only sell your pictures
after they are made, because we want to protect
the morals of the community,' and 'you can only
sell your pictures after they are finished,' I say
fine, but do not let the man who buys the product
have any advantage over me. Let him also buy
the product after it is finished so that he cannot
have an alibi then and we can sell each one on
merit. That is all right with me."
In other words, at that time he believed that
the exhibitor could buy more than one picture at
a time ; and since the language of the present
Bill is no different from the language of the Bill
at that time, Mr. Myers is fully justified in call-
ing Mr. Kent's present views inconsistent with
the views he held of the Bill at the time he was
testifying before the Committee.
In his letter to the exhibitors, Mr. Kent said also :
"Actually the Bill itself will make any sale im-
possible except the sale of a finished picture after
screening. . . . Where is the future selling to be
done ? In the exchanges I tell you. And what can
be sold under this Bill? Nothing but finished
product," warning the exhibitors that they will
"rue" the day when the Neely B 11, which will
bring such a condition about, becomes a law. But
in his testimony before the Committee, he did
not think that the exhibitors would "rue" such
a day, for he said that it would be satisfactory to
him if the Pettengill Bill were so altered as to make
the purchase of pictures before completion impos-
sible. Are such views consistent ?
But what more than anything else makes Mr.
Kent's present views inconsistent with the views
he held formerly is the fact that, as disclosed in
the March 26 issue of Harrison's Reports, he is
the first industry leader to have advocated the
elimination of block booking and blind selling. In
the spring of 1923 he must have felt that he was
right when he told the exhibitors of the nation, not
with these words but with this meaning : "Gentle-
men, hereafter you will be under no obligation to
buy the Paramount pictures 'sight unseen,' and in
a block ; see them first at the key-city theatres,
where we have made arrangements to show them,
and choose the pictures you want to buy ; we will
then tell you how much we are going to charge you
for them. It is our desire to charge you just what
each picture is worth, and no more, but neither less."
In his letter to Mr. Myers, Mr. Kent, by using
all kinds of arguments, tries to prove that his testi-
mony before the Committee is not inconsistent
wth his present views, but nothing that he says
can convince any intelligent person that his present
views are not inconsistent with his former views,
for the record speaks for itself.
Mr. Kent has, of course, the right to change his
views, but he should not object to it when the
change is called to his attention.
CAN IT BE DONE?
Taking my cue from Wilkerson's editorial in the
February 12 issue of The Hollywood Reporter,
which editorial dealt with the low spirits of the
producers there as a result of the depression, I
wrote an editorial in the February 19 issue of
Harrison's Reports suggesting that, because the
quality of moving pictures has suffered as a re-
sult of the despondency of those connected with the
production of pictures, the 35% picture must go.
Billy Wilkerson did not like those observations
of mine and in an editorial in his paper, published
in the February 23 issue, took me to task for read-
ing in his editorial meanings that were not, as he
says, contained in it.
After praising the quality of the pictures Holly-
wood is producing, he said : "Not only were thev
the finest, but they were the most expensive ever
made. Producers and their distributors veiled for
the higher percentage brackets because their prod-
uct merited it, and Mr. Harrison's bleat for no
more 35% pictures (if any one pays attention to
his bleat) is an unjustified request and, based on
this column of February 12. is downright silly."
(Continued an last f>afjc}
.',8
- HARRISONS "'REPORTS
April 9, 1938
"Goodbye Broadway" with Alice Brady
and Charles Winninger
(Universal, March 25; time, 69 min.)
Moderately entertaining program fare. Alice Brady and
Charles Winninger give good performances, trying hard
to put some life into the picture, but there is not much
that they can do with the trite material. The action, which
is concentrated mostly in a small-town hotel lobby, lacks
speed; it is only towards the end that a flurry of excite-
ment is created. And even this is brought about by an ob-
vious and ordinary situation. The romantic interest is
mild : —
Miss Brady and her husband (Winninger), vaudeville
troupers for many years, while playing a theatre in a small
Connecticut town, take lodgings at a rundown hotel. Win-
ninger, annoyed by the insults of the room clerk, buys the
hotel for $4,000; with his remaining $1,000 he is compelled
to pay off part of the bills the conniving owner had left.
Miss Brady is disgusted, for she had looked forward to
leaving the stage so as to buy a chicken farm with their
savings, to settle down on it. To add to their troubles,
actors and actresses arrive at the hotel, not as customers,
but as guests. Miss Brady is excited when the hotel's only
paying guest tells her that the old pieces of furniture in
the basement were valuable antiques. Jed Prouty, a sly
real estate dealer, who had been interested in buying the
hotel because of a bill that was pending to make it a gov-
ernment memorial site, offers Miss Brady $20,000 for it.
But she, thinking he knew about the antiques, refuses to
take it. Prouty plans to buy up the notes that were out-
standing and force them out of the hotel. But when he
hears about the antiques, he rushes back to the hotel, and
offers $10,000, which Miss Brady is happy to accept, for
she, in the meantime, had found out that the furniture was
just junk. Prouty collapses when he learns that the bill had
fallen through and that the man who had told him about
the antiques was a lunatic. But Winninger and Miss Brady,
secure with their new found wealth, prepare to go back to
vaudeville.
The plot was adapted from the play by James A. Glca-
son; Roy Chanslor and A. Dorian Otvos wrote the screen
play, Ray McCarey directed it, and Edmund Grainger pro-
duced it. In the cast are Tom Brown, Dorothea Kent,
Tommy Riggs, Frank Jenks, Willie Best, and others.
Morally suitable. Class A.
"Fools for Scandal" with Carole Lombard
and Fernand Gravet
(First National, April 16; time, 79 min.)
Disappointing! The story is thin, the comedy labored,
and the action slow. The picture lacks novelty of plot and
dialogue, depending on trite situations for its comedy ; at
no time does the action provoke real hearty laughter. Thus
a lavish production and the talents of two capable stars
have been wasted. Miss Lombard, usually so adept at com-
edy parts, can do nothing with this story material ; as a
matter of fact she has to resort to shouting to cover up the
absurdity of some of the situations. The romance is de-
veloped in a routine way : —
Miss Lombard, an American screen star, while on a visit
to Paris, accidentally becomes acquainted with Gravet, an
impoverished Marquis ; she does not know of his title. He
falls madly in love with her and, despite his financial diffi-
culties, is determined to marry her. When she leaves for
London, he follows her, arriving at her home the night she
was giving a party. He displays talent as a cook, to the
delight of Miss Lombard and her guests. But the cook
resents his butting into her domain, and resigns. That was
just what Gravet wanted, for he had decided to become
Miss Lombard's cook. This creates a scandal, for every
one believed they were lovers and were using the cook idea
just as a gag. Ralph Bellamy, Miss Lombard's wealthy but
prosaic fiance, is enraged at the turn of events, and quarrels
with her. Miss Lombard admits her love for Gravet, but
tells him she could not marry him because he did not earn
enough money. Incensed, Gravet lets her know about his
title, and then leaves. She rushes after him in the London
fog, dressed only in pajamas, finally catching up to him.
He pulls her inside a doorway and they grope their way
through a dark room. Just as they were embracing, the
lights suddenly go on and they find themselves on a stage,
in full view of an audience.
Nancy Hamilton, James Shute and Rosemary Casey
wrote the story, and Herbert Fields and Joseph Fields, the
screen play ; Mervyn LeRoy directed it and produced it.
In the cast are Allen Jenkins, Isabel Jeans, and others.
It is doubtful if the children will understand the sex
insinuations ; therefore, morally suitable for all. Suita-
bility, Class A.
"This Marriage Business" with
Victor Moore, Allan Lane
and Vicki Lester
(RKO, April 8; time, 71 min.)
This program comedy-melodrama is good entertainment
for neighborhood theatres, with an appeal particularly to
those who like stories in which the action takes place in a
small town. It does not, however, overlook the action fans,
for, once the crooked politicians enter the story, there is
plentiful action. Victor Moore, the town's marriage license
clerk, gives a delightful performance, winning one's sym-
pathy by his simplicity in action and speech. The situation
in which he plays up to Kay Sutton, who, as he knew, was
trying to frame him, should provoke laughter. The closing
scenes hold one in suspense, ending in a fairly exciting
way. The romance, though routine, is pleasant : —
Allan Lane, a newspaper reporter, and Jack Carson, his
cameraman, follow an eloping couple to a small town,
where they had gone to be married. After acting as a wit-
ness at the ceremony, Lane starts talking to Moore, who
tells him that no couple that had obtained a license from
him had ever been divorced. Lane hits upon the idea of
publicizing Moore in his newspaper. This brings prosper-
ity to the town, for couples rush to Moore for their licen-
ses, hoping it would bring them luck. The leading business
men ol the town urge Moore to run as Mayor against
crooked Frank Thomas, who was just a henchman for
gangster Richard Lane. Afraid of Moore's popularity,
Thomas decides to frame him. But Allan Lane, wise to
their motives, tells Moore just what to do; however, some-
thing they had not bargained for happens — Richard Lane
kills a man and then makes it appear as if Moore had com-
mitted the murder. Allan Lane, by following a clue, is able
to prove Richard Lane's guilt. Moore, released from
prison, looks forward to his election as Mayor. He is
happy to know that Allan Lane and his daughter (Vicki
Lester) had fallen in love with each other.
Mel Riddle and Alex Ruben wrote the story, and Gladys
Atwater and J. Robert Bren, the screen play; Christy
Cabanne directed it, and Cliff Reid produced it. In the cast
are Cecil Kellaway, Paul Guilfoyle, and others.
The murder makes it unsuitable for children. Harmless
for adults. Class B.
"Rose of the Rio Grande" with John Carroll
and Movita
(Monogram, March 16; time, 60 min.)
This melodrama, centering around Mexican banditry
and rebellion one hundred years ago, is pretty good enter-
tainment. It has action, and holds one in suspense until
the end. The musical interpolations are a welcome addition
because of the excellent singing voice of John Carroll
(hero) ; and Movita, too, sings a few numbers effectively.
Although a little slow in getting started, it becomes fairly
exciting once the hero enters the villain's headquarters,
bent on avenging the murder of his father and mother,
aristocrats. The romance is pleasant : —
When Carroll returns to Mexico from Spain and finds
the land ruled by a peon bandit Rebel Army, that had
killed most of the aristocrats, including his own father and
mother, he forms a band of brave aristocrats to wipe out
the bandit menace. Since he went under an assumed name,
the bandits did not know his identity. He and his men
rescue Don Alvarado, a young aristocrat. Alvarado, grate-
ful for what Carroll had done, joins the band, and informs
him of the hardships his family had suffered, and of the
fact that his sister (Movita) was cared for by servants,
who were trying to get her across the border. Carroll and
his men waylay the Inspector General of the Rebel Army
and his staff. Carroll, dressed in the uniform of the Gen-
eral, goes to the Rebel Army headquarters, presided over
by Antonio Moreno, a cruel petty officer. Moreno, not
knowing who Carroll really was, treats him with defer-
ence, giving him all the information he needed. In the
meantime, Carroll meets and falls in love with Movita, as
she does with him ; but thinking that he was her hated
enemy she treats him with disdain. Carroll eventually re-
veals his identity to Moreno, and, forcing him into a duel,
kills him. His men then wipe out the rebel army, and peace
is once more restored in Mexico. Movita is overjoyed
when she learns who Carroll really was ; she then confesses
her love for him.
Johnston McCulley wrote the story, and Ralph Bettin-
son, the screen play ; William Nigh directed it, and Doro-
thy Reid produced it. In the cast are Lina Basquette,
Duncan Renaldo, and others.
Suitability, Class A.
59
--"King -of the Newsboys" with Lew Ayres
and Helen Mack
(Republic, March 18; time, 68-mttt.j
Although the performances by Lew Ay res and Helen
Mack are good, this is just a fair drama. The chief fault
lies in the characterization of the heroine, whose actions
should displease the average audience. The idea of a young
girl's giving up the young man she loved to live with
another man who could offer her luxuries is unpleasant,
to say the least. The fact that she lived in the slums and
that the hero was poor does not condone such an act ; and
since one is not in sympathy with her one loses interest in
the outcome. Of course, she eventually sees the error of
her way and changes her mode of living, but it is too late
to win over the audience. One feels sympathy for the hero,
who suffers because of her actions. In addition, the story
is highly exaggerated in some instances : —
Lew Ayres and Helen Mack, both residents in the slum
district, are in love. But Miss Mack, disgusted at Ayres'
inability to get a steady position, breaks their engagement ;
she becomes intimate with Victor Varconi, wealthy pub-
lisher of horse-racing sheets, who could give her the lux-
uries she craved. Ayres, heartbroken, is determined to make
good. And he does : in a short time he develops a powerful
newspaper-distributing route. He and Miss Mack meet at
the race track, and the old love flares up again. She leaves
Varconi to go back to Ayres. But Ayres is not happy, for
he is constantly aware of the other man in her life. So
when he meets Sheila Bromley, wealthy society play-girl,
he starts going out with her, spending money lavishly. But
when he proposes to her. and his proposal is rejected, he
sees the stupidity of his ways. Besides having spent money
on amusement, he had lost a fortune in a vain attempt to
ruin Varconi; and so he is poor once again. Miss Mack,
learning that Varconi was trying to ruin Miss Bromley's
father, forces him, at the point of a gun, to turn over to
her the i.o.u.'s he was holding. Ayres, rushing to her side,
prevents her from doing anything rash. He pleads for for-
giveness and begs her to marry him; she tearfully accepts.
Samuel Ornitz and Horace McCoy wrote the story, and
Louis Weitzenkorn and Peggy Thompson, the screen
play; Bernard Vorhaus directed and produced it. In the
cast are Alison Skipworth, Alice White, and others.
Unsuitable for children and adolescents. Class B.
"Making the Headlines" with Jack Holt,
Craig Reynolds and Beverly Roberts
(Columbia, March 10; time, 65 min.)
This comedy-melodrama belongs in the lower bracket of
Class "B" entertainment, for the story does not make
much sense. Whatever excitement the melodramatic action
may create is rendered ineffectual by the silly comic in-
terpolations, and by the actions of a few scatter-brained
characters. It is only in the closing scenes that one is held
in suspense — there the murderer is trapped. The romance
is pleasant, but unimportant : —
Because of the newspaper publicity Jack Holt, a police-
man, had been receiving for his daring capture of crooks,
his chief, who wanted him out of the way, decides to "pro-
mote" him to a Captain's job in the sticks. Holt's pal
(Craig Reynolds), a newspaper reporter, by leading his
editor to believe that Holt's transfer meant something
important, induces him to send him to Holt's station. Since
nothing happens, Reynolds decides to take matters into his
own hands. He steals a diamond necklace from Beverly
Roberts, with whom he was in love, so as to stir up excite-
ment. But Holt, knowing what he had done, orders him to
give it back. Before Reynolds could do so, the necklace is
stolen from him. The importance of the necklace is dis-
covered when the will of Miss Roberts' deceased eccentric
millionaire uncle is read — the necklace was the key to the
whereabouts of the fortune he had bequeathed to Miss
Roberts. In the search for the necklace, two persons are
murdered. Holt eventually clears matters up by proving
that John Wray had committed the murders in an effort to
get the fortune for himself. With the case cleared up, Miss
Roberts and Reynolds decide to marry.
Howard J. Green wrote the story, and he and Jefferson
Parker, the screen play; Lewis D. Collins directed it, and
Larry Darmour produced it. In the cast are Marjorie Gate-
son, Dorothy Appleby, Gilbert Emery, and others.
Not suitable for children. Class B.
"bailing Along" with Jessie Matthews
(GaumoiU-Jiritish, March 15; time, 86 min.)
Jessie Matthews' charm and personality overcome the
triteness of the story. Where "she is popular, it should go
over well, for she gives a good performance, singing and
dancing in her usual talented style. And she is supported
by a cast of competent players. The production is lavish,
particularly in the settings used for the interior of Roland
Young's home, and Miss Matthews' costumes are styled
better than in her last few pictures. The fault lies mainly
in the story, which lacks novelty and is occasionally forced
for laughs. In one situation, the conversation between Miss
Matthews and Young's sister is rather risque, even though
the producers try to pass it off as comedy : —
Young, an eccentric millionaire, while out fishing, no-
tices Miss Matthews, a barge girl, singing and dancing. He
is so struck with her beauty and talent that he urges her to
leave the barge to go on the stage. Her foster father and
his son (Barry Mackay) object, but she is determined to
show them she could make good. Young introduces her to
Jack Whiting, popular musical comedy star. Whiting's
first impression of her is poor, but later he changes his
mind, and decides to put on a show starring her and him-
self. Whiting, although married, falls in love with her;
but she is torn between her high regard for him and her
feelings for Mackay. Mackay, in the meantime, backed by
Young, makes a fortune for himself. Miss Matthews is
acclaimed on the opening night, and is assured of great
success. But she gives up everything to rush after Mackay,
who, as she had heard, was planning to leave on his yacht.
Selwyn Jepson wrote the story, and Lesser Samuels, the
screen play ; Sonnie Hale directed it. In the cast are Noel
Madison, Margaret Vyner, Athene Seyler, and others.
Suitability, Class A.
"Mr. Moto's Gamble" with Peter Lorre
(20th Century-Fox, March 25; time, 71 min.)
This is the best of the Moto series. It is a fast-moving,
exciting murder-mystery melodrama, holding one's atten-
tion to the very end. Since some of the action takes place
at a prizefighting auditorium, the boxing events are in
order and add to the picture's thrills. The comedy is un-
usually good ; it is provoked by two embryonic detectives
—Charlie Chan's son (Keye Luke), who had decided to
give up art for detective work, and by Maxie Rosenbloom,
a kleptomanic with a poor memory, who wanted to become
a detective so that he might be able to discover for himself
from whom he had stolen the different articles. There is
no doubt that murder mystery fans will be highly enter-
tained by this, for the story is worked out in a logical and
interesting way. The weakest part of the story is the de-
velopment of the romance, which is left hanging more or
less in the air : —
Peter Lorre, an instructor in crime detection, in com-
pany with one of his pupils (Keye Luke), and with police
lieutenant Harold Huber, goes to a prizefight. Noticing
the peculiar betting going on by many gamblers, he takes
a keen interest in the fight. The fight ends in a knockout ;
but when the defeated boxer is taken to his room, he is
dead. The autopsy proves that he had been poisoned. Lorre,
entering into the investigation, follows many clues. When
he comes near the solution of the crime, his life is threa-
tened. He promises Huber that at the bout between the
champion and the winner of the last fight he would, by
employing an ingenious method, point out the murderer.
His plans work, and the murderer, who had poisoned the
other fighter in order to collect bets he had made against
him, is discovered; but before the police could arrest him
another gambler, who had been tricked into betting, kills
(he murderer. Dick Baldwin, the winner of the champion-
ship bout, who had been the murdered boxer's opponent, is
happy when the case is cleared, for he had been suspected
of having committed the murder.
Charles Belden and Jerry Cady wrote the original
screen play, using the character originally created by J. P.
Marquand ; James Tinling directed it, and John Stone
produced it. In the cast are Lynn Bari, Douglas Fowlcy,
Jayne Regan, George E. Stone, and others.
Unsuitable for children. Good for adults. Class B.
ORDER YOUR MISSING COPIES OF
HARRISON'S REPORTS
Look over your files and if you should find missing the
copy of any issue, write this office about it. and a duplicate
copy will be sent to you by return mail without any charge.
A sufficient number of copies of back issues for many
months is kept in stock for just such a purpose.
60
HARRISON'S REPORTS
April 9, 1938
If no one pays any attention to my bleat, why
should Wilkerson be so excited about what I said?
Why the fuss ?
Mr. Wilkerson did not understand the meaning
of my editorial : 1 did not say that the producers
should not make 35% pictures any longer, but that
the present pictures do not deserve such a percent-
age and must be placed on a lower classification,
no matter how expensive they may be, for some of
these pictures do not act at the box office even as
30% pictures. When a distributor asks for a pic-
ture 35% of the gross receipts, the picture must act
like a 35% picture, and not as a 30% or even 25%.
That this paper is right in having taken such a
stand may be proved by another article in Wilker-
son's paper — the issue of February 25. Under
"Tradeviews," Mr. Wilkenson said :
"There has been a mild panic in some quarters
around Hollywood due to the cutting down in
studio personnel, slowed production, and an actual
retarding of contract signing."
Every one of you should be able to form an
opinion as to how much demoralization exists
among the workers and artists at the studios, par-
ticularly among the lower salaried persons, when
none of them knows on whom the ax will fall next.
And when there is such demoralization, you ought
to know what happens to the quality of pictures.
Mr. Wilkerson may come forward with a state-
ment that the laying off has taken place among the
low-pay fellows, and that the higher-bracket writ-
ers and artists have not been affected. If he should
do so, then he will indicate that the years he has
spent in Hollywood have not given him a correct
idea as to the value of the smaller staff members in
the production of pictures. God help the director,
or the unit producer, or even the star, if the sound
men, the camera crew, or the other helpers should
take a dislike to him ; they have a way of ganging
up on him that nothing that he can do enables him
to shoot the picture within the scheduled time, or
keep the cost within the budget, or get the best out
of his stars and players.
But though a demoralization does exist among
the low salaried workers, the writers and the
artists, such a demoralization does not exist among
the relatives ; these continue to receive as much as
they received before.
They are trying to lower the cost of production
by discharging twenty-five dollar a week stenog-
raphers, but leave the $1,000, the $1,500, and even
the $2,000 a week salaries of the relatives intact.
Can it be done ?
THE MOMAND CONSPIRACY SUIT
IN OKLAHOMA
Mr. A. B. Momand, of Shawnee, Oklahoma,
has filed two damage suits in the District Court
of Oklahoma, asking a total of $6,636,632.90
from major distributors.
In the first suit, which is for $1,676,119.96,
against 20th Century-Fox, Vitagraph and others,
the complaint alleges that : —
"On or about May 1, 1930, the defendant dis-
tributors formed a scheme or plan to induce all
individual exhibitors to assent to these practices.
"Having presented schedules of 'protection'
at the various conferences, the distributor and
producer controlled theatres attempted to coerce
the independent exhibitor into assenting to them
in threats. . . ."
In the second suit, in which Griffith Amuse-
ment Company, Consolidated Amusement Co.,
Consolidated Theatres, Inc., Publix Theatres
Corp., Regal Theatres, Inc., are co-defendants,
the complaint charges partly :
"In many localites where there were compet-
ing independent exhibitors they have charged
unreasonably low prices while at the same time
admission prices in similar theatres in compara-
ble locations were at much higher rates, and
after forcing a competitor out of business they
have substantially increased their own prices.
They have operated theatres at a loss or at a
lower profit than they would otherwise have
made and they have renewed expiring leases on
unprofitable theatres in order to deprive inde-
pendent exhibitors of an adequate supply of
films. Having ascertained when leases of com-
peting theatres would terminate, they have bid
and paid for new leases on said theatres sums far
in excess of a reasonable value thereof in order
to prevent competing exhibitors from renewing
their leases, and thereafter have closed the ac-
quired theatres.
"They have interfered with contracts of leases
for sale of motion picture theatre leases and in-
duced the withdrawal of the contracting parties
from their agreement in order that they might
obtain control of said theatres and as a result
have actually obtained control of said theatres.
"In other instances by threats of coercion and
intimidation and by threats of relentless com-
petition, fortified by a monopoly of major prod-
uct, they have compelled independent exhibitors
to sell or lease their theatres upon terms pre-
scribed by them.
"They have also picketed competing- theatres
by causing persons to be stationed at the entrance
of said theatre to influence prospective patrons not
to attend performances therein, with the result that
many of said prospective patrons attended per-
formances at producer-controlled theatres."
If Mr. Momand should ever be able to prove
these charges, then the Russia of old would have
nothing on the conduct of the defendants in
Oklahoma.
Mr. George S. Ryan, of Boston, is attorney for
Mr. Momand. Many of you remember, I am sure,
the eleven articles Mr. Ryan wrote for this paper
in the spring of 1936, under the heading "Anti-
Trust Litigation in the Motion Picture Industry."
The first article appeared in the April 18 issue,
and the last in the June 27 issue. In those articles
Mr. Ryan dealt with the different anti-trust
cases that had been tried in the United States up
to that time ; they proved so interesting that many
attorneys for exhibitors requested duplicate sets.
Many of those who know Mr. Ryan person-
ally are looking forward with interest to the trial
of these cases.
Entered as second-class matter January 4, 1921, at the post office at New York. New York, under the a.ot of March 3, 1879.
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 R™™ 1 «1 ? Harrison's Reports, Inc..
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Mexico, Cuba, Spain 16.50 . .. _. . _ . .
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Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1. 1919
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, rwir Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
aoc a <_opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, APRIL 16, 1938 No. 16
TELL US ANOTHER, MR. SEARS!
According to a news dispatch published in the and "Mystery House." In other words, if he should
April 6 issue of weekly Variety, Warner Bros, is produce no more pictures than those he now has
about ready to announce, like Metro-Goldwyn- under production, he will have produced, out of a
Mayer and Twentieth Century-Fox, the curtail- total number of sixty promised, (if all should be
ment of the Class "B" feature pictures. delivered), twenty-eight. But there can be no
"From out of the front office," says Variety, doubt that he will produce some more. Thus one
"seeps word that the studio will outdo Metro's bell- man will have produced more pictures than any
wether abandonment of B's movement. Under- other producer has ever dreamed of. Can any one
stood sales chiefs will impart that information to doubt that he is putting them out like sausages?
field crews at impending regionals. Upping of bud- Thirty pictures a year mean that he must produce
gets on nearly all features will reportedly cut down an average of one picture for each nine days, work-
season's volume." ing six full days a week, allowing four weeks a
If the information Variety has printed is true, for vacation. To call such pictures "B" is s an
then the exhibitors would naturally want to know ^dignity upon the second letter of the alphabet;
what disposition Warner Bros, will make of Bryan they should be called sausages.
Foy, the producer of the "B" features. Variety says : "Bryan Foy, studio's 'B' produc-
For your information, Bryan Foy makes almost tion chief, is said to get stiffer priced pictures for
half of the First National-Warner Bros, output ; it his lineup which will remove the stigma of second-
is said that he is producing three or four pictures class features." Harrison's Reports is of the
at the same time, seated on a wheelable high plat- opinion that, when a producer has been turning out
form, passing his orders along through a mega- pictures like sausages for so many years, he finds
phone. In other words, Mr. Foy is turning out his it difficult, if not impossible, to produce any other
pictures just like the sausage maker turns out his grade features, no matter how much more money
sausages. Here are some facts : he is allowed to spend on his pictures. But it doubts
Up to "Beloved Brat," announced for release t^^l^ JC part °f ^^*£f<SE^
April 30,-First National' wilfhave delivered twenty fat-allows Mr. Foy more money for his pic ures,
pictures Of these, ten have been produced by ^ th,s reas,on : For Warrf Bros, to allow Mr
Bryan Foy : "Love Is on the Air," "Over the Goal," Foy to spend more money for his pictures, it will
"Alcatraz Island," "Adventurous Blonde," "Sh ! be necessary for its executives to curtail the num-
The Octopus," "The Missing Witness," "She ber of pictures Mr. Foy has been producing.
Loved a Fireman," "The Patient in Room 18," If they were to reduce the number, then they will
"Daredevil Drivers," and "Beloved Brat." Of haVe to find three or four other unit producers to
these, two have been of Good-Fair box-office make the number of pictures that will be taken
grade, seven of Fair, and one of Fair-Poor. away from him, for it is unthinkable that this
Up to "Accidents Will Happen," announced for company will reduce the number of features it
release April 9, Warner Bros, will have delivered has been in the habit of selling each season, by
twenty pictures. Of these, nine have been produced reason of the fact that the Warner Bros, organi-
by Bryan Foy : "Wine, Women and Horses," Ser- zation is an expensive one and can hardly oper-
geant Murphy," "The Invisible Menace," "Blondes ate with a smaller number of features. And it is
at Work," "The Kid Comes Back," "Penrod and very hard for any company, Warner Bros, in-
His Twin Brother," "He Couldn't Say No," "Over eluded, to find unit producers that can turn out
the Wall," and "Accidents Will Happen." Of these, pictures as economically as Bryan Foy; they are
two have proved of Good-Fair box-office grade, not fonnd so easily, — there is a scarcity of them,
four of Fair, and three of Fair- Poor. jf they were to get outside producers, who could
Combining both programs, we find that forty not turn out pictures so economically, then they
pictures, or three-fourths of the number promised will have gained very little, or even nothing, by
for delivery, have been produced under the two reducing the number of pictures Mr. Foy has beer
brands. Of these, nineteen, or 47l/2% — four of turning out like sausages year after year.
Good-Fair box-office performance, eleven of Fair, When the Warner-First National salesmen come
and four of Fair-Poor, have been produced by Mr. armmd to sell you their »B-less" program, thev
Foy ; and, according to private information from be ed t0 infornl vou what proportion
the Coast Mr. Foy now has in production nine f m wi„ consist of class A Foy pictures,
pictures: "Mister Chump," My Bill," "Crime F s # w.
School," "When You Were Born," "The Singing Gradwell Sears, sales chief of Warner-hirst
Cop," "Little Miss Thoroughbred," "Torchy National, had better get up a better story for his
Blane in Panama," "Penrod's Double Trouble," salesmen.
62
HARRISON'S REPORTS
April 16, 1938
"Island in the Sky" with Gloria Stuart,
Michael Whalen and Paul Kelly
(20th Century-Fox, April 22; time, 67 min.)
A good murder mystery melodrama ; it should hold the
attention of the followers of this type of entertainment, for
the identity of the murderer is cleverly concealed until
almost the end. There is plentiful exciting action, brought
about by the heroine's determination to find evidence to
clear the young man who had been convicted of the murder,
for she believed him innocent, endangering her own life to
obtain such evidence. The closing scenes, although slightly
far-fetched, are thrilling, holding one in tense suspense.
Paul Hurst, as a dumb detective, provokes a few laughs.
Gloria Stuart and Michael Whalen make a charming ro-
mantic pair, as well as believable detectives : —
On the eve of his marriage to his secretary (Miss
Stuart), Whalen, assistant district-attorney, is called in to
investigate the murder of an eccentric doctor. All the evi-
dence pointed to the murdered man's son (Robert Kellard).
Despite Kellard's protestations of innocence, he is held for
the murder, tried and convicted. His sweetheart (June
Storey) believes in him; her unhappiness touches Miss
Stuart, who informs Whalen that she could not marry him
until she had convinced herself that Kellard was actually
guilty. Having learned that Paul Kelly, a former racketeer,
serving a prison term, was somehow mixed up in the case,
she goes to see him. She learns that he, and not the mur-
dered man, was Kellard's father. Kelly had suspicions as to
who committed the murder. Miss Stuart helps him escape
from prison. On their way back to the city, they pick up two
of Kelly's former henchmen. They go to a swanky night
club, owned by Leon Ames. There Kelly faces Ames and
forces him to confess to the murder, which he had com-
mitted to obtain $200,000 the murdered man had been hold-
ing for Kelly. Both Kelly and Ames are killed in the
scuffle that follows. Kellard is naturally released. With the
case finished, Miss Stuart and Whalen start off on their
honeymoon.
Jerry Cady wrote the story, and Francis Hyland and
Albert Ray, the screen play ; Herbert I. Leeds directed it,
and Sol M. Wurtzel produced it. In the cast are Willanl
Robertson, and others.
Not suitable for children. Good for adults. Class 13.
"Law of the Underworld" with Chester
Morris, Anne Shirley and Walter Abel
(RKO, May 6; time, 60 min.)
A fast-moving program gangster melodrama. It is, how-
ever, strictly adult fare, for it deals mostly with gangsters'
activities, including murders. One twist to the story is some-
what novel : a young couple is shown becoming involved
innocently with the gangsters, who force them to do their
bidding. One feels deep sympathy for this couple because of
their plight. The character portrayed by Chester Morris,
a gangster leader, is not a pleasant one ; but his gesture in
the final scene, whereby he sacrifices himself to save the
young couple, wins one's sympathy : —
While walking in the park, Miss Shirley and Richard
Bond are held up by two gunmen, who rob them of their
savings. They are heartbroken, for they had planned to use
it to get married. Bond, having recognized one of the
gunmen, who lived in the apartment house where he was
employed as an elevator operator, rushes back to the house.
He and Miss Shirley force an entrance into the apartment,
where the gangsters and their leader (Chester Morris)
were meeting, demanding their money. Morris informs them
that he could send them to prison for what they were doing,
but that he was willing to forget the matter if they would
do him a favor. They agree, but are shocked when told they
would have to take part in a jewelry store holdup. The
holdup is carried out, but a clerk is killed. Morris, in a
fight with Ciannelli, an insolent henchman, kills him.
Ciannelli's enraged sweetheart (Lee Patrick) betrays
Morris, who had always posed as a prosperous business
man, and the gang, and is killed for it by one of the gang-
sters. Miss Shirley and Bond are arrested, and because they
refuse to say anything about Morris are held for murder.
Morris, unable to see the two youngsters take the blame
for him, makes an agreement with the District Attorney
(Walter Abel) to sign a confession, provided Miss Shirley
and Bond were freed. He signs the "confession, knowing it
meant the electric chair.
John B. Hymer and Samuel Shipman wrote the story,
and Bert Granet and Edmund L. Hartman, the screen play ;
Lew Landers directed it and Robert Sisk produced it. In
the cast are Paul Guilfoyle, Frank M. Thomas, and others.
Hardly suitable for children. Class B.
"Arson Gang Busters" with Bob Livingston
and Rosalind Keith
(Republic, March 28; time, 64 min.)
Although based on a routine story, which at times is
somewhat far-fetched, this program melodrama offers
pretty good entertainment tor the neighborhood theatres.
It has plentiful action, some exciting fire scenes, and a
pleasant romance. And the closing scenes hold one in tense
suspense, for there the hero is trapped in a burning building.
The devotion of a young boy for the hero awakens con-
siderable human interest : —
While supervising firemen at a burning building, Emory
Parnell, Battalion Chief, is killed. Bob Livingston (hero)
and his pal (Warren Hymer) adopt Parncll's boy (Jackie
Moran). Upon examination of the ruins, Livingston finds
evidence to the effect that the fire had been started with
chemicals. Livingston obtains a transfer to the arson
sc|uad ; by persistent investigating he learns the name of
the chemist who was used by the gang. But his work is in
vain, for Rosalind Keith, a newspaper reporter, finds out
the facts and prints them, giving the gang a chance to
cover up evidence; they even kill the chemist. Livingston
is blamed for what had happened and quits the department.
Miss Keith, who had fallen in love with Livingston, is
heartbroken when he joins the gang, refusing to listen to
her. With his thorough knowledge of chemicals, he proves
a valuable asset to them in their business of burning build-
ings and collecting insurance. But, unknown to them, he
was still working for the Department, and was waiting for
the opportunity to trap them and to find out who their
leader was. He finally is able to do both, but almost loses
his life in the attempt. He proves that the leader was none
other than Clay Clement, head of an important insurance
company. With his work finished and a promotion waiting
for him, Livingston marries Miss Keith.
Alex Gottlieb and Norman Burnstine wrote the original
screen play, Joe Kane directed it, and Herman Schlom pro-
duced it. In the cast are Jack LaRue, Selmer Jackson,
Emory Parnell, and others.
Suitability, Class A.
"The Beloved Brat" with Dolores Costello,
Bonita Granville and Donald Crisp
(First National, April 30; time, 62 min.)
Fair program entertainment. It is a drama of misunder-
standing between parents and their daughter, presented
somewhat in the form of a preachment, and not very cheer-
ful at that. The performances are good ; but the theme is
unpleasant, for most of it deals with the incorrigibility of
Bonita Granville, whose actions put the spectator into a
nervous state. Any sympathy that the spectator might have
had for her at the beginning, owing to the treatment she
received from her mother, is offset by her actions in falsely
testifying against the family butler, whom she hated, caus-
ing him to be sent to prison. The worst part about it is the
fact that she herself had caused the accident. The closing
scenes are the most cheerful, for there, under the guidance
of Dolores Costello, Miss Granville changes for the
better. The romantic interest is merely hinted at : —
Miss Granville, daughter of wealthy Donald Crisp and
of Natalie Mooriiead, is unhappy because her parents had
devoted very little of their time or attention to her. During
their absence on a trip, she forms a friendship with a
young negro boy. When she invites him to her home for
dinner, the butler throws the boy out, thereby enraging
Bonita. She tries to get away from the house by starting
a fire and escaping through the window. But the butler
goes after her and forces her into the car he was driving ;
she raves at him, grabs hold of the wheel, and swerves the
car, crashing into another car and killing the driver. She
testifies in court that the butler had been drunk and, because
of her testimony, he is sent to prison. Donald Briggs, her
father's secretary, whom she adored, becomes suspicious
and compels Bonita to tell the truth. The butler is released :
but the judge, feeling that Bonita needed some discipline,
orders her sent to a private school supervised by Miss Cos-
tello. There Bonita changes for the better and is happy.
When her parents call to take her home, she refuses to go
with them ; they leave heartbroken. Because Miss Moor-
head becomes ill over worry, Crisp goes to the school to
sre Bonita ; he pleads with her to forgive them and return
home. She breaks down and goes with him, looking forward
to a new and happy life.
Jean Negulesco wrote the story, and Lawrence Kimble,
the screen play ; Arthur Lubin directed it, and Brvan Foy
produced it. In the cast are Lucille Gleason and others.
Suitability, Class A.
April 16, 1938
63
"Joy of Living" with Irene Dunne
and Douglas Fairbanks, Jr.
(RKO, April 15; time, 91 min.)
This comedy, bordering on farce, should go over very
we'll wherever pictures of this type are liked. Irene Dunne,
in a serio-comic part, is unusually good. It is because of
her and of Douglas Fairbanks, Jr.'s acting that the picture
is so entertaining, for the story itself is weak — it just serves
to tie together a series of situations, some comical and
others romantic. There are two extremely comical situa-
tions : one, in a beer garden, where Miss Dunne becomes
slightly tipsy after drinking beer, and the other, at a roller
skating rink where Miss Dunne, still tipsy, enters into a
rough skating game and is knocked about. She sings a few
songs effectively. The romance is delightful and appealing :
Miss Dunne, a famous Broadway star and radio singer,
refuses to believe that her mother (Alice Brady), father
(Guy Kibbee), sister (Lucille Ball), and the latter's hus-
band and two children, were taking advantage of her ; she
felt that they loved her and so she did not mind supporting
them in luxury. When she meets Fairbanks, a happy-go-
lucky rich man, who lived just for the joy of living, she
begins to take an interest in things outside of her work.
He takes her out and shows her that one could have fun
on two dollars. He urges her to change her manner of
living so as to enjoy life. Fearing lest he set off on a
cruise, she rushes to him and admits her love for him; they
are married, unknown to her family. Fairbanks, expecting
her to leave her family and sail with him on his yacht, is
enraged when she informs him she could not break her
contracts or leave her family stranded. And so they part.
But her family, having learned through a newspaper editor
of the marriage, and fearing that they would have to go to
work, berate her when she arrives home. This so disgusts
her that she leaves them, rushing after Fairbanks.
Dorothy and Herbert Fields wrote the story, and Gene
Towne, Graham Baker and Allan Scott, the screen play ;
Tay Garnett directed it, and Felix Young produced it. In
the cast are Jean Dixon, Eric Blore, and others.
Suitability, Class A.
"There's Always a Woman" with Joan
Blondell and Melvyn Douglas
{Columbia, April 20 ; time, 80 min.)
A highly entertaining comedy-murder mystery melo-
drama, with the comedy outstanding. It is somewhat remi-
niscent of the "Thin Man" series, for here, too, husband and
wife both take an interest in the solving of the case, at the
same time continuing their personal bickering. There are
many comkal angles, bfottgbt about by the scatter-brained
actions of Joan Blondell (the wife). Hearty laughter should
be provoked in the situation where Miss Blondell, snooping
around the victim's home, sees what she thinks is a wall
safe ; hoping to get important information, she turns the
knob, trying to open it, when suddenly there is a blare
of music, for what she thought was a safe was just a radio.
Another comical situation is that in which Miss Blondell,
who was withholding information from the District Attor-
ney's office,, is put under a third-degree examination. In the
end she comes out perfectly calm : she had divulged nothing,
and her questioners were exhausted. The murder angle is
interesting; and since the murderer's identity is not di-
vulged until the end one's attention is held throughout : —
Douglas, who had left the District Attorney's office to go
into the private detective business for himself, is disgusted
at his failure to make a go of things. Despite the protests of
his wife (Miss Blondell), he goes back to the District
Attorney's office. But Miss Blondell is not to be daunted —
she decides to continue the business herself. She is greatly
encouraged when a client (Mary Astor) finally shows up,
paying $300 in advance to shadow Frances Drake, for she
felt that Miss Drake was having an affair with her husband
(Lester Matthews). Matthews is murdered ; Miss Blondell,
seeing a chance to get publicity, accuses Miss Drake's
fiance (Robert Paige) of the murder, for she had heard
him threaten Matthews. In order to silence her, Paige's
attorney engages her to work on the case for them. She
comes to the conclusion that Paige was innocent. And so
she and Douglas, who had been investigating for the
District Attorney's office, have many quarrels, vicing with
each other to get clues. They both succeed in their work,
each one solving the case separately, finally cooperating in
capturing the criminal. With their work finished, they be-
come reconciled.
Wilson Collison wrote the story, and Gladys Lehman, the
screen play; Alexander Hall directed it, and William Perl-
berg produced it. In the cast are Jerome Cowan, Thurston
Hall, and others.
Not suitable for children. Good for adults. Class B.
"Port of Missing Girls" with Judith Allen,
Harry Carey and Milburn Stone
{Monogram, March 2 ; time, 63 mm)
A formula plot, stilted dialogue, and uninspired direction
make this program melodrama mild entertainment. The
only things in its favor are the performances, particularly
by Harry Carey, in the part of a rough sea Captain, and the
few interpolated songs. It should fit best in small town
theatres, where audiences are not too particular about plot
construction or production values. One is in sympathy with
the heroine, who innocently becomes involved in a murder ;
but this is not sufficient to hold one's attention: —
Judith Allen, a night club singer, is forced by Matty Fain,
a gangster, to call the proprietor of the club to her dressing
room and is then compelled to watch Fain kill him. Fain
kidnaps her and then throws her out of the car at the
waterfront. Threatened with arrest on one hand and with
death on the other if she were to expose the gangsters, she
sneaks aboard a tramp steamer, of which Carey was Cap-
tain. Disliking women, Carey is at first reluctant to help
her ; but her honesty wins him over. When they land in
Shanghai, he takes her to a cafe, run by an old friend, who
promises to take care of her. Carey arranges to carry a
cargo of ammunition for a Chinaman, pursuant to govern-
ment permission. Unknown to Carey, twenty of his pas-
sengers and their leader were hijackers. Miss Allen, having
learned of the plot from a fellow-entertainer, rushes to the
American Consul, who radios Carey in time of his clanger.
Carey, knowing that Miss Allen had jeopardized her own
freedom by going to the American Consul, returns to
Shanghai. To every one's joy, Miss Allen receives a cable
informing her that Fain had been caught and had con-
fessed. Free once again, she accepts the marriage proposal
of Milburn Stone, Carey's radio operator, with whom she
had fallen in love.
Karl Brown wrote the original screen play and directed
it ; Lon Young produced it. In the cast are Betty Compson,
Eddie Kane, and others.
The murder makes it somewhat unsuitable for children.
Class B.
"Women Are Like That" with Kay Francis
and Pat O'Brien
{First National, April 23 ; time, 78 min.)
Class audiences may accept this marital drama, but it is
doubtful if the masses will find it entertaining. For one
thing, it is miscast ; although Kay Francis and Pat O'Brien
are good individual performers, they do not team up well —
aX no time does their romance seem believable. For another
thing, the characters are weak, particularly the hero, who,
for no good reason, goes off on a cruise around the world,
leaving his wife (heroine) to fend for herself. This antago-
nizes the audience, particularly since his reason for doing
so seems silly. O'Brien mopes through most of the picture,
barely cracking a smile. The story is thin, developing and
ending just the way the spectator expects. The wrangling
between the partners, as well as the personal quarrels be-
tween the hero and the heroine, becomes tiresome : —
On the day she was to marry Ralph Forbes, business
partner with her father (Thurston Hall) in the advertising
business, Kay Francis elopes with O'Brien, also a member
of the firm. During the first year of their marriage they
are happy. But things change when Hall runs off to
Europe with a young girl, taking with him $85,000 belong-
ing to the firm. In order to stop the other partners from
prosecuting Hall, O'Brien turns over to them his own
stock in the company, offering to continue just as an
ordinary employee, on condition that nothing would be
said to his wife. Things go from bad to worse; without
power, O'Brien is unable to cope with the silly demands of
Forbes. He works hard to put over an advertising deal
with a large firm, but when Forbes refuses to spend the
money to put it over properly O'Brien resigns. Miss
Francis, desirous of helping her husband, goes to the
prospective advertiser, and by her charms gets the account.
This so angers O'Brien that he leaves her, going on a
cruise around the world. Miss Francis takes his place in the
business and is very successful. When O'Brien returns, he
joins forces with a competitor and in a short time takes
most of the business away from Miss Francis ; eventually
he buys out her firm. Miss Francis asks O'Brien for a
divorce, and he agrees to it. But they realize in time that
they still loved each other and arc reconciled.
A. H. Z. Carr wrote the story, and Horace Jackson, the
screen play ; Stanley Logan directed it, and Robert Lord
produced it. In the cast are Herbert Rawlinson, Melville
Cooper, Gordon Oliver, and others.
Morally suitable for all. Class A.
G4
April' 16, 1938
FACTS AND FIGURES OF GREAT
VALUE TO THE EXHIBITORS
Few exhibitors realize the importance of the
unit producer in the scheme of picture making. As
a matter of fact, credit has been invariably given
to the director as well as to the star for the excel-
lent quality of a picture when the one responsible
for it may have been the unit producer. Not that
the director does not deserve his share of credit for
the fine quality of a picture, but that the unit pro-
ducer has not been given the credit he really de-
serves.
Some companies have been employing some unit
producers to make a large proportion of the sea-
son's output.
In view of the fact that pictures cannot be pro-
duced on a pattern with any kind of success,
Harrison's Reports will, beginning next week,
start giving the names of the producers of each
company and the pictures they produced, during
their career as producers, if the facts should be
available. With such information on hand, an ex-
hibitor ought to be able to tell at a glance the ability
of a company's unit producers, for if a company
has a majority or a substantial number of its
pictures made by producers who have never pro-
duced pictures that performed at the box office
better than Fair, it will be useless for it to tell the
exhibitor what world-winners its pictures will be
next season.
Because of the fact that the selling season is on,
every exhibitor ought to read these articles care-
fully so as to digest this information ; it should
enable him to talk to the salesmen equipped with
facts and figures, greatly at variance with the doc-
tored up facts that may be presented to him by
the salesmen.
CATTARAUGUS THEATRE
• Cattaraugus,- N\ Y.
April 4, 1938.
Mr. P. S. Harrison
New York, N. Y.
Dear Mr. Harrison :
I have read with interest your editorials in refer-
ence to the Neely Bill. It really is astonishing that
the film companies are as ignorant as they appear
to be, as to what is going on in the small towns and
villages in these United States. There are about
five thousand villages and small towns in the
United States with one theatre in them.
The circuits and big city operators are able to
protect themselves in the buying of film by the
clauses they write into the contracts giving them
up to a fifty percent elimination in those towns
they control, with but one or two theatres in them.
It is from these other individually operated towns
and villages that the holler arises for the Neely Bill,
Each of tbese towns has one exhibitor who knows
every one for miles around and who is well ac-
quainted with the clergy, the parent teachers asso-
ciation, the mothers clubs and the like.
Maybe the producers don't know it but all these
individuals have heard about the Neely Bill from
the headquarters and have been urged to write to
their representatives in the Senate and House to
vote for the bill. In every one of these thousands
of villages and towns the exhibitor has been asked
"Are you going to have such and such a picture?"
and his answer is "They will not let me have that
picture unless I buy 51 others, most of which are
either unsuitable for my trade or sure flops at the
box-office."
Here is the answer to the producers troubles in
reference to the Neely Bill and believe me they will
be plagued by Neely Bills and regulation until such
time as they grant the owner of the village theatre
a selective booking contract. Take it from me the
villages have been aroused and all the lobbying of
the Hays organization cannot stop a representa-
tive from voting as directed by his local constitu-
ents ; they elected him and can defeat him.
If not this year then the next, but you can rest
assured that the film business is going to have a
Federal Control Commission and only on account
of the one question and answer that I have given
you above. With the number of high salaried jobs
this commission will have for patronage, the film
industry had better look out. They had better
change their selling methods to the small town
theatre.
Very truly yours,
H. LORENCE.
(Editor's Note: Reprinted by permission.)
MANY CIVIC, FRATERNAL AND
RELIGIOUS BODIES HAVE ENDORSED
THE NEELY BILL
Under date of March 18, a letter supporting the
Neely Bill, written on the letterhead of Motion
Picture Research Council, was sent to every Sena-
tor in Washington ; it was signed by the heads of
each of the following organizations :
American Association of University Women,
American Home Economics Association, Associa-
tion for Childhood Education, Council of Women
for Home Missions, Girls'. Friendly Society. of the
United States, Motion Picture Research Council,
National Board of Young Women's Christian As-
sociation, National Congress of Parents and
Teachers, National Education Association, Na-
tional Women's Christian Temperance Union, Na-
tional Women's Trade Union League, and Na-
tional Grange.
And these are not the only organizations that
are supporting the Neely Bill ; there are many
others. Detroit Council of Catholic Organizations
and Legion of Decency, consisting of more than
forty Catholic organizations, among which is the
local Knights of Columbus, have endorsed it. Mr.
Arthur D. Maguire, for a long time president of
the organization, and now chairman of the execu-
tive committee, has sent me a copy of a letter he
has sent to Congressman Sadowski, by which he
informs him that the Detroit Council of Catholic
organizations is on record in support of the Bill,
urging him to support it.
The Neelv Bill has, as you see, formidable sup-
port. And that is why the producers are making
frantic efforts to defeat it. They have brought in,
not only the old guns, but also new ones. Anion?
these is Pat Casey, head of Labor Relations of the
Hays Association, in Hollywood, a very capab'e
man ; he has been very busv enlisting the support
of many of his influential friends against the bill.
For this reason everv one of you must exert his
greatest efforts to win additional support for the
bill.
flntfirad as second-class matter January 4, 1BE1, at the post office at New York, New York, under tha act of March S, 1878.
Harrison's Reports
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■jdc a copy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, APRIL 23, 1938 No7T7
An Appraisal of the Ability of Unit Producers — No. 1
As announced in last week's issue, beginning with (Q-F: B-FP) ; "The Parole Racket" (Q-FG:
this issue there will appear in these columns a B-FP) ; "The Frameup" (Q-FG : B-FP) ; "Speed
series of articles giving the names of the unit to Spare" (Q-FP : B-P) ; "Girls Can Play" (Q-F :
producers employed by each major company and B-FP).
the titles of the pictures these producers have pro- Showing, fair.
duced this season, and other seasons, if the infor- „ o <<T r r> • ^r.^ t >»
Mvles Connolly, 2 : Life Begins with Love
mation should be available. sr\ t> r> t^t>\ «tJ rj j • tr « j»>
_ _ _ , . , .,, , . (Q-P: B-FP); It Happened m Hollywood
With the title of each picture there will be given (Q-FG ■ B-F)
the quality of such picture, taken from the review in T ' . , j j «T n
Harrison's Reports, and the box office perform- f ^ast season this producer produced I Promise
ance, taken from the periodical check-ups printed to Pa^ which turned out Sood m
in these columns. Fair showing.
The quality will be denoted by the letter "Q," Everett Riskin, 2: "The Awful Truth" (di-
and the box office performance by the letter "B." rected by Leo McCarey — Q-E : B-E) ; and "I'll
Thus "Q-F" will denote that the quality was fair, Take Romance" (Q-P : B-GF).
and "B-FP" that the box office performance of that Last season Mr. Riskin produced the following
picture was from fair to poor. pictures : "More Than a Secretary" (Q-F: B-G) ;
The exhibitor must bear in mind that a picture's "When You're in Love" (Q-F : B-GF) ; and "Let's
poor performance at the box office is not always Get Married" (Q-F: B-F).
the fault of the unit producer — lack of names, This producer's showing is fairly good.
poor title, or many other factors may be the cause, „ t, i ,, . , . . „
f . ■ : > r, • i i ,u £ ii. r Sidney Buchman, 1 : She Married an Artist
but a picture s poor quality is largely the fault of (Q F - B FG)
such producer. • )•
Columbia Fair showing.
The following unit producers have produced this Larry Darmour, 2 : "Under Suspicion" (Q-F :
company's pictures so far this season : B-FP); and "Making the Headlines" (Q-P:
r n , t<T ,tj . „,AU Dn B-Not yet reported).
Frank Capra, 1 : Lost Horizon (Q-E: B-E). r A „ , , L. t
. Last season Mr. Darmour produced the follow-
Excellent showing. ing pictures . "North of Nome" (Q-FG: B-FP) ;
Wallace MacDonald, 7: "Counsel For Crime" "Trouble in Morocco" (Q-P : B-FP) ; and "Roar-
(Q-F: B-GP) ; "Murder in Greenwich Village" ing Timber" (Q-P: B-FP).
( Q-F :B-FP) ; "All American Sweetheart" (Q-F : poor showing
B-FP) ; "The Shadow" (Q-F: B-FP) ; "Women KT „ ' ,<XT ,P. AT „ /r.
in Prison" (Q-F: B-F); "Little Miss Roughneck" n ^: No Jtac to Marry (Q-F:
(Q-F: B-F); "When G-Men Step In" (Q-F: B-F) ; "Start Cheering" (Q-G: B-Not yet re-
B-Not yet reported). ported).
This producer made the following pictures last Showing, fairly good,
season : "Criminals of the Air" (Q-F: B-FP), and Robert North, 1 : "Penitentiary" (Q-FG:B-F).
"Dangerous Adventure" (Q-F : B-FP) . Fairly good showing.
The quality of all Mr. MacDonald's pictures has Dav1d Loew i . "Wide Open Faces" (Q-F:
been from fair to poor. B-Not yet reported) .
Harry L. Decker, 2: "The Game That Kills" Fair showing.
(Q"F: B'nV^ "ThC °ld Wy°minS Trail" (a With the exception of Frank Capra, none of
Western : r). thcse producers has startled anybody.
Last season this producer produced the following: A ,. . A , . . A , . ^
pictures: "Shakedown" (Q-F: B-FP) ; "MotoT ^fA^ordmg to the last check up, printed m t he
Madness" (0-F:B-P) ; "It Can't Last Forever" March 5 issuei Columbia has delivered two A
(O-FG- B-G'F) pictures out of twenty-four, and nineteen of the
^T ' . . . Fair, Fair-Poor, and Poor grade. And yet the ex-
Not a good showing. hibitors have no rfght to cance, one out of each
Ralph Cohn,3 :" Paid to Dance" (Q-G :B-FP) ; tcn pictures.
"Who Killed Gale Preston" (Q-F: B-Not yet The exhibitor organizations should demand of
reported) ; and "Squadron of Honor" (Q-F:B-P). Columbia that it permit the exhibitors to cam-el at
Last season Mr. Cohn produced the following least ten Per cent of the total product,
pictures : "Counterfeit Lady" (Q-F: B-F) ; "Find According to The Hollywood Reporter, Colum-
the Witness" (Q-F: B-P) ; "Woman in Distress" I Contmv ed (>'i hist pacjc)
66
HARRISON'S REPORTS
April 23, _ 1938
"Flight Into Nowhere" with Jack Holt,
Dick Purcell and Jacqueline Well*
{Columbia, April 18; time, 65 mitt.)
A good program melodrama. The story is pretty inter-
esting, supplying plentiful exciting action for the masses.
One is in deep sympathy with Jack Holt, who, in an at-
tempt to locate a lost flyer, risks his own life, going through
perilous jungles in his quest. Most of the action is concen-
trated on the adventures Holt and his men encounter until
they finally locate the flyer ; and so the romantic interest is
kept in the background, even though it is the motivating
force in the development of the plot. The character por-
trayed by Dick Purcell, that of the lost flyer, is an unpleas-
ant one, and so his death at the end does not hurt the
spectator's feelings : —
Holt, general manager of a commercial airline, displeased
with Purcell, daredevil chief pilot, because of his refusal to
take orders, discharges him. But when Miss Wells, niece
to the head of the airline, confesses to Holt that she was
secretly married to Purcell, he decides to give him another
chance, but in an inferior job. Purcell, resenting this, de-
cides to take matters into his own hands ; he forces his way
into the plane which was to be flown by another flyer on an
experimental trip to South America. When they warn him
by radio to return home, because he lacked the proper fuel,
he refuses to believe them ; he continues on and eventually
crashes in an unexplored valley. Holt, for the sake of his
company's reputation and because of his sympathy for Miss
Wells, starts out on a search for Purcell. He has to make
the greater part of the trip by foot through jungles, amidst
antagonistic tribes. After much hardship he finally finds
Purcell, but is disgusted at what had happened to him.
Purcell had married the chief's daughter, and thought
nothing of leaving her to return to civilization. As much as
Holt hates him, he decides to take him back ; but one of the
tribesmen, who loved the native girl, kills Purcell just as he
was setting out on the trip. Holt returns and comforts
Miss Wells with stories about her husband's heroism, mak-
ing her believe he had died a hero.
William Bloom and Clarence J. Schneider wrote the
story, and Jefferson Parker and Gordon Rigby, the screen
play ; Lewis D. Collins directed it, and Larry Darmour
produced it. In the cast are James Burke, Howard Hick-
man, and others.
Suitability, Class A.
"A Trip to Paris" with Jed Prouty,
Spring Byington and Harold Huber
(20th Century-Fox ; May 6; time, 63 min.)
The Jones Family again provide an hour's entertainment
that is bound to delight their followers. Not only is it up
to the standard set for this series, but it surpasses the
others in production values. For the first thirty minutes,
there is so much comedy that one is kept laughing almost
continuously. Most of the laughter is provoked by the
manner in which the father (Jed Prouty) is talked into
taking his family to Paris. Upon receiving a check for
$5,000 for the sale of some stock, Prouty had remarked
to his banker that he might take his family to Paris Falls,
New York, for a vacation. The banker's secretary, how-
ever, hearing the word Paris, immediately starts telephon-
ing neighbors to tell them that Prouty was taking his fam-
ily to Paris, France. By the time Prouty arrives home, the
news had reached his family, and so they greet him with
shouts of joy; upon the advice of his mother, he decides
not to disappoint them. There is a particular heart-warming
quality about this picture, making one rejoice with the
family in their good fortune. As a matter of fact, one is
by this time so well acquainted with them and their habits,
that one feels as if they were old friends. Harold Huber,
as the bohemian Parisian cousin, who sets out to entertain
the family, at the same time enriching himself, is a welcome
addition, provoking laughter by his excitability. There is
some excitement in the closing scenes, when the older son
innocently becomes involved with a spy ring. But every-
thing is adjusted. Prouty, just before returning to America,
plays a trick on Huber by inducing him to spend in one
lavish party the money he had made on them.
Robert Ellis and Helen Logan wrote the original screen
play, Mai St. Clair directed it, and Max Golden produced
it. In the cast are Shirley Deane, Ken Howell, George
Ernest, and others.
Suitabality, Class A.
"The Return of the Scarlet Pimpernel"
with Barry Barnes and Sophie Stewart
(London Film-United Artists, Apr. 29; time, 80 min.)
in 1935, United Artists released "The Scarlet Pimper-
nel," with Leslie Howard and Merle Oberon in the leading
parts ; it was excellent entertainment. This version, which
is a sequel to the first, but with different, and, as far as
Americans are concerned, unknown players, is not up to
the entertainment level of the previous picture. It can
stand comparison so far as production values are con-
cerned, but falls short in the development of plot. For one
thing, those who saw the other picture may be slightly
bored, for the story is developed along similar lines — it is
made up mostly of the daring exploits on the part of the
hero and his small band of aristocrats in fighting against
the French government headed by the murderous Robes-
pierre ; although these provide several exciting moments
there are dull lapses, during which the action drags. For
another, although the part of "The Scarlet Pimpernel" is
played well by Barry Barnes, it does not come up to
Leslie Howard's performance : —
Robespierre, annoyed because many aristocratic prisoners
had been rescued from the guillotine by the fearless Sir
Percy Blakeney (Barry Barnes), known through the land
as "The Scarlet Pimpernel," and his band of aristocrats,
informs Citizen Chauvelin (Francis Lister), Minister of
Police, that unless he captured Sir Blakeney, he would pay
with his own life. By making veiled threats against Jean
Tallien (James Mason), a Revolutionary leader, Chauvelin
enlists the aid of Theresia Cabarrus (Margarctta Scott),
Tallien's sweetheart, to help him trap Sir Blakeney. She
goes to Sir Blakeney 's home in England, where he was
living with his wife Marguerite (Sophie Stewart), and
pleads with him to help her save Tallien's life. Since he
had promised his wife, who was about to become a mother,
that he would not again risk his life, he refuses to help her ;
furthermore, he mistrusted her. But she sets her trap by-
kidnapping Marguerite, thereby forcing Sir Blakeney and
his men to follow her to France. Marguerite is rescued but
recaptured; she is tried and sentenced to the guillotine.
Sir Blakeney induces Tallien, who really hated Robespierre,
to rebel at the Convention ; his plan works, for Tallien so
arouses the crowd that they arrest Robespierre, and release
all prisoners. Sir Blakeney and his wife are reunited. They
rescue Chauvelin from the mob and take him to England
with them.
The plot was adapted from the novel by Baroness Orczy ;
Lajos Biro, Arthur Wimperis, and Adrian Brunei wrote
the screen play, Hans Schwartz directed it, and Alexander
Korda produced it with Arnold Pressburger, as assistant
producer. In the cast are Anthony Bushell, Patrick Barr,
and others.
Suitability, Class A.
"The Lone Wolf in Paris"
with Francis Lederer and Frances Drake
(Columbia, March 24; time, 67 min.)
Despite a lavish production, this melodrama, centering
around a fictitious kingdom, is just fair program enter-
tainment. It is not the typical crook story that the title
would imply, for this time the Lone Wolf (played by
Francis Lederer) practices his old profession of jewel
stealing only to help out the Queen and the Princess of the
fictitious kingdom, who were threatened by conspirators.
Most of the action revolves around the attempts of Lederer
to outwit the plotters, who, during most of the picture,
have the upper hand. The romance, which is just hinted at,
does not materialize : —
Lederer, reformed jewel thief, while on a visit to Paris,
meets Frances Drake, under peculiar circumstances ; he
found her hiding in his room in order to avoid being detected
by a group of sinister looking persons. Lederer at first
thinks that she was a crook, but later learns that she was
a Princess, and that the sinister looking persons were
conspirators, who were plotting to overthrow the govern-
ment, and seize the throne for themselves. They had stolen
the crown jewels, in an effort to blackmail the Queen into
abdicating. But Lederer foils their plans. After a hectic
chase he steals the jewels and returns them to the Queen,
thereby upsetting their plot ; the conspirators are arrested.
Lederer regretfully leaves the Princess to return to Paris.
Louis Joseph Vance wrote the story, and Arthur T. Hor-
man, the screen play ; Albert S. Rogell directed it, and
Wallace MacDonald produced it. In the cast are Olaf Hyt-
ton, Walter Kingsford, Leona Maricle, and others.
Suitability, Class A.
April 23, 1938
HARRISON'S REPORTS
6;
"Battle of Broadway" with Victor McLag-
len, Brian Donlevy and Louise Hovick
(20th Century-Fox, Apr. 22; time, &3]/2 min.)
A rowdy comedy, with plentiful laughs ; it should go
over well with the masses. The picture is slightly reminis-
cent of the old Flagg-Cjuirt comedies, in which McLaglen
formerly appeared, for here, too, there is constant rivalry
between two friends (McLaglen and Donlevy) in the
matter of fighting and flirting. It is a little rough and
suggestive at times ; but this does not make it too objec-
tionable, since everything is treated from a comedy angle.
Louise Hovick, the reason for most of the quarrels, man-
ages ner part well, provoking laughs by the way in which
she plays up to both men. The musical interpolations add
to the entertainment values. Most of the excitement is con-
centrated in the closing scenes, which are riotously comi-
cal : —
McLaglen and Donlevy, steel workers in the plant owned
by Raymond Walburn, a former war buddy, prepare to go
to New V'ork for the American Legion Convention. Hav-
ing heard that his young son (Robert Kellard) had fallen
in love with a choi us girl, Walburn urges McLaglen and
Donlevy to do all in their power to put an end to the affair ;
he tells them that they could have unlimited funds for
expenses. Kellard calls to see them when they arrive in
New York, and realizes that they intended to break up his
romance ; he decides to put them on the wrong track. He
enlists the aid of Miss Hovick, night-club entertainer, in
pretending that she was the girl he loved, when in reality
he loved Lynn Bari. The two fighting pals, believing it
their duty to win Miss Hovick away from Kellard, both
shower attention and gifts on her, sending the bills to
Walburn. When Walburn receives the bills, amounting to
thousands of dollars, he decides to go to New York him-
self, and confront Miss Hovick. No sooner does he meet
her than he falls in love with her, and, to the consternation
of his son and two employees, announces his engagement to
her. Believing that she was a golddigger, they abduct Wal-
burn and place him in a sanitarium. But Walburn manages
to get a call through to Miss Hovick, who had really fallen
in love with him ; she rushes to him. McLaglen and Don-
levy, sorry for what they had done, decide to fix matters
up ; but when they arrive at the sanitarium, they meet
antagonistic guards and enter into a fierce fight. While
they are fighting, Miss Hovick and Walburn are married
by one of the patients, a Judge.
Norman Houston wrote the story, and Lou Breslow and
John Patrick, the screen play ; George Marshall directed
it, and Sol M. Wurtzel produced it. In the cast are Jane
Darwell, Sammy Cohen, and others.
It might be a little rough for children; otherwise suit-
able. Class A.
"Invisible Enemy" with Alan Marshal,
Tala Birell and Mady Correll
(Republic, April 4; time, 65 mm.)
This espionage comedy-melodrama is suitable mostly
as a second feature in neighborhood theatres. It is doubt-
ful if any one will take the supposed melodramatic part of
the picture seriously, for the story is far-fetched. Where
audiences are, however, not too particular, it may go over
for there is plentiful action, regardless of how ridiculous
it may be. The assembled players and their performances
are far superior to the material given them. A romance is
just hinted at : —
Alan Marshal, former British Intelligence Officer, is
engaged by a powerful oil corporation to prevent C. Henry
Gordon, an unscrupulous international financier, from sell-
ing certain oil fields to a foreign country that needed them
for war purposes. The idea was for Marshal to renew
friendship with Gordon's wife (Tala Birell), his former
sweetheart, and through her find out the secret meeting
place of the plotters. Gordon finds out about Marshal and
his plans, and, therefore has a double reason for wanting
to kill him — jealousy over his wife, and a desire to carry
through his plans. Marshal manages to escape from the
traps set for him by Gordon, and accidentally finds out
where the meeting place was to be. He calls newspaper
reporters and photographers to the spot and breaks up the
meeting, photographing all the men involved in the plot.
Gordon kills himself by means of a device he had meant
to use on Marshal. Miss Birrell is surprised when she learns
that Marshal did not love her, but instead was in love with
Mady Qrrrell, who had always loved him
Albert J. Cohen and Robert T. Shannon wrote the story,
and Albert J. Cohen, Alex Gottlieb, and Norman Burn-
stine, the screen play ; John H. Auer directed and produced
it. In the cast are Herbert Mundin, Gerald Oliver Smith,
Ivan Simpson, and others.
Suitability, Class B.
"Rawhide" with Smith Ballew,
Lou Gehrig and Evalyn Knapp
(20th Century-Fox; Apr. 8; time, 58 min.)
Good, as westerns go. And there is no doubt that, with
the added attraction of Lou Gehrig's name, it will do better
than average business. But it will disappoint his fans, both
young and old, for he is not given a chance to show his
ability as a baseball player — that is, there is not one scene
of a baseball game in which he participates. Instead, the
story follows the routine western plot, with the action
centering around Gehrig's fight against a racketeering
cattle association. Considering the fact that youngsters all
over the country will want to see their baseball hero, it is a
pity that a more wholesome story was not used for his
picture debut, nor baseball scenes. Gehrig has a pleasant,
easy-going manner, making one forget his shortcomings
as an actor. The musical interpolations are pleasant: —
Gehrig, a big-time baseball player, decides to give up
baseball and settle down on the cattle ranch his sister
(Evalyn Knapp) had bought. Looking forward to peace
and quiet, he is annoyed to find upon his arrival that the
ranchers were in the clutches of an organized gang of thugs
headed by Arthur Loft. The ranchers were forced to join
the gang's protective association, pay tribute to it, and
further, were compelled to buy all their supplies from the
gang. Gehrig, backed up by his sister and a young lawyer
(Smith Ballew), decides to fight the gangsters. When he
brings in fodder from another town, the gangsters burn it ;
but he tricks them into giving him other fodder without
paying for it. In the end, they cut off the water supply
from his ranch. In a terrific fight between the organized
ranchers, led by Ballew and Gehrig, and the gangsters, the
ranchers come out victorious. Ballew is made head of the
new organization. Gehrig decides to give up ranch life to
go back to baseball. He is happy that his sister and Ballew
had fallen in love with each other.
Dan Jarrett wrote the story, and he and Jack Natteford,
the screen play; Ray Taylor directed it, and Sol Lesser
produced it. In the cast are Carl Stockdale, Si Jenks, Cy
Kendall, and others.
Suitability, Class A.
"Reckless Living" with Robert Wilcox
and Nan Grey
(Universal, April 1 ; time, 67l/2 min.)
A pleasant program comedy-romance, centering around
horse racing. Although the action is not particularly excit-
ing, it manages to hold one's attention fairly well through-
out. Some of the laughs are provoked by Jimmy Savo, a
racetrack tout, who tries to sell racing information to inno-
cent looking spectators at the track. Amusing, too, are the
means employed by the hero and his pals to raise enough
money with which to place bets. There is deep human appeal
in the closing scenes because of the humaneness displayed
by the hero : —
Robert Wilcox, a racetrack follower, looks forward to
the day when he could win enough money to go back
to his home town and settle down. He and a few friends
live at a boarding house run by May Boley ; they are all
broke. Wilcox is annoyed when Nan Grey, a night club
singer, who, too, followed the races around the country,
sees a great deal of William Lundigan, wealthy owner of
a string of horses, for he himself was in love with her.
Luck finally changes for Wilcox; he wins a fairly large
sum of money, and decides to go back home. On the last
day of the races, he takes to the track Harry Davenport,
half-blind newspaper seller, and there learns that Davenport
had wagered his all on a certain race. Knowing that he
was planning to use the winnings to obtain a place in an
old man's home, Wilcox decides not to tell him that the
horse had not won. Instead, he tells him that it had won
and gives him his own savings, pretending they were the
winnings. Miss Grey, impressed with this act, promises to
marry Wilcox ; she is happy to know that he had taken a
job as trainer for a well-known stable.
Gerald Beaumont wrote the story, and Charles Grayson
the screen play; hrank McDonald directed it. In the cast
are Frank Jenks, Charles Judels, and others.
Suitability. Class A.
68
bia has taken over another studio with a vi»w te
increasing its facilities for making a larger number
of "B" pictures. What Columbia needs to do is to
increase its facilities for making, not more "B"
pictures, but more "A" pictures. Almost its entire
program consists of "B" pictures; why should it
want to increase the number ?
THE NATIONAL BOARD OF REVIEW
HAS SPOKEN!
The executive Committee of the National Board
of Review has come out against the Neely Bill; it
has issued a statement attacking it, recommending
that the solutions of the industry problems be con-
fined within the industry itself.
Your Senator or your Congressman may not
know that the National Board of Review is sus-
tained by producer money ; it charges $6 per reel
for the work of reviewing pictures, whether they
are features or shorts. If he does not know that
such is the case, you should inform him of it at
once, so that he may not remain under the impres-
sion that the National Board of Review is an in-
dependent body, doing its work gratis, for the good
of the people of the United States.
If the money for its sustenance were derived
from public contributions, there would be no com-
plaint against its executives for either attacking or
defending the Neely Bill, for it would be merely a
case of personal conviction ; but when such money
comes from the producers, the recipients of it
should keep in their shell and not take a part in
such controversial subjects, unless they first make
clear to the public their partisanship, which must
result from their producer-controlled purse strings.
A STEP IN THE RIGHT DIRECTION
Mr. Jack Sichelman, Assistant to Mr. John
Clark, general manager of 20th Century-Fox, has
put out a little pamphlet, the purpose of which is to
enlist the interest of the projectionists for the
better care of the film while in their possession.
The booklet is written intelligently, in that Mr.
Sichelman seeks to accomplish his object, not by
preachment, but by a sympathetic understanding.
I understand that a copy or two has been mailed
to every theatre in the United States and Canada.
If you have failed to receive a copy you should
write for one, either to the Twentieth Century-
Fox exchange that serves you, or to Mr. Sichelman
directly, at 20th Century- Fox, 444 West 56th St.,
New York. Your operator should receive a copy.
BE CAREFUL WHAT YOU PAY FOR
THE COMING SEASON'S PICTURES
From Pittsburgh comes the admonition to the
exhibitors not to buy pictures until they hear or
read what is to be said at the Allied convention,
which will be held in that city, on May 17, 18 and
19; it has been sent out by Messrs. M. A. Rosen-
berg, chairman, and Fred J. Herrington, secretary,
of the convention.
From Hollywood comes news that demoraliza-
tion exists at the studios : The Hollywood Reporter,
commenting on this fact in the April 9 issue, says :
"As we said here before, pictures must be made,
releases must be met — so there will be production,
plenty of it ; as much as in other years. But the
rising cost in making pictures, a cost that has almost
blown the lid off all the studios, is now being met
with something resembling reasonable Fefcwwich-
April 23, 1938
meat. This may re.ult in a riot of bad judgment a
little later, particularly if grosses continue their
dive, but at present the retrenchments ARE reason-
able. But even that resembles a panic to many crea-
tors who have been used to boom time salaries and
boom time employment. The boom is over, tough
times are here, accordingly studio moves must be
considered on that basis."
Yes, and so should film prices. The exhibitors
must realize that they cannot pay boom-time prices
when the "boom" is over.
The demoralization that exists at the studios is
already telling on entertainment quality and box
office power. For this reason you will do well to
heed the admonition of the Convention Committee
about delaying the purchase of your 1938-39 sea-
son's pictures until you get a chance to hear what
will be said at the Allied Convention in Pittsburgh,
which you should by all means attend.
"A STEP TO THE RIGHT" IS RIGHT!
Under the title quoted at the heading of this edi-
torial, the April 7 issue of Daily Variety, which is
published in Hollywood, said:
"( irad Sears, Warner's sales chieftain, comes
forth with a statement that 'Robinhood' will not be
sold to exhibitors who want to make sure of trade
by playing it on giveaway or premium nights.
"Mr. Sears is right. Other company sales heads
also would be right, if they took that attitude on
the merchandising of their product.
"Distributors and producers cry that they can-
not get sufficient rentals for big pictures. That's
no one else's fault but their own. They are entitled
to rentals commensurate with the drawing power of
their respective pictures.
"When they cause exhibitors to resort to give-
away and premium nights to get business into
theatres they cannot expect to get returns that they
would were the exhibitor to operate his business on
a straight picture merchandising basis. . . ."
Harrison's Reports should like to ask Mr.
Sear3 which of the 19 Foy "B" pictures, the names
of which were given in these columns last week,
could bring in business without the aid of premium
offerings.
DOUBLE FEATURE DOCTORS
The double feature question seems to have
aroused the interest also of newspaper people, if
one is to judge by the polls they conduct now and
then among the picture going public so as to ascer-
tain their wishes.
Invariably, the polls indicate that the majority
are opposed to double features. And yet in most
theatres in the New England territory a single
features does not draw, even if the one feature
happened to be a roadshow picture.
What's the answer ?
There are many doctors for the double feature
ill. but the real doctor is only one — the exhibitor.
Tt is he, after all, who determines whether two
features on the same bill are or are not profitable
for him. So it is a waste of time to keep on telling
him how bad it is for him to show two features on
the same bill, for if it were so he would have dis-
covered it long ago, and would have abandoned it.
As long as he continues making a profit all the ink-
that may he spilled in the printing of gratuitous
advn'oe will be spilled in vain.
HARRISON'S REPORTS
IN TWO SECTIONS— SECTION ONE
Sn<«Md M| seo(md-oia«« maetu Jarmary 4, 1921, at tho post office at New York, New York, ondor the act of March J, IMS.
Harrison's Reports
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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, APRIL 30, 1938 No. 18
An Appraisal of the Abilitj
Bernard H. Hyman, 1: "Conquest" (Q-VG::B-G).
In the 1936-37 season, he produced: "Saratoga" (Q-F::
B-E-VG).
Very good showing.
William Anthony McGuire, 2: "Rosalie" (Q-G::B-
VG-G) ; "Girl of the Golden West" (Q-VG::B-Not Yet
Reported.)
Very good showing.
Louis D. Lighton, 2: "Man Proof" (Q-FG: :B-GF) ;
"Test Pilot" (Q-VG::B-Not Yet Reported.)
In the 1936-37 season, he produced: "Captains Coura-
geous" (Q-E: :B-E.)
A very good showing.
James K. McGuinness, 1: "Madame X" (Q-G::B-
VG-G).
Very good showing.
Michael Balcon, 1 : "A Yank at Oxford" (Q-VG : :B-
Not Yet Reported.)
Very good showing.
Milton H. Bren, 1: "Merrily We Live" (Q-VG::B-
Not Yet Reported.)
Very good showing.
Norman Krasna, 2: "Big City" (Q-VG::B-G) ; "The
First Hundred Years" (Q-FG::B-Not Yet Reported).
This producer has made a good showing.
Joseph L. Mankiewicz, 3 : "The Bride Wore Red"
<Q-G::B-G); "Double Wedding" (Q-FG : :B-VG-G) ;
"Mannequin" (Q-G : :B-VG-G).
Good showing.
Harry Rapf, 4: "Live, Love and Learn" (Q-G:B-GF) ;
"Thoroughbreds Don't Cry" (Q-FG : :B-G) ; "Bad Man
of Brimstone" (Q-G : :B-VG-G) ; "Everybody Sing" (Q-
G::B-GF).
Good showing.
In the 1936-37 season, he produced: "Mad Holiday" (Q-
F : :B-F) ; "Espionage" (Q-F : :B-FP) ; "Good Old Soak"
(Q-F: :B-GF) ; "They Gave Him a Gun" (Q-F::B-GF).
(Fairly good showing.)
Sam Zimbalist, 2: "Navy Blue and Gold" (Q-VG: :B-
VG-G) ; "Paradise for Three" (Q-G: :B-GF).
In the 1936-37 season, he produced: "Tarzan Escapes"
(Q-FG : :B-GF) ; "Married Before Breakfast" (Q-G::B-
GF) ; "London by Night" (Q-F::B-F).
A good showing.
Frederick Stephani, 2: "Beg, Borrow or Steal" (Q-
G: :B-VG-G) ; "Love Is a Headache" (Q-F: :B-GF).
Fairly good showing.
John W. Considine, Jr., 2: "Of Human Hearts" (Q-
VG::B-G); "Arsene Lupin Returns" (Q-FG: :B-Not
Yet Reported.)
In the 1936-37 season, he produced : "Personal Proper-
ty" (Q-F::B-G), and "Emperor's Candlesticks" (Q-G::
B-VG-G.)
Good showing.
Michael Fessier, 1 : "The Women Men Marry" (Q-F:
B-F).
In the 1936-37 season, he produced : "Women Are
Trouble" (Q-F::B-F), and "Song of the City" (Q-F::
B-P).
Not very good showing.
of Unit Producers — No. 2
As said before, the unit producer is the most important
factor in picture production, even more important than the
director himself, for the reason that it is he who determines
the twist the story shall take and the characterizations that
shall be made. The director is unquestionably important,
but he has to take his cue from the producer, except, of
course, in the case of big directors, who are in a position to
overrule the producer, frequently to their sorrow.
This check up shows with great accuracy the capability
of a producer. If he is a top-notch man, it is shown in it;
his ability to make good pictures cannot be attributed to
luck, for luck cannot follow him on all occasions. He may
have bad luck now and then and make a bad picture, but
when seven or eight out of each ten are good pictures, then
his ability cannot be questioned. On the other hand, if a
producer makes only two good pictures out of ten, then he,
in the opinion of this paper, lacks the ability of making
good pictures, and that his occasional good picture is
merely a matter of blind luck.
"Q" indicates the picture's quality, and "B," its box-
office performance.
First National and Warner Bros.
Robert Lord, 3: "That Certain Woman" (Q-VG::
B-G); "Tovarich" (Q-VG : :B-VG-G) ; "Women Are
Like That" (Q-F: :B-Not Yet Reported).
This producer has made a very good showing.
Sam Bischoff, 5: "Back in Circulation" (Q-FG::
B-GF); "Hollywood Hotel" (Q-G::B-G); "Gold Is
Where You Find It" (Q-VG : :B-EG) ; "Swing Your
Lady" (Q-F: :B-GF), "A Slight Case of Murder" (Q-
VG: :B-Not Yet Reported).
This producer has made a very good showing.
Henry Blanke, 1: "Jezebel" (Q-VG::B-Not Yet Re-
ported— from oral information, FP).
Very good showing, as far as quality is concerned.
Mervyn LeRoy, 3: "They Won't Forget" (Q-VG::
B-G) ; "The Great Garrick" (Q-FG: :B-GP) ; "Fools for
Scandal" (Q-F: :B-Not Yet Reported).
Showing, good. But Mr. LeRoy is no longer producing
for Warner Bros.
Harry Joe Brown, 3: "The Perfect Specimen" (Q-G::
B-VG-G) ; "It's Love I'm After" (Q-VG : :B-GF) ; "First
Lady" (Q-FG : :B-GF).
Good showing.
Lou Edelman, 3: "Submarine D-l" (Q-G : :B-VG-G) ;
"Varsity Show" (Q-G : :B-VG-G) ; "Love, Honor and
Behave" (Q-F::B-Not Yet Reported).
Good showing.
Frank Mandel, 1: "Expensive Husbands" (Q-P::B-
FP).
Poor showing.
Bryan Foy, 19: This producer's pictures were reported
in the April 16 issue.
The Westerns are not reported.
Notice that Bryan Foy alone has so far produced as many
pictures as the seven other unit producers combined —
nineteen.
Metro-Gold wyn-Mayer
Hunt Stromberg, 1: "Firefly" (Q-G : :B-VG-G).
In the 1936-37 season, he produced: "The Great Zieg-
feld" (Q-VG::B-VG) ; "After the Thin Man" (Q-VG::
B-E); "Maytime" (Q-VG::B-E); "Night Must Fall"
(Q-G::B-GP).
Excellent showing.
70
"Go Chase Yourself" with Joe Penner
and Lucille Ball
(RKO, April 22; time, 70 miti.)
Pretty good entertainment, despite a nonsensical story.
It is the best Joe Penner comedy to date; and those who
enjoy this comedian's antics will get their money's
worth, for he appears throughout. He is given good
support, too, and is not alone in provoking laughs;
Fritz Feld, as an impoverished nobleman, helps con-
siderably. The action is fast and the situations are, for
the most part, comical. One is held in fair suspense,
owing to Penner's predicament in becoming innocently
connected with a gang of crooks. The closing scenes,
where a trailer, occupied by Penner and others, be-
comes loosened from the automobile to which it had
been attached, are exciting: —
Penner, a meek bank teller, is overjoyed at winning
a trailer; but his wife (Lucille Ball), does not share his
joy and orders him to sleep in it. Three crooks (Richard
Lane, Tom Kennedy, and Bradley Page), after robbing
Penner's bank of $50,000, notice the trailer; they attach
it to their car and drive off with it so as to avoid police
detection. When Penner awakens in the morning, he is
startled to find the men in his trailer; after listening to
a radio announcement he realizes that they were the
crooks, but he is compelled to stick with them because
he, too, was named as one of the crooks. On the road
they meet June Travis, an heiress, who was running
away from a distasteful marriage with a fake nobleman
(Feld). Page decides to kidnap Miss Travis and hold
her for ransom. By appealing to Penner's chivalry, he
convinces him that he should rescue Miss Travis from
her hateful marriage. It is not until Miss Travis joins
them, that Penner realizes he had been double-crossed.
To add to his troubles, the crooks force him to write the
ransom note to her father, and to send it back with her
bag. Penner, by mistake, sends the bag containing the
$50,000. After many hectic experiences, the police, Miss
Travis' family, and Penner's wife catch up with them.
The crooks are arrested, and Penner's position is ex-
plained. He is restored both to his position and to his
wife's affections.
Walter O'Keefe wrote the story, and Paul Yawitz
and Bert Granet, the screen play; Edward F. Cline di-
rected it, and Robert Sisk produced it. In the cast are
Granville Bates, George Irving, Arthur Stone, and others.
Suitability, Class A.
"Nurse from Brooklyn" with Sally Eilers
and Paul Kelly
(Universal, April 15 ; time, 66 min.)
A fairly good program melodrama; it holds one in
suspense throughout, because of the constant danger
to the hero. In spite of the fact that the story is not
novel, it is consistently entertaining owing to good
directon and acting. The heroine's determination and
efforts to avenge her brother's death are not edifying;
yet one sympathizes with her, particularly in the closing
scenes, when she repents and tries to save the hero.
The pleasant romance is developed with a light touch:
Sally Eilers, a nurse at a hospital, is overjoyed when
her brother (Maurice Murphy) is released from prison.
Unknown to her, he had been led into crime by Larry
Blake, whom she considered a dear friend. Blake, on a
pretext of taking Murphy to his sister's apartment,
takes him on a robbery job in a stolen car; Murphy re-
fuses to aid him, having determined to go straight.
Paul Kelly, a policeman, who had followed them, is
spotted by Blake, who shoots at him. Blake then shoots
Murphy, in order to stop him from talking. They are
both taken to Miss Eiler's hospital. Kelly is just
wounded, but Murphy dies. Miss Eilers, believing
Blake's story that Kelly had cold-bloodedly killed her
brother, promises to help Blake get Kelly. But she
falls in love with Kelly, and, in the end, cannot go
through with the plans. In a gun battle, Kelly finally
kills Blake. It is then that Miss Eilers learns the truth
about the killing of her brother. She is grateful that
Kelly had not been hurt.
Steve Fisher wrote the story, and Roy Chanslor, the
screen play; S. Sylvan Simon directed it, and Edmund
Grainger produced it. In the cast are Morgan Conway,
David Oliver, Lucile Gleason, and others.
Because of the shooting it is unsuitable for children.
April 30, 1938
"The Lady in the Morgue" with
Preston Foster, Patricia Ellis
and Frank Jenks
( Universal, April 22 ; time, 69 min.)
Murder mystery fans should enjoy this because of the
mystifying plot and the fact that the murderer's identity
is not easily detected. The story is kept moving at a
fast pace; and although three murders are committed,
it is not too gruesome, for there is plentiful comedy.
Preston Foster makes a believable detective, acting the
part with assurance; the manner in which he goes about
solving the case is not too far-fetched. The romantic
angle is minimized: —
Foster, a private detective, is sent to the morgue to
identify the body of a young woman found hanging in
the bathroom of a midtown hotel; his job was to find
out whether she was the young society girl who had
disappeared from home, a fact that had not been publi-
cized by her family. While he is at the morgue, another
murder occurs; some one takes the body of the young
girl, killing the morgue keeper in doing so. Matters
become complicated for Foster, since the police believed
that he had a hand in the case. And he is in a dangerous
position, too, for two gangsters (James Robbins and
Joseph Downing), believing that the victim had been
some one they knew, each warns Foster that, unless he
found out where the body had been taken, they would
kill him. Foster solves the case by proving that the
young society girl (Patricia Ellis) was alive, that the
victim had been the wife of a musician with whom Miss
Ellis was in love, and that the musician had killed her
so as to be able to marry the wealthy Miss Ellis. The
other murders had been committed by Miss Ellis'
brother, in order to prevent the truth from coming out,
which would involve his family in a scandal.
Jonathan Latimer wrote the story, and Eric Taylor
and Robertson White, the screen play; Otis Garrett
directed it, and Irving Starr produced it. In the cast
are Tom Jackson, Morgan Wallace, Al Hill and others.
Unsuitable for children. Adult fare. Class B.
"Test Pilot" with Clark Gable, Myrna Loy
and Spencer Tracy
(MGM, April 22; time, 120 min.)
Excellent entertainment and, because of the popularity
of the three stars, a powerful box-office attraction. But
MGM has not depended on the stars alone to put the
picture over; it has given them a story with thrills,,
romance, comedy, and deep human appeal. Other air
pictures have been made; but for sheer thrills, this one
leads them all because of the realistic way it has been
done. For instance, the situation showing Clark Gable,
racing in a burning plane, leaves one limp; and the big
scene, in which Gable and Tracy test an army bomber,
going to a height of 30,000 feet, grips one, for one has
a feeling of impending tragedy. The picture has also
great emotional appeal, because of the suffering of
Myrna Loy due to the perilous work of Gable, her
husband. One sympathizes so deeply with her, that each
time Gable goes into the air, one goes through all the
emotions she goes through. But the most appealing
part is the inspiring friendship between Gable, Tracy,
and Miss Loy. Tracy, intensely devoted to Gable, suffers
with Miss Loy, not only because of his feelings for
Gable, but also because he alone understood what she
was going through; at the same time he realizes that
Gable, who occasionally would go off on a drunken
spree, had to do that to keep up his nerve. Both he and
Miss Loy, knowing Gable's great love for flying, feel
that the end must be tragic. But it is Tracy who dies,
following a plane crash in which he was acting as
mechanic for Gable, during the test of a new army
bomber. His death saddens the spectator considerably,
for he is an admirable character. Gable's and Miss Loy's
grief at their loss touches one deeply. But in a way
Tracy's death brings about the means for the couple's
happiness, because it makes Gable think; he decides to
take the advice of his employer (Lionel Barrymore) to
do ground work. This brings joy to Miss Loy.
Frank Wead wrote the story, and Vincent Lawrence
and Waldemar Young, the screen play; Victor Fleming
directed it, and Louis D. Lighton produced it. In the
cast are Samuel S. Hinds, Marjorie Main, Gloria Holden
and others.
HARRISON'S REPORTS
Class B.
Suitable for all. Class A.
71
"Rascals" with Jane Withers, Rochelle
Hudson and Robert Wilcox
(20th Century-Fox, May 20; time, 77 mm.)
Fair entertainment, suitable mostly for the Jane Withers
fans. As usual, Jane comes through with an excellent per-
formance, singing and dancing in a competent manner ; she
is given good support by Borrah Minevitch and his gang of
harmonica players, who supply not only the music but
comedy as well, and who appear throughout with her. But
the story is infantile, lacking novelty and fast action. As a
matter of fact, the musical interpolations save it from med-
iocrity. The closing scenes are fairly exciting and amusing :
Robert Wilcox, who had taken refuge with a gypsy band
after a disappointing love affair, and Jane, a gypsy, are
pals. Rochelle Hudson wanders into the camp; she looked
as if she had been in an accident, but since she was suffer-
ing from amnesia she could remember nothing. Jane cares
for her and makes her a member of their band. Wilcox,
hating all women, is at first resentful of Miss Hudson's
intrusion; but he soon falls in love with her and is happy
when she admits that she loved him. Upon advice of a
doctor, Wilcox decides that Miss Hudson must have a
head operation to restore her memory. The gang gets the
money together by giving performances in the open and in
night clubs. After the operation Miss Hudson's memory is
restored ; but this time she cannot remember anything
about the gypsies and goes back to her own wealthy home,
from which she had run away because she did not want to
marry the man her mother had chosen for her. Jane, with
the help of Minevitch and his gang, stops the wedding,
presenting Wilcox as the man Miss Hudson should marry.
Suddenly Miss Hudson remembers everything, and there
is a joyful celebration as she prepares to marry Wilcox
instead of her former suitor.
Robert Ellis and Helen Logan wrote the screen play,
H. Bruce Humberstone directed it, and John Stone pro-
duced it. In the cast are Steffi Duna, Katharine Alexander,
Chester Clute, and others.
Suitability, Class A.
"Torchy Blane in Panama" with Lola Lane
and Paul Kelly
(First National, May 7; time, 59 min.)
Just a fair bank robbery melodrama, with a murder for
good measure. It is the kind that glorifies a woman news-
paper reporter, at the expense of a man-reporter and of a
prominent detective. It is of about the same quality as that
of the other pictures of this series, only with different leads.
The spectator is held in fairly tense suspense. But just
why Warner Bros., like the other producing companies,
insists upon presenting the detective's assistant as a stupid
person is a mystery ; no doubt it is the Hollywood concep-
tion of comedy : —
A bank robbery with murder is committed by Stanley
Crafton (Anthony Averill). Torchy Blane (Lola Lane),
newspaper reporter, who had rushed to the scene of the
holdup, finds a pin belonging to a dead member of the
Lo>al Leopards, a fraternal organization headed for its
convention in San Francisco. She attempts to tell of her
discovery to Detective Lt. Steve McBride (Paul Kelly),
to whom she was engaged, but Steve, believing that a
woman's place should be in the home, refuses to listen to
her. Consequently she writes a headline story of her suspi-
cions. Later Torchy expresses to Steve her belief that the
person who had committed the crime was not a member of
the Loyal Leopards, but that he no doubt was following the
members on the boat, going to San Francisco through
Panama as the only way for the murderer to get rid of his
loot. Although he "poo-hoos" the idea, he decides to follow
the clue, but secretly. When Torchy hears that Steve, ac-
companied by a rival paper's reporter, had taken the boat,
she hires a plane to overtake it. She then makes a para-
chute jump and is picked up by the boat's crew. On the
boat she becomes acquainted with Crafton, and becomes
suspicious of him. Soon her suspicions are confirmed. She
follows Crafton ashore at Colon, to his hiding place. Craf-
ton discovers her and makes her a prisoner. But Steve,
who had learned of her step by a note she had left in his
stateroom, succeeds in rescuing her, and in arresting the
criminal.
The plot has been taken from a story by Anthony Colde-
way. George Brickcr wrote the screen play, and William
Clemens directed it; Bryan Foy produced it. In the cast
are Tom Kennedy, Betty Compson, Joe Cunningham, and
others.
Being a crook picture it is hardly suitable for young folk.
Class B.
"Female Fugitive" with Evelyn Venable,
Craig Reynolds and Reed Hadley
(Monogram, April 6; time, 56 min.)
A fair program melodrama, suitable as a second fea-
ture for neighborhood theatres. The attention is held
because of one's sympathy for the heroine, who, un-
aware of her husband's connection with a gang of
hijackers and murderers, unwittingly helps him escape
from the police, thereby involving herself. One is held
in suspense because of the danger to her once she finds
out the truth. The hero is a sympathetic character, too,
because of his efforts to help the heroine, regardless of
the danger to himself.
In the development of the plot, Miss Venable, after
learning the truth about her husband (Craig Reynolds),
leaves him. She obtains a position as cook at the moun-
tain lodge owned by Reed Hadley, an artist. Hadley is
at first suspicious of her, but her charm wins him over
and he falls in love with her, as she does with him. She
tells him what had happened to her, and he promises to
help her, realizing that things looked bad for her be-
cause she had helped her husband to escape. Reynolds,
still in love with Miss Venable, traces her whereabouts
by a picture Hadley had painted of her, and confronts
her just as she was leaving with Hadley. A detective,
who had used the same means to trace her whereabouts,
arrives just in time; he overhears Reynolds clear his
wife. Reynolds is shot and killed by the detective just
as he was trying to escape. Her name cleared, Miss
Venable is free to marry Hadley.
John T. Neville and Bennett R. Cohen wrote the
story and screen play; William Nigh directed it, and
E. B. Derr produced it. In the cast are John Kelly,
Charlotte Treadway, and others.
The shooting makes it unsuitable for children. Class B.
"College Swing" with Martha Raye,
George Burns and Gracie Allen
(Paramount, April 29; running time, 86 min.)
A very good box-office possibility because of the draw-
ing power of the stars, but only fair in entertainment value.
It is a conglomeration of comedy, song and dance, with
each star performer doing his or her specialty. In an effort
to put each name personality in the spotlight, the producers
had to forget about the story ; that is, at least, the impres-
sion one receives, for the different acts are tied together by
an extremely thin plot. Another fault is that the dialogue
is stilted, and some of the gags fall flat. The dance num-
bers, led by Betty Grable and Jackie Coogan, are peppy
and may go over with young folk, even though they are
presented in a routine manner. Gracie Allen, in her usual
nitwit type of role, leads the comedians. One of the most
comical situations is that in which she answers questions
in an examination by referring to a laundry bill for her
answers. Martha Raye and Bob Hope team up well, but
they are not helped much by the material.
The action starts in the year 1738, at a small school
house. Miss Allen, who had been trying for eight years to
pass examinations in order to graduate, is considered a
hopeless case. Her irate grandfather then and there decides
that if, within the following two hundred years, Miss Allen
or her descendants should fail to pass examinations, his
fortune would go to charities ; but if one should pass, the
fortune would go to him or to her. In the year 1938, the
score still stood against Miss Allen and her descendants,
for the last of the clan (again played by Miss Allen) was
a hopeless student. Since the time limit for the disposal of
the estate was drawing near, Bob Hope decides to help
Miss Allen, hoping thereby to enrich himself. He uses de-
vious means to help her pass, such as reading the examina-
tion papers in advance and writing the answers out for her,
and broadcasting answers to her by means of a pocket
radio. And so Miss Allen passes and inherits the college.
She makes many drastic changes, replacing the regular
professors with nitwits. Edward Everett Horton, a lady
hater, trustee of the estate, arrives at the college; he falls in
love with Miss Allen. She decides to turn the college back to
the regular professors, and to devote her time to Horton.
Frederick Hazlitt Brcnnan adapted it from an idea by
Ted Losscr. Walter De Leon and Francis Martin wrote
the screenplay, and Raoul Walsh directed it. In the cast are
Ben Blue, John Payne, Skinnay Ennis, Florence George,
St. Brendan's Choristers, and others.
Suitability, Class A.
April 30, 1933
PRODUCER LOBBYING
PROVING A BOOMERANG
For several weeks the Hays Association has been con-
ducting an intensive campaign of propaganda for the pur-
pose of defeating the Neely-Pcttengill Bill. This campaign
was intensified to the highest limit several days ago when
Mr. Hays, evidently convinced that the Bill cannot be de-
feated in the House of Representatives, decided to concen-
trate his efforts in the Senate : sending a list of the names
of seventy-five Senators to the most prominent members of
his organization, he urged them to write strong letters to
these Senators, requesting the defeat of the Neely Bill, and
to induce also every one of their friends and of their promi-
nent stars to do likewise.
It is reported that the first letters to be received by these
Senators after such "last-minute call" were from Harold
Lloyd and Walt Disney.
Harrison's Reports has learned authoritatively that the
supporters of the Bill are keeping a careful check on the
producer activities. Reproductions of letters sent out from
the Hays office as well as from producer-distributor organi-
zations, and of trade paper articles bearing on the subject,
have been laid before interested members of the Senate. One
of such letters was from ex-Governor Milliken, of the Hays
office, sent to independent theatre owners of the Boston
territory. In the last paragraph, Mr. Milliken said:
"It is the opinion of the lawyers that because of the crimi-
nal penalities attached to the bill, exhibitors have no
option to waive any of its provisions and therefore you
would have to lease your pictures one by one after you had
seen each of them in the projection room of the company's
branch exchange in Boston."
It is reported that some Senators could not understand
why a document such as this should have gone out of the
Hays office when there is nothing in the Bill to prohibit an
exhibitor from booking every picture a producer has pro-
duced, in block form. These and other Senators then began
to understand why they had received letters from theatre
owners expressing their opposition to the bill, on grounds
not justified by the language of the bill.
This activity of the producers through the Hays Asso-
ciation may have but one consequence if the Bill should be
defeated : the exhibitor leaders intend to bring a suit against
the producers, attacking block booking as being the result
of "common action." The evidence of cooperation among
them in the defeat of the Bill, which these leaders have
gathered carefully, will be sufficient, they assert, to estab-
lish an agreement among them "to enforce, maintain and
defend the practice of block-booking." The case brought by
the Federal Trade Commission eighteen years ago, which
was decided against the Commission, will not save them
because, in that case, only one company was involved, and
there could not, therefore, have been a "common action,"
whereas this time all the companies are involved.
It begins to look as if the major companies, by engaging
in a strenuous campaign to defeat the Bill, have made a
serious mistake. Their efforts have already reacted against
them in the Senate, and they may find themselves entangled
in legal difficulties to boot.
THE HEIGHT OF INCONSISTENCY
The April IS issue of The Rocky Mountain Theatre
News, house organ of Theatre Owners and Managers of
Rocky Mountain Region, contains an article to the effect
that Mr. A. P. Archer, president of the association, in his
address to the members who met on April 11, at the Cos-
mopolitan Hotel in Denver, condemned definite producer
abuses. The article says that Mr. Archer summarized
these abuses as follows :
"1. Enforced compulsory 'block-booking.'
"2. Discrimination in enforcing against some and not
others.
"3. Selective selling to some and not to others.
"4. Selling contracts which specify only production num-
bers or groups of pictures, without titles, stars or stories.
"5. Soliciting contracts on the basis of appealing adver-
tising and work sheets, further stipulating the same shall
be no part of the contract.
"6. Playing off all high price brackets or pictures before
the end of the contract, then failing to deliver the lull
number of pictures in the lower brackets.
"7. Refusing to deliver pictures with box office stars,
which were included in the work sheet, completed or capa-
ble of being completed during the contract term and using
them as an inducement in selling contracts for a new
season.
"8. Enforced compulsory selling of unneeded, unneces-
sary short subjects, newsreels, score charges on (or?)
weekly pay plans, resulting in the payment of countless
thousands of dollars by exhibitors with no product or serv-
ice of any kind used or received.
"9. Enforced compulsory 'block-booking' of poor pic-
tures, skimming the cream from the blocks for roadshowing
or designating them as 'specials.'
"10. Failure to recognize and adhere to the principles
of fair dealing with customers who pay their bills."
In reading Mr. Archer's enumerated producer abuses
one would naturally form the conclusion that Mr. Archer
is a rabid supporter of the Neely-Pettengill Bill, and that
he was addressing a gathering of supine exhibitors with a
view to stirring them up into action in favor of the Bill.
But such is not the case, for on the same page there is given
the information that on the same day that he made his elo-
quent speech a resolution was passed condemning the Bill.
On what grounds, do you think? Let us copy from the
fourth and the fifth "Whereases" :
"Whereas, it is recognized that there is a certain amount
of compulsory block booking, blind selling and other ex-
isting evils in the industry, but it is also a fact that all
well-informed and unbiased exhibitors are fully convinced
that the said Bill will not rectify or cure the existing evils
in the industry and that many of the conclusions or alleged
facts in the report are groundless or erroneous and that
much of the testimony, purported to have been taken by
said committee or incorporated in said report, was from
individuals, organizations, or societies which had appa-
rently no practical knowledge of the industry or of its
problems, and it would seem that these parties did not have
the slightest idea of the ways and means to correct what-
ever problems or evils that may now exist in said industry ;
and
"Whereas, it is fully realized that all of the major evils
or problems in the industry can be corrected, by or through
the unselfish cooperation of the producers, distributors,
exhibitors and others directly interested therein, without
the interference, hindrance, annoyance, and chaos that
would result from the passage of the said bill."
This resolution represents the sentiments of Mr. Archer,
who brought them out in the course of his speech.
By comparing the list of the things he complains about
with the language of the fourth and the fifth paragraphs
of the resolution, you will, I am sure, be struck, as I have
been struck, with his inconsistency. In his speech to the
exhibitors, he admitted, what every Allied leader has been
admitting all along, that these abuses exist, and while the
Allied leaders have no way of correcting them other than
through some piece of legislation such as the Neely Bill,
Mr. Archer says that these evils can be corrected by "un-
selfish" cooperation.
Does Mr. Archer know that the Allied leaders have tried
repeatedly to cooperate, "unselfishly," with the producers
but that their efforts have come to nothing? The 5-5-5 con-
ference was the last attempt. Since the producers will not,
then, show an "unselfish" spirit of cooperation, how is he
going to induce them to do it?
The sad part about it is the fact that supposedly intelli-
gent exhibitors listened to his talk but apparently offered
no objections to it. They have been fed with such "blarney"
as Mr. Archer's for years, but little by little they are shoved
out of business, and they can do nothing about it. Yet when
a piece of legislation to eliminate some of these abuses is
proposed, they listen to leaders such as Archer and oppose
its enactment.
It is not Mr. Archer alone who is really inconsistent ;
it is also those exhibitors who listen to him as well as to
all other opponents of the Bill. They don't seem to want to
he helped.
IN TWO SECTIONS — SECTION TWO
HARRISONS REPORTS
Vol. XX NEW YORK, N. Y., SATURDAY, APRIL 30, 1938 No. 18
The Accuracy of the 1937-38 Season's Forecasts
Of the 189 stories that were forecast in the begin-
ning of the season, seventy-one have been produced
up to the time before going to press.
The average accuracy of the Forecaster this
season has been 88.62%.
The following table indicates the number of
pictures forecast out of each company's works, and
the percentage of accuracy.
Percentage of Accuracy
Number of
Pictures
Points
Percentage
5
400
80%
MGM
12
1070
89%
2
180
90%
Paramount
2
170
85%
Republic
2
180
90%
RKO
17
1370
80%
20th C-Fox
4
400
100%
United Artists .
.. 8
760
95%
Universal
8
725
90%
Warner-F. N. .
.. 9
860
95%
Total
69
6115 (A
ver.) 88.62%
The Forecaster went 100% wrong on only one
picture— "The Awful Truth."
Two pictures have not been counted in : "Federal
Bullets" (Monogram) and "On Such A Night"
(Paramount), because they have been altered radi-
cally ; for this reason, the Forecaster took neither
credit nor demerit for them.
Columbia
"Start Cheering," forecast under the title "Col-
lege Hero" : The forecast said : "The material is
only fair and Columbia should make with it a pro-
gram picture of a quality either fair or fairly good,
with its box office performance depending on the
leads." The picture was produced as a musical
comedy, but so far as the story is concerned the
forecast was 100% accurate ; and since no box
office names appeared in the picture, the box office
performance has been from fairly good to good.
Accuracy on the whole 100%.
"She Married an Artist," forecast as, "I Married
an Artist." The forecast said : "There isn't much to
this material . . . should make a picture fair in
quality." The picture turned out fair in quality.
Accuracy 100%.
"No Time to Marry," forecast as "The Night
Before." The forecast said : "This is nice comedy
material . . . properly cast and directed, the material
should make a program picture either fairly good
or good in quality." The picture turned out a
"mildly amusing comedy." Accuracy 100%.
"The Awful Truth." Although the material was
altered considerably in the treatment, the forecaster
considers itself as having been wrong 100%.
"There's Always A Woman." The forecast said :
"Good murder mystery material. ... It should
make a program picture of good quality, with its
box-office performance depending on the popu-
larity of the leads." It turned out highly entertain-
ing, and, since the leads are played by Joan Blon-
dell and Melvyn Douglas, it should do well at the
box-office. Accuracy 100%.
Average accuracy 80%.
Metro-Gold wyn-Mayer
"Man Proof," forecast as "The Four Marys."
The forecast said : "This is a sophisticated drama,
centering around unsympathetic characters. . . .
Metro will probably give this a lavish background,
and so it will turn out a good picture. As to the box-
office possibilities, that is another thing; consider-
ing the popularity of the four stars, it should draw
very well." In quality, the picture turned out ex-
actly as forecast. But its box-office performance
has been good-fair. Considering, however, that
Walter Pidgeon was substituted for Melvyn Doug-
lass the prediction was right. Accuracy 100%.
"Big City." The forecast said: "The story
should make a good picture in quality, either good
or very good in box office performance." The pic-
ture turned out exactly as predicted, both in quality
as well as box-office performance. Accuracy 100%.
"Mannequin." The forecast said : "The story is
fair, and should make a picture fair or fairly good
in quality, but since no cast has been announced its
box-office possibilities cannot be appraised." The
picture turned out good in quality. Accuracy 80%.
"The Bride Wore Red." The forecast said:
"MGM has a good property in this story and
should make either a very good or an excellent
picture out of it, in quality as well as box-office
performance." The picture turned out good in
quality as well as box-office performance. Accu-
racy 80%.
"Rosalie." The forecast said: "The material is
charming, and should make a musical comedy
either good or very good in quality, with similar
box-office results." The picture turned out poor in
story values, but Very Good-Good at the box office.
Accuracy 70%.
"Live, Love and Learn." The forecast said:
"Nice story material. ... It should make either a
good or a very good picture, with similar box-office
results if popular players are given the leading
parts." The picture turned out good, and its box-
office results have been good-fair. Accuracy 80%.
"Double Wedding." The forecast said: "A very
good piece of property, which should make a pic-
ture either very good or excellent in quality as well
as box-office appeal with these two stars." The pic-
ture turned out fair in entertaining values, but per-
formed Very Good to Good at the box-office. Ac-
curacy 80%.
"Navy Blue and Gold." The forecast said : "Very
good story material. . . . MGM has an excellent
piece of property in this novel and should make with
it a picture either very good or excellent in quality,
its box-office performance depending a great deal
on the popularity of the leads." The picture turned
out exactly as predicted : Accuracy 100%.
"Conquest," forecast as "Marie Walewska." The
forecast said : "There is powerful material in this
book. . . . With Greta Garbo and Charles Boyer
in the leading parts, MGM should make a picture
either good or very good in quality, the box-office
performance depending on the popularity of cos-
tume pictures." The picture turned out good, in
quality as well as box-office performance. Accuracy
100%.
"Madame X." The forecast said : "The story is
the kind that always makes a fine picture when
properly handled . . . should again turn out to be
either very good or excellent, with good to very
good box-office results even with a second-rate
star." The picture turned out as predicted. Accu-
racy 100%.
"The Girl of the Golden West." The forecast
said : "MGM is announcing that many alterations
will be made in the story ... it is difficult to say
in advance what the picture will turn out to be. In
all probability, however, it will be good in quality,
with good to very good box-office results." Accu-
racy 100%.
"Test Pilot." The forecast said : "Fair story ma-
terial, which should make either a fair or fairly
good melodrama, with good to very good results
at the box-office because of the two stars." The
story was changed around considerably, and the
picture turned out excellent, with excellent possi-
bilities at the box-office. Accuracy, therefore, 80%.
Average accuracy 89%.
Monogram
"A Bride for Henry." The forecast said : "The
material, properly handled, should make a comedy
either good or very good in quality." The picture
turned out just fairlv good. Accuracy, therefore,
80%.
"Federal Bullets." Since the story was altered
completely, neither a credit is taken, nor a demerit
is given.
"The Outer Gate." The forecast said: "Mono-
gram should alter Bob's characterization If such
an alteration . . . should be made, the picture should
turn out anywhere from good to very good in qual-
ty. Without the alterations suggested, it should
turn out only a fair picture." Since no alteration
was made, the picture turned out only fair. Accu-
racy, therefore, 100%.
Average accuracy 90%.
Paramount
"On Such a Night," forecast as "Such a Night."
The story was altered radically so the Forecaster
takes neither credit nor any demerit for the fact
that the picture turned out poor.
"Blonde Trouble." The forecast said : "It may
make a fair picture in quality, with fair results at
the box-office, because the cast is not a good box-
office bet." Exactly as predicted. Accuracy 100%.
"The Barrier." The forecast said: "Paramount
has an excellent piece of property ... no reason
why it should not turn out very good in quality,
with similar box-office results. . . ." The picture
turned out to be fairly good in quality, with good-
fair results at the box-office. Accuracy 70%.
Average accuracy 85%.
Republic
"The Duke Comes Back." The forecast said :
"The picture should turn out good in quality, its
box-office performance depending on the popularity
of the leads." The picture did turn out as predicted.
Accuracy 100%.
"Prison Nurse." The forecast said : "The story
should make a picture of either good or very good
quality." It turned out fairly good. Accuracy 80%.
Average accuracy 90%.
RKO
"Radio City Revels." The forecast said : "Amus-
ing story material, which . . . should make a picture
either good or very good in quality as well as box-
office performance." The picture turned out fairly
good, and took fairly well as the box-office. Accu-
racy 80%.
"Wise Girl," forecast as "The Female of the
Species." The forecast said : "Fair story material
— fairly good to good picture, with good box-office
results." The picture turned out good in quality,
and took fairly well at the box-office. Accuracy
100%.
"Hitting a New High," forecast as "Born to
Sing." The forecast said : "Amusing story material
. . . should make a picture either good or very good
in quality, its box-office performance depending
on Miss Pons' popularity." The picture turned out
fair, and took fairly well at the box-office. Accu-
racy 80%.
"Maid's Night Out," forecast as "Certified."
The forecast said : "Light but nice story material
. . . should make a fairly good to good program
picture." The picture turned out a mild comedy,
which took fairly well at the box-office. Accuracy
100%,.
"Danger Patrol," forecast as "Highway to Hell."
The forecast said: "Fairly good material . . .
fairly good program picture." The picture turned
out fair entertainment, with fair-poor results at
the box-office. Accuracy 60%.
"Everybody's Doing It," forecast as "No Groom
to Bride Her." The forecast said : "Good picture
material, with undeterminable box-office result be-
cause no cast had been announced at the time." The
picture turned out mediocre, with fair-poor box-
office results. Accuracy 60%.
"She's Got Everything," forecast as "She's Got
That Swing." The forecast said : "Light but nice
material, which should . . . make a picture either
fairly good or good in quality, with possible simi-
lar box-office results." The picture turned out
fairly entertaining, and took fairly at the box-
office. Accuracy 80%.
"Forty Naughty Girls." The forecast said : "Fair
or fairly good in quality as well as box-office re-
sults." The picture turned out a fair comedy melo-
drama, with fair-poor box-office results. Accu-
racy 60%.
"Saturday's Heroes." The forecast said : "Fair
story — fairly good to good picture." The picture
turned out fair, and fair-poor at the box-office.
Accuracy 80%.
"Fight for Your Lady," The forecast said :
"Fairly good to good picture, with good box-office
results." The picture turned out good, and has had
good-fair box-office results. Accuracy 100%.
"Quick Money," forecast as "Going, Going,
Gone." The forecast said : "Fair comedy material,
with fair or fairly good box-office results." The
picture turned out fair entertainment, with fair-
poor box-office results. Accuracy 80%.
"Annapolis Salute." The forecast said : "Fair
or fairly good program story material." The pic-
ture turned out fair entertainment, with fair-poor
box office results. Accuracy 80%.
"Fit for a King." The forecast said : "It should
make a picture good in quality, with box-office re-
sults depending on Joe Brown's popularity with
the patrons of each theatre." The picture turned out
fair, with similar box-office results. Accuracy 70%.
"The Life of the Party." The forecast said: "A
picture good or very good in quality as well as box-
office performance." The picture turned out good,
but its box-office performance has been fair. Accu-
racy 60 %.
"Stage Door." The forecast said : "Excellent to
very good, both in quality as well as box-office per-
formance." The picture turned out exactly as fore-
cast. Accuracy 100%.
"There Goes the Groom," forecast as "Don't
Forget to Remember." The forecast said: "Fair to
fairly good, in quality as well as box-office perform-
ance." The picture turned out fairly entertaining,
and has had fair box-office results. Accuracy 80%.
"Go Chase Yourself," forecast as "Rolling
Stones." The forecast said: ". . . should make a
picture either good or very good in quality, with
fairly good to good results at the box-office." It
turned out as predicted. Accuracy 100%.
Average accuracy 80%.
Twentieth Century-Fox
"Heidi." The forecast said : ". . . an excellent
piece of property and, . . . there is not the slightest
doubt that he (the producer) will make an excel-
lent picture, from the quality point of view as well
as the box-office performance." Accuracy 100%.
"Lancer Spy." The forecast said : ". . . should
make a picture either good or very good in quality.
As to its box-office performance, this will depend
on the scale on which it will be produced, for the
box-office value of the stars is no more than good."
Since the production was not too lavish, it did from
good to poor at the box-office. Accuracy 100%.
"Thin Ice." The forecast said : ". . . should make
a picture either good or very good in quality, with
anywhere from good to excellent in box-office per-
formance." Accuracy 100%.
"In Old Chicago." The forecast said: ". . . an
excellent piece of property . . . should make a
picture anywhere from very good to excellent in
quality as well as box-office performance." Accu-
racy 100%.
Accuracy 100%.
United Artists
"Dead End." The forecast said : ". . . there is
dramatic force . . . the action is kept moving at a
fast pace ... it should turn out excellent for en-
tertainment of the type, with possibly very good
to excellent results at the box-office." Accuracy
100%.
"Hurricane." The forecast said: "The melo-
dramatic value of this story lies chiefly in the hur-
ricane scenes . . . the picture will, no doubt, please
melodrama-loving audiences well, and even very
well. ... In all probabilities the picture will be
received either well or very well in downtown
theatres in big cities. . . ." Accuracy 100%.
"Prisoner of Zenda." The forecast said: "The
story is charming. . . . But costume pictures do not
go over so well . . . though it should turn out either
good or very good in quality, may not perform as
well at the box-office — perhaps from fairly well to
well." The picture turned out very good and did
from excellent to very good at the box-office. Accu-
racy, therefore, 80%.
"Stand In." The forecast said : "Fair program
material, with a box-office performance measured
in each locality by Mr. Howard's popularity. . . ."
The picture did just good at the box-office. Accu-
racy 100%.
"Stella Dallas." The forecast said : "Sam Gold-
wyn has excellent material in this piece of property
. . . and there is no reason why he should not make
with it a picture of excellent quality, with very good
to excellent results at the box-office." It turned
out excellent in quality and did very well at the
box-office. Accuracy 100%.
"I Met My Love Again," forecast as "Care-
lessly." The forecast said : "The material . . .
should make a picture of good quality, performing
at the box-office either well or fairly well. The star
is second-third rate, so far as the box-office is con-
cerned." The picture turned out exactly as pre-
dicted, with good to fair results at the box-office.
Accuracy 100%.
"Adventures of Tom Sawyer." The forecast
said : "In all probabilities the picture will turn out
either good or very good in quality. In down-town
houses in big cities, it may make a poor showing,
except perhaps during the matinees ; in the smaller
towns, it should take either well or fairly well."
Accuracy 80%.
"Adventures of Marco Polo." The forecast said :
"In all probability the picture will turn out very
entertaining for high class patronage, and either
fair or fairly well amusing for the rough trade. As
to its box-office performance, it will, of course, be
either good or very good, on account of the popu-
larity of Mr. Cooper." The picture turned out ex-
actly as predicted, and should take at the box-
office as stated. Accuracy 100%.
Average accuracy 95%.
Universal
"Behind the Mike." The forecast said: ". . . the
story cannot make any more than a fair to fairly
good picture." It turned out only fair, and did from
fair to poor at the box-office. Accuracy 100%.
"The Lady Fights Back." The forecast said:
". . . should make a melodrama fairly good to good
in quality, with fair to fairly good box-office re-
sults." It turned out fair in quality, and did fair at
the box-office. Accuracy 100%.
"100 Men and a Girl." The forecast said: "As
it stands, the story cannot make more than a fairly
good to good program picture in quality, with a
box-office value anywhere from good to very good."
The picture turned out excellent, with very good re-
sults at the box-office. Accuracy 70%.
"Prescription For Romance." The forecast said:
"The story is not so interesting; it should make a
program picture, fair in quality, and, without popu-
lar players, fair or fair-poor in box-office perform-
ance." The quality and box-office performance
were exactly as predicted. Accuracy 100%.
"Reported Missing." The forecast said: ". . .
the story will make only a program melodrama, of a
fairly good to good quality. As to its box-office
worth, it may prove to be fair or fair to poor."
Accuracy 100%.
"Midnight Intruder," forecast as "The Wel-
come Imposter." The forecast said: "Just one of
those stories that make second program features,
of a quality either fairly good or fair, and of a box-
office merit anywhere from fair to poor if ordinary
players are given the leading parts." The picture
turned out pretty good and did from good to fair
at the box-office. Accuracy, therefore, 75%.
"Mad About Music." The forecast said: ". . .
the picture will turn out of the same quality as
'Three Smart Girls,' and even better. From very
good to excellent." Accuracy 100%.
"Goodbye Broadway," forecast as "Shannons of
Broadway." The forecast said : ". . . the picture
should turn out fairly good to good in quality, of
program grade, with its box-office merit depending
on the popularity of the leading players." The pic-
ture turned out fair, with better than average box-
office possibilities because Alice Brady is starred.
Accuracy 80%.
Average accuracy 90% .
Warner-First National
"First Lady." The forecast said: "But as the
material now stands the picture will prove suitable
mostly for high-class audiences, for there is not
much emotional appeal in the acts of the characters
. . . should turn out from good to very good, for
week- run theatres, and from fairly good to good
for small town theatres, both in quality as well as
box-office performance." Accuracy 100%.
"Life of Emile Zola." The forecast said: "The
story material is . . . powerful, and Mr. Muni fits
the part of Zola exceedingly well . . . there is no
reason why the picture should not turn out excel-
lent, or at least very good, in quality and box-office
performance." Accuracy 100%.
"Perfect Specimen." The forecast said: "From
fairly good to good in quality, and from good to
very good in box-office performance." The picture
turned out good and did very good at the box-
office. Accuracy 100%.
"Tovarich." The forecast said : "This story . . .
seems to possess the elements that will go to make
an amusing as well as deeply moving comedy-
drama, of a very good quality ; with such stars as
Colbert and Boyer it should draw to an equal de-
gree." The picture turned out only good in quality,
and did from very good to good at the box-office.
Accuracy, therefore, 80%.
"Swing Your Lady." The forecast said : "... a
comedy, of the slapstick variety, either mildly or
well entertaining. . . . From fairly good to good in
quality, its box-office strength in each theatre de-
pending on the popularity of Pat O'Brien and of
Joan Blondell." The picture turned out in quality as
predicted; and since O'Brien and Miss Blondell
were not in the cast it did just good to fair at the
box-office. Accuracy 100%.
"Gold Is Where You Find It." The forecast
said: ". . . the picture should turn out beautiful.
The story itself, however, should make a fairly
good to good entertainment, with similar box-office
results." It turned out exactly as predicted. Accu-
racy 100%.
"A Slight Case of Murder." The forecast said :
"Strong melodramatic material, which should
make a picture anywhere from good to very good
in effectiveness." It turned out very good. Accu-
racy 100%.
"Back In Circulation," forecast as "Angle
Shooter." The forecast said : ". . . the chances are
that the picture will turn out to be no more than
fair or fairly good in quality, its box-office per-
formance in each theatre depending on the popu-
larity of the leads." The picture turned out better
than predicted. Accuracy 80%.
"Jezebel." The forecast said: "Poor entertain-
ment for the masses, but from good to very good
for those who like pictures with Bette Davis in a
vicious part. It should draw only fair in the small
towns, and well in first-run theatres in big cities."
Accuracy 100%.
Average accuracy 95%.
Entered as seoond-olaas matter January 4, 1921, at the post offloe at New York, New York, under the act of March 3, 1879.
Harrison's Reports
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oac .i <-opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, MAY 7, 1938 No. 19
An Appraisal of the Ability of Unit Producers — No. 3
As indicated in the first two articles, "Q" means "Qual-
ity," and "B" — "Box-Office Performance." Thus, (Q-G::
B-GF) would mean: "Quality, Good; Box-Office Perform-
ance, Good-Fair."
Paramount
Frank Lloyd, 1: "Wells Fargo" (Q-VG: :B-E-VG).
Very good showing.
Albert Lewin, 1 : "True Confession" (Q-VG: :B-G).
Very good showing.
Cecil B. DeMille, 1 : "The Buccaneer" (Q-G: :B-EG).
In the 1936-37 season, he produced: "The Plainsman"
<Q-VG::B-E-VG).
Good to very good showing.
Lewis E. Gensler, 1: "Artists and Models" (Q-G::
B-VG-G).
In the 1936-37 season, Mr. Gensler produced: "Big
Broadcast of 1937" (Q-G : :B-E-VG).
This producer's showing has so far been good.
Harlan Thompson, 2: "Big Broadcast of 1938"
(Q-FG : :B-Not Yet Reported) ; "Romance in the Dark"
(Q-G : :B-Not Yet Reported).
In the 1936-37 season, he produced : "Wives Never
Know" (Q-P::B-F); "College Holiday" (Q-G::B-E);
"Champagne Waltz" (Q-FG: :B-G).
Good showing.
Harry Sherman, 1: "The Barrier" (Q-G::B-GF).
Mr. Sherman has been making westerns for Paramount,
and his showing on those pictures has been very good. His
work in "The Barrier" was good.
Arthur LIornblow, Jr., 1 : "High, Wide and Hand-
some" (Q-G: :B-G).
In the 1936-37 season, he produced: "Three Married
Men" (Q-P::B-FP) ; "Swing High Swing Low" (Q-F::
B-VG-G); "Waikiki Wedding" (Q-G::B-VG); "Easy
Living" (Q-VG: :B-VG-G).
His entire showing has been fairly good.
Edward T. Lowe, 1 : "Dangerous to Know" (Q-FG : :
B-Not Yet Reported).
Fairly good showing.
Ernst Lubitsch, 2: "Angel" (Q-FG::G-GP) ; "Blue-
beard's Eighth Wife" (Q-F: :B-Not Yet Reported).
This producer's showing has been fair.
Lucien Hubbard, 1: "Ebb Tide" (Q-F : :B-VG-F).
Fair showing.
Grover Jones, 1 : "Souls At Sea" (Q-F: :B-VG).
Fair showing.
Benjamin Glazer, 1: "Double or Nothing" (Q-VG--
B-G).
In the 1936-37 season, he produced: "Lady Be Careful"
(Q-P::B-GF); "Internes Can't Take Money" (Q-G--
B-G); "Mountain Music" (Q-F::B-G); "Exclusive"
(Q-F::B-G).
Fair showing.
George M. Arthur, I; "Her Jungle Love" (Q-F--B-
Not Yet Reported). V
In the 1936-37 season, he produced: "Last Train From
Madrid" (Q-F::B-FP).
Fair showing.
Fanchon, 1 : "Thrill of a Lifetime" (Q-F: :B-P).
In the 1936-37 season, she produced: "Turn Off the
Moon" (Q-F: :B-GF).
Fair showing.
Emanuel Cohen, 3 : " OnSuch a Night" (Q-F : :B-FP) ;
"Love on Toast" (Q-P::B-FP); "Every Day's a Holi-
day" (Q-F : :B-GF).
In the 1936-37 season, he produced : "Go West Young
Man" (Q-F : :B-G) ; "Mind Your Own Business" (Q-G : :
B-FP); "Outcast" (Q-F::B-F); "Girl From Scotland
Yard" (Q-FP : :B-FP) ; "Midnight Madonna" (Q-F::
B-F).
This producer's showing has been fair to poor.
George Auerbach, 1 : "She Asked For It" (Q-P : :B-P).
Poor showing.
Mel Shauer, 1 : "This Way Please" (Q-P : :B-F).
Poor showing.
B. P. Schulberg, 2: "She's No Lady" (Q-P::B-F);
"Blossoms on Broadway" (Q-P::B-P).
His showing has been poor this season.
In the 1936-37 season Mr. Schulberg produced: "Wed-
ding Present" (Q-FG : :B-GF) ; "A Doctor's Diary"
(Q-G::B-G); "John Meade's Woman" (Q-F: :B-GF) ;
"Her Husband Lies" (Q-G: :B-F) ; "The Great Gambini"
(Q-FG : :B-F). (Fairly good showing last season.)
G.M.O., 11 : "Blonde Trouble" (Q-FP::B-F) ; "Sophie
Lang Goes West" (Q-F::B-FP); "Bulldog Drummond
Comes Back" (Q-F : :B-FP) ; "Partners in Crime" (Q-P : :
B-FP) ; "Hold 'Em Navy" (Q-FG : :B-F) ; "Night Club
Scandal" (Q-FG : :B-F) ; "Daughter of Shanghai" (Q-F::
B-F); "Bulldog Drummond's Revenge" (Q-F::B-F);
"Scandal Street" (Q-FP::B-F); "Bulldog Drummond's
Peril" (Q-FG: :B-Not Yet Reported); "Tip Off Girls"
(Q-FG: :B-Not Yet Reported).
In the 1936-37 season, it produced : "Bulldog Drummond
Escapes" (Q-F::B-F) ; "Clarence" (Q-P::B-P) ; "Mur-
der Goes to College" (Q-FP : :B-FP) ; "Crime Nobody
Saw" (Q-F::B-P); "King of Gamblers" (Q-F::B-F);
"Night of Mystery" (Q-P::B-FP); "Hotel Havwire"
(Q-P::B-FP) ; "Wild Money" (Q-F::B-FP).
No information is available as to who this "G.M.O."
producer is. It may be an aggregation of producers ; then
again it may be an individual. But whichever the case, a
rating is given for your guidance.
Fair to poor showing.
RKO
Paxdro S. Berman, 1 : "Stage Door" (Q-E: :B-EG).
In the 1936-37 season, he produced : "The Big Game"
(Q-G::B-F); "Wintcrset" (Q-VG : :B-GF) ; "Quality
Street" (Q-F::B-F): "Soldier and the Lady" (Q-FG::
B-GF) ; "Shall We Dance" (Q-VG : :B-VG-G) ; "Damsel
In Distress" (Q-G::B-G); "That Girl From Paris"
(Q-VG::B-G).
Very good showing.
(Continued on last page)
74
HARRISON'S REPORTS
May 7, 1938
"The Adventures of Robin Hood" with Enrol
Flynn, Olivia DeHavilland, Basil Rathbone
and Claude Rains
(First National, May 14; running time, 102 mill.)
Excellent entertainment! Not only does it show
great care in production, that is, in lavish settings, fine
technicolor photography, expert direction and acting,
but also in the manner in which the story has been
developed, for action has not been sacrificed in an
attempt to stress the beauties of technicolor photog-
raphy. Adventure, romance, comedy, and human appeal
have been skilfully blended to give satisfaction on all
counts. Needless to say, it holds one in tense suspense
throughout, because of the constant danger to the hero,
who dares to defy the tyrannical nobles in an effort to
bring about justice for the common people. In spite of
the fact that his many escapes are nothing short of
miracles, the way he accomplishes them are so thrill-
ing, that audiences will overlook the fact that they are
far-fetched. The duel in the closing scenes between the
hero and his arch enemy is the most exciting ever
screened. And for color and excitement, audiences will
long remember the archery tournament in which many
men compete: —
When word is brought to Nottingham Castle that
King Richard (Ian Hunter), while on his way home
from the Crusades, had been captured and was being
held for ransom, his scheming brother Prince John
(Rains) decides to take over the regency. Having tor-
tured the Saxons during his brother's absence, by im-
posing unreasonable taxes on them, he decides, with
the help of the traitorous Sir Guy of Gisbourne (Rath-
bone), to levy even more taxes by pretending that the
money was needed to pay the ransom. Many Saxons
are killed and tortured. Sir Robin (Flynn), whose es-
tates and title had been taken from him by Prince
John, and who had turned outlaw to help the oppressed,
warns the Normans that he would take a Norman life
for each Saxon life; and he carries out his threats. To-
gether with his small band of followers, Robin Hood
steals from the rich to help the poor. Prince John is
enraged; he orders his men to kill Robin Hood, but to
no avail, for each time Robin is captured he manages to
escape. And Robin places himself in the way of danger
just to see Maid Marian (Miss DeHavilland), the
King's ward, with whom he had fallen in love. At first
she opposed him; but after learning the truth, she tries
to help him, particularly because she had fallen in love
with him. King Richard and a few followers return to
England disguised in clerical robes; with the help of
Robin Hood and his men, King Richard is successful
in obtaining entrance to the palace in time to prevent
Prince John from proclaiming himself King. In a duel
with Robin Hood, Sir Guy is killed. And the King ban-
ishes his brother and the other traitors, bringing peace
and contentment to his subjects. As a reward for his
bravery, Robin Hood receives back his title and estates,
and obtains the King's consent to his marriage with
Maid Marian.
The plot was based on ancient Robin Hood legends;
Norman Reilly Raine and Seton I. Miller wrote the
screen play, Michael Curtiz and William Keighley di-
rected it, and Henry Blanke produced it. In the cast
are Alan Hale, Patric Knowles, Una O'Connor, Eu-
gene Pallette, Herbert Mundin, and others.
Class A.
"Call of the Yukon" with Richard Arlen,
Beverly Roberts and Lyle Talbot
(Republic, May 16; time, 70 min.)
Set in the Alaskan Eskimo country, this melodrama,
in which animals play as important a part as humans,
is fairly good entertainment for lovers of outdoor ac-
tion pictures. There are animals fights, a snow ava-
lanche, and even an ice-break, in which both the hero
and the heroine are caught. Its appeal will, however,
be directed more to men and to children than to
women, who may be sickened by some of the situations,
such as the one in which the heroine, disgusted at the
sight of the hero's roasting the carcass of an animal
that a dog had killed, refuses to accept the food when
he offers it to her. The hero is, until almost the end, an
unpleasant character because of his wild actions and
callousness; however, his fearlessness makes one feel
some respect for him. The comedy is provoked by the
playfulness of two bear cubs: —
Beverly Roberts, who had been living in a small
Eskimo village in Alaska, in order to get material for
a new novel, refuses to leave the village evan though
the inhabitants, fearing starvation and attack by wild
dogs, had deserted it. Arlen, a trapper, compels her to
leave with him. They meet with many mishaps, and
during a snow avalanche lose their sled with a large
portion of their supplies. They are followed by Swift
Lightning, a wolf-dog, responsible for most of the
animal killings, and his mate Firefly, a tame Collie
dog. Miss Roberts, who had declared her love for
Arlen, is disgusted at his idea of killing the dogs for
food. They finally find a deserted cabin where Arlen,
enraged at Miss Roberts' change in manner, tries to
force his attentions on her. Just then, Lyle Talbot, a
fur trader in love with Miss Roberts, having heard that
the two had reached the cabin, arrives with supplies.
The two men have a terrific fight in which Arlen comes
out the victor; but he, thinking Miss Roberts loved
Talbot, decides to leave during a storm. Miss Roberts
follows him, and finds him attempting to lift a tree that
had fallen on Swift Lightning; she helps him save the
dog. She tells Arlen she really loved him and wanted
to stay with him.
The plot was adapted from the novel "Swift Light-
ning," by James Oliver Curwood. Gertrude Orr and
William Bar tie tt wrote the screen play, B. Reeves
Eason directed it, and Arniand Schaefer produced it.
In the cast are Mala, Garry Owen, and others.
It is doubtful if children will understand the hero's
actions; therefore, suitability, Class A.
"Four Men and a Prayer" with Loretta
Young, Richard Greene, David Niven,
George Sanders and William Henry
(20th Century-Fox, April 29; time, 85 min.)
This adventure murder-mystery melodrama, tinged
with comedy, is good mass entertainment; it should
thrill particularly action-loving fans. Although some-
what far-fetched in spots, it holds one's attention
throughout; this is owing to the sympathy one feels
for the hero and his three brothers, whose desire to
clear the name of their father leads them into many
adventures. The tension on several occasions is re-
lieved by the amusing actions on the part of David
Niven, one of the sons, who provokes laughter without
appearing too silly. One of the situations is so gory
that it may sicken some spectators: it shows soldiers
mowing down with a machine gun a whole group of
men and women rebels. But the scenes of fighting are
handled effectively. The romantic touch is provided by
Loretta Young, whose love for one of the sons (Richard
Greene) impels her to follow him on his hazardous in-
vestigations. Intelligent audiences may be amused at
the situation where Miss Young, dressed in a sheer eve-
ning gown, runs through streets where a revolution
was raging, avoiding stray bullets, without even spoil-
ing her dress or her haircomb: —
Dishonorably discharged from the British Army ser-
vice in India after many years of distinguished service,
C. Aubrey Smith writes to his four sons — Greene,
Niven, George Sanders, and William Henry — urging
them to meet him at their estate to talk the matter over.
He tells them that he had been framed, and had evi-
dence to prove that the conspirators were working for
a munitions concern; he promises to go into the matter
in detail directly after dinner. But he is murdered be-
fore he had a chance to give his sons the information;
the papers are stolen. The sons set out to clear their
father's name and to avenge his death. Their search
narrows down to Reginald Denny, a retired army offi-
cer, who had been the chief witness against their father,
and to his companion (Alan Hale). They finally force
Denny to confess that he had forged the document that
had convicted their father; but before he could name
his chief, he is murdered. Greene, who was in love with
Miss Young, is heartbroken when he learns that her
father (Berton Churchill) was the head of the muni-
tions concern. Churchill swears that he knew nothing
of the underhanded tactics used by Hale, his agent.
The sons finally corner Hale; he signs a confession
clearing their father's name and confessing to the
murder. With the case cleared, Greene and Miss Young
look forward to marriage.
David Garth wrote the story, and Richard Sherman,
Sonya Levien, and Walter Ferris, the screen play;
John Ford directed it, and Kenneth Macgowan pro-
duced it. In the cast are J. Edward Bromberg, John,
Carradine, Barry Fitzgerald, and others.
Class A.
May 7, 1938
HARRISON'S REPORTS
75
"Stolen Heaven" with Olympe Bradna,
Gene Raymond and Lewis Stone
(Paramount, May 13; time, 87 min.)
Fair for the masses, with a stronger appeal for class
audiences because of the excellent music that is played
throughout. The story itself is just another crook melo-
drama; but it rises above the average picture of its
type because of the music and the natural way in which
it is interpolated in the plot. This is done by having the
crooks (Gene Raymond and Olympe Bradna) take
refuge in the forest home of a famous pianist (Lewis
Stone), who, unaware of their identity, gives them
shelter. The story at this point naturally turns to the
regeneration of Raymond and Miss Bradna, who, too,
in their way, help Stone. They do this by giving him
back his faith in himself and filling him with a desire
to appear once again as a concert pianist before the
public. The unpleasant part of the story is the fact that
Raymond and Miss Bradna are crooks, who, at the
beginning, are shown carrying out their plans to steal
jewelry. As the story develops, however, one begins to
feci sympathy for Miss Bradna, whose affection for
Stone and love of music changes her outlook and fills
her with a desire to do better things. Raymond is ada-
mant until almost the end, so that it is difficult for one
to warm up to him. But his actions in the end, in
deserting his pals, Glcnda Farrell and Porter Hall, and
returning to Stone's concert in order to give him cour-
age to go on, even though he knew that the police were
there and would pick him up, makes one feel more
sympathetically towards him. He realizes that Miss
liradna's idea to pay for their crimes with a prison
term, and then be free to live a normal life thereafter,
was the best, for they were both young and in love and
could weather a prison term, knowing that they would
be together after it.
Stone plays the part of the musician with distinction,
bringing tears to one's eyes on several occasions by his
gentleness and understanding.
Andrew Stone wrote the story and directed it; Eave
Greene and Frederick Jackson wrote the screen play,
.n the cast are Douglass Dumbrille, and others.
Since the crooks are reformed in the end, some ex-
ibitors may find it suitable for children. Suitability,
therefore, Class A.
"Moonlight Sonata" with
Ignace Jan Paderewski
(Malmar Pictures; running time, 80 min.)
Class audiences and music lovers should be thrilled
at the opportunity of listening to and watching the
technique of the world renowned concert pianist, Pade-
rewski, who plays four classical selections during the
unfolding of the story; needless to say that he plays
them magnificently. The picture has been produced
lavishly, but it is doubtful if the masses will be as
thrilled as the class audiences, for the main lure is
Paderewski's playing. The story is simple but slow-
moving, and the players, with the exception of Charles
Farrell, are practically unknown here. It should draw
well at art theatres catering to those who enjoy the
unusual in screen entertainment. The regular run thea-
tres will have to use a strong selling campaign, stress-
ing the fact that here is an opportunity for their pa-
trons to see and hear the most famous of the living
pianists.
The story opens at a concert hall where Paderewski
is giving a recital. A little girl, whose box of candy had
rolled to the stage, rushes after it and is greeted by
Paderewski, who is pleasantly surprised to find that
the child's parents were two persons he knew. After
the concert, he relates to a few friends the story of how
he had met the young couple. About five years ago, the
plane in which he had been travelling to Paris had been
forced down in a secluded woody section of Sweden.
He, his secretary, and another passenger (Eric Port-
man), who introduced himself as a nobleman, are found
by Farrell, steward of the estate owned by Marie
Tempest, a baroness. They are all welcomed by Miss
Tempest and her granddaughter (Barbara Greene);
both arc thrilled at having the famous pianist in their
home. Portman fascinates Miss Greene by stories of
his travels, and once he starts making love to her she
cannot resist him; she imagines herself madly in love
with him and consents to run away with him. But
Farrell, who really loved Miss Greene, finds out that
Portman was a professional entertainer and was mar-
ried. Miss Tempest and Farrell have a talk with Port-
man, who willingly leaves after Miss Tempest gives
him a check. Miss Greene, ashamed of herself when she
learns the truth, is saddened; she wanders into the gar-
den where Farrell follows her. Just then Paderewski
starts playing the beautiful Beethoven "Moonlight
Sonata." Under the spell of the music, the lovers are
reunited.
Hans Rameau wrote the story, and Edward Knob-
lock, the screen play; Lothar Mendes directed and pro-
duced it. In the cast are Graham Browne, and others.
Suitability, Class A.
"International Crime" with Rod LaRocque
and Astrid Allwyn
(Grand National, April 22; time, 63 min.)
This comedy-melodrama, another one in the "Shad-
ow" series, is good program fare. The plot is slightly
far-fetched; but, since the action is fast, one's attention
is held well to the end. The production values are good
and the players competent. Most of the comedy is pro-
voked by the nit-wit actions on the part of Astrid
Allwyn, secretary to Rod LaRocque; but, since she
acts her part with charm, her antics do not become
tiresome. There is no romantic interest: —
LaRocque, crime reporter on a newspaper, is in con-
stant conflict with Thomas Jackson, Commissioner of
Police, because of his interference in criminal cases,
and of his insistence on humiliating Jackson both in
his column and over the radio. LaRocque gives his
theories on a new murder case and, since they were
directly opposite to Jackson's theories, he again an-
tagonizes him. Miss Allwyn, LaRocque's secretary,
who insisted on getting some excitement out of her
work, follows LaRocque around and at times deters
him in his investigations. LaRocque finally solves the
murder; he proves that it had been committed by
foreign agents, who, having heard that their victim had
contemplated financing certain factions in their coun-
try, had killed him. LaRocque prevents them from
committing another murder, and helps Jackson cap-
ture them. At the broadcast, following the arrest,
LaRocque wins Jackson's favor by praising him for his
brave and competent work in solving the case.
Maxwell Grant wrote the story, and Jack Natteford,
the screen play; Charles Lamont directed it, and Max
and Arthur Alexander produced it, with Alfred Stern
as associate producer. In the cast are Oscar O'Shea,
William VonBrincken, William Pawley, and others.
Suitability, Class A.
HOLLYWOOD GRIPPED WITH PANIC
Hollywood has the jitters. Salaries are reduced in some
cases, options are disregarded in others, studio hands are
discharged, and attempts to effect other economies are
made, all with one purpose — to fit the cost of production
to the theatre box office. You may imagine, then, how
shot the morale of those engaged in production has been.
When no one knows on whom the ax will fall next, how
do you expect everybody there to feel ?
This studio demoralization is already telling upon qual-
ity. And there is almost a stoppage of production : W. R.
Wilkerson, in the April 18 issue of Hollyivood Reporter,
says :
"With the opening of the studios this morning, the
bottom has been hit, for many years, in the production of
pictures. . . .
"The slowness of production has not been schemed.
Producers have not designed the making of so few pictures,
necessitating the employment of so few people. Almost
every plant in the business is behind schedule, more so
than they have ever been at this time of the year, and
this condition frightens producers and their distributors."
How bad is the shortage of pictures may be evidenced
by the fact that so many of the major companies have
decided to reissue old pictures.
It is hardly likely that there will be any modification
of the terms and prices in the existing contracts as a
result of the lowering of the quality of the pictures, but
you should take this condition into consideration when the
salesmen call on you to solicit your business. Tell them that
the quality of pictures was bad enough this season, because
of the studio demoralization, but during the coming season
it will be the worst ever.
76
HARRISON'S REPORTS
May 7, 1938
Cliff Reid, 2 : "Crashing Hollywood" (Q-FG : :B-FP) ;
"This Marriage Business" (Q-G::B-Not Yet Reported).
In the 1936-37 season, he produced : "Without Orders"
(Q-G::B-F); "Criminal Lawyer" (Q-F::B-F); "China
Passage" (Q-P::B-P) ; "Behind the Headlines" (Q-G::
B-F) ; "Hideaway" (Q-FP : :B-FP) ; "Bringing Up Baby"
(Q-VG::B-Not Yet Reported) ; "The Man Who Found
Himself" (Q-F: :B-FP).
Good showing.
Edward Kaufman, 3: "The Life of the Party" (Q-G::
B-F) ; "Wise Girl" (Q-G : :B-GF) ; "Radio City Revels"
(Q-FG : :B-GF).
In the 1936-37 season, he produced : "Smartest Girl in
Town" (Q-F: :B-GF) ; "Breakfast F6r Two" (Q-F::
B-GF).
Good this season ; fair last season.
Felix Young, 1: "Joy of Living" (Q-G::B-Not Yet
Reported ) .
Good showing.
Sol Lesser, 1: "Hawaii Calls" (Q-F::B-Not Yet Re-
ported).
In the 1936-37 season, he produced : "Rainbow on the
River" (Q-G : :B-VG-G) ; "Make A Wish" (Q-G::
B-GF).
Fairly good showing for RKO, poor for 20th Century-
Fox.
Robert Sisk, 6: "Annapolis Salute" (Q-F::B-FP);
"Saturday's Heroes" (Q-F::B-FP); "Night Spot"
(Q-FP::B-FP) ; "Maid's Night Out" (Q-FP::B-Not
Yet Reported) ; "Condemned Women" (Q-G::B-Not Yet
Reported); "Law of the Underworld" (Q-FG : :B-Not
Yet Reported).
In the 1936-37 season, he produced: "Don't Tell the
Wife" (Q-P::B-P) ; "Outcasts of Poker Flat" (Q-FP::
B-FP) ; "Border Cafe" (Q-FP : :B-FP) ; "You Can't
Beat Love" (Q-F: :B-FP) ; "Flight From Glory" (Q-P: :
B-F).
Fair showing this season, poor last season.
William Sistrom, 2: "Forty Naughty Girls" (Q-F::
B-FP) ; "Everybody's Doing It" (Q-F::B-FP).
In the 1936-37 season, he produced : "Racing Lady"
(Q-FP: :B-FP) ; "Too Many Wives" (Q-P::B-P);
"There Goes My Girl" (Q-FP : :B-GF).
Fair showing this season, poor last season.
Jesse L. Lasky, 2 : "Music For Madame" (Q-F : :B-F) ;
"Hitting a New High" (Q-FG : :B-GF).
Fair showing.
Edward Sedgwick, 1 : "Fit For a King" (Q-F: :B-F).
Fair showing.
Albert Lewis. 3 : "There Goes the Groom" (Q-F : :
B-F); "Fight For Your Lady" (Q-G : :B-GF) ; "She's
Got Everything" (Q-F: :B-F).
In the 1936-37 season, he produced : "The Woman I
Love" (Q-P::B-F) ; "Meet the Missus" (Q-F: :B-GF).
Fair showing.
Maury Cohen, 4: "Living On Love" (Q-FP::B-P) ;
"Danger Patrol" (Q-F::B-FP) ; "Quick Money" (Q-F::
B-FP) ; "Double Danger" (Q-FP : :B-FP).
In the 1936-37 season, he produced : "You Can't Buy
Luck" (Q-FP::B-FP) ; "The Big Shot" (Q-FP::B-F).
Poor showing.
Lee Marcus, 1 : "High Flyers" (Q-P: :B-P).
In the 1936-37 season, he produced: "Mummy's Boys"
(Q-P : :B-P) ; "On Again Off Again" (Q-FP : :B-FP).
Poor showing.
ANSWER THIS, MR. SEARS!
As you all, I am sure, know, last January Gradwell Sears,
President of Warner-First National Pictures and head of
the distribution department of these two companies, went to
Hollywood and, while there, he issued a statement to the
trade press criticizing you, the theatre owners, accusing
you of lacking in the essentials of good showmanship. And
his explosion against you was prompted by the fact that
many of you resort to giveaways, bank nights, and other
exploitation methods, when in his opinion you should do
much better if you had confined your efforts to exploiting
the pictures themselves.
Early this month he again was in Hollywood and, accord-
ing to Daily Variety, as discussed in the April 23 issue of
Harrison's Reports, again he issued a statement that he
has given you notice to the effect that he will not allow you
to show "Robin Hood" on premium nights.
From reading these two statements of his, or accounts
of these statements, you might receive the impression that
he, Gradwell Scars, is trying to show to you, the indepen-
dent exhibitors, the proper method of conducting your
business, just as his company is doing. Let us see what his
company is doing :
I have before me a clipping of an advertisement inserted
in the March 10 issue of the Utica Daily Press, by the
Stanley Theatre, a Warner Bros, house. The following are
the items contained in that advertisement:
"Unit 1
"Today Only — i Unit Show — Sensational Mystery-
Drama, 'The Crime of Dr. Hallett,' with Ralph Bellamy
and Josephine Hutchinson.
"Unit 2
"Walter Cassell and Anne Nagel, in 'Romance Road.'
"Unit 3
"Benny Meroff and His Orchestra.
"Unit 4
" 'What Price Porky,' a colored cartoon.
(Unit 5— at 9 P.M.)
"Tonight on Stage : Basket Ball — Rome Sports Club vs.
Savage Arms.
(Unit 6— at 8:45 P.M.)
"325 Tonight, (probably $325 given away at bank night )
(Unit 7— at 8:50 P.M.)
"Beautiful Baby Grand Piano Given Away."
Does this look as if Gradwell Sears is opposed to
premiums ? Not satisfied with giving away $325, his theatre
offered also a Baby Grand !
But this is not all ! You would think that, when his com-
pany inserts into its contracts a clause forbidding the
double-featuring of Warner Bros and First National pic-
tures, all the Warner-First National pictures can stand in
a program alone, and that their own theatres play them
all. If you think so, you don't know how mistaken you are,
for according to my information from the Philadelphia
zone, where Warner Bros, has its greatest number of
theatres (the old Stanley Mastbaum circuit), the following
Warner-First National pictures have never shown their
noses into a Warner Theatre :
"Wine, Women and Horses," "Love Is On The Air,"
"Adventurous Blonde," "Expensive Husbands," "Missing
Witness," "She Loved A Fireman," "Sergeant Murphy,"
' Patient In Room 18," "The Invisible Menace," "He
Couldn't Say No," "Penrod And His Twin Brother," and
"Accidents Will Happen" — twelve pictures, all but "Ex-
pensive Husbands" produced by Bryan Foy.
But Gradwell Sears expects you to play, (or pay for, if
you don't play), these pictures, which are not good enough
for the theatres of his own company. And yet there are
exhibitor leaders who have the gall to stand up before you
to tell you that they are opposed to the Neely-Pettengill
Bill ! How can you listen to them ? How can any intelligent
human being support so intolerable a system?
Why don't you write to your Senator to acquaint him
with this particular Philadelphia situation? I am sure that,
if all the Senators knew about it, they would throw all the
producer propaganda letters into their waste paper baskets.
DON'T LOWER YOUR ADMISSION
PRICES
Some exhibitors, having become frightened by the
great drop in business, have convinced themselves that
by lowering the admission prices they may have a
chance to bring people back, and are planning to lower
them.
A few months ago, I wrote an article in this paper
advising you against raising admission prices, because
I felt that such an act would be an imposition on the
public, but this time I advise you against lowering
them, for the reason that they are low enough already,
and by lowering them further you will not be able to
clear any profit, even if your patronage might increase.
Some of you might have it in mind to raise them in
the fall, but it is difficult to do so without creating
ill-feeling among your patrons.
Harrison's Reports suggests that you keep your price*
at the present level.
IN TWO SECTIONS— SSOTION ONE
Entered aa oeoond-olaaB m*ttw January 4, 1921, at the post offloe at New York, New York, under th« act of March 3, 18T9.
'S
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 1>nnm 1S19 Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 ivoom lOl* Publisher
Canada 16.50 New York. N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . „ .. „. . _ . . _, .
Great Britain 15.75 A Motion Picture Reviewing Service „,.,„.„., .
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibit'ors Established July I, 1919
India, Europe, Asia .... 17.50
,r„ . rnnv Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
joc a <^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, MAY 14, 1938 No. 20
An Appraisal of the Ability of Unit Producers — No. 4
As said in the introductory remarks of every one of the
articles, "Q" stands for "Quality," and "B," for "Box-
Office Performance." Thus (Q-G::B-FG) means that the
quality was good but that the box office performance was
good-fair.
Twentieth Century-Fox
Raymond Griffith, 6: "Thin Ice" (Q-VG : :B-E) ;
"Wife, Doctor and Nurse" (Q-VG : :B-VG-G) ; "Heidi"
(Q-VG::B-EG) ; "Second Honeymoon" (Q-FG::B-VG-
G); "The Baroness and the Butler" (Q-F::B-Not Yet
Reported); "Rebecca of Sunnybrook Farm" (Q-VG::
B-Not Yet Reported).
In the 1936-37 season, he produced : "Girls' Dormitory"
Q-F::B-G); "One in a Million" (Q-VG::B-E); "Sev-
enth Heaven" (Q-F::B-G) ; "Fifty Roads to Town" (Q-
F::B-GF).
Very good showing.
Kenneth Macgowan, 2: "Love and Hisses" (Q-G::
li-VG-G); "In Old Chicago" (Q-VG::B-Not Yet Re-
ported).
In the 1936-37 season, he produced: "To Mary with
Love" (Q-VG::B-VG-G) ; "Lloyds of London" (Q-VG:
B-VG) ; "Wake Up and Live" (Q-VG : :B-E-VG) ; "This
Is My Affair" (Q-FG : :B-VG-G).
Very good showing.
David Hempstead, 1: "Happy Landing" (Q-VG::B-
VG).
Very good showing.
John Stone, 6: "Wild and Woolly" (Q-VG::B-F);
"Charlie Chan on Broadway" (Q-G : :B-GF) ; "45 Fath-
ers" (Q-VG: :B-VG-F) ; "Charlie Chan at Monte Carlo"
(Q-F : :B-GF) ; "Checkers" (Q-F: :B-GF) ; "Mr. Moto's
Gamble" (Q-G::B-Not Yet Reported).
In the 1936-37 season, he produced : "Charlie Chan at the
Race Track" (Q-G : :B-GF) ; "Pepper" (Q-F::B-G);
"Under Your Spell" (Q-F: :B-FP) ; "Charlie Chan at the
Opera" (Q-G::B-G) ; "The Holy Terror" (Q-F::B-G) ;
"Step Lively Jeeves" (Q-F: :B-F) ; "Great Hospital Mvs-
tery" (Q-F::B-F); "Angel's Holiday" (Q-FP : :B-GF) ;
"Charlie Chan at the Olympics" (Q-G: :B-GF).
Good average showing.
Max Golden, 3: "Hot Water" (Q-G::B-GP); "Bor-
rowing Trouble" (Q-G::B-F) ; "Love on a Budget" (Q-
FG::B-Not Yet Reported).
In the 1936-37 season, he produced: "Back to Nature"
(Q-FG : :B-FP) ; "Laughing at Trouble" (Q-P : :B-FP) ;
"Off to the Races" (Q-F: :B-GF) ; "Big Business" (Q-
G : :B-GF).
Good showing.
Harold Wilson, 2: "Life Begins in College" (Q-VG::
B-VG-G) ; '"Danger, Love at Work" (Q-F: :B-GF).
Good showing.
Lawrence Schwab, 2: "You Can't Have Everything"
(Q-VG::B-E-VG) ; "AH Baba Goes to Town" (Q-F -
B-VG-F).
Good showing.
Samuel C. Engle, 1: "Lancer Spy" (Q-G::B-GP).
In the 1936-37 season, he produced: "Crack Up" (Q-
FG : :B-F) ; "She Had to Eat" (Q-P : :B-FP) .
Good showing this season, fair last season.
S«l M. Wcktzv.l. 9-: "One Mile from Heaven" (Q-F: .
B-F) ; "Think Fast Mr. Moto" (Q-F::B-F); "Danger-
ously Yours" (Q-F::B-FP); "Thank You Mr. Moto"
(Q-G: :B-GF) ; "City Girl" (Q-FG : :B-GF) ; "Change
of Heart" (Q-F::B-F); "International Settlement" (Q-
G::B-GF); "Walking Down Broadway" (Q-F::B-Not
Yet Reported); "Island in the Sky" (Q-G::B-Not Yet
Reported).
In the 1936-37 season, he produced: "Star for a Night"
(Q-FG : :B-F) ; "Ramona" (Q-VG::B-G) ; "Thank You
Jeeves" (Q-F:: B-F); "Fifteen Maiden Lane" (Q-FG::
B-GF) ; "Can This Be Dixie?" (Q-FG: :B-G) ; "Career
Woman" (Q-G::B-F); "Woman Wise" (Q-F::B-F);
"Fair Warning" (Q-F::B-FP) ; "That I May Live" (Q-
F::B-FP).
Fairly good showing.
Nunnally Johnson, I: "Love Under Fire" (Q-F::
B-GF).
In the 1936-37 season, he produced: "The Road to
Glory" (Q-VG::B-VG-G) ; "Dimples" (Q-VG::B-VG) ;
"Banjo on My Knee" (Q-G: :B-VG-G) ; "Nancy Steele
Is Missing" (Q-F: :B-GF) ; "Cafe Metropole" (Q-F::
B-VG-G) ; "Slave Ship" (Q-FP : :B-G).
Fair showing this season, much better last season.
Robert T. Kane, 1 : "Dinner at the Ritz" (Q-G: :B-F).
In the 1936-37 season, he produced : "Wings of the Morn-
ing" (Q-F: :B-GF) ; "Under the Red Robe" (Q-P::B-
FP).
Good showing this season, fair to poor last season.
Milton H. Feld, 1: "Big Town Girl" (Q-F::B-F).
In the 1936-37 season, he produced: "Midnight Taxi"
(Q-F::B-F); "Sing and Be Happy" (Q-FP : :B-GF) ;
"Born Reckless" (Q-FG: :B-F) ; "Time Out for Ro-
mance" (Q-F::B-F).
Fair showing.
Sol Lesser, 1: "Tarzan's Revenge" (Q-P::B-P).
Poor showing for 20th Centurv-Fox, Fairlv Good for
RKO.
Gene Markey, 1: "Sally, Irene and Mary" (Q-F::B-
Not Yet Reported).
In the 1936-37 season, he produced: "White Hunter"
(Q-P: :B-F) ; "On the Avenue" (Q-E : :B-E-VG) ; "Wee
Willie Winkie" (Q-VG : :B-E-VG).
Fair showing this season, far better last season. A good
all around producer.
United Artists
Samuel Goldwyn, 5: "Stella Dallas" (Q-E::B-EG) ;
"Dead End" (Q-VG : :B-E-VG) ; "The Hurricane" (Q-
VG::B-E-VG); "The Goldwyn Follies" (Q-G::B-VG-
G) ; "Adventures of Marco Polo" (Q-VG::B-Not Yet
Reported).
In the 1936-37 season, he produced : "Dodsworth" ( Q-
G::B-VG-G); "Come and Get It" (Q-E::B-G); "Be-
loved Enemy" (Q-VG::B-G); "Woman Chases Man"
(Q-F::B-VG-P).
Very good to excellent showing.
David O. Selznick, 3: "Prisoner of Zenda" (Q-VG::
B-E-VG) ; "Nothing Sacred" (Q-G : :B-E-VG) ; '•Ad-
ventures of Tom Sawyer" (Q-G::B-Not Yet Reported).
In the 1936-37 season, he produced : "Garden of Allah"
(Q-FG: :B-G) ; "A Star Is Born" (Q-E::B-E).
Very Rood showing.
(Continued on last f>agi')
78
HARRISON'S REPORTS
May 14, 1938
"Doctor Rhythm" with Bing Crosby,
Mary Carlisle and Beatrice Lillie
(Paramount, May 6; time, 80 mm.)
This comedy with music is light, cheerful entertainment.
Lacking a substantial plot, however, it relics on Bing
Crosby's singing, Beatrice Lillie's clowning, and some gags
to put it over ; but occasionally even the efforts of the stars
cannot prevent it from becoming a little dull. Crosby sings
the popular tunes in his customary expert manner, which
should please his fans. There are several situations that
provoke hearty laughter ; the opening scenes, in the zoo, are
particularly comical. For novelty, it is Beatrice Lillie who
supplies it, with her inimitable style of clowning; but she
will probably be appreciated more in large down-town
theatres than in small towns, for her comedy is of the so-
phisticated type. The romance, which is carried through
with a light touch, is pleasant : —
After an all-night spree in the park, participated in by
Crosby, Andy Devine, Rufe Davis, and Sterling Holloway,
four old schoolmates, Devine, who had been bitten by a
seal, is unable to attend to his duties as a policeman. Crosby,
a doctor, decides to help out his pal by taking his place, and
reporting to Miss Lillie's home, to which Devine had been
assigned. He finds that his duties are pleasant, since his
job was to accompany Miss Lillie's niece (Mary Carlisle)
wherever she went, so as to prevent her from eloping with
Fred Keating, a magician, who was after her money.
Crosby falls in love with Miss Carlisle and is doubly de-
sirous of preventing her from marrying Keating. But she,
in an effort to evade him and to be alone with Keating,
leads him a merry chase. They all finally end up at a
benefit show sponsored by Miss Lillie on behalf of the
police force. There Keating gives himself away and Miss
Carlisle finally sees him for what he was — a crook. She is
happy that things turned out as they did, for she had fallen
in love with Crosby.
The plot was adapted from the story "The Badge of
Policeman O'Roon," by O. Henry. Jo Swerling and Rich-
ard Connell wrote the screen play, Frank Tuttle directed
it, and Emanuel Cohen produced it. In the cast are Laura
Hope Crews, John Hamilton, and others.
Suitability, Class A.
"Kentucky Moonshine" with the
Ritz Brothers, Marjorie Weaver
and Tony Martin
(20th Century-Fox, May 13; time, 85 min. )
Good entertainment for theatres where the Ritz Brothers
are popular ; they dominate the picture with their antics.
And for the most part they are good, particularly when
they pose as hillbillies and become mixed up with the feud-
ing mountain families. There are several extremely comi-
cal situations, which should cause even the most hardened
spectators to laugh ; one of the funniest scenes is that in
which the Ritz Brothers do a burlesque of "Snow White."
Aside from the material given to them, the story is routine.
Tony Martin and Marjorie Weaver sing several numbers
competently, and make a pleasant romantic team : —
Miss Weaver and the Ritz Brothers, who had been un-
successful in their many attempts to get a radio audition,
learn that Tony Martin, star on a well-known radio hour,
was going to Kentucky to try to find some real hillbillies
for his program, which had been falling down considerably,
and they decide to get to Kentucky before him, disguise
themselves as hillbillies, so as to attract his attention that
way. They take with them Miss Weaver, who poses as
their sister. The moment they arrive, the feuding starts,
for their neighbors mistake them for members of a rival
clan. But everything works out as they had planned;
Martin hears them and arranges to take them all to New
York. He falls in love with Miss Weaver. She is unhappy
because of the fraud they were perpetrating. On the night
of the broadcast, Martin discovers the hoax ; but he does
not care, for he was deeply in love with Miss Weaver. He
finds out that she was leaving town, and rushes after her.
The Ritz Brothers take his place on the program and art-
sensational. Everything is forgiven, they are signed up for
the program, and Miss Weaver promises to marry Martin.
M. M. Musselman and Jack Lait, Jr., wrote the story,
and Art Arthur and M. M. Musselman, the screen play;
David Butler directed it, and Kenneth Macgowan pro-
duced it. In the cast are John Carradine, Wally Vernon,
Berton Churchill, and others.
Class A.
"Sinners in Pardise" with John Boles
and Madge Evans
(Universal, May 6; time, 63 min.)
This is a well-produced action melodrama; but the plot
is somewhat weak, and so it shapes up as just fair program
entertainment. The story is not novel ; it deals with a group
of ill-assorted persons who, after an aeroplane wreck, find
themselves on an island, where each one must fend for him-
self. But the trouble lies in the fact that not one of the
characters awakens sympathy. For instance, no justifica-
tion is given for the heroine's (Madge Evans') actions in
deserting her husband ; and so her romance with the hero
is not appealing. The hero (John Boles), who had been liv-
ing on the island, had run away from imprisonment on a
murder charge; the motive for his having killed the man
is somewhat hazy, and so one's emotions are not touched
by his predicament. As for the other characters, they are
unpleasant, to say the least : Bruce Cabot, a bank robber,
had escaped with a loot of $150,000; Marion Martin was
supposedly a lady with a shady reputation ; Charlotte
Wynters, the richest girl in the world, had run away from
her factory so as not to have to deal with her discontented
workers ; Gene Lockhart, a pompous Senator, could think
only of himself; Milburn Stone and Morgan Conway, two
ammunition salesmen, would not stop even at murder to
get away from the island ; two others, Donald Barry, the
sole survivor of the crew, and Nana Bryant, who had been
on her way to see her son, do nothing unpleasant, but they
are negative characters.
In the development of the plot, Stone and Conway force
Willie Fung, Boles' cook, to take them away in Boles'
yacht. But he steers off the course, and in a fight with the
men, throws them overboard. He then sails back to the
island, where he dies from exhaustion. By that time, Miss
Bryant had died from a gun wound received from Stone,
when she had started to run towards the yacht as they had
sailed away. The others, with the exception of Lockhart,
had learned their lesson, and were ready to start life anew.
Boles, who had fallen in love with Miss Evans, decides to
go back and take his medicine, knowing that Miss Evans
would wait for him until he had served his term.
Harold Buckley wrote the story, and he, Louis Stevens,
and Lester Cole, the screen play ; James Whale directed it,
and Ken Goldsmith produced it.
Suitability, Class B.
"Extortion" with Scott Colton
and Mary Russell
(Columbia, Af-ril 25; time, 57 min.)
There's not much to recommend in this program murder
mystery melodrama. For one thing, the story, as it devel-
ops, is unpleasant, particularly when the murderer's iden-
tity and the motive for his crime are divulged ; as a matter
of fact, it is demoralizing. Nor are the players strong
enough to carry the weak story; besides, they are handi-
capped by poor material and extremely trite dialogue.
In the development of the plot, which unfolds at a col-
lege, the college proctor is murdered. Arthur Loft, the
police inspector, finds reasons to suspect several persons,
who had motives for killing the proctor. During the in-
vestigation, Thurston Hall, professor in a crime course,
is severely beaten and fingerprint material stolen from his
laboratory. Scott Colton, editor of the college paper, who
had been suspected for a time because his fingerprints ap-
peared on the gun, helps Loft solve the mystery. He
proves that the murder had been committed by a student,
who eventually confesses. The proctor, who had sold this
student examination papers in advance, thereby enabling
him to have an excellent scholastic rating, had been
blackmailing this student. Having realized that the proctor
would stop at nothing, the student had killed him. With
the use of Thurston's fingerprinting material, he had put
other fingerprints on the gun.
Earl Felton wrote the original screen play, Lambert
Hillyer directed it, and Ralph Cohn produced it. In the
cast are Gene Morgan, Frank C. Wilson, Ann Doran,
and others.
Unsuitable for children. Class B.
May 14, 1938
HARRISON'S REPORTS
79
"Mystery House" with Dick Purcell
and Ann Sheridan
(First National, May 21 ; time, 56 min.)
A typical program murder mystery melodrama, devel-
oped along familiar lines. Its appeal will be directed mainly
to these who enjoy mystery plots, no matter how ordinary
the production may be. It keeps one guessing to the end ;
three murders are committed, several persons are suspected,
and eventually the murderer's identity is disclosed. The
romance is of minor importance : —
Anne Nagel, whose father had died from a gun shot,
refuses to believe that'he had killed himself; she decides to
tail in a private detective (Dick Purcell) to investigate the
case for her. She does this, despite the objections of her
invalid aunt, who felt that nothing but trouble would come
of it. At Purcell's request, Miss Nagel again invites the
guests who had been present on the night of her father's
death to sp:nd a week-end with her. During the investiga-
tion two other murders are committed. Things look hope-
less for a time, but Purcell begins piecing together bits of
v . idence and finally discovers the murderer's identity. By
resorting to the same trick that the murderer had used to
kill Miss Nagel's father, Purcell forces the man to confess.
Miss Nagel is happy that her father's name was cleared.
.And Ann Sheridan, who had acted as nurse to the aunt, is
proud of Purcell, with whom she was in love.
Mighon G. Eberhart wrote the story, and Sherman
Lowe and Robertson White, the screen play ; Noel Smith
directed it, and Gordon Hollingshead produced it. In the
v;ist aie Sheila Bromley, Anthony Averill, William Hop-
per, and others.
Unsuitable for children. Class B.
"Woman Against the World" with
Ralph Forbes, Alice Moore
and Edgar Edwards
(Columbia, March 17; time, 65^4 min.)
A trite melodrama, poorly produced and lacking in box-
uffice names. Although there is nothing to indicate where
t.ns picture was produced, it definitely does not look Holly-
wood-made, for two reasons : first, with the exception of
Ralph Forbes, the players are completely unknown; sec-
ondly, the cheapness of the production and the fact that the
players neither look nor talk like Americans stamps it as
foreign-made. But aside from this, the story is wildly melo-
dramatic, similar to the old 10-20-30 days. The only thing
;n its favor is the closing scene, where the heroine gives up
her child to the couple the child had learned to love; this
touches one's emotions : —
Despite her father's objections, Alice Moore marries
dgar Kdwards, hired man on the farm. Forced to leave,
Iwards goes to the city, promising to send for his wife.
1 le obtains work as a watchman, and sends his wife money
for fare ; she arrives on the day that he is killed by holdup
men. Realizing that she was going to have a baby, Miss
Moure pleads with her cruel aunt, who lived in the city, to
permit her to stay with her. After the baby is born, she
looks for work. Returning home one night, she is shocked
to find that her aunt had given the baby away. In an at-
tempt to force her to talk, Miss Moore throws her to the
Moor; she strikes her head on the fireplace and dies. Miss
Moore is arrested, and, since she refused to speak in her
own defense, she is sentenced to five years' imprisonment.
Her lawyer (Ralph Forbes), who had fallen in love with
her, obtains her release on a parole. In order to earn
enough money to pay a private detective to search for her
child, she takes a job as entertainer in a clip joint. She
i vcntually learns that the detective had double-crossed her ;
not only was he taking a weekly fee from her, but he was
blackmailing the couple who had adopted the child, whom
lie had located. The matter comes to court when Miss
Moore tries to take her child away. Realizing that the child
loved the two she believed to be her parents, Miss Moore
tearfully gives up her rights to her; she is consoled bv
Forbes.
Edgar Edwards wrote the screen play, and David Sel-
man directed it; Lew Golder produced it. In the cast are
Collette Lyons, Sylvia Welsh, Ethel Reese-Burns, and
others.
Hardly suitable for children. Best for adults. Class B.
"Vivacious Lady" with Ginger Rogers
and James Stewart
(RKO [1936-37], May 13; time, 90 win.)
This romantic comedy is very good entertainment for
the masses. What it lacks in substantial story values is
made up for in gags, dialogue, and comical situations. It is
chock-full of sex implications ; but it is doubtful if any one
will take offense at them, for they have all been handled
with a manner free from coarseness. Ginger Rogers sings
but one song ; and she does not dance, except for one num-
ber in which she joins two others in doing the big apple.
But that does not matter, for she can stand on her own in
a straight part, handling romance and comedy expertly : —
Stewart, a young college professor, who had been sent to
the city by his father (Charles Coburn), the college presi-
dent, to find his cousin (James Ellison) and to bring him
home, finally locates Ellison at a night club. But Ellison,
who was drunk, refuses to leave because he wanted to see
Miss Rogers, the singer, with whom he was infatuated.
The moment Stewart sees her he falls in love with her ;
she, too, is attracted to him. They leave the club and speno
the night walking and talking; on the spur of the moment
they decide to get married. Stewart, Ellison, and Miss
Rogers leave for home together. Stewart realizes that he
must break the news to his parents gently. Many complica-
tions arise ; his father thinks Miss Rogers is some kind ot
cheap person Ellison had brought home with him. The
young couple are, therefore, kept apart. Eventually the
news leaks out. Stewart's mother (Beulah Bondi) is happ>.
but Coburn is furious. Things become so complicated thai
Miss Rogers decides to leave; she is consoled on the tran»
by Miss Bondi, who, too, had left her huband. Coburn
eventually regrets his actions ; he and Stewart race ir
their car to catch up with the train, and finally board n.
The two couples are happily reconciled.
I. A. R. Wylie wrote the story, and P. J. Wolfson ana
Ernest Pagano, the screen play ; George Stevens directed
it, and was associate producer ; Pandro S. Berman pre
duced it. In the cast are Frances Mercer, Phyllis Kennedy.
Franklin Pangborn, and others.
Children will not understand the sex implications ; suita-
bility, Class A.
"Gun Law" with George O'Brien
(RKO, May 13; time, 60 mm.)
An exciting western, despite a routine plot. Followers ot
this type of entertainment should get a "kick" out of it, fo-
it has plentiful horseback riding, shooting, and fighting :
and the pace is fast. It holds one in suspense, too, because
of the constant danger to the hero. George O'Brien fits the
hero's part very well, for not only does he act with natural-
ness, but he is well suited to parts of this type by reason ot
a powerful physique. The romance is of little consequence -
O'Brien, a United States Marshal, while travelling across
the desert on his way to investigate lawlessness in a par-
ticular town, is held up by a notorious outlaw who had es-
caped from jail. The outlaw forces him to change clothes
with him, after which he takes away his credentials and
other belongings. But worst of all he takes his horse and
water. O'Brien, after walking for some time, falls ex-
hausted at a pool of water ; he finds the outlaw there, dying
from the effects of the water, which was bad. After the
outlaw dies, O'Brien buries him. He decides to. pose as the
outlaw, so as to find out about the gang. His plan works,
and he is taken in by the leader (Robert Gleckler). With
the help of an assistant, who had been planted as a waiter
at Gleckler's saloon, O'Brien finally gets all the evidence he
needed. He proves that the Mayor, who had been posing as
a law-abiding citizen, was really the brains behind the
gangster activities. The crooks are cleaned out, and law
and order established. With his work finished. OBrien de-
cides to settle down in the town, with the minister's daugh-
ter as his wife.
Oliver Drake wrote the story and screen play ; David
Howard directed it, and Bert Gilroy produced it. In tin-
cast are Rita Oehmen, Ray Whitley, Paul Everton, and
others.
Since the bravery of the hero is stressed, it is suitable for
all. Suitability. Qua A
HARRISON'S REPORTS
May 14, 1938
Walter Wanger, 4: "Vogues of 1938" (Q-F::B-G);
"Stand In" (Q-F::B-G); "52nd Street" (Q-P::B-P);
"I Met My Love Again" (Q-F::B-GF).
In the 1936-37 season, he produced: "You Only Live
Once" (Q-VG::B-VG-G) ; "History Is Made at Night"
(Q-VG::B-VG-G).
Fair to poor showing this season, very good last season.
Erich Pommer, 1 : "Farewell Again" (now called
"Troop Ship") (Q-F::B-F).
In the 1936-37 season, he produced : "Fire over England"
(.Q-G: :B-GF).
Fairly good showing.
Victor Saville, 2: "Dark Journey" (Q-FG::B-FP) ;
"Action for Slander" (Q-FP::B-F).
Fair showing.
Alexander Korda, 6: "Knight without Armor" (Q-
FG-G::B-G-P) ; "Murder on Diamond Row" (Q-P::
B-F) ; "Storm in a Teacup" (Q-FG::B-Not Yet Re-
ported); "Divorce of Lady X" (Q-FG : :B-Not Yet Re-
ported) ; "The Return of the Scarlet Pimpernel" (Q-F::
B-Not Yet Reported); "The Gaiety Girls" (Q-FG: :B-
Not Yet Reported).
In the 1936-37 season, he produced: "Rembrandt" (Q-
FG::B-FP); "Men Are Not Gods" (Q-F::B-GF;;
"Man Who Could Work Miracles" (Q-F::B-F); "Ele-
phant Boy" (Q-VG::B-GF).
Fair showing.
AL STEFFES ANSWERS SAM
GOLDWYN'S INTERVIEW
IN THE NEWSPAPERS
Every one of you knows, I am sure, that Sam Goldwyn,
upon his return from Europe recently, gave an intervn \,
to the newspapers in which he derided the present low
quality of the pictures, placing the blame on the high sala-
ries of stars, directors, and writers.
"There are too many inferior people in the movie busi-
ness," said Mr. Goldwyn, "and they are getting too much
money. It used to be that the public was afraid to go to a
movie for fear the B picture would be bad. Now it is both
A and B pictures. . . .
"It is not the cost of the electricians' salaries and the
other working people on the lot. It is the cost of the writer,
actor, and the director.
"There are writers drawing big pay in Hollywood who
•ught to be back in New York writing letters. . . ."
He then went on to warn the American producers about
the growing quality of foreign product.
That this interview has done much harm to the already
harrassed industry no one can deny ; Mr. Goldwyn has
practically told the public to keep away from picture
theatres, for their chances of seeing a good picture are
slim. He does not seem to care how much harm is done to
the exhibitor so long as he can get some publicity.
The letter Mr. W. A. Steffes, president of Allied Thea-
tre Owners of the Northwest (Minneapolis territory), has
sent to Mr. Goldwyn commenting on his interview is worth
reading :
"Dear Mr. Goldwyn:
"Under date of April 26th an article appeared in the
Chicago Daily Tribune, copy of which is attached, credit-
ing you with saying films are all bad (the writers too),
denouncing the entire motion picture industry in this
country.
"I have no way of knowing whether or not the story is
authentic but if it is I can readily realize what is the matter
with the motion picture business. I am not going to put
the blame on the people whom you mention but directly on
people who are sappy enough to issue such a statement.
You are supposed to be the head of one of the great pro-
ducing and distributing companies in this country — maybe
the job has grown a little too big for you. In my opinion it
has. If not why don't you get rid of some of the people you
are complaining about in the newspaper article? If you are
not big enough to run your own business, why don't you
step aside and allow someone else to come in in your place?
"Perhaps if you and other producers of motion pictures
would have confined themselves in the past to operating
producing companies rather than trying to monopolize the
industry by grabbing off all of the theatres and then insist-
ing that their B product be played in their A theatres on
preferred playing time at advanced admission prices and on
percentage terms that you know no theatre can afford to
pay but merely kidding yourselves and the directors into
believing that there is no limit so when one of the B pictures
that cost a few hundred thousand dollars grossed a million,
lor no reason whatsoever other than stated above, the di-
rector immediately pulls his hair and shouts : 'See, I am not
spending enough. If I make a million dollar picture we can
gross two.'
"If it was sympathy from the public that prompted the
statements accredited to you I am afraid you are barking
up the wrong tree as for years you and all other producers
have been treating the American dollar as if it were a 1918
German mark. I don't know of any other business that has
been so careless in their publicity about millions as the pro-
ducers of motion pictures. Pick up any trade paper or in
fact any statement accredited to any of the producers and
what do you see? — The million dollar sign.
"You have been kidding only yourself and wrecking one
of the most marvelous industries that ever existed. You
have jacked film rentals up to where the theatre owners are
almost panicky. They in turn have been compelled to raise-
admission prices to meet your exorbitant terms to the point
where the public has stopped coming for the simple reason
that whether you know it or not there is a serious recession
on.
"You and other producers insisted that elaborate palaces
be built in already overseated situations as monuments to
yourself and for no other reason whatsoever.
"The motion picture business was primarily the poor
man's entertainment but producers like yourself and others
have removed it from this class and through the conniving
methods of the producing companies have now placed it in
a strictly class entertainment field as only the well-to-do
can afford to go to the movies and then not very often.
"Your problems are still not so great if you will just
see the handwriting on the wall. Why don't you call a
meeting of all of the producing heads and demand that they
give up their theatres, put them in the hands of businessmen
who will either make them pay, a reasonable profit or dis-
band them and not kid yourselves into believing that you
can monopolize this great industry?
"I agree with you thoroughly when you say that the
salaries of the actors, writers and directors are too high
but you did not go far enough. The salaries of the pro-
ducers, the presidents of some of these producing com-
panies, chairman of the Board of Directors, etc., are also
too high and I think that your company is one of the worst
offenders in the industry when it comes to exorbitant sal-
aries and bonuses for officers and a few other heads of
your company.
"You were not satisfied with doing all of the above so
you and a few other producers decided that you perhaps
could ruin the motion picture business entirely if you
would take all of your outstanding stars and give the public
free entertainment, via the radio, on Thursday, Sunday
and other nights of the week during the peak or what is
supposed to have been the peak hours of show business.
The theatre owners have even been able to withstand this
obnoxious move by the producers, temporarily at least, and
in my opinion it has only been through their ingenuity in
conducting give-aways and chance games in their theatres.
"Now lo and behold the producers maintain that the
chance games must go and have been conniving and schem-
ing and doing everything humanly possible to outlaw
chance games which has practically been accomplished and
you haven't seen anything yet of bad business Mr. Goldwyn.
Wait until these chance games are definitely out of exist-
ence. You won't only be compelled to run double features
in the palaces that you and other producers acquired but
you will find that triple features and even four of your
so-called B, C, D and E pictures won't get them in.
"In spite of the fact that you say all films are bad your
company, like all others, is demanding increased film ren-
tals (and for what?).
"Perhaps you have an idea that the article which was
accredited to you will stimulate the show business. If you
have I am afraid you are going to have a sad awakening as
most of the public already realize the pictures are bad so
what is the sense of your coming out and telling the balance.
"In my opinion, there is nothing wrong with the show
business save and except that it is headed by the wrong
people. Now for the sake of perpetuating this great in-
dustry why don't you and some of the other illustrious
dominating factors of the industry abdicate ?"
Vol. XX
IN TWO SECTIONS— SECTION TWO
HARRISONS REPORTS
NEW YORK, N. Y., SATURDAY, MAY 14, 1938
No. 20
(Partial Index No. 3— Pages 54 to 76 Incl.)
Title of Picture Reviewed on Page
Adventures of Robin Hood — First National (102 m.) ■ ■ 74
Arson Gang Busters — Republic (64 min.) 62
Battle of Broadway — 20th Century-Fox (83l/2 m.) ... 67
Beloved Brat, The — First National (62 min.) 62
Bulldog Drummond's Peril — Paramount (65 min.) .... 55
Call of the Mesquiteers — Republic (56 m.) . .Not Reviewed
Call of the Ring, The — Republic
(See "The Duke Comes Back") 198
Call of the Rockies — Columbia (54 m.) Not Reviewed
Call of the Yukon — Republic (70 min.) 74
Cattle Raiders — Columbia (61 min.) Not Reviewed
Code of the Rangers — Monogram (56 m.) . . Not Reviewed
College Swing — Paramount (86 min.) 71
Dangerous Age, A — First National
(See "Beloved Brat")
62
Female Fugitive — Monogram (56 min.) 71
Feud Maker, The — Republic (55 min.) .... Not Reviewed
Flight Into Nowhere — Columbia (65 min.) 66
Fools For Scandal — First National (79 min.) 58
Four Men and a Prayer — 20th Century-Fox (85 m.) . . 74
Girl of the Golden West, The— MGM (120 min.) 54
Go Chase Yourself— RKO (70 min.) 70
Goodbye Broadway — Universal (69 min.) 58
Heart of Arizona — Paramount (67J/2 m.) .. Not Reviewed
Her Jungle Love — Paramount (80 min.) 55
Heroes of the Alamo — Columbia (75 m.) . .Not Reviewed
International Crime — Grand National (63 m.) 75
Invisible Enemy — Republic (65 min.) 67
Island in the Sky — 20th Century-Fox (67 min.) 62
Joy of Living— -RKO (91 min.) 63
Judge Hardy's Children — MGM (77 min.) 55
King of the Newsboys — Republic (68 min.) 59
Lady in the Morgue, The — Universal (68 min.) 70
Land of Fighting Men — Monog'm (53 m.) . .Not Reviewed
Last Stand, The — Universal (56 min.) .... Not Reviewed
Law of the Underworld— RKO (60 min.) 62
Let's Make a Night of It — Universal (66 min.) 54
Lone Wolf in Paris, The — Columbia (67 min.) 66
Making the Headlines— Columbia (65 min.) 59
Moonlight Sonata — Malmar Pict. (80 min.) 75
Mr. Moto's Gamble — 20th Century-Fox (71 min.) .... 59
Nurse From Brooklyn — Universal (66 min.)
70
Outlaws of Sonora — Republic (55 m.) Not Reviewed
Overland Express, The — Columbia (55m.) . .Not Reviewed
Port of Missing Girls — Monogram (63 min.) 63
Rascals — 20th Century-Fox (77 min.) 71
Rawhide — 20th Century-Fox (58 min.) 67
Reckless Living — Universal (67^2 min.) 67
Return of the Scarlet Pimpernel, The— Un. Art. (80m.) 66
Rolling Caravans — Columbia (55 m.) Not Reviewed
Rose of the Rio Grande — Monogram (60 min.) 58
Sailing Along — Gaumont-British (86 min.) 59
State Police — Universal (60^ min.) 54
Stolen Heaven — Paramount (87 min.) 75
Storm in a Teacup — United Artists (85^2 min.) 54
Test Pilot— MGM (120 mm.) 70
There's Always a Woman — Columbia (80 min.) 63
This Marriage Business — RKO (71 min.) 58
Thunder in the Desert — Republic (55 m.) .. Not Reviewed
Tip-Off Girls — Paramount (61 min.) 55
Torchy Blane in Panama — First National (59 min.).. 71
Trip to Paris, A— 20th Century-Fox (63 min.) 66
REALEASE SCHEDULE FOR FEATURES
Columbia Features
(729 Seventh Avenue, New York, N. Y.)
8022 Making the Headlines— Holt-Roberts Mar. 10
8040 Woman Against the World — Moore (67m.) . .Mar. 17
8018 The Lone Wolf in Paris— Lederer-Drake. . .Mar. 24
8031 When G Men Step In— Don Terry Mar. 31
8283 The Overland Express— Buck Jones (55m.) . .Apr. 11
8021 Flight Into Nowhere— Holt- Wells Apr. 18
8006 There's Always a Woman —
Blondell-Dougslas Apr. 20
8036 Extortion— Colton-Doran (58 m.) Apr. 25
8204 Call of the Rockies— Starrett (54 m.) Apr. 30
8037 The Main Event— Page- Wells '. May 5
8205 Law of the Plains— Starrett (56 m.) May 12
City Shadows — Carrillo-Fellows June 8
Holiday — Hepburn-Grant-Nolan June 15
8211 Stagecoach Days — All star west. (58 m.) June 20
Highway Patrol — Wells-Page June 27
First National Features
(321 W. 44th St., Neiv York, N. Y.)
255 Gold Is Where You Find It— Brent-Rains. . . .Feb. 19
256 A Slight Case of Murder — Robinson-Bryan. .Mar. 5
252 Fools for Scandal — Lombard-Gravet Apr. 16
261 Women Are Like That— Francis-O'Brien. .. .Apr. 23
267 Beloved Brat— Granville-D. Costello Apr. 30
275 Torchy Blane in Panama — L. Lane-Kelly May 7
251 Adventures of Robin Hood — Flynn-Rains-
Rathbone-deHavilland May 14
277 Mystery House — Purcell-Sheridan-Nagel ....May 21
259 Crime School— Bogart-Page May 28
Gaumont-British Features
(1600 Broadway, Nezv York, N. Y.)
Non-Stop New York — Anna Lee-John Loder . . . .Nov. 17
I Was a Spy — M. Carroll-H. Marshall (Reissue) .Jan. 1
Look Out for Love — Neagle-Carmanati Jan. 15
Wife of General Ling — Jones-Inkijinoff Feb. 1
The Girl Was Young — Nova Pilbeam Feb. 15
Sailing Along — Jessie Matthews (reset) Apr. 15
F. P. 1 Doesn't Answer (Floating City No. 1)
(F.P. 1) — reissue (reset) May 1
To the Victor — Fyffe-Loder-Lockwood (re) May 15
The Show Goes On — Neagle-Carmanati (re) May 15
Three On a Weekend — Lockwood-Lodge June 1
Crime Over London — M. Grahame-P. Cavanaugh. .June 15
Grand National Features
(1270 Sixth Ave., Nezv York, N. Y.)
299 Spirit of Youth— Joe Louis Dec. 29
217 He Loved an Actress — Ford-Lyon- Velez Mar. 25
218 Zamboanga — native cast Apr. 15
219 International Crime — LaRocque-Allwyn Apr. 22
Wom.n Arc Like That— First National (7R min.)
63
Metro-Goldwyn-Mayer Features
(1540 Broadivay. Nezv York, N. Y.)
826 The First Hundred Years — Montgomery Mar. 11
827 Girl of the Golden West— MacDonald-Eddy. . Mar. 18
828 Judge Hardy's Children — Stone-Parker Mar. 25
No release set for Apr. 1
No release set for Apr. 8
No release set for Apr. 15
831 Test Pilot— Gable-Loy-Tracy Apr. 22
No release set for Apr. 29
No release set for May 6
833 Hold That Kiss— O'Sullivan-O'Keefe May 13
830 Swiss Miss — Laurel-Hardy-Lind (reset) May 20
834 Yellow Jack — Montgotnery-Brucc-Stone May 27
832 Three Comrades — Taylor-Sullavan-Tone June 3
The Toy Wife — Raincr-Douglas- Young June 10
Lord Jeff — Bartholomew- Rooney June 17
One Woman's Answer — Bruce-Marshall June 24
835 Shopworn Angel — Sullavan-Stewart July 1
(829 "Port of Seven Svcis," listed in the hist hidev as an
Affil 1 release, has been postponed^
Monogram Features
(1270 Sixth Ave., Neiv York, N. Y.)
3708 County Fair— J. Farrell MacDonald Nov. 24
3731 Romance of the Rockies — Keene (53m.) . . . .Dec. 15
3743 Boy of the Streets — Jackie Cooper (re.) ... .Dec. 22
3722 Telephone Operator— Allen-White (61m.) ..Jan. 5
3727 West of Rainbow's End — McCoy (57 m.) . . . .Jan. 19
3724 Saleslady — Nagel-Heyburn Feb. 2
3736 Where the West Begins— Randall (54 m.) . . .Feb. 2
3719 My Old Kentucky Home— Venable-Hall Feb. 16
3733 The Painted Trail — Tom Keene (50 m.) Feb. 23
3725 Port of Missing Girls- — Allen-Carey Mar. 2
3728 Code of the Rangers — Tim McCoy (56 m.) . .Mar. 9
3715 Rose of the Rio Grande — Movita-Carroll Mar. 16
3739 Land of Fighting Men— Randall (53m.) (r)..Apr. 11
3713 Female Fugitive — Venable-Reynolds (r) . . . . Apr. 15
3729 Two Gun Justice (Renegade Law) —
Tim McCoy (reset) Apr. 30
3740 Gun Smoke Trail— Jack Randall May 8
3709 Private Nurse — Blane-MacDonald-Hughes . . May 22
3730 Phantom Ranger — Tim McCoy May 29
3712 Marines Are Here — Travis-Oliver June 8
3702 " jmance of the Limberlost— Linden June 22
Paramount Features
(1501 Broadway, New York, N. Y.)
3722 Daughter of Shanghai — Wong-Ahn (62m.).. Dec. 17
3723 True Confession — Lombard-MacMurray ...Dec. 24
3724 Wells Fargo — McCrea-Dee-Burns Dec. 31
3725 Bulldog Drummond's Revenge — Barrymore. . Jan. 7
3726 Every Day's a Holiday — West- Lowe Jan. 14
3727 Thrill of a Lifetime — Grable-Downs Jan. 21
3755 Partners of the Plains— Wm. Boyd (70m.) . Jan. 28
3728 The Buccaneer — March-Tamiroff Feb. 4
3729 Scandal Street — Ayres-Campbell Feb. 11
3730 Big Broadcast of 1938— Fields-Raye Feb. 18
3756 Cassidy of Bar 20— Boyd-Hayes (56^ m.) . . Feb. 25
3731 Romance in the Dark — Swarthout-Boles. . . .Mar. 4
3732 Dangerous to Know — Tamiroff-Patrick ....Mar. 11
3733 Bulldog Drummond's Peril — Howard Mar. 18
3734 Bluebeard's Eighth Wife — Colbert- Cooper. .Mar. 25
3735 Tip-Off Girls— Nolan-Carlisle-Naish Apr. 1
No release set for Apr. 8
3736 Her Jungle Love — Lamour-Milland Apr. 15
3757 Heart of Arizona— Wm. Boyd (67y2 m.) . . . .Apr. 22
3737 College Swing — Burns-Allen-Raye-Hope ...Apr. 29
3739 Doctor Rhythm — Crosby-Carlisle-Lillie May 6
3738 Stolen Heaven — Raymond-Bradna (re) May 13
Cocoanut Grove — MacMurray-Hilliard May 20
Hunted Men — Nolan-Carlisle-Overman May 27
("Professor Beware," listed in the last Index as a May 13
release, has been postponed)
Twentieth Century-Fox Features
(444 West 56th St., Neiv York, N. Y.)
831 Thank You, Mr. Moto— Lorre-Regan Dec. 24
825 Love and Hisses — Winchell-Bernie-Simon Dec. 31
833 City Girl— Brooks-Cortez-Wilcox Jan. 7
823 Tarzan's Revenge — Morris-Holm Jan. 7
829 Change of Heart (Headline Huntress) —
Whalen-Stuart Jan. 14
828 Hawaiian Buckaroo — Ballew-Knapp-Regas ..Jan. 14
832 Charlie Chan at Monte Carlo— W. Oland . . . .Jan. 21
830 Happy Landing — Henie-Ameche-Romero Jan. 28
826 International Settlement — Del Rio-Sanders ...Feb. 4
834 Checkers — Withers-Erwin-Merkel Feb. 11
835 The Baroness and the Butler— W. Powell-
Annabella Feb. 18
873 County Chairman — Will Rogers reissue Feb. 18
836 Love on a Budget — Prouty-Byington Feb. 25
827 Sally, Irene and Mary — Faye-Martin Mar. 4
838 Walking Down Broadway — Trevor-Brooks. . .Mar. 11
837 Rebecca of Sunnybrook Farm — Temple Mar. 18
841 Mr. Moto's Gamble — Lorre-Luke-Baldwin. . . .Mar. 25
843 Island in the Sky— Stuart- Whalen (re) Apr. 1
842 Rawhide — Ballew-Gehrig-Knapp Apr. 8
840 In Old Chicago — Power-Faye-Ameche Apr. 15
845 Battle of Broadway — McLaglen-Hovick Apr. 22
848 Four Men and a Prayer — Young-Greene Apr. 29
847 A Trip to Paris — Prouty-Deane May 6
874 Life Begins at Forty — Rogers reissue May 6
844 Kentucky Moonshine — Ritz Brothers (re) May 13
849 Rascals— Withers-Hudson- Wilcox May 20
846 Kidnapped — Baxter-Bartholomew-Whelan ...May 2/
839 Josette — Ameche-Simon- Young (reset) June 3
United Artists Features
(729 Seventh Avenue, Neiv York, N. Y .)
Troopship (Farewell Again) — Banks-Robson ....Oct. 8
Stand-in— Howard-Blondell-Bogart Oct. 29
52nd Street— Baker-Paterson-Pitts-Carrillo Nov. 19
Nothing Sacred — Lombard-March- Connolly Nov. 26
Murder on Diamond Row — Lowe- Shaw Dec. 10
The Hurricane — Lamour-Hall-Astor Dec. 24
Action for Slander — Brook-Scott-Todd Jan. 14
I Met My Love Again — J. Bennett-Fonda Jan. 28
The Goldwyn Follies — Leeds-Menjou-Baker . ...JFeb. 4
Adventures of Tom Sawyer — Kelly-Robson Feb. 11
Storm in a Teacup — Leigh-Harrison Feb. 25
The Gaiety Girls— J. Hulbert-P. Ellis Mar. 18
Adventures of Marco Polo — Cooper (reset) Apr. 15
Divorce of Lady X — Oberon-Olivier Apr. 15
The Return of the Scarlet Pimpernel — Stewart-
Scott-Lister Apr. 29
Count of Monte Cristo — Reissue May 13
I Cover the Waterfront — Reissue May 13
Republic Features
(1776 Broadway, New York, N. Y.)
7125 Thunder in the Desert — Steele (55 min.) Feb. 21
7115 Call of the Mesquiteers — Three Mes. (56m.) .Mar. 7
7008 Prison Nurse — Wilcoxon-Marsh (reset) .... Mar. 29
7116 Outlaws of Sonora — Three Mes. (55 m.) . . . .Apr. 11
7009 King of the Newsboys — Ayres-Mack (re) . . .Apr. 15
7126 The Feud Maker— Bob Steele (55 m.) Apr. 18
7022 Arson Gang Busters — Livingston (re) Apr. 25
7010 Invisible Enemy — Marshall-Correll (re) ....May 2
7011 Call of the Yukon— Arlen- Roberts (re) May 16
7012 Romance on the Run — Woods-Ellis June 8
Gangs of New York — Bickford-Dvorak June 13
7127 Desert Patrol— Steele June 27
7117 Riders of the Black Hill— Three Mesq July 6
RKO Features
(1270 Sixth Ave., New York, N. Y.)
1936- 37 Season
739 Bringing Up Baby — Hepburn-Grant Feb. 18
740 Vivacious Lady — Rogers-Stewart May 13
{End of 1936-37 Season)
1937- 38 Season
824 This Marriage Business — Moore-Lane Apr. 8
826 Joy of Living — Dunne-Fairbanks Apr. 15
825 Go Chase Yourself— Joe Penner Apr. 22
827 Law of the Underworld — Morris-Shirley May 6
881 Guxilaw— George O'Brien (60 min.) May 13
Universal Features
( 1250 Sixth Avenue, New York, N. Y.)
A2029 State Police— William Hall Mar. 18
A2041 Let's Make a Night of It — Rogers Mar. 25
A2012 Goodbye Broadway — Brady- Winninger Mar. 25
A2021 Reckless Living— Grey- Wilcox Apr. 1
A2057 The Last Stand— Bob Baker (56 m.) Apr. 1
A2022 Nurse From Brooklyn— Eilers-Kelly Apr. 15
A2027 Lady in the Morgue— Foster-Ellis Apr. 22
Sinners in Paradise — Boles-Evans May 6
Air Devils — Wallace-Blake-Purcell May 13
A3071 All Quiet on the Western Front— Reissue
(87 min.) May 15
A3072 Frankenstein— Reissue (71 min.) May 15
A3073 Love Before Breakfast— Reissue (71 m.) . . May 15
A3074 Lady Tubbs— Reissue (70 min.) May 15
The Devil's Party— McLaglen-Wilcox May 20
Rocket Ship— Crabbe-Rogers June 3
Suspicion— William-Patrick June 10
Warner Bros. Features
(321 W. 44th St., New York, N. Y.)
225 Blondes at Work— Farrell-MacLane Feb. 5
214 The Kid Comes Back— Morris-Travis Feb. 12
226 Penrod and His Twin Brother— Mauch Twins . Feb. 26
216 Love, Honor and Behave— Morris-P. Lane . . Mar. 12
221 He Couldn't Say No— McHugh-Wyman Mar. 19
204 Jezebel— Davis-Fonda-Brent- Lindsay Mar. 26
212 Over the Wall— Foran-Travis-Litel Apr. 2
222 Accidents Will Happen— Reagan-G. Blondell. .Apr. 9
SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel
£356 Screen Snapshots No. 6— (9j^m.) Feb. 4
fc655 Community Sing No. 5 — (10m.) Feb. 5
8/02 Sad Little Guinea Pigs— K. Kat (6^m.) . . . .Feb. 7
£505 The Horse on the Merry-Go-Round — Color
Rhapsody (6y2m.) Feb. 17
8805 Feminine Fun— World of Sport (9^m.) . . . .Feb. 18
8656 Community Sing No. 6 — (10 m.) Feb. 25
8703 Auto Clinic— K. Kat (6!/2 min.) Mar. 4
8857 Screen Snapshots No. 7— {9l/2 min.) Mar. 4
8805 Unusual Hunting— World of Sport {9l/2m) . .Mar. 15
8657 Community Sing No. 7 — (10 min.) Mar. 18
8506 The Foolish Bunny — Color Rhapsody (8m) . .Mar. 26
8858 Screen Snapshots No. 8— (9l/2 m.) Apr. 1
8704 Little Buckaroo— K. Kat (6^4 m.) Apr. 11
8507 Snowtime (The Big Birdcast) — Color
Rhapsody (7l/2 min.) Apr. 14
8807 Play Ball (Sport Stamina)— World of
Sport (10 min.) (re) Apr. 15
8757 Scrappy's Playmates — Scrappys (6 m.) Apr. 27
8859 Screen Snapshots No. 9 Apr. 29
8553 Friendly Neighbors — Around the World
In Color Apr. 29
8658 Community Sing No. 8 May 6
8808 Sport Stamina— World of Sport (9l/2 m.) . . .May 10
8508 The Big Birdcast— Color Rhapsody May 13
8705 Krazy Magic— Krazy Kat May 20
Columbia — Two Reels
8427 Fiddling Around— All Star com. (17^m.) ..Jan. 21
8148 Battle in the Sky— Pilot No. 8 (23j4m.) . . . .Jan. 22
8149 The Great Flight— Pilot No. 9 (22m.) Jan. 29
£428 A Doggone Mixup— All Star (18Km.) ....Feb. 4
8150 Whirlpool of Death— Pilot No. 10 (23Hm.).Feb. 5
£151 The Haunted Mill— Pilot No. 11 (24^m.) ..Feb. 12
£405 Wee Wee Monsieur — Stooges com. (17^m.).Feb. 18
8152 The Lost Trail— Pilot No. 12 (23m.) Feb. 19
8153 The Net Tightens— Pilot No. 13 (25^m.) . .Feb. 26
8429 The Old Raid Mule— All Star com. (17^4m.).Mar. 4
£154 Vengeance Rides the Airways — Pilot No. 14
{2\y2 min.) Mar. 5
£155 Retribution— Pilot No. 15 (22 m.) Mar. 12
£161 The Isle of Fear— Secret of Treasure
Island No. 1 (28^ min.) Mar. 17
8430 Time Out For Trouble— All Star (16^ m.) . .Mar. 18
8162 The Ghost Talks— Secret No. 2 (20^4 m.).. Mar. 24
8431 Cuckoorancho — All Star com. (18 m.) Mar. 25
8163 The Phantom Duel— Secret No. 3 (20^m.) . .Mar. 31
£406 Tassles in the Air— Stooge (17 m.) Apr. 1
8164 Four Buried Alive — Secret No. 4 (19 m.) ... .Apr. 7
8165 The Girl Who Vanished— Sec. No. 5 (19m) . .Apr. 14
8432 Jump Chump Jump — All star com. (\9y2m) . .Apr. 15
8166 Trapped by the Flood— Secret No. 6 (19m) . .Apr. 21
8167 The Cannon Roars — Secret No. 7 Apr. 28
8433 The Mind Needer— All star (18 m.) Apr. 29
8168 The Circle of Death— Secret No. 8 May 2
8434 Ankles Away— All star com. (17^ m.) May 13
8407 Healthy Wealthy and Dumb— Stooge
(16^ min.) May 20
£435 The Soul of a Heel — All star comedy June 4
Metro-Goldwyn-Mayer — One Reel
1936- 37 Season
W-540 Pipe Dream— Happy Harmony (8m.) ....Feb. 5
W-541 Little Bantamweight— Happy Har. (8m.). Feb. 12
{End of Season)
1937- 38 Season
H-723 Captain Kidd's Treasure— Hist. My. (10m) Jan. 22
S-704 Jungle Juveniles No. 2— (9m.) Jan. 29
M-673 Stroke of Genius — Miniatures (11m.) ....Feb. 5
C-734 Canned Fishing— Our Gang (11m.) Feb. 12
S-705 Three on a Rope— Pete Smith (10m.) Feb. 19
T-657 Glimpses of Austria— Traveltalks (9m.) . . .Feb. 19
H-724 The Ship That Died— Hist. Myst. (10m.).. Feb. 19
W-681 Cleaning House— Cartoon (8m.) Feb. 19
M-674 Life in Sometown, U.S.A.— Minia. (11m.) .Feb. 26
C-735 Bear Facts— Our Gang (11m.) Mar. 5
M-675 An Optical Poem— Minia. (Tech.) Mar. 5
S-706 La Savate— Pete Smith (8m.) Mar. 12
T-658 Glimpses of New Brunswick — Trav. (8m.). Mar. 19
F-753 How To Figure Income Tax —
Robert Benchley (8 min.) Mar. 19
H-725 The Face Behind the Mask — Historical
Mysteries (11 min.) Mar. 19
C-736 Three Men in a Tub — Our Gang (10 m.) . .Mar. 26
W-682 Blue Monday — Cartoon (9 min.) Apr. 2
S-707 Penny's Party— Pete Smith (Tech.) (9m).. Apr. 9
C-737 Came the Brawn — Our Gang (11 min.) . . . .Apr. 16
T-659 Beautiful Budapest— Traveltalks (9 m.)... .Apr. 16
W-683 Poultry Pirates— Capt. Kid Cart. (9m).. Apr. 16
F-754 Music Made Simple — Benchley (8 m.) Apr. 16
W-684 The Captain's Pup — Captain cartoon Apr. 30
M-676 That Mothers Might Live — Miniatures Apr. 30
S-708 Modeling For Money — Specialties (10 m.) . .Apr. 30
C-738 Feed 'Em and Weep — Our Gang May 7
M-677 The Forgotten Step — Miniatures May 7
T-660 Rural Sweden — Traveltalks (8 min.) May 14
S-709 Surf Heroes— Specialties May 28
Metro-Goldwyn-Mayer — Two Reels
P-611 What Price Safety— Crime Doesn't Pay
(21 min.) Feb. 5
P-612 Miracle Money — Crime Doesn't Pay
(21 min.) Mar. 26
R-603 Billy Rose's Casa Manana Revue —
Musical (21 min.) Mar. 26
Paramount — One Reel
L7-4 Unusual Occupations No. 4 — (10m.) Feb. 11
A7-9 Listen to Lucas— Headliner (9}4m.) Feb. 18
E7-7 Learn Polikeness— Popeye (7m.) Feb. 18
V7-8 Gold !— Paragraphics (9m.) Feb. 25
R7-8 A Fascinating Adventure— Sport. (9y2m.) ..Feb. 25
T7-7 Be Up to Date— Betty Boop (6m.) Feb. 25
C7-4 The Tears of an Onion— Color Clas. (7m.) . .Feb. 25
P7-8 Paramount Pictorial No. 8— (9m.) Mar. 4
A7-10 The Star Reporter No. 3— Head. (9y2m.) .Mar. 11
E7-8 The House Builder-Upper — Popeye (6m.) .Mar. 18
J7-4 Popular Science No. 4— (lO^m.) Mar. 18
V7-9 Jungle Glimpses— Paragraphics (9 m.) Mar. 25
R7-9 Cops and Robbers— Sportlight (9l/2 m.) Mar. 25
T7-8 Honest Love and True— Betty Boop (8m) . .Mar. 25
SC7-4 Thanks for the Memory— Sc. Song (7 m.) . . Mar. 25
P7-9 Paramount Pictorial No. 9— (9y2 m.) Apr. 1
A7-11 Hall's Holiday— Headliner (9y2 m.) Apr. 8
E7-9 Big Chief Ugh-Amugh-Ugh— Popeye (7m) . .Apr. 15
L7-5 Unusual Occupations No. 5 — (10 min.) Apr. 15
V7-10 The Bike Parade— Paragraphic (9]/2 m.) . .Apr. 22
R7-10 Win, Place or Show— Sportlight (9^m.) . . Apr. 22
T7-9 Out of the Inkwell— Betty Boop (5y2 m.) Apr. 22
C7-5 Hold It— Color Classic (7 min.) Apr. 29
A7-12 Bob Crosby and His Orchestra —
Headl iner (10 min.) May 6
P7-10 Paramount Pictorial No. 10— (9 m.) May 6
J7-5 Popular Science No. 5 May 13
V7-11 Crime Fighters— Paragraphic May 20
R7-11 Red, White and Blue Champions—
Sportlight (9y2 min.) May 20
E7-10 I Yam Love Sick — Popeye May 20
T710 Swing School — Betty Boop May 27
SC7-5 You Leave Me Breathless— Screen Song.. May 27
84202
84602
84103
84402
84403
84203
84104
84204
84105
84106
84603
84205
84301
84107
84206
84302
84108
84604
84109
84207
84303
84110
84208
RKO — One Reel
Phoney Boy— Nu Atlas Musical (11m.) ...Oct. 15
Pathe Parade— (11m.) Nov. 5
The Old Mill— Disney cart. (9m.) Nov. 5
Murder in Swing Time— Condor (10m.) . .Nov. 19
Prairie Swingaroo— Musical (10m.) Nov. 19
Sweet Shoe— Nu Atlas Musical (11m.) Nov. 26
Pluto's Quinpuplets— Disney (8^m.) Nov. 26
Deviled Ham— Nu Atlas (10m.) Dec. 3
Donald's Ostrich— Disney cart. (9m.) Dec. 10
Lonesome Ghosts— Disney cart. (9m.) Dec. 24
Pathe Parade— (10m.) Jan. 14
A Radio Hook-Up— Nu Atlas (10m.) Jan. 28
White Magic— Sportscopes (10m.) Jan. 28
Self Control— Disney cart. (9m.) Feb. 11
Latin Rhythm— Nu Atlas (11m.) Feb. 18
In the Swim — Sportscopes (10m.) Feb. 18
Boat Builders— Disney cart. (7m.) Feb. 25
Pathe Parade— (10m.) Feb. 25
Donald's Better Self— Disney (8m.) Mar! 1]
No Sale— Nu Atlas (11m.) Mar. 11
Windward Way— Sportscopes (10m.) Mar. 11
Moth and the Flame — Disney (8m.) Apr. 1
Skyline Revue — Nu Atla9 (11m.) Apr. 1
84304 Swinging Mallets— Sportscopes (10m.) Apr. 1
84111 Donald's Nephews— Disney (8m.) Apr. IS
84209 Maids and Music— Nu Atlas (10 m.) Apr. 22
84605 Pathe Parade— (11 min.) Apr. 22
84305 Pinehurst — Sportscopes (9 min.) Apr. 22
84112 Mickey's Trailer— Disney cart. (8 m.) May 6
84210 Salt Shakers— Nu Atlas (11 min.) May 13
84306 Bit and Bridle— Sportscopes (10 m.) May 13
84113 Wynken, Blynken & Nod— Disney (8 m.) . . May 27
RKO — Two Reels
83107 March of Time— (19m.) Feb. 18
83801 Quintupland— Special (19m.) Feb. 18
83202 The Stupor-Visor— Radio Flash. (17m.) ..Feb. 25
83704 His Pest Friend— Leon Errol (18m.) Mar. 11
83108 March of Time— (19m.) Mar. 18
83404 False Roomers— Edgar Kennedy (17m.) ..Mar. 25
83502 Twenty Girls and a Band— Stuart (18m.) . .Apr. 8
83109 March of Time— (21 min.) Apr. la
83302 A Buckaroo Broadcast— Whitney (18 m.) . .Apr. 22
83705 Berth Quakes— Leon Errol (16 m.) May 6
83110 March of Time May 13
83405 Kennedy's Castle— E. Kennedy (17 m.).... May 28
83603 Not Yet Titled— Headliner June 3
83111 March of Time • • • • June 10
83203 The Photografter— Radio Play (15 m.) ... .June 17
Twentieth Century-Fox — One Reel
8513 His Off Day— Terry-Toon (6^m.) Feb. 4
8606 Songbirds of the North Woods— T. Chest
(10 min.) Feb. 11
8514 Just Ask Jupiter— Terry-Toon (6^m.) Feb. 18
8910 All's Fair— Song Hit (10m.) Feb. 25
8607 Sky Fishing— Treasure Chest (9^m.) Feb. 25
8515 Gandy the Goose— Terry-Toon (6y2m.) ....Alar. 4
8516 Happy and Lucky— Terry-Toon (6^m.) . . .Mar. 18
8610 Music from the Stars— Treas. Chest (11m) . .Mar. 25
8517 A Mountain Romance— T. Toon {6l/2 m.) .... Apr. 1
8608 Return of the Buffalo— Treas. Chest (10m) . . Apr. 8
8518 Robinson Crusoe's Broadcast — T. Toon
(6H min.) APr- "
8604 Kingdom for a Horse— Treas. Chest (10m) . .Apr. 22
8519 Maid in China— Terry-Toon (7 min.) Apr. 29
Twentieth Century-Fox — Two Reels
8303 Uncle Sol Solves It— Mirthquake (15^m.) . .Feb. 11
8116 Wanna Be a Model ?— Machamer (\6y2m.) . .Feb. 25
8308 Love and Onions— Timberg-Rooney(19^m) Mar. 11
8117 Beautiful But Dummies— West-Patricola
(17^ min.) Mar. 25
8309 Sing For Sweetie— Lee Sullivan (19 m.) Apr. 15
8118 Cute Crime— Jefferson Machamer (19 m.) . . Apr. 29
A2390
A2279
A2377
A2280
A2391
A2281
A2378
A2392
A2379
A2282
A2393
A2380
A2283
A2394
A2381
A2284
A2395
Universal — One Reel
Stranger Than Fiction No. 46— (9m.) Feb. 21
Yokel Boy Makes Good— Oswald (7m.) . . .Feb. 21
Going Places with Thomas No. 46— (9m.) .Feb. 28
Trade Mice— Oswald (7m.) Feb. 28
Stranger Than Fiction No. 47— (9m.) Mar. 14
Feed the Kitty— Oswald cart. (7m.) Mar. 14
Going Places with Tho's No. 47— (9^m.) .Mar. 21
Stranger Than Fiction No. 48— (8^m.) . . . Apr. 4
Going Places with Thomas No. 48— (9m) . .Apr. 11
Nellie, The Sewing Machine Girl — Oswald
(7Y2 min.) Apr. 11
Stranger Than Fiction No. 49— (Syi m.) . . Apr. 18
Going Places with Thomas No. 49— (9m) . . Apr. 25
Tail End— Oswald cartoon (7 m.) Apr. 25
Stranger Than Fiction No. 50— (9 m.) . . . .May 2
Going Places With Thomas No. 50— (9m) . .May 9
The Problem Child— Oswald cart. (7m).. May 16
Stranger Than Fiction No. 51— (9 m.) June 6
A2581
A2168
A2582
A2583
A2584
A2585
A2586
A2169
A2587
A2588
A2589
A2170
A2590
A2591
A 2592
New Worlds to Conquer — Flash Gordon's
Trip to Mars No. 1 (20 min.) Mar. 22
Somewhere in Paris — Mentone (17m.) ...Mar. 23
The Living Dead— Flash No. 2 (20m.) . . . .Mar. 29
Queen of Magic — t lash No. 3 (21 l/2m.) ...Apr. 5
Ancient Enemies — Flash No. 4 (19m.) Apr. 12
The Boomerang — Flash No. 5 (19>^m.) . . . Apr. 19
Tree-Men of Mars — Flash No. 6 (20 m.) . .Apr. 26
Latin Hi-Hattin'— Mentone (J7j4 m.) Apr. 27
Prison of Mongo — Flash No. 7 (21 m.) . . . . May 3
The Black Sapphire of Kalu — Flash No. 8
(19 min.) May 10
Symbol of Death — Flash No. 9 (20 min.).. May 17
High Jack N The Show— Mentone (17m) . .May 18
Incense of Forgetfulness — Flash No. 10
(19 min.) May 24
Human Bait— Flash No. 11 (20 min.) May 31
Ming the Merciless — Flash No. 12 (20m) . June 7
NJEWS iVEfcKL Y
NEW YORK
RELEASE DATES
Universal
Universal — Two Reels
A2167 Down on the Barn— Mentone (17m.) Feb. 23
A21 60 Breathless Moments— Special (19m.) ....Feb. 28
A2890 A Race for Fortune— Tyler No. 10 (21m.) .Feb. 28
A2891 No Man's Land— Tyler No. 11 (20m.) ....Mar. 7
A2892 The Kimberly Diamonds— Tyler No. 12
(21 min.) Mar. 15
3504
3304
3706
3205
3406
3505
3805
3905
3206
3709
3605
3908
3305
3407
3708
3507
3606
3806
3710
3906
3306
3408
3607
3807
3707
3409
3502
3907
3307
3608
3711
3808
3508
3410
3909
3609
3712
3308
3411
3510
3809
3713
3910
3309
3509
3714
3014
3026
3021
3009
3003
3015
3027
3010
3005
3022
3016
3028
3011
3023
3004
Vitaphone — One Reel
Land of the Kangaroo — Color-Tour (10>4m.) Dec. 18
Alibi Mark — True Adventures (13 m.) Dec. 25
Henry King and Orch. — Mel. Mast. (11m.) . .Dec. 25
Two Boobs in a Balloon — Bergen re. (10m.) .Jan. 1
Daffy Duck and Egghead— Mer. Mel. (7y2.) .Jan. 1
India's Millions — Color-Tour (10m.) Jan. 8
Ice Cream-Jockeys-Negligees — Pic. (10m.).. Jan. 8
Unreal Newsreel — Varieties (9m.) Jan. 8
Free and Easy — Bergen reissue (10m.) Jan. 15
Leon Navarro & Orch. — Mel. Mast. (11m.) . .Jan. 15
Porky's Poppa — Looney Tunes (7m.) Jan. 15
Ski Plight— Varieties (10m.) Jan. 22
The Bolted Door— True Adv. (13m.) Jan. 22
My Little Buckaroo— Mer. Mel. (7>/2m.) Jan. 29
Enric Madriguera & Orch. — Mel. M. (10m.) .Jan. 29
Malayan Jungles — Color-Tour (10m.) Feb. 5
Porky at the Crocadero — L. Tunes (7^m.).Feb. 5
Kellogg Ranch-Hockey-Shoes — Pict. (10m.). Feb. 5
Carl Hoff & Orch.— Mel. Mast. (10m.) Feb. 12
Alibi Time — Varieties (11m.) Feb. 12
Hit and Run — True Adventures (13m.) . . . . Feb. 19
Jungle Jitters — Mer. Melodies (7m.) Feb. 19
What Price Porky — L. Tunes (7y2m.) Feb. 26
Dogs-Billiards-Lithography — Pict. (10m.) .Mar. 5
Benny Meroff & Orch.— Mel. Mast. (11m.) .Mar. 5
Sneezing Weasel — Mer. Melodies (7m.) Mar. 12
What the World Makes— Color-Tour (10m) Mar. 12
Vitaphone Gambols — Varieties (lO^m-) ...Mar. 19
Shopgirl's Evidence — True Adv. (12j>£m.) . .Mar. 19
Porky's Phoney Express — L. Tunes (7m.). Mar. 19
Mike Riley & Orch.— Mel. Mast. (10m.) ...Mar. 26
Song Writers-Bowling-Rubber — Pict. (10m) Apr. 2
Crossroads of the Orient — Color-T. (10m.). Apr. 2
A Star Is Hatched— Mer. Mel. (8m.) Apr. 2
The Crawfords — Varieties (9y2m.) Apr. 9
Porky's Five and Ten — L. Tunes (7m.) . . . .Apr. 16
Rubinoff & His Violin— Mel. Mast. (10m).. Apr. 16
Dear Old Dad — True Adventures (12m) . . . .Apr. 16
Penguin Parade — Merrie Melodies (7y2m) . . Apr. 23
Toradja Land — Color-Tour (10 min.) Apr. 30
Silverware — Ice Btg. — Trains — Pictorial
Revues (9 min.) Apr. 30
Carl "Deacon" Moore & Orch. — Mel. Master
(10 min.) May 7
The Juggling Fool — Varieties (11 m.) May 14
Wanderlust — True Adventures (13 m.) May 14
Pearl of the East— Color-Tour (10 m.) May 21
Freddie Rich & Orch.— Mel. Mast. (11m).. May 28
Vitaphone — Two Reels
Here's Your Hat — Revues (21m.) Dec. 11
One on the House — Gay-Eties (20m.) Dec. 18
Wedding Yells — Murray-Oswald (21m.) ...Jan. 1
Script Girl — Headliners (21m.) Jan. 15
Romance Road — Tech. Prod. (19m.) Jan. 29
The Candid Kid— Revues (20m.) Feb. 12
Waiting Around — Gay-Eties (21m.) Feb. 26
Little Me— Wini Shaw (22m.) Mar. 5
Romance of Louisiana — Tech. (18m.) Mar. 12
Under the Wire — Comedy (20m.) Mar. 26
Got a Match — Revues (19 m.) Apr. 9
Hold That Ball— Gay-Eties (19 min.) Apr. 23
Forget Me Knots — Claire (Tech.) (21 m.)..May 7
Stocks & Blondes — Comedy (18 min.) May 21
Out Where the Stars Begin— Tech. (19 m.).. May 28
668 Saturday . .
669 Wednesday
670 Saturday . .
671 Wednesday
672 Saturday . .
673 Wednesday
674 Saturday . .
675 Wednesday
676 Saturday . .
677 Wednesday
678 Saturday . .
679 Wednesdav
680 Saturday ..
681 Wednesday
. May 21
. May 25
. May 28
June 1
June 4
June 8
June 11
June 15
June 18
June 22
June 25
June 29
July 2
July 6
Fox Movietone
72 Saturday May 21
73 Wednesday ...May 25
74 Saturday May 28
75 Wednesday ...June 1
76 Saturday June 4
77 Wednesday ...June 8
78 Saturday June 11
79 Wednesday . . June 15
80 Saturday June 18
81 Wednesday ...June 22
82 Saturday June 25
83 Wednesday ...June 29
84 Saturday July 2
85 Wednesday ...July 6
Paramount News
83 Saturday May 21
84 W ednesday . . . May 25
85 Saturday May 28
86 Wednesday ...June 1
87 Saturday June 4
88 Wednesday ...June 8
89 Saturday June 11
90 Wednesday ...June 15
91 Saturday June 18
92 Wednesday . . June 22
93 Saturday June 25
94 Wednesday ...June 29
95 Saturday July 2
96 Wednesday . . July 6
Metrotone News
270 Saturday ....May 21
271 Wednesday ..May 25
272 Saturday ....May 28
273 Wednesday . June 1
274 Saturday June 4
275 Wednesday .June 8
276 Saturday ...June 11
277 Wednesday . June 15
278 Saturday . . . June 18
279 Wednesday . . J une 22
280 Saturday June 25
281 Wednesday . June 29
282 Saturday . . . July 2
283 Wednesday ..July 6
Pathe News
85185 Sat. (O.) .May 14
85286 Wed. (E.) May 18
85187 Sat. (O.).. May 21
85288 Wed. (E.). May 25
85189 Sat. (O.).. May 28
85290 Wed. (E.) June 1
85191 Sat. (O.).June 4
85292 Wed. (E.).June 8
85193 Sat. (O.). June 11
85294 Wed. (E.).June 15
85195 Sat. (O.).. June 18
85296 Wed. (E.). June 22
85197 Sat. (O.). June 25
85298 Wed. (E.) June 29
85199 Sat. (O.).July 2
852100 Wed. (E.).July 6
Entered as second-dans matter January 4, 1921, at the post offloe at New York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States ?15.00 1R19 Harrison's Reports, Inc.,
U. S. Insular Possessions. 1G.50 Room lOli Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . ,, .. „, . _ . _ .
Great Britain 15.75 A Motion Picture Reviewing Service it-.i,im,*i T„l„ 1 i4i«
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
,r„ „ Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
„oc a <~opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, MAY 21, 1938 No. 21
SELZNICK PICTURES NOT TIED UP
WITH OTHER UNITED ARTISTS
PICTURES
In the issue of January 16, 1937, I made the state-
ment that, if an exhibitor wants to buy the Selznick
pictures and no other United Artists pictures, he may
do so.
Recently some exhibitors informed me that they
have tried to get them but that they could not do so
unless they bought other United Artists pictures along
with them, and I was asked to give them the source of
my information for that statement.
When I was in Hollywood in August, 1936, I called
on David Selznick at the Pathe-Culver City studios,
where he has been producing his pictures. In the course
of our conversation, Mr. Selznick told me that the sales
policy of Selznick International was to sell its pictures
to the exhibitors individually; that is, if an exhibitor
wanted to buy from United Artists Selznick pictures
and no others, he could do so, provided he met the
prices and the sales terms set on them for his theatre.
When 1 received the exhibitor inquiries, I communi-
cated with the Selznick organization, and again I have
been assured that what Mr. Selznick told me in August,
1936, is as true now as it was then.
There is no question in my mind that the United
Artists salesmen have instructions to sell the Selznick
pictures individually, if an exhibitor so wants them. If
there have been cases where they have refused so to
sell them, this may be owed to the over-zealousness of
such salesmen who, in order to make additional sales
and thus show a good record with the Home Office,
have not hesitated to violate their instructions.
I might add that, what is true of purchasing Selznick
pictures, is true of play-dating them and of receiving
them on the days booked for exhibition. In other words,
if you have any contractual controversy with United
Artists about a picture of any other producer, the
United Artists exchange has no right to withhold from
you a Selznick picture about which no controversy
exists.
If you arc one of those who wants to buy the Selz-
nick pictures alone but you have been told that you
cannot buy them unless you buy other pictures along
with them, I suggest that you communicate at once
with the United Artists Home Office, at 729 Seventh
Avenue, New York City. In case you can not get satis-
faction out of it, then you should communicate with
Mr. L. V. Calvert, New York representative of Selz-
nick International Pictures, Inc., at 230 Park Avenue,
New York, informing him of the facts. I am positive
that immediate attention will be paid to your complaint.
THE VALUE OF INSTITUTIONAL
ADVERTISING
Under the heading, "It's Lucky for America that
this man didn't take 'NO' for an answer," the insur-
ance companies, through their National Committee
for Life Insurance Education, have taken advertise-
ments in prominent newspapers throughout the coun-
try, with the object of bringing about a better under-
standing among the general public of "the institution
of life insurance."
The advertisements do not undertake to advertise
any particular company, but merely the insurance
business.
What has prompted such an action on the part of
the life insurance companies is, no doubt, the scandals
that recently involved industrial insurance: feeling that
these scandals either have affected or would eventually
affect all forms of insurance, conducted even by com-
panies that were not implicated in those scandals, they
have decided to resort to institutional advertising in
order that they might gain the public's good will.
It is, indeed, a praiseworthy act — that of attempting
to gain the good will of the public.
In the motion picture business there has been much
adverse publicity of many forms, the kind that could
not help affecting the theatres' box office receipts. But
no industry leader has yet thought of suggesting insti-
tutional advertising so as to offset its harmful effects.
Lately two incidents have occurred to require the
attention of the industry's leaders as to the need of
institutional advertising: the one has been Samuel
Goldwyn's interview; the other, Harry Brandt's cam-
paign against the "box-office poison" stars.
As to the former, this paper's views were expressed
in last week's issue, in which Mr. W. A. Steffes' letter
was reproduced with appropriate comments; as to the
latter, Harrison's Reports wishes to say that, without
minimizing the fact that some benefit has accrued to
the industry from this "explosion," coming as it came
immediately after the Goldwyn interview, it could not
help doing irreparable harm, for the public was made
self-conscious of the fact that the majority of the so-
called big pictures have been box-office failures. And
the greatest harm has been done to the small exhibi-
tors, who have under contract many pictures with the
stars that were criticized: you may imagine what will
be the effect at the box office on the days they play the
pictures of these stars!
It is true that, had these criticisms been made within
the industry, no attention would have been paid to
them, for the industry leaders have the habit of plug-
ging their ears to constructive criticism; it had to be
made in the daily press to gain any attention.
The industry leaders should think seriously of em-
ploying institutional advertising to offset the harmful
effects against the motion picture industry from these
and other cases of adverse publicity. They should
emulate the example of the insurance companies, lay-
ing their personal interests aside: when pictures are
publicized; when the public is told the benefits that are
accrued from going to pictures, no matter what com-
pany's pictures are played, good is done to everybody
engaged in one branch or other of the industry: no
manufacturer has ever been harmed when the wares of
all manufacturers are boosted collectively.
When the producers decide to resort to this sort of
advertising, they should select the medium that would
bring them the most benefit for each dollar expended.
And has there been a better medium than the news-
papers? The newspaper people have always been ready
and willing to fight the industry's battles. And they
give to it annually millions of dollars worth of free
publicity. If other mediums should be employed, no
one will regret it; but the medium that should be em-
ployed mainly should be the daily newspapers.
Let us make a start now, for it is now that this sort
of advertising is needed— to offset, more than anything
else, Samuel Goldwyn's unwise interview.
H2
HARRISON'S REPORTS
May 21, 1938
'•Romance on the Run" with Donald Woods
and Patricia Ellis
(Republic, June 8; time, 67!/2 min.)
Fair entertainment. The story offers nothing new and
is, for the most part, highly far-fetched; but since the
action is fast it holds one's interest to the end. Although it
is primarily a crook melodrama, it never takes itself too
seriously ; as a matter of fact, the comedy angle is its best
feature. Edward Brophy, as butler and assistant sleuth to
Donald Woods, a private detective, provokes most of the
laughter by his wisecracks. The romance is pleasant: —
When a valuable diamond necklace is stolen, Andrew
Tombes, whose insurance company was liable for the loss,
calls in Woods, a private detective, to handle the case.
William Demarest, police department inspector, resents
this, as does Patricia Ellis, Tombes' secretary, who felt
that Woods was a crook himself. Woods suspects Craig
Reynolds and Grace Bradley ; he goes to Reynolds' apart-
ment and, after a search, discovers what he believed to
be the necklace. After paying Woods $10,000 for having
recovered the necklace, Tombes discovers that he had
brought back a paste imitation. Woods is shocked when he
hears the news. In company with Brophy he starts to trail
the crooks. He is followed by Demarest, who was deter-
mined to arrest him, and by Miss Ellis, who mistrusted
him. She leads Woods into believing that she was a news-
paper reporter, and pesters him with questions. He and
Brophy try to lose her, but to no avail. They finally meet
the crooks, and after a hectic battle rush off in their car,
in which Miss Bradley had left her bag, which contained
the necklace. Miss Ellis accidentally finds the necklace,
which had been hidden in a jar of cold cream. Pursued by
Woods, Brophy and Demarest, she rushes back to the city.
They all wind up at the insurance office, where Miss Ellis
turns the necklace over to Woods, in order to give him the
credit. Woods proposes marriage to her, and she accepts.
Eric Taylor wrote the story, and Jack Townley, the
screen play ; Gus Meins directed it, and Herman Schlom
produced it. In the cast are Bert Roach, Leon Weaver,
Edwin Maxwell, and others.
Unsuitable for children. Class B.
"One Wild Night" with June Lang
and Dick Baldwin
(20th Century-Fox, June 10; time, 71 min.)
"Wild" is the word for this melodrama. But it is good
program entertainment, for the action is fast and occa-
sionally very comical. In spite of the fact that it is far-
fetched, it holds one in suspense, because of the melo-
dramatic-mystery twist, which is not cleared up until the
end. Many of the laughs are provoked by the agony suf-
fered by William Demarest, city editor, as the result of the
erroneous stories sent in by adventure-seeking June Lang,
a reporter. At one time fourteen libel suits are started
against the newspaper on one story she had sent in. The
romantic interest is kept in the background : —
Andrew Tombes, chief of police, is incensed because of
his inability to get clues on abduction cases involving
three prominent citizens in his town, who had disappeared
with large sums of money after abduction threats. Dick
Baldwin, Tombes' son, who had just completed three
months of criminology work in school, returns home to
give his father scientific aid, much to his father's disgust.
Baldwin is hounded by Miss Lang, a newspaper reporter,
who gets him into trouble by sending to her paper highly
exaggerated stories. Her editor discharges her at least
twice a day for her incompetence. But finally they get a
clue, and trail J. Edward Bromberg, the town banker, to
a deserted farm house. There they find the three missing
men, who confess that the abduction idea was a scheme
to get away from their wives in order to take a trip to the
South Sea Islands. But at the same time they discover
that Bromberg, who had been in league with them and who
was supposed to turn over $50,000 to each one from their
individual accounts, had planned to take the money him-
self instead, so as to cover up losses he had suffered in
gambling. With the case finished, Baldwin turns his atten-
tions to Miss Lang.
The plot was adapted from a story idea by Edwin D.
Torgerson ; Charles Belden and Jerry Cady wrote the
screen play, Eugene Forde directed it, and John Stone
produced it. In the cast are Lyle Talbot, Romaine Callen-
der, Spencer Charters, and others.
Suitability, Class A.
"Hold That Kiss" with Maureen O'Sullivan,
Dennis O'Keefe and Mickey Rooney
(MGM, May 13; time, 79 min.)
Here is delightful program entertainment. The story is
routine; but the performances are very good, and the
production far superior to that usually given program
pictures. There is hardly a dull moment ; the action is
fast, and the situations and dialogue laugh-provoking.
Mickey Rooney steals nearly every scene in which he ap-
pears. This time he is the heroine's annoying younger
brother, who imagines himself to be a first rate clarinet
player, annoying every one with his practicing. Needless
to say each time he appears there is something to laugh
about. The romance is charming : —
Dennis O'Keefe, clerk at a travel agency, and Maureen
O'Sullivan, a model at an exclusive gown shop, meet at
the home of millionaire George Barbier, who was giving
a wedding reception for his daughter. O'Keefe had gone
there to deliver the steamship tickets for the bride and
Miss O'Sullivan to check over the bride's trousseau. Each
one had thought that the other was a guest and, therefore,
wealthy and in society. When Miss O'Sullivan tells her
family about O'Keefe, who had given her his telephone
number, they, too, think he was wealthy ; and so they urge
her to go out with him. As a matter of fact, Mickey, pre-
tending to be the butler, calls up O'Keefe, thereby com-
pelling Miss O'Sullivan to talk to him. They meet and
both carry on the pretense of being wealthy. Miss O'Sulli-
van finally learns the truth and confronts O'Keefe at his
office, where she teases him. He, in turn, finds out about
her job and teases her by going to the gown shop, insisting
that she model dresses that he ostensibly wanted to buy
for his fiancee. Eventually they are happily united.
Stanley Rauh wrote the original story and screen play ;
Edwin L. Marin directed it, and John W. Considine pro-
duced it. In the cast are Jessie Ralph, Ed Brophy, Fay
Holden, Frank Albertson and Phillip Terry.
Suitability, Class A.
"The Saint in New York" with Louis
Hayward and Kay Sutton
(RKO, June 3; time, 12 min.)
Patrons who enjoy gangster melodramas will find this
engrossing program fare. It is lurid entertainment, to
say the least, for, during the unfolding of the story, there
are committed many murders. But, since it is the gangsters
who are murdered, the picture is not demoralizing, for it
really points out the moral that crime does not pay. The
plot is far-fetched ; but action-loving fans will probably
overlook this, for the action is fast and, for the most part,
thrilling. It seems likely that RKO intends to make a series
of pictures based on the activities of "The Saint," whose
single-handed fight against crime offers possibilities for
such a series : —
Louis Hayward, an international adventurer known as
"The Saint," is brought to New York by Frederic Burton,
head of a citizens' committee that had been formed to fight
crime. Hayward had become known for his daring accom-
plishments in wiping out criminal activity wherever he
went. Burton gives Hayward the names of six of the most
vicious criminals in the city, assuring him that he could
proceed in any way he saw fit to rid the city of the crimi-
nals. Hayward tracks down the men and shows no hesi-
tancy in killing them when the opportunity presented itself,
for he had felt that such was the only way to deal with
them. But his' desire was to get to the leader, whose iden-
tity was known only to one person, a young girl (Kay
Sutton), who was mixed up with the gang. Hayward falls
in love with Miss Sutton, as she does with him, and,
because of her desire to help him as well as to go straight,
she promises to point out the leader. It develops that this
leader w-as none other than Burton, whose scheme it was
to have Hayward kill all the criminal leaders so that he
would not have to share his loot with them. In a gun fight
between Burton and Hayward. in the presence of Miss
Sutton, both Burton and Miss Sutton are killed. Hayward
is heartbroken ; he leaves for another country.
The plot was adapted from the novel by Leslie Charteris ;
Charles Kaufman and Mortimer Offner wrote the screen
play, Ben Holmes directed it, and William Sistrom pro-
duced it. In the cast are Sig Rumann, Jonathan Hale, and
others.
Not quite suitable for children. Adult fare. Class B.
May 21, 1938
HARRISON'S REPORTS
83
"Blind Alibi" with Richard Dix,
Whitney Bourne and Eduardo Cianneili
(RKO, May 20; time, 61 min.)
A fairly good program melodrama. The story, although
far-fetched, is novel, and holds one's attention throughout.
Richard Dix is particularly likeable in the leading role.
Starring honors next to him must be given to Ace, a mar-
velously intelligent police clog, who plays an important
part in the story. During most of the picture Dix, in order
to carry out his plans, had to pretend that he was blind ;
with keen understanding, Ace, his companion, leads him
across streets and away from danger. The melodramatic
angle is the result of the efforts of gangsters to obtain what
Dix himself had been after. At times, the action is slow.
It is only towards the end that it really becomes exciting.
The love interest is pleasant : —
Dix, a sculptor in Paris, learns from his sister (Frances
Mercer) that she was being blackmailed by a man with
whom she had once been in love ; he had letters she had
written to him, which he threatened to publish unless she
gave him a large sum of money. Miss Mercer, realizing
that the publicity would ruin her husband, a French official,
pleads with Dix to help her. In an effort to get the letters
from the man's apartment, Dix enlists the aid of a friend,
but just as the friend was leaving the blackmailer enters
and chases after him. While passing an antique shop, he
drops the letters in a piece of furniture. Dix later learns
that the furniture had been shipped to a museum in Cali-
fornia. Knowing that he would not be permitted to handle
the furniture, Dix pretends to be blind; in that way he is
given permission to touch anything at the museum he de-
sired. Fduardo Cianneili, a gangster, who had heard about
the letters from the blackmailer, approaches Dix and,
unaware of his identity, offers him money to find the let-
ters. Dix finally finds them and immediately burns them.
The gangsters are caught. But Dix is sentenced to one year
imprisonment for having broken into the museum. Upon his
release, he finds Whitney Bourne, who had worked at the
museum, waiting for him.
William Joyce Cowan wrote the story, and Lionel
Houser, Harry Segall, and Ron Ferguson, the screen play;
Lew Landers directed it, and Cliff Reid produced it. In the
cast are Paul Guilfoyle, Richard Lane, and others.
Not particularly suitable for children. Better for adults.
Class B.
"Swiss Miss" with Stan Laurel, Oliver
Hardy, Delia Lind and Walter Woolf King
(MGM, May 20; time, 73 min.)
Mildly entertaining. Two or three sequences are comical ;
as a matter of fact they would have been perfect in a two-
reel comedy. But the story was not substantial enough for
a feature length picture, and so it had to be padded con-
siderably; for this reason it falls extremely flat in spots,
becoming tiresome. Many of the gags are old. The most
comical situation is that in which Laurel and Hardy move
a piano over a shaky bridge across a chasm. The other
two scenes that should provoke laughter are those in which
Laurel gets brandy from a St. Bernard dog by calling for
help, and where he and Hardy pour water into a pipe
organ from which bubbles emerge when Walter Woolf
King starts playing it. King and Delia Lind, a newcomer,
liandle the musical numbers well ; and the background of
the Swiss country is colorful: —
Laurel and Hardy, dealers in mousetraps, arrive at a
Swiss mountain inn. Having sold their wares for what
they thought was a considerable sum of money, they order
an expensive meal only to find that the money they had
been given was spurious. And so they are compelled to
stay at the hotel to do menial labor under the supervision
of a tyrannical chef. King, a composer, who had gone to
the hotel for peace so as to compose a new opera, is dis-
turbed when his wife (Miss Lind) arrives. He insists that
she leave. But she decides to stay on as a chambermaid, in
order to annoy him. Hardy falls in love with her and she
leads him on, so that he would help her in her plans to win
her husband over. Hardy is unhappy when he eventually
learns that she was married.
Jean Ncgulcsco and Charles Rogers wrote the story,
and James Parrott and Charles Melson, the screen play ;
John G. Blystone directed it, and S. S. Van Keurcn was
assoc iate producer. In the cast are Eric Blore, Aida Kuz-
netzofT, Charles Judcls, and others.
Suitability, Class A.
"Crime School" with Billy Halop,
Humphrey Bogart and Gale Page
(First Nat'l., May 28; time, 84 min.)
The marvelous performances by the six boys who played
in "Dead End" give this melodrama powerful box-office
appeal, in spite of the fact that the plot is routine. In effect,
it is a denunciation of the methods employed in reforma-
tory schools, but it puts over its arguments without re-
sorting to preachment. Some of the situations are pretty
strong ; particularly so is that in which Billy Halop, the
leader of the boys, tries to escape from the reformatory by
climbing a barbed wire fence. And the treatment in gen-
eral given the boys by the head of the institution is not
pleasant to see. But the sombreness is relieved by unusu-
ally good comedy, mainly by the wisecracks of the boys.
During the first fifteen minutes, the boys' actions and talk
keep the spectator laughing almost continuously. The ro-
mance is an important part of the story, for it is the cause
of the excitement in the closing scenes. One is in deep sym-
pathy with Humphrey Bogart, whose aid is the cause for
the boys' eventual regeneration.
In the development of the plot, six boys, Halop, Leo
Gorcey, Bobby Jordan, Huntz Hall, Gabriel Dell, and
Bernard Punsley, slum residents, drift into petty thievery
because of their surroundings and the lack of proper super-
vision. They are caught and sent to reform school, where,
under the supervision of a cruel superintendent (Cy
Kendall), they become really tough. Gale Page, Halop's
sister, is heartbroken because she felt that her brother,
given an opportunity, would amount to something. Upon
investigating conditions at the reformatory, Bogart, deputy
commissioner, realizes that Kendall's methods were wrong.
He discharges him as well as his vicious guards, and sets
about trying new and more humane methods. Kendall, in
conspiracy with a guard (Weldon Heyburn), plans to
break down Bogart's power. He does this by having one
of the boys lead Halop into believing that the reason why
Bogart had been good to him was because his sister had
given herself to Bogart. Halop and his five pals escape in
a car conveniently placed by Kendall, and rush to Miss
Gale's apartment. There Halop confronts Bogart with a
gun, which Kendall had left in the car. Bogart reasons
with him and makes him see how he had been double-
crossed. He rushes the boys back to the reformatory in
time to thwart the plans of Kendall to have him ousted.
(Jnder Bogart's influence, the boys change for the better;
when they are paroled they are ready to start life as de-
cent citizens. Bogart and Miss Page are united.
Crane Wilbur wrote the story, and he and Vincent
Sherman, the screen play ; Lew Seiler directed it, and
Bryan Foy produced it. In the cast are George Offerman,
Jr., and others.
Too strong for children. Adult fare. Class B.
"Air Devils" with Larry Blake
and Dick Purcell
(Universal, May 13 ; time, 60 min.)
Just a mild program comedy-melodrama, patterned along
familiar lines. It is one of those "Flagg-Quirt" stories, in
which two soldiers, this time attached to the Constabulary
service in the South Sea Islands, are constantly quarreling,
either about girls or about their respective assignments.
There is nothing outstanding either in the production or
the acting. It is only in the closing scenes that anything ex-
citing happens, and even that lacks realism. There is no
romantic interest : —
Larry Blake and Dick Purcell, both attached to the
Constabulary service in the South Sea Islands, are con-
stantly trying to outdo each other, both in their conquests
of women and in their official duties. They both win and
lose their Sergeant stripes, each one gloating over the
other when the demotion occurs. Both become attached to
Beryl Wallace, each one believing that he was the one
favored with her love. A bandit revolutionary leader tries
to take over the island and the constabulary supplies, in-
cluding guns. But he is prevented from doing so. Both
HIake and Purcell distinguish themselves by their bravery
in capturing the bandit leader, and receive medals and
promotion. They learn to their regret that Miss Wallace
was really in love with some one else and had just used
them to get to her sweetheart, who was at camp.
Harold Buckley wrote the story, and he and George
Waggncr, the screen play ; John Rawlins directed it. and
Paul Malvern produced it. In the cast are Mamo Clark,
Charles Brokaw, Minerva Urecal, and others.
There is nothing morally wrong with the picture. Class
A.
84
HARRISON'S REPORTS
May 21, 1938
AN APPRAISAL OF THE ABILITY
OF UNIT PRODUCERS— No. 5
This is the last article of the series.
Universal
Joe Pasternak, 2: "100 Men and a Girl" (Q-E::B-E-
VG) ; "Mad About Music" (Q-E : :B-Not Yet Reported).
In the 1936-37 season, he produced : "Three Smart Girls"
(Q-VG::B-E-VG).
Excellent showing.
Edmund Grainger, 7: "The Lady Fights Back" (Q-F:
B-F) ; "A Girl with Ideas" (Q-F::B-FP) ; "Prescription
for Romance" (Q-FP::B-F); "The Jury's Secret" (Q-
FG : :B-F) ; "Crime of Dr. Hallett" (Q-F::B-Not \\t
Reported); "Goodbye Broadway" (Q-F::B-Not Yet Re-
ported); "Nurse from Brooklyn" (Q-FG : :B-Not Yet
Reported).
In the 1936-37 season, he produced : "The Magnificent
Brute" (Q-G::B-G); "Flying Hostess" (Q-F: :B-GF) ;
"Breezing Home" (Q-F::B-FP); "We Have Our Mo-
ments" (Q-F::B-F); "Let Them Live" (Q-F::B-F);
"Oh Doctor" (Q-P::B-FP); "The Road Back" (Q-G::
B-VG-G).
Fairly good showing.
Buddy DeSylva, 2: "Merry Go Round of 1938" (Q-F:
B-GF); "You're a Sweetheart" (Q-G : :B-VG-G).
Fairly good showing.
E. M. Asher, 2: "Man Who Cried Wolf" (Q-F::B-
F) ; "Some Blondes Are Dangerous" (Q-FP::B-F).
In the 1936-37 season, he produced : "Two in a Crowd"
(Q-F::B-F); "Love Letters of a Star" (Q-F::B-F);
"She's Dangerous" (Q-F::B-FP); "As Good as Mar-
ried" (Q-FG: :B-GF) ; "Wings over Honolulu" (Q-F::
B-GF) ; "Love in a Bungalow" (Q-F::B-F) ; "Reported
Missing" (Q-F::B-FP).
Fair showing.
Paul Malvern, 3: "Idol of the Crowds" (Q-FG : :B-
FP); "The Spy Ring" (Q-FP : :B-FP) ; "State Police"
(Q-P: :B-Not Yet Reported).
In the 1936-37 season, he produced : "I Cover the War"
(Q-FG : :B-F).
Fair showing.
Trem Carr, 1: "The Midnight Intruder" (Q-G::B-
GF).
In the 1936-37 season, he produced: "Sea Spoilers" (Q-
FP::B-F); "California Straight Ahead" (Q-F::B-FP).
Fair showing.
Walter C. Mycroft, 1 : "Let's Make a Night of It"
(Q-F: :B-Not Yet Reported).
Fair showing.
Irving Starr, 3: "The Westland Case" (Q-FP::B-
FP) ; "The Black Doll" (Q-FP : :B-FP) ; "Lady in the
Morgue" (Q-FG::B-Not Yet Reported).
Fair to poor showing.
Lou Brock, 1: "Behind the Mike" (Q-P::B-FP).
In the 1936-37 season, he produced : "Top of the Town"
(Q-F::B-G).
Poor showing.
Robert Presnell, 2: "Carnival Queen" (Q-P::B-P);
"That's My Story" (Q-P::B-FP).
In the 1936-37 season, he produced "The Girl on the
Front Page" (Q-F::B-F) ; "Four Days Wonder" (Q-P:
B-FP) ; "Girl Overboard" (Q-FP: :B-FP) ; "When Love
Is Young" (Q-FG : :B-F) ; "Night Key" (Q-F::B-FP).
Poor showing.
SAM GOLDWYN'S GRATITUDE!
In last week's issue a discussion was made of the
effect the Goldwyn interview in the newspapers has
had upon the business. The reproduction of Mr. StefTes'
letter, answering Mr. Goldwyn's "kick" against the
quality of the pictures that have been released lately,
and the dark outlook so far as improvement is con-
cerned, was answered effectively by Mr. StefTes.
After reading Mr. Goldwyn's interview again, I gath-
ered the impression that he, in giving that interview,
sought to boost foreign pictures. He is making a deal
with Korda, the producer who is making pictures in
England with the backing of English capital and, in
my opinion, he felt that there was a chance for him to
introduce to the American public the pictures his com-
pany may handle.
If my assumption should be correct, then I take it
that Mr. Goldwyn did not hesitate to "sink" the Amer-
ican ship so that the foreign ship might remain afloat.
That's gratitude!
THE 1938-39 SEASON'S FORECASTER
BEGINS IN A WEEK
Within a week after you read these lines, mailing of
forecasts for the 1938-39 season will begin.
The check up of the forecasts for the 1937-38 season
showed an accuracy of 88.62%. Such an accuracy is,
indeed, noteworthy when one takes into consideration
that what is forecast is, not the finished material, but
the original material, whether it is a novel, a stage play
or a magazine story, before it is treated. In other words,
only the material in the raw is read.
As a matter of fact, some of the forecasts could be
lifted bodily and used as reviews; so accurate were they.
Some exhibitors say: "What's the use of my sub-
scribing to this service when I have to buy every pic-
ture that I can get?" The Forecaster service has not
been designed to help you buy product, but to let you
know whether the pictures which the salesman offers
you and which he praises to high heaven are as he
describes them or not. He knows about such pictures
only from what the home office tells him. With the infor-
mation supplied you by the Forecaster, you will be able
to give him a lesson. If you have to buy the pictures he
sells, you will at least be able to show him that some
of the pictures he sells as "Superspecials" will not
turn out to be even good program pictures. Conse-
quently, you will be able to make him come off his high
horse, to a certain extent, as far as prices go. The
cost of this service is so small as compared with the
benefit you may receive that you should not hesitate in
subscribing at once. No matter how little the benefit,
it will be more than its cost.
Subscription blanks for this service, giving the prices
for different types of theatres, were mailed to almost
all subscribers two weeks ago. If you have not received
a copy, ask for one.
"DO AS I SAY— NOT AS I DO!"
Pete Wood, business manager of The Independent
Theatre Owners of Ohio, has sent me the following
letter :
"I have just finished reading the item on page 76 of
your May 7th issue, 'Answer this, Mr. Sears!'
"Supplementing your article, exhibitors might be
interested to learn that the biggest 'Bank Night' oper-
ated in the State of Ohio is in the Warner Theatres,
at Springfield, where four (4) theatres are hooked up
by telephone. The ticket sale on 'Bank Night' day
commences early in the morning and continues through
until the hour of the drawing. All the foregoing irre-
spective of the fact that Warner operates every theatre
in Springfield with the exception of one 300 seat house."
Mr. Sears reminds me of the preacher who does not
follow his own preachment, saying to his congregation
in effect: "Never mind what I do! Don't do as I do;
do as I say!"
LOOK OVER YOUR FILES
While the issue of May 7 was being mailed, a few
copies of Section Two got mixed up with the copies of
Section One, so that some envelopes contained two
copies of Section Two, instead of one copy of each
Section.
Examine your files and if you find that you have
received two copies of Section Two, let us know and a
copy of Section One will be mailed to you by return
mail.
While looking into this matter, you might just as
well examine your file of Harrison's Reports more
thoroughly to see if there are copies of any other issue
missing so that you may order duplicate copies at the
same time. A sufficient number of copies of many old
issues is kept in stock for just such a purpose.
I5nt«r*d as seoerwl -class matter January 4, 1921, at the post offloe at New Yor»k, New York, under the act of Mar«h S, 18TS.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published "Weekly by
United States $15.00 P(Ynm1o19 Harrison s Reports, Inc..
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Mexico, Cuba, Spain 16.50 , „ _. . _ " . _ .
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35caCoDV Its EditoriaI Policy: No Problem Too Big for Its Editorial Circle 7-4622
p' Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, MAY 28, 1938 No. 22
THE NEELY BILL PASSED THE SENATE
The Neely Bill has, as you already know, passed the
Senate.
The news reached Pittsburgh Tuesday afternoon, May
17, and caused rejoicing among the exhibitors who were
attending the annual national Allied convention.
It is almost unbelievable that the exhibitors should have
succeeded in going as far as that, for their efforts have been
long and hard. It was in 1928 when a bill of this kind was
first introduced in the Senate, by Senator Brookhart.
That it should have taken so long for the exhibitors to
succeed should not surprise any one ; with the resources at
the disposal of the producers it is a wonder that they have
succeeded to have such a bill passed in the Senate at all.
The battle is not, of course, over; the House of Repre-
sentatives must pass it and the President must sign it
before it becomes a law. But, unless you relax your efforts,
there is no doubt that it will pass also the lower House.
The producers hope that there will be no time for the
House of Representatives to consider the Bill at this session ;
and unless the House passes it at this session, you will have
to do the work all over again at the next session. But Pete
Wood, business manager of The Independent Theatre
Owners of Ohio, feels that the House can pass it at this
session, and suggests that every one of you write to his
Congressman to vote for the Neely Bill S. 153, or under
whatever other number it may appear as a House Bill. And
Harrison's Reports suggests that you heed Pete's advice.
Many exhibitor leaders deserve credit for having kept up
the fight for the passage of the Bill year after year ; but the
one who deserves the most credit is Abram F. Myers,
chief council of Allied States Association. It was he who
led the fight and guided those who were taking part in
it, no matter whether they were exhibitors or only friends
from the outside.
Incidentally, the Bill passed the Senate with only one
minor change ; the second paragraph of Section 4, giving
the right to the exhibitor to cancel the contract if the
story of the finished picture did not conform with the
synopsis, was struck out at the suggestion, according to the
trade papers, of Senator Borah, lest this provision nullify
the entire bill ; the Senator said, according to the same
papers, that the law itself protects the contract holder when
the goods do not come up to the specifications.
A DISTRIBUTOR EXECUTIVE GAINING
EXHIBITOR GOOD WILL
W. F. Rodgers, head of distribution of Metro-Goldwyn-
Mayer, is beginning to get the notice of the independent
exhibitors, not as a head of the distributing department of
a big company, but as a man seeking sincerely to bring
about a better understanding between distributors and
exhibitors.
The first time that he came to the attention of the
organized exhibitors in that role was at the convention
of Allied Theatre Owners of the Northwest, in Minneapolis,
held on January 31, February 1 and 2. Mr. W. A. Steffes,
president of the organization, who had long been seeking
to persuade the distributors to make a last minute effort
to get together with the exhibitors, had the foresightedness
to invite him. And he was not disappointed, for Mr. Rodgers
made a deep impression among the exhibitors present as
desiring sincerely to accomplish something for the good of
the entire industry. He received a cordial reception from the
exhibitors.
The next time he appeared before an exhibitor body was
in Boston, at the Allied convention of that region last
month. Mr. Myers was, in fact, so impressed with Mr.
Rodgers' sincerity that he commented upon that fact to the
exhibitors, expressing the hope that Mr. Rodgers will
receive the backing that is due him from his own people.
The last time he appeared before exhibitors in the capa-
city of peacemaker was in Pittsburgh last week, at the
national Allied convention. And his reception was just as
warm as it was at the two preceding conventions.
Mr. Rodgers does not possess any magic tricks in his
ability to capture the exhibitor good will ; all the tricks he
possesses are sincerity and willingness to see the other
fellows' point of view.
Harrison's Reports hopes that the distributor side will
capitalize upon Mr. Rodgers' ability to get into the graces
of the independent exhibitors, particularly of the exhibitor
leaders, who have come to feel that what Mr. Rodgers
promises he delivers. The producers have been looking for
some way by which they could get together with the exhibi-
tors and in a sincere effort try to put an end to abuses and
bring about better relationship among the different industry
branches. Here's their chance.
Incidentally, Harrison's Reports wishes to say that
Mr. W. A. Steffes deserves great credit for having brought
Mr. Rodgers to the attention of all the other exhibitors.
THE VIEWS OF A NEW EXHIBITOR
BODY ON THE NEELY BILL
There has been a split in Southern California among the
independent exhibitors. Many progressive exhibitors, irked
by the apathy of the Independent Theatre Owners of
Southern California towards the Neely Bill and other press-
ing independent exhibitor matters, broke away and formed
The American Federation of Theatres.
The following is a statement that it has issued about the
passage of the Neely Bill :
"The Neely Bill, prohibiting block-booking and blind
selling, surprised everyone, including, perhaps, its sponsors,
by coming through the Senatorial furnace this week almost
unscorched. It is true that it had a couple of barnacles
grafted onto it (well, let's not say 'grafted,' let's say
'attached') but it will serve its purpose pretty well for all
that.
"And if anyone thinks that getting a bill like that through
ANY legislative body, let alone the United States Senate,
isn't a superman-sized job, let him pick some controversial
piece of legislation, the simplest he can find to begin with,
take it by its little hand and try to lead it through the
crystal maze of having it enacted into law. He'll learn
some things that he won't particularly like and he will come
away marveling that any piece of legislation beneficial to
the people who pay the bills, that is to say, the bewildered
taxpayers, is ever able to survive and become a law.
"He'll be amazed at the brazen wire-pulling and leg-
pulling; the coatroom conferences; the phony organization
set-ups ; people, on the payroll of privilege, who cloak their
activities under the guise of Presidents, Secretaries and the
like of well-known clubs and associations; (in the motion
picture situation may be found 'independent' theatre owner
associations controlled lock, stock and barrel by producers ;)
midnight poker parties . . . ; the back-patting ; the threats
of reprisals in his campaign for re-election if he doesn't
play ball : the taken-for-granted 'you vote my way on my
bill and I'll vote your way on yours' procedure; the 'publie-
be-damned' attitude; the dust thrown in the eyes of the
honest legislators . . .) ; the persistent pressure from a
thousand different sources and in a thousand different
( Continued nn last papc)
86
HARRISON'S REPORTS
May 28, 1938
"Yellow Jack" with Robert Montgomery
and Virginia Bruce
(MGM, May 27; time, 83 min.)
Metro is deserving of praise for the intelligent and
sincere way in which they have presented the subject
of the fight waged by American doctors and soldiers
after the Spanish-American war, in an attempt to wipe
out the dread yellow fever disease that was raging in
Cuba. And praise too must go to the performers. Rut
it is entertainment mainly for serious-minded audiences,
for it is doubtful if the masses will find the subject
matter to their tastes. There is no denying that the
story is absorbing, but at the same time it is depres-
sing. The constant reference to the disease, the scenes
of suffering and death, and the drabness of the back-
ground are hardly conducive to relaxation and enjoy-
ment. Of course, the heroism of five soldiers in offering
themselves to the doctors for experimental work is in-
spiring; it is also the source of some excellent comedy
bits. The most amusing part of the picture is brought
about by the wisecracks made by Sam Levene, known
as "Busch," who, together with two other soldiers,
had been placed in a dirty, smelly room as part of the
experimental work. The love interest is of slight im-
portance:—
Major Reed (Lewis Stone) and his assistants, after
a year of intensive experimental work, find themselves
no further advanced in the discovery of the cause and
cure of yellow fever than when they had started. Fol-
lowing a new theory offered by Dr. Finlay (Charles
Coburn), that a certain mosquito was the germ carrier,
they continue with their experimental work along that
line; but they needed men for the work since animals
could not be infected. Sergeant O'Hara (Robert Mont-
gomery), an easy-going Irishman, and his four buddies
finally offer themselves. Two of them get the fever but
are cured, since the doctors knew how to fight it.
Through their bravery, the cause and cure is discov-
ered and the disease is finally conquered. Montgomery
had, in the meantime, fallen in love with Frances Blake
(Virginia Bruce), a nurse connected with Major Reed's
outfit; he promises to give up wandering about in order
to marry her.
The plot was adapted from the play by Sidney How-
ard in collaboration with Paul de Kruif; Edward
Chodorov wrote the screen play, George B. Seitz
directed it, and Jack Cummings produced it. In the
cast are Andy Devine, Henry Hull, Buddy Ebsen,
Henry O'Neill, Janet Beecher, and others.
Suitability, Class A.
"Main Event" with Robert Paige
and Jacqueline Wells
{Columbia, May 5; time, 55 min.)
A fair program murder mystery melodrama. The
only thing that makes it acceptable screen fare is the
fact that the action is fast; the story is extremely far-
fetched, to the point where at times it is almost ridicu-
lous. It is evident that an attempt was made by the
producer to copy in some manner the comedy idea of
"There's Always a Woman," by making the detective's
girl friend a scatter-brained pest; but as it turned out
it remained just an idea. There is, however, plentiful
gun and fist fighting to satisfy the action fans: —
Paige, a detective, in company with his girl friend
(Jacqueline Wells), goes to see a heavyweight cham-
pionship bout. Arthur Loft, the fight promoter, is
shocked when he receives word that the champion had
been kidnapped, and that a $20,000 ransom was de-
manded for his return. Paige is called to Loft's office,
where he is given the details. Loft pleads with him to
help him out of the mess. Paige decides to drive the
car to the spot designated by the kidnappers, and to
take with him one of the ushers to turn over the money.
Miss Wells dresses in an usher's outfit and hides in the
car. Paige is furious when he realizes that she had taken
the usher's place; but they had to go through with the
plans. When she turns the bag over to the kidnappers
they force her into their car. Paige and his men start
out in search of the gang; this leads them into many
exciting situations. Paige finally solves it, by proving
that the champion had had himself kidnapped, so as
to make some easy money without fighting for it. The
money is returned to Loft, and the champion is forced
to go into the ring. He is knocked out in the first round.
But Paige and Miss Wells don't mind, for they had had
an exciting enough evening.
Harold Shumate wrote the story, and Lee Loeb, the
screen play; Danny Dare directed it, and Ralph Cohn
produced it. In the cast are John Gallaudet, Thurston
Hall, and others.
Not for children. Class B.
"Cocoanut Grove" with Fred MacMurray
and Harriet Hilliard
(Paramount, May 20; time, 90 min.)
Although not spectacular in production or novel in
story, this musical has enough ingredients for mass
appeal. It has some very good tunes, comedy and ro-
mance. It is all right while it sticks to music, but the
moment the plot emerges the action drags, for the story
is far-fetched and at times pretty silly. The Yacht Club
Boys, Ben Blue, and Rufe Davis go through the same
old gags, the same old routines as in their other pic-
tures, with the result that their appeal is directed
mainly towards their fans. Fred MacMurray is at a
slight disadvantage because of the negative role he
enacts; but as usual he acts with ease, handles the ro-
mantic interest effectively, and sings well: —
MacMurray and the members of his band are on the
verge of disbanding due to their inability to get a de-
cent booking. Inspired by Harriet Hilliard, tutor to
MacMurray's adopted boy (Billy Lee), they decide to
stick together in an effort to get to California in order
to try out for the unknown band contest conducted by
the famous Cocoanut Grove. After hardships and amus-
ing experiences, they finally land there. Through a
mixup in connections, another band is picked instead of
MacMurray's, which was the one that the owner had
actually listened to. On the night of the new band's
debut, MacMurray learns about the mixup. He rounds
up his musicians and gets to the Grove in time to stop
the other band from going on. His band and enter-
tainers are wildly acclaimed. With their future assured,
MacMurray and Miss Hilliard plan to marry.
Sy Bartlett and Olive Cooper wrote the story and
screen play; Alfred Santell directed it, and George M.
Arthur produced it. In the cast are Eve Arden, Harry
Owens and orchestra, and others.
Suitability, Class A.
"The Devil's Party" with Victor McLaglen,
William Gargan, Paul Kelly and
Beatrice Roberts
(Universal, May 20; time, 65 min.)
A fairly good program gangster melodrama, with a
sentimental touch; this is brought about by the friend-
ship existing between four men and a girl since their
childhood days. One of the men (Victor McLaglen)
turns out to be a racketeer, owner of a night club, one
(Paul Kelly) a priest, and the other two (William
Gargan and John Gallaudet) policemen. The girl
(Beatrice Roberts) is a singer at McLaglen's club. The
spectator is held in suspense, knowing that in some way
friendship would conflict with duty. Despite McLag-
len's activities, one feels pity for him when he becomes
the indirect cause of Gallaudet's death. Knowing that
his henchmen had left damaging evidence at the scene
of a murder, and hearing that Gallaudet was suspicious
and intended to investigate, McLaglen orders them to
go back to the scene of the crime and get rid of the
evidence; he promises to hold Gallaudet at his night
club until the work was done. But Gallaudet manages
to get way and surprises the criminals at their work.
They kill him. Gargan, through investigation, realizes
McLaglen's guilt and is determined to kill him. He is
stopped by Kelly. The murderers, eager to get rid of
both McLaglen and Gargan, plan to bring them to-
gether; at the point of a gun they force McLaglen to
accompany them to a robbery; they had tipped off
Gargan in advance. ButMcLaglen redeems himself by
stepping in front of Gargan, receiving the bullet in-
May 28, 1938
HARRISON'S REPORTS
87
tended for Gargan by the murderers. He dies in the
presence of the three remaining friends, who are in
tears. Gargan and Miss Roberts are united.
Borden Chase wrote the story, and Roy Chanslor,
the screen play; RayMcCarey directed it, and Edmund
Grainger produced it. In the cast are Frank Jenks,
Samuel Hinds, and others.
Unsuitable for children. Class B.
"Numbered Woman" with Sally Blane,
Lloyd Hughes and Mayo Methot
{Monogram, May 22; time, 63 min.)
This melodrama is good program entertainment.
Well-written, directed, and acted, it holds one's atten-
tion throughout, due to the sympathy one feels for the
heroine in her attempt to obtain evidence to clear her
brother. Sally Blane acts the heroine's part convinc-
ingly, and is an appealing character. The lighter touch
is given the picture by Mayo Methot, as the gangster's
moll; her wisecracks are certain to provoke hearty
laughter. There is exciting action throughout, particu-
larly in the closing scenes, which hold one in tense
suspense. The love interest is subdued: —
When Sally Blane, head nurse at a small-town hos-
pital run by her doctor sweetheart (Lloyd Hughes),
finds out that her brother (John Arledge) had been ar-
rested on a charge of stealing bonds from his firm,
she rushes to his side. She is convinced, from the story
he tells her, that he was the innocent victim of an or-
ganized gang of crooks. With the help of the police
inspector (J. Farrell MacDonald), she manages to get
in with the gang by obtaining a position as private
nurse to the leader (Clay Clement), who had under-
gone a serious operation. He falls in love with her and
confides in her. Her work is disrupted for a time by
Miss Methot, the girl friend of Morgan Wallace, one of
the crooks; Miss Methot does not trust her. By means
of a false charge which was part of the plan, Miss Blane
is arrested. The lawyer for the crooks, wanting to get
Miss Methot out of the way, manages to get her ar-
rested; the two girls are cellmates. When Hughes ar-
rives to bail out Miss Blane, which was not part of
the plan, Aliss Blane sees a chance to win Miss Methot's
confidence; she induces Hughes to bail out Miss
Methot, too. She then goes to the hideout with her.
In the meantime, the lawyer, learning who Miss Blane
really was, rushes to the hideout. Clement is disap-
pointed in Miss Blane, and plans to kill her. But when
Wallace tries to kill her, Clement protects her; in a
gun fight, both he and Wallace are killed. The rest of
the gang is rounded up. With the evidence she had ob-
tained, Miss Blane clears her brother. She and Hughes
are united.
John T. Neville wrote the story and the screen play,
Karl Brown directed it, and E. B. Derr produced it
with Frank Alelford as associate producer. In the cast
are Ward Bond, Robert Fiske, and others.
Not for children. Suitability, Class B.
"Hunted Men" with Lloyd Nolan,
Mary Carlisle and Lynne Overman
(Paramount, May 27; running time, 66 min.)
This gangster melodrama is good program entertain-
ment. The story is a little different in that, instead of
concentrating on the activities of the gangsters, it
shows the regeneration of a killer under the influence
of a normal, decent American family. The plot is some-
what far-fetched; nevertheless it holds one's attention
well mainly because of the sympathy one feels for
Lynne Overman and his wife, who innocently become
involved with the killer. It has its share of comedy
and human appeal; also a constant undercurrent of ex-
citement caused by the danger to the members of the
family. The closing scenes are thrilling: —
Lloyd Nolan, racketeer leader, kills Larry Crabbe,
night club owner, who had double-crossed him. Know-
ing that a waiter had seen him leave, Nolan realizes
that he must hide. While crossing the street, he is
knocked down by the automobile driven by Overman,
a simple business man, who had become intoxicated at
a business convention dinner. He pretends to be one
of the men Overman had met at the dinner, and in that
way gets him to invite him to his home; as a matter of
fact, Overman was glad to have company because he
was afraid to face his wife (Dorothy Peterson). Nolan's
henchmen, having folowed Overman's car, telephone
Nolan and insist that he remain at Overman's home,
where no one would think of looking for him. Nolan
makes his identity known to Overman and his wife,
who are shocked; he promises protection for them and
their two children providing they would not talk. Mary
Carlisle, the daughter, becomes infatuated with Nolan,
but he disillusions her, sending her back to the arms of
her young sweetheart (Johnny Downs). But the young
son (Delmar Watson) worships Nolan, and even takes
him into his "G-Man" organization. Through a snap-
shot that Delmar had taken of Nolan, the police trace
him to the hideout. They surround the house and
threaten to shoot unless Nolan would leave. Having
been regenerated by his association with the family and
not wishing to see them come to harm, he leaves by
the front door and is killed by the police. Delmar cries
bitterly upon learning Nolan's identity.
The plot was based on the play by Albert Duffy and
Marian Grant; Horace McCoy and William R. Lipman
wrote the screen play, Louis King directed it, and
Stuart Walker produced it. In the cast are J. Carrol
Naish, Anthony Quinn, Regis Toomey, and others.
Unsuitable for children. Class B.
"Little Miss Thoroughbred" with John Litel,
Ann Sheridan and Janet Chapman
(Warner Bros., June 4; time, 63 min.)
Fair program entertainment; it mixes comedy with
heart appeal. The story is slightly reminiscent of "Little
Miss Marker," in that a child is the cause of the regen-
eration of a hard-boiled gambler, who at first thinks
of her only as some one who brings him luck. The
child is played by Janet Chapman, a newcomer, who
shows remarkable talent for one so young; her charm-
ing little ways, wistful manner, and expressive eyes
touch one's heartstrings. There are a few situations
that bring tears to the eyes. The most effective scene
is that which takes place in a courtroom where the child
weepingly pleads with the Judge, who tried to tell her
the gambler was not her father, to say that he was
making a mistake. Comedy is provoked by the wise-
cracks and slang expressions employed by Frank
McHugh. The love interest is pleasant: —
Janet, an orphan, dreams of a father who would some
day call for her and take her away from the orphanage.
She runs away in an effort to find him. Bewildered by
the traffic and the noise, she faints; a policeman calls
for an ambulance. John Litel, a race track gambler, and
his pal (McHugh), who had just pawned their watches
to place a bet on a horse, eager to get to the track in
time, follow the ambulance. When they are stopped by
a policeman, McHugh pretends that they were follow-
ing the ambulance in which Litel's child was being
taken to the hospital. The policeman escorts them to
the hospital; Janet hears something said about her
father and greets Litel with kisses, thinking he really
was her father. Litel is compelled to take her home
with him. When his luck changes for the better, he
feels that Janet was the cause of it; in time he grows to
love her. He marries Ann Sheridan, a former night club
singer, in order to keep up appearances; but he eventu-
ally realizes he loved her. The authorities catch up with
him, his wife, McHugh, and Janet, and arrest the three
adults on a kidnapping charge. At the trial, Janet's
tears and refusal to believe that Litel was not her
father so move the jury that they dismiss the case.
Litel promises to give up gambling, and legally adopts
Janet.
Albert DcMond wrote the story, and he and George
Hricker, the screen play; John Farrow directed it, and
Bryan Foy produced it. Robert Homans, Eric Stanley,
Jean Benedict, and others are in the cast.
Not particularly suitable for children. Class R.
88
HARRISON'S REPORTS
May 28. 1938
ways that is engineered by well-heeled lobbyists makes it
easily understandable why it takes so long to crash through
with any needed legislation for the public good.
"So what has been accomplished in Washington in the
matter of this protective piece of legislation which has just
gone through the Senate merits the hearty acclaim and
grateful recognition of every independent theatre owner in
the country. What if the bill should not get through the
House this session and would consequently have to be
revived when the Legislature convenes again? There's no
reason for discouragement in that. Rome wasn't built in
a day and neither was any exhibitor's business. Both re-
quired patient planning and waiting and working, as well
as repeated disappointments.
"The AMERICAN FEDERATION OF THEATRES
goes on record as stating, without fear of successful contra-
diction, that the elimination of block-booking and blind
selling would be the healthiest thing that could happen right
now to the motion picture business. Entirely aside from the
unquestioned stimulant to the ailing box-offices of the
country it would be the greatest single thing that could
happen to the interests of the very people who are now fight-
ing it teeth and toe-nail, the producers. It would have the
almost immediate effect of cleaning out the dead timber
that is now clogging the production machinery and has
slowed it down to a walk ; the useless relatives, the aimless
executives, the horde of incompetents in every line ; it would
strip the studios down to fighting trim where ability to
produce results would be the only recognized yardstick
and would result in new highs being set for quality enter-
tainment.
"If Hollywood could and would see its possibilities, and
live up to them, it would open up a brand new era in the
amusement business.
"If it doesn't, and that mighty soon, well— Quien sabe?"
The Pacific Coast Showman, commenting on the situa-
tion, said the following in its May 20th issue:
"Here in the Southern California district, the ITO group
is maintaining a more or less neutral attitude on the question,
with no action having ever been taken either to approve or
condemn the measure while it was up before the Senate.
Leaders of the Independent exhibitors organization have
withheld comment on the Neely bill, but the rank and file
of the ITO freely approve and equally condemn it at about
the same ratio.
"James C. Quinn, managing director of the new Amer-
ican Federation of Theatres recently launched here, is in
hearty accord with the bill, and in a statement issued yester-
dav. he says in part, 'The AFOT goes on record as stating
that the elimination of block-booking and blind selling
would be the healthiest thing that could happen right now
to the motion picture business. . . ."
The division of opinion among the independent exhibitors
is, it is assumed, owed to bad exhibitor leadership.
BOX-OFFICE PERFORMANCES OF
1937-38 SEASON'S PICTURES— No. 1
This is the fourth series of articles giving the box-office
performances of 1937-38 season's pictures. The first series
was printed beginning with the October 23 issue; the
second, beginning with the December 18 issue ; and the
third, beginning with the March 5 issue.
Columbia
"Wide Open Faces," with Joe E. Brown and Jane Wy-
man, produced by David E. Loew and directed by Kurt
Neumann, from a screen play by Earle Snell, Clarence
Marks, and Joe Bigelow : Good-Poor.
"Heroes of the Alamo," with Edward Piel and Ruth
Findlay, directed by Harry Fraser, from a screen play by
Roby Wcntz : Fair-Poor.
"Who Killed Gale Preston," with Don Terry and Wyn
Cahoon, produced by Ralph Cohn and directed by Leon
Barsha, from a screen play by Robert E. Kent and Henry
Taylor : Fair-Poor.
"Start Cheering," with Walter Connolly, Jimmy Dur-
ante, Charles Starrett, and Joan Perry, produced by Nat
Perrin and directed by Albert S. Rogell, from a screen
play by Eugene Solow, Philip Rapp and Richard Worm-
ser : Good-Poor.
"Rolling Caravans," with John Luden and Eleanor
Stewart, directed by Joseph Levering, from a screen play
by Nate Gatzert : Fair-Poor.
"Making the Headlines," with Jack Holt, Craig Rey-
nolds, and Beverly Roberts, produced by Larry Darmour
and directed by Lewis D. Collins, from a screen play by
Howard J. Green and Jefferson Parker : Fair-Poor.
"Woman Against the World," with Ralph Forbes, Alice
Moore and Edgar Edwards, produced by Lew Golder and
directed by David Selman, from a screen play by Edgar
Edwards : Fair-Poor.
"The Lone Wolf in Paris," with Francis Lcderer and
Frances Drake, produced by Wallace MacDonald and di-
rected by Albert S. Rogell, from a screen play by Arthur
T. Horman : Good-Fair.
"When G-Men Step In," with Don Terry, Robert Paige
and Jacqueline Wells, produced by Wallace MacDonald
and directed by C. C. Coleman, Jr., from a screen play by
Arthur T. Horman: Fair-Poor.
"The Overland Express," with Buck Jones and Mar-
jorie Reynolds, directed by Drew Ebcrson, from a screen
play by Monroe Shaff : Good- Poor.
"Flight into Nowhere," with Jack Holt, Dick Purcell
and Jacqueline Wells, produced by Larry Darmour and di-
rected by Lewis D. Collins, from a screen play by Jefferson
Parker and Gordon Rigby : Fair.
"There's Always a Woman," with Joan Blondell and
Melvyn Douglas, produced by William Perlberg and di-
rected by Alexander Hall, from a screen play by Gladys
Lehman: Very Good-Poor (mostly good).
"Extortion," with Scott Colton and Mary Russell, pro-
duced by Ralph Cohn and directed by Lambert Hillyer,
from a screen play by Earl Felton : Fair.
"Call of the Rockies," with Charles Starrett and Iris
Meredith, produced by Harry L. Decker and directed by
Allan James, from a screen play by Ed Earl Repps : Fair-
Poor.
Thirty-eight pictures have already been released. Group-
ing the pictures of the different ratings (including West-
erns) from the beginning of the season, we get the follow-
ing results :
Excellent, 2; Very Good-Poor, 1; Good-Fair, 3; Good-
Poor, 4; Fair, 10; Fair-Poor, 17; Poor, 1.
The first 38 of the 1936-37 season, excluding Westerns,
were rated as follows :
Excellent, 1 ; Very Good, 1 ; Very Good-Good, 1 ; Good,
4; Good-Fair. 4; Good-Poor, 1; Fair, 5; Fair-Poor, 13;
Poor, 8.
First National
"A Slight Case of Murder," with Edward G. Robinson,
Jane Bryan, Ruth Donnelly and Willard Parker, produced
by Sam BischofF and directed by Lloyd Bacon, from a
screen play by Earl Baldwin and Joseph Schrank : Excel-
lent-Good (mostly good).
"Fools for Scandal," with Carole Lombard and Fernand
Gravet, produced and directed by Mervyn LeRoy, from a
screen play by Herbert Fields and Joseph Fields : Fair-
Poor.
"Women Are Like That," with Kay Francis and Pat
O'Brien, produced by Robert Lord and directed by Stanley
Logan, from a screen play by Horace Jackson : Fair-Poor.
"Beloved Brat," with Dolores Costello, Bonita Gran-
ville, and Donald Crisp, produced by Bryan Foy and di-
rected by Arthur Lubin, from a screen play by Lawrence
Kimble : Fair-Poor.
"Torchy Blane in Panama," with Lola Lane and Paul''
Kelly, produced by Bryan Foy and directed by William
Clemens, from a screen play by George Bricker : Fair-
Poor.
"Adventures of Robin Hood," with Errol Flynn, Olivia
DeHavilland, Basil Rathbone and Claude Rains, produced
by Henry Blanke and directed by Michael Curtiz and
William Keighley, from a screen play by Norman Reilly
Raine and Seton I. Miller : Excellent-Very Good.
Twenty-two pictures have already been released. Group-
ing the pictures of the different ratings from the beginning
of the season, we get the following results :
Excellent- Very Good, 1 ; Excellent-Good, 2 ; Very
Good-Good, 2; Good, 3; Good-Fair, 3; Fair, 6; Fair-
Poor, 5.
The first 22 of the 1936-37 season, excluding Westerns,
were rated as follows :
Very Good-Good, 3 ; Good, 3 ; Good-Fair, 4 ; Good-Poor,
1 ; Fair, 4 ; Fair-Poor, 5 ; Poor, 2.
ICeiersxS as »ec»r.« -class matter January 4, 1S21, at the post oflloe at New Tor*, New York, un&er th* act of March 3, 1ST».
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Vol. XX bA'l'U KUaY, JUNE 4, 1938 No. 23
WILL THE PRODUCERS EVER
LEARN A LESSON?
According to authoritative information, the producers
have found a new way of putting pressure on the exhibitors.
Whenever an exhibitor goes to an exchange to ask for a
favor, he receives the following reply, not in the words
given but in the spirit : "If you want me to grant this re-
quest of yours, sign this letter and send it to your Congress-
man." And the form letter, which requests the Congressman
to vote against the Neely Bill, is ready for the exhibitor
to copy.
Such a pressure has been brought, it seems, against the
independent circuits the most, for, according to an infor-
mant of mine, the managers of a circuit have been requested
to write letters to their Congressmen.
I have no doubt that Allied States will bring this matter
to the attention of every Congressman, just as it did in the
case where a list of senators was supplied to every im-
portant producer-member of the Hays Association, with a
request to bring pressure upon those senators for the de-
feat of the Neely Bill. What this paper desires to record
is the fact that the producers do not seem to have learned
their lesson. They do not realize that a new kind of wind
is blowing — that the legislators in Washington are inclined
to listen to the voice of the voters more carefully and be
guided by such a voice. Do they doubt it? Let them study
what happened in Washington last week, when Congress-
man Pettengill rose on a question of personal privilege and
spoke about the Neely Bill. A Congressman remarked to
Mr. Pettengill: "Who is against this Bill? I thought that
there was no one opposing it" (not in these words but in
this meaning).
The best thing the producers can do is to discard their
former ideas and start doing things in a different way, a
more human way. And that way is by conferring with ex-
hibitor representatives with a view to settling the industry
problems amicably, fairly and justly. They must, however,
be prepared to give, if they want to be given. Without such
a change of point-of-view, no amicable adjustment of these
problems can be arrived at. Above all, they must put their
propaganda machine into disuse.
THEY DO THINGS IN ENGLAND!
For several years a group of persons representing Amer-
ican interests in Great Britain met for luncheon in a private
room of the famous Soho restaurant to discuss and decide
upon the grading of American films for release there. The
grades were "A" and "B." The "B's" could be obtained at
a flat rental basis ; the "A's" only on percentage.
Strangely the day on which these interests met coincided
with the announcement of new film programs.
It was on that day that they decided, without consulting
those who were affected most directly, the exhibitors, that
programs were too long, that the two-feature bill was de-
structive to their business, that one feature, along with the
shorts required, should be sufficient for the admission prices
generally charged, and many other related problems.
As you see, in England there isn't such a law as the
Sherman Act, or the Clayton Act, and they can make such
decisions without committing an act of conspiracy.
The exhibitors there resented this arbitrary grading of
pictures and, after standing it as long as they could, decided
to revolt.
Through their organization, the Cinematograph Exhibi-
tors Association of Great Britain, they started a fight.
Their first move was to notify the representatives of the
American distributors to change their tactics; then they
held regional, or provincial, meetings. And while doing
these tilings, they took the daily press into their confidence
and asked its support. And the press, to a paper almost.
took the side of the exhibitors, acquainting the public with
the facts, and criticising the American producers' methods.
And what do you think has happened? The distributors,
if one is to assume that the dispatches in the New York-
trade papers are correct, have capitulated.
The American exhibitors should take a leaf out of the
British exhibitors' book. If they should have acted as the
British exhibitors have acted, the Neely Bill would have
been a law several years ago, and there would have been a
theatre-divorce measure in almost everv state of the Union
by this time. Instead of acting together, however, as the
British exhibitors have acted, they allowed the producers
to lead them into believing that a bill such as the Neely Bill
will prove destructive to their interests. They did not stop
to count the number of exhibitors that have been driven out
of business since the producers went into theatre operation
on a wholesale scale ; they did not stop to think of the fact
that only two independent producer-distributors have been
left ; they did not bring back to their mind the number of
major companies that were in existence ten years ago and
the number that exist now ; they failed to enumerate the re-
strictions they have placed upon the purchase of film —
the percentage terms, the number of films demanded on
percentage, the preferred playing time, the clearance, and
above all their inability to buy film at a suitable run when
there is an affiliated theatre in competition with them. Thus
they caused a delay in the passage of the bill to outlaw
block-booking and blind-selling, the enactment into law of
which would have signalized the beginning of better days
for the independent exhibitors.
Such has been the short-sightedness of some exhibitors
that I have seen one of them, a leader, on the one hand
protesting against the intolerable conditions imposed by the
distributors, and on the other, taking a stand against the
Neely Bill.
The American exhibitors should learn a lesson from the
action of the exhibitors in Great Britain.
ANOTHER BLOW AT THE PRODUCERS
When the U. S. Supreme Court remanded the case of
United States v. Interstate Circuit ct ai, in which the
Dallas District Court had entered a decree against the
defendant, to the District Court in Texas for findings of
fact and law, the producers heralded this fact through the
trade papers as a victory for the defendant producers.
In accordance with the recommendation of the U. S.
Supreme Court, Judge Atwell, the District Judge who tried
the case, has just made formal findings. These must have
shocked the master strategists of the producers ; they are
so sweeping that it is doubtful whether the defendants will
take an appeal. If they should take such an appeal, all they
could possibly accomplish would be to add the U. S.
Supreme Court's approval to the damaging findings and
decree of the Dallas District Court. (Just before going to
press, the trade papers announced that an appeal will be
taken.)
Here are a few extracts from Judge Atwell's "Findings
of Fact, and Conclusions of Law" :
Under, "Conspiracy"
"21. . . . The most important issue in the case was
whether the distributor defendants, in agreeing with Inter-
state to impose restrictions, acted pursuant to an agreement
or understanding among themselves, and facts material to
this issue were within the ]>eculiar knowledge of the
superior officials.
"22. From the facts set forth in findings 12 to 21, inclu-
sive, and particularly from the unanimity of action on the
part of the distributor defendants, not in one respect only,
I ( ontinued on last f>aoe)
90
HARRISON'S REPORTS
June 4, 1938
"Gangs of New York" with Charles
Bickford, Ann Dvorak
and Wynne Gibson
(Republic, May 16; time, 67 min.)
A fast-moving gangster melodrama. Despite a some-
what far-fetched plot, it holds one in tense suspense
throughout. The acting and production values are good,
and the direction intelligent. What makes it exciting is
the fact that Charles Bickford (the hero), a police
officer, who was the image of a notorious gangster
(played also by Bickford), imprisoned for tax-evasion,
takes the gangster's place as head of the gang in order
to get the information to break up the racketeering
ring. There are many thrilling situations, which are
caused by the danger to Bickford, who had to be care-
ful not to give himself away. One is in deep sympathy
with him because of his courage in the face of danger: —
On the day that the gangster was to be released from
prison, the warden, working with police officials, locks
the gangster up in a secret cell. In his place is released
Bickford, the police officer, who was the image of the
gangster. Having studied the gangster's ways, manners,
and speech, he felt capable of fooling the members of
the gang. And things work out as he had planned. The
only one who had some suspicion is Wynne Gibson,
who could not understand the supposed gangster's cool-
ness to her, considering their former intimacy. She is
enraged when Bickford pays attention to Ann Dvorak,
a night club singer, whose brother had joined the gang.
Bickford finally gets the gangster leaders together;
they turn over their secret records to him. According
to plans, the police were supposed to raid the place.
But the gangster, aided by a bribed guard, escapes and
confronts Bickford at the hideout before the police raid.
The gangsters jump on Bickford, ready to kill him.
But the police arrive in time to save him and round up
the gang and their leaders; one of the gangsters, mis-
taking the escaped gangster for the police officer, kills
him. With the case finished and his identity revealed,
Bickford proposes to Miss Dvorak, who accepts him.
Her brother decides to go straight.
Sam Fuller wrote the story, and Wellyn Totman,
Sam Fuller, and Charles Francis Royal, the screen
play; James Cruze directed it, and Armand Schaefer
produced it. In the cast are Alan Baxter, Harold Huber.
Willard Robertson, Maxie Rosenbloom, and others.
Unsuitable for children. Adult fare. Class B.
"Gold Diggers in Paris" with Rudy Vallee,
Rosemary Lane and Allen Jenkins
(Warner Bros., June 11 ; time, 96 min.)
Although up to the level of the previous "Gold Dig-
gers" as far as production values are concerned, this
version lacks star names of box-office value. The story,
as is usual in musicals of this type, is thin, the stress
being laid on the music and comedy. Some of the tunes
are good, and are put over well by Rosemary Lane
and Rudy Vallee; they should strike the public's fancy.
For a novelty, there is the Schnickelfritz Band, whose
antics and ability as musicians will please the fans. The
romance is of the routine type, with misunderstandings
and final reconciliation: —
Hugh Herbert is sent by the French Government to
America to sign the American Ballet Company to ap-
pear in the dance competition that was to be held at the
Paris Exposition. Upon his arrival in America, he takes
a taxi and asks to be taken to the ballet company. The
taxi driver, thinking that he wanted the Club Bailee,
takes him there. Vallee and Allen Jenkins, owners of
the club, who were on the verge of bankruptcy, are
amazed at Herbert's offer. They know that he was mis-
taking them for the ballet company, but decide to take
their chances at being found out in the hope that they
would win the prize. Vallee engages a ballet master
and his one pupil (Miss Lane) to help train the girls.
But the head of the American Ballet finds out about
the trick; his sponsor (Ed Brophy), a gangster, leaves
for Paris to shoot it out with Vallee; he takes the real
company with him. In the meantime, Vallee and Miss
Lane fall in love with each other. Once in Paris, the
hoax is uncovered and Vallee and his troupe are thrown
out of the hotel. Vallee's divorced wife, who had been
the cause of a separation between the lovers, finally
decides to help out. She forges records, thereby lead-
ing the police to deport Brophy and the real American
Ballet Company instead of Vallee and his dancers. This
gives Vallee his chance, and his dancers come through
the winners. Vallee and Miss Lane are reconciled.
jerry Wald, Richard Macaulay and Maurice Leo
wrote the story from an idea by Jerry Horwin and
James Seymour; Earl Baldwin and Warren Duff wrote
the screen play, Ray Enright directed it, and Sam
Bischoff produced it. In the cast are Gloria Dickson,
Melville Cooper, Mable Todd, Fritz Feld, and others.
Suitability, Class A.
"Three Comrades" with Robert Taylor,
Franchot Tone, Margaret Sullavan
and Robert Young
(MGM, June 3; time, 97% min.)
This tragic drama has powerful emotional appeal; but
its theme is extremely depressing. Consequently, it will
have to depend on the drawing power of the stars for
its box-office appeal. There are situations that tear at
one's heart; as a matter of fact, there is throughout an
undertone of tragedy, futility, and hopelessness, putting
one in an unhappy, restless frame of mind. One is in
deep sympathy with the four leading players because of
their courage and ideals; the way in which the friends
stick together under all circumstances is inspiring. The
outstanding performances are given by Margaret Sulla-
van and Franchot Tone, who act their parts with deep
understanding. The background is post-war Germany.
The picture has been produced expertly.
In the development of the plot, three friends (Taylor,
Tone, and Young) return after the war to their home-
land, Germany, only to find that restlessness, poverty,
and lawlessness had taken the place of peace and sanity.
They open a repair shop and manage to keep them-
selves fed and clothed. But their hopes rise when they
meet Miss Sullavan, whom the war had stripped of
wealth and family, for she seemed to give them a reason
for living. She and Taylor fall in love; the two friends
urge them to marry. She confides to Tone that she was
suffering from a lung ailment, but he pleads with her
to marry Taylor any way and snatch what happiness
she could. She becomes desperately ill during the honey-
moon. The friends sell their repair shop, and even their
prized automobile in order to get money to send her to
a sanitarium. Young, who had become connected with
a political organization, is killed by a sniper. After a
search, Tone finds the killer and shoots and kills him.
Miss Sullavan, who had undergone a serious operation
which required her to lie perfectly still, realizing that
she would be a burden for the rest of her life, purposely
gets up from the bed and walks; she later dies in her
husband's arms. Tone and Taylor decide to go to South
America to try their luck.
The plot was adapted from the novel by Erich Maria
Remarque; F. Scott Fitzgerald and Edward E. Para-
more wrote the screen play, Frank Borzage directed it,
and Joseph L. Mankiewicz produced it. In the cast are
Lionel Atwill, Guy Kibbee, Henry Hull, and others.
Morally suitable. Class A.
June 4, 1938
HARRISON'S REPORTS
91
"Kidnapped" with Warner Baxter,
Freddie Bartholomew and
Arleen Whelan
(20th Century-Fox, May 27; time, 90 min.)
A fairly good melodrama, centering around the Scot-
tish rebellion during the 18th Century. It may do very
well at the box-office because of the name values of the
stars and of the publicity Miss Whelan has been re-
ceiving. Although it lacks real tense excitement, owing
to a rather choppy script, there is enough in it to please
the average picture-goer — romance, adventure, and
human appeal. One's attention is held mainly because of
the sympathy one feels for Freddie, a lad with princi-
ples, who becomes innocently involved with the leader
of the rebels and meets with many mishaps before he
comes into possession of an inheritance rightfully due
him. A few of the situations hold one in tense sus-
pense. One such situation is where Freddie's con-
niving uncle tries to send the boy to his death. The
romance is fairly appealing: —
Alan Breck (Warner Baxter), leader of the Scottish
rebels who were fighting against the cruel tax system
the English had imposed on them, is enraged when one
of his men kills a tax collector. The only witness to the
shooting was David Balfour (Freddie), who was on his
way to his uncle's castle. Breck is, therefore, compelled
to take David with him. David at first hates Breck, for
he believed that the rebels were criminals, but associa-
tion with Breck makes him change his mind. Breck
insists that the man who had killed the tax collector
must leave the country but, when the man insists that
he would not leave without his fiancee Jean MacDonald
(Miss Whelan), Breck promises to bring the girl to
him at an appointed place. He and David travel with
Jean and escape detection. David bids them goodbye, to
go to his uncle's castle, promising not to talk. He is
shocked at his uncle's attempt to kill him and learns,
for the first time, that he was the rightful owner of the
•estates. His uncle plots with an unscrupulous Captain
to shanghai David; the plan works. Again David meets
Breck, who was travelling with Jean towards their
■destination. The Captain finds out who Breck was; but
before he could do anything, Breck, Jean, and David
escape. With the help of Breck, David comes into
rightful possession of his estates. But Breck is caught.
Through David's intervention, Breck's sentence is com-
muted from hanging to exile. But Breck is not too un-
happy for he and Jean had fallen in love with each other
and, since her fiancee had run away without her, had
decided to marry.
The plot was adapted from the novel by Robert Louis
Stevenson; Sonya Levien, Eleanor Harris, Ernest
Pascal and Edwin Blum wrote the screen play; Alfred
Werker directed it, and Kenneth Macgowan produced
it. In the cast are C. Aubrey Smith, Reginald Owen,
John Carradine, Nigel Bruce, and others.
Suitability, Class A.
"Blond Cheat" with Joan Fontaine
and Derrick DeMarney
(RKO, June 17 ; time, 61 min.)
This silly comedy won't mean much at the box-office.
In addition to a weak story, the players, with the excep-
tion possibly of Joan Fontaine, are practically unknown
to American audiences. The majority of the players are
British and speak with a decided English accent; this
gives one the feeling that the picture was produced in
England instead of in Hollywood. The story lacks
human appeal, for no one does anything to awaken
sympathy. And the comedy is, for the most part, so
forced that it fails to arouse laughter: —
Cecil Kellaway is eager to break up his daughter's
(Lilian Bond's) romance with Derrick DeHarney, a
clerk in his office, whom his wife (Cecil Cunningham)
considered desirable because of good family bark-
ground. By promising to put up the money for a show,
Kellaway induces a producer and his star (Miss Fon-
taine) to enter into a scheme to compromise DeMarney.
They do this by inducing DeMarney to give them a
loan on earrings worn by Miss Fontaine. After the
money had been turned over, they inform DeMarney
that the earrings could not be removed and, therefore,
he would have to keep Miss Fontaine under his care
until the loan was repayed. This naturally complicates
matters and brings about a break between DeMarney
and Miss Bond. Eventually DeMarney learns about
the scheme and is happy, for he had fallen in love with
Miss Fontaine, who loved him; they are united.
Aladar Laszlo wrote the story, and Charles Kauf-
man, Paul Yawitz, Viola Brothers Shore and Harry
Segall, the screen play; Joseph Santley directed it, and
William Sistrom produced it. In the cast are Robert
Coofe, Olaf Hytten, and others.
It is a little suggestive in spots; best suited for
adults. Class B.
"Holiday" with Katharine Hepburn,
Cary Grant, Doris Nolan
and Lew Ayres
(Columbia, June 15 ; time, 94 min.)
Lavishly produced and capably acted and directed,
this comedy-drama, which was first made by Pathe in
1930, with Ann Harding as the star, will direct its
greatest appeal to class audiences. The story has been
modernized by the addition of dialogue pertaining to
present conditions; but somehow it lacks the vitality
of its predecessor. Its one drawback, as far as the
masses of today are concerned, is the fact that the story
is developed entirely by dialogue; there is very little
action. Yet, it is, in its way, good entertainment, for it
has human appeal, comedy, and pathos; and it has been
produced in the best of taste. One is in deep sympathy
with the hero, the heroine, and the heroine's brother,
three persons who suffer because of misunderstanding.
The ending pleases one considerably: —
When Doris Nolan, daughter of a millionaire banker
(Henry Kolker), introduces her family to Cary Grant,
a young self-made man with whom she had fallen in
love, she brings great happiness to her sister (Katha-
rine Hepburn), who hated the stuffiness and formality
of their existence. Both Miss Hepburn and her brother
(Lew Ayres) were different from the usual type of rich
children, in that they longed for independence and
wanted to associate with real people. Everything goes
smoothly until Grant makes his plans known; it was
his intention to marry Miss Nolan and go with her on
a spree as long as his money would last, for he wanted
to enjoy life while he was still young; after that he
would settle down to work. But Miss Nolan and her
father both object to such an idea, for Kolker was all
set to take him into his firm. In the meantime, Miss
Hepburn, who had fallen deepely in love with Grant,
pleads with her sister to do what Grant wanted; but
her sister asks her to mind her own business. Grant is
willing to compromise by going to work in the bank;
but when Kolker again becomes insistent about plans
for the honeymoon and about where the couple should
live, Grant realizes she was not meant for such a life
and breaks the engagement. He leaves to join his two
dearest friends who were sailing that night for Europe.
Miss Hepburn, realizing that her sister had never really
loved Grant, bids her family goodbye and rushes after
Grant; he is happy to see her.
The plot was adapted from the play by Philip Barry;
Donald Ogden Stewart and Sidney Buchman wrote the
screen play, George Cukor directed it, and Everett
Riskin produced it. In the cast are Binnie Barnes, Ed-
ward Everett Horton, Jean Dixon, Henry Daniell, and
others.
Suitability, Class A.
92
HARRISON'S REPORTS
June 4, 1938
but in many different respects wherein, apart from the
agreement, diverse action would inevitably have resulted,
I find that the distributor defendants agreed and conspired
among themselves to take uniform action upon the pro-
posals made by Interstate and that they agreed and con-
spired with each other and with Interstate to impose the
restrictions requested by Interstate upon all subsequent
run exhibitors in Dallas, Forth Worth, Houston and San
Antonio. . . ."
Under, "The Effect of the Conspiracy" :
"25. . . . The effect of the restrictions upon the low-
income members of the community patronizing the theatres
of these exhibitors was to withhold from them altogether
the best entertainment furnished by the motion picture
industry.
"26. . . . The attendance thus deflected from subsequent
run theatres to Interstate's first run theatres [compelling
the subsequent run exhibitors to charge 25< admission
whereas Interstate charged 40?] has reduced the income
of the subsequent run exhibitors and there is no evidence
that such loss in income has been offset by the higher scale
in admission prices which, because of the restrictions, some
of the subsequent run theatres have adopted. Since the li-
cense fees which the distributor defendants charge Inter-
state for exhibiting feature pictures in its first run theatres
are generally based upon a percentage of Interstate's re-
ceipts from these pictures, the increased income which
Interstate has received because of the restrictions has also
increased the income of the distributor defendants."
"27. Defendant Hoblitzelle sought legal advice before
he began crusading for the contracts. The attorney advised
him that since distributors were copyright owners, they
would have a right to enter into such stipulation with his
company."
Under, "Conclusions of Law" :
"2. All of the distributor defendants by acting pursuant
to a common plan and understanding in imposing the re-
strictions as to minimum night adult admission price upon
subsequent run exhibitors in the cities of Dallas, Houston.
Fort Worth and San Antonio, for the season 1934-1935 and
seasons subsequent thereto, suggested by Interstate, Ho-
blitzelle and O'Donnell, engaged in a combination and con-
spiracy in restraint of trade and commerce with Interstate,
Hoblitzelle and O'Donnell, and with each other.
"3. (Editor's Note: This paragraph deals with double
features and finds all the defendants with the exception of
Vitagraph, .Inc., MGM, and MGM of Texas, as having
entered into a combination and conspiracy in restraint of
trade.)
"6. The restraint of interstate commerce affected by the
united exercise by the distributor defendants of their in-
dividual monopolies respecting the exhibition of their copy-
righted feature pictures is not within any privileges or
immunities conferred by the copyright law.
"12. . . . Such undue and unreasonable restraint of inter-
state commerce is not within any privilege or immunity
conferred upon the distributor defendants by the copyright
law since the restraint was the product, not solely of the
exercise of each defendant distributor's copyright privi-
lege, but of a combination between it and Interstate fixing
the terms upon which the distributor defendant would
grant to competitors of Interstate license to exhibit certain
feature pictures after Interstate's license privilege to ex-
hibit these pictures had expired. . . ."
What is most interesting among Judge Atwell's "Con-
clusions of Law" is his remarks about the rights of the
copyright owners of films. Read those remarks carefully.
Harrison's Reports regrets that, for lack of space, it
cannot print the entire decision. But it will refer to it again
in subsequent issues.
In the opinion of this paper, the best thing the producers
can do is to have this decision printed with a view to
sending a copy to every one of their salesmen and branch
managers, with express instructions that they read it care-
fully and digest it ; they will make their field representa-
tives so careful that they will save themselves much
trouble in the future.
Jack Conway, from a screen play by Malcolm Stuart
Boylan, Walter Ferris, and George Oppenheimer : Excel-
lent-Good.
"Arsene Lupin Returns," with Melvyn Douglas, Vir-
ginia Bruce, and Warren William, produced by John W.
Considine, Jr., and directed by George Fitzmaurice, from
a screen play by James Kelvin McGuinness, Howard Em-
mett Rogers, and George Harmon Coxe : Good-Fair.
"Merrily We Live," with Constance Bennett, Brian
Aherne, and Billie Burke, produced by Milton H. Bren and
directed by Norman Z. McLeod, from a screen play by
Eddie Moran and Jack Levine : Very Good-Fair.
"The First Hundred Years," with Robert Montgomery,
Virginia Bruce, and Warren William, produced by
Norman Krasna and directed by Richard Thorpe, from a
screen play by Melville Baker: Very Good-Poor.
"Girl of the Golden West," with Jeanette MacDonald
and Nelson Eddy, produced by William Anthony McGuire
and directed by Robert Z. Leonard, from a screen play by
Isabel Dawn and Boyce DeGaw : Very Good-Fair.
"Judge Hardy's Children," with Lewis Stone, Mickey
Roonev, and Cecilia Parker, directed by George B. Seitz,
from a' screen play by Kay Van Ripper: Very Good-Good.
• "Test Pilot," with Clark Gable, Myrna Loy, and Spencer
Tracy, produced by Louis D. Lighton and directed by
Victor Fleming, from a screen play by Vincent Lawrence
and Waldemar Young : Excellent.
Twenty-nine pictures have already been released. Group-
ing the pictures of the different ratings from the beginning
of the season, we get the following results :
Excellent, 1; Excellent-Good, 1; Very Good-Good, 9;
Very Good-Fair, 2; Very Good-Poor, 1 ; Good, 6; Good-
Fair, 8; Fair, 1.
The first 29 of the 1936-37 season were rated as follows :
Excellent, 2 ; Very Good, 2 ; Very Good-Good, 1 ; Good,
2; Good-Fair, 2; Good-Poor, 1; Fair, 10; Fair-Poor, 5;
Poor, 4.
RKO
BOX-OFFICE PERFORMANCES OF
1937-38 SEASON'S PICTURES— No. 2
Metro-Goldwyn-Mayer
"A Yank at Oxford," with Robert Taylor and Maureen
O'Sullivan, produced by Michael P.alcon and directed by
"Maid's Night Out," with Joan Fontaine and Allan
Lane, produced by Robert Sisk and directed by Ben
Holmes, from a screen play by Bert Granet : Fair-Poor.
"Hawaii Calls," with Bobby Breen and Warren Hull,
produced by Sol Lesser and directed by Edward F. Cline,
from a screen play by Wanda Tuchock: Good-Poor.
"Condemned Women," with Sally Eilers, Louis Hay-
ward and Anne Shirley, produced by Robert Sisk and di-
rected by Lew Landers, from a screen play by Lionel
Houser: Good-Poor.
"This Marriage Business," with Victor Moore, Allan
Lane, and Vicki Lester, produced by Cliff Reid and di-
rected by Christy Cabanne, from a screen play by Gladys
Atwater and J. Robert Bren : Good- Poor.
"Joy of Living," with Irene Dunne and Douglas Fair-
banks, Jr., produced by Felix Young and directed by Tay
Garnett, from a screen play by Gene Towne, Graham
Baker and Allan Scott: Excellent-Good.
"Go Chase Yourself," with Joe Penner and Lucille Ball,
produced by Robert Sisk and directed by Edward F. Cline,
from a screen play by Paul Yawitz and Bert Granet : Good-
Poor.
"Law of the Underworld," with Chester Morris, Anne
Shirley, and Walter Abel, produced by Robert Sisk and
directed by Lew Landers, from a screen play by Bert
Granet and Edmund L. Hartman : Good-Poor.
"Gun Law," with George O'Brien, produced by Bert
Gilroy and directed by David Howard, from a screen play
by Oliver Drake : Good-Poor.
1936-37
"Bringing Up Baby," with Katharine Hepburn and Cary
Grant, produced by Cliff Reid and directed by Howard
Hawks, from a screen play by Dudley Nichols and Hagar
Wilde: Excellent-Fair.
Thirty-one pictures have already been released in the
1937-38' season. Grouping the pictures of the different
ratings from the beginning of the season we get the fol-
lowing results :
Excellent-Good, 2; Good-Fair, 5; Good-Poor, 6; Fair,
5; Fair-Poor, 11 ; Poor, 2.
The first 31 of the 1936-37 season were rated as follows :
Very Good-Good, 2 ; Good, 1 ; Good-Fair, 6 ; Fair, 10 ;
Fair-Poor, 8 ; Poor, 4.
TCr.l«r*<5 as second -class matter January 4, 1921, at the post office at New Yonk, New York, under the act of March Z, 1ST».
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Circle 7-4622
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, JUNE 11, 1938 No. 24
NO FORMAL ACTION BY INTERSTATE
COMMITTEE ON NEELY BILL
Having read in the papers a statement attributed to Hon.
Clarence F. Lea, Chairman of the House Committee on
Interstate and Foreign Commerce to the effect that the
Neely Bill has no further chance of being passed by the
House at this session of Congress, I telegraphed to him on
June 2 as follows :
"Newspapers carry a statement attributed to you that
Neely Bill is dead for this session. This publication under-
stood numerous members of Committee favored action on
Bill. Please wire for publication whether your statement
was based on formal action of Committee."
Having received no reply the following day, I tele-
graphed to him again, as follows :
"Important I receive reply to yesterday's telegram to you.
Must know whether or not your statement to press yester-
day was based on formal action of the Committee. Must
send copy to compositor Monday latest."
The next morning I received the following reply :
"Committee has not yet taken any formal action on
Neely Bill."
It is unfortunate that the Chairman of the Committee
should have given to the newspapers such a statement
without making it clear that it was not the result of any
formal action on the part of the Committee, for a state-
ment of this kind, made without any explanation, would
no doubt have the tendency of causing the friends of the
Bill to relax their efforts for its passage at this session.
Allied should immediately take steps to acquaint the
organizations that are working for the passage of the Bill
of the facts, as clarified to this paper by the Chairman.
THE CASE OF RKO'S "BRINGING UP
BABY"
I have been asked by exhibitors whether "Bringing Up
Baby," the RKO picture with Katharine Hepburn in the
leading role, is or is not a 1936-37 release.
According to the RKO national release schedule, "Bring-
ing Up Baby" is a 1936-37 release; it has been earmarked
by the number 739, and was released February 18. But
whether holders of the 1936-37 RKO contracts are entitled
to it, that is a matter that depends on certain conditions.
Here are these conditions :
The RKO contract ran for 18 months from the day the
first picture was play-dated in accordance with the terms
of the contract, and covered such pictures as were "gener-
ally released" between September 1, 1936, and Auerust 31
1937.
The contract, however, specified that, if between Sep-
tember 1, 1936, and August 31, 1937 the distributor should
not have "generally released" some of the pictures that
were to be designated by RKO as 1936-37 productions, the
contract holder had, nevertheless, to accept such pictures if
they should be released not later than December 31, 1937,
unless such contract holder notified RKO, in writing, not
later than September 10, 1937, that he did not want such
pictures.
Since "Bringing Up Baby" was not released prior to
December 31, 1937, it is not a picture that belongs to the
holders of 1936-37 season's contracts, in spite of the fact
that RKO has earmarked it as a 1936-37 release. If an ex-
hibitor, then, wants it, he must sign a new contract for it
On the other hand, RKO cannot compel an exhibitor hold-
ing such a contract to accept it as a 1936-37 release.
The limitations of the contract were explained in the
interpretation of the 1936-37 season's RKO contract, which
appeared in the August 19, 1936, issue of Harrison's
Reports.
Similar limitations, or provisions, are contained in the
1937-38 season's contract, and will, no doubt, be included
in the 1938-39 season's.
AN INJUSTICE CERTAIN EXHIBITORS
COMMIT TOWARD THIS PAPER
From time to time I circularize the exhibitors of the
United States and Canada with a view to getting new sub-
scribers.
Each circular brings in a number of them.
Last week I sent such a circular and one of the exhibitors
made on the letterhead the following amazing notation :
"Dear Mr. Harrison:
"Because I have access to another exhibitor's copies of
your Reports, it isn't necessary for me to subscribe. Let
me assure you that your paper is read weekly from cover
to cover, and I like it."
For several years I have been hearing rumors that many
exhibitors fail to subscribe to Harrison's Reports by
reason of the fact that they read it at some other exhibitor's
office, but this is the first time that I have had an out-and-
out admission, under an exhibitor's own signature.
To those who read Harrison's Reports and benefit from
the information contained in each weekly issue, let me say
this : Have you ever realized that, to obtain information
from Harrison's Reports without paying for it, is just
like going to the baker, taking a loaf of bread, and going
away without paying for it ?
I shall give you another illustration : How would you
feel if somebody engaged you to work for him for a week
and at the end of the week refused to pay you the wages
due you ?
My case is not different: Harrison's Reports is not
like the other trade papers, which depend for their liveli-
hood on advertising; it contains my labor. And when you
benefit from my labor without paying for it you are doing
me an injustice.
I believe those of you who have been resorting to such a
practice did not see the matter the way I am presenting it
to you now, and that, when you read these lines, as you
undoubtedly will, you will send in a check by return mail.
THE FORECASTER NOW FUNCTIONING
The first six issues of the 1938-39 season's Forecaster
have been printed and mailed to all subscribers of this
special service. They contained complete forecasts of the
following products : Columbia, Twentieth Century-Fox,
Monogram, and the Warner-First National product, in two
sections; also the first of four sections of the MGM
product.
The remaining available stories for the MGM product
will be mailed this week, and the forecasts for the product
of other companies will be prepared as soon as the stories
are available.
If you contemplate subscribing to this service, you
should do so at once, so that you may receive copies of all
the issues that have already been printed, and the remainder
of the issues as they come off the press.
As stated in these columns recently, the accuracy of the
1937-38 season's forecasts proved more than 88% accurate.
Such an accuracy is, indeed, invaluable to an exhibitor, in
that he is enabled to talk to the film salesman from facts,
instead of having to accept the salesman's statements as to
the quality of the story material his company has announced
for production.
(Continued on last pope)
94
HARRISON'S REPORTS
June 11, 1938
"The Marines are Here" with June Travis
and Gordon Oliver
(Monogram, June 8; time, 60 min.)
Fair program entertainment, suitable as a second
feature. The story is routine ; it depends on the cus-
tomary squabbling between two marines about
their prowess as lovers and as soldiers for its com-
edy. Action fans may enjoy the encounters between
the marines and bandits, but even these lack the
excitement one expects. The plot development is
obvious; one knows from the beginning just how
the story will progress and end. There is no fault
to find with the individual performances : —
Gordon Oliver and Ray Walker, two marines,
spend most of their time in the brig because of their
inability to stay out of trouble. They sober up a
bit when, during an encounter with Chinese ban-
dits, their sergeant is killed. To Oliver falls the
distasteful task of breaking the news to the ser-
geant's son (Ronnie Cosbey), who had arrived in
Manila with his aunt (June Travis) to greet his
father. Oliver and Miss Travis fall in love with
each other. But a misunderstanding arises when
she learns that he had been telling his pals that it
was only his duty that prompted him to call on her ;
she does not understand that he had done this in
order to keep the other men away from her. Oliver's
company is sent to quell another bandit uprising ;
this time Oliver and Walker distinguish themselves
by their bravery in capturing the bandit leader.
Both men are promoted. Although wounded, Oliver
does not complain for it brings about a reconcilia-
tion between him and Miss Travis.
Edwin Parsons and Charles Logue wrote the
story, and Jack Knapp and J. Benton Cheney, the
screen play ; Phil Rosen directed it. In the cast are
Big Boy Williams, Billy Dooley, and others.
Morally suitable. Suitability, Class A.
"Three on a Week-End" with Margaret
Lockwood, John Lodge and Hugh Williams
(Gaumont-Britisli, June 1; time, 72 min.)
This comedy-drama should please mostly high
class audiences because of expert acting and nov-
elty of setting. But it is doubtful if the masses will
find it to their liking, first, because of its typically
British flavor, and, secondly, because the plot is
somewhat disconnected. Although the main theme
is tragic, the story is so interspersed with comedy
that it never becomes depressing; as a matter of
fact, its best feature is the comedy. The scenes at
the seaside resort, where the average English work-
ers rush for a holiday, are realistic and extremely
comical : —
Margaret Lockwood, nurse at a maternity hospi-
tal, is heartbroken when a young woman dies giving
birth to her first child. Her heart goes out to the
young husband (John Lodge), who had loved his
wife dearly. But she tries to forget the case by going
off for a week-end with her sweetheart (Hugh
Williams). She finds, however, that she could not
relax, because her thoughts wandered back to Lon-
don ; she feared that Lodge would take his life. She
leaves a note telling Williams that their jaunt had
been a mistake and that she had gone back to Lon-
don. Having left her purse in her room, she accepts
a lift from a man travelling alone and thereby be-
comes involved in a robbery. But the man clears
her. She rushes to Lodge's apartment and arrives
there with a policeman just in time to save Lodge,
who had tried to take his life by inhaling gas. Wil-
liams is comforted by a young girl who, too, had
been thrown over by her sweetheart ; he soon for-
gets all about Miss Lockwood. Lodge is thankful
for Miss Lockwood's sympathy.
Hans Wilhalm and Rodney Ackland wrote the
story, and Carol Reed directed it. In the cast are
Rene Ray, Linden Travers, Merle Tottenham, and
others.
Because of the implication that the heroine and
the hero were intending to spend the week-end to-
gether, it is hardly suitable for adolescents ; class B.
"Blockade" with Madeleine Carroll
and Henry Fonda
(United Artists, June 17; time, 83 min.)
This melodrama, centering around war-torn
Spain, is strong fare. It presents its subject, that
of the plight of the poor Spanish peasants, presum-
ably the Loyalists, powerfully ; but it is too depress-
ing, too heart-rending to be classified as entertain-
ment. It may arouse the spectators, but it will leave
them restless and unhappy, and, in the face of con-
ditions today, it seems that such a picture is not
what the masses want. Enough is said in news-
papers and shown in newsreels to enlighten those
who are interested in what is going on in Spain, so
that when people go to a motion picture theatre to
relax, they are again brought face to face with
realities and world problems. The romance is in
the end left hanging in the air.
In the development of the plot, Henry Fonda
and his pal (Leo Carrillo), Spanish peasants, love
their simple life, the land they own, and the freedom
to live as they pleased. Their dreams are shattered
with the outbreak of the war in Spain. Fonda
pleads with his neighbors not to desert their land
but to fight for the right to keep it. In line with
his duties, Fonda is forced to kill a spy ( Vladimar
Sokoloff ) , father of Madeleine Carroll, with whom
he had fallen in love. Being penniless and unable
to get out of the country. Miss Carroll, against her
better instincts, is compelled to carry on the spy
work against the people under the supervision of
John Halliday. The last piece of work she does for
him is to deliver a message to the enemies about
the sailing of a relief ship that was destined for a
town that had been shut off by a blockade of sub-
marines. Horrified at the sight of starving people,
death, and destruction, she regrets her actions and
tries to atone by misinforming her people; she is
compelled to kill Halliday when he tries to telephone
instructions to the air base. But Fonda had fooled
the enemies by planting a decoy, which the sub-
marines sink, thereby permitting the relief ship to
pass through the blockade safely. Miss Carroll as-
sists Fonda's superiors by pointing out the traitors.
The Commander offers Fonda a leave of absence
to marry Miss Carroll and snatch some happiness ;
but Fonda refuses, exclaiming bitterly that there
could be no peace when innocent women and chil-
dren were being starved and killed for no good
reason.
John Howard Lawson wrote the original screen
play ; William Dieterle directed it, and Walter
Wanger produced it. In the cast are Reginald
Denny, Robert Warwick, and others.
Not particularly suitable for children. Class B.
June 11, 1938
HARRISON'S REPORTS
95
"Josette" with Simone Simon, Don
Ameche and Robert Young
(20th Century~Fox, June 3 ; time, 73 min.)
Light but pleasant entertainment. Although it
lacks novelty in plot construction, it manages to
keep one amused throughout by its infectious gaiety,
pleasant romantic situations, and musical inter-
ludes. Simone Simon sings two numbers well ; her
voice has improved considerably since her last pic-
ture, but she still has a pretty thick accent. Joan
Davis is of considerable help in provoking laugh-
ter. The background is New Orleans : —
Don Ameche and Robert Young, learning that
their father (William Collier, Sr.) had become en-
meshed in another love affair, this time with a
Parisian singer, decide to get him out of the way
while they talk things over with the singer (Tala
Birell). They send him off to New York, on a sup-
posed business matter, and then hasten to the cafe
to see Miss Birell. What they did not know was that
Miss Birell had left for New York to marry Col-
lier. Miss Simon, hat-check girl at the cafe, who was
eager to become a singer, takes Miss Birell's place ;
Bert Lahr, the cafe owner, realizing his reputation
would be ruined if the deception were found out,
insists that Miss Simon continue using the missing
singer's name. Young is considerably charmed by
Miss Simon, and insists on talking with her. Ameche
finds himself falling in love with Miss Simon, de-
spite his contempt for her supposed gold-digging
ways. In the meantime, Collier returns to New
Orleans a sobered man ; having told Miss Birell
that his sons owned the business, she had left him
and returned to the cafe. Ameche, still under the
impression that Miss Simon was the other girl, in-
sults her by sending her fur coats. But he finds out
about his mistake and is repentant. Miss Simon
finally succumbs and admits her love for him.
Paul Frank and Georg Fraser wrote the play,
and Ladislaus Vadnai, the story ; James E. Grant
wrote the screen play ; Allan Dwan directed it,
and Gene Markey produced it. In the cast are Paul
Hurst, Lynn Bari, and others.
Some of the dialogue and situations are a bit
suggestive ; suitability, therefore, Class B.
"Wives Under Suspicion" with Warren
William and Gail Patrick
( U niversal, June 3 ; time, 68 min. )
This is a remake of "Kiss Before the Mirror,"
produced by Universal in 1933. But as in the first
version, it is only fair entertainment ; as a matter
of fact this is even less forceful. A few changes
have been made in the plot, but the story is slightly
artificial, and the actions of the hero are not such
as to put him in a favorable light ; he is shown as
being hard-boiled and cruel, taking delight in send-
ing criminals to the electric chair. One sympathizes
somewhat with the heroine, but her part is more
or less a negative one. The situation in which the
hero is on the verge of killing his wife, whom he had
wrongly suspected of being unfaithful, holds one in
suspense : —
Warren William, District Attorney, traps Ralph
Morgan into making a full confession as to why
he had murdered his wife. In his confession he had
stated that he had noticed his wife taking particu-
lar care about her clothes and appearance; also
that while she was sitting in front of her mirror,
he had tried to kiss her but she had shuddered.
Having become suspicious, he had followed her to
her lover's apartment; there he had killed her.
William scoffs at the idea of a man killing the
woman he loved. But one night he becomes sus-
picious of his own wife, the circumstances being
similar to Morgan's case. He follows her and sees
her going to a man's apartment ; he is on the verge
of killing her but something holds him back. The
next day in court he makes an impassioned plea
on behalf of Morgan, saying that he had misjudged
him. When his wife prepares to leave him he pleads
with her to remain. He later finds out that his
suspicions had been unfounded, and that her visit
to the man had been to patch up a quarrel he had
had with his sweetheart. William is thankful that
he had spared his wife's life. He promises to change
his ways.
Ladislas Fodor wrote the story, and Myles Con-
nolly, the screen play ; James Whale directed it and
Edmund Grainger produced it. In the cast are
William Lundigan, Constance Moore, Cecil Cun-
ningham, and others.
Unsuitable for children. Class B.
"You and Me" with George Raft
and Sylvia Sidney
(Paramount, June 10; time, 93 min.)
This is a ridiculous hodge-podge; starting out
as a gangster melodrama, it winds up as an artistic
flop. Fritz Lang, the producer-director, who prob-
ably realized that the story given him was pretty
trite, tried to cover up its defects with artistic
touches of symbolism. The scene in which the ex-
convicts meet and chant their old prison tunes,
with a flashback showing them in the prison, is so
fantastic and stupid, that it should make audiences
laugh ; many people won't even know what it is all
about. And the situation in which the heroine, by
giving the prisoners facts and figures written out on
a blackboard, tries to convince them that crime
doesn't pay, smacks of preachment and bores one.
There are a few good spots that are highlighted by
comedy.
George Raft, an ex-convict, is determined to go
straight. He works in the department store owned
by Harry Carey, a humanitarian, who believed in
giving ex-convicts a chance. In addition to Raft, he
had other former jail inmates working in the store.
Barton MacLane, a racketeer, fails to induce Raft
to go back into the racket. Raft falls in love with
Sylvia Sidney, a co-worker, and tell her of his past.
She marries him, but does not tell him that she, too,
was an ex-convict. When he finds this out, he leaves
her in disgust, and plans to work with Madame
and the old gang in robbing the store. But Miss
Sidney finds out about this and arranges with Carey
to confront the crooks when they appeared. Think-
ing Miss Sidney was acting as a stool pigeon. Raft
is disgusted. But she gives the boys a lecture, show-
ing them that crime does not pay ; they are all
ashamed of themselves. She then disappears. Raft
is heartbroken when he learns that she was going
to have a baby. After a few months search, he finds
her in the maternity ward of a hospital; they are
happily reconciled.
Norman Krasna wrote the story, and Virginia
VanUpp, the screen play. In the cast are Roscoe
Karns, George E. Stone, Warren llymcr. and
others.
Not for children. Class B,
June 11, 1938
The cost of the forecaster has been made flexible, so that
the big exhibitor may pay a little more than the small ex-
hibitor, because the benefit he receives from this service
is greater.
Subscription blanks have already been mailed to every
exhibitor. If you have not received a copy, write and ask
for one.
WARNER-FIRST NATIONAL
HOLD-OVERS
Among the works that Warner-First National has an-
nounced for production in the 1938-39 season are, "Boy
Meets Girl," the well known stage play ; "The Sister Act,"
the Fannie Hurst story; "The Valley of the Giants," the
Peter B. Kyne story ; "Yes, My Darling Daughter," the
stage play by Mark Reed ; "The Sisters," the best seller
by Myron Brinig ; "The Desert Song," the Oscar Hammer-
stein and Sigmund Romberg operetta (to be produced in
technicolor), and the Warden Lewis E. Lawes short-
lived stage play, "Chalked Out."
Because these works were announced also in the 1937-38
season, I have been asked by some exhibitors to define
their rights to these pictures.
Every pamphlet put out by Warner-First National for
exhibitor circulation in the 1937-38 season contained the
following notice: "The information supplied herein is in-
tended only as an indication of material which may be
produced, and of individuals who may appear in motion
pictures, and is not a representation made by distributor to
induce any exhibitor to enter into a contract."
Aside from this safeguard, which lawyers say releases
Warner-First National from the obligation of delivering
to the exhibitors what they used on them as a "catch,"
Warner-First National is absolved by the following pro-
vision in Clause Eighth of the contract :
"(a) The Distributor shall have and hereby reserves
the right in the sole discretion of the Distributor to change
the title of any of the said motion pictures, to make changes
in, alterations and adaptations of any story, book or play
and to substitute for any thereof any other story, book or
play "
On the strength of this provision, Warner-First National
has the right to deliver a picture based on any story it sees
fit to use instead of the particular story it promised to the
contract holders.
This may not be morally right, but it is not legally wrong.
It is one of those abuses Allied States has been fighting
against ; it is what has made it work for the Neely Bill,
for under this Bill, no distributor could resort to so un-
ethical a practice.
I have no sympathy for any exhibitor who complains
against this abuse but aids the producers in their efforts to
kill the Neely Bill's chances of becoming a law. There is
no other way by which this sort of unfairness could be
stopped except by a law such as the Neely Bill.
If you want the producers to deliver to you what they
promise, wire your Congressman requesting him to see to
it that the Neely Bill reaches the voting stage at this ses-
sion. The exhibitor leaders believe that it will pass the
House if it should be put to a vote.
BOX-OFFICE PERFORMANCES OF
1937-38 SEASON'S PICTURES— No. 3
Paramount
"Big Broadcast of 1938," with W. C. Fields, Martha
Raye, and Dorothy Lamour, produced by Harlan Thomp-
son and directed by Mitchell Leisen, from a screen play by
Walter De Leon, Francis Martin, and Ken England :
Good-Poor.
"Cassidy of Bar 20," with William Boyd and Nora Lane,
produced by Harry Sherman and directed by Lesley Selan-
der, from a screen play by Norman Houston: Good-Fair.
"Romance in the Dark," with Gladys Swarthout, John
Boles, and John Barrymore, produced by Harlan Thomp-
son and directed by H. C. Potter, from a screen play by
Frank Partos and Anne M. Chapin : Fair-Poor.
"Dangerous to Know," with Akim Tamiroff, Gail Pat-
rick, Lloyd Nolan and Anna May Wong, produced by
Edward T. Lowe and directed by Robert Florey, from a
screen play by William R. Lipman and Horace' McCoy:
Good- Poor.
"Bulldog Drunimond's Peril," with John Barrymore,
John Howard, and Louise Campbell, directed by James
Hogan, from a screen play by Stuart Palmer: Good-Poor.
"Bluebeard's Eighth Wife," with Claudette Colbert and
Gary Cooper, produced and directed by Ernst Lubitsch,
from a screen play by Charles Brackctt and Billy Wilder :
Very Good-Good.
"Tip Off Girls," with Lloyd Nolan and Mary Carlisle,
directed by Louis King, from a screen play by Maxwell
Shane, Robert Yost, and Stuart Anthony : Good-Fair.
"Her Jungle Love," with Dorothy Lamour, Ray Mil-
land, and Lynne Overman, produced by George M. Arthur
and directed by George Archainbaud, from a screen play
by Joseph Moncure March, Lillie Hayward and Eddie
Welch : Good-Fair.
"Heart of Arizona," with William Boyd, George Hayes,
and Russell Hayden, produced by Harry Sherman and di-
rected by Lesley Selander, from a screen play by Norman
Houston : Good-Fair.
"College Swing," with Martha Raye, George Burns, and
Gracie Allen, directed by Raoul Walsh, from a screen play
by Walter DeLeon and Francis Martin : Good-Poor.
"Doctor Rhythm," with Bing Crosby and Mary Carlisle,
produced by Emanuel Cohen and directed by Frank Tuttle,
from a screen play by Jo Swerling and Richard Connell :
Very Good-Fair (mostly good).
"Stolen Heaven," with Olympe Bradna, Gene Raymond,
and Lewis Stone, directed by Andrew Stone, from a screen
play by Eave Greene and Frederick Jackson : Good-Poor.
Forty-four pictures have already been released. Group-
ing the pictures of the different ratings (including West-
erns) from the beginning of the season, we get the follow-
ing results :
Excellent-Very Good, 1 ; Excellent-Good, 1 ; Very
Good, 1 ; Very Good-Good, 2 ; Very Good-Fair, 2 ; Good,
3; Good-Fair, 9; Good-Poor, 6; Fair, 10; Fair-Poor, 6;
Poor, 3.
The first 44 of the 1936-37 season, excluding Westerns,
were rated as follows :
Excellent, 1 ; Excellent-Very Good, 2 ; Very Good, 3 ;
Very Good-Good, 4 ; Good, 7 ; Good-Fair, 4 ; Fair, 7 ; Fair-
Poor, 13 ; Poor, 3.
United Artists
"Adventures of Tom Sawyer," with Tommy Kelly, Ann
Gillis, and May Robson, produced by David O. Selznick,
and directed by Norman Taurog, from a screen play by
John Weaver : Excellent-Good.
"Storm in a Teacup," with Vivien Leigh, Rex Harrison,
and Sara Allgood, produced by Alexander Korda and di-
rected by Ian Dalrymple and Victor Saville, from a screen
play by Ian Dalrymple : Fair-Poor.
"The Gaiety Girls," with Jack Hulbert and Patricia
Ellis, produced by Gunther Stapeiihorst and directed by
Thornton Freeland, from a screen play by Arthur Macrae :
Fair-Poor. •
"Adventures of Marco Polo," with Gary Cooper, Basil
Rathbone, and Sigrid Gurie, produced by George Haight
in association with Samuel Goldwyn and directed by Archie
Mayo, from a screen play by Robert E. Sherwood : Excel-
lent-Fair.
"Divorce of Lady X," with Merle Oberon, Binnie
Barnes, and Laurence Olivier, produced by Alexander
Korda and directed by Tim Whelan, from a screen play by
Lajos Biro and Robert E. Sherwood : Good-Fair.
"The Return of the Scarlet Pimpernel," with Barry
Barnes and Sophie Stewart, produced by Alexander Korda
and directed by Hans Schwartz, from a screen play by
Lajos Biro, Arthur Wimperis, and Adrian Brunei : Fair-
Poor.
Twenty-one pictures have already been released. Group-
ing the pictures of the different ratings from the beginning
of the season, we get the following results :
Excellent-Very Good, 4; Excellent-Good, 2; Excellent-
Fair, 1; Very Good-Good, 1; Good, 2; Good-Fair, 2;
Good-Poor, 1 ; Fair, 3; Fair-Poor, 4; Poor, 1.
Only 20 pictures were released during the 1936-37
season ; they were rated as follows :
Excellent, 1 ; Very Good-Good, 3 ; Very Good-Poor, 1 ;
Good, 6; Good-Fair, 3; Fair, 2; Fair-Poor, 3; Poor, 1.
Knler»d as seo»n.H-<sia«s uwttter January 4, 1921, at the post office at New York, New York, un4er the act ef March S, 18T1.
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 n 1R1, Harrison's Reports, Inc..
U. S. Insular Possessions. 16.50 Room lOU Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 , ,, .. _.. . _ . . _
Great Britain 15.75 Mot,on P'^ure Reviewing Service v„t.hii,heH i i<n.
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«r:„ o r-™„ Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
60C a ^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, JUNE 18, 1938 N0.T5
HOPES — NOT REALITIES
Says Barney Balaban, president of Paramount:
"Business in the distribution and theatre department
of Paramount is off as compared with last year and
reflected in the recent financial report. But we should
do very much better starting August when the seasonal
upturn will be noted.
"Major companies will be releasing more big pic-
tures then and the season will be in full swing. You
remember the 1932 depression when everyone looked
forward to a turn in the fall which did not come? Well,
I don't think this will be the case in August."
On what does Air. Balaban base his optimism? On
mere hope and belief. He admits that there was similar
hopes and beliefs in 1932, but they did not materialize.
But this time he says it will be different, but he does
not tell us why; he merely thinks so.
His optimism can be explained easily — he has film to
sell for the 1938-39 season.
TWO IMPORTANT RESOLUTIONS
PASSED AT THE ALLIED
CONVENTION
One of the resolutions that was passed at the Allied
convention in Pittsburgh recommended to the exhibi-
tors everywhere in the United States to demand an
adjustment of the prices in their 1937-38 season's con-
tracts. And the reason of it is sound: since the pro-
ducers have cut down their production budgets on
account of the diminution in the box office receipts of
the theatres, and necessarily of the film exchanges, the
quality of the pictures has fallen down correspondingly.
Thus the exhibitors have been hit, not only by the de-
pression, but also by the inferior quality of the pictures
that are now delivered to them and have been delivered
to them for several months.
The question of adjustments has now passed the
stage where the exhibitors should make a request; the
theatre receipts have been hit so hard that it now be-
comes necessary for the producers to come forward to
offer such adjustments, not out of kind-heartedness
but out of common sense : theatres must remain open ;
but unless the producers come forward with adjust-
ments hundreds of them will be compelled to shut
down their doors, many of them permanently. And
where is the profit for them if they were to refuse to
grant adjustments and then see many of these theatres
close their doors? The need for adjustments has not
been created artificially; when a theatre such as Bala-
ban & Katz's Oriental, in Chicago, which could get
any kind of films it wanted, closes its doors because of
the steady decline of business, it is altogether unneces-
sary for any one to attempt to impress the producers
with the seriousness of the smaller exhibitor's condi-
tion. The case of the shutting down of the Rivoli, on
Broadway, this city, too, can be cited.
Another Allied resolution that, needs to be brought
to the attention of the exhibitors is the following; it
explains itself :
"Whereas, there exists in this industry a practice per-
petrated by every distributor in every exchange centrr
ill the United States, whereby drives or campaigns are
conducted for the prepayment of film rentals far in
advance of the play dates thereof, and the dating of
features and short subjects far beyond the needs of
the individual exhibitor, and
"Whereas, this practice, instigated many years ago and
tolerated by exhibitors, now has been enlarged and
intensified into amazing proportions, so as to become
not only a strain on the finances of the exhibitor but
also causes serious disruption of booking schedules
carefully planned and thought out, and
"Whereas, this practice serves merely to increase the
ego of, or publicize the name of, or flatter the vanity of
some highly or overpaid executives of the various
distributors, it is generally perpetrated under the guise
of affording a means of the booker to be given a cash
bonus or well earned vacation, and
"Whereas, this practice is not only of no real benefit to
the exhibitor but puts him in the embarrassing position
of antagonizing a man who may, because of shortage
of prints, whether real or artificial, do him irreparable
harm, in disregarding contractual availability; now,
therefore, be it
"RESOLVED, that this practice be condemned."
While Harrison's Reports does not approve the language
it has been written in, it approves the recommendation.
PRODUCTION OF AMERICAN
PICTURES IN ENGLAND
"Hollywood," says The Hollywood Reporter of June 1,
"will lose several productions to London this coming
year, due to the increased stringency of the British
quota law. The new law, which not only regulates a
percentage of the pictures for each company releasing
in England but sets a minimum production cost on
them, will prove a boom to English production and,
under present indications, will mean the transferring
of some pictures slated to be made here to London for
production there. . . ."
Increasing the number of British-made pictures that
are sold to the exhibitors in the United States cannot
help creating an additional problem for the American
exhibitors, for the English pictures do not, as a rule,
draw, frequently even when the quality is good. Only
if the American producers send their stars there for
taking the leads can the problem be less acute.
In an article printed in the New Year number of the
Kine, of London, I told the British producers that their
pictures do not draw patrons in the United States by
reason of the fact that their stars are not known well,
and pointed out ways by which, not only their stars,
but also many artists supporting these stars could be-
come known to the picture-going public in this country.
But the British producers have so far taken no steps
to popularize their stars here. Until they take such
steps, you naturally must be careful in buying your
pictures for the 1938-39 season. Make sure that the
product you buy does not contain pictures from abroad,
unless you knowingly buy them. Insert into the con-
tract a provision to the effect that pictures produced
outside the United States will not be delivered among
the pictures contracted for.
98 HARRISON'S REPORTS June 18, 1938
"Ladies in Distress" with Alison Skipworth,
Polly Moran and Robert Livingston
(Republic, July 11 ; time, min.)
This comedy-melodrama is good program fare.
There is plentiful action, brought about by the hero's
efforts to help the woman Mayor of a small town clean
out a gang of racketeers. And for comedy, Polly
Moran's antics at times provoke hearty laughter. The
faith the Mayor has in the hero and his eventual regen-
eration under her influence is the basis for the picture's
human appeal. The fact that at one time he goes back
on his promise and accepts bribe money from the
racketeers, is unpleasant; but he makes up for this in
the end. The romance is pleasant: —
When Alison Skipworth, small-town Mayor, realizes
that she could not contend with the racketeers who had
settled in her town and who were fleecing the business
men by forcing them to join their protective associa-
tion, and taking money from the inhabitants with
crooked gambling machines, she decides to call in out-
side help. Having followed the career of Robert Liv-
ingston, the town's bad boy, who had developed into
a big time gambler, she feels he was the man she
needed. So she goes to New York, where she inno-
cently becomes involved in a gambling raid; but Liv-
ingston comes to her aid, and agrees to go back with
her. He gets good results and finds out that the town's
most respected lawyer (Berton Churchill) was at the
head of the gang. Livingston, after breaking up the
racketeering association and closing the gambling es-
tablishments, comes to the conclusion that money could
be made easily without using force; and so he joins
forces with the racketeers, accepting $25,000 for his
advice. But when the gangsters find out who he really
was, they order him to leave town; otherwise, they
would embarrass the Mayor. Livingston agrees to go
on condition that they keep his identity a secret. But
no sooner does he leave than they pass the information
on to a newspaper; this puts the Mayor, who was ill.
in a bad position. But Livingston returns, clears the
Mayor, and exposes Churchill, who had hopes of be-
coming the new Mayor. Livingston decides to settle
down and marry the Mayor's niece.
The story idea was suggested by Dore Schary.
Dorrell and Stuart McGowan wrote the screen play,
Gus Meins directed it, and Harry Grey produced it.
In the cast are Virginia Grey, Max Terhune, Leonard
Penn, and others.
The racketeering makes it unsuitable for children.
Class B.
"White Banners" with Fay Bainter,
Claude Rains and Jackie Cooper
(Warner Bros., June 25 ; time, 91 min.)
A sentimental, heart-warming drama; it should go
over well with the masses because of its simple but
effective approach to matters the average spectator
understands. It is primarily the story of a noble woman,
who, by her philosophy and intelligence, influences
those with whom she comes in contact. One is in deep
sympathy with her; the final scenes, in which she goes
away so as not to ruin the life of her son, who did not
know she was his mother, are certain to bring tears to
one's eyes. Although it lacks fast action and romance,
it is always interesting; in addition, it has the benefit
of excellent performances: —
Claude Rains, college professor, loves his wife (Kay
Johnson) and their two children; but he is harrassed by
unpaid bills and his inability to make any progress
with his inventions. To their home one day comes Fay
Bainter, selling kitchen gadgets. Since it was snowing
out and she looked tired, Miss Johnson asks her in.
Appreciative of Miss Johnson's kindness, Miss Bainter
asks for permission to cook the dinner. She does every-
thing so efficiently that she becomes a permanent
fixture in the house. Things change for the better. She
inspires Rains to invent an iceless ice-box and induces
him to take as his assistant Jackie Cooper, incorrigible
son of the wealthiest man in town. Jackie becomes a
new boy. Together the two work on the refrigerator;
but before they could do anything their invention is
stolen by an unscrupulous mechanic who had, through
an oversight on Cooper's part, seen the work; Rains
loses all hope. And to add to his troubles his daughter
contracts pneumonia, from which she recovers. Miss
Bainter induces him not to sue the crooks; and she
pleads with him to drop his grudge against Cooper
and to listen to new plans the boy had. They set to
work to invent another type of refrigerator. Cooper's
father brings in a financier to look the invention over;
the man turns out to be Miss Bainter's erstwhile lover.
She is compelled to tell Rains about her past and the
fact that Cooper was her son. But she convinces the
financier not to tell Cooper anything, since it might
disillusion him. She then decides that the best thing for
her to do would be to leave the town, for if she re-
mained she might be tempted to tell Cooper she was
his mother.
Lloyd C. Douglas wrote the novel from which this
was adapted; Lenore Coffee, Cameron Rogers, and
Abem Finkel wrote the screen play, Edmund Goulding
directed it, and Henry Blanke produced it. In the cast
are Bonita Granville, Henry O'Neil, Kay Johnson,
James Stephenson, and others.
Suitability, Class A.
"The Toy Wife" with Luise Rainer,
Melvyn Douglas, Robert Young,
and Barbara O'Neil
(MGM, June 10; time, 95 min.)
This tragic drama has been given a lavish production ;
and the performances are excellent. But its appeal will be
directed mainly to women, for it is too labored and slow-
moving for male audiences. The first half is draggy, since
most of the interesting action is concentrated in the second
half. There are a few scenes that touch one's emotions
deeply. The situation where Luise Rainer accuses her sister
of having stolen the love of her husband and her child is
powerful. Miss Rainer gives color to the part of the flighty
young wife, but it is not a sympathetic part. Actually, it is
not until the end that one is touched by her plight, and then
all that one feels for her is pity. The background is
Louisiana during pre-civil war days : —
H. B. Warner, plantation owner, arrives home from
Europe with his two daughters, Miss Rainer and Barbara
O'Neil ; they had been studying abroad. Miss Rainer was
carefree and happy, with only one thought in her mind, to
marry and thus be able to go out and have a good time,
while Miss O'Neil was sensible, fine, and practical. Miss
O'Neil is madly in love with Melvyn Douglas, brilliant
young prospector ; she feels certain that he loved her. But
to her surprise, he confesses to her his love for Miss Rainer.
She is not the only unhappy person ; the marriage brings
sorrow to Robert Young, young playboy, who had fallen
madly in love with Miss Rainer. After four years of mar-
riage, during which time a son had been born to her, Miss
Rainer is gloriously happy but still irresponsible. Douglas,
although still infatuated with her, suffers because of her
inefficiency. He is happy when Miss O'Neil arrives to live
with them, for then everything runs smoothly. When Miss
O'Neil turns down an attractive marriage proposal from a
Count, Miss Rainer becomes aware of the truth — that her
sister loved her husband. After a bitter quarrel with Miss
O'Neil, Miss Rainer runs away with Young, who still
idolized her. But it all ends in tragedy, for when they
return to Louisiana, Douglas challenges Young to a duel
and kills him ; and Miss Rainer contracts tuberculosis and
dies. But before her death, she had known a few moments
of joy, for her husband had taken her back into his home
and she had seen her child.
Zoe Akins wrote the screen play, Richard Thorpe di-
rected it, and Merian C. Cooper produced it. In the cast are
Alma Kruger, Libby Taylor, and others.
Unsuitable for children. Class B.
June 18, 1938
HARRISON'S REPORTS
99
"Mr. Moto Takes a Chance" with
Peter Lorre, Rochelle Hudson
and Robert Kent
(20th Century-Fox, June 24; time, 63 man.)
This latest in the Moto series is good juvenile fare; but
adults will not be able to take it seriously for the story is
wild and over-melodramatic. But, as said, the juveniles will
have a good time ; they probably will not pay attention to
the plot defects for the action is exciting enough to hold
them in suspense throughout. A romance is dragged into
the plot, but it is of slight importance : —
Robert Kent and Chick Chandler, two newsreel photog-
raphers, who were taking pictures of animal life in the
j ungle, come upon what they considered a scoop — the burn-
ing of the plane piloted by Rochelle Hudson, a famous
aviatrix on a round-the-world flight ; Miss Hudson escapes
by means of a parachute. She is escorted to the palace of
the Rajah (J. Edward Bromberg) ; the newsreel men fol-
low her there. The Rajah permits them to take pictures,
despite the protests of his high priest (George Regas).
Just then his favorite wife drops to the ground, dead. The
cameramen are made prisoners. Peter Lorre, an archeolo-
gist, investigates and finds that she had been killed by a
dart. Later, posing as an old religious recluse, he is instru-
mental in saving the lives of Kent and Chandler. Lorre
discovers an arsenal in the basement of the temple. It de-
velops that he was a French secret service agent, whose
mission was to find where the ammunition was stored, and
who was at the head of the revolt. And it turns out that
Miss Hudson, too, was an agent sent on the same mission.
In a fight, Regas, who was at the head of the revolt, and
his men are overpowered and the Rajah's kingdom saved.
Lorre, Kent, Chandler, and Miss Hudson manage to escape.
Kent and Miss Hudson turn their thoughts to marriage.
Willis Cooper and Norman Foster wrote the story, and
Lou Breslow and John Patrick, the screen play; Norman
Foster directed it, and Sol M. Wurtzel produced it. In the
cast are Fredrik Vogeding, and others.
It will do for the children. Class A.
"Border G Man" with George O'Brien
(RKO, June 24; time, 60 min.)
A very good western. Although the plot is of a fa-
miliar pattern, it has been developed with so much
exciting gun play, fist fights, and fast riding, that it
holds the spectator in tense suspense throughout. The
production values, both in settings and photography,
are superior to most westerns; and the performances
are uniformly good. Throughout there is plentiful ac-
tion; but for real thrills, the closing scenes offer those.
A pleasant romance has been worked into the story: —
George O'Brien, a G-Man, sent by Washington to
investigate the activities of a gang that was smuggling
horses and ammunition to foreign countries, enlists the
aid of one of the ranchers, who had been unwilling to
sell horses to the smugglers. O'Brien poses as the
rancher's new foreman; he wins his way into the good
graces of John Miljan, gang chief, by showing a will-
ingness to trade with him and even joins Miljan's gang.
In the meantime, he meets and falls in love with
Laraine Johnson, whose brother had innocently be-
come involved with the gang; this had been brought
about by Rita LaRoy, Miljan's assistant, who had led
the young man on by pretending to be in love with him.
At first, Miss Johnson is suspicious of O'Brien, but she
soon finds out she had been mistaken. O'Brien eventu-
ally uncovers the whole smuggling plot, obtains the
evidence he needed to convict Miljan, and arrests
Miljan and the members of his gang. He and Miss
Johnson are united.
Bernard McConville wrote the story, and Oliver
Drake, the screen play; David Howard directed it, and
Bert Gilroy produced it. In the cast are Ray Whitley,
Edgar Dearing, and others.
Suitability, Class A.
"Highway Patrol" with Jacqueline Wells
and Robert Paige
(Columbia, June 27; time, 57 min.)
Despite the routine plot, action fans should get a great
"kick" out of this program melodrama. It starts off with
plentiful action and continues at a fast pace, holding one in
suspense throughout ; the closing scenes are particularly
thrilling. The title is slightly misleading, for all the action
is concentrated at an oil refinery, and not on the highway.
The usual romance is worked into the plot; but it is unim-
portant : —
Robert Middlemass is determined to fight his competi-
tors, who warned him that, if he should lower the price
of gasoline, they would ruin him. With the help of two of
his employees, who were working on their side, the com-
petitors try to cripple the refinery, but they are unsuc-
cessful. Middlemass, realizing his danger, engages Robert
Paige, a highway patrolman on vacation, to guard the re-
finery. Paige finds out that the head policeman at the re-
finery was mixed in with the gang; this man dies in the
trap he had set for Paige. Middlemass' daughter (Jacque-
line Wells) is annoyed at Paige's treatment of her, particu-
larly when he refuses her admission to the plant. She
sneaks into one of the company trucks, and starts driving it
through the gate, without realizing that it had been loaded
with dynamite by the enemy, for the purpose of crashing
it into the plant thereby causing an explosion. Paige saves
her, and the truck crashes into a wall and explodes with-
out doing any damage. Eventually Paige proves that Arthur
Loft, the manager, was the inside man working for the
enemies. With Loft's confession, Middlemass is able to
prosecute his competitors. Paige and Miss Wells marry.
Lambert Hillyer wrote the story, and Robert E. Kent
and Stuart Anthony, the screen play; C. C. Coleman, Jr.,
directed it, and Wallace MacDonald produced it. In the cast
are Alan Bridge, Eddie Foster, and others.
Suitability, Class A.
"When Were You Born?" with Anna
May Wong, Margaret Lindsay
and Lola Lane
(First National, June 18; time, 65 mini.)
Just a fair program murder mystery melodrama. Action
has been supplanted by long discourses on the merits of
applying the science of astrology in solving murders ; the
over-abundance of dialogue becomes pretty tiresome. In the
end, the producers resort to the old tricks of sliding panels
and strange disappearances of some of the characters ; but
it is too late to revive one's interest in the picture. At best,
the plot is routine ; it will need good exploitation to bring
in the customers : —
While on board ship, James Stephenson, an art dealer,
becomes insulting when Anna May Wong, a student of
astrology, tells him that the stars indicated that he would
be killed ; he scoffs at her belief in the stars. But his fiancee
(Lola Lane) takes it a little more seriously, for she had
been amazed at Miss Wong's accurate analysis of her own
character and traits, and believed in her. Stephenson is
murdered the very first night he lands in San Francisco.
Having heard about Miss Wong's prediction, the police
arrest her as a suspicious character ; but she convinces the
inspector that she could help him solve the murder, by
means of astrology. Her first request when each suspect is
brought in is to ask the date of his or her birth ; with this
information at hand she is able to dismiss those who defi-
nitely showed no signs, according to the stars, of being a
murderer. Another man is killed during the investigation.
Finally, the murderer, who, it develops, had been Stephen-
son's valet, is trapped.
Manley P. Hall wrote the story, and Anthony Coldeway,
the screen play ; William McGann directed it, and Bryan
Foy produced it. In the cast are Anthony Averill, Charles
Wilson, Eric Stanley, and others.
Unsuitable for children. Class B.
100
June 18, 1938
BOX-OFFICE PERFORMANCES OF
1937-38 SEASON'S PICTURES— No. 4
Twentieth Century-Fox
"The Baroness and the Butler," with William Powell
and Annabella, produced by Raymond Griffith and directed
by Walter Lang, from a screen play by Sam Hellman,
Lamar Trotti, and Kathryn Scola : Good-Fair.
"Love on a Budget," with Jed Prouty, Spring Byington,
and Shirley Deane, produced by Max Golden and directed
by Herbert Leeds, from a screen play by Robert Ellis and
Helen Logan : Good-Fair.
"Sally, Irene and Mary," with Alice Faye, Tony Martin,
Joan Davis, and Marjorie Weaver, produced by Gene
Markey and directed by William A. Seiter, from a screen
play by Harry Tugend and Jack Yellen: Good-Fair
(mostly good).
"Walking Down Broadway," with Claire Trevor, Phyl-
lis Brooks and Michael Whalen, produced by Sol M.
Wurtzel and directed by Norman Foster, from a screen
play by Robert Chapin and Karen De Wolf: Good-Poor.
"Rebecca of Sunnybrook Farm," with Shirley Temple,
Gloria Stuart, and Randolph Scott, produced by Raymond
Griffith and directed by Allan Dwan, from a screen play
by Karl Tunberg and Don Ettlinger : Very Good-Good.
"Mr. Moto's Gamble," with Peter Lorre, Keye Luke
and Lynn Bari, produced by John Stone and directed by
James Tinling, from a screen play by Charles Belden and
Jerry Cady : Good-Fair.
"Island in the Sky," with Gloria Stuart, Michael
Whalen, and Paul Kelly, produced by Sol M. Wurtzel and
directed by Herbert I. Leeds, from a screen play by
Francis Hyland and Albert Ray: Good-Fair (mostly fair).
"Rawhide," with Lou Gehrig, Smith Ballew, and Evalyn
Knapp, produced by Sol Lesser and directed by Ray
Taylor, from a screen play by Dan Jarrett and Jack
Natteford: Good-Poor.
"In Old Chicago," with Alice Faye, Tyrone Power, Don
Ameche, and Alice Brady, produced by Kenneth Mac-
gowan and directed by Henry King, from a screen play by
Lamar Trotti and Sonya Levien : Excellent.
"Battle of Broadway," with Victor McLaglen, Brian
Donlevy and Louise Hovick, produced by Sol M. Wurtzel
and directed by George Marshall, from a screen play by
Lou Breslow and John Patrick: Very Good-Poor.
"Four Men and a Prayer," with Loretta Young, Richard
Greene, David Niven, George Sanders, and William
Henry, produced by Kenneth Macgowan and directed by
John Ford, from a screen play by Richard Sherman, Sonya
Levien and Walter Ferris : Good-Fair.
"A Trip to Paris," with Jed Prouty, Spring Byington,
and Shirley Deane, produced by Max Golden and directed
by Mai St. Clair, from a screen play by Robert Ellis and
Helen Logan : Good-Fair.
Forty-four pictures have already been released. Group-
ing the pictures of the different ratings (including West-
erns) from the beginning of the season, we get the follow-
ing results :
Excellent, 2; Excellent-Very Good, 2; Excellent-Good,
1 ; Very Good-Good, 5 ; Very Good-Fair, 2 ; Very Good-
Poor, 1; Good-Fair, 16; Good-Poor, 5; Fair, 7; Fair-
Poor, 2; Poor, 1.
The first 44 of the 1936-37 season, excluding Westerns
and "As You Like It," were rated as follows :
Excellent, 1 ; Excellent- Very Good, 3 ; Very Good, 3 ;
Very Good-Good, 5; Good, 10; Good-Fair, 6; Fair, 10;
Fair- Poor, 6.
Universal
"Forbidden Valley," with Noah Beery, Jr., and Frances
Robinson, produced by Henry MacRae and directed by
Wyndham Gittens, from a screen play by Wyndham Git-
tens : Fair-Poor.
"Border Wolves," with Bob Baker and Connie Moore,
produced by Paul Malvern and directed by Joseph H.
Lewis, from a screen play by Norton S. Parker : Fair-Poor.
"Mad About Music," with Deanna Durbin, Herbert
Marshall, Gail Patrick, and Arthur Treacher, produced by
Joseph Pasternak and directed by Norman Taurog, from
a screen play by Bruce Manning and Felix Jackson: Ex-
cellent-Good (mostly excellent).
"Crime of Dr. Hallett," with Ralph Bellamy, Josephine
Hutchinson, and William Gargan, produced by Edmund
Grainger and directed by Sylvan Simon, from a screen play
by Lester Cole and Brown Holmes : Good-Fair.
"State Police," with John King, Constance Moore, and
William Lundigan, produced by Paul Malvern and directed
by John Rawlins, from a screen play by George Waggncr :
Fair- Poor.
"Let's Make a Night of It," with Buddy Rogers and
June Clyde, produced by Walter C. Mycroft and directed
by Graham Cutts, from a screen play by Hugh Brooke :
Fair-Poor.
"Goodbye Broadway," with Alice Brady and Charles
Winninger, produced by Edmund Grainger and directed by
Ray McCarey, from a screen play by Roy Chanslor and
A. Dorian Otvos : Good-Poor.
"Reckless Living," with Robert Wilcox and Nan Grey,
directed by Frank McDonald, from a screen play by
Charles Grayson : Fair-Poor.
"The Last Stand," with Bob Baker and Connie Moore,
produced by Paul Malvern and directed by Joseph H.
Lewis, from a screen play by Harry D. Hoyt and Norton
S. Parker : Fair-Poor.
"Nurse from Brooklyn," with Sally Eilers and Paul
Kelly, produced by Edmund Grainger and directed by S.
Sylvan Simon, from a screen play by Roy Chanslor : Good-
Fair (mostly fair).
"Lady in the Morgue," with Patricia Ellis, Preston
Foster, and Frank Jenks, produced by Irving Starr and
directed by Otis Garrett, from a screen play by Eric
Taylor and Robertson White : Fair.
"Sinners in Paradise," with John Boles and Madge
Evans, produced by Ken Goldsmith and directed by James
Whale, from a screen play by Harold Buckley, Louis
Stevens, and Lester Cole : Fair-Poor.
"Air Devils," with Larry Blake and Craig Reynolds,
produced by Paul Malvern and directed by John Rawlins,
from a screen play by Harold Buckley and George Wagg-
ner : Fair.
Thirty-eight pictures have already been released. Group-
ing the pictures of the different ratings (including West-
erns) from the beginning of the season, we get the follow-
ing results :
Excellent-Very Good, 1 ; Excellent-Good, 1 ; Very
Good-Good, 1; Good-Fair, 5; Good- Poor, 1; Fair, 12;
Fair-Poor, 16; Poor, 1.
Only thirty-three pictures, excluding Westerns, were
released during the 1936-37 season; they were rated as
follows :
Excellent, 1 ; Excellent-Very Good, 1 ; Very Good-
Good, 1; Good, 2; Good-Fair, 3; Fair, 13; Fair-Poor, 12.
Warner Bros.
"Love, Honor and Behave," with Wayne Morris and
Priscilla Lane, produced by Lou Edelman and directed by
Stanley Logan, from a screen play by Clements Ripley,
Michel Jacoby, Robert Buckner, and Lawrence Kimble :
Good- Poor.
"He Couldn't Say No," with Frank McHugh and Jane
Wyman, produced by Bryan Foy and directed by Lou
Seiler, from a screen play by Joseph Shrank, Robertson
White, and Ben Grauman Cohn : Fair-Poor.
"Jezebel," with Bette Davis, Henry Fonda, and George
Brent, produced by Henry Blanke and directed by William
Wyler, from a screen play by Clements Ripley, Abem
Finkel, and John Huston : Very Good-Good.
"Over the Wall," with Dick Foran and June Travis,
produced by Bryan Foy and directed by Frank McDonald,
from a screen play by Crane Wilbur and George Bricker :
Good-Poor.
"Accidents Will Happen," with Ronald Reagan and
Gloria Blondell, produced by Bryan Foy and directed by
William Clemens, from a screen play by George Bricker,
Anthony Coldeway and Morton Grant: Good-Poor.
Nineteen pictures have already been released. Grouping
the pictures of the different ratings from the beginning of
the season, we get the following results :
Excellent-Very Good, 1 ; Very Good-Good, 3 ; Good-
Fair, 5 ; Good-Poor, 4 ; Fair, 1 ; Fair-Poor, S.
The first 19 of the 1936-37 season, excluding Westerns,
were rated as follows :
Very Good, 1 ; Very Good-Good, 3 ; Very Good-Poor, 1 ;
Good, 1 ; Good-Fair, 5 ; Fair, 6; Fair-Poor, 2.
Gnterod as re oend -clays niattei- January 4, 1921, at the post office at New York, New York, under the act »t March 3, lvn.
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Vol. XX SATURDAY, JUNE 25, 1938 No. 26
THE FATE OF THE NEELY BILL IN THE
HOUSE OF REPRESENTATIVES
Congress has adjourned without a vote on the Neely Bill
in the House of Representatives. This means that the Neely
Bill has failed of enactment, and that, if you want it to be-
come a law, you will have to start all over again.
When one considers the fierce lobbying the producers did
in Washington against the Bill one must realize what a
miracle was the action of the Senate. Not only every pos-
sible wire was pulled, but also every misrepresentation
made as to what effect the Bill would have upon the in-
dustry.
The statement issued on June 13 by Mr. Abram F. Myers,
general counsel of Allied States Association, under the
heading, "Neely Bill Smothered," is extremely illuminating,
and worth bringing to the attention of every friend of the
Bill. Here it is :
"Before the general counsel could return to Washington
for a final check-up, the Chairman of the House Com-
mittee on Interstate Commerce called a meeting of his
committee at which a bare quorum was present, and suc-
ceeded in his efforts to have the Neely Bill tabled, by a
vote of 9 to 6.
"This was the culmination of a course of action pursued
by Chairman Lea throughout the session, aimed at prevent-
ing the passage of this bill. He prevailed upon the House
sponsor, Congressman Pettengill, not to press the bill in
committee until it was seen whether the Senate would act
upon the identical Neely Bill. When, to Lea's chagrin, the
Senate passed the Neely Bill, he apparently let it be known
(at least so the newspapers reported) that he would keep
the bill in his pocket until adjournment. When the sup-
porters of the bill began to press committee members for
action, no committee meetings were called. Then on Satur-
day morning, at the tag end of the session, and with the
right members present, Lea permitted the bill to be con-
sidered.
"After all this maneuvering, there was not a majority
against the bill. Practically all those voting to table it ex-
plained that they did so because it was 'too late to pass
the bill anyway' or because they 'did not know enough
about it.' Information regarding the performance of indi-
vidual members of the Committee will be communicated to
the exhibitors in their respective districts in due time.
"What makes the opposition of Lea all the more sordid
is the fact that he has been the recipient of and has openly
accepted favors from the members of the Big Eight. Only
a few weeks ago Warner Bros, placed 'Robin Hood' at his
disposal so that he could stage a big party to his own honor
and glory before the picture was released to the theatres in
Washington.
"PUBLIC GROUPS SOLIDIFIED
"This year's campaign for the Neely Bill has demon-
strated the great strength generated through the alliance
of Allied and the many public groups supporting the meas-
ure. The motion picture trust lobby concentrated its efforts
on Lea and certain of his committee members because they
knew that, if the bill reached the floor of the House, it would
pass as easily as it did in the Senate. The knowledge gained
during this campaign as to the methods employed by the
trust lobby has made the public groups all the more deter-
mined to press the fight to a successful conclusion.
"Most important of all, leaders of certain of those groups
now are convinced that more is involved in this fight than
the abolition of a trade practice. They realize that behind
block booking and other oppressive practices lurks a vicious
monopoly which, lacking self-restraint, must be curbed.
It is probable that many of these groups will now enlarge
the scope of their interest in the movie situation to include
a movement for the suppression of the trust. This will in-
volve efforts to secure prosecution under the anti-trust
laws as well as support for legislation providing for rigid
Federal control of the movie industry.
"VICTORY IS NOW ASSURED
"The postponement of the Neely Bill by manipulations
preventing a consideration thereof by the House on its
merits is at most only a temporary reverse. Actually, the
methods by which it was accomplished has strengthened the
exhibitors' position. The passage of the bill by the Senate,
the record made up in the trial of the North Dakota case,
the enlarged interest of the public groups in the movie situ-
ation, the forthcoming investigations regarding the con-
centration of power in American industry and the effects
thereof on the decline of competition, the possibility that
executive and administrative agencies may awake to their
responsibilities under existing law — all of these considera-
tions make it clear that victory for the Allied program for
freedom and fair play for the independent exhibitors is
assured."
Whatever the fate of the Neely Bill, one thing has been
demonstrated — that the exhibitors can succeed, if working
in unison, to have remedial legislation introduced and even
passed in Congress. And this has had a salutary effect
upon the producers, for these are now talking about get-
ting together with the independent exhibitors in a sincere
effort to have the most flagrant abuses removed.
The next few weeks are going to demonstrate how sin-
cere the producers are in their efforts to come to an
understanding with the independent exhibitors. If they
are going to drag in the exhibitor organization that they
have been supporting with their money with a view to
using it as a "blind," they will demonstrate conclusively
that the leopard has not changed his spots — that it is the
same old leopard ; if they drop the pretenses and come for-
ward with real concessions, one of such concessions being
to withdraw from exhibition in small towns, then the ex-
hibitors will have been convinced that there is a real hope
for an understanding.
Knowing the temper of the Allied leaders as I do, I may
give a warning to the producers that, unless they come
forward with a real conciliatory spirit, expressing their
readiness to make substantial sacrifices for the good of the
entire industry, the Allied legislative program, not only will
not be dropped, but will be intensified. And the Senate vote
on the Neely Bill ought to be indicative as to what can
possibly be accomplished. It will avail them nothing to use
shysterism in an effort to outmanoeuvre the exhibitor lead-
ers during the negotiations, for these will not again suffer
to be outmanoeuvred.
THE FATE OF THE NORTH DAKOTA
THEATRE DIVORCEMENT LAW
In his June 13 statement, Mr. Abram F. Myers made the
following comment on the North Dakota Theatre Divorce-
ment Law, which Paramount took to the Federal courts :
"The trial of the suit brought by Paramount to set aside
this law as unconstitutional was held in Fargo, North
Dakota, from June 1 to June 11. Paramount contended, in
substance, that the law ( 1 ) was unconstitutional on its face
and (2) was unconstitutional because there was no factual
justification for it. On the latter point, much evidence was
taken by both sides as to whether there is or is not a movie
trust. The suit was in the form of an action to enjoin the
Governor, Attorney General and State's Attorneys of North
Dakota from enforcing the law. The defense was conducted
(Continued on last page)
102
HARRISON'S REPORTS
June 25, 1938
"Having Wonderful Time" with Ginger
Rogers and Douglas Fairbanks, Jr.
{RKO, July 1 ; time, 70 min.)
A fairly good romantic comedy. In transferring it from
the stage play, much of the charm and meaning of the story
was substituted for comedy, which is not exceptional. It
will have to depend for its box-office success on the draw-
ing power of the stars. Ginger Rogers' performance is
superior to the material given her ; she is an effective and
appealing heroine, winning one's sympathy by her un-
affected charm ; but aside from her, most of the other
characters are so silly that their actions bore one. The
whole thing is a broad burlesque of what takes place at sum-
mer camps ; as such it will be understood and appreciated
more by young folk who frequent summer camps than by
adults : —
Miss Rogers, a stenographer, looks forward with joy to
her two weeks' vacation at a summer camp. After taking
hectic leave of her family, she finally arrives at the camp ;
but her first feeling is that of disappointment. She is an-
noyed at the flip manner of Douglas Fairbanks, Jr., an
unemployed waiter working at the camp for the summer
as a waiter; also at the crudeness of some of the guests.
But she and Fairbanks get to know each other better and
soon are deeply in love. When he suggests that, because
the outlook for his future looked dismal, they live together,
Miss Rogers is insulted. She purposely accepts the atten-
tions of another guest (Lee Bowman) and, when he invites
her to his bungalow, she goes there with him. She lets him
understand immediately that she was a nice girl and would
not permit love-making ; instead, she induces him to play
backgammon with her. He soon gets tired and goes to bed ;
but Miss Rogers, knowing that Fairbanks was waiting for
her, stays on at the bungalow until she falls asleep. She
does not awaken until the following morning and is com-
pelled to sneak out. But Bowman's jealous girl friend
(Lucille Ball) sees her leave and suspects the worst; she
confronts Bowman in the dining room and demands to
know why Miss Rogers spent the night with him. He
naturally does not know what she was talking about for he
had no idea that Miss Rogers had stayed on after he went
to bed. But Fairbanks does not lose faith in Miss Rogers ;
they are reconciled when he suggests that they get married.
Arthur Kober wrote the screen play from his own stage
play; Alfred Santell directed it, and Pandro S. Berman
produced it. In the cast are Eve Arden, Dorothea Kent,
Richard Skelton, Donald Meek, and others.
Children will not understand the sex insinuations. Class A.
"Cowboy from Brooklyn" with Dick Powell,
Pat O'Brien and Priscilla Lane
{Warner-First Natl., Rcl date not set; time, 76 min.)
This burlesqued Western, with music, is fairly good
entertainment. The first half is somewhat slow; but it
picks up speed in the second half, ending in an extremely
comical manner. The tuneful songs are put over well by
Dick Powell and Priscilla Lane. Incidentally, Miss
Lane makes a good impression for, in addition to acting
with ease, she has charm and exuberance. Powell suf-
fers a bit in the part assigned to him, for during most of
the picture he is compelled to act like a nincompoop.
The romance is routine: —
Powell and two other musicians, while hitch-hiking
to Hollywood, stop off at a dude ranch to ask for food.
Miss Lane, the owner's daughter, is attracted to Powell
and offers to take him on as a musician in return for his
board; Powell has trepidations about taking the job for
he was in mortal fear of animals, even of a harmless
chicken. But Miss Lane promises to keep the animals
away from him. To the ranch comes Pat O'Brien, a
fast-talking, high-pressure theatrical agent ; no sooner
does he hear Powell sing than he rushes him to New
York. Believing Powell to be a real cowboy, O'Brien
sends out press notices about his wonderful western
singer. Powell makes a hit over the radio. Everything
runs smoothly until Dick Foran, a jealous cowboy, in-
forms the press that Powell was a fake; Powell then
admits to O'Brien that he hailed from Brooklyn. The
motion picture executive who had been ready to sign
Powell for pictures refuses to enter into negotiations
until Powell could prove that he was a real cowboy.
Powell finally gains courage through hypnotism, enters
the rodeo, and wins the prize by riding the wildest
steer. He gets the contract and Miss Lane as his bride.
The plot was adapted from the play "Howdy Strang-
er," by Robert Sloane and Louis Pelletier, Jr.; Earl
Baldwin wrote the screen play, Lloyd Bacon directed
it, and Lou Edelman produced it. In the cast are Ann
Sheridan, Johnnie Davis, Ronald Reagan, Emma
Dunn, and others.
Suitability, Class A.
"Romance of the Limberlost" with Jean
Parker and Eric Linden
{Monogram, June 22; time, 81 min.)
A homespun drama, with human appeal ; it should go
over well with the family trade, but large down-town thea-
tres may find the action too slow for their type of patronage.
The performances are good, in particular that of Marjorie
Main's, in the part of the embittered aunt, who bullies and
mstreats the heroine. There are several situations that bring
tears to the eyes ; the most touching scene is that in which
the heroine pleads with her aunt not to force her to marry
a brutal farmer, whose one virtue was that he had money.
Those who have read and enjoyed the Gene Stratton-
Porter novels will likewise enjoy this picture, for it is in
keeping with her style : —
Laurie (Jean Parker), a child of nature, is a happy and
gentle person ; the only thing that made her unhappy was
the treatment she received at the hands of her embittered
Aunt Nora (Marjorie Main), with whom she lived in the
Limberlost swamps. Laurie meets Wayne (Eric Lnden),
a young lawyer, whose father was the village judge; they
fall in love with each other. But Nora had other ideas for
I^aui ie; she had promised Corson (Ed Pawley), a wealthy
brutal farmer despised by all, to let him marry Laurie in
return for the cancellation of the mortgage he held on her
house and additional cash. She forces Laurie into agreeing
by threatening to tell the villagers scandalous stories about
her mother, who had died. Chris (Hollis Jewell), Corson's
bound boy, tries to prevent the marriage by threatening
Corson ; Corson puils the rifle out of the boy's hands and
drops it. It accidentally goes off and kills him. Chris is
arrested ; but Wayne, who had decided to defend him due
to Laurie's pleas, wins his release. Every one is happy.
Nora tearfully admits her wrong-doing and her love for
her niece; a reconciliation follows. Laurie and Wayne are
united.
Marion Orth wrote the screen play and William Nigh
directed it. In the cast are Betty Blythe, George Cleveland,
Sarah Padden, and others.
Suitability, Class A.
"Men Are Such Fools" with Wayne Morris,
Priscilla Lane, Hugh Herbert and
Humphrey Bogart
{Warner Bros., July 9 ; time, 68 min.)
Just mildly entertaining. It is a rehash of the old
theme of career versus marriage, with little novelty in
plot development. As a matter of fact, the over-abund-
ance of dialogue, in lieu of action, becomes so tiresome
that the spectator is bored before the picture is half
over. The few spots that provoke laughter are those in
which Hugh Herbert appears; his antics are familiar
but nevertheless comical. A good cast is more or less
wasted on a story that lacks novelty or excitement: —
Priscilla Lane, secretary to Herbert, advertising execu-
tive, had good ideas for advertising copy ; she looks for-
ward to the day when she would have an executive position.
But Wayne Morris, her fiance, is more interested in getting
her to marry him than in her having a career. She manages
to attract the attention of the heads of the organization,
and, in a short time, advances to a position of importance.
She marries Morris, and soon decides to leave her job to
devote her time to being a real wife. But she is annoyed
when Morris turns down a good opportunity for a partner-
ship because he felt that, being married, he should not take
chances. She leaves him, and goes back to her old job. To
spite her, Morris goes in for big business and advances
rapidly to a position of importance ; but he refuses to talk
to her. Miss Lane still loves him ; but, knowing that
Humphrey Bogart, the chief of her firm, loved her, and
feeling that Morris no longer cared, she decides to get a
divorce and marry Bogart. She changes her mind at the
last minute, however, when Morris proves that he had
never stopped loving her ; they are reconciled.
Faith Baldwin wrote the story, and Norman Reilly Raine
and Horace Jackson, the screen play ; Busby Berkeley
directed it, and David Lewis produced it. In the cast are
Penny Singleton, Marcia Ralston, Gene Lockhart, Mona
Barrie, and others.
Suitability, Class A.
June 25, 1938
HARRISON'S REPORTS
103
"Prison Farm" with Shirley Ross,
Lloyd Nolan and John Howard
(Paramount, June 17; time, 69 min.)
A lurid but exciting prison melodrama, capably directed
and acted; it holds one's attention throughout. It is a little
too strong for the family trade ; but adult audiences that go
in for pictures of this type should find it very much to their
liking. The fact that the heroine, although innocent, is sent
to the prison farm and is forced to do menial labor touches
the spectator ; for that reason, one is in deep sympathy with
her throughout. The scenes showing the treatment the
prisoners, both men and women, receive at the hands of the
^guards are pretty rough. Men will be thrilled by the fist
fight, in the closing scenes, between one of the prisoners
and a vicious guard : —
Despite the warning of her one sincere friend (Esther
Dale), Shirley Ross is determined to marry Lloyd Nolan,
who was shiftless and conceited. She is thrilled when he
informs her that he had obtained a very good position in
Canada and that they would have to leave that very night
and be married on the way. What she does not know is that
he had held up an armored truck, killed the guard, and
escaped with $9,000. She asks him to go to the station,
promising to follow in her car in a few hours. While on the
road she runs short of gasoline and accepts a lift from
J. Carrol Naish, a prison-farm guard. When they arrive
at the station, Naish tries to get intimate with her and
she slaps him ; Nolan rushes to her side and knocks Naish
down. He arrests them ; they are tried and sentenced to
six months at the prison farm. Nolan does not worry for
he had sewed the money into the lining of his coat, which
was safely put away until the end of his term. Miss Ross
breaks under the strain of the hard work ; she is helped
along by John Howard, the prison doctor, who takes an
interest in her. At her one meeting with Nolan, she realizes,
from something he said, that he had committeed a crime ;
she sends for Miss Dale, and from her learns the truth.
Nolan, in the meantime, strikes a bargain with Naish ; he
offers to give him $500 to help him escape. Naish follows
him to the storeroom and, when he sees the money, demands
it all. In a fight that follows, Naish shoots Nolan. Just
before he dies, Nolan clears Miss Ross and causes Naish's
arrest. Freed, Miss Ross marries Howard, who leaves the
prison.
The story idea was by Edwin V. Westrate ; Eddie Welch,
Robert Yost and Stuart Anthony wrote the screen play,
Louis King directed it ; in the cast are Porter Hall, Mar-
jorie Main, May Boley, and others.
Unsuitable for children. Class B.
"The Rage of Paris" with Danielle Darrieux
and Douglas Fairbanks, Jr.
(Universal, July 1; time, 77 mm.)
An excellent comedy, lavishly produced; it has gen-
eral appeal. The light story serves as a framework for
sparkling dialogue, amusing situations, and a delightful
romance. Most important though is the introduction of
Danielle Darrieux, Universal's new star, to American
audiences; they should be captivated by her beauty,
charm, and ability. And surprising enough her French
accent adds to her charm instead of annoying one.
There are several extremely comical situations; some
are slightly risque, but so cleverly are they handled that
they never become offensive. Douglas Fairbanks, Jr.
gives his best performance to date; he makes the hero a
likeable and pleasing person: —
When Miss Darrieux is told that, if she wanted to be
a model, she would have to pose with just a drape
around her, she turns down the position. After another
girl is engaged, she changes her mind and takes from
the executive's desk a slip of paper with a name and
address on it, thinking it was the position first intended
for her. She is admitted to Fairbanks' office and, not
seeing him there, starts to undress. When he enters he
is surprised and, thinking she was in some racket, orders
'her out. Discouraged, she seeks the help of her one
friend (Helen Broderick). Miss Broderick, in turn,
takes her to see her old friend (Mischa Auer), head
waiter at a hotel. Auer had saved $3,000 with which to
open his own restaurant. But Miss Broderick talks him
into investing the money in Miss Darrieux by buying
her beautiful clothes and setting her up in an expensive
suite at the hotel, with Miss Broderick posing as her
aunt. Their idea was that Miss Darrieux would get a
rich husband and then repay Auer lavishly. And sure
enough the plan works, for she becomes acquainted
with wealthy Louis Hayward, who falls madly in love
with her. But it develops that Fairbanks was a friend
of Hayward's and when he sees Miss Darrieux, tries to
put a stop to the match. At first Hayward does not be-
lieve him, but he later gets proof convincing him of
Miss Darrieux's scheming. Auer promises Hayward
that if he would reimburse him for the money he had
spent, he would send Miss Darrieux back to Paris.
Fairbanks, realizing that he loved her, books passage
on the same boat. After a hasty apology for having
doubted her, he confesses his love and they plan to marry.
Bruce Manning and Felix Jackson wrote the story
and screen play, Henry Koster directed it, and B. G.
DeSylva produced it. In the cast are Charles Coleman,
Harry Davenport, and others.
Suitability, Class A.
COMMERCIAL ADVERTISING ON
THE SCREENS
According to The Motion Picture Daily, beer advertis-
ing, put out by Alexander Film Co., and shown on theatre
screens by means of trailers, has created so much resent-
ment among picture patrons, that many theatres have been
compelled to discontinue showing the trailers.
The Motion Picture Daily states that, according to J.
Don Alexander, president of the advertising concern, these
trailers will be offered to theatres in localities where the
patrons do not object to this sort of advertising.
National advertising on theatre screens is bad enough, by
reason of the fact that the theatres, by contracting for such
advertising, encroach upon the field of the newspapers,
upon which the theatres depend so much for the public's
good will, but when the subject advertised is beer, the
matter becomes worse, for the theatre owners cannot be
unaware of the fact that there are millions of people in the
United States who are "bone" drys.
The question of advertising on the screen of nationally
known products was, as many of you remember well, fought
in 1931 very bitterly. At that time, Paramount and Warner
Bros, went into it extensively, putting out, not trailers, but
whole short subjects, wound around some product, such as
Texaco Oil and the like. This paper realized at that time
that, if sponsored screen advertising had become estab-
lished, motion picture exhibition would have been almost
ruined, by reason of the fact that the public would resent
the imposition and, having no other way of expressing its
disapproval except by staying away, millions of them
would stay away from picture theatres.
The first thing that Harrison's Reports did was to en-
list the aid of the daily press of the nation. And the daily
press came to its support almost unanimously. Many promi-
nent newspapers wrote scathing editorials against the prac-
tice. Harrison's Reports copied not only extracts from
these editorials, but also letters sent to it by newspaper
editors and publishers. As a result, Paramount and Warner
Bros, were in a short time compelled to cancel their con-
tracts with the advertisers, and those of the other major
companies that were ready to enter into advertising con-
tracts themselves, gave up the idea. A complete victory had
been won.
Whenever a theatre shows on its screen national adver-
tising, the newspaper people become informed of the fact,
either by personal observation or through confidential bul-
letins published by their association. As a result, they with-
hold from such theatres free advertising. Consequently the
theatre suffers a far greater loss than it would suffer from
the loss of revenue if it were to discontinue the practice.
The theatres should be careful also about accepting ad-
vertisements from local merchants, for although the news-
paper people do not offer strenuous objections to this type
of advertising, it is, nevertheless, an encroachment upon
the advertising field of the newspapers, and the newspaper
people cannot help resenting it.
But even if you were to disregard the objections of the
newspaper people, you certainly cannot disregard the ob-
jections of the picture-going public. And this public has
demonstrated repeatedly that it does not like to pay an
admission fee to he imposed upon by commercial adver-
tising.
104
HARRISON'S REPORTS
June 25, 1938
by the general counsel of Allied and counsel for the Allied
Theatre Owners of the Northwest, who had been designated
special assistants to the Attorney General of North Dakota
for this purpose.
"The case was argued on June 11 and both parties sub-
mitted proposed findings for the consideration of the court.
The case was taken under advisement by the three Federal
Judges (Sanborn and Thomas, C. J. and Sullivan, D. J.)
and a decision is expected at an early date. If the court
passes on the law in the light of the facts disclosed at the
trial, the law should be upheld. If the court treats the case
as involving merely a naked question of law, anything may
happen.
"A powerful record was built up showing conclusively
that there is a movie trust. Messrs. Steffes, Richey, Cole,
Maertz, Ashe, Young and Koppelberger, of Allied, gave
valuable testimony. The testimony of V. U. Young, of
Gary, Indiana, was especially impressive. But by far the
most valuable testimony, from the standpoint of the exhibi-
tors, was that given byr Messrs. Freeman and Keough, of
Paramount, Air. Rodgers of Metro and Mrs. Dietz of the
Film Board of Trade, all witnesses for Paramount. So
accustomed are these men to exercising arbitrary power
and so convinced are they of their God-given right to do so,
that they testified so freely regarding their domination of
the industry as to cause the exhibitors and their counsel to
blink with astonishment.
"The facts disclosed already have been summarized in
the proposed findings prepared by the general counsel. After
the case has been decided a more detailed statement of the
proof will be prepared for the use of Allied regional asso-
ciations for use in connection with the Allied campaign of
legislation and litigation."
According to a report made by a special correspondent
of this paper, the highlights of the testimony were : testi-
mony by —
(1) Messrs. Steffes, Richey, Cole, Maertz, and Ashe,
as to theatre grabbing by Paramount affiliates in Minne-
sota, Michigan, Texas, Wisconsin and North Dakota ;
(2) Mr. W. A. (Al) Steffes, as to the struggle of the
independent theatre owners through their associations, over
a period of many years, to induce the distributors to cease
grabbing theatres, and as to the unfair tactics employed
by the producers and affiliated chains against the inde-
pendents ;
(3) Mr. H. M. Richey, as to public relations — about
organizations of religious as well as of educational groups
interested in motion picture programs and policies ; the
need for the exhibitors to be free agents so that they might
be enabled to cooperate with the consumer groups more
effectively ;
(4) Col. H. A. Cole, dealing with the whole range of
organization, policies and practices of the motion picture
industry, particularly about the Frels-Interstate Circuit
case. His testimony, which was strengthened greatly by the
meandering and purposeless cross-examination by Judge
Thacher, has proved to be a veritable encyclopedia of in-
formation on the motion picture business.
(5) Mr. V. U. Young, of Gary, Indiana, as to the
methods that were employed by the Balaban & Katz circuit
to take away from him the Paramount product and the
product of other distributors. Mr. Friedl, president of
Minnesota Amusement Co., had testified that the producers
sell their pictures to whichever theatre is the largest and
best situated, because of the fact that they derive greater
financial returns from such a theatre, and that affiliation
with Paramount does not influence the negotiations in the
least. But Mr. Young was able to disprove such assertions
decidedly, by pointing out the fact that his theatre had 2,400
seats, whereas the Balaban & Katz theatre had only 1200
seats; that his theatre was located on the main street,
whereas the Balaban & Katz theatre was on a side street ;
and that his theatre could produce for the distributor more
revenue than the Balaban & Katz house, but that, despite
all these advantages, he had lost the pictures.
Mr. Young testified also that, with regard to the RKO
pictures, he was permitted to negotiate for them only after
the buyer for the Balaban & Katz circuit had called him
up on the telephone from New York and had informed him
that he could have that product.
(6) Mr. W. F. Rodgers, general sales manager of
MGM. The following is what this paper's correspondent
writes about Mr. Rodgers* testimony :
"After testifying that Metro did not favor affiliated
theatres as against independent theatre owners, he could
cite only 32 small situations where Metro split its product
between an affiliated theatre (usually Warner-owned), and
an independent, and only 20 'tiny' situations where he sold
an independent as against an affiliated theatre. These 52
cases combined are an infinitesimal fraction of the total
number of 9,800 Metro accounts, out of which 1700 are
affiliated theatres. His case was weakened considerably
more when, during cross-examination, Mr. Myers asked
him, after Mr. Rodgers had told the court how he sold
pictures to the heads of the Loew circuit, who was the boss
of Loew's circuit. Upon his answer, 'Mr. Schenck,' Mr.
Myers asked Rodgers as to who was the boss of Messrs.
Vogel and Meyer, heads of the theatre department, and he
had to say that it was Mr. Schenck. Mr. Myers then asked
him whether, in case of disagreement as to the prices he
asked and the prices Messrs. Vogel and Meyer would offer,
the decision would not be made by Mr. Schenck. And Mr.
Rodgers had, of course, to admit that it would be Mr.
Schenck. Mr. Rodgers admitted under cross-examination
also that Loew's theatres had an understanding, in the
nature of a franchise, that they will get the product; also
that he had the power, any time he wanted to exercise it,
of cutting his product off the 52 independents he had cited."
. (7) Mr. Y. Frank Freeman, as to the panic Lynch and
he had been thrown into by the formation of First National,
both being compelled to rush to New York to urge Adolph
Zukor to acquire theatres. He stated that he and Lynch had
a franchise from Paramount to sell Paramount pictures in
the South, and that he feared lest the formation of an ex-
hibitor cooperative group such as First National, going
into distribution, would ruin their business. This testimony
was apparently offered as a justification for Paramount's
going into exhibition. On cross-examination by Judge De-
vaney, counsel for Allied of the Northwest, he admitted
that First National had been acquired by Warner Bros.,
and that Richards, one of the organizers of First National,
is now vice-president of Paramount. This correspondent
says :
"The startling thing about this testimony is that neither
Freeman nor Judge Thacher recognized the fact that the
entry of exhibitors into distribution was no worse than the
entry of distributors into exhibition. Consequently, when
Freeman was describing the probable monopoly of First
National and the fear he felt as a result of such a monopoly,
he did not realize that he was describing the monopoly
Paramount and the other major distributors now have."
(8) Mr. Austin Keogh, relative to the fact that it was
he who had directed the Paramount sales department to
take film away from Frels, because Frels had contributed
to a defense fund raised to help Legge, an exhibitor, who
had brought suit against Paramount and other distributors ;
also to the fact that Paramount maintained strict supervision
over its theatre "partners," and that no independent terri-
tory may be invaded without consultation with the home
office. This naturally makes Paramount responsible for
acts of affiliated companies in which it has 50% or even less
of the stock.
(9) Mrs. Mabel Dietz, former secretary of the Minne-
apolis Film Board of Trade, as to the fact that protection
and clearance were discussed at meetings of the Board, thus
bringing the Minneapolis territory under principle in the
Youngclaus case. The correspondent concludes as follows :
"Mr. Myers urged that, if a dog is entitled to one bite,
the octopus was presumably entitled to one grand squeeze,
and that the record of the motion picture industry's octopus
had been written in numerous court decisions, such as the
compulsory arbitration case, the credit committees case, the
Youngclaus, the Perelman, and many other cases, long
before North Dakota had enacted the law in question. Con-
sequently, the State of North Dakota was entitled to act
with a view to curbing its predatory activities. He then
confined himself to the facts brought out during the trial,
arguing that, because of the power and temptation, inherent
in the operation of theatres by distributors, the divorcement
law was neither arbitrary nor unjust, and that it was war-
ranted by the facts."
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IN TWO SECTIONS— SECTION ONE
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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, JULY 2, 1938 No. 27
SOME OF THE OTHER ABUSES THAT
NEED ELIMINATION
In last week's issue a suggestion was made
that the producers should make up their minds
to eliminate some of the most flagrant abuses
before any get-together with the exhibitors can
have any permanent effect.
One of the outstanding abuses was given as
being ownership of theatres by producers and
distributors in small towns ; the suggestion was
made that they must make up their minds to
give up their theatre activities in such towns.
One other of the abuses is the demand for
payment of a score charge in the cases of pic-
tures played on percentage; there is no justifi-
cation whatever for this practice, because, when
a picture is played on percentage, it is a partner-
ship affair for that particular picture, and the
distributor should be under the moral obliga-
tion of furnishing his picture complete, and not
divided into two parts, film exhibition and
sound reproduction.
Stil another abuse is the demand of a mini-
mum guarantee in the cases where pictures are
played on percentage. There is no justification
for such a demand either.
The producers justify such a demand by as-
serting that in most cases the exhibitors will
not exert their greatest efforts at publicizing a
picture, but this is all talk — most pictures do
harm if the exhibitors were to publicize them
extensively. And the proof of it is the fact that
many of these pictures are not shown in the
producer-owned theatres. There are cases where
a theatre-owning producer will not show many
of his own pictures in his own theatres. Do you
remember an article in a recent issue of Harri-
son's Reports in which were given the names of
fourteen Warner-First National pictures that
were not shown in Warner theatres?
The tail end of the 1937-38 season has proved
conclusively that the demand of a minimum
guarantee is unjust, unfair, and contrary to
sound business principles. For instance, the ex-
hibitors signed their 1937-38 season's contracts,
as they signed their contracts in previous sea-
sons, fully expecting that they would receive
product of the highest quality. But what has
happened? The depression, which struck the
country, and naturally the motion picture in-
dustry, last October, that is, in the beginning
of the picture season, compelled the producers
to slash their production budgets. In many
cases the money they spent on pictures is about
half of what they intended to spend originally.
The consequence is that the quality of the pic-
tures has suffered. Never in the history of the
talking pictures has the quality been so low.
What is the result? Those exhibitors who
guaranteed the producers a minimum amount
on the percentage pictures now find themselves
obliged to dig into their pockets to make up the
difference, hoping afterwards to induce the pro-
ducers to make an adjustment. If the adjust-
ment is given, the exhibitor still is the loser ; if
the adjustment is not given — no use giving the
answer here.
This paper warns every exhibitor to refuse
to sign an application for a contract as long as
the distributor insists upon a minimum guar-
antee. Under the business conditions prevailing,
he can afford to wait for the producer to come
to his senses.
An exhibitor could make his position much
stronger when it comes to bargaining for film
for the 1938-39 season if he should shut down
his theatre for about two months this summer,
thus accumulating a certain number of pic-
tures for use beginning September. He will lose
nothing by shutting down during the summer
months. He cannot operate his theatre profita-
bly anyway, and though by shutting down he
may lose as much money he will at least profit
by the accumulation of playable films.
THE 25% CANCELLATION FEELER
There is not the least doubt that the produ-
cers are no longer "poohooing" the Neely Bill ;
they now know that the exhibitors mean busi-
ness— that, though the Bill has not passed both
houses before Congress adjourned, it will be
re-introduced in the next session in January,
with the chances of its being enacted into a law
the brightest.
To lull the exhibitors into a false security
they are trying to make them believe that a
larger percentage of cancellations will effect the
reforms the exhibitors want, and will not put
the producers into a corner.
From the talks that I have had with Allied
leaders, I have been able to ascertain that an
increased cancellation privilege will not satisfy
the exhibitors, even if such privilege called for
a cancellation of as high as 25% of the pictures,
for they have learned by experience that the
producers will so twist the cancellation provi-
sion that the exhibitors will have no. advantage
whatever. When the 10% cancellation provision
was inserted into the NRA Code, it was tied up
with so many restrictions that few exhibitors
were able to exercise it. And even those who
were fortunate enough to exercise it did not
profit at all from it, by reason of the fact that
when an exhibitor canceled a picture from the
(Continued on last page)
106
HARRISON'S REPORTS
July 2, 1938
"City Streets" with Leo Carillo
and Edith Fellows
(Columbia, July 1 ; time, 68 min.)
This program comedy-drama is good entertainment for
the family trade. It is a real tear-jerker ; every known trick
is used to bring the tears to the eyes. Sophisticated audiences
may be bored, but women and adolescents should enjoy it
for, in spite of the fact that the story is slightly on the
saccharine side, it has human appeal and on several occa-
sions stirs the emotions. Leo Carrillo, in the part of the
kind-hearted Italian grocer who makes sacrifices to help
crippled Edith Fellows, gives an excellent performance,
provoking both laughter and tears. There is no romantic
interest : —
When crippled Edith's mother dies, Carrillo, who adored
Edith, takes her into his home, where he gives her both
care and love. Hearing of the arrival of a famous surgeon,
Carrillo goes to see him; but the surgeon informs him that
he could not operate for less than $3,000 since he had made
a pledge to use all his fees for the establishment of a new
hospital. Carrillo sells his grocery store to pay for the
operation. But after the operation Edith still cannot walk;
she needed, according to the doctor, spirit and courage to
do so, which she lacked. Carrillo finds it difficult to earn a
living. And to his sorrow and Edith's, the welfare depart-
ment puts Edith in an institution. Carrillo contracts
pneumonia ; the neighborhood priest, realizing that Car-
rillo needed Edith, rushes to the institution and forcibly
takes her away. Stirred by the fact that Carrillo was dying
Edith starts to walk towards him; she joyfully shouts the
good news to him. The reconciliation and Edith's recovery
give Carrillo the desire to live ; he regains his health and
keeps Edith.
I. Bernstein wrote the story, and Fred Niblo, Jr. and
Lou Breslow, the screen play ; Albert S. Rogell directed it,
and Wallace MacDonald produced it. In the cast are
Tommy Bond, Mary Gordon, Helen Jerome Eddy, and
others.
Suitability, Class A.
"Woman Against Woman" with Herbert
Marshall, Virginia Bruce
and Mary Astor
(MGM, June 17; time, 60 min.)
An interesting marital drama, with a particular appeal
for women and high-class audiences. The story, revolving
around the problems of divorce where a second wife is con-
cerned, has been handled with intelligence and holds one's
interest throughout. Both the acting and the direction are
of a superior quality ; considering this, and the fact that
the plot is logical and the production lavish, "Woman
Against Woman" is better than average program fare : —
Harrassed by the demands and selfishness of his wife
(Mary Astor), Herbert Marshall finally gets up enough
courage to leave her; his only sorrow is the fact that he
would not be able to see his baby daughter every day. Miss
Astor obtains a divorce ; she so cleverly puts the burden
of guilt on Marshall, that even his mother sympathizes
with her. Marshall goes to Washington on an important
matter ; at a Senator's reception he meets Virginia Bruce,
and they fall madly in love with each other. After listening
to Marshall's story about his marital troubles, Miss Bruce
still feels she wants to marry him ; after the marriage they
leave for his home. Miss Bruce immediately finds out the
true nature of Miss Astor, who, at every opportunity,
manages to make a scene so as to embarrass both Marshall
and his new wife. The people of the town, because of their
faith in Miss Astor, refuse to take Miss Bruce into their
circle. But Miss Astor overplays her hand and reveals
herself both to Marshall, who suspected the worst, and to
his mother. Miss Bruce, by threatening to expose her to
her friends, finally manages to get Miss Astor to change
her tactics and to act decently.
Margaret C. Banning wrote the story, and Edward
Chodorov, the screen play ; he also produced it. Robert
Sinclair directed it. In the cast are Janet Beecher, Mar-
jorie Rambeau, Juanita Quigley, Zeffie Tilsbury, and others.
Morally suitable. Class A.
"Crime Ring" with Allan Lane
and Frances Mercer
(RKO, July 8 ; time, 69 min.)
A fair program melodrama, centering around racketeer-
ing in the fortune-telling business. Although far-fetched,
it holds one's attention fairly well because of the danger to
the hero and the heroine. The most interesting part of the
picture is that which shows the methods employed by the
fake seers in giving information and signs to clients. For
instance, one of the fortune-tellers, by pretending to be
blind, orders the client to write her name on a certain pad ;
this pad is connected with an electric system that registers
the name in another room. The name is checked for financial
possibilities and then the name, together with the facts, sent
to the fortune-teller by means of an electric machine at-
tached to the side of his desk at which he would look and
get the information he needed ; by repeating the facts, he
naturally is able to impress the client and advise her to do
whatever he wants.
The rest of the picture is taken up with the efforts of the
hero (Allan Lane), a newspaper reporter working with
the police, to round up the gang. He eventually does this
with the help of the heroine (Frances Mercer), who poses
as a fortune-teller so as to get in with the gang. Her
identity and connection with the hero are discovered by the
gangster leader, who kidnaps her. But she is saved. When
they finish the case, Lane and Miss Mercer plan to marry.
Reginald Taviner wrote the story, and Gladys Atwater
and J. Robert Bren, the screen play; Leslie Goodwins
directed it, and Cliff Reid produced it. In the cast are Clara
Blandick, Inez Courtney, Bradley Page, and others.
Suitability, Class A.
"Always Goodbye" with Barbara Stanwyck
and Herbert Marshall
(20//i Century-Fox, July 1 ; time, 7Ay2 min.)
A good box-office attraction, but only fair in entertain-
ment value. It should find favor mostly with women be-
cause of the mother love angle. The production is lavish,,
and the performances are good ; but at times the action is
slow, owing to an over-abundance of dialogue and padding.
The second half has considerable human appeal, for there
the heroine, after a five-year separation from her child,,
comes in contact with him again. The child is played
delightfully by five-year old John. Russell, who speaks his
lines like a veteran and acts with ease; he makes each
scene in which he appears outstanding. Occasional bits of
comedy, contributed by Cesar Romero, are of considerable
help : —
Distracted by the accidental death of her lover, whom
she was to have married that day, Barbara Stanwyck con-
siders jumping into the river. She is stopped from doing
this by Herbert Marshall. He takes her to his apartment
for a rest ; there she breaks down and tells him she was
going to have a baby. Marshall insists on seeing her
through the difficult period ; at the birth of her son, he
arranges for a fine, wealthy couple to adopt the child. He
then obtains a position for Miss Stanwyck with a friend
(Binnie Barnes), owner of a fashionable dressmaking
establishment, after which he leaves on one of his jaunts
as a ship doctor. In five years, Miss Stanwyck rises to at
position of prominence ; on the day she was to sail for
Paris, Marshall returns. Miss Stanwyck threatens to give
up her trip unless he promised to stay in New York until
she returned. In a fashionable Paris hotel she meets her
child, who takes a liking to her. Learning that his mother
was dead and that he was leaving for New York with his
nurse, she books passage on the same boat and devotes ah
her time to him. On landing she meets his father (Ian
Hunter), and Hunter's fiancee (Lynn Bari). She has occa-
sion to meet Miss Bari again and, realizing that she was a
gold-digger who would not give Johnnie any love, she
purposely sets out to break up the match; she succeeds.
When Hunter, who had fallen in love with her, proposes,
she accepts him, even though she loved Marshall ; Marshall
understands for he, too, felt that her first duty was to her
child.
Gilbert Emery and Douglas Doty wrote the story, and
Katharine Scola and Edith Skouras, the screen play;
Sidney Lanfield directed it, and Raymond Griffith produced
it.
Unsuitable for children. Adult fare. Class B.
July 2, 1938
HARRISON'S REPORTS
107
"Danger on the Air" with Donald Woods
and Nan Grey
(Universal, July 1; time, 66 min.)
A good program murder-mystery melodrama. Although
developed in the routine manner, with several characters
as suspects, it holds one's attention throughout, for neither
the method by which the murders are committed nor the
murderer's identity are disclosed until the end. It moves at
a brisk pace, with a few exciting situations and occasional
laughs. Some of the excitement is caused by the entry into
the story of gangsters, who had worked with the murdered
man in ruining his competitors. The romance is mildly
pleasant : — ■
Berton Churchill, an important sponsor of a radio pro-
gram, is hated by every one because of his irascibility, inter-
ference with the program, and amorous approaches to every
pretty girl he met. One night, during a broadcast, he is
murdered. Donald Woods, an employee of the radio station,
sets out to solve the case. Working with him is Nan Grey,
one of the members of the agency that had handled Churc-
hill's account She, as well as her brother, were under sus-
picion. Woods finally discovers how the murder had been
committed — by means of a poison gas seeping through a
balloon. But before he could name the murderer, another
man is killed in the same way. Woods finally traps the
murderer (William Lundigan) into confessing — Churchill
had ruined his father's business, as he had done others, by
a whispering campaign ; the other man had been killed
accidentally. With their work finished, Woods and Miss
Grey look forward to marriage and a honeymoon.
The plot was adapted from the story "Death Catches
Up With Mr. Kluck" by Xantippe ; Betty Laidlaw and
Robert Lively wrote the screen play, Otis Garrett directed
it, and Irving Starr produced it. In the cast are Jed Prouty,
Skeets Gallagher, George Meeker, and others.
Unsuitable for children. Adult fare. Class B.
"Young Fugitives" with Harry Davenport,
Dorothea Kent and Robert Wilcox
(Universal, June 17; time, 68 min. )
A moderately entertaining program picture. The out-
standing feature is the performance given by Harry Daven-
port ; he makes the character he plays loveable and appeal-
ing, one with whom the spectator is in sympathy through-
out. But the action is, for the most part, mild. As a matter
of fact, it is not until the closing scenes that anything
exciting happens ; there one is held in some suspense when
a gang of crooks try to steal a large sum of money Daven-
port had won. The romance is routine : —
When Davenport wins the $50,000 pool set aside for the
last member of his G.A.R. Post, he retires to a farm with
an old friend; he keeps the money in a box at home. His
hope was to find the grandson (Robert Wilcox) of his
old pal, whose death had made Davenport the winner of
the pool, and help the young man along. He is happy when
Wilcox shows up ; but when he refuses to stay on the farm,
Davenport gives him $2,500. Wilcox leaves in his car and
takes with him Dorothea Kent, who, living the life of a
hobo, had accepted a night's lodging and food from Daven-
port but was on her way again. When Wilcox hears about
the $50,000, he decides to turn back. But Miss Kent, know-
ing what he was up to, insists on going back, too, for she
had formed an attachment for Davenport. Former gangster
pals of Wilcox's find him at the farm ; having read about
the $50,000, they demand that Davenport turn the money
over to them. The timely arrival of paraders, who had as-
sembled for the yearly march with Davenport as their
leader, routs the gangsters, who are captured. Wilcox is
happy, for he had become reformed, and looked forward to
a simple life wth Miss Kent as his wife.
Edward James wrote the story, and Ben G. Kohn and
Charles Grayson, the screen play; John Rawlins directed
it, and Barney A. Sarecky produced it. In the cast are
Larry Blake, Tom Ricketts, and others.
Since the hero is reformed it is suitable for children.
Class A.
"Three Blind Mice" with Loretta Young
and Joel McCrea
(20th Century-Fox, June 17; time, 75 min.)
A good comedy. Despite a weak story, the picture is
quite entertaining because of sparkling dialogue and amus-
ing characterizations. Another thing in its favor, as far as
women are concerned, is the lavish production, which gives
Loretta Young an opportunity to display fashionable clothes.
But it is to Binnie Barnes' credit that the picture offers as
many laughs as it does ; in the part of the somewhat scatter-
brained, energetic sister of millionaire David Niven, she
provokes hearty laughs by her frank manner and irrational
actions : —
When three sisters (Loretta Young, Marjorie Weaver,
and Pauline Moore) receive a $5,000 legacy, they decide to
give up their chicken farm, for the purpose of trying to
find a rich husband for Miss Young. They buy her beauti-
ful clothes and leave for a fashionable resort, where Miss
Moore poses as the secretary and Miss Weaver as the maid.
Miss Young gets the information she needs about the
eligible men from Stuart Erwin, the bartender. Her choice
dwindles down to two — David Niven and Joel McCrea. She
really falls in love with McCrea, only to learn that he had
a fine background but no money, and that he had been
looking for a rich wife. They part, and Miss Young accepts
Niven's proposal, leaving with him and her sisters for his
ranch. They are followed there by Erwin, who had found
out about their scheme and, hating gold-diggers, threatened
to tell Niven. But everything turns out satisfactorily when
McCrea suddenly appears. He and Miss Young are recon-
ciled ; this makes Niven very happy for he had discovered
that it was Miss Moore he really loved. And Miss Weaver
marries Erwin who, it develops, was a millionaire rancher,
too.
Stephen Powys wrote the story, and Brown Holmes and
Lynn Starling, the screen play ; William A. Seiter directed
it, and Raymond Griffith produced it. In the cast are Jane
Darwell, Leonid Kinskey, Spencer Charters, and others.
Suitability, Class A.
"Lord Jeff" with Freddie Bartholomew
and Mickey Rooney
(MGM, June 24 ; time, 84]/2 min.)
Very good 1 In a human, plausible, and touching way, it
shows the reformation of a young boy from crookedness and
snobbery to decency and tolerance ; and it does this with-
out any preachments. The performances are excellent ; but
it is Terry Kilburn, a youngster with a Scottish accent and
a simpleness of manner, who is outstanding; he wins the
spectator over completely by his appealing manner, facial
expressions and ability to read his lines. There are several
situations that bring tears to the eyes, and others that
provoke hearty laughter. Even though one knows how the
story will end, one does not lose interest in the outcome.
There is no love interest. The background is England : —
Freddie Bartholomew, assistant to a clever pair of crooks,
is arrested after a jewel theft; the crooks escape. Freddie,
who had been educated and trained as a gentleman, refuses
to talk. Feeling sorry for him, the judge, instead of sending
him to a reformatory, assigns him to a mercantile marine
school, which was part of a famous system of training
schools for orphans. Freddie makes himself disliked by his
snobbish ways. Mickey Rooney, an honor student, tries to
help Freddie but is rebuffed. When Freddie tries to run
away, Mickey goes after him, returning to quarters late at
night. Freddie gets in first, but Mickey is caught climbing
in ; since Freddie remains silent and Mickey refuses to give
the facts, Mickey's stripes are taken away from him, and
his chances of being assigned to the S. S. Queen Mary are
in doubt. All the boys at the school, with the exception of
Terry, who idolized Freddie, refuse to talk to Freddie.
Eventually the spirit of the place gets him, and he is re-
formed ; he goes to the head of the school and clears Mick-
ey's name. The boys then become his friends, and he is over-
joyed when he is told that he, too, would be assigned to
the S. S. Queen Mary. The crooks return and manage to
get to Freddie, who refuses to have anything to do with
them. But when they hear about the Queen Mary trip, they
book passage on the same ship, and sew the necklace in
Freddie's coat. This is discovered by the school matron,
who believes in Freddie. The crooks are finally caught, and
Freddie is free to take the job.
Bradford Ropes, Val Burton and Endrc Bohcm wrote the
story, and James K. McGuinness, the screen play ; Sam
Wood directed it, and Frank Davis produced it. In the cast
arc Charles Coburn, Herbert Mundin, Gale Sondergaard,
and others.
Class A.
108
HARRISON'S REPORTS
July 2, 1938
higher allocation groups, the distributor would,
as is well known, put in its place one from the
lowest allocation groups, on the same terms as
those of the more expensive picture. In this
manner the exhibitors had the cancellation pri-
vilege in name only. The same sort of cancella-
tion provision has been inserted in the contracts
ever since (with the exception of Columbia,
which company eliminated it altogether last
season and also this season).
But although the cancellation provision was
an empty offer, the producers were able to use
it in their propaganda to the public to convince
the friends of the Neely Bill that the exhibitors
now had the right to exclude ten per cent of the
undesirable pictures, and that, as a result of it,
there was no need for the Neely measure.
The exhibitors are now determined that they
shall not give the distributors another such
chance. If they should ever decide to accept a
producer offer for a higher cancellation per-
centage, I am sure that they will demand that
this privilege be so framed as to confer upon
them a real right. And even then, it must come
along with other substantial reforms, particu-
larly on the subject of theatre acquisitions and
theatre operations in small towns.
SUCCESS OF "SHEIK" A FREAK
The success of "The Sheik," the Paramount
silent picture with Rudolph Valentino, now
dead, may release a flood of silent re-issues, and
this paper wishes to warn the exhibitors against
too many re-issues, silent or talking, for these
cannot help hurting the business in the end.
And the reason for it is the fact that the tech-
nique of the old pictures is so far behind the
present technique that it makes people laugh.
Most people go to see "The Sheik" out of
curiosity ; and they have the time of their lives
watching the crude way of acting of those days
and other production shortcomings.
"The Son of the Sheik," United Artists,
played two weeks only ; "The Sheik" may play
five weeks.
KUYKENDALL AGAIN IN PRINT
Our good friend Ed. Kuykendall, president
of Motion Picture Theatre Owners of America,
is again getting into "print" ; the trade papers
carry news item about what he has said regard-
ing arbitration, and how he feels toward con-
ciliation.
This paper has stated in these columns that,
with as much personal respect as the writer has
for Mr. Kuykendall, he has identified himself
with the subsidized organization which he
heads for so long that any connection between
him and his organization with a movement for
conciliation between producers and exhibitors
will fail, by reason of the fact that, if MPTOA
were to be dragged into it, the exhibitors would
feel that there is no sincerity back of the pro-
ducers' offer to get together with the exhibitors,
and that the old crowd insists upon doing things
the same old way.
The producers have undoubtedly become
aware of the fact that the independent exhibi-
tors are represented only by one organization —
Allied States Association. Any conciliation
movement, then, should be undertaken with no
other exhibitor organization than Allied States.
It is only thus that such a movement will have
a chance for success.
THE THEATRE OWNING PRODUCERS
ARE AGAIN IN THE SAME
POSITION AS IN 1932
Many persons connected with the motion pic-
ture industry believe that what laws will not do
to the producer circuits the depression will do
it. Some of these circuits are again in the tough
position in which they were in 1932 and there-
abouts-— losing money, and the home offices are
using the receipts from the pictures to cover
the losses from the operation of the theatres.
And this is only the beginning: what will
happen by the time we get to fall is another tale.
It is the belief of Harrison's Reports that what
legislation and the depression will not do to
these circuits labor conditions will, for an affili-
ated theatre is not like an independent: when
an affiliated theatre is in trouble with labor and
refuses to capitulate, bringing about a strike,,
the workers may be pulled in every one of that
circuit's theatres.
The theatre-owning producers should think
seriously of getting out of the small towns. It
will pay them in the end.
IMPORTANT MATTERS BROUGHT TO
LIGHT AT THE FARGO TRIAL
As a result of the action brought by Para-
mount to have the North Dakota measure de-
clared unconstitutional, many interesting facts
were brought to light. Here are a few of them :
(1) Paramount owns theatres aggregating
1,335,928 seats out of 9,855,325, which is the
total number of seats in all the theatres in the
United States; or 13.55%.
(2) The total number of seats in North Da-
kota is 46,606. Of these, Paramount owns 7,792 ;
or 16.72% (even though it has slightly more
than 5% of the number of theatres, owning 10
out of a total number of 168.)
(3) The total number of theatres in the
Minnesota territory is 964, with a seating capa-
city of 355,776. Of these, Paramount owns 101
theatres with 86,373 seats ; that is, 10.37% of
the theatres and 24%% of the seats.
(4) As of January 1, 1938, Paramount's total
assets were of the gross value of $120,219,281.03,
made up as follows: American companies of
the value of $91,005,843.28; foreign companies,
including Canada, of the value of $29,213,437.75.
The total income of Paramount during the fiscal
year of 1936 (53 weeks) was $107,347,155.90, of
which $74,324,366.36 represented the total do-
mestic income, and $33,022,749.54 the Canadian
and foreign.
(5) At the time of the trial, the total number
of theatres Paramount owned was more than
1,300. On April 1, 1937, the last date on which
complete information was available, Para-
mount had stock interest as follows: 100%, in
194 theatres; from 51% to 99.99%, in 195 thea-
tres: 50%, in 511 theatres; and less than 50%,
in 355 theatres, a total number of 1,255 theatres
at that time.
Vol. XX
IN TWO SECTIONS — SECTION TWO
HARRISONS REPORTS
~NEW YORK, N. Y., SATURDAYTjULY 2, 1938
No. 27
(Semi-Annual Index— First Half of 1938)
Title of Picture Revi.ei.ved on Page
Accidents Will Happen — Warner Bros. (62 min.) 51
Action for Slander — United Artists (81^ min.) 27
Adventures of Marco Polo, The — United Artists
(104 min.) 47
Adventures of Robin Hood — First National (102 m.) . . 74
Adventures of Tom Sawyer, The — United Art. (90 m.) 35
Air Devils — Universal (60 min.) 83
Arsene Lupin Returns — MGM (80 min.) 46
Arson Gang Busters — Republic (64 min.) 62
Bad Man of Brimstone— MGM (88 min.) 14
Baroness and the Butler, The — 20th Century-Fox
(79 min.) 34
Battle of Broadway— 20th Century-Fox (83J4 m.) . . . 67
Beloved Brat, The — First National (62 min.) 62
Benefits Forgot — MGM (See "Of Human Hearts") . . 35
Big Broadcast of 1938, The— Paramount (90 min.) .... 34
Black Doll, The— Universal (66 min.) 14
Blind Alibi— RKO (61 min.) 83
Blockade— United Artists (83 min.) 94
Blond Cheat— RKO (61 min.) 91
Blondes at Work — Warner Bros. (63 min.) 27
Bluebeard's Eighth Wife — Paramount (90 min.) 50
Border G Man— RKO (60 min.) 99
Border Wolves — Universal (56 min.) Not Reviewed
Born to Be Wild— Republic (66 min.) 39
Bringing Up Baby— RKO ( 101 min.) 31
Buccaneer, The — Paramount (123 min.) 19
Bulldog Drummond's Peril — Paramount (65 min.) .... 55
Bulldog Drummond's Revenge— Paramount (55 m.).. 2
Call of the Mesquiteers — -Republic (56 m.) . .Not Reviewed
Call of the Ring, The — Republic
(See "The Duke Comes Back") 198
Call of the Rockies — Columbia (54 m.) Not Reviewed
Call of the Yukon— Republic (70 min.) 74
Cassidy of Bar 20 — Paramount (56J4 m.) . .Not Reviewed
Cattle Raiders — Columbia (61 min.) Not Reviewed
Change of Heart — 20th Century-Fox (66 min.) 15
Checkers — 20th Century-Fox (78 min.) 11
City Girl — 20th Century-Fox (60 min.) 7
Cocoanut Grove — Paramount (90 min.) 86
Code of the Rangers — Monogram (56 m.) . .Not Reviewed
College Swing — Paramount (86 min.) 71
Condemned Women — RKO (77 min.) 47
Cowboy from Brooklyn — Warner-lst Nat'l (76 min.) .102
Crashing Hollywood — RKO (60 min.) 3
Crime of Dr. Hallet — Universal (68 min.) 51
Crime School — First National (84 min.) 83
Dangerous Age, A — First National
(See "Beloved Brat") 62
Dangerous to Know — Paramount (69H min.) 42
Daredevil Drivers — First National (59 min.) 38
Daughter of the Orient — Paramount (See "Daughter
of Shanghai") 207
Devil's Party, The — Universal (65 min.) 86
Divorce of Lady X, The— United Artists (90 min.) ... 18
Doctor Rhythm — Paramount (80 min.) 78
Double Danger— RKO (61 min.) 22
Everybody Sing — MGM (90 min.) 23
Everybody's Doing It— RKO (66^ min.) 11
Every Day's a Holiday — Paramount (79 min.) 10
Exiled to Shanghai — Republic (65 min.) .. .Not Reviewed
Extortion — Columbia (57 min.) 78
Female Fugitive — Monogram (56 min.) 71
Feud Maker, The — Republic (55 min.) .... Not Reviewed
Flight Into Nowhere — Columbia (65 min.) 66
Fire Fighters — Republic (See "Arson Gang Busters") 62
First Hundred Years, The— MGM (73 min.) 50
Fools For Scandal — First National (79 min.) 58
Forbidden Valley — Universal (67 min.) . . . .Not Reviewed
Forgotten Women — Columbia (See "Women in
Prison") 15
Four Men and a Prayer — 20th Century-Fox (85 m.) . . 74
Frou Frou— MGM (See "The Toy Wife") 98
Gaiety Girls— United Artists (73 min.) 51
Gangs of New York — Republic (67 min.) 90
Girl of the Golden West, The— MGM (120 min.) 54
Girl Was Young, The— Gaumont-British (70 min.)... 30
Glamorous Night — Republic (62 min.) Not Reviewed
Go Chase Yourself— RKO (70 min.) 70
Gold Diggers in Paris — Warner Bros. (96 min.) 90
Gold Is Where You Find It— First National (94 m.) . . 31
Goldwyn Follies — United Artists (121 min.) 27
Goodbye Broadway — Universal (69 min.) 58
Gun Law— RKO (60 min.) 79
Happy Landing — 20th Century-Fox (101 min.) 19
Having Wonderful Time— RKO (70 min.) 102
Hawaiian Buckaroo — 20th Century-Fox (61 min.) ... 15
Hawaii Calls— RKO (71 min.) 42
Headin' East — Columbia (67 min.) Not Reviewed
Heart of Arizona — Paramount (67l/2 m.) .. Not Reviewed
He Couldn't Say No — Warner Bros. (57 min.) 46
Her Jungle Love — Paramount (80 min.) 55
Heroes of the Alamo — Columbia (75 m.) . .Not Reviewed
Highway Patrol — Columbia (57 min.) 99
Hold That Kiss— MGM (79 min.) 82
Holiday — Columbia (94 min.) 91
Hollywood Hotel— First National (108^ min.) 6
Hollywood Stadium Mystery — Republic (65 min.).... 43
Hunted Men — Paramount (66 min.) 87
I Met My Love Again — United Artists (73 min.) 14
In Old Chicago— 20th Century-Fox (110 min.) 15
International Crime — Grand National (63 m.) 75
International Settlement — 20th Century-Fox (83 m.) . 27
Invisible Enemy — Republic (65 min.) 67
Invisible Menace — Warner Bros. (54 min.) 10
Island in the Sky— 20th Century-Fox (67 min.) 62
Jezebel — Warner Bros. (103 min.) 50
Josette — Twentieth Century-Fox (73 min.) 95
Joy of Living— RKO (91 min.) 63
Judge Hardy's Children — MGM (77 min.) 55
Jury's Secret, The — Universal (64 min.) 11
Kathleen— J. H. Hoffberg (70 min.) 47
Kentucky Moonshine — 20th Century-Fox (85 min.) .. 78
Kid Comes Back, The — Warner Bros. (61 min.) 23
Kidnapped— 20th Century-Fox (90 min.) 91
King of the Newsboys — Republic (68 min.) 59
Ladies in Distress — Republic (65j^ min.) 98
Lady Behave — Republic (69 min.) 7
Lady in the Morgue, The — Universal (68 min.) 70
Land of Fighting Men — Monog'm (53 m.) . .Not Reviewed
Last Stand, The — Universal (56 min.) .... Not Reviewed
Law of the Underworld— RKO (60 min.) 62
Let's Make a Night of It — Universal (66 min.) 54
Little Miss Roughneck — Columbia (62 min.) 39
Little Miss Thoroughbred — Warner Bros. (63 min.).. 87
Lone Wolf in Paris, The — Columbia (67 min.) 66
Look Out for Love — Gaumont-British (68 min.) 22
Love and Hisses — 20th Century-Fox (84 min.) 3
Love, Honor and Behave — Warner Bros. (70 min.) ... 39
Love Is a Headache — MGM (72y2 min.) 14
Love on a Budget — 20th Century-Fox (64 min.) 18
Mad About Music — Universal (95 min.) 43
Maid's Night Out, The— RKO (64 min.) 46
Main Event — Columbia (55 min.) 86
Making the Headlines — Columbia (65 min.) 59
Mama Runs Wild — Republic (65 min.) 7
Manhattan Music Box — Republic (See "Manhattan
Merry Go Round") 191
Mannequin — MGM (94 min.) 18
Man-Proof— MGM (74 min.) 2
March of a Nation, The — Paramount (See "Wells
Fargo" ) 206
Marines Are Here, The — Monogram (60 min.) 94
Men Are Such Fools — Warner Bros. (68 min.) 102
Merrily We Live — MGM (94 min.) 43
Midnight Intruder — Universal (68 min.) .-26
Monastery — World Pictures (65 min.) 47
Moonlight Sonata — Malmar Pict. (80 min.) 75
Mr. Moto's Gamble — 20th Centurv-Fox (71 min.).... 59
Mr. Moto Takes a Chance— 20th Century-Fox (63m.) 99
Mv Old Kentucky Home — Monogram (72 min.) 19
Mystery House — First National (56 min.) 79
Night Spot— RKO (60 min.) 30
No Time to Marry — Columbia (64 min.) 38
Numbered Woman — Monogram (63 min.) 87
Nurse From Brooklyn— Universal (66 min.) 70
Of Human Hearts— MGM (102 min.) • • 35
Old Barn Dance-Republic (60 min.) .... -Not Reviewed
One Wild Night— 20th Century-tox (71 nun.) ....... U
Outlaws of So.iora-Republ.c (55 m.) . . -No Kev.ewed
Outlaws of the Prairie-Columbia (57m ,.).. Not Reviewed
Outside of Paradise— Republic (68 min.) ••••••• • • • • ; • ^
Overland Express, The-Columbia (55m ) . .Not Reviewed
Over the Wall— Warner Bros. (66 min.) ™
Painted Trail, The-Monogram (50 m.) . . . Not Reviewed
Paradise for Three— MGM (78 min.) . . • • • • • •.• • "
Paroled to Die-Republic (55 min.) . . ... .N<* Reviewed
Farmers of the Plains-Paramount (70m.) . Not Reviewed
Patient in Room 18— First National (59 mm.) 6
Penitentiary— Columbia (78 min.) ;iV*V\'*" >i
Penrod and His Twin Brother-Warner (62 mm.) ... 2 J
Port of Missing Girls— Monogram (63 min.) oo
Prison Farm— Paramount (69 min )
Prison Nurse— Republic (67 min.) j
Purple Vigilantes-Republic (58 min.) Not Reviewed
Radio City Revels-RKO (90 min.).... 26
Rage of Paris, The— Universal (77 mm.) 103
Rascals— 20th Century-Fox (77 min.) n
Rat.The-RKO (69 min.) j*
Rawhide— 20th Century-Pox (58 min.) . 6/
Rebecca of Sunnybrook Farm— 20th Century-Fox
(81 min.) H
Reckless Living— Universal (67^4 min.) °'
Return of the Scarlet Pimpernel, The— Un. Art. (80m.) 66
River, The— Paramount (31 min.).. 31
Rolling Caravans-Columbia (55 m.) Not Reviewed
Romance in the Dark— Paramount (78 min ......... 34
Romance of the Limberlost— Monogram (81 min.) . . .11^
Romance of the Rockies— Monogram (53m.)
Not Reviewed
Romance on the Run— Republic (67^ min.) 82
Rosalie— MGM (122 min.) ;~"v; «
Rose of the Rio Grande— Monogram (60 min.) 5»
Sailing Along— Gaumont-British (86 min.) 59
Saint in New York, The— RKO (72 min.) 82
Saleslady— Monogram (64 min.) ........ .... . v .... 22
Sally, Irene and Mary— 20th Century-Fox (84 min.) . . 42
Scandal Street— Paramount (61 min.) 30
Sergeant Murphy— Warner Bros. (57 min.) ......... 6
Sez O'Reilly to MacNab— G.-B. (82 min.) . .Not Reviewed
Shadow, The— Columbia (57j4 min.) 3
She's Got Everything— RKO (72 min.) ............. 3
Singing Outlaw, The— Universal (56 m.) . .Not Reviewed
Sinners in Paradise— Universal (63 min.) 78
Slight Case of Murder, A— First National (84 min.) . . 38
Snow White and the Seven Dwarfs— RKO (86 min.) . . 10
Spirit of Youth— Grand National (66 min.) 7
Spy Ring— Universal (60y2 min.) 11
Squadron of Honor— Columbia (55 min.) 26
Start Cheering— Columbia (77 min.) 30
State Police— Universal (60^4 min.) 54
Stolen Heaven— Paramount (87 min.) 75
Storm in a Teacup— United Artists (85^4 min.) 54
Sudden Bill Dorn— Universal (59 min.) . . . Not Reviewed
Swing, Teacher, Swing— Paramount (See "College
Swing") 71
Swing Your Lady — Warner Bros. (77 min.) 18
Swiss Miss — MGM (73 min.) 83
Tarzan's Revenge — 20th Century-Fox (70 min.) 10
Test Pilot— MGM (120 min.) 70
There's Always a Woman — Columbia (80 min.) 63
This Marriage Business— RKO (71 min.) 58
Three Comrades— MGM (97y2 min.) 90
Three Men in the Snow— MGM (See "Paradise for
Three") 22
Three on a Week-End — Gaumont-British (72 min.) ... 94
Thunder in the Desert— Republic (55 m.) .. Not Reviewed
Tip-Off Girls— Paramount (61 min.) 55
Torchy Blane in Panama— First National (59 min.).. 71
To the Victor — Gaumont-British (72 min.) 34
Tovarich— Warner Bros. (97 min.) 2
Toy Wife, The— MGM (95 min.) 98
Trial of Portia Merriman, The— Republic (See
"Portia on Trial") 182
Trip to Paris, A — 20th Century-Fox (63 min.) 66
Vivacious Lady— RKO (90 min.) 79
Walking Down Broadway — 20th Century-Fox
(68^ min.) 39
West of Rainbow's End— Monogram (57m.)
Not Reviewed
When G Men Step In— Columbia (60 min.) 43
When Were You Born?— First National (65 min.) ... 99
Where the West Begins — Mono. (54 m.) . . .Not Reviewed
White Banners— Warner Bros. (91 min.) 98
Who Killed Gale Preston?— Columbia (60 min.) 26
Wide Open Faces— Columbia (66 min.) 42
Wife of General Ling. The— G-B (69 min.) 38
Wise Girl— RKO (69^4 min.) 2
Wives Under Suspicion — Universal (68 min.) 95
Woman Against the World — Columbia (65J/2 min.) .. 79
Women Are Like That — First National (78 min.).... 63
Women in Prison — Columbia (58 min.) 15
Yank at Oxford, A— MGM (K)2 min.) 35
Yellow Jack— MGM (83 min.) 86
You and Me — Paramount (93 min.) 95
RELEASE SCHEDULE FOR FEATURES
Columbia Features
(729 Seventh Ave., New York, N. Y.)
8205 Law of the Plains— Starrett (56m.) May 12
8001 Holiday — Hepburn-Grant-Nolan June 15
8211 Stagecoach Days — All Star western (58m.) June 20
Highway Patrol — Wells-Page June 27
8206 West of Cheyenne— Starrett (53m.) June 30
City Streets (City Shadows) — Carrillo-
Fellows (reset) July 1
8212 Pioneer Trail— All Star western (55m.) July 15
Reformatory — Jack Holt-F. Darrow July 21
8207 South of Arizona— Starrett July 28
The Gladiator — Joe E. Brown Aug. 15
8213 Phantom Gold— All Star western Aug. 22
Outside the Law — Ed. G. Robinson... Aug. 25
First National Features
(321 W. 44th St., New York, N.#.)
259 Crime School — Bogart-Page May 28
263 When Were You Born? — Lindsay-Wong June 18
260 My Bill — Francis-Granville-Louise July 16
276 Penrod's Double Trouble — Mauch Twins July 30
Gaumont-British Features
(1600 Broadway, New York, N. Y.)
1937-38 Season
Non-Stop New York — Anna Lee-John Loder Nov. 17
I Was a Spy — M. Carroll-Marshall (Reissue) Jan. 1
Look Out For Love — Neagle-Carmanati Jan. 15
Wife of General Ling — Jones-Inkijinoff Feb. 1
The Girl Was Young — Nova Pilbeam Feb. 15
F.P.I Doesn't Answer (F.P.I) — Reissue May 1
m {End of 1937-38 Season)
Beginning of 1938-39 Season
Sailing Along — Jessie Matthews Apr. 15
To the Victor — Fyffe-Loder-Lockwood (re.) May 1
The Show Goes On — Neagle-Carmanati (re.) . . .June 15
Three On a Week- End — Lockwood-Lodge (re.) ..July 1
Evergreen — Reissue July 15
Strange Boarders — Walls-Saint Cyr Aug. 1
Crime Over London — M. Grahame-Cavan'gh (re.) Aug. 15
Grand National Features
(1270 Sixth Ave., New York, N. Y.)
219 International Crime — LaRocque-Allwyn Apr. 22
221 Whirlwind Horsemen — Maynard Apr. 29
224 Six Shootin' Sheriff — Ken Maynard May 21
223 Life Returns — Wilson-Stevens June 10
222 Held For Ransom — Mehaffey- Withers June 17
225 I Married a Spy— Neil Hamilton July 1
226 Rollin' Plains— Tex Ritter July 8
227 I Command — Lionel Atwill July 15
228 Renfrew on the Great White Trail — Newill. . .July 22
229 The Utah Trail— Tex Ritter Aug. 12
Metro-Goldwyn-Mayer Features
(1540 Broadivay, New York, N. Y.)
832 Three Comrades — Taylor- Sullavan-Tone ....June 3
836 The Toy Wife — Rainer-Douglas- Young June 10
838 Woman Against Woman (One Woman's
Answer) — Bruce-Marshall-Astor (reset) ..June 17
837 Lord Jeff — Bartholomew-Rooney (reset) ....June 24
Fast Company — Douglas-Rice July 8
The Crowd Roars — Taylor-O'Sullivan July 15
Love Finds Andy Hardy — Stone-Rooney July 22
Monogram Features
(1270 Sixth Ave., New York, N. Y.)
372Z Telephone Operator — Allen-White (61m.) r.Jan. 12
3727 West of Rainbow's End— McCoy (57m.) . . . Jan. 19
3724 Saleslady — Nagel-Heyburn (reset) Jan. 27
3736 Where the West Begins— Randall (54m.) ..Feb. 3
3719 My Old Kentucky Home— Venable-Hall (r.).Feb. 12
3733 The Painted Trail— Tom Keene (50m.) (r.). Feb. 20
3725 Port of Missing Girls— Allen-Carey (r.) . . . .Feb. 23
3728 Code of the Rangers— Tim McCoy (56m.) . .Mar. 9
3715 Rose of the Rio Grande— Movita (re.) Mar. 23
3739 Land of Fighting Men— Randall (53m.) Apr. 11
3713 Female Fugitive — Venable-Reynolds Apr. 15
3729 Two Gun Justice— Tim McCoy (57m.) (re.) .May 13
3709 Numbered Woman (Private Nurse)— Blane . May 22
3730 Phantom Ranger— Tim McCoy (53m.) May 29
3712 Marines Are Here— Travis-Oliver June 8
3702 Romance of the Limberlost— Parker June 22
3742 Man's Country— Jack Randall July 6
3741 Last Frontier— Jack Randall Aug. 17
3740 Gun Smoke Trail— Jack Randall (56m.) (r).Sept. 2
Paramount Features
(1501 Broadway, New York, N. Y.)
3738 Stolen Heaven— Raymond-Bradna May 13
3740 Cocoanut Grove — MacMurray-Hilliard May 20
3741 Hunted Men — Nolan-Carlisle-Overman May 27
No release set for June 3
3742 You and Me— Raft-Sidney-MacLane June 10
3743 Prison Farm— Ross-Nolan-Howard June 17
3758 Bar 20 Justice— Wm. Boyd-Gaze June 24
No release set for July 1
No release set for July 15
3744 Tropic Holiday — Lamour-Burns-Raye July 22
Booloo — Tapley-Lane July 22
Professor Beware — Lloyd-Welch July 29
Give Me a Sailor — Raye-Hope-Grable Aug. 5
The Texans— J. Bennett-Scott-Robson Aug. 12
~ (more to come)
Beginning of 1938-39 Season
3854 Pride of the West— Wm. Boyd-Hayes July 8
Republic Features
(1776 Broadway, New York, N. Y.)
7008 Prison Nurse— Wilcoxon-Marsh Mar. 29
7116 Outlaws of Sonora— Three Mesq. (55m.) . . .Apr. 11
7009 King of the Newsboys — Ayres-Mack Apr. 15
7126 The Feud Maker— Bob Steele (55m.) Apr. 18
7022 Arson Gang Busters — Livingston Apr. 25
7010 Invisible Enemy — Marshall-Correll May 2
7011 Call of the Yukon— Arlen-Roberts May 16
7012 Romance on the Run — Woods-Ellis June 8
7004 Gangs of New York — Bickford-Dvorak June 13
7127 Desert Patrol— Steele (56m.) June 27
7117 Riders of the Black Hill— 3 Mesq. (55m.) ...July 6
7012 Ladies in Distress — Skipworth-Moran July 11
Army Grl — Evans-Foster July 28
Gold Mine in the Sky — Autry Aug. 1
7128 Darango Valley Raiders — Steele Aug. 8
RKO Features
(1270 Sixth Ave., New York, N. Y.)
881 Gunlaw — George O'Brien (60 min.) May 13
829 Blind Alibi— Dix-Bourne May 20
830 Saint in New York — Hayward-Sutton June 3
870 King Kong — Reissue June 10
831 Blond Cheat — Fontaine-DeMarney June 17
882 Border G Man — George O'Brien June 24
819 Having Wonderful Time — Rogers-Fairbanks .July 1
836 Crime Ring — Lane-Mercer July 8
871 Little Women — Reissue July 8
Twentieth Century-Fox Features
(444 W. 56th St., New York, N. Y.)
843 Island in the Sky — Stuart-Whalen Apr. 1
842 Rawhide — Ballew-Gehrig-Knapp Apr. 8
840 In Old Chicago — Power-Faye-Ameche Apr. 15
845 Battle of Broadway — MacLaglen-Hovick Apr. 22
848 Four Men and a Prayer — Young-Greene ....Apr. 29
847 A Trip to Paris — Prouty-Deane May 6
874 Life Begins at Forty — Rogers reissue May 6
844 Kentucky Moonshine — Ritz Brothers May 13
849 Rascals— Withers-Hudson-Wilcox May 20
846 Kidnapped — Baxter-Bartholomew- Whelan . . . May 27
839 Josette — Amechc-Simon- Young June 3
850 One Wild Night— Lang-Baldwin-Talbot ...June 10
851 Three Blind Mice — Young-McCrea June 17
819 Mr. Moto Takes a Chance — Lorre-Hudson ..June 24
852 Always Goodbye — Stanwyck-Marshall July 1
857 We're Going to Be Ricli — Fields-McLaglen . July 8
853 Panamint's Bad Man — Ballew-Beery-Daw . . July 8
854 Passport Husband — Erwin-Moore-Fowley ...July 15
855 I'll Give a Million— Baxter-Weaver July 22
856 Little Miss Broadway— Temple-Murphy July2<>
United Artists Features
(729 Seventh Ave., New York, N. Y.)
Adventures of Marco Polo — Cooper-Gurie Apr. 15
Divorce of Lady X — Oberon-Olivier Apr. 15
The Return of the Scarlet Pimpernel — Stewart-
Scott-Lister Apr. 29
Count of Monte Cristo — Reissue May 13
I Cover the Waterfront — Reissue May 13
Blockade — Fonda-Carroll-Carrillo June 17
(End of 1937-38 Season)
Beginning of 1938-39 Season
Algiers — Boyer-Gurie-Lamarr July 22
The Young in Heart — Gaynor-Fairbanks, Jr July 29
There Goes My Heart — March-Bruce-Kelly Aug. 26
Universal Features
(1250 Sixth Ave., New York, N. Y.)
A2027 Lady in the Morgue — Foster-Ellis Apr. 22
A2011 Sinners in Paradise — Boles-Evans May 6
A2038 Air Devils— Wallace-Blake-Purcell May 13
A3071 All Quiet on the Western Front — Reissue
(87 min.) May 15
A3072 Frankenstein — Reissue (71 min.) May 15
A3073 Love Before Breakfast — Reissue (71m.) ..May 15
A3074 Lady Tubbs— Reissue (70 min.) May 15
A2009 The Devil's Party— McLaglen- Wilcox ....May 20
A2010 Wives Under Suspicion (Suspicion) —
William-Patrick (reset) June 3
A2058 Western Trails— Bob Baker (57 min.) ...June 3
A2059 Outlaw Express — Bob Baker (56 min.) .. June 17
Young Fugitives — Kent- Wilcox (68m.) .. June 17
Danger on the Air — Woods-Grey July 1
Rage of Paris — Darrieux-Fairbanks, Jr. ..July 1
Prison Break — Farrell-MacLane July 22
Letter of Introduction — Leeds-Men jou July 29
("Rocket Ship" listed in the last Index as a June 3 release
has been zvithdrawn)
Warner Bros. Features
(321 W. 44th St., New York, N. Y.)
222 Accidents Will Happen — Reagan-G. Blondell. Apr. 9
219 Little Miss Thoroughbred — Sheridan-Litel ..June 4
206 Gold Diggers in Paris — Vallee-R. Lane June 11
208 White Banners — Rains-Bainter-Cooper June 25
215 Men Are Such Fools — Morris-P. Lane July 9
213 Racket Busters — Bogart-Brent-Dickson July 23
SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel
8859 Screen Snapshots No. 9— (9^m.) Apr. 29
8553 Friendly Neighbors — Around the World
in Color (9l/2 min.) Apr. 29
8658 Community Sing No. 8— (10^m.) May 6
8808 Sport Stamina— World of Sport (9y2m.) ...May 10
8508 The Big Birdcast— Col. Rhapsody (7m.) ...May 13
8705 Krazy Magic— Krazy Kat (6^m.) May 20
8860 Screen Snapshots No. 10— (9y2m.) May 27
8509 Window Shopping — Col. Rhapsody (7y2m.) June 3
8809 Thrilling Moments— W. of Sport (10m.) . . June 10
8659 Community Sing No. 9— (8Hm.) June 25
8810 Fistic Fun— World of Sport July 1
8510 Poor Little Butterfly— Col. Rhapsody July 4
8706 Krazy's Travel Squawks— K. Kat (6Y2m.) . July 4
8660 Community Sing No. 10— (9^m.) July 4
8758 City Slicker — Scrappvs July 8
8511 Poor Elmer— Color Rhapsody July 22
Columbia — Two Reels
8167 The Cannon Roars— Secret No. 7 (19m.) .. .Apr. 28
8433 The Mind Needer— All Star (18m.) Apr. 29
8168 The Circle of Death— Secret No. 8 (19j/>m.) .May 2
8169 The Pirate's Revenge— Secret No. 9 (19m.). Mav 9
8434 Ankles Away— All Star com. (\7l/2m.) ....Mav 13
8170 The Crash— Secret No. 10 (19m.) May 16
8407 Healthy, Wealthy and Dumb — Stooges
(16^ min.) Mav 20
8171 Dvnamite— Secret No. 11 (18j/-m.) May 23
8172 Bridge of Doom— Secret No. 12 (19m.) ....May 30
8435 The Soul of a Heel— All Star com. (16m.). June 4
8173 The Mad Flight— Secret No. 13 (19m.) ...June 6
8174 The Jaws of Destruction — Secret No. 1-1
( 19 min.) June 13
8175 Justice— Secret No. IS June 2(1
8436 Halfway to Hollywood— All Star (17m.) ...July 1
8408 Three Missing Links— Stooges (18m.) July 29
(End of 2 reclcrs for 1937-38 Season)
Metro-Goldwyn-Mayer — One Reel
W-684 The Captain's Pup— Captain cart. (9m.) . .Apr. 30
M-676 That Mothers Might Live— Mini. ( 10m.) . Apr. 30
S-708 Modeling For Money— Specialties ( 10m.) . . Apr. 30
C-738 Feed 'Em and Weep— Our Gang (11m.) . . .May 7
M-677 The Forgotten Step— Miniatures (10m.).. May 7
T-660 Rural Sweden— Traveltalks (8m.) May 14
F-755 An Evening Alone— Benchley (9m.) May 14
S-709 Surf Heroes— Specialties (10m.) May 28
M-678 Hollywood Handicap— Miniatures (10m.). May 28
C-739 The Awful Tooth— Our Gang (10m.) May 28
H-726 Joaquin Murrieta— Hist. Myst. (11m.) June 11
T-661 Czechoslovakia on Parade— Travel. (9m.). June 11
M-679 Tupapaoo— Miniatures (11m.) June 11
S-710 The Story of Dr. Carver— P. Smith (10m.). June 18
C-740 Hide and Shriek— Our Gang (11m.) June 18
W-685 A Day at the Beach — Captain cartoon June 25
F-756 How to Raise a Baby— Benchley July 2
T-662 Paris on Parade— Traveltalks July 9
S-711 Anaesthesia— Pete Smith July 9
Metro-Goldwyn-Mayer — Two Reels
R-603 Billy Rose's Casa Manana Revue —
Musical (21 min.) Mar. 26
R-604 Snow Gets in Your Eyes— Musical (20m.) .May 14
P-613 Come Across— Crime D. Pay (21m.) May 14
P-614 A Criminal Is Born — Crime D. Pay June 25
Paramount — One Reel
T7-8 Honest Love and True — Betty Boop (8m) . .Mar. 25
SC7-4 Thanks for the Memory— Sc. Song (7 m.).. Mar. 25
P7-9 Paramount Pictorial No. 9— (9^ m.) Apr. 1
A7-11 Hall's Holiday— Headliner (9*/2 m.) Apr. 8
E7-9 Big Chief Ugh-Amugh-Ugh— Popeye (7m) . .Apr. 15
L7-5 Unusual Occupations No. 5— (10 min.) Apr. 15
V7-10 The Bike Parade— Paragraphic (9l/2 m.) . . Apr. 22
R7-10 Win, Place or Show— Sportlight (9^m.) . . Apr. 22
T7-9 Out of the Inkwell— Betty Boop (5l/2 m.) . . . . Apr. 22
C7-5 Hold It— Color Classic (7 min.) Apr. 29
A7-12 Bob Crosby and His Orchestra—
Headliner (10 min.) May 6
P7-10 Paramount Pictorial No. 10— (9 m.) May 6
J7-5 Popular Science No. 5— (9^m.) May 13
V7-11 Crime Fighters— Paragraphic (9^m.) May 20
R7-11 Red, White and Blue Champions—
Sportlight (9l/2 min.) May 20
E7-10 I Yam Love Sick— Popeye (8m.) May 20
T7-10 Swing School— Betty Boop (6^m.) May 27
SC7-5 You Leave Me Breathless— Sw. S. (7^m.)May27
A7-13 Easy on the Ice — Headliner (9m.) June 3
P7-11 Paramount Pictorial No. 11— (8^m.) June 3
L7-6 Unusual Occupations No. 6 — (10m.) June 10
V7-12 Find What's Wrong— Para. (9^m.) June 17
R7-12 Strike !— Sportlight (9y2m.) June 17
E7-11 Plumbing is a "Pipe" — Popeye (7m.) June 17
T7-11 The Lost Kitten— Betty Boop (7m.) June 24
C7-6 Hunky and Spunky — Color Classic June 24
P7-12 Paramount Pictorial No. 12— (9m.) July 1
A7-14 Queens of the Air — Headliner July 8
J7-6 Popular Science No. 6 July 8
V7-13 Not Yet Titled— Paragraphic July 15
R7-13 Horse Shoes— Sportlight (9m.) July 15
E7-12 The Jeep — Popeye July 15
T7-12 Pudgy the Watchman— Betty Boop July 22
SC7-6 Beside a Moonlit Stream — Screen Song. . . .July 29
(Etui of 1937-38 Season)
RKO — One Reel
84113 Wynken, Blynken and Nod— Disney (8m.) .May 27
84211 International Rhythm— Nu Atlas (10m.) ..June 3
84307 Underwater — Sportscope (9m.) June 3
84114 Polar Trappers — Disney cart. (8m.) June 17
84606 Pathe Parade— (9m.) June 17
84212 Carnival Show— Nu Atlas (10m.) June 24
84308 Flying Feathers — Sportscope (9m.) June 24
84115 Good Scouts — Disney cart. (8m.) July 8
84213 Hockshop Blues— Nu Atlas (10m.) July 15
84309 Not Yet Titled— Sportscope Julv 15
84116 The Fox Hunt— Disney cart. (8m.) July 29
RKO — Two Reels
83110 March of Time— (19m.) May 13
83405 Kennedy's Castle— E. Kennedy (17m.) ....May 28
83603 Picketing For Love — Headliner (17m.) June 3
83111 March of Time— (17m.) June 10
83203 The Photografter— Radio Play. (15m.) ... June 17
83706 The Jitters— Leon Errol (19m.) July 1
83112 March of Time July 8
83406 Fool Coverage — E. Kennedy (16m.) July 15
Twentieth Century-Fox — One Reel
8517 A Mountain Romance — T. Toon (6'/2m.) . . . Apr. 1
8604 Kingdom For a Horse— Treas. Ch. (10) (r). Apr. 8
8518 Robinson Crusoe's Broadcast — T.T. (6>4m.).Apr. 15
8608 Return of the Buffalo— Tr. Ch. ( 10m.) ( r) . . . Apr. 22
8519 Maid in China — Terry-Toon (7m.) Apr. 29
8520 The Big Top— Terry-Toon (6>/2m.) May 13
8521 Devil of the Deep— Terry-Toon (6>/>m.) ....May 27
8522 Here's To Good Old Jail— T. Toon (6>4m.) . June 10
8523 The Last Indian — Terry-Toon (6]/2m.) ....June 24
8524 Milk For Baby— Terry-Toon July 8
8609 We Live in Two Worlds — Treas. Chest ....July 22
8525 Mrs. OLeary's Cow — Terry-Toon July 22
8526 Eliza Runs Again — Terry-Toon July 29
Twentieth Century-Fox — Two Reels
8118 Cute Crime— Jefferson Machamer (19m.) .. .Apr. 29
8205 Money On Your Life — Kemper-Kaye (19m.) May 13
8119 Jitterbugs— West-Patricola (16^m.) May 20
8206 Cactus Caballeros — Gribbon-Fay (19m.) . . . .May 27
8120 Pardon My Accident— W. Howard (17^m.) June 10
8310 Winner Lose All — Kemper June 17
Universal — One Reel
A2284 The Problem Child— Oswald cart. (7m.) ..May 16
A2285 Movie Phoney News— Oswald (7m.) May 30
A2395 Stranger Than Fiction No. 51 — (9m.) ....June 6
A2286 Nellie, The Indian Chief's Daughter —
Oswald cartoon (7 min.) June 6
A2382 Going Places with Thomas No. 51 (10m.) June 13
A2396 Stranger Than Fiction No. 52— (9m.) ...June 20
A2287 Happy Scouts — Oswald cart. (7m.) June 20
A2383 Going Places with Thomas No. 52 (9m.) . June 27
A2288 Cheese Nappers — Oswald cart. (7m.) July 4
A2289 Voodoo Harlem— Oswald cart. (7m.) . . . July 18
(more to come)
Universal — Two Reels
A2592 Ming the Merciless— Flash No. 12 (20m.) June 7
A2593 The Miracle of Magic— Fl. No. 13 (21m.) June 14
A2171 Music and Flowers — Mentone (19m.) June 15
A2594 A Beast at Bay— Flash No. 14 (19m.) June 21
A2595 An Eye For an Eye— Flash No. 15 (18m.) June 28
A2172 Stars in Stripes — Mentone (Uyim.) July 6
A2173 Fits and Benefits — Mentone Rel. date not set
(End of 1937-38 Season)
Beginning of 1938-39 Season
A3581 The River Runs Red — Flaming Frontiers
No. 1 (21 min.) July 5
A3582 Death Rides the Wind— Flam. No. 2 (21m.) July 12
A3583 Treachery at Eagle Pass— Fl. No. 3 (19m.). July 19
A3584 A Night of Terror— Flaming No. 4 (23m.) July 26
Vitaphone — One Reel
3809 Silverware-Ice Btg.-Trains— Pic. Re. (9m.).Apr. 30
3610 Porky's Hare Hunt— L. Tunes (7m.) Apr. 30
3713 Carl "Deacon" Moore & Orch. — Melody
Master (10 min.) May 7
3412 Now That Summer Is Gone— M. Mel. (6m.). May 14
3910 The Juggling Fool — Varieties (11m.) May 14
3309 Wanderlust— True Adventures (13m.) May 14
3509 Pearl of the East— Color-Tour (10m.) May 21
3611 Injun Trouble — L. Tunes (7m.) May21
3714 Freddie Rich & Orch.— Mel. Mast. (11m.) . . .May 28
3413 Isle of Pingo Pongo— M. Mel. (8m.) May 28
3310 A Dream Comes True — True Adv. (12m.). June 4
3511 Mechanix Illustrated — Color-Tour June 4
3810 Beavers-Polo-Woolens— Pic. Re. (10m.) ...June 4
3414 Katnip Kollege— Mer. Mel. (7m.) June 11
3911 Vitaphone Capers— Vit. Var. (9m.) June 18
3715 Clyde Lucas & Orch.— Mel. Mas. (9m.) .... Tune 18
3311 Not Yet Titled— True Adventures July 2
3716 Don Bestor & Orch.— Mel. Mast. (9m.) ...July 9
3811 Bakelite-Greyhounds-Perfume — Pic. Rev. ...July 9
Vitaphone — Two Reels
3010 Little Me— Wini Shaw (22m.) Mar. 5
3005 Romance of Louisiana — Tech. (18m.) Mar. 12
3022 Under the Wire— Comedy (20m.) Mar. 26
3016 Got a Match— Revues (19 m.) Apr. 9
3028 Hold That Ball— Gay-Eties (19 min.) Apr. 23
3011 Forget Me Knots— Claire (Tech.) (21 m.)..May 7
3023 Stocks & Blondes— Comedy (18 min.) May 21
3004 Out Where the Stars Begin— Tech. (19m.) . .May 28
3012 Prisoner of Swing — Headliner (21m.) June 11
3029 Rise and Sing— Gay-Eties (21m.) June 25
3017 Rainbow's End — Revues (22m.) July 2
3024 My Pop— Henry Armetta (22m.) July 16
N EWS WEEKLY
NEW YORK
RELEASE DATES
Universal
682 Saturday . . July 9
683 Wednesday July 13
684 Saturday . . July 16
685 Wednesday July 20
686 Saturday ...July 23
687 Wednesday July 27
688 Saturday .. July 30
689 Wednesday .Aug. 3
690 Saturday ...Aug. 6
691 Wednesday .Aug. 10
692 Saturday . . .Aug. 13
693 Wednesday .Aug. 17
694 Saturday ...Aug. 20
695 Wednesday .Aug. 24
Fox Movietone
86 Saturday July 9
87 Wednesday .July 13
88 Saturday ...July 16
89 Wednesday ..July 20
90 Saturday ...July 23
91 Wednesday ..July 27
92 Saturday . . . July 30
93 Wednesday . . Aug. 3
94 Saturday ....Aug. 6
95 Wednesday ..Aug. 10
96 Saturday Aug. 13
97 Wednesday ..Aug. 17
98 Saturday .... Aug. 20
99 Wednesday . . Aug. 24
Paramount News
97 Saturday ...July 9
98 Wednesday July 13
99 Saturday . . July 16
100 Wednesday Julv 20
101 Saturday .. July 23
102 Wednesday July 27
103 Saturday ...July 30
104 Wednesday .Aug. 3
(find of 1937-38 Season)
1938-39 Season
1 Saturday Aug. 6
2 Wednesday . . .Aug. 10
3 Saturday Aug. 13
4 Wednesday ...Aug. 17
5 Saturday Aug. 20
6 Wednesday ...Aug. 24
Metrotone News
284 Saturday .
■ July
9
285 Wednesday
July
13
286 Saturday
• July
16
287 Wednesday
July
20
288 Saturday .
■ July
23
289 Wednesday
July
27
290 Saturday .
• July
30
291 Wednesday
• Aug.
3
292 Saturday . .
• Aug.
6
293 Wednesday
.Aug.
10
294 Saturday ..
■ Aug.
13
295 Wednesday
• Aug.
17
296 Saturday . .
. Aug.
20
297 Wednesday
.Aug.
24
Pathe News
851101 Sat. (O.).July 9
852102 Wed. (E.) Julv 13
851103 Sat. (O.).July 16
852104 Wed. (E.) Julv 20
(End of 1937-38 Season)
1938-39 Season
95101 Sat. (O.). July 23
95202 Wed. (E.) July 27
95103 Sat. (O.). July 30
95204 Wed. (E.).Aug. 3
95105 Sat. (O.).Aug. 6
95206 Wed. (E.).Aug. 10
95107 Sat. (O.).Aug. 13
95208 Wed. (E.).Aug. 17
95109 Sat. (O.). Aug. 20
95210 Wed. (E.). Aug. 24
Entered as second -class matter January 4, 1521, at the pout offloe at New Torit, New York, under the act of March S, lm,
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 R„om 1«19 Harrison's Reports, Inc..
U. S. Insuiar Possessions. 16.50 I\OOm lOU Publisher
Canada 16.50 New York, N. Y. p. s. Harrison, Editor
Mexico, Cuba, Spain 16.50 , „ „ _, . _ * , _ . .
Great Britain 15.75 A Motion Picture Reviewing Service — —
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
a Pnrw Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
py Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, JULY 9, 1938 No. 28
A PLEA ON BEHALF OF INDEPENDENT
CIRCUIT MANAGERS
For some time, Harrison's Reports has been
receiving a number of complaints from various
circuit managers. Invariably, these complaints are
from men now associated with independent circuits.
In the interest of promoting a better understand-
ing and a guide for future reference for the good
of the industry, we quote intact a letter from a
manager of a circuit theatre received by this paper :
"Various reports emanating from the field tell a
tragic story of receding grosses. Independent and
circuit operators everywhere lament the dear de-
parted lush days of prosperity in their individual
establishments. Many causes have been brought
forth, each in varying degrees responsible for
lethargic pulsations of their box-offices.
"Conditions being what they are, one wonders
what can be done to improve or rather increase
grosses, rouse the public from their apathy, direct
the public once more to seek relaxation and respite
from their material woes in an atmosphere of
make-believe in our beautiful picture palaces.
"Productions now being released nationally are
in general of pretty good calibre. Every studio in
Hollywood seems to be striving to combat the gen-
eral decline in box office receipts by releasing their
best product, available at a time when it is vitally
necessary to keep doors open.
"Let us concede for a moment that there is a
slump in attendance, nationally ; further that the
'dog' days of the summer are with us. But, were we
not up against the same problems last year, the year
before, and every summer ; what happened then ?
Were exhibitors, circuit and independent mana-
gers any different then than now ? Did they possess
the vital spark, the illusive thing called showman-
ship then, and not now ? Where did it go to ?
"The majority of men, managers with the re-
sponsibility of putting over their individual situa-
tions, are the same today as in former years. What
has happened to them? The desire to create a will
amongst their patrons to attend theatres has gone
. . . WHY ? There must be a reason.
"Circuits, their methods of operation, to a great
extent, are primarily the cause of laxity amongst
their employees, in failing to use every ounce of
showmanship in their individual make-up. The in-
itiative to do things, is gone. To quote another cir-
cuit manager, 'how in the world can I sell my at-
tractions when my supervisor is obsessed with the
thought of cutting expenses on every hand, and
when a big picture coming my way is discussed,
gets very magnanimous and allows me two dollars
for a herald to let my patrons know the picture is
here. If I can't promote the advertising cost of my
campaign from the local merchants, I have to let it
go by. Frankly, I'm fed up, it's vacation time, that
is for everyone but me. My boss doesn't believe in
time off for his men, claims we don't overwork our-
selves and consequently are not entitled to any time
for relaxation. What does he want us to do, dig
ditches to prove we do earn our keep? I'm human,
although I am in this crazy business. I would like
to become acquainted with my family. Naturally
I'm bitter toward the whole set-up and perhaps
when exploitation opportunities present themselves,
I go out after them, but truthfully my heart is not
in it.'
"The writer holds no brief for a man that will
not assume his moral responsibility in protecting
his employer's investment at every opportunity.
However, let us view it from the manager's point
of view.
"Red Kann brings forth a communication from,
as he puts it, 'a man who has been around for a good
many years.' This observer of Kann's claims 'The
so-called managers are really glorified janitors and
there isn't a showman in fifty among them.'
"The fault is laid directly upon the doorsteps of
chain operation. Chain operation has transformed
once thriving showmen into automatons, perform-
ing the arduous task of making out a time schedule ;
they are not given credit for any higher intelligence
than to follow the dictates of a guiding genius sit-
ting in luxurious offices, miles away from the scene
of operation. This 'guiding genius' believes he can,
miles away, feel the pulse of the local situation and
correctly gauge the reactions, with a minimum of
help from the 'office boy,' as managers are often
called.
"Circuits are in constant search of man-power,
and the dissipation of the man-power in the ranks
of our leading major and independent circuits is
nothing short of criminal. Napoleon was a great
general, but without smart officers and man-power,
what could he do? Circuit operators on a whole
have set themselves up as minor editions of Na-
poleon . . . deigning to consider suggestions intro-
duced by their 'inferiors'( ?) in the held. There was
a time in the not too distant past when a manager in
the field assumed full responsibility for the opera-
tion of his house. It was his to say as to policy,
booking and selling of his attractions. He had to
put over his situation or else, and was compensated
accordingly — a substantial salary, extra compen-
sation in the form of a bonus, or a profit-sharing
agreement, whereby the manager had a semblance
of security and a vital interest in seeing that his op-
eration was profitable. He chiseled and connived in
every conceivable fashion to bring his operation
costs to a minimum, for he felt that he was part of
(Continued on last page)
110
HARRISON'S REPORTS
July 9, 1938.
"Fast Company" with Melvyn Douglas,
Florence Rice and Claire Dodd
(MGM, July 8; time, 74 min.)
A fast-moving murder-mystery melodrama, with excel-
lent comedy. The comedy is so well blended in with the
story that it does not lessen the melodramatic angle ; be-
sides being amused, one is held in suspense throughout,
until the mystery is solved. Not only are many of the situ-
ations comical, but the dialogue is fresh and amusing ; and
the leading parts are played by Melvyn Douglas and Flor-
ence Rice with just enough flippancy to make them inter-
esting and sympathetic characters : —
Since his rare-book business was in poor shape, Douglas
does a little sleuthing on the side ; that is, he recovers stolen
rare books and collects reward money from insurance com-
panies. He and his wife (Florence Rice) had taken an
interest in Mary Howard, whose father (George Zucco),
owner of one of the largest rare-book establishments, was
opposing her marriage to Shepperd Strudwick, whom he
had framed and sent to prison. When Zucco is found mur-
dered, the police naturally suspect Strudwick, who had
recently been released. But Douglas and Miss Rice feel
that Strudwick was innocent and set out to prove it.
Douglas discovers that Zucco had been carrying on a
racket with stolen books, and that his secretary (Claire
Dodd) had been in on the deals. By playing up to Miss
Dodd, he wins her confidence and finds out many things
he had to know. Louis Calhern, Zucco's partner in crime,
attempts to kill Douglas. Eventually Douglas forces a
confession from Miss Dodd that she had killed Zucco, and
gets enough evidence to put Calhern behind the bars. At
the same time, he uncovers the hiding place of the books
Strudwick had been accused of stealing. In that way he
clears the boy's name, leaving the way clear for him to
marry Miss Howard. Miss Rice, who had helped her hus-
band, is happy when the case is finished, for she had been
worrying about her husband's safety.
Marco Page wrote the story, and he and Harold Tarshis,
the screen play ; Edward Buzzell directed it, and Frederic!;
Stephani produced it. In the cast are Nat Pendleton,
Douglass Dumbrille, and others.
Not for children. Class B.
"We're Going to Be Rich" with Gracie
Fields, Victor McLaglen and
Brian Donlevy
(20th Century-Fox, July 8 ; time, 78 min.)
This comedy-melodrama with music, produced in Eng-
land, is entertainment primarily for that country, for
Gracie Fields is a great favorite there. She is not known
well enough in the United States to attract the masses, al-
though she has a charming personality and can put a song
over very well. The picture is, at best, just fair entertain-
ment ; as a matter of fact, the production values are su-
perior to the story, which is pretty trite. The action, is
somewhat slow, most of the excitement being concentrated
in the closing scenes where McLaglen engages in a boxing
bout with a husky opponent. These scenes are colorful since
they depict an interesting era in the gold rush days at
Cape Town : —
Miss Fields, a music-hall singer, married to McLaglen,
looks forward to the day when she could return to England
with her motherless nephew, so as to put him in a good
school. Again she is disappointed, for she finds out that
McLaglen had invested all her savings in a gold mine at
Cape Town. When they arrive there things turn out just as
she had expected — gullible McLaglen had again been
duped. She takes a job as a singer at the dance hall owned
by Yankee Brian Donlevy, who falls in love with her. She
makes a big hit with the patrons and the money starts roll-
ing in again; but McLaglen, jealous of Donlevy, goes off
on a drunken spree. This brings about a separation between
him and his wife. Donlevy, hoping to humiliate McLaglen,
arranges a bout between him and a brutal fighter. During
the bout, a rumor gets about that somebody had struck
gold, and so everybody leaves in a rush, just as McLaglen
is knocked out. Miss Fields, knowing that McLaglen would
be happier going after gold than returning to England,
decides to go to the gold rush with him ; they are happily
reconciled.
James Edward Grant wrote the story, and Sam. Hellman
and Rohama Siegel, the screen play ; Monty Banks di-
rected it, and Samuel G. Engel produced it. In the cast are
Coral Browne, Ted Smith, Gus McNaughton, and others.
Suitability, Class A.
"Reformatory" with Jack Holt, Bobby
Jordan and Frankie Darro
(Columbia, July 21 ; time, 61 min.)
Another one in the cycle of reform school dramas, "Re-
formatory" is nevertheless fairly good program entertain-
ment. The story is patterned along familiar lines, with ty-
pical comedy sequences brought about by the tough actions
and wisecracks of the inmates. Practically all the action
takes place at the reformatory, with scenes showing the
mistreatment the boys receive at the hands of the cruel
guards. The spectator's sympathy is awakened by the
hero's efforts to rehabilitate the young boys under his care..
There is no romantic interest : —
When several boys from a well-known reform school try
to escape, during which one of them is killed, the Governor
of the state is determined to put a competent man in charge.
He selects Jack Holt, who had been assistant warden at
a tough prison. Holt finds conditions deplorable — the food
was bad, the boys not only received corporeal punishment,
but lived amid squalid surroundings. He changes all these
conditions, first discharging all the guards, including Ward
Bond, the head guard. Under his influence, the boys
change for the better, take an interest in better things, and
even have their own honor system. But Bond is determined
to oust Holt. By falsifying records, he gets Frankie Darro,
a tough young man, put in the school ; Darro's instructions
were to cause trouble. Darro escapes with one of the boys ;
but Bobby Jordan, who idolized Holt, rushes after them to
bring them back. Darro drowns, and Jordan is hurt. The
other boy (Tommy Bupp) is caught and, after evading the
truth, finally confesses ; his testimony clears Holt and in-
volves Bond. Holt continues at his job.
Gordon Rigby wrote the original story and screen play ;
Lewis D. Collins directed it. In the cast are Charlotte-
Wynters, Grant Mitchell, Sheila Bromley, and others.
Suitability, Class A.
"My Bill" with Kay Francis
and Dickie Moore
(First National, July 16; time, 6Z]/2 min.)
If it weren't for the excellent performance given by-
Dickie Moore, this drama, interspersed with comedy,
would be a flop. The story is silly ; and, since it is developed'
by dialogue instead of by action, it is tiresome as well.
Miss Francis is miscast in the mother part; first, she seems
pretty young to be the mother of Anita Louise and, sec-
ondly, she does not bring realism to the role. As for the
children, three of them show such despicable traits that the
spectator feels that anything the mother does for them is a
waste of time. Dickie is outstanding; his characterization
is a loveable one, even though he is made to speak lines
that seem beyond his years. The romantic interest is kept
in the background : —
Miss Francis, widow and mother of four children (Miss
Louise, Dickie, Bonita Granville, and Bobby Jordan),
finds herself, because of poor business sense and extrava-
gance, penniless ; she refuses to burden her children with
her worries. She goes to John Litel, bank president, for a
loan. No sooner does she get the money, than she buys
expensive clothes for her children and flowers for the
house; she also pays some bills. She receives a visit from
Elisabeth Risdon, her sister-in-law ; Miss Risdon, in the
presence of the children, insults Miss Francis and informs
them of their mother's financial state. The three older chil-
dren leave home to go to live with their aunt, who promised
them security. Dickie stays with his mother; he is dis-
gusted with his brother and sisters. Dickie becomes heir
to the fortune of an old wealthy woman, who, shortly be-
fore her death, had become acquainted with and loved
Dickie. In the meantime, the three children had realized
the error of their ways and had returned. The aunt tries to
tell them that Dickie was not their real brother, that Litel
was really his father ; but they refuse to believe her and
order her out. Litel then tells the children how unhappy
their mother had been with her husband, that having
known of Litel's love for her, he had unjustly accused her
of being unfaithful. The children are overjoyed when Miss
Francis tells them she would marry Litel.
Tom Barry wrote the story, and Vincent Sherman and
Robertson White, the screen play ; John Farrow directed
it. and Bryan Foy produced it. In the cast are Maurice
Murphy, Helena Evans, and others.
Suitability, Class A.
July 9, 1938
HARRISON'S REPORTS
111
"South Riding" with Edna Best
and Ralph Richardson
( United Artists, July 1 ; time, 84 mitt.)
A good adult class-audience picture ; it should do well
in small art theatres. The unusual story is developed bril-
liantly ; and the performances are excellent. The settings
and characters are typically British, but audiences that
like something different will not find this objectionable, so
absorbing is the story. Although the picture opens on a
local political issue, it gradually develops into a strong
human-interest drama centering around the different char-
acters involved in the political matters : —
The members of the South Riding County Council are
contemplating a housing project for the poor people who
lived in the shacks ; their hope was to demolish these
shacks. Astell, an idealist, is the leader in the fight; his
opponent is Ralph Richardson, well-known land owner,
who was in financial difficulties owing to the great expense
involved in keeping his wife in an expensive mental home ;
this was the great sorrow of his life. He feared that his
young daughter (Ann Todd), who showed signs of having
a fierce temper, might go the way of her mother. To the
county comes Edna Best, as head-mistress of the high
school ; at first she and Richardson are antagonistic to-
wards each other ; but when they get to understand each
ether they fall in love. Richardson sends his daughter to
Miss Best's school. In the meantime, two conniving mem-
bers of the Council (Edmund Gwenn and Milton Rosmer)
take an option on certain waste land, hoping to induce the
Council to buy that land for the housing project. Richard-
son becomes despondent, and decides to kill himself, feeling
that his insurance would cover his wife's and daughter's
needs ; but Miss Best prevents him from doing this. She
accidentally learns the truth about the scheming council
members and discloses the facts to Richardson. At the
Council meeting, where the housing proposal was to be
acted upon, Richardson forces Gwenn to confess. He then
makes a gratuitous offer of part of his own lands for the
housing project, which is accepted. Richardson's wife dies ;
this leaves the way clear for him to marry Miss Best.
The plot was adapted from the novel by Winifred
Holtby; Ian Dalrymple wrote the screen play, Victor
Saville directed it, and Alexander Korda produced it. In
the cast are Marie Lohr, Edward Lexy, Josephine Wilson,
and others.
Not for children. Adult fare. Class B.
"Panamint's Bad Man" with Smith Ballew
and Evelyn Daw
(20th Century-Fox, July 8 ; time, 59 min.)
A good Western ; it has what the fans want — plentiful
action, fast riding and fist fights. And in addition^ it has
good comedy and well-rendered musical interpolations.
The story is developed according to formula ; nevertheless,
it holds one in suspense. Particularly exciting is the second
half, where the hero poses as a bandit in order to get in
with a gang that had been terrorizing the countryside. The
romance is pleasant : — ■
Smith Ballew, a U. S. Deputy, is assigned to the job of
getting the crooks that were robbing the Wells Fargo
express coaches. He suspects Noah Beery, the proprietor
of a casino, as the leader of the gang. When Stanley Fields,
a notorious bandit from Texas, is arrested and locked up,
Ballew decides to use his name as a means of getting in
with the gang. His plan works and he finds out that his
suspicions about Beery were correct. But Fields escapes
from jail ; Ballew is, therefore, compelled to lead Fields to
believe that if they worked together they could depose
Beery and take over his gang. Ballew asks Evelyn Daw, a
singer in Bcery's casino, to rush to the Marshal and inform
him where the next holdup was to be. The posse arrives in
time to round up the gang. Fields is amazed to find out that
he had been working on the side of the law ; he becomes a
deputy marshal, but actually feels it is a disgrace to give
up banditry. Ballew and Miss Daw marry.
Edmond Kelso and Lindsley Parsons wrote the story,
and Luci Ward and Charles Arthur Powell, the screen
play ; Ray Taylor directed it, and Sol Lesser produced it.
In the cast are Harry Woods, Pat O'Brien, Armand
Wright, and others.
Suitability, Class A.
"Passport Husband" with Stuart Erwin,
Pauline Moore and Joan Woodbury
(20th Century-Fox, July 15; time, 67 min.)
A fairly good program comedy. It is a burlesqued gang-
ster story, with Stuart Erwin as the innocent foil of the
gangsters. The story, of course, does not make much sense ;
but that is immaterial since the individual situations are
comical ; in addition, the action is fast-moving. Stuart
Erwin is good in the part of the timid soul, who innocently
becomes involved with the gangsters ; the closing scenes,
in which he asserts himself and frees himself of the gang-
sters, should provoke hearty laughter. A night club scene
provides the means for some music : —
Erwin, a timid and rather stupid bus boy at a fashionable
night club, adores Joan Woodbury, a dancer, whose boy
friend was Douglas Fowley, owner of the club. Harold
Huber, a rival gangster, also in love with Miss Woodbury,
gives the police information to the effect that Fowley was
not a citizen ; so when Fowley is deported, Huber appro-
priates Miss Woodbury for himself. His lawyer informs
him, however, that Miss Woodbury would probably be
deported next; the only thing that could save her was
marriage to a respectable citizen. So they pick on Erwin
as the husband ; immediately after the ceremony Miss
Woodbury goes off with Huber. Pauline Moore, cigarette
girl at the cafe, who loved Erwin, enlightens him ; he is
furious and decides to annul the marriage. But complica-
tions, set in when Erwin inherits a million dollars and a
pin-game business ; Miss Woodbury wants the money and
Huber and Fowley's gang want control of the pin-game
business. But Erwin, who did not believe in gambling, had
decided to discontinue the business. The rival gangs make
life miserable and dangerous for Erwin. Through a ruse,
he finally rounds them up, turning them over to the police.
Miss Moore promises to marry him as soon as his marriage
is annulled.
Hilda Stone wrote the story, and Karen DeWolf and
Robert Chapin, the screen play ; James Tinling directed it,
and Sol M. Wurtzel produced it. In the cast are Edward S.
Brophy, Robert Lowery, and Lon Chaney, Jr.
Suitability, Class A.
"Tropic Holiday" with Martha Raye,
Bob Burns, Dorothy Lamour
and Ray Milland
(Paramount, July 22 ; time, 78 min.)
Despite a silly story, this comedy with music has the
ingredients for mass appeal. The most outstanding feature
is the music, particularly the Mexican tunes as sung by
Tito Guizar and other natives. Martha Raye and Bob
Burns are able to overcome the trite material and provoke
laughter on many occasions. The funniest situation is that
in which Miss Raye decides to go in for bullfighting; the
methods she employs to get away from the bull are ex-
tremely amusing. Otherwise, the picture goes in for the
routine romance of the native girl and the American boy,
with misunderstandings, complications in the person of a
motion picture siren, and eventual reconciliation : —
Ray Milland, a writer, who had been sent to Mexico by
his studio to write a love story for leading lady Binnie
Barnes, Milland's fiancee, finds that he is without ideas;
his ever-faithful secretary (Miss Raye) tries to talk him
into forgetting Miss Barnes. Things change when Milland
becomes aware of Dorothy Lamour, daughter of the pro-
prietor of the cafe-hotel in which he was stopping ; through
her he gets to understand her people and real love, and is
able to write. But Miss Barnes, by reading the material he
had sent in, becomes suspicious and flies down to see him.
In the meantime, Bob Burns, Miss Raye's erstwhile suitor,
arrives in Mexico to claim Miss Raye as his bride ; but
Miss Raye had become enamored of Guizar. In order to
show off in front of Guizar, she decides to become a bull-
fighter ; but when the bull becomes vicious and Burns runs
in to her rescue, she realizes Burns was a hero and so gives
her love to him. By a ruse, Burns is able to frighten Miss
Barnes away ; this leaves the way clear for Milland and
Miss Lamour to marry.
Don Hartman and Frank Rutler wrote the story, and
they and John C. Moffitt and Duke Attcberry, the screen
play ; Theodore Reed directed it, and Arthur Hornblow,
Jr., produced it. In the cast are Elvira Rios, Roberto Soto,
Pepito, and others.
Suitability, Class A.
112
HARRISON'S REPORTS
July 9, 1938
that operation, and devoted himself entirely to
making that a successful operation in every respect.
"With the advent of circuits, this all went by the
wayside. No longer does a manager have a voice in
the bookings. lie dare not criticize the bookings or
policy for fear of reprisals, for most likely a close
relative of the big boss lias so ordained it. All lie
knows is what he reads in a weekly letter.
"Let us correct the existing evils now prevailing
in the exhibition end of our great industry. Major
circuits, as well as independent chains, should take
heed of the blight they have brought upon them-
selves. There is a way to bring this business back
from the lips of the yawning gorge that threatens
to engulf us. To a certain extent, it will solve many
of our minute problems.
"Our industry should dedicate itself to the task
of promoting goodwill via humane conditions and
understanding amongst its workers — face the un-
varnished truth and realize the fact that operating
heads of the exhibition end of this great industry
are as much to blame for declining grosses as are
general conditions.
"An understanding is necessary of the problems
confronting the men in the held, who are betwixt
the devil and the deep blue sea. Decentralize opera-
tions to give these men, who are charged with suc-
cess or failure, a chance to exert the showmanship
and ingenuity they do possess ; then, and only then,
the circuits will overcome the box office depression
within the scope of human capabilities. Give the
manager the incentive to go out and do things, to
create ideas to lift his box-office from the doldrums
it is now floundering in.
"At the present time, the man-power is wasted.
Valuable story properties are being rushed into
production. National advertising campaigns by the
producers are being formulated. These should be
taken advantage of, when the pictures reach the
screen. Are they?
"Tremendous effort and diligent thought on the
part of the producers goes for naught when the
productions reach the circuits. As far as they are
concerned, it is all just 'the run of the mill' prod-
uct. As one leading independent circuit operator
was heard to observe, when one of his managers
decried the fact that his patrons were staying away
in droves, due to the policy of the circuit, 'it is your
job to educate your patrons to conform with our
ideas as to the running of your show, and to come
in when you want them to.' This circuit operator
was referring to the time of day. The manager was
upset over the fact that his patrons were complain-
ing that if they came after 7:45 P.M. or 8 P.M.,
they could not see a complete show. This circuit
manager was trying to educate his patrons, to rush
through their dinner and hurry to see his show.
"Perhaps I have been under a misapprehension,
but it has always been my belief that this in-
dustry on the whole catered to the general public.
Now this officious individual comes along to point
out my error, destroying the illusion I had built up
in that direction. Since when did the general public
pay for the privilege of being mistreated?
"This disillusioned person had always been un-
der the impression that service staffs were trained
to a high note of efficiency in promoting good- will.
Service staffs, from the manager down, went out of
their way to make their patrons as comfortable as
possible, so that they would look upon the theatre
as a source of relaxation and come again.
"I venture to state that the above circuit operator
is an isolated case in that respect. However true it
may be, still and all, every possible angle should be
thoroughly explored to remove all bars from the
return of box-office activity and resultant prosper-
ity. Yet, the circuit operator follows the same prin-
ciple in regards to his man-power, denying them
every privilege to which they are rightfully en-
titled. He will not take into consideration the fact,
and it is quite obvious, that the men are not work-
ing with him and are on a virtual sit-down strike as
far as selling attractions go. They follow routine
surface duties and that's about all.
"The circuit operator demands everything from
his men, and gives nothing in return. True, he is
paying them a salary each and every week and is
entitled thereby to exact from them honest effort.
It cannot, however, be a one-sided deal. An em-
ployer must reciprocate, if not in a material way,
then by other means. To bring it out more force-
fully, I quote a query from one manager in a well
known independent circuit, 'How can my boss
honestly expect a man to strive for better business,
use his intelligence and ingenuity, when he knows
that he will be in a stuffy theatre all summer, with-
out a day off? Many people look forward to this
time of the year for a chance to relax and store
away a few precious rays of sun within their bodies,
but for me, I can only look forward to a very hot
summer, in a hotter theatre. No vacation, no days
off. It's not fair.'
"Obviously, the above manager's superiors are
inviting the labor unions to come in and organize
their men. In these enlightened times, it staggers
the imagination to think that there still are people,
working on the average of between twelve and
fourteen hours a day, seven days a week. A ma-
chine, which is relied upon to turn out a certain
amount of work, is carefully guarded. Systemati-
cally, it is taken apart, oiled, cleaned, and repairs
made to prevent a breakdown. The human mind
and body is, after all, but a machine which needs,
and demands the same consideration. Without a
chance of rejuvenation, through a little leisure, the
body and mind will cease to function, to the detri-
ment of whatever enterprise in which it may be
engaged.
"It is not within our province to say, yet it is fool-
hardy to attempt to have managers devote, without
deviation, their entire mind and body to their work,
without allowing for physical relaxation.
"I reiterate, remedy conditions in the field by
permitting managers to have a voice in the booking
of the attractions, to enable local situations and
problems to be taken into consideration. Circuits
should realize that standard operating policies can-
not and will not cover all operating units and that
there is a necessity for flexible policies. Give the
men in the field credit for some intelligence, or else
get men in whom they have faith. Stop destroying
the greatest asset we have, our manpower, and
build up the morale of the men to a point where
this industry will be invincible. Humane treatment
and, again I say, understanding, will accomplish
this. Business on the whole can prosper only in rela-
tion to the welfare of the workers as a whole.
"It is not my contention that these are the sole
causes of the box-office depression we are now up
against, but they are an irradicable contributory
factor."
Bnker*d as »eo««»d -olios martrtsa- January t, at the post orfRoe at New York, New Ywk, under the act af M*r*ti S, 1 MM.
Harrison's Reports
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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, JULY 16, 1938 No. 29
HARMFUL PUBLICITY
Inane, senseless statements have a habit of
cropping up in Hollywood. This spot is con-
stantly watched, by everyone — everywhere.
Newshawks are assembled there representing
newspapers, periodicals, and what not, ready
at a moment's notice to swoop down like vul-
tures at a kill, when executives of the film busi-
ness, especially producers, start making state-
ments.
These executives are well aware of the fact
that any statement they may make regarding
the quality of motion pictures, especially when
it tends to disparage the rest of the industry,
will receive instant and wide attention. It is,
therefore, no little wonder that they have not
as yet learned to keep silent. They should have
come to realize by now that rash statements
prove detrimental to the film business in gen-
eral, and to the box offices in particular.
The ultimate sufferer is the exhibitor. He
has already contracted for pictures that are be-
ing panned by other producers, in many cases
paying a higher rental than the picture deservec
He has no means of fighting back these attacks
on his box office, for when the local papers state
and comment editorially that the pictures are
no good, giving big moguls in Hollywood them-
selves as this source of the information, he can
do nothing about it. And his box office suffers.
If the pictures are as bad as they are claimed
to be, how is it that they are not sold to the
exhibitor at a reduced rental? In that way, he
can come close to breaking even on the deal.
The recent statement of Harry M. Warner
about "hoarding" has created a furore within
and without our industry. Newspaper editors
have picked up where he left off and did not
mince words. They failed, however, to tell the
public that it was strictly a publicity stunt,
which should have been confined within the
borders of the motion picture industry. The
tragedy of it is the fact that the editors have
taken the statement at its face value, and have
practically advised people to stay away from
the motion picture theatres during the summer
months, seeking entertainment elsewhere.
"Why waste time going to a movie, when the
producers themselves are saving the good pic-
tures until Fall," is the way they practically
put it.
If Harry M. Warner's press department head
was clever in concocting the "hoarding" idea,
with the thought of merely getting publicity,
he has succeeded. It was a clever idea and has
brought his company much publicity, but it is
the sort of publicity that has reacted against
the entire motion picture industry.
We pause for a moment to wonder how Major
Albert Warner felt when, while in Washington
recently in company with Will Hays and rep-
resentatives of the other major companies, dur-
ing their conference with President Roosevelt,
the President broached the subject of a rumor
that there was a hoarding of product, and if
there was any truth in it.
In betting circles, they have a quaint way of
dealing with people who like to talk too much
— "put up, or shut up." So far Warner Brothers
have not "put up." Their pictures on the whole
have not been anything to talk about. They
have been below par as far as entertainment
and box-office values go. Consequently, they
should either "deliver," or keep quiet.
CHICAGO INDEPENDENTS DEMAND
NEW DEAL
The independent theatre owners of the Chi-
cago zone are up in arms again over the zoning
and clearance schedule now in effect in that
ity. Talks of compromise and corrections of
the existing unfair practices have been going
on for some time, but nothing has been done
so far to alter the situation.
Balaban & Katz, the predominating circuit
in Chicago, is strongly in favor of dual bills and
is getting a ten-week clearance over the inde-
pendents. Eddie Silverman, who heads the
Essaness circuit, leading independent, accom-
panied by the late Aaron Saperstein, were in
New York to seek a compromise with Balaban
& Katz. And the tentative agreement reached
was that B. & K. would shorten the clearance
to five weeks if the independents who would get
the concession would play single features.
Those retaining double features would still be
stuck with a ten-week protection.
This plan was decided upon to prevent a
law suit by the independents on their demand
for a reduction and earlier playing time.
I wonder whether entering into such an
agreement would not be the very thing the
B. & K. circuit is trying to avoid — collusion !
Wouldn't that give the independent distribu-
tors the right to bring suit for conspiracy? It
has been repeatedly held by the courts that
private agreements affecting the interests of
third parties, not represented in the agreement,
were illegal. Would not an action of that kind
come under the court's ruling?
It is about time that the big circuits learned
that independents, distributors as well as ex-
hibitors, have the right to existence without
restraint of any kind.
114
HARRISON'S REPORTS
July 16, 1938
"I'll Give a Million" with Warner Baxter
and Marjorie Weaver
(20th Century-Fox, July 22 ; time, 74 min.)
A good comedy. The story is simple but novel. It is a
little slow in getting started, but as tbe plot develops, the
action becomes faster and the situations more comical.
Most of the laughs are provoked when the inhabitants of a
small town, having heard that a millionaire was in their
midst disguised as a hobo, whose intention it was to give
one million francs to the person who would be kind to him
without thought of remuneration, proceed to entertain every
tramp they find. The closing scenes in which the hero
finds it difficult to convince the authorities that he was the
millionaire are exciting as well as comical. The romance is
charming : —
Warner Baxter, a millionaire, is depressed at the thought
that he had no real friends. He jumps off his yacht to rescue
a drowning man (Peter Lorrc) ; but since the Captain
had not seen him jump, the yacht continues on without him.
Lorre, a half-witted tramp, invites Baxter to spend the
night with him in his cave hideout. Lorre is amazed when
Baxter tells him he was a millionaire and that he would
give a million francs to the person who would show real
kindness without thought of monetary returns. When Lorre
awakens in the morning, he finds that Baxter had already
left, taking with him the tramp's clothes and leaving in its
place his evening suit, with the pockets filled with money.
Lorre relates his experiences to a newspaper reporter, who
prints the story, which creates a stir in town. Tramps are
wined and dined, and are given free admission to theatres,
cafes, and homes. In the meantime, Baxter meets and falls
in love with Miss Weaver, who worked in a circus with her
uncle (Jean Hersholt). Without suspecting that Baxter
was the millionaire, she helps him in every way possible.
At last the tramp problem becomes too much for the police
and Lorre is ordered to pick out the millionaire ; fearing
that he would be arrested if he didn't choose some one, he
picks hobo John Carradine. The officials take Carradine to
the best hotel, where he promptly proceeds to steal every-
thing in sight. Finally Baxter convinces the authorities that
he was the millionaire. Miss Weaver, feeling she had been
made a fool of, is at first annoyed; but she relents and
marries Baxter.
Cesare Zazattini and Giaci Mondaini wrote the story, and
Boris Ingster and Milton Sperling, the screen play ; Walter
Lang directed it, and Kenneth Macgowan produced it. In
the cast are J. Edward Bromberg, Lynn Bari, Fritz Feld,
Sig Rumann, and others.
Suitability, Class A.
"Little Tough Guy" with "The Dead End"
Boys, Robert Wilcox and Helen Parrish
(Universal, July 22; time, %2y2 min.)
Good. But it is so mainly because of "The Dead End"
boys, whose performances are excellent ; they act so natur-
ally that they make a somewhat far-fetched plot seem
plausible. The first half concentrates mostly on comedy,
which is caused by the wisecracks and actions of the boys ;
they provoke hearty laughter. But the second half goes
melodramatic and is somewhat unpleasant because of the
fact that the boys drift into crime. The scene showing two
of the boys with guns in their hands trying to fight it out
with the police, during which one of them is killed, is pretty
strong ; but it holds the spectator in tense suspense. The
point of the story is that young boys drift into crime mostly
because of their surroundings and upbringing. The romance
is developed with sympathy : —
Billy Halop suffers considerably when his father is ar-
rested and tried for a murder which he had committed un-
intentionally during a strike; when his father is convicted
and sentenced to the electric chair, he feels that he had been
framed by the lawyers. His sister (Helen Parrish) pleads
with him to have patience, assuring him that she and her
fiance (Robert Wilcox) were doing all they could. In spite
of the fact that her mother (Marjorie Main) was selfish
and was the cause of her father's trouble, Miss Parrish
cannot desert her. When her father is finally electrocuted,
Miss Parrish breaks her engagement, insisting that she
did not want to drag Wilcox down. They move to a cheap
neighborhood, where Halop drifts in with a tough gang ;
he becomes their leader. They become acquainted with
wealthy, spoiled Jackie Searl, who, wanting some excite-
ment, induces them to enter into a life of crime, he to be
their brains. They commit petty thefts and the money
starts rolling in; Halop continues only because he wanted
to help his mother and sister. But Searl, angry at the way
the boys treated him, squeals and brings the police to a
motion picture theatre where the boys were planning a
holdup. Halop and Huntz Hall escape and hide in a store ;
but the police find them. Both boys have guns; the police
fire and Hall is killed. Miss Parrish bravely walks to her
brother and induces him to give up. The boys, including
Searl, are all sent to a training school, where, under the
proper influence, they develop for the better.
Brenda Weisberg wrote the story, and she and Gilson
Brown, the screen play ; Harold Young directed it, and Ken
Goldsmith produced it. In the cast are Peggy Stewart, and
others.
Although the story has a moral, it is pretty strong fare
for children and adolescents. More suitable for adults.
Class B.
"Algiers" with Charles Boyer, Sigrid
Gurie and Hedy Lamarr
(United Art. [1938-39], July 22; time, 95 min.)
This melodrama, revolving around a crook whose morale-
is broken by confinement in a strange land away from the
things he loved, is interesting as a psychological study. But
as entertainment, it is only fair, for the action is slow. Its
appeal should, therefore, he directed more to class audiences
than to the masses. The story lacks human appeal ; it is
difficult to sympathize with a crook, particularly so in this
case, for he does not repent his misdeeds. There are other
features that are unpleasant, such as a cold-blooded murder ;
as a matter of fact, not one character stands out as being
worthy of the spectator's sympathy. And, although the
ending is inevitable, it might prove distressing to some
spectators, for it leaves one restless : —
Charles Boyer, noted jewel thief, who had been forced
to flee from Paris in order to avoid arrest, lives in Algiers,
in an impenetrable section inhabited by crooks. He is adored
by Sigrid Gurie, an Algerian; but she realizes he just tol-
erates her. Joseph Calleia, a detective, who sees Boyer every
day and looks forward to the day when he could lure him
from that section so that he could arrest him, is sure that
Boyer's spirit will break in time. And this comes about
sooner than Calleia had expected. Hedy Lamarr, a beauti-
ful Parisian girl, touring the quarters with friends, is at-
tracted to Boyer ; they fall in love. She sneaks away from
her fiance each day to see him. Through her, he realizes
all that he was missing — how he really loved Paris ; he
becomes depressed. Led to believe that Boyer had been
killed, Miss Lamarr agrees to return to Paris. Boyer
sneaks out of the quarters and buys a ticket on the same
steamer. But Miss Gurie, who could not bear to have Boyer
leave her, informs the police. They take him off the boat ;
one of the detectives, thinking Boyer was trying to escape
when he ran forward to shout to Miss Lamarr, whom he
had seen, shoots him ; Boyer dies.
Det. Ashelbe wrote the story, and John Howard Lawson,.
the screen play; John Cromwell directed it, and Walter
Wanger produced it. In the cast are Alan Hale, Gene Lock-
hart, Johnny Downs, Stanley Fields, and others.
Not for children. Adult fare. Class B.
"Penrod's Double Trouble" with the Mauch
Twins, Dick Purcell and Gene Lockhart
(First National, July 30; time, 60 min.)
This is good entertainment for the youngsters. It is a
continuation of the Penrod series, but more exciting than
the previous ones. The comedy, brought about by the ac-
tions of Penrod and his pals, is of the familiar variety, but
it, nevertheless, provokes laughter. The excitement this
time is caused by the disappearance of Penrod. One amusing
situation is that in which the young boys and their girl
friends do the Big Apple : —
When his father (Gene Lockhart) locks him in his room
because of a prank he and the boys had played on Rodney,
the banker's son, Penrod feels he was being mistreated and
so sneaks out to go to the circus. But his father follows
hiii! and when Penrod sees him, he hides in a balloon. The
balloon is suddenly let loose by a former parachute jumper
(Dick Purcell), who had been discharged; he is the only
July 16, 1938
HARRISON'S REPORTS
115
one who sees Penrod in the basket but has no way of stop-
ping- it. When Penrod does not show up, his parents are
frantic. His father mortgages his home in order to get
enough money together for a reward. Penrod's picture is
published in the newspapers. This is seen by a small-time
carnival man (Hugh O'Connell), whose assistant (the
other Mauch boy) was the image of the missing boy. His
plan was to pass his boy off as Penrod and collect the
money. The plan works for a time, until Penrod returns.
The crook, in company with the parachute jumper, kidnaps
the real Penrod and leaves him in an abandoned farm ; his
plan was to kill Penrod. But the carnival boy, feeling sorry
for Penrod's parents, rounds up Penrod's gang ; they rescue
Penrod. The crooks are exposed and Penrod is returned
safely to his parents.
Booth Tarkington wrote the story, and Crane Wilbur,
the screen play; Lewis Seiler directed it, and Bryan Foy
produced it. In the cast are Kathleen Lockhart, Charles
Halton, and others.
Suitability, Class A.
"The Amazing Dr. Clitterhouse" with
Edward G. Robinson, Claire Trevor
and Humphrey Bogart
(First National, July 30 ; time, 86 min.)
This gangster melodrama, interspersed with comedy, has
an unusual twist and is, for the most part, exciting fare.
But for a picture of its type, the characters indulge in too
much talk ; as a matter of fact, the first half is slow because
of this fact. The action is crowded into the second half,
during which the spectator is held in suspense. The most ex-
citing scenes are those in which the gangsters strip a ware-
house of all the furs stored there. In spite of the fact that
the hero's association with the criminals is explained as
being in the interests of scientific research work, his actions
are none the less far from edifying ; the most unpleasant
sight is that in which he poisons the villain, who had become
a problem to him. The picture ends on a high note of
comedy : —
Edward G. Robinson, a respected, well-known surgeon,
is extremely interested in criminology. In order to get the
reaction to stealing, he actually commits thefts himself ;
but what he wanted was to get the reaction of real crooks.
Using the stolen jewels as a means of getting in with a
gang, Robinson becomes acquainted with Claire Trevor, a
fence for stolen goods ; through her he meets the gang and
becomes their leader, without revealing his identity. He
guides them through brilliant robberies, his only demand
being that they undergo an examination at any time he
wanted it; the only one who voices an objection is Hum-
phrey Bogart, a tough gangster, who was jealous of Miss
Trevor's obvious affection for Robinson. After a daring fur
robbery, Robinson takes leave of the gang, to go back to
his normal life. But Bogart, who had found out who he was,
follows him to his office, and, at the point of a gun, forces
Robinson to turn over the data he had collected ; he informs
him that, unless he continued working with the gang, taking
orders from him, he would kill him. Robinson, realizing
that all his work would go for naught, gives Bogart a drink
in which he puts poison. Bogart dies, and Robinson is ar-
rested. At the trial, Robinson insists on telling the truth ;
the jury finds him innocent on the ground, that, when a man
gives such testimony against himself, he must be crazy.
The plot was adapted from the play by Barre Lyndon.
John Wexley and John Huston wrote the screen play,
Anatole Litvak directed and produced it. In the cast are
Allen Jenkins, Donald Crisp, Gale Page, and others.
Unsuitable for children or adolescents. Adult fare.
Class B.
"Shopworn Angel" with Margaret Sullavan,
James Stewart and Walter Pidgeon
(MGM, July IS; time, 84 mill.)
Despite excellent performances by the three leading
players, good production values, and amusing dialogue,
this is only fair entertainment ; it may, however, go over
with women because of the romantic complications. The
plot is artificial ; for that reason the picture lacks dramatic
power. It is difficult to sympathize with the characters ; not
that they are unworthy of one's sympathies — it is just that
the situations in which they are placed seem so unreal, that
one's emotions are not stirred by their plight. The story
takes place at the time the United States entered the World
War :—
James Stewart, a young farm hand, who had enlisted in
the Army and was stationed in New York, accidentally
meets Margaret Sullavan, a young hard-boiled actress ; he
falls madly in love with her, even though she considered
him just a silly youngster. She later helps Stewart out of
an embarrassing situation, by pretending, in the presence of
his friends, to be good friends with him. Stewart calls to see
her thereafter. This annoys Walter Pidgeon, Miss Sulla-
van's lover, who, for the first time, shows signs of jealousy.
Miss Sullavan insists that Pidgeon was the man she loved ;
but he warns her that her association with Stewart might
put her in a difficult position. When Stewart learns that his
detachment had been ordered to sail for France that night,
he rushes to Miss Sullavan and pleads with her to marry
him. Realizing all that she meant to him, she marries him ;
Pidgeon forgives her. She tells him that when Stewart re-
turned it would be time enough to tell him the truth. Stew-
art is killed during an attack ; Miss Sullavan receives the
news with tears in her eyes, as Pidgeon comforts her. They
both know that through Stewart they had learned the real
meaning of love.
Dana Burnet wrote the story, and Waldo Salt, the screen
play ; H. C. Potter directed it, and Joseph L. Mankiewicz
produced it. In the cast are Hattie McDaniel, Nat Pendle-
ton, Alan Curtis, and others.
It is doubtful if children or adolescents will understand
the relationship between Miss Sullavan and Pidgeon. Suit-
ability, therefore, Class A.
"Little Miss Broadway" with Shirley
Temple, George Murphy and
Phyllis Brooks
(20th Century-Fox, July 29; time, 71 min.)
Aided by an excellent cast, Shirley Temple comes through
with another good picture that is sure to please her fans.
She carries the main burden of entertainment, and does it
better than ever ; she dances excellently, with George
Murphy as her partner, and sings several numbers in her
own captivating style. Although the story is far-fetched
and pretty weak in spots, Shirley, as ever, manages to over-
come trite situations by the force of her personality. For
comedy, there is Jimmy Durante, who, in his blustering
manner, causes hearty laughs by his misuse of words. There
are situations that touch one's emotions, particularly the
scene where Shirley is taken away from her guardian. A
pleasant romance is worked into the plot : —
Shirley, an orphan, is overjoyed when Edward Ellis and
his daughter (Miss Brooks) take her from the orphanage
to live with them in their theatrical hotel. Shirley is the
pet of all the actors and actresses and she loves them all.
But trouble presents itself in the form of the landlady (Edna
May Oliver), whose own home adjoined that of the hotel ;
she was disturbed by the noise of bands at the hotel and was
determined to oust Ellis. She warns Ellis that, unless he
paid up $2500 back rent, she would dispossess him. Shirley
goes to see Miss Oliver, taking with her five dollars she
had saved up and which she wanted to give as part payment
of the rent. There she meets George Murphy, Miss Oliver's
nephew, who is charmed by her simplicity ; but Miss Oliver
is adamant. Murphy becomes friendly with the hotel folk
and is determined to help Ellis. He does this by bringing
to the hotel his uncle (Donald Meek) and three of his
cronies who wanted a place to practice their singing ; Meek
pays a year's rent in advance. With the money Ellis is able
to pay the rent. But Miss Oliver, having heard that Murphy
was in love with Miss Brooks, arranges for the authorities
to take Shirley away, to be sent back to the orphanage ; her
plan then was to evict Ellis and tear down the hotel. But
Murphy, who had a one-third interest in the estate, has
other plans ; he brings a court action to prevent Miss
Oliver from doing so. She finally succumbs to Shirley's
charms. This brings joy to every one, particularly to
Murphy and Miss Brooks, who planned to marry.
Harry Tugend and Jack Ycllen wrote the screen play,
Irving Cummings directed it, and David Hempstead pro-
duced it. In the cast are George Barbier, Jane Darwell,
and others.
Suitability, Class A.
116
LET THE PRODUCERS PROVIDE THE
PUBLIC WITH A DEPRESSION
ANTIDOTE
Mr. Patrick T. Montford, the Irish humorist,
publisher of the Dublin Opinion, Ireland's hu-
morous journal, before leaving the United
States to go back to Ireland last week, stated
that laughter is an antidote for depression, war
clouds, and for political disturbances.
Truer words have never been spoken, and
we should do all we can to bring them to the
attention of the producers, in Hollywood and
elsewhere, for these have the habit of produc-
ing the most depressing pictures at a time when
the economic depression hits the country the
hardest. Clearly do 1 remember that, in the
period after the market crash of 1929, they kept
making the most depressing pictures imagin-
able. This paper dubbed those pictures "Sui-
cide pictures," for certainly they did tend to
make those who would see them feel hopeless.
There have been produced lately several de-
pressing pictures, not of the ordinary kind, but
of the kind on which more money has been
spent. One out of town exhibitor told me that
in his city three pictures of the same type were
shown in the downtown theatres on the same
week. "Can you blame the public for not patron-
izing picture theatres?" he asked.
The moving picture producers should realize
that, in producing a large number of pictures
that tend to depress those who go to see them,
they injure their own interests as much as they
do the interests of the exhibitors. As this paper
said in 1930, 1931, and 1932, cheerful pictures
put the public into a happy frame of mind ; and
when people are in such a frame of mind they
spread cheer and happiness around them, not
only with words and conduct, but also with ex-
penditures. Under such a frame of mind, people
go to the theatres more frequently, and when
they do so they pass by stores and stop to do a
little window-shopping. And you know what
the result is — they buy things.
STOP ENCOURAGING THE RADIO
COMMENTATORS
It seems incredible that the motion picture
industry should continue to tolerate a condi-
tion that would not be permitted in any other
industry ; the studios allow the studio privileges
to the sensation-seeking radio commentators.
It is unwise tolerance that allows scandal
mongers to thrive when they should be driven
out. The harm done by false and malicious
gossip is inestimable. These sensation seekers
are making things far worse than they really
are.
George Fisher told the public that the
Hollywood producers are distracted because
the public is not going to the picture shows,
and made an appeal to his hearers to write to
him, giving him their reason for keeping away
so that the producers may make in the pictures
the necessary improvements. In other words,
this commentator told the public that the pic-
tures are now bad, and that nobody goes to see
them.
Vigorous protest, by exhibitors and distribu-
tors alike, should be lodged against these radio
commentators, who delight in making unneces-
sary "digs," to the studio heads in Hollywood
and also to the Federal Communications Com-
mission to prevent a recurrence of last week's
act.
Studio heads who allow this form of sabotage
to go by unnoticed and unchecked shirk their
duties to their companies, and to the exhibitors.
BOB SAVINI'S SINGLE REEL AROUND
RUDOLPH VALENTINO
Encouraged by the success "The Sheik" and
"The Son of the Sheik" have made, Bob Savini,
of Astor Pictures, has got together a reel which
he calls "The Life of Valentino" ; it presents an
interesting collection of intimate scenes depict-
ing Valentino's life and untimely death. They
present him as much a man as a screen idol of
the young women at the time he was at the
height of his screen career. People will not
laugh at this reel the way they laugh at the
two features as a result of the crude acting, for
the subject is treated differently.
The picture might prove of help to the box
office during the warm summer months. At any
rate, exhibitors might find looking into this
single reel worth while.
A PRIVILEGE YOU DON'T ENJOY NOW
BUT YOU WILL UNDER THE
NEELY BILL
Because the Knights of Columbus and other
Catholic organizations took an antagonistic at-
titude toward the Wanger picture, "Blockade,"
on the ground that it is "pro-loyalist Spanish
propaganda," Loew's Theatres, Inc., was com-
pelled to take an advertisement in the Brooklyn
Tablet, a Catholic paper, in order to present to
its readers and to the Catholic picture-going
public in general that the Loew theatres avoid
propaganda subjects, that its committee had
screened this picture, and not seeing anything
objectionable in it approved it, contracts being
signed for it after the approval.
What this paper wishes to call your attention
to is, not the antagonistic attitude of several
Catholic organizations against the picture, not
the fact that the Loew organization was com-
pelled to take an advertisement in the Brooklyn
Tablet to explain the routine work of passing a
picture, but the fact that contracts for that pic-
ture were signed by the Loew theatre depart-
ment only after its reviewing committee had
approved it.
And yet I have exhibitors still writing me
for my opinion whether the Neely Bill will
prove beneficial or detrimental to the interests
of the independent exhibitors !
How many of you enjoy the privilege of
screening a first-run picture first before signing
a contract for it? None, I presume! Well, the
Neely Bill will confer upon you the same privi-
lege that the Loew organization and all the
other affiliated circuits enjoy — screen the pic-
ture first before booking it.
Of course, you don't have to screen it ; you
may have some one else see it for you to inform
you as to its probable worth to your box office.
But at least the privilege of screening it is there
for you to enjoy, if you should wish to take
advantage of it.
Kr.terad M seccriii-oJaas matter January 4, 1921, at the post office at New York, New York, under the act of MjuvsH 5, lava.
Harrison's Reports
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hoc a <-opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, JULY 23, 1938 No. 3~~0
NORTH DAKOTA THEATRE DIVORCE
LAW UPHELD BY FEDERAL COURT
The long 'expected decision of Circuit Judges Sanborn
and Thomas and District Judge Sullivan, the judges who
heard the Paramount suit against the State of North
Dakota to have the North Dakota statute that makes un-
lawful the ownership, operation or control of motion pic-
ture theatres by producers or distributors of motion
pictures declared unconstitutional, was handed down last
week ; it upholds the law.
The decision is very sweeping. Here are a few advance
extras :
"Defendants introduced evidence showing the extent and
nature of the controversy which has existed between inde-
pendent exhibitors and the producer-distributors owning
theatres, which tends to prove that the independent owner
is at a disadvantage in competition with affiliated theatres.
"No evidence that producers who have affiliated theatres
have an agreement or understanding that none of their
number shall enter the competitive territory in which an-
other of them has theatres. They apparently have refrained
from competing with each other in the exhibition field.
"A producer which owns theatres has the power to make
it impossible for the independent exhibitor to procure films
from it, and difficult to procure them from other major
producers in case the producer-exhibitor desires those films
for itself.
"There is evidence tending to show that producers with
affiliated theatres have exercised the power possessed by
them for their own advantage and to the detriment of their
independent competitors.
"The existence of unusual power to deal with competi-
tors unfairly, where coupled with the opportunity and
temptation to use that power is probably a sufficient basis
for legislative action to prevent the possibility of its exer-
cise. This must certainly be so where there is, in addition,
evidence of past aggressions."
Thus the contention of Allied State Association that the
law is constitutional has been upheld, and the efforts of its
general counsel and of his associates to establish the ex-
istence of a motion picture trust have been successful.
The court found that Paramount has not yet achieved a
monopoly in North Dakota, and that there have been no
abuses in that State, but it declared that the State has the
right to take into consideration the abuses that have been
committed in other states and to adopt such legislation as
to make the practicing of them in North Dakota impossible.
Manifestly the judges were prompted to come to such a
conclusion by the testimony that was offered by the follow-
ing Allied leaders as to conditions in their respective states :
Al Steffes, Minnesota ; Messrs. Maertz and Koppelberger,
Wisconsin ; Col. H. A. Cole, Texas ; Mr. V. U. Young,
Indiana ; and H. M. Richey, Michigan. But the most dam-
aging evidence was extracted from the representatives of
the producers themselves, during cross-examination
The case will be carried to the U. S. Supreme Court.
The records of this case, of the Perleman case (Phila-
delphia), and of the Interstate case (Dallas) seem to bear
out the assertions of Allied States and of this paper, made
over a period extending many years, that the major com-
panies, in their relations with independent exhibitors, have
been doing things that would some day cause them much
trouble. The repeated warnings were either laughed at or
ignored completely. The laughs, however, are now proving
costly to them.
Harrison's Reports hopes that the major companies, in
their desire to come to an understanding with the inde-
pendent exhibitors, will offer honest-to-goodness conces-
sions. If they will not, the program of Allied to find relief
in the courts will go on uninterruptedly.
A REMINDER OF 1937-38 SEASON'S
CONTRACT PROVISIONS
As the season is about to end, many exhibitors have
asked me to inform them whether they have the right to
demand the delivery of "not generally released" pictures.
With a view to assisting all exhibitors to determine this
question before the expiration of their right to make such
a demand, if they have the right of doing so, Harbison's
Reports gives the information in this editorial :
Columbia
The Columbia contract covers pictures released during
the 13 month period between September 1, 1937 and Sep-
tember 30, 1938, and is for one year beginning with the
date fixed for the exhibition of the first picture. Should
the first picture become deliverable on, for example, No-
vember IS, 1937, then Columbia is under an obligation to
deliver the minimum number it promised to deliver to the
exhibitor before November 15, 1938. After November 15,
1938, the exhibitor is under no obligation to accept any
more pictures should Columbia fail to deliver the minimum
number, but he may claim damages should the minimum
number not be delivered by that date, the sum being the
rental of each undelivered picture.
The contract calls for a minimum of 40 pictures.
First National
The exhibitor cannot refuse to accept "not generally
released" pictures ; he may only demand them. But such
a demand must be made, in writing, not later than August
15, 1938.
Such pictures may be considered as "not generally re-
leased" as will not be released between September 1, 1937,
and August 31, 1938.
This contract, too, runs for a year beginning with the
play-dating of the first picture in accordance with the terms
of the contract.
What is true of the First National contract is true of the
Warner Bros, contract.
Metro-Gold wyn-Mayer
The MGM contract promises a minimum of 44, or a
maximum of 52 pictures, to be delivered between September
1, 1937, and August 31, 1938.
Since up to "Love Finds Andy Hardy," set for release
July 22, MGM will have released 38 features, the problem
of "not generally released" pictures will hardly arise, be-
cause it has until August 31 to release the remaining 8
pictures of the minmum number guaranteed.
Paramount
Paramount promised no minimum number of regular
feature pictures, but a maximum of 52, to be released
between August 1, 1937, and July 31, 1938.
Since up to "The Texans," set for release August 12,
Paramount will have released a total number of 47 regular
features, and the home office of this company has stated
that more pictures are to be released, the maximum number
of 52 will undoubtedly be released. But here is something
that you may want to know :
(Continued on last Page)
118
HARRISON'S REPORTS
July 23, 1938
"Prison Break" with Barton MacLane
and Glenda Farrell
(Universal, July 15 ; time, 72 min.)
A strong melodrama, well acted, but quite de-
pressing. This is due to the fact that the hero, an
innocent victim of a murder charge, is made to go
through so much suffering before he is finally vin-
dicated, that the spectator becomes restless and
even annoyed. For instance, not only is he sent to
prison for a crime he did not commit, thereby sep-
arating him from the woman he loved, but he is
tortured at the prison by the very man who had
committed the murder for which he had been sen-
tenced. And when he is released on parole, he can-
not find a position and is even forbidden to marry
during the parole period. And to add to his mis-
fortunes, his sister and her husband, whom he had
adored, are both drowned. The closing scenes are
fairly exciting, holding the spectator in suspense.
There the hero and the heroine are held captive by
the murderer ; but they finally overpower him, their
intention being to turn him over to the authorities
and so clear MacLane's name.
Norton S. Parker wrote the original story, and
he and Dorothy Reid, the screen play ; Arthur
Lubin directed it, and Trem Carr produced it. In
the cast are Constance Moore, Edmund MacDonald
and others.
Unsuitable for children. Class B.
"Port of Seven Seas" with Wallace Beery,
Maureen O'Sullivan, Frank Morgan
and John Beal
(71/ GM, July 1 ; time, 80 min.)
Just a fair comedy-drama; its appeal will be di-
rected mostly to middle-aged folk. It has a few
touching moments and some good comedy bits ; but
it is handicapped by an over-abundance of dialogue.
The laughs are provoked by the good-natured bick-
ering between Beery and Morgan, two old friends,
who quarrel at the least provocation. The story
shifts so often from comedy to drama, that it is
difficult for one to get into the proper mood ; as
soon as one begins to feel sorry for the heroine, the
scene shifts to comedy and the mood is naturally
broken. Young folks will find the ending romanti-
cally disappointing. The action takes place on a
waterfront street in Marseilles : —
Beery, cafe owner, who adored his son (John
Beal) is heartbroken when he learns that Beal had
gone to sea without even bidding him goodbye.
Knowing that Morgan, one of his card-playing
cronies, was in love with Miss O'Sullivan and
wanted to marry her, he warns him to keep away
from her for she was promised to his son. But
Morgan senses that Miss O'Sullivan was in trouble,
and asks for her hand in marriage ; she confesses to
him that she was going to have a baby. He is over-
joyed, for he had always wanted a child; his only
request was that she lead people to believe that the
child was his. At first Beery is enraged ; but when
he learns the true state of affairs, he realizes that it
was best for the baby since Morgan was a rich man
and could give the child everything, including a
name. Morgan is beside himself with joy when a
boy is born ; both he and Beery adore the child and
Miss O'Sullivan. Everything goes smoothly, until
Beal suddenly returns ; finding out that the child
was his, he demands that Morgan release Miss
O'Sullivan and the child. But Morgan and Beery
convince him that such an act would be wrong;
Miss O'Sullivan, despite her love for Beal, chooses
to stay with Morgan.
Marcel Pagnol wrote the story, and Preston
Sturges the screen play ; James Whale directed it,
and Henry Henigson produced it. In the cast are
Jessie Ralph, Cora Witherspoon, Etienne Girardot,
E. Allyn Warren, and others.
Not suitable for children or adolescents. Adult
fare, Class B.
"Professor Beware" with Harold Lloyd
(Paramount, July 29; time, 92 min.)
After an absence of two years, Harold Lloyd
returns in a very good comedy that should delight
his followers. Although it is a little slow in getting
started, the spectator soon forgets this in the ex-
citement that follows. It is chuck-full of action
and gags, some of which are extremely comical.
Lloyd hasn't changed his technique, which is to the
picture's benefit, for a comedy such as "Professor
Beware" comes a pleasant relief after the many
sophisticated comedies recently released. There are
many gags ; the two outstanding ones are, first, that
in which Lloyd tries to dress a drunkard, and, sec-
ondly, where Lloyd, riding on top of a freight
train, tries to avoid getting under a tunnel, by run-
ning the length of the train. The closing scenes are
thrilling and comical : —
Lloyd, a professor, assistant at a museum, is the
owner of nine tablets which tell the tragic story of
two Egyptian lovers. But part of the final tablet is
broken and Lloyd's one ambition was to find the
missing piece so as to learn what happened to the
lovers. He is thrilled when he receives an invita-
tion to join a party of explorers going to Egypt.
But things start happening to prevent him from
getting to the boat in time. First he tries to help
Phyllis Welch by giving his trousers to her press
agent, who had lost his ; then he is found by a
policeman in a semi-nude condition and taken to
jail. Miss Welch obtains his release by posting bail ;
but he jumps bail in an effort to get to New York
and to the boat. Miss Welch follows him. Lloyd,
beieving that things were happening to them just
as they had happened to the two Egyptian lovers,
asks Miss Welch not to follow him for it would
mean death for both of them. Continuing on, he
becomes mixed up with two hoboes, rides freight
trains, has fights, escapes from jail, and then mar-
ries Miss Welch, who, it turns out, was the daugh-
ter of a millionaire. But, still influenced by the story
on the tablets, he parts from his wife ; by a ruse,
she gets him to assert himself, and in a terrific free-
for-all fight Lloyd emerges victorious and claims
his bride.
Crampton Harris, Francis M. Cockrell and
Marian B. Cockrell, and Jack Cunningham and
Clyde Bruckman wrote the story, and Delmer
Daves, the screen play. Elliot Nugent directed and
Mr. Lloyd produced it. In the cast are Raymond
Walburn, Lionel Stander, William Frawley, Thur-
ston Hall, Cora Witherspoon, and others.
Class A.
July 23, 1938
HARRISON'S REPORTS
119
"Army Girl" with Preston Foster,
Madge Evans and Neil Hamilton
(Republic, August 12 ; time, 87 min.)
Very good entertainment ; it is as good as any
major company output from the standpoint of pro-
duction values, acting, and story. Combining thrills
and human appeal with romance and comedy, it
holds one's attention throughout. The thrills are
brought about by the scenes showing cavalry men
of the U. S. Army, and a small tank manned by two
soldiers, riding over extremely rough and dan-
gerous hilly country. The romance is charming : —
When Preston Foster, U. S. Army Captain, ar-
rives at the cavalry post where H. B. Warner was
commander, he realizes he was disliked, for, if his
tank proved practicable, mechanized methods
would replace the horses. Foster's rule had always
been to keep away from army girls, but when he
meets Madge Evans, Warner's daughter, he falls in
love with her, as she does with him. The test works
in favor of Foster, and orders soon arrive that the
tanks should replace the horses and that Foster was
to replace Warner. This enrages Miss Evans, and
she breaks the engagement. On the day Foster was
to take over command, Warner asks for permission
to ride in the tank with Gleason, Foster's mechanic.
Something goes wrong with the machine, it crashes,
and both Gleason and Warner are killed. After an
examination, which showed there was a defect in
the brake, Foster is held for court-martial. Hamil-
ton, an officer in love with Miss Evans, withholds
important information ; but his army training
comes to the fore and he proves that the machine
had been tampered with by Guinn Williams, a ser-
geant, who hated both Gleason and Foster. Foster
is cleared ; Miss Evans rushes to his arms.
Charles Clifford wrote the story, and Barry
Trivers and Samuel Ornitz, the screen play ;
George Nicholls, Jr., directed it, and Sol C. Siegel,
produced it. In the cast are Ruth Donnelly, Ralph
Morgan, Heather Angel, Barbara Pepper and
others.
Suitability, Class A.
"Sky Giant" with Richard Dix,
Chester Morris and Joan Fontaine
(RKO, July 22 ; time, 80 min.)
Very good, insofar as the aviation angle is con-
cerned ; it gives the spectator an inside view as to
how pilots are trained, and also some information
as to the mechanical end of aviation. Its only weak
point is the romance. There are many thrills ; one
of the most exciting scenes is that in which Dix
and Morris take a plane up to an unusual height to
make tests, and are rendered unconscious ; Foster's
recovery just before the plane reaches the ground
saves them both from crashing. Equally thrilling
are the scenes showing the men flying over unin-
habited country, where they crash. The sympathy
one feels for Dix makes one all the more resentful
at the final outcome of the romance, which brings
him unhappiness : —
Harry Carey, commander at an aviation school,
is annoyed when his son (Morris), who had left a
diplomatic career to become an aviator, arrives at
the school ; Carey did not believe that his son was
serious enough for such a profession. Dix likes
him, however, and helps him. Both Morris and Dix
fall in love with Joan Fontaine ; she chooses Mor-
ris. But when she hears that he was going off with
Dix on the dangerous mission of charting unex-
plored country, she insists that he give up the idea ;
he refuses and they part. Dix, believing the affair
was at an end, proposes marriage ; she accepts and
they marry a few hours before the takeoff. Once in
the air, Dix tells Morris the good news ; he takes it
sullenly and they quarrel. The plane crashes in a
forest and the radio operator dies. Dix and Morris
set out on foot ; when Dix falls from fatigue, Mor-
ris decides to leave him there. But he changes his
mind and helps him ; after much hardship they
reach a village and some time later home. Dix,
realizing that Miss Fontaine and Morris still loved
each other, agrees to an annullment.
Lionel Houser wrote the story and screen play ;
Lew Landers directed it, and Robert Sisk produced
it. In the cast are Paul Guilfoyle, Vicki Lester,
Robert Strange, and others.
Morally suitable. Suitability, Class A.
"The Affairs of Annabel" with Jack Oakie
and Lucille Ball
(RKO, [1938-39], date not set; time, 67 min.)
A good program comedy; it is a satire on the
publicity end of the motion picture industry. The
laughs are provoked by the tricks Jack Oakie pulls
to obtain publicity for the studio's star (Lucille
Ball) , for most of these tricks are so wild that they
invariably get Miss Ball in trouble. One comical
scene is that in which Miss Ball, who had insisted
that Oakie be discharged, overhears him talking to
an old lady about her forthcoming operation; she
thinks the woman was his mother. But Oakie had
really paid the woman to act as his mother so as to
work on Miss Ball's sympathies. The romantic in-
terest is just hinted at. Most of the excitement is
concentrated in the final scenes : —
When Oakie learns that Miss Ball, in her next
picture, was to play the part of a maid, he insists
that she take a position as a maid so as to get ex-
perience. Knowing that she could not cook, he ar-
ranges to have a caterer deliver food, and he him-
self pretends to be a salesman for a floor-waxing
concern so as to help her wax the floors. Thurston
Hall, a member of the family and a crack-pot in-
ventor, invites two men to the house, thinking they
were financiers ; instead, they turn out to be kid-
nappers wanted by the police. They intended to
use the house as a hide-out and do not permit any
one to leave. When Oakie finds out what had hap-
pened, he suggests that the studio send extras,
dressed as police, to the house, to frighten the
crooks. But when the crooks start firing, the extras
all run away. The real' police finally arrive; Miss
Ball helps them capture the crooks. For this, she
receives publicity all over the world. Just as she
starts to relax, Oakie gets her involved in a dia-
mond smuggling case, for he had learned that her
new picture was to be called "Diamond Smug-
glers."
Charles Hoffman wrote the story, and Bert
Granet and Paul Yawitz, the screen play ; Ben
Stoloff directed it, and Lou Lusty produced it. In
the cast are Ruth Donnelly, Bradley Page, Fritz
Feld, and others.
Suitability, Class A.
120 HARRISON'S REPORTS July 23, 1938
Up to "Professor Beware," which has been set for re-
lease July 29, Paramount will have delivered 45 pictures.
In view of the fact that the next release is August 5 ("Give
Me a Sailor,") and in view of the fact that Paramount
has agreed to deliver the maximum 52 on or prior to July
31, 1938, it is the opinion of this paper that you are under
no obligation to accept the remaining seven pictures. But
you had better consult your lawyer in case you should de-
cide to refuse acceptance of these seven pictures.
RKO
According to the terms of this company's contract, the
number of pictures that may be released between September
1, 1937 and August 31, 1938, is not limited, but the contract
holder may demand the delivery only of the pictures that
carry numbers from 801 to 848 inclusive. If the producer
should fail to release these numbered pictures between the
foregoing dates the contract holder must, nevertheless,
accept them if they should be released up to December 31,
1938, unless he should see fit to notify the distributor, in
writing, not later than September 10, 1938, that he does
not want them.
Up to "Crime Ring," released July 8, this company
released 38 pictures, among which are five pictures that
carry numbers other than those aforementioned : "Victoria
the Great" (861), "The Rat" (862), "Snow White" (891),
"Gun Law" (881), and "Border G-Man" (882).
Twentieth Century-Fox
This company's contract calls for a minimum of 46
pictures, or a maximum of 52, not more than five of them
to be produced in England, to be released between August
1, 1937, and July 31, 1938. Excluded are the two Tarzans,
four "outdoor" pictures, the Eddie Cantors, the re-issues,
and the roadshows. It runs for one year from the date of
the first play-dated picture.
Since this company will deliver all the pictures it has
promised, no occasion will arise for sending to it a written
notice about "not generally released" pictures.
United Artists
The United Artists contract covers only such pictures
as are described in the schedule specifically. These are to
be released "generally" within 20 months from the date of
the contract. Should the distributor fail to release some of
the pictures, as described specifically in the schedule, then
the contract is terminated in regard to those pictures.
If you have a United Artists contract, look at the date
of its approval, count twenty months, and demand all the
"schedule" pictures that will be released within those 20
months.
There is no way by which a contract holder may prevent
the producer from holding up "schedule" pictures and re-
leasing them after the 20 month contract period.
Universal
The contract runs for 12 months from the date of the
first play-dated picture.
The "not generally released" clause in this company's
contract is written in the familiar wording, except that,
instead of giving specific dates within which the company
must release the pictures described in the schedule, it sets
the following time limit : "during the release year speci-
fied in the Schedule." It is too vague to mean anything.
Besides, under this type of provision, a contract holder
may demand, but cannot reject, "not generally released
pictures." So if you want whatever Universal pictures may
not be "generally released" during the time limit "specified
in the Schedule," send a written notice at once.
THE EFFORTS AT CONCILIATION
Every one of you knows, of course, that on June 25 there
was a conference at the White House between President
Roosevelt and representatives of the major companies,
includittg Mr. Will H. Hays. As a result of that conference
the majors agreed to bring about industry reforms.
A few days afterwards, they designated Mr. Sidney R.
Kent, president of 20th Century-Fox, to act as chairman of
a committee to formulate a program, and then invite rep-
resentatives of exhibitors to sit in with them with a view
to agreeing as to what reforms should be made.
It is hardly the place here to discuss what has brought
about the White House conference and why the major com-
panies, a few days afterwards, appointed Mr. Sidney R.
Kent as chairman of a committee to bring about the re-
forms needed. All this paper can say is that reforms are
needed, and if they should be brought about, what differ-
ence docs it make what has brought them about? What
should concern the independent theatre owners is how
sincere are the major companies.
That there are executives of major companies who are
inspired with sincerity in their desire to bring about re-
forms the exhibitor leaders do not doubt, for they have had
an opportunity to satisfy themselves as to that ; but that
there are also others who would give to the exhibitors as
little as possible, only enough to "stop them from shout-
ing," there is no doubt either. The results will, therefore,
depend on which of these two groups predominates.
This paper has noticed in the statement that was issued by
Mr. Kent immediately after his appointment as chairman
of the conciliation committee the following:
"I am conscious of the fact that many exhibitor organi-
zations have been urging for some time that such a pro-
gram [to seek a solution of our industry problems] be
undertaken, but there have been many difficulties in the
way. However, we wish to assure the various exhibitor
groups that the moment we are organized for action we
will get in touch with them and arrange our program
jointly with them from that point on."
I have no way of knowing what Mr. Kent meant by
"the various exhibitor groups," for to the knowledge of
Harrison's Reports there is only one exhibitor group that
represents the independent theatre owners — Allied States
Association of Motion Picture Exhibitors. If Mr. Kent
has meant also Motion Picture Theatre Owners of Amer-
ica, then Harrison's Reports will say that the beginning
of the conciliation move is not done very auspiciously, for
this reason :
In former years, in the deliberations between exhibitors
and distributors, a committee of Motion Picture Theatre
Owners of America, with its president as the chairman,
took part. Since this organization is supported by the dues
from affiliated theatres and has in its membership at least
four affiliated theatres to one independent theatre, few of
the latter even paying dues, a committee of this organiza-
tion naturally represents the interests of producers and
distributors. Thus the independent exhibitor representa-
tives found themselves under a disadvantage when they
had sitting in the deliberations a committee which was
supposedly representing exhibitors when in reality it rep-
resented producer-distributors. This committee took its
orders from an advisor, appointed by the producer organi-
zation.
In such circumstances, the independent exhibitor repre-
sentatives, whenever they insisted upon certain reforms as
being fair and just, and the MPTO committee would op-
pose them, were placed in a position where they appeared
as agitators, trouble makers, and persons unwilling to
listen to reason.
Need this paper call your attention to statements made
by the producer side to the effect that the exhibitor repre-
sentatives were "paid" to do agitating, that "they repre-
sented no investment in theatres," and the like, some of
such statements containing innuendoes as to the character
of the exhibitor leaders and as to their motives?
Harrison's Reports has taken the pains to warn the
producers against the repetition of the old methods. And
an invitation of representatives of the subsidized organi-
zation to sit in the conference as an equal will throw the
conciliation efforts of this committee on the rocks from the
very start.
TRADE PRACTICE COMMITTEE
WORKING ON PROPOSALS
The trade practice committee that was appointed by the
producers to weed out unfair trade practices in the motion
picture industry and to set up a conciliation scheme is meet-
ing frequently to formulate a plan of procedure.
It is assumed that the Allied Board of Directors will not
meet to consider these conciliation proposals and the elimi-
nation of unfair trade practices until they are submitted to
them in written form, for it is thus that an intelligent ap-
praisal may be made of such proposals — whether they are
liberal enough to become the basis of exhibitor-producer
discussions.
The submission of the proposals to the exhibitors may
be made soon.
Fint.TH a» 9eo*nil-clM3 matter January A, 1>21, at the post office at New Tork, New York, under the act of Marcft S, ism.
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■joc a v,opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, JULY 30, 1938 No. 31
THE GOVERNMENT'S SUIT AGAINST
THE MAJOR COMPANIES
The suit that was filed on July 20 by the United States
Government against the major companies under the Sher-
man Anti-Trust Act is, of course, no news to any one of
you, for the daily press, everywhere in the United States,
has printed accounts of it and made appropriate editorial
comment. But there are some facts that neither the daily
papers nor the industry's trade press has commented on.
And it is to these that Harrison's Reports wishes to call
your attention.
Many of you have known all these years that the major
producers, whether owners of theatres or not, granted
special favors to the producer-owned theatres, but you have
had little definite information on the subject. The Govern-
ment brief now comes along and furnishes that proof.
Under the heading, "Benefits, favors and advantages ex-
tended by defendants to each other," the Government
charges that the following methods, among others, have
been employed by them :
1. Sharing Advertising Costs: "In many instances the
contracts between the defendants as producers and other
defendants as exhibitors provide that the advertising costs
in the areas covered by such contracts shall be borne
partially by the producer."
2. Optional Contracts: "In dealing with each other, the
defendants, or some of them, as producers and others of
them as exhibitors, frequently enter into contracts whereby
the exhibitor is given the right and privilege to play certain
specified feature photoplays, but without assuming any
binding obligation to do so. This, in form, is a selective
contract and provides for the exhibitor a wider selection of
pictures without obligation to take them."
3. Contract Modifications: "In numerous instances mate-
rial changes and alterations are made in contracts existing
between the defendants, or some of them, as producers and
others of them as exhibitors. Among the types of modifica-
tions thus allowed are the following:
'(a) Reduction in film rentals where pictures covered by
the contract have been disappointing.
'(b) Reduction in film rentals where pictures covered by
the contract are double-featured.
'(c) Reduction in film rentals where pictures covered by
the contract are shown in vaudeville.
'(d) Reduction in film rentals where pictures covered by
the contract are shown in connection with premium give-
aways, by which attendance at the theatre is encouraged.
'(e) Changing pictures covered by a contract specifying
percentage of box office revenue as rental, to a flat rental
* * * _
'(f) Elimination of pictures covered by contracts by re-
peating or extending the playing time of other pictures
covered by the same contracts.
'(g) Transference of pictures contracted for exhibition
in one theatre to another theatre operated by the same
defendant.
'(h) Cancellation of pictures covered by a contract by
reason of increased film rentals realized from other pictures
covered by the same contract ; in other words, where a pic-
ture exceeds expectations, the exhibitor is permitted to
reduce his commitments for the exhibition of other pictures
covered by the contract.' "
4. Overage and Underage: "This is a practice extended
by the defendants, as producers, to others of the defendants,
as exhibitors, whereby the exhibitor defendants arc per-
mitted as to one theatre or group of theatres to play fewer
pictures than the minimum contract commitment requires,
and to charge the deficit thus created against pictures
played in excess of the commitment relating to another
theatre or group of theatres operated by the same de-
fendant."
5. Cancellation of Short Subjects: "The defendants, as
exhibitors, are often permitted by other defendants, as pro-
ducers, to cancel short subjects contracted for in instances
where they enter into spot contracts for feature pictures."
6. Move-overs : "A practice whereby the defendants, or
some of them, as exhibitors, are permitted by other de-
fendants, as producers, to move a picture from a theatre
where its exhibition has been completed, to another theatre
operated by the same defendant for a continued run or
exhibition. This practice adversely affects the box office
value of a picture when it reaches subsequent-run ex-
hibitors."
At the conclusion of each of these allegations the petition
recites : "This privilege is seldom, if ever, extended to the
independent exhibitors."
Mr. Abram F. Myers, of Allied States Association, com-
menting on these allegations, said :
"This association has long suspected that gross favori-
tism was practiced as between affiliated and independent
theatres — we knew of some of the methods employed ; but
the Government's allegations, based on a thorough study of
the contracts between the Big Eight and the affiliated
theatres, are a revelation."
HAVE THE PRODUCERS RECEIVED
MORE THAN THEY BARGAINED
FOR?
There is no doubt in the mind of any one connected with
the motion picture industry that the major producers knew
in advance that the Government suit against them was com-
ing; the trade papers have been full of Washington dis-
patches for several months, predicting its coming. But what
one gathers from the statement of Mr. Hays is the fact that
they expected the suit to be based only on trade practices
that the Government considers as conflicting with the pro-
visions of the Sherman Act ; they did not expect that the
Government brief would contain a demand for the separa-
tion of exhibition from production-distribution.
As a matter of fact, the statement of Mr. Hays and the
time of its delivery to the press indicates but one thing, that
it was prepared in advance, and was based on the theory
that the Government suit would include only trade prac-
tices, and not a demand for a theatre divorcement. That is
what one gathers from the fact that Mr. Hays had left for
the coast before the suit was filed. And even if he had been
here, it would have been too late to effect any modifications,
if the statement was to appear in the papers simultaneously
with the statement by the Department of Justice.
Can any one doubt that such was the case by the fact that
Mr. Hays, speaking for the major producers, stated that
"Motion picture producers . . . will generally welcome the
prospect of a comprehensive, fair and conclusive endeavor
to clarify the application of the existing laws to" the
separation of theatres from producer-distributor owner-
ship, along with "the trade customs inherent in the develop-
ment of the motion picture industry"? He would certainly
have commented separately on the theatre divorcement part
of the Government's petition in equity.
The part of the Government's petition that seeks to bring
about the separation of theatre ownership and control by
producers and distributors reads partly as follows :
(Continued on last Page)
122
HARRISON'S REPORTS
July 30, 1938
"Booloo" with Colin Tapley
(Paramount, July 22; time, 60 min.)
Except for the brief jungle scenes and the shots of wild
animal life, as well as a few fights between the animals,
there is little to recommend this. If it had just been pro-
duced as an animal picture, it might have been all right,
for there are some interesting shots of monkeys and of
other animals ; instead, a silly story, giving the reason for
the hero's journey to the jungle, has been used, reducing
the picture's suitability to juvenile appeal; adults may be
bored. The closing scenes, where the hero saves the native
girl from the white tiger, are fairly exciting : —
Colin Tapley, in order to clear the name of his father,
whose story of the white tiger he had seen in the Malay
Straits had been discredited, decides to go to the jungles
to bring back the proof. His sweetheart (Jayne Regan)
pleads with him not to go, but he is determined. Knowing
that the natives believed the white tiger to be a god and
that they would kill any one who tried to capture it, Tapley
pretends to be just an ordinary hunter. He and his men set
about capturing animals, but they keep their eyes open for
the white tiger. Their chance comes ; Tapley sees a cere-
mony in which a girl was chosen to be sacrificed to the
tiger. He saves the girl and kills the tiger. The natives
prepare to kill him, but the arrival of British troops saves
his life. With the proof he brings back, his father's name
is cleared; he and Miss Regan are reunited.
Clyde E. Elliott wrote the story and directed and pro-
duced it ; Robert E. Welsh wrote the screen play. In the
cast are Michio Ito, Herbert DeSouza, Mamo Clark, and
others.
Suitability, Class A.
"Racket Busters" with Humphrey Bogart,
George Brent and Gloria Dickson
(Warner Bros., Aug. 13; time, 70 min.)
A good program racketeer melodrama. The action cen-
ters around the efforts of an honest district attorney to
wipe out the racketeers, who were preying on helpless
business men and workers. It is exciting during those
situations in which action predominates ; but it occasion-
ally drags because of too much talk. The hero is a negative
character ; his courageous flare-up in the beginning peters
out, leaving him in an unsympathetic position. As a matter
of fact, his actions in stealing money from one of the
racketeers is unpleasant, even though an effort is made to
condone it. The romance is of minor importance : —
When racketeers enter the vegetable produce field,
George Brent and his partner (Allen Jenkins), owners of
four trucks working the vegetable markets, refuse to be
intimidated. Brent induces other truck drivers not to
join the racketeer outfit, which demanded exorbitant fees
for protection. But when the racketeers burn his trucks and
ruin his business, Brent becomes discouraged, particularly
since his wife was expecting a baby. Desperate, he holds
up one of the members of the racketeer outfit, and steals
from him a large sum of money. Bogart, racketeer chief,
calls on Brent and tells him he could keep the money and
start in business again on condition that he join his organi-
zation and encourage others to follow him. He joins them.
Brent's pals are disgusted with him, for they felt that he
had turned traitor. When his wife returns home after the
birth of a child, she learns the truth and berates Brent.
But nothing moves him until an old pal, secretary of the
legitimate union, is killed by the racketeers ; he then rushes
to the aid of the produce men and the truck drivers, who
had been forced to call a strike on Bogart's orders. After a
terrific fight, the truck drivers win out, and the racketeer
gang is rounded up. Walter Abel, the district attorney,
with the help of willing witnesses who, up to that time,
had been afraid to testify, wins a verdict against Bogart,
with long term sentences against him and his men.
Robert Rossen and Leonardo Bercovici wrote the screen
play, and Lloyd Bacon directed it. In the cast are Penny
Singleton, and others.
Not particularly suitable for children. Adult fare.
Class B.
"Love Finds Andy Hardy" with Mickey
Rooney, Lewis Stone and Judy Garland
(MGM, July 22; time, 90 min.)
A delightful addition to the Hardy family series. Its
down-to-earth typical American family scene is presented
with so much realism, that one feels as if the affairs of a
real family were unfolding. By this time, the characters
are so familiar, that one follows their actions with interest.
Although all the performances are good, it is Mickey
Rooney who again arouses most of the laughs, this time by
the trouble he has with his girl friends. The picture's box-
office value is enhanced by the presence of Judy Garland,
whose singing of three popular numbers should go over
very well : —
Mickey pays a deposit of $12 on a car, promising to pay
the balance of $8 before the end of the month. Not being
able to get the money together, he enters into a business
proposition with a pal, who had to go out of town: for the
sum of $8, he promises to take care of his pal's girl friend
so that no other boy could make a date with her. But this
gets him into difficulties with his own girl (Ann Ruther-
ford). It develops that neither of the girls would go to the
Christmas dance with him. Judy Garland, who was visiting
her grandmother, contrives, in spite of the fact that Mickey
thought her to be just a child, to get him to take her to the
dance. Mickey is proud of the hit Judy makes when she
sings. Knowing how Mickey felt about Ann, she brings
them together before she leaves. Happiness is restored to
the family when the mother, who had gone to visit a sick
relative, returns in time for Christmas celebration.
Vivien R. Bretherton wrote the story, and William Lud-
wig, the screen play ; George B. Seitz directed it. In the
cast are Cecilia Parker, Fay Holden, Lana Turner, and
others.
Suitability, Class A.
"Speed to Burn" with Michael Whalen
and Lynn Bari
(20th Century-Fox [1938-39], Aug. 26; time, 61 min.)
_ Good program entertainment. It has fast action, exciting
situations, comedy, and romance. And it holds one in tense
suspense throughout, owing to the efforts of the villain to
obtain possession of a race horse that was owned by the
heroine. As a matter of fact, the story builds up to a thrill-
ing climax, in which the villain is thwarted. Henry Ar-
metta, as the head of an Italian family that becomes mixed
up in the racing business, is very good, causing laughs each
time he appears. One of the most amusing situations is that
in which he buys betting tickets at a race and then, thinking
his horse would lose, tries to sell them. The romance is
routine but pleasant : —
Marvin Stephens, a jockey, is heartbroken when his
horse loses an important race. He felt something was
wrong but did not realize that the horse had been stiffened
up by henchmen of Sidney Blackmer, who wanted to buy it.
But the horse is sold together with others to the police
department. Michael Whalen, a mounted policeman, takes
the horse for himself and trains it. But Blackmer, still
desirous of owning the horse, creates disturbances in the
streets to excite the horse, and Whalen is thrown and taken
to a hospital. Whalen is unhappy when he learns the facts
from Stephens, who had forced the information from one
of Blackmer's henchmen. Knowing that Lynn Bari was
Blackmer's secretary, he thinks she was in on the trick.
But Miss Bari, ashamed of her association with Blackmer,
tries to make up for what had been done by buying the
horse and giving her own time and money to training it.
Blackmer tries to steal the horse and, being unable to do
so, kidnaps Stephens on the day of the race. But Stephens
is found by the police and rushed to the track, where, de-
spite an injury he had received by jumping from Blackmer's
car, he rides the horse to victory. Whalen and Miss Bari
are reconciled.
Edwin D. Torgerson wrote the story, and Robert Ellis
and Helen Logan, the screen play; Otto Brower directed
it, and Jerry Hoffman produced it. In the cast are Chick
Chandler, Johnnie Pirrone, and others.
Suitability, Class A.
July 30, 1938
HARRISON'S REPORTS
123
"Mother Carey's Chickens" with Anne
Shirley, Ruby Keeler, James Ellison
and Fay Bainter
(RKO, July 29; time, 8iy2 min.)
A good family picture, with deep human appeal. The
settings and costumes are of the old-fashioned type, similar
to "Little Women." Despite the simpleness of the story,
it has definite charm ; the scenes of the happy family life
are extremely appealing. There is good comedy, too ; audi-
ences should find particularly amusing the scenes that show
the family frightening away a middle-aged couple that
wanted to put them out of their home. A newcomer, Donnie
Dunagan, is delightful in the part of the baby of the family ;
and all the other players are good, too, acting with realism
and feeling: —
With the death of her husband, a Naval officer, Fay
Bainter is left with just a small sum of money. One of her
daughters (Anne Shirley) induces her to lease an old run-
down spacious house, renovate it, and then take in board-
ers. Miss Bainter agrees to it and all the children, Miss
Shirley, Ruby Keeler, Jackie Moran, and even little Donnie,
set to work to fix up the house ; they are helped along by
James Ellison, a school-teacher who had become acquainted
with the family. He and Miss Keeler fall in love. This
brings unhappiness for a time to Miss Shirley, who im-
agined she loved him. Just as the house is in perfect order,
the family is shocked to receive a visit from Frank Albert-
son, the owner, telling them that, as he had sold the house,
they would have to move. But Albertson, after living with
them for a few days, realizes the wrong he had done them
and hits upon an idea of frightening the new owners away.
When they arrive, every one speaks casually about ghosts,
and at night they make all sorts of noises. The plan works ;
the frightened couple tear up the bill of sale and leave.
Everyone is overjoyed, especially Miss Shirley, who had
fallen in love with Albertson.
The plot was adapted from the novel by Kate Douglas
Wiggin. S. K. Lauren and Gertrude Purcell wrote the
screen play, Rowland V. Lee directed it, and Pandro S.
Berman produced it. In the cast are Walter Brennan, Alma
Kruger, Margaret Armstrong, and others.
Class A.
"Mr. Chump" with Johnnie Davis, Lola
Lane and Penny Singleton
(Warner Bros., Aug. 6 ; time, 60 min.)
A trite, unpleasant story, poor production values, lack
of star names, and an over-abundance of dialogue, make
this a poor program offering. The only thing in its favor,
as far as young folk are concerned, is the five or ten minutes
during which Johnnie Davis, accompanied by a swing band,
sings a popular number. Aside from that, not one of the
characters arouses sympathy ; as a matter of fact their
actions, including that of the hero's, even though treated as
comedy, are pretty demoralizing. The producers try to
cover this up by showing that in the end the hero and two
others go to jail for their misdeeds, but this does not help
matters much : —
Penny Singleton tries to induce her fiance (Davis) to
get a job ; but he prefers playing a trumpet or dreaming of
the day when he would become a millionaire by playing
the stock market. Penny, egged on by her sister (Lola
Lane), who was married to Chester Clute, a timid bank
clerk earning $20 a week, decides to give up Davis to be-
come engaged to Donald Briggs, the bank manager. Davis
leaves town to join a band. After a few months he returns
with the band and Miss Singleton, accompanied by Briggs,
goes to hear him play; he is sensational. She quarrels with
Briggs and becomes reconciled with Davis. Clute informs
them that his accounts were $10,000 short ; he had taken
the money to play the stock market according to Davis'
methods — but he had lost. They then learn that Briggs had
done the same thing, but with $22,000. Davis insists that
the only way he could help them was for them to take
$50,000 more from the bank to give it to him to play the
stock market ; they do. Davis wins and buys the bank ;
but the bank examiners find out about the deficits and
Davis, Clute, and Briggs are sent to prison, where they
play in the prison band.
George Bricker wrote the original screen play; William
Clemens directed it, and Bryan Foy produced it. In the
cast are Spencer Charters and Frank Orth.
Unsuitable for children. Class B.
"Keep Smiling" with Jane Withers,
Gloria Stuart and Henry Wilcoxon
(20th Century-Fox [1938-39], Aug. 12; time, 77 min.)
This is one of the best Jane Withers pictures yet made.
Not only is Jane in top form, but she has been given a good
story, with deep human appeal. And for spectators who
enjoy behind-the-scene stories of Hollywood, this should
prove exciting, since a good part of the action takes place
at a motion picture studio. Jane shows remarkable talents
as a mimic — her imitations of Joan Davis and others are
excellent. The closing scenes touch one's emotions : —
Jane, an orphan, who had been living at a boarding
school where the bills were paid by her uncle (Henry
Wilcoxon), a successful Hollywood director, decides to
pay him a surprise visit. She sells her clothes to get to-
gether enough for the fare. When she finally arrives in
Hollywood, she is heartbroken to learn that Wilcoxon was
no longer a director, that he had taken to drink, and that
all his belongings were offered for sale at auction. Gloria
Stuart, Wilcoxon's secretary, takes Jane under her wing
and cares for her. Miss Stuart, who loved Wilcoxon, con-
spires with Jane to bring him back to a normal state. Jane,
through a trick, gets a chance in a picture ; she is tortured
by the director, who hated her uncle. The producer, finally
noticing the director's unfairness, orders him off the set
and asks Wilcoxon to take over. Everyone is overjoyed,
for it meant a new start and happiness for all concerned.
Wilcoxon proposes to Miss Stuart.
Frank Fenton and Lynn Root wrote the story, and
Frances Hyland and Albert Ray, the screen play ; Herbert
I. Leeds directed it, and John Stone produced it. In the
cast are Helen Westley, Jed Prouty, Douglas Fowley, and
others.
Suitability, Class A.
"Alexander's Ragtime Band" with Alice
Faye, Tyrone Power and Don Ameche
(20th Century-Fox [1938-39], Aug. 19; time, 105 min.)
Excellent entertainment, capably directed and acted. It
is an unusual type of musical, in that its appeal is not
limited just to young folk; as a matter of fact, it should
thrill the older ones, for the familiar Irving Berlin tunes
will bring back memories of days gone by. And the sur-
prising part of it all is that the music is still fresh and
delightful. The production is extremely lavish, depicting
in an interesting way the pre-war and post-war era of
night club development, as well as the progress of jazz
music. The outstanding thing about this picture is the
music, and there is plenty of that. In addition, it has comedy,
romance, and human appeal. The action is well paced,
except for the closing scenes, which are a bit draggy : —
Tyrone Power, to the dismay of his wealthy aunt (Helen
Westley), gives up a career as a concert violinist to be-
come leader of a jazz band in a honky tonk on the Barbary
Coast. The only thing that annoyed him was the fact that
he had to accept Alice Faye, a singer, as a member of his
band, for she was loud-mouthed and vulgar, and quarreled
with him. But as they rise in popularity and importance,
and obtain engagements at better places, Miss Faye changes
for the better and develops into a charming, well-dressed
lady. She and Power fall in love with each other. When
Miss Faye receives and accepts an offer from a prominent
producer to appear in New York, Power is furious ; they
quarrel and part. War is declared and, before the lovers
could become reconciled, Power is sent to France. He re-
turns, eager to see Miss Faye again; but he is shocked
when he learns that she had married Ameche, a member
of his band. He is despondent, until Jack Haley induces
him to form another band, with Ethel Merman as vocalist.
In the meantime Ameche, realizing that Miss Faye still
loved Power, suggests that she divorce him; but before
she could tell the good news to Power he leaves for Europe
for important engagements. Saddened, she gives up her
Broadway engagement and travels around "the country,
singing in cheap cafes. On Power's return, he learns about
the divorce and starts a search for Miss Faye. They are
finally brought together, during a swing concert that Power
was giving at a concert hall.
Kathryn Scola and Lamar Trotti wrote the screen play,
Henry King directed it. and Harry Joe Brown produced it.
In the cast arc Jean Hcrsholt, John Carradine, Paul Hurst.
Ruth Terry, and others.
Suitability, Class A.
124
July 30, 1938
"That the defendants Paramount Pictures, Inc., Twen-
tieth Century-Fox Film Corporation, and Warner Bros.
Pictures, Inc., and each of them, both as producers and dis-
tributors of motion pictures, under the direction and super-
vision of the court be ordered and directed to divest them-
selves of all interest and ownership, both direct and in-
direct, in theatres and theatre holdings and that they, and
each of them and their respective successors be permanently
enjoined from acquiring directly or indirectly any other in-
terests in the exhibition of motion pictures or in any per-
sons, firms, or corporations which are engaged or may
engage in the exhibition of motion pictures ; said divestiture
to be accomplished and carried out upon such terms and
conditions as the court may deem proper, and that pending
such divestiture the operation and management of said
theatres and theatre holdings be placed in the hands of
trustees to be selected by the court, who shall be entirely
free from the control or domination of any producer or
distributor of motion pictures."
In the case of Loew's, Inc., and RKO, the petition asks
that these two companies divest themselves of all interest
in production as well as distribution of motion pictures.
This distinction was made because originally these two
companies were exhibitors.
The "ten-strike" of the petition is the use of a statement
made by Mr. Adolph Zukor in 1918 against the ownership
of theatres by producer-distributors to convince the court
that ownership or control of theatres is an evil, and one of
the greatest perils "that has ever confronted the industry."
Mr. Zukor then said :
"The evil of producing and exhibiting coalitions is one of
the gravest perils that has ever confronted the motion-
picture industry. For some time past this condition has
been developing and now threatens to halt the industry's
progress, if indeed it does not set it back beyond the point at
which it first took its place among the organized industries
of the day. It has been permitted to develop this far because
no one individual, either producer or exhibitor, has dared
face the facts himself and compel other producers and ex-
hibitors to face them with him.
"We should all realize that the most effective way to
develop the industry to its largest capacity is to maintain a
broad, open field of endeavor in its every branch. The ex-
hibitors now enjoy the advantage of having the choice of
several well-established feature programs from which they
can select any range of subjects suitable to their individual
requirements. Also, because these producing firms are well
established they are in a position to produce pictures far
ahead of release date, giving the exhibitor an added advan-
tage in being able to arrange his bookings far in advance
and therefore avail himself of a careful selection of subjects.
"The producers, in feeling that they have all the ex-
hibitors in the country as prospective customers, are en-
couraged to make greater efforts and expend bigger sums
for their productions and equipment. On the other hand,
the exhibitors, in keeping all their lines open, have the
choice of all the productions on the market. In this manner
the business opportunities of both factors are unrestricted
and permissible of any possible expansion. The moment
exhibitors limit the market of producers, or the producers
limit the buying opportunities of the exhibitor, the business
is retarded and its growth is stunted. * * *
"If the business is to progress, it must advance upon the
basis of free and unhampered selection of product for ex-
hibitors, large and small, and the exhibitors alone can cure
this evil by a resolute refusal to be drawn into any allied
scheme, even if the results promised are of temporary
benefit to themselves. * * * "
THE PRODUCER HABIT OF PROMISING
PICTURES AND NOT DELIVERING
THEM
The July 8 issue of Amusements, the trade paper of the
Minneapolis zone, says the following:
"Advocating a buying strike on 20th Century-Fox prod-
uct until the company delivers four pictures assertedly
promised on the 1937-38 contracts, W. A. Steffes, president
of Allied Theatre Owners of the Northwest, this week
lashed out at a company advertisement sign by President
S. R. Kent, asserting that the company has kept faith with
its customers.
"20th Century-Fox, according to Steffes, is trying to re-
sell at higher prices Alexander's Ragtime Band,' 'Hudson
Bay Company,' 'Jesse James,' and 'Mother Knows Best.' "
Mr. Steffes stated : "For some unknown reason these pic-
tures have not been and will not be delivered on the 1937-38
contracts, and now are being resold to those of you who
have bought them (or thought they did) last year.
"You are entitled to these pictures according to the terms
of the contract."
Twentieth Century-Fox is not the only company that has
withheld 1937-38 season's pictures to sell them in the 1938-
39 season. According to a release sent out by the Washing-
ton office of Allied States Association, almost every com-
pany has withheld worth-while 1937-38 season pictures.
Columbia, for example, has withheld "You Can't Take It
With You," and "Second Mrs. Draper." First National-
Warner Bros., "The Sisters," "Valley of the Giants," "On
Your Toes," "Boy Meets Girl," "Desert Song," "Comet
Over Broadway," "Story of San Michele," and "Yes, My
Darling Daughter."
MGM has withheld, "Idiot's Delight," "Marie Antoin-
ette," "Kim," and others.
Paramount has withheld, "If I Were King," "Men With
Wings," "Paris Honeymoon," and "Midnight."
United Artists has withheld, "The Lady and the Cow-
boy," promised with Gary Cooper ; "Personal History," "A
Man and His Woman," "The Young in Heart," "Drums,"
and "Four Feathers."
In addition to these pictures, the big producers adver-
tised many others, but either have not or are not going to
deliver them.
The Allied leaders will do well to ask the producers
collectively, when they gather at a conference to agree upon
industry reforms, what they are going to do about the habit
of promising to the exhibitors pictures and then not de-
livering them.
INSTITUTIONAL ADVERTISING AND
GREATER MOVIE SEASON
The recommendation to the producers about institutional
advertising and greater movie season, made in the May 21
issue of Harrison's Reports under the heading, "The
Value of Institutional Advertising," seems to have had an
effect if we are to judge by the fact that the producers have
already set up committees to put them into effect.
Mr. Hays set the matter going when he made a speech at
the luncheon of the Association of Motion Picture Adver-
tisers, July 14, recommending the campaign. He said that
"newspaper advertising is essential to this end."
Already three committees are working hard at it. One of
them, under the chairmanship of George Schaefer, general
manager of United Artists, is taking care of the distribut-
ing end ; the second, under the chairmanship of Mr.
Howard Dietz, MGM chief publicity director, is looking
after the advertising end, while the third, under the chair-
manship of Y. Frank Freeman, is looking after the theatre
end.
It seems as if this time the greater movie season has been
undertaken with a real plan. The results should be highly
satisfactory.
"BLOCKADE" IS "A KISS IN PARIS"
To save you the trouble of communicating with this office
to find out what is what about "Blockade," let me say that,
in accordance with a high United Artists home office ex-
ecutive, "Blockade," the Walter Wanger production, which
is released through United Artists, is none other than "A
Kiss in Paris."
If any exhibitor has been denied delivery of this picture
as a 1937-38 production, Harrison's Reports wishes to say
that the local exchange has exceeded its authority, and that,
if he should communicate with the United Artists home
office, at 729 Seventh Avenue, New York, proper attention
will be given to his communication.
t';nl«ro*l as second-claBS matter January 1, 1021, at the post office at New York, New York, tinder the act of atarch s, sera.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 R™m IQIO Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 KOOm la" Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . ., _. . „ . _ .
Great Britain 15.75 Motlon Plcture Reviewing Service w,tahil«,hpfl T»lv 1
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,,.„ „ n„„v Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
joc a e,opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, AUGUST 6, 1938 No. 32
ALLIED HAS REASON TO BE PROUD
OF ITS ACCOMPLISHMENTS
Part of the statement that was issued by the Washington
office of Allied States Association reads as follows :
"July, 1938, will go down in exhibitor history as the
month in which Allied's long but persistent battle for
exhibitor rights was won.
"The decision in the North Dakota Case and the filing of
the Government's suit do not in themselves effect the de-
sired result but they are the handwriting on the wall.
"At the Pittsburgh Convention, Allied's general counsel
said that as a result of the progress made on the Neely
Bill, the divorcement legislation, the forthcoming monop-
oly investigation and possible action by the Department of
Justice, 'the monopolistic practices of the motion picture
trust are doomed.'
"Anyone with common sense should have known that
the intolerable conditions imposed on the independent ex-
hibitors could not be continued indefinitely. All that Allied
has fought for, and all that has occurred, finds justification
in the following passage from the President's anti-monop-
oly message:
" 'If private enterprise, left to its own devices, becomes
half regimented and half competitive, half slave and half
free, as it is today, it obviously can not adjust itself to
meet the needs and demands of the country.' "
Under the heading, "A Wonderful Opportunity," the
statement says :
"The filing of this action clears the atmosphere, removes
uncertainty, provides an opportunity for the industry to
clean house and should be welcomed.
"Self-regulation is a fine principle and should be prac-
ticed by all industries capable of doing so. There is no
dodging the fact that in the matter of monopolistic or-
ganization and practices, the motion picture producers and
distributors, linked together through the Hays Associa-
tion, have failed utterly to curb their own predatory
tendencies.
"The Trade Practice Conference in 1927, the 5-5-5 Con-
ferences, the conferences led by S. R. Kent in 1932, and
the N.R.A. proceedings led to no permanent or substantial
reforms.
"Some of the commitments made by members of the
Big Eight on those occasions were either never put into
effect or were soon forgotten.
"All such efforts have been made coincident with some
adverse development — an order of the Federal Trade Com-
mission, imminence of block booking legislation, etc. None
was initiated in an off-year when there could be no sus-
picion as to the motive behind the movement.
"The movement recently announced may have been, and
as regards some of the participants doubtless was, under-
taken in good faith. However, it was problematical whether
the movement would have reached a satisfactory conclusion
or whether the results would have been enduring.
"Now that this suit has been filed, the Big Eight have a
golden opportunity to clean house and to straighten out
their relations with the Government, the independent ex-
hibitors and the public. They can now bring forward their
proposals for bringing themselves into conformity with
the law. If such proposals are acceptable to the Govern-
ment, they can be embodied in a decree which can not be
disregarded whenever the temptation arises so to do.
"The motion picture industry is at the crossroads and its
future will be determined by the course it now adopts. The
Big Eight must bring about an abrupt change in their
public relations policies. They must realize that they can
not get by with flagrant violations of the law and unfair
and oppressive practices by purely political methods. The
'fixing' days are gone forever. They must make up their
minds hereafter to deal frankly, fairly and directly with
all who have a legitimate concern with the operations of
the industry. It is a job for men of experience, integrity
and tact ; definitely it can not be acomplished by conniving
political methods.
"Allied hopes that out of this maelstrom will come
dignity, peace and security for a great industry. Moreover,
she stands ready and willing to cooperate with like minded
executives among the motion picture producers and dis-
tributors."
It has been a long and hard fight, but victory is in sight.
THE INDUSTRY IS IN FOR A
"CLEANING OUT"
In the statement of the Department of Justice that ap-
peared in the newspapers simultaneously with the news of
the filing of the suit by the Government against the major
companies, the following points, of interest to every inde-
pendent exhibitor, were brought out :
"The investigation by the Department of Justice was
made in response to numerous complaints by independent
producers, distributors, and exhibitors and by the theatre-
going public. Independent companies complained that the
defendants were threatening their complete exclusion from
the business. ..."
"... The finer theatres and theatre chains are now
dominated by five of the major companies — Paramount
Pictures, Inc. ; Loew's, Incorporated ; Radio-Keith-Or-
pheum Corporation ; Warner Bros. Pictures, Inc., and
Twentieth Century-Fox Corporation. These companies,
together with the three other major companies — United
Artists, Columbia Pictures Corporation and Universal
Corporation — control about 65 per cent of all pictures pro-
duced, from the selection of the story to the final showing
at the theatre.
"The actual control of product is even greater than
would appear from this figure, because from 80 to 90 per
cent of the quality feature films upon which exhibitors are
dependent for the successful operation of their theatres are
produced or distributed by the eight major companies. . . . "
"In the early days of the industry the three branches of
production, distribution and exhibition were to a large
extent operated separately. A struggle for industry control
developed between producers and exhibitors, as a result of
which some producers entered the exhibition field — as in
the case of the defendants Paramount Pictures, Inc., and
Warner Bros. Pictures, Inc. — and some exhibitors entered
the production field, as in the case of Loew's, Incorporated.
In 1919, the very next year after issuing his prophetic
statement of the evils expected from such a combination,
Adolph Zukor, then a leading producer, determined to
enter the exhibition field. He moved swiftly. Other com-
panies moved to keep up with him. The period of the
(Continued on last pafic)
126
HARRISON'S REPORTS
August 6, 1938
"The Texans" with Joan Bennett
and Randolph Scott
(Paramount, August 12; time, 92 mm.)
This is a great spectacle of the outdoors, taking
place in the southwest during the reconstruction
period following the Civil War; but it lacks a
substantial plot and realistic characterizations. The
most glaring error was made in casting Joan Ben-
nett in the part of a pioneering cattle rancher, for
she neither looks nor acts the part convincingly ;
she goes through hardships and encounters with
Indians, and comes through it all looking just as
neat and trim as if she had been sitting at home.
Aside from this, action fans should be thrilled by
the scenes of cattle crossing a river, fights between
northerners and southerners, encounters between
the ranchers and Indians, the fast riding, and gen-
eral excitement, such as the situation where the
cattle, frightened by the sound of an engine
whistle, stampede : —
Miss Bennett, a true southerner, who despised
the northerners for their treatment of her people,
assists her fiance (Robert Cummings) by getting
guns through to him. which were intended for a
new army to rout the northerners ; she is helped by
Randolph Scott, an impoverished southern soldier,
who does so out of chivalry for he disagreed with
her attitude toward the north. He tries to induce
her to drive her cattle north to Abilene. Kansas,
where there was a railroad, and where she could
get a good price for her stock ; but she refuses. She
changes her mind, however, when Robert Barrat,
reconstruction official, tries to steal her land by
placing an exorbitant tax on her cattle, which she
could not pay. Led by Scott and his pal (Raymond
Hatton), all the ranch hands, including Miss Ben-
nett and her grandmother (May Robson), start
the trek to the north, pursued by Barrat and federal
soldiers ; they go through terrific hardships —
snowstorms, dust storms, rains, and encounters
with Indians. But they eventually arrive at their
destination and complete their deal. Miss Bennett
finally realizes that Cummings was a wild dreamer
and that Scott was the man for her.
Emerson Hough wrote the story, and Bertram
Millhauser, Paul Sloane, and YYm. W. Haines, the
screen play ; James Hogan directed it. and Lucien
Hubbard produced it. In the cast are Walter Bren-
nan, Harvey Stephens, and others.
Suitability, Class A.
"The Chaser" with Dennis O'Keefe
and Ann Morriss
(MGM, July 29; time, 75 nun.)
Just moderately entertaining program fare, in
spite of the fact that the story is an interesting
expose of the fake accident racket and how it is
worked by a shyster lawyer and his assistants.
There is not one character with whom the spec-
tator is in sympathy ; as a matter of fact all of
them, from the hero down, resort to trickery to
gain their ends. For instance, the hero is a shyster
lawyer who does not hesitate to frame accidents
and cases in order to bring court actions ; that is
how he earns his livelihood. On the other hand, the
heroine, too, is an unpleasant character, for she
acts as a stool pigeon in order to get evidence
against the hero. The hero's main assistant, a doc-
tor, constantly under the influence of liquor, works
with the hero by giving false medical reports on
cases where clients had not even been injured.
And so each character is presented as a person
without any scruples. In the end, of course, the
hero is regenerated by his love for the heroine, but
it somehow does not ring true.
In the development of the plot, Henry O'Neill,
attorney for the transit company that had been
plagued with faked cases brought by Dennis
O'Keefe, a shyster lawyer, decides to frame
O'Keefe. He employs Miss Morriss to get the
necessary information against O'Keefe. They fall
in love with each other; but when he finds out
what she had been doing, he purposely marries her
the night before the trial so that she could not tes-
tify against him; but O'Neill turns the tables by
arresting Miss Morriss for perjury. This makes
O'Keefe realize how he had wronged her. By
framing O'Neill on a drunk driving charge.
O'Keefe forces him to release Miss Morriss. But
Miss Morriss refuses to become reconciled with
O'Keefe until he promises to give up his shyster
practice.
Chandler Sprague and Howard E. Rogers wrote
the story, and Everett Freeman, Harry Ruskin,
Bella and Samuel Spewack, the screen play ; Edwin
L. Marin directed it, and Frank Davis produced it.
In the cast are Nat Pendleton, Ruth Gillett, John
Qualen. and others.
Not particularly suitable for children. Adult
fare. Class B.
"Bulldog Drummond in Africa" with
John Howard, Heather Angel
and H. B. Warner
(Paramount, August 5; time, 58 min.)
Except for the change in two players — Heather
Angel replacing Louise Campbell, and H. B.
Warner succeeding John Barrymore — this has the
same players and is up to the standard, as to pro-
duction values, set for the series. The story is
slightly more far-fetched than the previous ones,
but, since the action is fast and exciting, and is in-
terspersed with comedy and romance, it should
satisfy audiences that have found this series to
their liking : —
On the eve of his oft-postponed marriage to
Heather Angel, John Howard (Bulldog Drum-
mond) finds out that H. B. Warner, Scotland
Yard Inspector, had been kidnapped and taken by
plane to Africa. Together with his ever- faithful
valet (E. E. Clive), his pal (Reginald Denny), and
Miss Angel, Howard sets out for Africa in his
own plane. He knows that the kidnapper was J.
Carrol Naish, an international spy, who wanted
from Warner certain government secrets. Once
Howard lands he is intercepted by the police, who
prevent him from searching for Warner. But by
ingenious devices he manages to get away from
them and finds Naish's home, where Warner was
being held a prisoner. After terrific fights during
which their lives were endangered by lions Naish
kept in his courtyard, Howard and Denny over-
power the gang and rescue Warner. Naish is him-
self attacked and killed by a lion. Howard,
Warner, and the others set back for London ;
Howard is determined not to let anything inter-
fere with his marriage.
H. C. McNeile wrote the story, and Garnett
Weston, the screen play; Louis King directed it,
and Harold Hurley produced it.
Suitability, Class B,
August 6, 1938
HARRISON'S REPORTS
127
"Letter of Introduction" with Andrea Leeds,
Adolphe Menjou, Edgar Bergen
and George Murphy
{Universal, August 5 ; time, 102 min.)
An excellent entertainment. It has comedy, ro-
mance, human appeal, and pathos. Most of the
laughs are provoked by Edgar Bergen and his
dummy "Charlie McCarthy"; and to add to the
fun, Bergen introduces a new dummy called "Mor-
timer," supposedly a shy, silly farm hand ; there is
one situation where the two dummies meet that is
extremely diverting. Bergen manipulates the dum-
mies so cleverly that one is made to feel as if they
were alive. Andrea Leeds again gives evidence of
the fact that she is a fine actress ; she wins and
holds the spectator's sympathy throughout. The
situation that touches the spectator most deeply is
that in which Menjou, under the influence of
liquor, makes a spectacle of himself in front of an
audience : —
Miss Leeds arrives in town with a letter of intro-
duction to Menjou, a famous motion picture star
and former stage actor. When her boarding house
burns down, she is befriended by George Murphy,
a dancer, who takes her to the apartment of his
partner (Rita Johnson). Murphy and Miss Leeds
fall madly in love with each other. Miss Leeds
sees Menjou and gives him the letter, which in-
forms him that she was his daughter. Although
they are both proud of the relationship, they de-
cide to keep it a secret for professional reasons.
But their friendship is misunderstood by all ; Ann
Sheridan, Menjou's fiancee, breaks their engage-
ment, and Murphy, believing the worst, leaves
Miss Leeds and proposes to Miss Johnson, who
accepts him. Menjou, in order to launch his daugh-
ter's career, decides on a stage comeback with her
as his leading lady. His intention was to tell the
audience, at the end of the play, that he was her
father. But on the opening night he drinks too
much, forgets his lines, and even falls ; the mana-
ger is compelled to bring the curtain down. Miss
Leeds, heartbroken, leaves. And so does Menjou ;
walking in a daze, he is struck by an automobile
and seriously injured. Miss Leeds rushes to the
hospital; Menjou insists on seeing the reporters
to tell them that Miss Leeds was his daughter, but
he dies before he could do so. Miss Leeds decides
to keep it a secret. Murphy comes to Miss Leeds'
side ; she tells him that Menjou was her father,
and they are reconciled.
Bernice Boone wrote the story, and Sheridan
Gibney and Leonard Spigelgass, the screen play.
John M. Stahl directed and produced it. In the
cast are Eve Arden, Ernest Cossart, and others.
Class A.
"I'm from the City" with Joe Penner
(RKO, August 5 ; time, 66 min.)
A fairly good comedy; but its appeal will be
directed mostly to the Joe Penner fans since the
action revolves entirely around him and his antics.
There are quite a few situations that, despite their
silliness, arouse hearty laughter. The horse race in
the closing scenes where Penner, who was afraid
of horses, is forced to ride at a fast pace across
difficult country roads, is extremely amusing.
There are a few musical interpolations : —
Penner, a daring bareback rider in the circus, is
afraid of horses ; the only way he could ride was to
be hypnotized by his manager (Richard Lane),
who used a petrified acorn to accomplish his work.
Lane is approached by a woman owner of a large
ranch, who offers him 51,000 to permit Penner to
ride in a race for her ranch. Lane gets Penner to
the ranch by pretending they were going there for
a vacation. When Penner, while under a hypnotic
spell, gives the men at the ranch an exhibition of
his riding, they decide to bet all their money on
him. Penner and the ranch owner's silly daughter
fall in love ; she promises to marry him if he should
win the race. But Lane accidentally loses the petri-
fied acorn and is unable to hypnotize Penner. Pen-
ner tries to escape but the boys threaten to kill him
if he didn't ride. And so he rides and, to his sur-
prise, wins.
Ben Holmes wrote the story and directed it;
Nicholas T. Barrows, Robert St. Clair and John
Grey wrote the screen play, and William Sistrom
produced it. In the cast are Kay Sutton, Lorraine
Krueger, Paul Guilfoyle, and others.
Suitability, Class A.
"Drums" with Sabu, Raymond Massey,
Roger Livesey and Valerie Hobson
(London Film-U. Art., [1938-39], not set; 96 m.)
Excellent. The lavish production, photographed
in technicolor, is alone worthy of comment; but,
in addition, the story is exciting and holds one's
attention throughout. For sheer thrills, the closing
scenes are unsurpassed ; as a matter of fact, seldom
has anything so thrilling been shown on the screen.
The direction is brilliant, particularly in the handl-
ing of the mob scenes during the fighting. It is
obvious that great care was taken to present every-
thing in a realistic manner, both as to settings and
action. The performances are uniformly good: —
Realizing that there would be trouble at the
northwest frontier of India, due to the machina-
tions of Prince Ghul, who plotted to unite the
tribes against England, the British government
sends Major Carruthers, a shrewd young officer,
to assume charge of the outpost there. The ap-
pointment necessitates Carruthers' hasty- marriage
to Marjorie, the Governor's niece, who accom-
panies him. Carruthers negotiates a treaty with the
Khan, whereby the British could build a fortifica-
tion in Tokot in exchange for which they would
assure him of his son's ascendancy to the throne.
As soon as the British leave, Prince Ghul kills the
Khan, his brother, and takes over the rule. The
Khan's young son, Prince Azim, is rescued by two
faithful servants, who take him to another town.
There the young Prince resumes his acquaintance
with Carruthers and with Bill, the drummer boy ;
Bill teaches him a drum signal to use in case of
danger. Carruthers. another officer, and a detach-
ment of soldiers are compelled to attend a ball
given by Ghul. In the meantime. Azim, having
learned that Ghul intended to kill his English
guests, races on horseback to the palace and there
gives the danger signal over the drums. Carruthers
tries to get his men away in time, but the murder-
ous natives had machine guns planted. With the
arrival of fresh British troops, Ghul is killed and
his men overpowered. Prince Azim is placed on
the throne.
A. E. W. Mason wrote the story, and Arthur
Wimperis. Patric Kirwan, and Hugh Gray, the
screen play ; Joltan Korda directed it, and Alex-
ander Korda produced it. In the cast are David
Tree. Desmond Tester, and others.
Suitability, Class A.
128 HARRISON^REPORTS August 6, 1938
Nineteen Twenties became one of constant and aggressive
acquisition of independent theatres by major companies.
That struggle has resulted in domination and control of
the best motion-picture theatres on a nation-wide scale by
the major companies.
"Restoration of free enterprise and open competition
amongst all branches of the motion-picture industry is the
primary objective of this proceeding. To this end, and as
a first step, a separation of production and exhibition in-
terest is sought in order that all motion-picture theatres
shall be free from the domination and control of any pro-
ducers, and shall be immediately responsive and respon-
sible to the tastes and demands of their respective patrons.
"Free from producer control, it is hoped that the thea-
tres of the country will become a free, open and untram-
mcled market to which all producers may have access for
the distribution and licensing of films based on merit. Ex-
hibitors likewise will have access to all available motion-
picture products in accordance with their respective abili-
ties to pay for and utilize that product."
There are two places in the statement where a significant
revelation is made as to the ultimate intents of the De-
partment of Justice. At the end of the third paragraph in
the introduction, under the heading, "Introductory State-
ment," there is said : " (4) to bring to the attention of
Congress certain aspects of a factual situation which may
need consideration in connection with further legislation" ;
and at the end of the entire statement there is said: "Until
the evidence is produced, it is too early to state whether the
anti-trust laws by themselves are sufficiently effective to
restore competitive conditions. If it appears from such
evidence that further aid is needed, the results of the in-
vestigation and trial will be brought to the attention of
Congress."
In other words, the Government is determined to clean
up this industry, and if it cannot do it through the present
laws, additional legislation will be sought of Congress.
The industry is in for a "cleaning out" one way or other.
CAN THE CONTRACT HOLDERS
COMPEL FIRST NATIONAL TO
DELIVER "BOY MEETS GIRL"?
(Editor's Note : This editorial appeared in the February
26 issue of Harrison's Reports, It is reproduced so as to
satisfy many inquiries.)
When First National started selling its product last
summer, its contract form named three pictures either by
title and stars or by stars alone : "Adventures of Robin-
hood" (251), with Errol Flynn and Olivia de Havilland ;
"Food for Scandal" (252), with Carole Lombard, Fernand
Gravet, and Ethel Merman ; and No. 253, described as a
"Big Musical," with Dick Powell, Ginger Rogers, and
Benny Goodman and his orchestra as the stars.
About the middle of August First National altered the
contract form, putting "Boy Meets Girl," the Broadway
success, in place of "Big Musical."
Holders of the second form of contract have now been
notified that No. 253 has been given to "Hollywood Hotel,"
and that they must accept this picture instead of "Boy
Meets Girl."
An exhibitor has written to this office asking whether he
is or is not under an obligation to accept "Hollywood
Hotel," instead of "Boy Meets Girl."
I looked into the contract and found that the rights of
the distributor to make the substitution are contained in
the Eighth Clause, which reads as follows :
"(a) The Distributor shall have and hereby reserves
the right in the sole discretion of the Distributor to change
the title of any of the said motion pictures, to make changes
in, alterations and adaptation of any story, book or play
and to substitute for any thereof any other story, book or
play. The Distributor also shall have and hereby reserves
the right to change the director, the cast or any member
thereof of any of said motion pictures.
"(b) The Exhibitor shall not be required to accept for
any feature motion picture described in this Schedule as
that of a named star or stars, director or named well-
known author, book or play, any motion picture or any
other star or stars, director, author, book or play nor to
accept any other feature motion picture in place of any
thereof which in the Schedule is designated 'no substitute.'
In other words, the distributor has the right to give you
any other picture he sees fit to deliver in place of the one it
has sold you, unless the word "No Substitute" is contained
near the title of the original picture ; and since the phrase
"No Substitute" is not contained in the space opposite No.
253, and described as a "Big Musical," First National is
within its contractual rights in taking away "Boy Meets
Girl" from those of you who have it and in delivering
"Hollywood Hotel" in its place.
What has prompted the Warner Bros, executives to
make this substitution is, no doubt, the fact that they have
decided to put in the leading part of "Boy Meets Girl"
James Cagney, with whom they have made peace. They
may hold "Boy Meets Girl" back, to release it in the 1938-
39 season, as a sort of "come on" for that season.
In view of the fact that Warner Bros, is delivering "Emil
Zola" in place of "The Gamblers," which was contained in
the original form, those of you who bought both products
may feel that the "swap" is even ; it is only in the cases
where an exhibitor bought only the First National product
that injustice will be done.
What should, however, impress you is not the fairness
of the "swap" but the fact that the contract contains the
"joker" provision. The type the contract is printed in is so
fine that I doubt whether one out of each hundred ex-
hibitors has noticed it.
THE "GREATER MOVIE SEASON"
CAMPAIGN PROCEEDING
AUSPICIOUSLY
The setting up of the machinery for the national adver-
tising and promotion campaign in the motion picture in-
dustry is proceeding with speed. And it has the coopera-
tion of all the branches of the industry.
On Wednesday last week a meeting was held at the
Hotel Astor to set the foundation for co-operation. Many
independent exhibitors were present. The program was
outlined, and an effort was made to remove the "kinks."
Later in the day a meeting was held at the office of Mr.
George Schaefer, general manager of United Artists, in
which independent exhibitors, representing circuits, took
part. The program was finally agreed upon.
This is the first time in the history of the motion picture
industry that real cooperative spirit is shown; and if the
same sentiment prevails all through the campaign, the
results will prove highly profitable.
ISN'T IT A "PLANT"?
The July 21 issue of Daily Variety, published in Holly-
wood, has a front-page editorial, prominently displayed,
criticising the United States Government for having
brought the anti-trust suit against the major companies.
The Hollywood Reporter of the same date, too, carries
a similar editorial, likewise displayed prominently on the
front page.
There is no question that these editorials have been in-
spired. The fact that both editorials have been written in
the same mood and with the same spirit, that both call the
Government's action "political meddling," and that both
have been put in the middle of the page, is the most elo-
quent proof of it — that they have been inspired by persons
aggrieved by the action of the Government.
What was the object of him who has inspired them?
Was it to create public opinion against the action of the
Government? If it was, does this person think that the
Department of Justice will drop the suit?
Harrison's Reports desires merely to call the attention
of the Department of Justice to this editorializing coinci-
dence of these Hollywood papers.
IN TWO SECTIONS— SECTION ONE
En%«red as sec»nd-class matter Janwary 4, 1921, at the post office at New Tot*, Naw Tork, cuwi-er the act of Jtarcfc S, l«fv.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
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Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
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Great Britain 15 75 Motion Picture Reviewing Service
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k„ <, n™v Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
•soc a <_opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, AUGUST 13, 1938 No. 33
A SIGNIFICANT HOLLYWOOD OPIN-
ION ON THE QUALITY OF
THE PICTURES
In his editorial column, which appeared in the July 13
issue of The Hollywood Reporter, W. R. Wilkerson wrote
partly as follows:
"Returns on most of the very 'big' pictures made by
this industry in the past eighteen months seem to indi-
cate the public is no longer interested in 'big' pictures,
because it has found them uninteresting and possessing
less real entertainment than most pictures made at a
lower budget.
"Which gives this column the idea that the best days
of this industry are over — that is, the best days for pro-
ducers, writers and directors to glorify themselves with
the production of artistic triumphs. And those same
producers, writers and directors must now take their
glory on RESULTS — from the production of a com-
modity that will give the public the entertainment it
seeks, deodorized entirely from any artistic odor or
class appeal. . . ."
It is a well known fact that in some studios a director
is not considered a good director unless he spends on
a picture more than one million dollars. The picture's
quality or box office merit is of no consequence; it is
what the director spends on a picture that counts, so
far as his personal reputation is concerned.
I have heard of cases where directors who tried to
economize and thus deliver entertaining pictures at
lower cost were ostracised by some people at the studio.
And the reason for it is that, since they themselves
were connected with the making of high-cost pictures,
they feared lest the low-cost director would "show
them up." And that would not do.
In almost every studio there is a clique that runs
things, and any one who does not go with the "gang"
is given the "works." And no director, and no unit
producer, would want to go up against the "gang."
Consequently, he plays along with them.
Whether there has been any change lately or not I
cannot say; but it is hard to go against an organized
bunch of incompetent people, who maintain their posi-
tions and their high salaries by over-awing the ma-
jority, and even those who employ them. There is an
understanding between the cliques of the different
studios and woe to him who would incur the ill will of
the clique leaders in any one of the studios.
Can the system change? It is doubtful! The caste
system, the relatives and the other incompetents, have
too strong a hold on the running of the studios to be
displaced. The bosses of most studios are in the east.
And they themselves know less than the Hollywood
incompetents. How can any one clean up a business
unless he is familiar with all its phases, able to know
who is capable in his line of work and who incapable?
The only chance of changing the system lies in de-
centralizing production and in making each unit re-
sponsible for its own output. When a producer or a
director continues making poor pictures, in entertain-
ment as well as in box-office results, then his incom-
petence is self-evident. Such producers should, then,
be let go. There are so many young fellows in Holly-
wood who want a chance to do things that filling the
places of the incompetents should not be a difficult job.
This year more than any other year you must be
careful what prices you agree to pay for your pictures,
for there is going to be a continued lowering of the
quality. Now and then a big picture will come out that
may "knock them dead." But such pictures will be few
and far between; the majority of them will be culls —
more numerous than the culls of other years.
Be careful !
SOUND ADVICE
Stressing the importance of the White House con-
ference between the President of the United States
and representatives of the major companies, and ad-
monishing the major companies not to "muff" this
opportunity of settling the industry problems and of
bringing peace and harmony among its component
elements. Red Kann, editor-in-chief of Box Office, makes
the following significant remarks:
". . . It is to be assumed because the assumption
becomes quickly obvious that the majors appreciate
the truce is temporary; that, while nothing has been
officially proclaimed, it may be expected the various
arms of the Government will rest on their oars until
the trial period has come and gone and the industry
has demonstrated that the capability it has announced
will be met by a full measure of results; that, in effect,
the industry is again in the dead center of a large and
piercingly bright spotlight, its every action clearly
etched, its every move in the direction of its pledged
objective under scrutiny.
"This is the opportunity which the more enlightened
among the trade's leaders have been seeking. They
must not muff it. They must not proceed half way.
Nothing less than all the way will suffice. They must
recognize the component elements of the industry —
the rights of each, of the majorities certainly, of the
minorities very assuredly. . . ."
Wiser words have never been spoken to the major
producers. But will they heed them? Some of them will;
but are these strong enough to convince the others —
the majority, that genuine reforms must be made? Will
the ones who operate theatres in the small towns be
willing to give them up — get out of places where they
have no business to be? Peace in the industry will,
after all, depend on the sacrifices those who have will
be willing to make. And disposing of their theatre
holdings in the small towns will be one of the first
sacrifices that they will be asked to make.
Giving up their theatre holdings in the small towns
does not mean turning them over to their friends under
a gentlemen's agreement; it means severing all con-
nections with such theatres — turning them over to in-
dividual exhibitors, who will become part and parcel
of the community's life. For unless a sincere and candid
severance of relationship with such theatres is effected,
it is unlikely that the independent owners will want
to abandon the program of relief which they have been
following for the last ten years, and which is just
beginning to bear fruit.
Red Kann has given the major companies a sound
piece of advice. We shall soon know whether they have
taken if or not.
130
HARRISON'S REPORTS
August 13, 1938
"A Desperate Adventure"
with Ramon Novarro, Marian Marsh
and Margaret Tallichet
(Republic, Aug. 15; time, 65 min.)
Despite a good production and capable perfor-
mances, this is just a moderately entertaining com-
edy; the fault lies in the trite story. On occasion,
the situations and dialogue provoke laughter, but
for the most part the constant talk tends to tire one.
The romance is routine ; as a matter of fact the
story is developed without one new twist : —
Ramon Novarro, an artist, is amazed when, at
the Artists' Ball, he finds a girl (Marian Marsh)
who was identical to a beautiful picture he had
painted from his own imagination. Since his por-
trait represented the ideal of womanhood, he
promptly falls in love with Miss Marsh ; but she
repulses him, for she was in love with Tom Ruther-
ford, her fiance. Novarro is furious when he learns
that his friends had stolen the portrait from his
studio and had taken it to a gallery for exhibition ;
he tries to get it back, but in vain, for it had already
been sold. In the meantime, Miss Marsh's father
(Andrew Tombes) sees the portrait and is shocked
when he sees his daughter's resemblance to the
semi-nude figure ; he, too, tries to buy it. Learning
that it was being shipped to New York, Tombes,
together with Miss Marsh, his other daughter
(Margaret Tallichet), and Rutherford books pas-
sage on the same ship ; and so does Novarro. Miss
Tallichet falls in love with Novarro, but he has
eyes only for Miss Marsh, who eventually suc-
cumbs to his attentions. Novarro throws what he
thinks is the portrait into the ocean ; but when, at
the end of the voyage, his portrait shows up, he
knows he had thrown the wrong one away. Miss
Marsh accuses him of having fooled her and breaks
her engagement to him. Novarro is happy for he
had suddenly realized that it was Miss Tallichet
whom he loved.
Hans Kraly and M. Coates Webster wrote the
story, and Barry Trivers, the screen play ; John
H. Auer directed and produced it. In the cast are
Eric Blore, Maurice Cass, Erno Verebes, and
others.
Suitability, Class A.
"Smashing the Rackets"
with Chester Morris, Frances Mercer
and Bruce Cabot
(RKO, Aug. 19; time, 69 win.)
A good action melodrama, centering around the
efforts of a special prosecutor to break up rackets
and racketeering gangs. It is fast-moving and ex-
citing, holding one in suspense throughout. A
romance and a by-plot involving the heroine's sister
have been worked into the story ; they are the weak-
est points, for the main attraction is the interesting
method employed by the hero in getting his facts
and cleaning up racketeering. Chester Morris gives
a good performance, making the part of the special
prosecutor convincing and realistic : —
Morris resigns from the Federal Investigating
Bureau, where he had done excellent work, to be-
come an Assistant District Attorney. After hard
work, he realizes he had been appointed merely be-
cause of his reputation and that he would not be
given a chance to do any real work. Disgusted, he
is ready to resign ; but one of the men urges him to
have patience and wait for his chance. When the
young son of an old friend is killed by racketeers
because his father refused to join the "protective
association," Morris is determined to do something
about racketeering. He forces the District Attor-
ney to permit him to handle the matter. His work
so impresses the officials, that he is appointed Spe-
cial Prosecutor. Fearless and hard-working, he
gets the facts against the racketeers together and
is ready to arrest Bruce Cabot, on a charge of
murder as well as of racketeering. But Cabot in-
forms him that he had better release him, for he
knew and had evidence to prove that the sister
(Rita Johnson) of Morris' fiancee (Frances
Mercer), had killed a man in his country lodge.
Realizing that she would ruin the lives of her sister
and Morris, Miss Johnson kills herself. Morris is,
therefore, free to proceed against Cabot ; he breaks
up racketeering and obtains convictions against
the gangsters. After marrying Miss Mercer, he
goes into private law practice.
Forrest Davis wrote the story, and Lionel
Houser, the screen play ; Lew Landers directed it,
and B. P. Fineman produced it. In the cast are
Edward Pawley, Joseph DeStefani, Kay Sutton,
and others.
Unsuitable for children. Adult fare. Class B.
"Crime Over London"
with Margot Grahame and Paul Cavanagh
(Gaumont-British, Aug. 15; time, 62 min.)
Just a moderately entertaining program melo-
drama. The production values are poor — the pho-
tography, as well as the sound, is bad in spots,
and the continuity is choppy owing to bad editing.
At times the action is so involved that some spec-
tators may not know what it is all about ; as a
matter of fact, the story is far-fetched, and it is
not helped along much either by the acting or the
direction. Except for the closing scenes, in which
the gangsters are caught, the action is not particu-
larly exciting.
In the development of the plot, American gang-
sters, headed by Basil Sydney, invade London,
waiting for the oportunity to make a large haul.
While walking through a large department store
in London, one of the gangsters addresses fa-
miliarly the supposed owner of the store, calling
him by a different name; the supposed owner de-
nies knowing him. But later when they are alone,
the supposed owner admits to the gangster that he
was the man he knew, but that, because of his
striking resemblance to the real owner, he had
been employed to take his place in the store while
the real owner went out to play golf, without any
one knowing about it. This gives Sydney an idea
for a big "job." On the day that the store was to
have its 25th Jubilee, at which time gifts of money
would be passed out to the employees, Sydney and
his gang kidnap the real owner and force his double
to take his place. Their plan was to steal all the
money and escape. But their plans are foiled by
Paul Cavanaugh, Scotland Yard Inspector, who
had found out about the trick in time to stop it, and
to arrest the gangsters. This arrest helps him ab-
solve the department store owner's nephew of a
murder charge, leaving the way clear for him to
marry.
Louis DeWohl wrote the story, Alfred Zeisler
directed it, and Marcel Hellman produced it. In
the cast are Rene Ray, Bruce Lester, David Burns,
and others.
Not suitable for children. Class B.
August 13, 1938
HARRISON'S REPORTS
131
"Painted Desert" with George O'Brien
(RKO, Aug. 12; time 59 min.)
With a better than average story, this western
should do well where outdoor pictures are popu-
lar. This time the action moves away from cattle
ranches to mining land. It has the ingredients that
the fans like — fast riding, fist fights, and exciting
encounters between the hero and the villain ; and
the closing scenes, where the villain blows up the
mine belonging to the hero, are thrilling. Comedy,
romance, and music are blended in with the melo-
drama : —
Fred Kohler, Sr. forces Lloyd Ingraham to sell
him his rights to an ore mine located on O'Brien's
range land; one of Kohler's henchmen later kills
Ingraham. O'Brien, knowing that the mine con-
tained precious ore, which Kohler did not know,
buys the deed from Kohler, and then infuriates
him by telling him of the mine's value. Loraine
Johnson, Ingraham's grand-daughter, unaware of
the sale of the mine, arrives at the premises to work
it. Instead of telling her that he owned it, O'Brien
makes her a business proposition for a partnership,
agreeing to invest $50,000 to start the mine going.
He borrows the money from the bank, for which
he gives notes ; the banker immediately turns the
notes over to Kohler, who wanted to prevent
O'Brien from working the mine so that he could
take it over. Things look bad for a time; Kohler
and his men blow up the mine. But O'Brien had
mined enough ore with which to pay the notes and
start the mine going again. He and Miss Johnson
marry.
Jack Cunningham wrote the story, and John
Rathmell and Oliver Drake, the screen play ; David
Howard directed it, and Bert Gilroy produced it.
In the cast are Stanley Fields, Maude Allen, and
others.
Suitability, Class A.
"Time Out for Murder"
with Michael Whalen and Gloria Stuart
(20th Century-Fox [1938-39], Sept. 23;
time, 59 min.)
This is the first production of "The Roving
Reporter'' series ; it is a good program murder
mystery melodrama, fast-moving and exciting. In
spite of the fact that the story is not always plaus-
ible, it holds one's attention throughout and keeps
one guessing as to the murderer's identity. There
is plentiful comedy, wise-cracking, and a hint at a
romance that probably will be further developed in
the pictures to come in this series.
In the development of the plot, Michael Whalen,
a newspaper reporter, covers a murder case in
which Robert Kellard, a young bank messenger,
was being held as the murderer. He is annoyed
when, in the midst of his work, he is bothered by
Gloria Stuart, a collection agent, who demands
payment of bills that he owed. She decides to help
him get the information he needed. As his interest
in the case develops, Whalen comes to the con-
clusion that Kellard was not the guilty person ;
instead, he suspects Douglas Fowley, a well-known
racketeer and old friend of his. But Fowley denies
knowing the murder victim. Whalen breaks him
down, however, and he admits knowing the girl
but denies having committed the murder ; instead,
he involves Matthews, Kcllard's uncle, a bank of-
ficial, who had been supporting the murdered girl.
But Matthews, too, denies having committed the
murder. Eventually, after an exciting holdup in
which Miss Stuart had innocently become involved,
the murderer is caught ; he was an ex-convict and
former husband of the murdered woman. When
she had refused to pay him blackmail money, he
had killed her. Kellard is freed. Whalen proposes
to Miss Stuart ; but she tells him she might con-
sider it at a later date, after he learns how to pay
bills.
Irving Reis wrote the story, and Jerry Cady, the
screen play ; H. Bruce Humberstone directed it,
and Howard J. Green produced it. In the cast are
Chick Chandler, Jane Darwell, June Gale, and
others.
Unsuitable for children. Class B.
"The Crowd Roars" with Robert Taylor,
Maureen O'Sullivan, Edward Arnold
and Frank Morgan
(MGM, August 5; time, S9% min.)
Very good entertainment. This is one picture
that Taylor has appeared in that will appeal to
men as well as to women, for, in addition to the
romantic angle, it gives Taylor a chance to appear
as a real he-man, a prizefighter. Although the
story is more or less routine, it has been developed
in so exciting a manner, that it holds one's atten-
tion throughout. The prize-fight scenes are thrill-
ing, particularly the bout in the end. There is
plentiful comedy and human appeal; and the ro-
mance is charming : —
Taylor develops into a good fighter, under the
careful training of Lionel Stander, former trainer
to William Gargan, with whom Taylor, as a boy,
had travelled in a vaudeville act. But most of his
money goes to pay the gambling and drinking debts
incurred by his father (Frank Morgan). His pa-
tience is exhausted when his father sells his con-
tract to Edward Arnold, a big-time gambler. He
tells him never to speak to him again. In a bout
with Gargan, who was trying to make a comeback,
Taylor tries to throw the fight to him ; but one
punch knocks Gargan down, and he dies. With
the memory of his old friend haunting him, he finds
it impossible to fight, but, not being able to get a
job, he goes back to the ring. Since no one knew
that Arnold was his manager, Taylor agrees to a
plan whereby he and Arnold could make a great
deal of money ; part of this money is turned over
to Gargan's widow. Taylor meets and falls in love
with Arnold's daughter (Maureen O'Sullivan),
who thought her father was a respectable business
man. Taylor takes Morgan back again. But Mor-
gan, while drunk, blurts out the whole arrangement
with Arnold to Nat Pendleton, a gambler, who
had lost large sums of money betting against
Taylor. Pendleton's men kidnap Morgan and Miss
O'Sullivan and send a note to Taylor that, unless
he threw the big fight that night, they would kill
both captives. But Morgan sacrifices his life in
order to help Miss O'Sullivan escape ; she rushes
to the ring and cheers Taylor on to win. After that
bout, Taylor retires and marries Miss O'Sullivan.
George Bruce wrote the story, and Thomas
Lennon, George Bruce, and George Oppenheimer.
the screen play; Richard Thorpe directed it, and
Sam Zimbalist produced it.
Suitability, Class A.
132 HARRISON'S REPORTS August 13, 1938
JUST TO KEEP THE RECORD
STRAIGHT
In the editorial page of the July 9 issue of Motion Pic-
ture Herald, Mr. Martin Quiglcy says partly :
"The constructively minded majority will view with
interested anticipations the formation of the Distribu-
tors' Committee to deal with relations between Distri-
bution and Exhibition — in official words: 'for the solu-
tion of such trade problems as are still matters of con-
tention.'
"The procedure has the normal, reasonable aspects
of operation in an industry which has so long, and on
the whole so successfully, tended to its own business
by interior regulations and disciplines.
"It is inevitable, in an industry so filled with compe-
titions and complexities of function and mechanism
as this, that there must be from time to time interludes
of both adjustment and readjustment. . . ."
Harrison's Reports begs leave to differ with Mr.
Quigley in regards to his belief that the procedure of
having selected a producer committee to deal with
distributor-exhibitor relations "has the normal, reason-
able aspects of operation in an industry which has . . .
tended to its 'own business by interior regulations and
disciplines." The producer-distributor leaders of this
industry have never done anything voluntarily, with
the constructive purpose of weeding out injustices, or
erroneous industry policies.
The motion picture industry applied self-regulation
on two different subjects: conciliation of disputes, and
cleansing the screen.
The first, that is, arbitration, was so prostituted by
the producers themselves that it became necessary for
the United States Government to bring suit against
them. Need I remind him that the United States Su-
preme Court, to which they appealed from the decision
of the lower court, found them guilty of having im-
posed it on the exhibitors by compulsion?
As to the second, that is, cleansing the screen, this
was not a voluntary act on their part; for it was not
until after the Catholic Church revolted and threatened
boycott against the entire industry that the producers
were induced to accept self-criticism of scenarios as
well as of finished pictures.
Several attempts were made after the outlawing of
arbitration and of credit committees to find a way of
composing industry disagreements and of settling dis-
putes. Meetings were held between exhibitor and pro-
ducer-distributor representatives, but even though
agreements were made the producers did nothing to
put them into effect.
As far as the present efforts to compose differences
by some plan to be agreed upon by exhibitor and pro-
ducer-distributor representatives is concerned, Mr.
Quigley knows very well, just as do a few others, what
has brought about the sudden producer-distributor de-
sire. Need we go into details?
There is nothing to be gained by telling the world
that the producers have been fair and reasonable and
willing to listen to the exhibitor grievances. The files
of the courts in the many cases that have been brought
against them either by independent exhibitors or by
the United States Government give in minute detail
the abuses that they have practiced for so many years
against the independent exhibitors. As a matter of fact,
they, particularly those that own theatres, have done
everything imaginable to make the lot of the independ-
ent theatre owner unhappy.
Why not face the facts and tell the producers that
they have been very obstinate, and that the time has
come when they have to do right? Perhaps it will be
easier than to agree upon a real program of concili-
ation.
By this I don't mean to convey the impression that
the exhibitors in all instances have been angels, but I
do say this: where the exhibitors have done to the pro-
ducer-distributors injustices in "pennies," the producer-
distributors have done injustices to the exhibitors and
to the American public in millions. All the abuses the
exhibitors have practiced against the producer-distrib-
utors since the industry has come into being do not
come up even to a small degree to the abuses the pro-
ducer-distributors have practiced against the exhibi-
tors, not to mention the American public, from which
they have taken at least two billions of dollars and
given "wall paper" in return.
TELEVISION NOT AN ENEMY
BUT A FRIEND
For a long time a large number of exhibitors dreaded
the perfection of television; they felt that it would not
be very long before television would outmode the
picture theatres, forcing them to go out of business.
Some of the exhibitors went so far as to state that soon
pictures would be shown in each time-zone simultane-
ously. In such an event, they said, the company that
would control television would control also the thea-
tres; and since exhibition would be standardized, there
would no longer be any room for the individual ex-
hibitors.
On the evening of May 31, the National Broadcast-
ing Company televised the first feature motion pic-
ture, "The Return of the Scarlet Pimpernel." Dr. Alfred
N. Goldsmith, formerly vice president of the Radio
Corporation of America and now conducting his own
office as a consulting engineer, who is one of the fore-
most television experts in the world, invited me to see
the performance at his home.
Before the motion picture was thrown upon the tele-
vision screen there was televised an act, picked up
from the stage of the television studio of the N.B.C.
The reproduction of the act was far superior to that
of the motion picture: The voices of the actors were
clear, the picture in excellent detail, and the fade-ins
and the fade-outs were done with the same ease as are
done in regular motion pictures. But the reproduction
of the motion picture lacked in many of these advan-
tages. For instance, the picture was not so clear as that
of the act; most of the time an adjustment had to be
made in the focusing apparatus. Individual scenes were
too dark or too light; and much detail was lost. And
the voices were not so crisp and distinct.
The size of the picture was 7l/i" x 10", and could be
conveniently viewed from 4 to 8 feet from the receiver.
Dr. Goldsmith told me than an 18" x 24" picture is
given by the largest of the newer television sets, but
the cost is between $800 and $900, whereas the sets
with a 7J/2" x 10" picture cost around $400 or less.
The largest size picture attainable at present is, as
Dr. Goldsmith informed me, 6 feet by 8 feet, but the
cost and size of a set giving so large a picture is enor-
mous, and not practicable for home purposes, or for
that matter for general theater use. Further, these large
pictures up to the present have a coarser appearance
with considerably less detail and brilliance than a
motion picture.
My impression from the attendance of this television
performance is that television, when it is perfected with
larger screens, may be employed as an added attrac-
tion in theatres (and perhaps principally for special
news events or unusual short subjects) and not as the
main attraction; and when used as an added attraction
it should help business considerably.
The quality, size, and brightness of the motion pic-
ture screen remains unchallenged by television, not to
mention the future film possibilities of color features,
three-dimensional pictures, and directional sound,
which follows the actors around the screen.
Harrison's Reports wishes to say that, judging from
present indications, the exhibitor has nothing to fear
from the improvement of television.
IN TWO SECTIONS— SECTION TWO
HARRISON'S REPORTS
Vol. XX
NEW YORK, N. Y., SATURDAY, AUGUST 13, 1938
No. 33
(Partial Index No. 4 — Pages 106 to 128 Incl.)
Title of Pictures Reviewed on Page
Affairs of Annabel, The— RKO (67 min.) 119
Alexander's Ragtime Band — 20th Century-Fox
Algiers— United Artists (95 min.) 114
Always Goodbye — 20th Century-Fox (74J/2 min.) .... 106
Amazing Dr. Clitterhouse, The— 1st Nat'l. (86 min.) 115
(105 min.) 123
Army Girl — Republic (87 min.) 119
Bar 20 Justice — Paramount (64^ min.) . . . .Not Reviewed
Booloo — Paramount (60 min.) 122
Boy From Barnardo's, The— MGM (See "Lord Jeff") 107
Bulldog Drummond in Africa — Paramount (58 min.) 126
Chaser, The— MGM (75 min.) 126
City Streets — Columbia (68 min.) 106
Crime Ring— RKO (69 min.) 106
Danger on the Air — Universal (66 min.) 107
Desert Patrol — Republic (56 min.) Not Reviewed
Drums — London Film- United Artists (96 min.) 127
Fast Company — MGM (74 min.) 110
I'll Give a Million— 20th Century-Fox (74 min.) .... 114
I'm from the City— RKO (66 min.) 127
Keep Smiling — 20th Century-Fox (77 min.) 123
Law of the Plains — Columbia (56 min.) Not Reviewed
Letter of Introduction — Universal (102 min.) 127
Little Miss Broadway — 20th Century-Fox (71 m.) . . 115
Little Tough Guy — Universal (82^4 min.) 114
Lord Jeff— MGM (84^ min.) 107
Love Finds Andy Hardy— MGM (90 min.) 122
Mother Carey's Chickens— RKO (81 y2 min.) 123
Mr. Chump — Warner Bros. (60 min.) 123
My Bill— First National (63^ min.) 110
One Woman's Answer — MGM (See "Woman
Against Woman") 106
Outlaw Express — Universal (56 min.) Not Reviewed
Panamint's Bad Man — 20th Century- Fox (59 min.) . . Ill
Passport Husband — 20th Century-Fox (67 min.) 111
Penrod's Double Trouble— First Nat'l. (60 min.) .... 114
Phantom Ranger — Monogram (53 min.) . . . Not Reviewed
Pioneer Trail — Columbia (55 min.) Not Reviewed
Port of Seven Seas— MGM (80 min.) 118
Prison Break — Universal (72 min.) 118
Professor Beware — Paramount (92 min.) 118
Racket Busters— Warner Bros. (70 min.) 122
Reformatory — Columbia (61 min.) 110
Riders of the Black Hill — Republic (55m) . . Not Reviewed
Romance and Rhythm — Warner (See "Cowboy from
Brooklyn") 102
Shopworn Angel — MGM (84 min.) 115
Sky Giant— RKO (80 min.) 119
South Riding— United Artists (84 min.) Ill
Speed to Burn — 20th Century-Fox (61 min.) 122
Stagecoach Days — Columbia (58 min.) Not Reviewed
Texans, The — Paramount (92 min.) 126
Three Blind Mice— 20th Century-Fox (75 min.).... 107
Tropic Holiday — Paramount (78 min.) Ill
Two Gun Justice — Monogram (57 min.) . . .Not Reviewed
Unconventional Lady — Columbia (See "Holiday").. 91
We're Going to Be Rich— 20th Century-Fox (78 min.) 110
Western Trails — Universal (57 min.) Not Reviewed
West of Cheyenne — Columbia (53 min.) .... Not Reviewed
Woman Against Woman — MGM (60 min.) 106
Young Fugitives— Universal (68 min.) 107
RELEASE SCHEDULE FOR FEATURES
Columbia Features
(729 Seventh Ave., Nezv York, N. Y.)
8211 Stagecoach Days— All Star west. (58 m.) . . June 20
8029 Highway Patrol— Wells-Page June 27
8206 West of Cheyenne— Starrett (53 min.) June 30
8019 City Streets— Carrillo-Fellows July 1
8212 Pioneer Trail— All Star west. (55 min.) ... July 15
8025 Reformatory — Jack Holt-F. Darrow July 21
8207 South of Arizona— Starrett (56 min.) July 28
The Gladiator — Joe E. Brown Aug. 15
Convicted — Hayworth-Quigley Aug. 18
8213 Phantom Gold— All Star west. (56 min.) . . . .Aug. 22
The Lady Objects — Stuart-Ross Aug. 29
I Am the Law (Outside the Law) —
Edward G. Robinson (reset) Sept. 2
Wings of Doom — C. Farrell-J. Wells Sept. 5
8208 The Colorado Trail— Starrett Sept. 8
Girls School — A. Shirley-R. Bellamy Sept. 15
8284 Phantom Trail— Buck Jones Sept. 22
First National Features
(321 W. 44th St., Nezv York, N. Y.)
259 Crime School — Bogart-Page May 28
263 When Were You Born? — Lindsay- Wong June 18
260 My Bill — Francis-Granville-Louise (re) July 9
276 Penrod's Double Trouble — Mauch Twins (r). July 23
262 Amazing Dr. Clitterhouse — Robinson July 30
Gaumont-Britlsh Features
(1600 Broadway, New York, N. Y.)
Beginning of 1938-39 Season
Sailing Along — Jessie Matthews Apr. 15
To the Victor— Fyffe-Loder-Lockwood May 1
The Show Goes On — Neagle-Carmanati June 15
Three on a Week-End — Lockwood-Lodge July 1
Evergreen — Reissue July 15
Strange Boarders — Walls-Saint Cyr Aug. 1
Crime Over London — Grahame-Cavanaugh Aug. 15
Men With 100 Faces— Walls-Palmer Sept. 1
The 39 Steps — Reissue Sept. 15
The Lady Vanishes — Lockwood-Lukas Oct. 1
Grand National Features
(1270 Sixth Avenue, New York, N. Y.)
219 International Crime — LaRocque-Allwyn Apr. 22
221 Whirlwind Horsemen — Maynard Apr. 29
224 Six Shootin' Sheriff — Ken Maynard May 21
223 Life Returns — Wilson-Stevens June 10
222 Held For Ransom — Mehaffey-Withers June 17
225 I Married a Spy — Neil Hamilton July 1
226 Rollin' Plains— Tex Ritter July 8
227 I Command — Lionel Atwill July 15
228 Renfrew on the Great White Trail— Newill . . July 22
229 The Utah Trail— Tex Ritter Aug. 12
Metro-Goldwyn-Mayer Features
(1540 Broadicay, New York, N. Y.)
832 Three Comrades — Taylor-Sullavan-Tone ...June 3
836 The Toy Wife — Rainer-Douglas- Young June 10
838 Woman Against Woman — Bruce-Marshall . June 17
403 Treasure Island — Reissue June 17
837 Lord Jeff — Bartholomew-Rooney June 24
829 Port of Seven Seas — Beery-F. Morgan July 1
839 Fast Company — Douglas-Rice July 8
835 Shopworn Angel — Sullavan-Stewart July 15
841 Love Finds Andy Hardy — Rooney-Stone July 22
533 David Copperfield — Reissue Julv 22
842 The Chaser— O'Keefe-Morriss July 29
840 The Crowd Roars — Taylor-O'Sullivan (re).. Aug. 5
Rich Man, Poor Girl — Youns-Ayres-Hussey . .Aug. 12
Block-Heads — Laurel-Hardy-Ellis Aug. 19
Monogram Features
(1270 Sixth Avenue, Ncxv York, N. Y.)
3722 Telephone Operator— Allen-White (61 m.) . Jan. 12
3727 West of Rainbow's End — McCoy (57 min.) . Jan. 19
3724 Saleslady — Nagel-Heyburn Jan. 27
3736 Where the West Begins— Randall (54 min.) . .Feb. 3
3719 My Old Kentucky Home— Venable-Hall (r). Feb. 16
3733 The Painted Trail— Tom Keene (50m) (r) . . Feb. 23
3725 Port of Missing Girls— Allen-Carey (r)...Mar. 2
3728 Code of the Rangers— Tim McCoy (56 m.) . .Mar. 9
3715 Rose of the Rio Grande — Movila (r) Mar. 16
373°- Land of Fighting Men— Randall (53 min.)..Apr. 11
3713 Female Fugitive — Vcnable-Reynolds Apr. 15
3729 Two Gun Justice— Tim McCoy (57m) (re) ..Apr. 30
3740 Gun Smoke Trail— J. Randall (56m) (r)..May 8
3709 Numbered Woman— Blane May 22
3730 Phantom Ranger— Tim McCoy (53m) May 29
3712 Marines Are Here — Travis-Oliver June 8
3702 Romance of the Limberlost — Parker June 22
3742 Man's Country — Jack Randall (55 min.) July 6
3741 Last Frontier — Jack Randall (reset) Sept. 7
(End of 1937-38 Season)
Beginning of 1938-39 Season
Barefoot Boy — Moran-Fain- Windsor Aug. 3
Circus Comes to Town — Main-Nagcl Aug. 31
Paramount Features
(1501 Broadway, New York, N. Y.)
3738 Stolen Heaven — Raymond-Bradna May 13
3740 Cocoanut Grove — MacMurray-Hilliard May 20
3741 Hunted Men — Nolan-Carlisle-Overman May 27
No release set for June 3
3742 You and Me — Raft-Sidney-MacLane June 10
3743 Prison Farm — Ross-Nolan-Howard June 17
3758 Bar 20 Justice— Wm. Boyd-Gaze June 24
No release set for July 1
No release set for July 15
3744 Tropic Holiday — Lamour-Burns-Raye July 22
3745 Booloo — Tapley-Lane July 22
3746 Professor Beware — Lloyd-Welch July 29
3747 Bulldog Drummond in Africa — Howard. .. .Aug. 5
3748 The Texans— Scott-Bennett-Robson Aug. 12
3749 Give Me a Sailor— Raye-Hope (reset) Aug. 19
3750 Spawn of the North — Raft-Fonda-Lamour. . Aug. 26
(End of 1937-38 Season)
Beginning of 1938-39 Season
3854 Pride of. the West— Wm. Boyd-Hayes July 8
3801 Sing You Sinners — Crosby-MacMurray .... Sept. 2
3855 In Old Mexico— Wm. Boyd-Hayes Sept. 9
Sons of the Legion — O'Connor-Lee Sept. 16
Arkansas Traveler — Burns-Carlisle Sept. 23
Campus Confessions — Luisetti-Grable Sept. 30
Republic Features
(1776 Broadway, New York, N. Y.)
7008 Prison Nurse— Wilcoxon-Marsh Mar. 29
7116 Outlaws of Sonora — Three Mesq. (55m.) . . .Apr. 11
7009 King of the Newsboys — Ayres-Mack Apr. 15
7126 The Feud Maker— Bob Steele (55m.) Apr. 18
7022 Arson Gang Busters — Livingston Apr. 25
7010 Invisible Enemy — Marshall-Correll May 2
7011 Call of the Yukon— Arlen-Roberts May 16
7012 Romance on the Run — Woods-Ellis June 8
7004 Gangs of New York — Bickford-Dvorak June 13
7127 Desert Patrol— Steele (56m.) June 27
7117 Riders of the Black Hill— 3 Mesq. (55m.) ...July 6
7012 Ladies in Distress — Skipworth-Moran July 11
7002 Army Girl— Evans-Foster July 28
7103 Gold Mine in the Sky— Autry (60 min.) Aug. 1
7118 Heroes of the Hills — Three Mesq Aug. 1
Come on Leathernecks — Cromwell-Hunt ....Aug. 8
A Desperate Adventure — Novarro-Marsh. . . Aug. 15
Man From Music Mountain — Gene Autry. . .Aug. 15
Tenth Avenue Kid — Cabot-Roberts Aug. 22
Home Sweet Home — Gleason family Aug. 29
RKO Features
(1270 Sixth Avenue, New York, N. Y.)
871 Little Women— Reissue July 8
835 Sky Giant — Dix-Morris-Fontaine July 22
833 Mother Carey's Chickens — Shirley-Ellison-
Bainter-Albertson July 29
834 I'm From the City — Joe Penner Aug. 5
883 Painted Desert— George O'Brien Aug. 12
832 Smashing the Rackets — Morris-Mercer Aug. 19
845 Breaking the Ice — Breen-Ruggles Aug. 26
Twentieth Century-Fox Features
(444 w. 56//i St., New York, N. Y.)
843 Island in the Sky— Stuart- Whalen Apr. 1
842 Rawhide — Ballew-Gehrig-Knapp Apr. 8
840 In Old Chicago — Power-Faye-Amcche Apr. 15
845 Battle of Broadway — MacLaglen-Hovick ....Apr. 22
848 Four Men and a Prayer — Young-Greene ....Apr. 29
847 A Trip to Paris— Prouty-Deane May 6
874 Life Begins at Forty — Rogers reissue May 6
844 Kentucky Moonshine — Ritz Brothers May 13
849 Rascals — Withers-Hudson-Wilcox May 20
846 Kidnapped — Baxter-Bartholomew-Whelan . . . May 27
839 Josette — Ameche-Simon- Young June 3
850 One Wild Night— Lang-Baldwin-Talbot ....June 10
851 Three Blind Mice — Young-McCrea June 17
819 Mr. Moto Takes a Chance — Lorre-Hudson ..June 24
852 Always Goodbye — Stanwyck-Marshall July 1
857 We're Going to Be Rich — Fields-McLaglen ..July 8
853 Panamint's Bad Man — Ballew-Beery-Daw ...July 8
854 Passport Husband — Erwin-Moore-Fowley ...July 15
855 I'll Give a Million — Baxter- Weaver July 22
856 Little Miss Broadway — Temple-Murphy July 29
(End of 1937-38 Season)
Beginning of 1938-39 Season
901 Gateway— Ameche-Whelan-Talbot-Ratoff ...Aug. 5
902 Keep Smiling — Winters-Stuart-Wilcoxon ...Aug. 12
903 Alexander's Ragtime Band — Power-Faye Aug. 19
904 Speed to Burn — Whalcn-Bari-Armetta Aug. 26
905 My Lucky Star — Henie-Greene-Davis Sept. 2
906 Safety in Numbers — Prouty-Deane Sept. 9
907 Hold That Co-Ed— J. Barrymore-Weaver ...Sept. 16
United Artists Features
(729 Seventh Ave., Nezv York, N. Y.)
Adventures of Marco Polo — Cooper-Gurie Apr. 15
Divorce of Lady X — Oberon-Olivier Apr. 15
The Return of the Scarlet Pimpernel — Stewart-
Scott-Lister Apr. 29
Count of Monte Cristo — Reissue May 13
I Cover the Waterfront — Reissue May 13
Blockade — Fonda-Carroll-Carrillo June 17
South Riding — Best-Richardson July 1
. (End of 1937-38 Season)
Beginning of 1938-39 Season
Algiers— Boyer-Gurie-Lamarr (reset) Aug. 5
The Young in Heart — Gaynor-Fairbanks, Jr. (r) . .Sept. 9
There Goes My Heart — March-Bruce (reset) October
Universal Features
(1250 Sixth Ave., New York, N. Y.)
A2027 Lady in the Morgue— Foster-Ellis Apr. 22
A2011 Sinners in Paradise — Boles-Evans May 6
A2038 Air Devils— Wallace-Blake-Purcell May 13
A3071 All Quiet on the Western Front — Reissue
(87 min.) May 15
A3072 Frankenstein — Reissue (71 min.) May 15
A3073 Love Before Breakfast — Reissue (71m.) ..May 15
A3074 Lady Tubbs— Reissue (70 min.) May 15
A2009 The Devil's Party— McLaglen- Wilcox May 20
A2010 Wives Under Suspicion — William June 3
A2058 Western Trails— Bob Baker (57 min.) ... June 3
A2059 Outlaw Express — Bob Baker (56 min.) .. .June 17
A2039 Young Fugitves — Kent- Wilcox June 17
A2032 Danger on the Air — Woods-Grey July 1
A2005 Rage of Paris — Darrieux-Fairbanks, Jr July 1
A2028 Prison Break — Farrell-MacLane (re) July 15
A2008 Little Tough Guy— Wilcox-Parish July 22
Letter of Introduction — Leeds (re) Aug. 5
Dark Rapture — Dennis Roosevelt Exp Aug. 12
The Missing Guest — Kelly-Moore Aug. 12
That Certain Age — Durbin-Cooper-Rich. . Aug. 19
(End of 1937-38 Season)
Beginning of 1938-39 Season
3057 Strawberry Roan — Maynard reissue Aug. 15
3058 Fiddlin' Buckaroo — Maynard reissue Aug. 15
3059 King of the Arena — Maynard reissue Aug. 15
3060 Honor of the Range— Maynard reissue Aug. 15
3061 Smoking Guns— Maynard reissue Aug. 15
3062 Gun Justice— Maynard reissue Aug. 15
Freshman Year — Dunbar-Truex Sept. 2
Youth Takes a Fling — McCrea-Leeds Sept. 9
Warner Bros, features
(321 W. 44th St., New York, N. Y.)
208 White Banners — Rains-Bainter-Cooper June 25
215 Men Are Such Fools — Morris-P. Lane (r) . July 2
217 Cowboy From Brooklyn — Powell-O'Brien July 16
227 Mr. Chump— Davis-L. Lane-Singleton Aug. 6
205 (213) Racket Busters— Bogart-Brent (r) . . . . Aug. 13
213 Boy Meets Girl— Cagney-O'Brien Aug. 27
SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel
8859 Screen Snapshots No. 9— (9j4m.) Apr. 29
8553 Friendly Neighbors — Around the World
in Color (9l/2 min.) Apr. 29
8658 Community Sing No. 8— (10^m.) May 6
8808 Sport Stamina— World of Sport (9l/2m.) ...May 10
8508 The Big Birdcast— Col. Rhapsody (7m.) ...May 13
8705 Krazy Magic— Krazy Kat (6^m.) May 20
8860 Screen Snapshots No. 10— (9^m.) May 27
8509 Window Shopping— Col. Rhapsody (7l/2m.) June 3
8809 Thrilling Moments— W. of Sport (10m.) . . June 10
8659 Community Sing No. 9— (8^m.) June 25
8810 Fistic Fun— World of Sport (9^4 min.) ... July 1
8510 Poor Little Butterfly— Col. Rhap. (8 m.) . . . July 4
8706 Krazy 's Travel Squawks— K. Kat (6^4 m.) . July 4
8660 Community Sing No. 10— (9^ min.) July 4
8861 Screen Snapshots No. 11 — (10^4 min.) July 8
8758 City Slicker — Scrappys (reset) July 22
8511 Poor Elmer — Color Rhapsody (7 min.) July 22
8862 Screen Snapshots No. 12— (9^ min.) July 29
8811 Athletic Youth— World of Sport July 29
8512 The Frog Pond— Color Rhapsody Aug. 12
8812 Demons of the Deep— World of Sport Aug. 19
8661 Community Sing No. 11 Aug. 26
8662 Community Sing No. 12 Sept. 15
(End of 1937-38 Season)
Columbia — Two Reels
8434 Ankles Away— All Star com. (17}4m.) ....May 13
8170 The Crash— Secret No. 10 (19m.) May 16
8407 He?lthy, Wealthy and Dumb — Stooges
(16*4 min.) May 20
8171 Dynamite— Secret No. 11 (18^m.) May 23
8172 Bridge of Doom— Secret No. 12 (19m.) . . . .May 30
8435 The Soul of a Heel— All Star com. (16m.) . June 4
8173 The Mad Flight— Secret No. 13 (19m.) ...June 6
8174 The Jaws of Destruction — Secret No. 14
(19 min.) June 13
8175 Justice— Secret No. 15— (20 min.) June 20
8181 Law of the Gun— The Great Adv. of Wild
Bill Hickok (28 min.) June 30
8436 Halfway to Hollywood— All Star (17m)... July 1
8182 Stampede— Great Adv. 82 (19 min.) July 7
8183 Blazing Terror— Great Adv. #3 (18 m.)... July 14
8184 Mystery Canyon— Great Adv. 84 (18^4 m.) ..July 21
8185 Flaming Brands— Great Adv. 85 (19}4 m.). July 28
8408 Three Missing Links— Stooges (18 m.) . . . . July 29
8186 The Apache Killer— Great Adv. 86 Aug. 4
8187 Prowling Wolves— Great Adv. 87 Aug. 11
8188 The Pit— Great Adv. 88 Aug. 18
8189 Ambushed— Great Adv. 89 Aug. 25
8190 Savage Vengeance — Great Adv. 810 Sept. 1
8191 Burning Waters— Great Adv. 811 Sept. 8
8192 Desperation— Great Adv. 812 Sept. 15
8193 Phantom Bullets— Great Adv. 813 Sept. 22
8194 The Lure— Great Adv. 814 Sept. 29
8195 Trails End— Great Adv. 815 Oct. 6
(End of 1937-38 Season)
Metro-Goldwyn-Mayer — One Reel
W-685 A Day at the Beach— Capt. cart. (10m). June 25
F-756 How to Raise a Baby — Benchley (9m).... July 2
H-727 Strange Glory — Hist. Mystery (11 min.) . July 2
S-711 Anaesthesia— Pete Smith (10 min.) July 9
M-680 Tracking the Sleeping Death —
Miniatures (10 min.) July 9
W-686 What a Lion — Captain cartoon July 16
T-662 Paris on Parade — Travel talks (reset) ... July 23
F-757 The Courtship of the Newt — Benchley
(8 min.) July 23
S-712 Follow the Arrow— Pete Smith July 30
H-728 The Bravest of the Brave — Hist. Myst...Aug. 6
W-687 The Pgymy Hunt — Captain cartoon Aug. 6
C-741 The Little Ranger — Our Gang comedy Aug. 6
Metro-Goldwyn-Mayer — Two Reels
P-614 A Criminal Is Born — Crime Doesn't
Pay (21 min.) June 25
R-605 The Magician's Daughter — Mus. (18m) .. July 16
R-606 It's in the Stars— Musical July 30
Paramount — One Reel
C7-6 Hunky and Spunky — Color Classic (8}4m) . June 24
P7-12 Paramount Pictorial 812— (9 min.) July 1
A7-14 Queens of the Air— Headliner (10 m.) July 8
J7-6 Popular Science No. 6 — (10 m.) July 8
V7-13 Silver Millions — Paragraphic (9j4m) July 15
R7-13 Horse Shoes— Sportlight (9 min.) July 15
E7-12 The Jeep — Popeye (7}4 min.) July 15
T7-12 Buzzy Boop (Pudgy the Watchman) —
Betty Boop (7}4 min.) July 22
SC7-6 Beside a Moonlit Stream — Screen Song
(7y2 min.) July 29
(End of 1937-38 Season)
Beginning of 1938-39 Season
A8-1 Moments of Charm — Headliner (9J4 m.)..Aug. 5
P8-1 Paramount Pictorial 81— (8}4 min.) Aug. 5
R8-1 A Sporting Test— Sportlight (9 min.) Aug. 5
L8-1 Unusual Occupations 81 — (10 min.) Aug. 5
V8-1 Tannhaueser — Paragraphic Aug. 12
T8-1 Pudgy the Watchman— Betty Boop Aug. 12
K8-1 Guatemala — Color Cruises Aug. 12
E8-1 Bulldozing the Bull— Popeye Aug. 19
C8-1 All's Fair at the Fair — Color Classic Aug. 26
RKO — One Reel
84213 Hockshop Blues— Nu Atlas (10 min.) July 15
84309 Brother Golfers — Sportscope (11 min.) July 15
84116 The Fox Hunt— Disney cart. (8 min.) July 29
84607 Pathe Parade— (10 min.) Aug. 12
84117 The Whalers— Disney cart. (8 min.) Aug. 19
84118 Mickey's Parrot— Disney cart. (8 min.).. Sept. 9
(End of 1937-38 Season)
RKO — Two Reels
83112 March of Time— (17 min.) July 8
83406 Fool Coverage — E. Kennedy (16 m.) July 15
83503 Russian Dressing — musical (18 m.) July 29
83113 March of Time Aug. 5
83303 Hunting Trouble— Jed Prouty (16 m.) . . . . Aug. 12
(End of 1937-38 Season)
Twentieth Century-Fox — One Reel
8604 Kingdom for a Horse— Treas. Ch. (10m)... Apr. 8
8518 Robinson Crusoe's Broadcast — T.T. (6}4m) . Apr. 15
8608 Return of the Buffalo— Tr. Ch. (10m) Apr. 22
8519 Maid in China — Terry-Toon (7 min.) Apr. 29
8520 The Big Top— Terry-Toon (6J4 min.) May 13
8521 Devil of the Deep— Terry-Toon (6j4m) . . . .May 27
8522 Here's to Good Old Jail— T.Toon (6}4m) • • June 10
8523 The Last Indian — Terry-Toon (6}4m) June 24
8524 Milk for Babv— Terry-Toon (6}4 min.) . . . July 8
8609 We Live In Two Worlds— Tr. Ch. (11m). July 22
8525 Mrs. O'Leary's Cow — Terry-Toon (6}4m) . . July 22
8526 Eliza Runs Again— Terry-Toon (6}4m) . . . July 29
(End of 1937-38 Season)
Beginning of 1938-39 Season
9101 Golden California — Road to Romance Aug. 5
9501 Chris Columbo — Terry-Toon Aug. 12
9201 Recording Modern Science — Cameraman
(10 min.) Aug. 19
9521 String Bean Jack — Terry-Toon Aug. 26
9401 What Every Boy Should Know — Lew Lehr. .Sept. 2
9502 The Goose Flies High — Terry-Toon Sept. 9
Twentieth Century-Fox — Two Reels
8310 Winner Lose All — Kemper (19^4 min.) ... June 17
(End of 1937-38 Season)
A2284
A2285
A2395
A2286
A2382
A2396
A2287
A2383
A2288
A2289
A2290
A2291
A2292
A2173
A3581
A3S82
A3583
A3S84
A358S
A3586
A3587
A3588
A3589
A3590
Universal — One Reel
The Problem Child— Oswald cart. (7m.) . .May 1<>
Movie Phoney News — Oswald (7m.) May 30
Stranger Than Fiction No. 51 — (9m.) June 6
Nellie, The Indian Chief's Daughter —
Oswald cartoon (7 min.) June 6
Going Places with Thomas No. 51 (10m.) .June 13
Stranger Than Fiction No. 52 — (9m.) . . . .June 20
Happy Scouts — Oswald cart. (7m.) June 2!)
Going Places with Thomas No. 52 (9m.) . .June 2/
Cheese Nappers — Oswald cart. (7m.) ....July 4
Voodoo Harlem — Oswald cart. (7 in.) . . . . July 18
Silly Seals — Oswald cart. (7*/2 min.) July 25
Barnyard Romeo — Oswald cart. (7 min.) . .Aug. 1
Queen's Kittens — Oswald cart. (7 m.) Aug. 8
(more to come)
Universal — Two Reels
Fits and Benefits — Mentone (19m) July 27
(End of 1937-38 Season)
Beginning of 1938-39 Season
The River Runs Red — Flaming Frontiers
Jfl (21 min.) July 5
Death Rides the Wind— Flam. #2 (21m) . .July 12
Treachery at Eagle Pass — Fl. #3 (19m) . .July 19
A Night of Terror— Flaming 84 (23m) . . . July 26
Blood and Gold — Flaming #5 (21m) Aug. 2
Trapped by Fire — Flaming 86 (21 min.).. Aug. 9
The Human Target — Flaming 87 (22m) . .Aug. 16
The Savage Horde— Flam. 88 ( 17^m) . . . Aug. 23
Toll of the Torrent — Flaming 89 (20m) .. Aug. 30
In the Claws of the Cougar— Flaming
810 (19^ min.) Sept. 6
Vitaphone — One Reel
3713 Carl "Deacon" Moore & Orch. — Melody
Master (10 min.) May 7
3412 Now That Summer Is Gone— M. Mel. (6m.). May 14
3910 The Juggling Fool — Varieties (11m.) May 14
3309 Wanderlust— True Adventures (13m.) May 14
3509 Pearl of the East— Color-Tour (10m.) May 21
3611 Injun Trouble — L. Tunes (7m.) May 21
3714 Freddie Rich & Orch.— Mel. Mast. (11m.) . . .May 28
3413 Isle of Pingo Pongo— M. Mel. (8m.) May 28
3310 A Dream Comes True — True Adv. (12m).. June 4
3612 Porky the Fireman — Looney Tunes (6m) . .June 4
3810 Beavers-Polo- Woolens — Pic. Rev. (10m)... June 4
3414 Katnip Kollege— Mer. Mel. (7m) June 11
3911 Vitaphone Capers — Vit. Var. (9 min.) June 18
3715 Clyde Lucas & Orch.— Mel. Mas. (9m) . . . . June 18
3415 Have You Got Any Castles— M. Mel. (7m) . June 25
3613 Porky's Party — Looney Tunes (7 min.) ... June 25
3512 Isles of Enchantment— Color-Tour (10m) .. June 25
3311 The Fighting Judge— True. Adv. (13m) ... July 2
3716 Don Bestor & Orch.— Mel. Mast. (9m).... July 9
3811 Bakelite-Greyhounds-Perfume — Pic. Rev.
(11 min.) , July 9
3416 Love and Curses — Mer. Mel. (8 min.) July 9
3614 Porky's Spring Planting — L. Tunes (7m) . July 16
3511 Mechanix Illustrated— Color-Tour (10 m.)
(reset) July 23
3417 Cinderella Meets a Fella— Mer. Mel. (8m). Julv23
3312 Night Intruder— True Adventures (11 m.) . July 23
3717 Saturday Night Swing Club — Mel. Masters
(11 min.) July 30
3615 Porky and Daffy — Looney Tunes (7 m.) . . . .Aug. 6
3912 Swing Cat's Jamboree — Vit. Var. (8 min.) . .Aug. 6
3812 Hollywood-Sculling-Furs— Pic. Rev. (10m). Aug. 13
Vitaphone — Two Reels
3022 Under the Wire— Comedy (20m.) Mar. 26
3016 Got a Match— Revues (19 m.) Apr. 9
3028 Hold That Ball— Gay-Eties (19 min.) Apr. 23
3011 Forget Me Knots— Claire (Tech.) (21 m.)..May 7
3023 Stocks & Blondes — Comedy (18 min.) May 21
3004 Out Where the Stars Begin— Tech. (19m.) . .May 28
3012 Prisoner of Swing--Headliner (21m.) June 11
3029 Rise and Sing — Gay-Eties (21m.) June 25
3017 Rainbow's End— Revues (22m.) July 2
3024 My Pop — Henry Armetta (22 min.) July 16
3006 Sons of the Plains— Technicolor (19m) July 30
3018 Up In Lights— Pat Rooney (21 min.) . . . . ; .Aug. 13
3030 There Goes the Bride — Gayeties (22 m.) . . . Aug. 27
NEWSWEEKLY
NEW YORK
RELEASE DATES
Universal
694 Saturday ...Aug. 20
695 Wednesday .Aug. 24
696 Saturday ...Aug. 27
697 Wednesday .Aug. 31
698 Saturday ...Sept. 3
699 Wednesday .Sept. 7
700 Saturday . . . Sept. 10
701 Wednesday .Sept. 14
702 Saturday ...Sept. 17
703 Wednesday .Sept. 21
704 Saturday . . . Sept. 24
705 Wednesday .Sept. 28
706 Saturday ....Oct. 1
Fox Movietone
98 Saturday .... Aug. 20
99 Wednesday . . Aug. 24
100 Saturday ...Aug. 27
101 Wednesday .Aug. 31
102 Saturday ...Sept. 3
103 Wednesday .Sept. 7
104 Saturday ...Sept. 10
(End of 1937-38 Season)
1938-39 Season
1 Wednesday . . . Sept. 14
2 Saturday Sept. 17
3 Wednesday . . . Sept. 21
4 Saturday Sept. 24
5 Wednesday . . . Sept. 28
6 Saturday Oct. 1
Paramount News
5 Saturday Aug. 20
6 Wednesday . . .Aug. 24
7 Saturday . . . .Aug. 27
8 Wednesday ..Aug. 31
9 Saturday Sept. 3
10 Wednesday ..Sept. 7
11 Saturday ....Sept. 10
12 Wednesday ..Sept. 14
13 Saturday Sept. 17
14 Wedneeday . . Sept. 21
15 Saturday ....Sept. 24
16 Wednesday . . Sept. 28
17 Saturday Oct. 1
Metrotone News
296 Saturday .
297 Wednesday
298 Saturday .
299 Wednesday
300 Saturday .
301 Wednesday
302 Saturday .
303 Wednesday
(End of 1937-38 Season)
1938-39 Season
200 Saturday ...Sept. 17
201 Wednesday .Sept. 21
202 Saturday ...Sept. 24
203 Wednesday . Sept. 28
204 Saturday .... Oct. 1
. .Aug. 20
.Aug. 24
.Aug. 27
.Aug. 31
.Sept. 3
.Sept. 7
.Sept. 10
. Sept. 14
Pathe News
95109 Sat. (O.). Aug. 20
95210 Wed. (E.). Aug. 24
95111 Sat. (O.).. Aug. 27
95212 Wed. (E.) . Aug. 31
95113 Sat. (O.).Sept. 3
95214 Wed. (E.).Sept. 7
95115 Sat. (O.). Sept. 10
95216 Wed. (E.).Sept. 14
95117 Sat. (O.).Sept. 17
95218 Wed. (E.). Sept. 21
95119 Sat. (O.). Sept. 24
95220 Wed. (E.). Sept. 28
95121 Sat. (0.)..Oct. 1
Entered as second -claas matter January 4, 1M1, at the post office at New York, New Tori, wrier the act or Marob 3, WW.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 BMm 1 »1 9 Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 Room lOU Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . _ _. . _ .
Great Britain 15.75 A Motion Picture Reviewing Service
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
„ r^rw Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
joc a v_opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, AUGUST 20, 1938 No. 34
A Sick Business Needs More Than a Shot in the Arm
By Abram F. Myers
General Counsel of Allied States Association
The plan to raise a million dollars to finance
a 120-day campaign to stimulate theatre at-
tendance indicates that the producer-distribu-
tor group has finally recognized what the inde-
pendent exhibitors have long known, namely,
that the motion picture business is very sick
indeed.
It would be inappropriate for me to discuss
that plan for the reason that its authors did not
invite the exhibitor associations to play any
part therein and, consequently, Allied has taken
no position either for or against it. It is proper,
however, for me to discuss the underlying
causes of the industry's predicament and to
suggest additional and more drastic remedies.
A much quoted saying, attributed to Nicholas
Schenck, is that the industry can suffer no ill
that good pictures will not cure. The reverse of
this is that all industry ills result from poor
pictures. I think this is too sweeping, but it is
applicable to the present situation. All exhibi-
tors with whom I have discussed the matter
say that the main reason for the prevailing
slump is the falling off in the entertainment
value of the pictures. Certainly no amount of
ballyhoo could have induced the public to flock
to the pictures released during the past six
months.
While the poor quality of the pictures is un-
doubtedly the main cause, there are many con-
tributing causes. One of these is the fact that
the distributors, desiring to make the most of
their best pictures, have unwittingly made the
movies a seasonal recreation whereas they
ought to be year-round entertainment. As a
result, the public is surfeited with outstanding
pictures from late summer until mid-winter
and is starved for suitable movie fare for the
remainder of the year. So obsessed are some
distributors with the notion that pictures will
earn big money only in the fall and winter, that
they habitually carry over until the succeeding
season good pictures which had been promised
for spring and summer release and to which the
exhibitors are ethically (but not legally) en-
titled. Good pictures kill each other off in bitter
rivalry during a few months of the year and the
rest of the time a bored populace yawns and
says, "There's nothing at the movies."
Another contributing cause is the fact that,
by a combination of circumstances, which the
producers could have prevented, the stars have
been stripped of all glamour. Commentators,
both press and radio, have been allowed the
run of the studios in order that they might pick
up gossip or information reflecting on the
morals and intelligence of the stars to relate to
a gaping world. The public no longer regards
the stars as persons apart ; it has been taught to
look on them as excessively human, of doubtful
morals and no ethics, and of very low intelli-
gence. Messrs. Fidler and Skolsky and a host
of other omniscient writers have painted the stars
as cheap, tawdry and stupid in order that they
themselves might appear clever by contrast.
Not only that, but the producers have allowed
their most valuable stars to take part in radio
pre-views of pictures when, due to their lack
of experience and skill in that medium and to
the haphazard selection of scenes for presenta-
tion, the result was clearly calculated to warn
the listeners against seeing those pictures.
Allied cried out against this folly, but its pro-
tests fell on deaf ears. The producers now have
a year's experience behind them in the matter
of radio pre-views — and the industry is broke.
One of the most important causes of the in-
dustry's feebleness is loss of interested and
energetic manpower due to the forcing out of
many independent exhibitors and the complete
regimentation of those who remain. An indi-
vidual operating his own theatre with the
amount of his earnings dependent on the
thought and energy which he puts into his
business, and with discretionary control over
the operating policy of his theatre including the
right to select his product, is the most efficient
business-builder the industry has ever pro-
duced. But this same individual, robbed of all
control over his operating policies and with
virtually all of his earnings pre-empted by an
unwelcome partner, can not be expected to
hustle for business, to devise clever exploita-
tion schemes, or to put money into advertising.
What incentive is there to put thought and en-
ergy into the business, to exercise showman-
ship, when, in the final analysis, he is working
for the distributors as surely as the mousy
manager of an affiliated theatre, without the
latter's assurance of a Saturday night pay-off?
The arguments against reforming the re-
strictive and coercive practices of the business,
in view of the known facts, are no longer con-
vincing. For years the producer-distributors
have beguiled the exhibitors and misled public
officials into believing that, because production
costs are high, and the speculative clement
(Continued on last page)
134
HARRISON'S REPORTS
August 20, 1938
"Gateway" with Don Ameche
and Arlene Whelan
(20th Century-Fox, [1938-39] Aug.. 5; 73 min.)
A fair comedy-drama. There is not much to
the far-fetched story ; but the performances are
good and the characterizations interesting, and
so one's attention is held fairly well through-
out. The best bits are contributed by minor
players in small parts ; for instance, Gregory
Ratoff, as a bogus Russian count, provokes
hearty laughs by his put-on manners ; Maurice
Moscovich brings tears to one's eyes by his sac-
rifice for his family, and John Carradine causes
excitement when he leads a gang of deportees
to rebel. The romance is developed rather
poorly ; at no time does one feel that the heroine
had actually fallen in love with the hero, and so
when she accepts his marriage proposal it seems
that she was doing so just as a matter of con-
venience.
In the development of the plot, Don Ameche,
a war correspondent on his way back to the
United States, travelling first class, spies Ar-
lene Whelan, a second-class passenger, who
was on her way to marry her American sweet-
heart (Lyle Talbot), and falls in love with her.
He induces her to join a party on the first class
deck. Raymond Walburn, a boresome small-
town, wealthy passenger, takes Miss Whelan
out on deck and tries to kiss her ; she slaps him
and he falls down. Walburn's wife lodges a
complaint against Miss Whelan. Because of
this she is held at Ellis Island, along with some
other passengers. Ameche, feeling it was his
fault, goes along with her; but she refuses to
talk to him. Talbot, accompanied by his
brother, attends a hearing and, because of the
scandal, refuses to marry Miss Whelan, which
meant that she would have to return to Ireland.
Desperate, she agrees to escape with Gilbert
Roland, a gangster detained for income tax
evasion, but Ameche puts a stop to that. A riot
breaks out at the Island when deportees try to
escape. In the end, peace is restored, and Miss
Whelan, realizing she was in love with Ameche,
agrees to marry him.
Walter Reisch wrote the story, and Lamar
Trotti, the screen play ; Alfred Werker directed
it, and Samuel G. Engel produced it. In the cast
are Harry Carey, Marjorie Gateson, Fritz Lei-
ber, and others.
Suitability, Class A.
"Give Me a Sailor" with Martha Raye,
Bob Hope and Betty Grable
(Paramount, Aug. 19; time, 76 min.)
Just a moderately entertaining slapstick com-
edy. A few of the situations provoke hearty
laughter ; the action is, however, for the most
part, so silly that it tends to bore instead of
amuse the spectator. Martha Raye and Bob
Hope work hard, but they are handicapped by
trite material and an obvious plot. The occa-
sional musical outbursts are not of much help:
Miss Raye is the ugly duckling of her family ;
her sister (Betty Grable) is beautiful, refuses to
do housework, and is intent on having a good
time. Miss Raye is in love with Jack Whiting,
a naval officer; but he loves Miss Grable. Bob
Hope, Whiting's brother, also is in love with
Miss Grable. He feels the only way he could
win her would be to get Whiting to marry Miss
Raye. But his plan does not work, that is, until
Miss Raye accidentally wins a "beautiful legs"
contest; then Whiting notices how pretty she
was. He proposes to her and she accepts. But on
the wedding day, Miss Raye kisses Whiting for
the first time and realizes immediately he was
not the man for her ; she suddenly knows that it
was Hope whom she loved. This is confirmed
when she kisses him, and he, too, succumbs to
her charms. Miss Grable and Whiting are re-
united.
The plot was adapted from the play by Anne
Nichols ; Doris Anderson and Frank Butler
wrote the screen play, Elliott Nugent directed
it, and Jeff Lazarus produced it with Paul Jones
as associate producer. In the cast are Clarence
Kolb, J. C. Nugent, Nana Bryant, and others.
Suitability, Class A.
"Sing You Sinners" with Bing Crosby,
Fred MacMurray and Ellen Drew
(Paramount, [1938-39] Sept. 2; time, 89 min.)
Good ! The story is somewhat different from
those in which Bing Crosby has recently ap-
peared— that is, there is more of a plot and less
crooning. Combining human interest with ro-
mance, comedy, and music, it has general ap-
peal. The closing scenes, in which the members
of the family watch their horse win a race, is
both exciting and comical. The most comical
scene is that in which Crosby exchanges bet-
ting tickets with a man, winning each time he
does so. Young Donald O'Connor, a newcomer,
makes an excellent impression ; he acts with
ease, sings well, and knows how to deliver his
lines. There are a few musical numbers, some
fair, others good. The romance is routine : —
Because of the fact that his older brother
(Bing Crosby), an easy-going dreamer, would
not work, Fred MacMurray could not marry his
sweetheart (Ellen Drew) because he had to
support his mother (Elizabeth Patterson) and
his two brothers (Crosby and O'Connor).
Crosby finally decides to go to Los Angeles, to
try his luck there. With money that he wins at
a racetrack, Crosby buys a swap shop and does
so well that he sends for his mother and O'Con-
nor. Every one is happy for it meant that Mac-
Murray could finally marry. But when Miss
Patterson and O'Connor arrive they find that
Crosby had swapped his shop for a race horse
and that he was broke. Having received glow-
ing letters from his mother about Crosby's suc-
cess, MacMurray and Miss Drew arrive unex-
pectedly to be married there. But when he finds
out how things stood, he asks Miss Drew to go
back home while he went to work paying off
debts. He, Crosby, and O'Connor form a sing-
ing trio and entertain at a cafe. In the mean-
time, they train their horse for a race. Despite
the efforts of racketeers to stop O'Connor, who
was riding Crosby's horse, from winning, he
brings the horse in, a winner. Crosby is ready
to give up his job to live on the winnings, but
Miss Patterson insists that unless they con-
tinued as entertainers, doing steady work, she
would leave them. They agree; MacMurray
finally marries Miss Drew.
Claude Binyon wrote the story and screen
play, and Wesley Ruggles directed and pro-
duced it. In the cast are John Gallaudet, Wil-
liam Haade, and others.
Suitability, Class A.
August 20, 1938
HARRISON'S REPORTS
135
"Barefoot Boy" with Jackie Moran
and Marcia Mae Jones
(Monogram [1938-39] Aug. 3; time, 63 min.)
An enjoyable family entertainment. The
story, which revolves mostly around young-
sters, has human appeal, comedy, and, in the
closing scenes, plentiful excitement. One feels
deep sympathy for Ralph Morgan, who suffers
because of the actions of his disrespectful son.
This son, effectively played by Bradley Metcalf ,
is, almost until the end, an unbearable brat ; his
eventual regeneration, therefore, pleases the
spectator. The comedy is provoked by the
pranks the children play on each other and by
their childish romances : —
When released from prison, where he had
served a term for the theft of bonds, a crime of
which he was innocent, Morgan is heartbroken
to learn that his wife (Claire Windsor) was
going to divorce him ; his son's contemptuous
attitude towards him is another source of dis-
appointment. Morgan insists on taking Bradley
to the farm owned by Charles D. Brown and
Helen MacKellar, hoping that, under the in-
fluence of their boy (Jackie Moran), Bradley
would change for the better ; but he becomes
even worse. Jackie, Bradley, tomboy Marcia
Mae Jones, and two other youngsters visit a
haunted house ; through an accident they find
the bonds which Morgan had been accused of
stealing. But the criminals arrive, and shoot
Jackie ; Bradley escapes and rushes for help. He
and others arrive in time to capture the crooks
and get the bonds. Morgan's name is cleared.
His wife decides to drop the divorce action, and
Bradley, who had undergone a complete change,
begs for forgiveness. Jackie recovers.
John T. Neville wrote the story and screen
play, Karl Brown directed it, and E. B. Derr
produced it. In the cast are Frank Puglia,
Matty Fain, and others.
Suitability, Class A.
"Boy Meets Girl" with James Cagney,
Pat O'Brien, Marie Wilson and
Ralph Bellamy
(Warner Bros., Aug. 27; running time, 86 min.)
This farce, which goes in for good-natured
ridiculing of the motion picture business and
some of its Hollywood characters, is good en-
tertainment. Considering the popularity of the
stage play from which it was adapted, the ad-
vance publicity the picture has been receiving,
and the fact that this is James Cagney's first
appearance since his return to Warners, it
should do very well at the box-office, particu-
larly in large down-town theatres. The comedy
may, at times, be over the heads of small town
audiences. Except for a few dull lapses due to
an overabundance of dialogue, the action is fast
and amusing. The romance is pleasant : —
James Cagney and Pat O'Brien, two Holly-
wood major studio writers, refuse to take their
work seriously. They play pranks on every one,
particularly irritating Dick Foran, a western
star, for whom they wrote stories. When Marie
Wilson, a studio waitress, faints in the pro-
ducer's office, later announcing that she was
going to have a baby, Cagney and O'Brien hit
upon a brilliant idea — as soon as the baby is
born he should be starred with Foran. Their
plan works and the baby, known as Happy, be-
comes the sensation of the day. Trouble starts
when Happy gets the measles and Foran
catches it from him. The studio is ready to can-
cel Happy's contract ; McHugh, an agent, is
glad to turn over to the two writers the contract
he held for Happy. Because of a hoax they had
played, Cagney and O'Brien are discharged.
But they think of another brilliant idea; they
telephone to a friend in Europe and instruct
him to send a telegram from England offering
to buy the studio on condition that Happy was
under contract. The scheme works — the studio
rehires the two writers, signs the contract, and
then finds out about the hoax; but, since the
two writers had used Foran's telephone to make
the call, Foran is blamed. Miss Wilson decides to
marry an Englishman and to take Happy to Eng-
land to live a normal life. She informs everyone
that her husband had been a bigamist and had died.
The plot was adapted from the stage play by
Bella and Samuel Spewack ; they wrote the
screen play. Lloyd Bacon directed it, and Sam
Bischoff produced it. In the cast are Bruce
Lester, Ronald Reagan, and Penny Singleton.
Suitability, Class A.
"Four's a Crowd" with Errol Flynn,
Rosalind Russell, Olivia DeHavilland
and Patric Knowles
(Warner Bros. [1938-39] Sept. 3; time, 90 min.)
A fairly good farcical comedy. The story it-
self is not particularly novel ; it is in the differ-
ent situations and in the individual perform-
ances that it derives its comedy. Towards the
end, it goes completely wild, and ends up with an
extremely amusing scene, where two couples
are married by Hugh Herbert, an annoyed Jus-
tice of the Peace. Nothing in the story is taken
seriously ; because of this it lacks human appeal.
The comedy in a few situations is forced, thereby
slowing up the action. Where nonsensical comedies
are liked, this should go over : —
Rosalind Russell, a newspaper reporter, in-
duces Patric Knowles, millionaire newspaper
publisher, to reengage Errol Flynn as manag-
ing editor. Flynn, who, in the meantime, had
become a well known press agent, accepts the
job only because it would give him a chance to
get to Walter Connolly, an eccentric million-
aire, who had refused to become one of his
clients. Flynn, as a means of getting to Con-
nolly, plays up to Olivia DeHavilland, Con-
nolly's granddaughter ; this enrages Knowles,
supposedly her fiance ; he discharges Flynn.
But Flynn finally gets to Connolly and wins his
admiration by the tricks he uses to do so. Miss
Russell and Flynn love each other ; but he has
to continue paying attention to Miss DeHavil-
land. which annoys Miss Russell. Miss Russell
gets some information about Connolly that
Flynn does not want published ; he appeals to
her not to divulge it. Knowles, in an effort to
get the facts from her, suggests that they get
married that night ; she agrees. When Flynn
hears of this, he rushes to the same Justice with
Miss DeHavilland. Everything is eventually
straightened out — Flynn marries Miss Russell,
and Knowles marries Miss DeHavilland.
Wallace Sullivan wrote the story, and Casey
Robinson and Sig Herzig, the screen play ;
Michael Curtiz directed it, and David Lewis
produced it. In the cast are Melville Cooper,
Franklin Pangborn, Herman Bing, and others.
Suitability, Class A.
136
HARRISON'S REPORTS
August 20, 1938
great, they must have an assured income and
that, therefore, such practices as compulsory
block booking, blind selling, guarantee and per-
centage contracts, designated playdates, exces-
sive protection, regulation of admission prices
and many other devices for bleeding the ex-
hibitors white and usurping control of their
theatres, were justified. We now know that
costs are high due mainly to excessive star, di-
rectorial and executive salaries and wasteful
production methods, and that when, due to
depression, income shrinks, retrenchment is
made in production values but not in the per-
quisites and emoluments of the "big shots."
The business is speculative, certainly, for the
exhibitor as well as the producer, and there is
no justification for casting all the risk on the
exhibitor as is done in current industry practice.
These conditions are too well known to merit
further discussion. They are the corruption that
has induced the industry's sleeping sickness.
When a man is dying, an injection of strych-
nine may revive him temporarily. The only pur-
pose of such injection is to prolong life until the
disease itself can be treated. Unless a cure for
the disease is found and administered, the pa-
tient is done for. So with the movies. A million
dollars worth of advertising, properly planned,
may prolong the industry's life over a critical
period. But what will happen after December
31, when the campaign ends? Unless the indus-
try finds a way to produce and release good pic-
tures at prices which the exhibitors and the
public can afford to pay, unless it ceases to sub-
sidize a rival form of entertainment by making
available to it its most valuable stars, and un-
less it withdraws from exhibition, curbs its
predatory practices, and restores to the exhibi-
tors control over their own theatres, the shot in
the arm will wear off and the business will be
sicker than ever.
What the industry needs most of all is a good
dose of democracy, and it appears that the Gov-
ernments, both Federal and State, are prepared
to administer it. Only the short-sighted monop-
olists will oppose a course of treatment which,
though drastic, will restore the business to its
erstwhile health and vigor. Those who attempt
to block the march of progress during the next
few years are going to be destroyed.
THOUGHTS AT RANDOM
(By An Exhibitor)
Hollywood, that never ending source of
choice news items, again astonishes the movie
world with Mr. Myron Selznick's profit sharing
plan for picture creators and artists.
Mr. Selznick, head of his own talent agency,
is going to give those creators and artists for
whom he has been extracting fabulous salaries
an opportunity of proving just how much their
individual and collective names on the screen
mean. Already announced to proceed on a no-
salary, profit-sharing basis are Ernst Lubitsch,
William Powell, Carole Lombard, and Dolly
Haas. Sam Goldwyn is also reported to have
signed Robert Riskin on the same plan and is
said to be seriously considering hiring all his
key men in the same manner.
There is nothing particularly original in this
sudden discovery that anyone will work harder
and better on any job if he is to receive a share
in the results of his efforts and not be rewarded
by a mere salary. Circuits long ago discovered
that they could raise their grosses by having the
individual managers share in the increased busi-
ness. However, these plans came to naught
when profit-sharing quotas were jumped and
"fixed charges" suddenly became enormous.
(Very good word, that word "fixed.")
But back to Hollywood and its profit sharing
ideas . . . wouldn't it be swell, Mr. Selznick and
Mr. Goldwyn, if you could make this a 100%
proposition whereby not only your creators but
also the men who sell these pictures to the
public and feed you your profits get a share of
them ?
True, selling pictures on a percentage rental
is theoretically supposed to put the exhibitor
on a partnership basis with the distributor. But
the partnership is all one-sided. Percentages
have become way out of line with the exhibitors'
expenses and income. If a picture does badly at
the box office, the producer has practically the
entire world from which to regain his invest-
ment while the exhibitor has but a single situation.
Listed in Metro-Goldwyn-Mayer's current
release schedule for August 26th is a picture
titled "Marie Antoinette." To many exhibitors
this was a distinct surprise for they were led to
believe that the picture was to be road shown
before being released generally.
However, it was not a surprise that was hard
to take for surely no exhibitor is going to
squawk about getting a big picture especially
while its publicity is hot.
We don't know why Leo has decided not to
road show "Marie Antoinette," but if this is the
beginning of the end of road shows, the exhibi-
tors should be very happy.
There is absolutely no rhyme nor reason why
any picture should be sold to the public at pre-
mium prices. This same public supports the
run-of-the-mill pictures every day in the year
and there can be no justification for putting an
added tariff on them when a particularly out-
standing attraction comes along.
Support the "Movies Are Your Best Enter-
tainment" campaign !
There is no need to elaborate upon the plans
that have been made to bring patrons back to
the movies. The daily trade papers have devoted
many columns of space to a discussion of them.
Harrison's Reports should impress upon every
exhibitor, large or small, the necessity of get-
ting behind the campaign in their individual
situations.
This great industry of ours has gone through
some trying years and there are more to follow
until "the lion and the lamb" can lie down to-
gether. We are being maligned on every hand,
by smart-alecky radio commentators, column-
ists, reformers, censors, and fanatics ; by law
suits, scandals, and silly interviews.
All of our dirty linen is laundered by the
press at the expense of our respect and patron-
age. Only a strong institutional campaign
coupled with topflight pictures will restore our
prestige and regain our former patronage.
"The Movies Are Your Best Entertainment"
campaign looks like the ticket. Get behind it !
]!.:a«rta as second-class mutter January 4, 1921, at the post oflioe at New York, New York, under the act of Maren S, in*,
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 R^n™, 1 «1 9 Harrison's Reports, Inc..
U. S. Insular Possessions. 16.50 Room JOU Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 , .. _. . _. . . _ .
Great Britain 15 75 A Motlon Picture Reviewing Service
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
inn a rmv Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
ooc a ^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, AUGUST 27, 1938 No. 35
ACTION
Al Steffes, President of Allied Theatre Own-
ers of the Northwest, the man chiefly respon-
sible for the passage of the North Dakota the-
atre divorcement law, has made up his mind
not to wait until the U. S. Supreme Court ren-
ders its verdict whether that law is constitu-
tional or not ; feeling sure that it will be declared
constitutional, he has resolved to have intro-
duced in the Minnesota legislature a similar
measure, to compel the producer-distributors to
divest themselves of their theatre holdings.
To be sure that he will get legislative sup-
port, he has sent a questionnaire to the candi-
dates for election in November. Those who will
refuse to pledge their support to a theatre di-
vorcement bill will fail to receive the support of
Allied Theatre Owners of the Northwest.
Other exhibitor leaders would do well to emu-
late Mr. Steffes' example ; they would be serv-
ing the interests of the members of their organi-
zations well if they should.
THOUGHTS AT RANDOM
(By An Exhibitor)
Variety, in its issue of August 17th, makes an
eloquent plea for the distributors to follow the
example of many leading commercial enter-
prises and sell the dealer, i.e. the exhibitor, on
their product.
We quote a few of Variety's more pertinent
statements : —
"Wherever in the world capitalism is the pre-
vailing method of economic organization the
cardinal principle of merchandising is to first
reach and first sell the dealer. For the dealer is
not alone the distributor's best customer but
he is also, which is vitally important, the dis-
tributor's ally in the further and final task of
selling the ultimate consumer, the public.
". . . Wheaties and Huskies, Jello and Royal
Gelatine and all the rest are sold by master mer-
chandisers who are constantly preoccupied
with what the dealer thinks of the product, to
what lengths of cooperation the dealer will go
for the distributor because of faith in, and en-
thusiasm for, the goods being sold.
". . . The exhibitor shares with dealers
everywhere a human susceptibility to either en-
thusiasm or defeatism. It is for distributors, and
distributors alone, to bring back the old time
zinginess of point-of-sale showmanship.
"... Enthusiasm on the part of the exhibitor
is not a lessened need, but an increased one,
when the distributor books his pictures on shar-
ing terms. . . . Deal the dealer in."
This writer is heartily in accord with your
statements, Variety. Unfortunately, you did not
carry your comparison of the differences in dis-
tributor-dealer relationships quite far enough.
As long as we are to have General Foods,
Standard Brands, Texaco, Gulf, etc., as shining
examples, let's investigate their conduct toward
their dealers as compared to a motion picture
distributor's toward his.
Does Standard Brands tell Mr. Grocer that
he must take two cases of XYZ soap powder
before they will sell him one case of Royal Gela-
tine?
Does General Foods tell Mr. Grocer that on
twelve Saturdays and Sundays he can only sell
Jello?
Does Texaco tell Mr. Gas Station Owner that
since they built a new $2,000,000 refinery and
can now turn out a better grade of gasoline, on
which his sales volume will be greater and like-
wise his profits, they will have to raise the bulk
price?
Does Gulf tell Mr. Gas Station Owner that
if he wants to sell Gulf Gas that he will have to
buy all their by-products though he has abso-
lutely no need for them and can't possibly sell
them to his customers?
Yes, Variety! there is a crying need for more
all-around enthusiasm about pictures. Enthu-
siasm infectious, the kind that can be passed on
to the people who buy tickets.
But when you are pleading with distributors
to try to emulate their commercial contempo-
raries in "dealing the dealer in," ask them also
to copy their other ways and means of keeping
their dealers happy. Perhaps then we won't
need the government to show us how to put our
houses in order.
* * *
The "Movies Are Your Best Entertainment"
campaign is well under way. Harrison's Reports,
as I see it, has already gone on record as en-
dorsing this effort to bring the public back to
the theatres.
This writer cannot impress too strongly upon
every exhibitor how necessary it is to get the
public back in the movie habit. Smart-alecky
radio commentators, whose business it is to sell
hair oil and cigarettes, would have the people
believe that movie patronage is in a deplorable
state (caused in part by their knocks) and that
MAYBE movies are your best entertainment.
There is no argument as to the fact that busi-
ness is not as good as it should be but that is all
(Continued on Last Pac/c)
138
HARRISON'S REPORTS
August 27, 1938
"Marie Antoinette" with Norma Shearer
and Tyrone Power
(MGM, Aug. 26; time, 157 win.)
Excellent ! It is a magnificent spectacle, pro-
duced with extreme lavishness ; the direction and
acting are brilliant. Hut, for all its "bigness," it is
the personal drama of the Queen's life that holds
the spectator's interest throughout. Played with
artistry by Norma Shearer, the Queen is a pathetic
figure, one for whom the spectator feels sympathy
and in the end deep pity. The closing scenes show-
ing her bewilderment during the Revolution and
her misery at being separated from her children
are so powerful that one cannot hold back the tears.
( )f interest, too, is the picture of court life, with its
intrigue and extravagance. The Revolution itself
is not played up ; the story is concerned only with
the personal effect it had on the Queen, her hus-
band and her children. The romance in the Queen's
life is handled with good taste, but it is of minor
importance. Although consistently interesting, the
picture is a little too long for general release : —
When Marie Antoinette is told that a marriage
had been arranged for her with the Dauphin, she
is overjoyed, for it meant that one day she would
be Queen of France. She is heartbroken when, on
her marriage night, the Dauphin informs her that
he was impotent ; he pleads with her not to tell any
one. For the next two years she is miserable ;
taunted by Madame Bovary, the King's mistress,
because she did not have children, and slighted by
every one at court, she is lonesome. The Duke
D'Orleans, who hated Madame Bovary, suggests
that Marie change her mode of living. Under his
tutelage, she becomes gay, flirtatious, and sophisti-
cated ; soon she has a large following. Because of
her insulting manner towards Madame Bovary
and the fact that she did not have children, Marie
is humiliated when told that the King had ordered
her marriage annulled. The Dauphin is enraged,
for he loved Marie and had just become capable of
carrying out his duties as a husband. Marie is com-
forted by Count Axel DeFersen (Power), with
whom she had fallen deeply in love. The King dies
that very night, and so Marie and the Dauphin
become Queen and King. The Count insists that
they do not see each other again. In the course of
time, Marie gives birth to a son and a daughter. But
the revolution brings an end to everything. Her
husband is beheaded, her children taken from her,
and finally she, too. is sentenced to be beheaded.
The story was based in part on the book by
Stefan Zweig. Claudine West, Donald Ogden Stew-
art and Ernest Vajda wrote the screen play, W. S.
Van Dyke II directed it, and Hunt Stromberg pro-
duced it. In the cast are John Barrymore, Robert
Morley, Anita Louise, Joseph Schildkraut and
others.
Not quite suitable for children. Class B.
"The Missing Guest" with Paul Kelly
and Constance Moore
(Universal, Aug. 12; time, 67^ min.)
A fair program entertainment. It is pretty good,
up to a certain point ; as long as it sticks to the
spooky part of the story, it is all right, for then the
spectator's attention is held, in spite of the fact that
the plot is far-fetched ; but no sooner do two dumb
detectives enter the picture than it falls flat, for
they make everything seem ridiculous, thereby
weakening the melodramatic angle. The romance
is mildly pleasant : —
Paul Kelly, a newspaper reporter, is sent by his
editor to get a story for a Sunday edition dealing
with a certain house that was supposed to be
haunted. The editor orders him to spend the night
in the blue room where several persons had been
murdered or disappeared. Kelly arrives at the
house on the night that the owner was giving a
masquerade ball. He pretends to have met with an
automobile accident, but the moment it is discov-
ered that he was a reporter, he is ejected ; but he
manages to get back. While Kelly is there, another
man (William Lundigan) disappears from the blue
room, and a doctor friend of the family is found
murdered there. Kelly finds a secret passageway
to the room and finally solves the mystery. Lundi-
gan, upon learning that the doctor had been his
father's murderer, had trapped him in the blue-
room and killed him. All the weird things that had
been happening are explained. Kelly not only gets
an increase in salary, but wins Contsance Moore,
daughter of the owner of the house, as his bride.
Erich Philippi wrote the story, and Charles Mar-
tin and Paul Perez, the screen play ; John Rawlins
directed it, and Barney A. Sarecky produced it.
In the cast are Edwin Stanley, Selmer Jackson,
Billy Wayne, and others.
Because of the murder it is unsuitable for chil-
dren. Class B.
"The Gladiator" with Joe E. Brown
and June Travis
(Columbia, Aug. 15 ; time, 72 min.)
This is a good comedy ; it should appeal not only
to the Joe E. Brown fans but to audiences in gen-
eral for it has many comical situations, some of
which provoke hearty laughter. The closing scenes,
in which Brown, under the influence of a powerful
stimulant, wrestles a husky contender and, as the
match progresses, gradually loses his strength, is
extremely comical. Most of the laughs are pro-
voked by the things that Brown does while he has
the supernatural strength which the stimulant gives
him. The romance is routine: —
When Brown wins $1,500 in a bank night draw-
ing, he decides to go back to college after an ab-
sence of twelve years. The college students take
advantage of him because of his awkwardness and
shyness ; they pretend they want him on the foot-
ball team and, once they have him on the field, go
after him mercilessly. Lucien Littlefield, a scientist
with whom Brown boarded, discovers a serum
which, when injected, would give a person super-
natural strength. While Brown is sleeping, he in-
jects it into his arm. When Brown awakens he is
amazed at his strength; he crushes a clock in one
hand, breaks through a wall with his fist, and flat-
tens out everything he touches. Littlefield tells him
what he had done ; Brown, with this unusual
strength, naturally becomes a great football star;
but he incurs the enmity of Robert Kent, the Cap-
tain, because of his devotion to June Travis. In
order to earn enough money to adopt orphan Dickie
Moore, Brown challenges the champion wrestler.
In the first round Brown is marvelous ; but grad-
ually the effects of the serum wear off and he is
helpless. Purely by accident, he knocks out his op-
ponent, winning the match and the money. He
plans to marry Miss Travis and adopt Dickie.
Philip Wylie wrote the story, and Charlie Melson
and Arthur Sheekman, the screen play; Edward
Sedgwick directed it, and David L. Loew produced
it. In the cast are Ethel Wales. Donald Douglas,
and others.
Suitability, Class A.
August 27, 1938
HARRISON'S REPORTS
139
"Four Daughters" with Priscilla Lane,
Claude Rains, Jeffrey Lynn and
John Garfield
(1st Nt'l. [1938-39] Sept. 24; time, 90 min.)
Excellent ! In adapting it from the story "Sister
Act,"' several changes were made in characteriza-
tions and plot ; but these are to the picture's benefit,
for as it now stands it is a simple, heart-warming
drama with deep human appeal and excellent com-
edy, both in situation and dialogue. The direction
and acting are outstanding. Two newcomers, Jef-
frey Lynn and John Garfield, display unusual talent
and should make a strong impression ; and Priscilla
l^ane confirms the fact that she is a fine actress.
There are situations that bring tears to the eyes and
others that provoke hearty laughter ; at all times
the actions of the characters seem real and natural.
It is the type of picture that leaves an audience
completely satisfied : —
Into the happy home of Claude Rains, a musi-
cian, whose four daughters (Priscilla, Rosemary,
Lola Lane and Gale Page) and his spinster sister
(May Robson) adore him, comes Jeffrey Lynn, a
young, handsome, and carefree composer. He wins
over every one by his infectious gaiety. Shortly
after his arrival he sends for his music arranger
(John Garfield), a frustrated, disillusioned young
man, who felt that luck was against him. Priscilla,
feeling sorry for him, tries to cheer him up and
does this so successfully that he falls madly in love
with her, and for the first time takes an interest in
life. But again his dreams are shattered when Lynn
and Priscilla announce their engagement. On her
wedding day, Priscilla learns that her older sister
(Gale), whom she adored, was in love with Lynn ;
not wanting to hurt Gale, Priscilla runs away with
Garfield and marries him, A year later, on a visit
to her home for a family reunion, Priscilla again
sees Lynn and realizes how she loved him and that
her sacrifice had been in vain for Gale had decided
to marry her small-town suitor; Garfield, feeling
that he stood in the way of Priscilla's happiness
and realizing he was of no use to any one, pur-
posely crashes the car he was driving and dies
from the injuries. Eventually Priscilla and Lynn
are reunited.
The plot was adapted from the story by Fannie
Hurst. Julius J. Epstein and Lenore Coffee wrote
the screen play, Michael Curtiz directed it, and
Henry Blanke produced it. In the cast are Dick
Foran, Frank McHugh, Vera Lewis and others.
Class A.
"Safety In Numbers" with Jed Prouty
and Spring Byington
(20th Cent.-Fox [1938-39] Sept. 9 ; time, 58 min.)
"The Jones Family" fans should thoroughly en-
joy this. It has plentiful excitement and delightful
comedy bits ; as a matter of fact, it is good enter-
tainment even for those who are not regular fol-
lowers of the series. One of the most comical situ-
ations is that in which the conversation of two per-
sons is mixed into a broadcast when keys on the
control board are accidentally opened. Although
the story develops just as the spectator expects it
would, one is held in suspense ; particularly exciting
are the closing scenes, when the family gives chase
to crooks.
This time the Joneses become involved with
crooks, who lead them and their neighbors to be-
lieve that the springs located in certain swamp land
in their town contained valuable mineral water,
and that they were going to put up a health resort
and give the building contracts to the business men
of the town. But the business men, led by Jones,
feel that they should be permitted to invest in the
company ; the crooks "reluctantly" permit them to
invest $100,000. On the day that the last $10,000
was to be turned over, Lucy Jones and her boy
friend accidentally fall into the springs and dis-
cover that it was just swamp water. The crooks rush
to leave town. But Mrs. Jones, who had been broad-
casting on their behalf, thinks of a way of bringing
them back ; she states, over the radio, that a false
rumor had been spread about the mineral water
not being good, that the water was good, and that
the investment would bring in enormous profits.
The crooks, who had heard the broadcast, naturally
rush back to what they think is a good thing. But
Mr. Jones scares them away again. After a hectic
chase, however, they are caught, and the money re-
covered. All the investors are reimbursed. The
family is happy when young Jones, who had
planned to elope, decides to help his father instead.
Dorothy Manney and Zena George wrote the
story, and Joseph Hoffman, Karen DeWolf and
Robert Shapin, the screen play ; Malcolm St. Clair
directed it, and John Stone produced it. In the cast
are Shirley Deane, Russell Gleason, Ken Howell,
George Ernest, June Carlson, Henry Kolker, and
others.
Suitability, Class A.
"Rich Man Poor Girl" with Robert Young,
Lew Ayres and Ruth Hussey
(MGM, August 12; time, 7\l/2 min.)
A very good program comedy-drama. It is the
type of picture that will be appreciated by the
masses for it revolves around a typical American
family, whose actions are true to life. It has deep
human appeal and a charming romance ; the com-
edy is brought about in a natural manner without
forcing situations. And the individual perform-
ances are excellent : —
When Ruth Hussey becomes engaged to her
millionaire employer (Robert Young), her family,
consisting of father, mother, brother, and sister,
are delighted; but her cousin (Lew Ayres), who
spent his time speaking about the injustices suf-
fered by the middle-classes, warns her that, al-
though they were poor, they would accept no favors
from her fiance. Miss Hussey puts off the marriage,
for she loved her family and wanted them to be-
come accustomed to the idea of her marriage to a
millionaire and what it would mean to them. Young
makes many attempts to do things for the family
but he is repulsed. He finally brings them around ;
he does this by pretending that what Ayres had
preached appealed to him and he was going to give
away his entire fortune. Young's sister (Rita John-
son) threatens to bring an action to declare him
incompetent. Naturally Miss Hussey's family is
heartbroken to think that they had been the cause
of the whole thing. When they come to their senses
and admit their mistakes, Young then informs
them that he had not given away his fortune ; he
insists that they accept his favors and forget their
pride. Young and Miss Hussey, with the family
affairs settled, decide to marry.
Edith Ellis wrote the story, and Joseph A. Fields
and Jerome Chodorov, the screen play ; Reinhold
Schunzel directed it, and Edward Chodorov pro-
duced it. In the cast are Lana Turner, Rita John-
son, Don Castle, Guv Kibbee, Sarah Padden, and
Gordon Jones.
Suitability, Class A.
140
HARRISON'S REPORTS
August 27, 1938
the more reason why every exhibitor should
become a showman and try to remedy the situ-
ation.
Like all good movements certain unscrupu-
lous individuals and companies will try to twist
the campaign to serve their own purposes. Since
practically all the pictures in the contest are
new product, some salesmen will attempt to use
this fact as a lever to force the immediate sale
of their contracts.
Exhibitors should acquaint Harrison's Reports
with any cases where this is used as a sales
argument.
* * *
Not so many months ago MGM brought a
long smoldering exhibitor complaint to a head
by producing its own radio show. It was the
proverbial "last straw." Here was a producing
company giving away the very stars it was ask-
ing exhibitors to sell for them. Heretofore, in-
dividual stars, whose popularity was attained
by the collective efforts of thousands of exhibi-
tors, were the offenders.
Several weeks ago, with a much publicized
campaign, 20th Century-Fox took to the air to
exploit "Alexander's Ragtime Band." It was the
biggest thing that ever happened on radio. Un-
doubtedly a great portion of the terrific grosses
"Alexander" is now piling up can be attributed
directly to the effect of the air show. Thousands
of people, who might have taken in a movie the
night of the broadcast, decided to stay home to
listen to it.
In a few weeks Paramount will start to radio-
exploit its product with a tieup on the Fitch
program whereby 1000 passes will be given
away each week. These passes will be good for
any Paramount picture at any theatre and will
be redeemed at full value by its various ex-
changes.
This writer does not intend to startle the
world with the statement that "radio as an en-
tertainment medium is here to stay." We mere-
ly wish to point out that radio can be made to
work for pictures, as in the case of the Fitch
broadcast, and not against it.
Every day 120,000,000 people are asking
themselves, "What am I going to do tonight?"
Many of them will find their way to theatres.
Picture stars have no right to give themselves
to the public for nothing and thereby deter a
goodly portion of those 120,000,000 million peo-
ple from purchasing tickets.
Radio needs topnotch and well known enter-
tainment if it is to secure advertising revenue.
But that is no reason why screen artists should
go into competition with themselves and help
build up an important source of opposition.
The new radio season begins soon. Undoubt-
edly many screen stars will be lured into air
appearances by fat checks and the vicious circle
will be off again. Producers will do well to try
to keep their stars off the air and make radio
work for pictures — not against them.
MR. CARL LAEMMLE SPEAKS!
Mr. Carl Laemmle, the old war-horse of the
motion picture industry, has come out of his re-
tirement to help the independent theatre own-
ers in their efforts to abolish block-booking.
This he did by a statement, which he sent to
Mr. Albert A. Galston, president of the Inde-
pendent Theatre Owners of Southern Califor-
nia and Arizona.
Part of Mr. Laemmle's statement is as fol-
lows :
"Abolition of the block-booking system will
be a good thing for the industry. Of course, the
picture producer won't like it because it means
that he will be obliged to make only good pic-
tures. The exhibitor will not be obliged to buy
the bad ones, therefore, the producer who hopes
to ring in a few cheaters will not have a market
for them and he will be left with the duds on his
hands. However, in the course of time, the pro-
ducer will not be sorry if block-booking is ruled
out. He will not be obliged to make trash, to
compete with trash, but can concentrate on high
grade product, make better pictures and make
more money.
"In the last analysis it simmers down to qual-
ity. Surely every picture producer would rather
make quality pictures than routine pot-boilers.
But quality usually costs more money than or-
dinary product. Therefore, since the exhibitor
insists on quality, he should be willing to pay
for quality. No producer can give the theatre
manager high quality pictures for low quality
prices. . . .
"The principal argument against block-book-
ing, from the theatre manager's standpoint, is
that under this system he is obliged to give his-
patrons what the manufacturer wants, and not
what the patrons want. The manager is obliged
to exhibit the high class of pictures along with
the low class, and he has no choice. The block-
booking system obliges the exhibitor to take
everything, or nothing. On his side of the argu-
ment, the picture producer has always claimed
that he cannot make his business pay unless the
theatres are willing to exhibit everything he
makes. . . .
"And thus the controversy has gone on and
on for many years. . . .
"Abolition of block-booking will put the pic-
ture producer strictly on his merits. He will
have to make the best posible product, no mat-
ter what its classification, or quit making pic-
tures. Of course, the picture producer will rave
and tear his hair over this proposition, but in
the long run it will prove to be a blessing in
disguise. The producer will make better pic-
tures, the public will come more often to see
them, the exhibitor will thereby make more
money, and if he is not altogether unwise, he
will be more than willing to pay the extra price
to the manufacturer for the higher cost of bet-
ter pictures."
Mr. Laemmle found a fault in the Neely Bill ;
he objects to the penalty provision of it. But
had he had an Allied leader to explain the effect
of that provision, he would not, I am sure, think
so badly of it. The penalty provision will in no
way affect the conscientious producer. On the
other hand, a law without a penalty provision
cannot accomplish the reform intended.
Harrison's Reports salutes Mr. Laemmle for
taking up the cudgel on behalf of the indepen-
dent exhibitor.
Eia«re«l as second-class matter January 4, 1921, at the post offloe at New Torts, New York, under the act or March S, lai».
Harrison's Reports
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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, SEPTEMBER 3, 1938 No. 36
OVERPLAYING THEIR HAND
Heywood Broun, the famous columnist of the Scripps-
Howard newspaper chain, had a fine article in the August
27 issue of the New York W orld-Telegram about why
many of the highly-paid Hollywood artists are so
radically inclined, when all high-salaried persons are,
as a rule, conservative. The occasion was the Dies com-
mittee's investigation of un-American activities — Fas-
cist, Nazi, and Communistic.
"It all began during the race between Merrian and
Upton Sinclair," Mr. Broun said partly: "Upton fright-
ened the producers enormously, and they contributed
much in money and propaganda to his rival. And
though the magnates won, they paid a price which
they had not anticipated. The pressure which they put
on players for campaign contributions had much to do
with later trade union organization in the screen in-
dustry. In other words, the men in power overplayed
their hands."
The major companies have always overplayed their
hand. They overplayed their hand when they dragged
exhibitor-producer negotiations for a better contract
immediately after the entry of Mr. Will H. Hays into
the motion picture industry, compelling the exhibitors
to accept compulsory arbitration in return for a uni-
form contract. They overplayed their hand when,
through the Film Boards of Trade, they controlled, in
the majority of the cases, the decisions of the arbitra-
tors. They overplayed their hand when they used arbi-
tration as a collection agency. They overplayed their
hand when they used the credit committees as a black-
jack. They overplayed their hand when they framed the
NRA Code to suit themselves. They overplayed it
when they refused to clean up the screen voluntarily,
doing so only after the churches had revolted and
threatened to boycott the entire industry. They over-
played their hand when they, in making deals with
large circuits, tried to put provisions into the con-
tracts affecting the rights of third parties, without the
knowledge of such parties. But the most glaring over-
play of hand that was done by most of them was when
they bought theatres right and left, in small towns as
well as in the big cities, by fair or unfair means, either
forcing the owners of them to sell their theatres at a
sacrifice, or putting them altogether out of business by
means of a competitive theatre.
They have, of course, paid through the nose in every
instance; but the greatest payment still has to be made;
they will be compelled to make it as a result of the suit
that the U. S. Government has brought against them,
to compel them, not only to discontinue their monopo-
listic practices, but also to give up their theatres.
That they will be compelled to give up their theatres
no unbiased person has any doubt; so much precedent
has been established in the courts in the cases of other
industries, proving the right of the Government to
order separation of the wholesaler from retailing activi-
ties, that it is almost a certainty that such will be the
verdict of the courts also in this case.
All indications point to the fact that the United
States Government is bent upon setting the motion
picture house in order. But to do so most easily it has
to have the cooperation of every theatre owner who
has at one time or other suffered from the unfair tac-
tics of the producer-distributors.
If you are one of those exhibitors who has either
been forced by them to go out of business, or is now-
conducting your theatre at a loss as a result of monopo-
listic practices, you owe it to yourself to submit your
facts to the Department of Justice. The Department of
Justice no doubt wants to know the following facts:
(1) Information tending to show that the major
companies have acquired theatres in such a way as to
divide the United States into theatre domains.
(2) Facts tending to show that each theatre-owning
producer-distributor is given priority and preference in
regards to pictures produced and distributed not only
by other producer-distributors, theatre-owning or not,
but also by itself, depriving independent theatre own-
ers, operating in the same locality, of early-run product.
(3) Information showing that a theatre owner was
compelled to sell or lease his theatre to a major com-
pany or its affiliate by threatening:
(a) To build a competitive theatre.
(b) To purchase a theatre site in his neighborhood.
(c) To deprive him of product.
(d) To purchase an equity or interest in a compet-
ing independent theatre with the object of gaining
control of the independent theatre.
(e) To impose arbitrary clearance and zoning, as
well as excessive film rentals, or other conditions that
would prevent the continued successful operation of
the independent theatre.
When an independent theatre owner was or is in
competition with a theatre owned or controlled by
one of the major companies or by one of such com-
pany's subsidiaries, the Department of Justice would
naturally want to know if the following practices have
been resorted to against that theatre for the benefit of
the affiliated theatre:
(a) Giving preference or priority to its own theatre,
or to the affiliated theatre of another major company,
in the licensing of product, thus preventing the inde-
pendent theatre from obtaining first or preferred run.
(b) Product overbuying and double-billing so as to
keep all product away from the independent theatre
owner.
(c) Refusal of a major company to release to the
independent theatre owner product which the affiliated
competitor has not exhibited or does not intend to
exhibit, until after such product has lost its box-office
value.
(d) The imposition upon such independent theatre
of unreasonable zoning as well as of clearance for the
benefit of the affiliated theatre.
(e) The withholding or the delaying of exhibition
by an affiliated theatre, thus increasing, in effect, the
period of clearance over the subsequent-run independ-
ent theatre.
(f) The transferring by an affiliated theatre of a first-
run picture to another theatre in the same locality, on
the excuse of "continuous run," thus reducing the box-
office value of that picture to the independent theatre.
(g) The forbidding of double bills as well as the
establishing of minimum admission prices for the
benefit of a competing affiliated theatre.
In writing your complaints to the Department of
Justice, you might take up also the following questions:
(1) Block-Booking: If the producer compelled you
to buy his product in a block form so as to (a) fill
your play-dates and thus prevent you from buying pic-
tures from another producer-distributor; (b) prevent
you from showing in your theatre the type of pictures
your patrons liked to see.
(2) Score Charge: If the producer made the score
charge so unreasonable that he made the operation of
your theatre unprofitable.
(Continued on last page)
142
"Spawn of the North" with George Raft,
Henry Fonda, Dorothy Lamour
and Louise Piatt
(Paramount, Aug. 26; time, 109 min.)
A strong melodrama that should prove particu-
larly thrilling to men ; women may find it a little
too rough in spots for their taste. The novelty of
the setting, the magnificent photography, the ter-
rific excitement in the scenes of the fight hetween
the fishermen and the raiders, and the climax show-
ing the breath-taking crash of the glacier, are the
main attractions ; blended with this is a drama of
friendship, love, and hatred. The necessity of de-
veloping the love story occasionally slows up the
action ; but the action fans will, for the most part,
find it exciting fare. The Alaska fishing country is
the background :—
Henry Fonda and George Raft are sincere
friends who would do anything for each other.
Fonda, upon his father's death, becomes owner of
a broken-down cannery that he was determined to
build up. Along with the other fishermen, he sets
his traps for a haul during the salmon season. But
Raft had other ideas ; he wanted to buy a ship and
go in for whaling, and he hoped that Fonda would
join him. In order to make money quickly, Raft
becomes mixed up with Akim Tamiroff and his
gang of pirates who raided and stole hauls from
other fishermen's nets. Dorothy Lamour, owner of
a waterfront hotel, who was deeply in love with
Raft, pleads with him to give up the illegal work,
but he insists that he had to have the money quickly.
In a terrific fight between Tamiroff 's men and the
fishermen, Fonda is forced to shoot Raft, who was
bombarding the fishermen's boats. Raft recovers ;
but, realizing that Tamiroff was out to kill his
friend, pretends to hate Fonda. He induces Tam-
iroff to take him out in his boat in order to get to
Fonda, who was preparing to fight it out with
Tamiroff. On a pretext, he gets Tamiroff to go into
the cabin. He then purposely crashes the boat into
a glacier, thereby killing himself and Tamiroff.
Fonda realizes that Raft had sacrificed his life for
him. He is consoled by Louise Piatt, his sweet-
heart, who had been a friend to the two men since
their boyhood days. Miss Lamour is grief-stricken.
Barrett Willoughby wrote the story, and Jules
Furthman and Talbot Jennings, the screen play ;
Henry Hathaway directed it, and Albert Lewin
produced it. In the cast are John Barrymore, Lynne
Overman, Fuzzy Knight, and others.
Suitability, Class A.
"Garden of the Moon" with Pat O'Brien,
Margaret Lindsay and John Payne
(1st Nat. [1938-39], Rel, date not set; 92y2 min.)
This musical should go over well with young
folk. It has plentiful comedy, excellent music of
the swing variety, romance, and fast action. Most
of the laughs are provoked by Pat O'Brien, who,
as the manager of a famous cafe, tricks every one
into doing what he wants ; one of the funniest gags,
which is used in a few scenes, is that in which he
breaks a watch whenever he is in a tight spot, pre-
tending that it was a gift from his mother and
thereby winning the sympathy of those opposing
him. John Payne, a comparative newcomer, makes
a good impression ; he has a pleasant voice and acts
with ease in the romantic scenes : —
O'Brien, manager of "Garden of the Moon," a
well-known Hollywood cafe, is annoyed when the
band he had booked to open the new season is un-
able to appear owing to a bus accident. Margaret
Lindsay, his publicity agent, induces him to engage
Payne and his band ; although they were unknown
she had once heard them play in a cheap New York
restaurant and felt that they would make a hit.
Payne is naturally delighted at the opportunity ;
but once he arrives in Hollywood, he clashes with
O'Brien, who gives him two weeks' notice of dis-
missal. Miss Lindsay, knowing how O'Brien loved
to entertain royalty, works out a scheme with
Jimmy Fidler, radio commentator, and Payne ;
they engage a man to pose as the son of an Indian
potentate, and to pretend that he was a good friend
of Payne's. The scheme works, and O'Brien is de-
lighted to entertain the royal guest. He makes over-
tures to Payne to stay on at the cafe, but Payne
refuses. When he finds out about the trick he is
ready to kill Payne ; but again he has to control his
temper when he learns that Payne and his band
had been booked for an important radio hour. By
pretending that he was dying, he induces Payne to
sign a contract to remain in Hollywood. When
Payne realizes he had been tricked, he is furious,
but he calms down for he knew he had opportuni-
ties in Hollywod ; furthermore, he had fallen in
love with Miss Lindsay.
H. Bedford Jones and Barton Browne wrote the
story, and Jerry Wald and Richard Macauley, the
screen play ; Busby Berkeley directed it. and Lou
Edelman produced it. In the cast are Johnnie Davis,
Melville Cooper. Isabel Jeans, Mabel Todd, and
others.
Suitability, Class A.
"Convicted" with Charles Quigley
and Rita Hayworth
(Central Films-C olumbia, Aug. 18; time, 54 min.)
Poor. The picture does not look as if it were pro-
duced in Hollywood, for the players, aside from
the two leading ones, as well as the backgrounds,
are unfamiliar. The production looks cheap, the
story is trite, and the acting does not help matters
much. It hasn't one redeeming feature- — even the
dialogue is stupid, and in some spots rough. And it
fails to hold the spectator's attention, for it is quite
obvious just how the plot will develop and end : —
Rita Playworth, a night club entertainer, tries to
stop her brother (Edgar Edwards) from running
away with a golddigger (Phyllis Clare) ; but he re-
sents her interference. Edwards arrives at Miss
Clare's apartment, only to find her dead ; he is ar-
rested for the murder, tried and convicted. Miss
Hayworth is certain that her brother did not com-
mit the crime and tries to make Charles Quigley.
the police detective, believe her ; but he refuses.
Realizing that Marc Lawrence, night club owner,
was in some way mixed up in the case, she obtains
a position as entertainer at his club. Lawrence be-
comes enamored of her and permits her the free-
dom of his quarters. On the day that her brother
was to be electrocuted, she obtains evidence against
Lawrence ; but he finds out who she is and attempts
to kill her. He then tells her that he had killed the
other girl. Quigley. who had been listening at the
door, rushes in and arrests Lawrence. Edwards is
freed ; Miss Hayworth and Quigley plan to marry.
Cornell Woolrich wrote the story, and Edgar
Edwards, the screen play ; Leon Barsha directed it.
In the cast are George McKay, Doreen Mac-
Gregor and others.
Suitability. Class B
September 3, 1938
HARRISON'S REPORTS
143
"I Am The Law" with Edward G. Robinson,
Wendy Barrie and John Beal
(Columbia, Sept. 2 ; time, 83 min.)
Very good ! Like "Racket Busters" and "Smash-
ing the Rackets" this melodrama centers around
the efforts of a special prosecutor to wipe out rack-
eteering ; it is the best of the three. The production
is lavish and the performances are excellent. There
are plentiful thrills, once Robinson, as the prosecu-
tor, starts his investigation. Except for occasional
bits of comedy, the story is concentrated mostly on
the melodramatic angle : —
Robinson, professor of law at a college, reluc-
tantly agrees to go on a year's vacation with his
wife (Barbara O'Neill). He is happy when he is
appointed special prosecutor to investigate racke-
teering, for it meant that he would not have to go
away. But he finds it difficult to get any place with
the investigation since frightened witnesses, who
had been threatened, refuse to testify. He finally
convinces one man that he should talk ; but before
this man could get to his office the racketeers kill
him. Robinson is compelled to resign. Determined
to continue with the investigation on his own, he
enlists the aid of John Beal and twenty-four other
lawyers, who had been his students, and proceeds
with the investigation. To his sorrow he learns that
the racketeer leader was none other than Seal's
father (Otto Kruger) ; Beal is at first unaware of
this but later finds out and is determined to stick
with Robinson. Working along with Kruger is
Wendy Barrie, his mistress, who does not even
stop at murder to help Kruger. Robinson collects
all his data, including motion pictures involving
Miss Barrie in a murder ; when he shows the film
to Kruger, the latter realizes that he could not fight
back. Not wishing to hurt his son, Kruger walks
into a trap he had set for Robinson and is killed.
With Kruger gone, Robinson is able to clean up
racketeering. He is happy when his work is fin-
ished and he is able to go back to teaching.
Fred Allhoff wrote the story, and Jo Swerling,
the screen play ; Alexander Hall directed it, and
Everett Riskin produced it. In the cast are Arthur
Loft, Marc Lawrence, Robert Middlemass, and
others.
Not suitable for children. Class B.
"Come On Leathernecks"
with Richard Cromwell and Marsha Hunt
(Republic, Aug. 8; time, 65 min.)
A fair action melodrama with comedy. Although
the story is routine, it holds one's attention fairly
well owing to the good performances. The action
drags a little in the beginning ; but it picks up in
the second half, and ends with an exciting fight
between Marines and smugglers. Edward Brophy,
as the hero's excitable manager, provokes laughter
in each scene in which he appears. The romance
is pleasant, but it is not stressed too much : —
When Bruce MacFarlane, U. S. Marine lieuten-
ant, learns that Richard Cromwell, who had just
graduated from Annapolis, intended to become a
professional football player instead of an officer in
the Navy, he is shocked, for he knew that Crom-
well's father (Robert Warwick), U. S. Colonel in
the Marine Corps, would be heartbroken. Mac-
Farlane tricks Cromwell into reporting for duty
on the Coast ; Cromwell promises to get even with
him. In the meantime, Brophy, who had signed
Cromwell up tn play football, follows him wher-
ever he goes. MacFarlane tricks Cromwell aboard
a ship bound for the Philippine Islands and knocks
him unconscious. Cromwell awakens to find that
the ship was already on its way; his hatred for
MacFarlane is intensified. Cromwell meets and
falls in love with Marsha Hunt, one of the passen-
gers, who owned a plantation in the Islands ; travel-
ling with her is Leon Ames, who had leased the
plantation from her. She was going to see her
brother, who worked for Ames. Once Cromwell
lands, he is compelled to do active duty. Investi-
gation by the Marines of gun runners leads them
to Miss Hunt's plantation ; it is discovered that
Ames was the guilty person, but that Miss Hunt
knew nothing of it. Not until Cromwell fights with
the Marines and helps capture the gang of gun
runners does he realize how exciting and worth-
while Navy life could be. He decides to give up
football and settle down as an officer, with Miss
Hunt as his wife.
Sidney Salkow wrote the story, and he, Dorrell
and Stuart McGowan, the screen play ; James
Cruze directed it, and Herman Schlom produced
it. In the cast are Howard Hickman, James Bush,
and Walter Miller.
Suitability, Class A.
"Fugitives For a Night"
with Frank Albertson and Eleanor Lynn
(RKO, [1938-39] Sept. 23; time, 62]/2 min.)
A fair program entertainment. It is a murder
mystery melodrama, but its main attraction, as far
as the masses are concerned, is the Hollywood
studio background, which gives an inside, but not
a very pleasant, view of how some persons con-
nected with motion picture studios act. With the
exception of the heroine, most of the characters
are objectionable ; even the hero is presented as a
weakling, who permits every one to treat him shab-
bily. The production values are worthy of a better
story : —
Frank Albertson, whose ambitions to become an
actor lead him into accepting a position as "stooge"
to Allan Lane, a star, until his talents would be
recognized, is taunted by Eleanor Lynn, a publicity
writer, who felt that his work was degrading. She
tries to convince him that he did not belong at the
studio and that he would be better off as the owner
of a hamburger stand. But Albertson, who was in-
fatuated with Adrienne Ames, an actress at the
studio who just used him for menial jobs, refuses
to give up. When Lane, who was on a strike with
his producer (Russell Hicks), has no further use
for Albertson, Bradley Page, a fading star, engages
him as his "stooge." During a party given by Hicks
at a gambling casino, the police raid the place ; in
the excitement, Hicks is murdered. When evidence
points to Albertson as the murderer, Miss Lynn
rushes him out of the place. Eventually, feeling he
could prove that Lane was the murderer, Albertson
gives himself up to the police ; but his information
against Lane is worthless. Page finally confesses
that he was the murderer ; he had blamed Hicks for
his waning popularity. Disillusioned about actors.
Albertson decides to buy a hamburger stand and
to marry Miss I .vim.
Richard Wormser wrote the story, and Daltou
Trumbo, the screen play ; Leslie Goodwins directed
it, and Lou Lusty produced it. In the cast are Jona-
than Hale, Paul Guilfovle, and others.
Suitability, Class B.
144
HARRISON'S REPORTS
September 3, 1938
(3) Designation of Play-Dates: If the major pro-
ducer-distributor arbitrarily imposed upon you desig-
nation of play-dates, interfering seriously with the
establishing of the policy you desired to follow in the
operation of your theatre.
(4) Contract Provisions: If the major producer com-
pelled you to buy his short subjects before he would
sell you his features.
You might inform the Department of Justice also
if any exchange men, branch managers or salesmen,
are interested in a theatre in your locality, using their
influence to deprive you of the product that you would
be entitled to if an independent theatre owner were
operating such a theatre.
In submitting your complaint, be specific: give your
name and address, and the name and address of your
theatre; the names of the companies and the location
of the theatre or theatres they operate; and the name
of the exchangeman, as well as the name of the com-
pany he works for, with the address of each. Let the
Department of Justice be swamped with the facts it
would naturally need, for the prosecution of the case.
Heretofore you dared not come out in the open for
fear of reprisals. But this time you need not fear, for
the complaint has been brought, not by exhibitors, but
by the United States Government. Under such circum-
stances, no company will dare retaliate. Remember
that the United States Government has brought this
case against the major companies, at a great expense,
to protect you, so that you might be enabled to conduct
your business as a free citizen of a free country, un-
molested by the powerful. You should, therefore, give
to the Department of Justice your cooperation to the
fullest extent.
SHOULDN'T A COBBLER STICK
TO HIS LAST?
According to an announcement made by Mr. Barney
Balaban, its president, Paramount has now entered
the television field.
Commenting in its August 13 issue on the Paramount
step, Motion Picture Herald says in one paragraph :
"Paramount's entrance into the television field is
being made with a view to the use of motion picture
film in television broadcasts, it was generally under-
stood."
By entering the television field, Paramount will be
compelled to divide its attention between its picture
interests and television.
In the opinion of Harrison's Reports, Paramount
would have served its own interests and those of the
exhibitors much better had it confined itself to pro-
ducing better pictures. There is so much room for
improvement in the quality of its product that, if it
were to do so, it would profit to a far greater extent.
What can television offer by way of entertainment
that motion pictures cannot offer? Transmission of
feature pictures by television is not as satisfactory, as
recent experiments have proved, as is reproduction of
the same pictures on a screen from the film. The only
novelty they would offer would be the transmission of
acts, directly from the stage where they are acted; also
current events.
But to reproduce on the screen current events, it will
be necessary to interrupt the projection of the motion
picture. And that would be a disadvantage. Under
such circumstances most people might prefer to have
their current events in the theatre by means of news-
reels.
The only novelty television would offer to motion
picture theatres would be, as said, the transmission of
acts directly from the stage. But that would require
a large picture. And the reproduction of a large pic-
ture is, at present, too expensive a matter, as stated in
a recent issue of Harrison's Reports. Just now tele-
vision is still in the experimental stage; the picture it
reproduces is large enough to be suitable only for the
home.
It is assumed that Paramount has rushed into the
television field lest other film companies take it up
first, as it happened with talking pictures. But talking
pictures were an entirely different matter; something
that they did not possess was added to the motion pic-
tures— sound, whereas television offers for the theatre
nothing that motion pictures cannot offer. Besides, who
in the Paramount organization knows anything about
television? Will it not, then, prove costly for it to en-
gage in something none of its executives knows any-
thing about? Didn't its costly broadcasting activities
with the Columbia Broadcasting system prove a lesson
to it?
If Paramount has a surplus that it can waste, wouldn't
it be better if it spent it reducing the prices it charges
the exhibitors for film?
Whatever novelty television may offer to picture
theatres, it is not of enough importance to have in-
duced a picture producing company such as Paramount
to divide its efforts. Paramount should have left the
handling of television to organizations that are fitted
for it, that can devote all their energies towards im-
proving it. As it is, Paramount will not be able to
contribute anything that regular television companies
cannot contribute to it much better, and will take away
from picture producing enough attention to cause, in
the opinion of this publication, a deterioration of its
product.
REFRESHING
Commenting recently on the fact that, out of $465,000
a year she earns, she receives in the end only a small
part of it, a great deal of it going to the government,
State as well as Federal, Miss Carol Lombard stated
the following:
"I had to pay my agent from that. I also had to give
my business manager a good salary. I had to spend
nearly $10,000 on fan mail, parties, publicity and other
incidental expenses, and when I got through I had
barely $20,000 left.
"But I have no kicks at all. Fact is, I'm pretty happy
about the whole thing. Twenty thousand a year is
plenty for me, and as for giving the Government most
of my income, I think that's fine.
"I enjoy this country. I like the parks and the high-
ways and the good schools and everything that this
Government does. After all, every cent anybody pays
in taxes in spent to benefit him.
"I don't need $465,000 a year for myself, so why not
give what I don't need to the Government for improve-
ment of the country? There's no better place to
spend it."
Miss Lombard's views in this matter are, indeed,
refreshing, particularly when one bears in mind the
fact that most people like to moan against taxes and
to criticize the Government for every dollar they have
to pay to it in taxes. They can gamble and lose many
dollars, but they don't want to pay to the Government
even a single dollar. They want the comforts of what
civilization offers, but they don't want to stand their
share of the cost. That is why Miss Lombard's views
are refreshing.
Aside from the fact that her views are refreshing,
they have done much to win the sympathy of the pub-
lic for her; and since she is part and parcel of the
motion picture industry, benefit is bound to reflect to
it. Most of those who have read her views on this sub-
ject, will, no doubt, admire her for it, and will be in-
clined kindly toward the motion picture industry.
Already two New York papers, the World-Telegram
and the Post, have commented on this matter favorably
to Miss Lombard — the Post editorially, in the August 29
issue, and Heywood Broun, in his August 27 column in
the World-Telegram; and there is no doubt in my mind
that many other newspapers either have commented
on her views or will comment on them.
Other motion picture artists should pay attention to
the beneficial effect Miss Lombard's attitude on a
public question has had upon the entire motion pic-
ture industry.
ORDER YOUR MISSING COPIES
Look over your files and if you find the copy of any issue
missing order a duplicate copy at once ; it will be supplied
to you free of charge.
You cannot know when the very copy missing will be the
one you'll need ; so why not go over your files now?
Kiawwd as seoond-class matter January 4, 1921, at the post oflJoe at New York, New York, under ihe act or Marcn j, io«v
Harrison's Reports
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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, SEPTEMBER 10, 1938 No. 37
A SPEECH MADE TO THE
WRONG PERSONS
At the Trampe dinner, given in Milwaukee last week
by members of the motion picture industry, Mr. Charles
C. Pettijohn, of the Hays office, made a speech urging
those present to agree to a system of self-regulation for
the settling of disputes between exhibitors and pro-
ducer-distributors.
In view of the fact that the majority of those present
were exhibitors, and none of the distributors present is
in a position to settle the matter of self-regulation,
Harrison's Reports feels that the speech was made to
the wrong persons, and in the wrong place; it should
have been made at a gathering of the heads of the
major companies, in New York or elsewhere — it mat-
ters not where, for it is they who have held up the
system of conciliation.
A good start was made recently when the majors
decided to look into the matter of conciliation seriously,
going so far as to appoint representatives among them-
selves to lay down a program, which they were to offer
to the independent exhibitors for consideration by the
leaders of their organization; but as soon as the Gov-
ernment's suit was filed, they discontinued the meet-
ings until the lawyers of their companies decided
whether or not it was legal for them to agree to a self-
regulation system with the independent exhibitors. A
promise was made to let the exhibitors know after
Labor Day whether the conciliation program could be
carried out or not.
In view of the fact that the system of conciliation
was to be voluntary and not compulsory, as was the
case with the arbitration system, which was outlawed
by the courts in 1929, there was no necessity to consult
lawyers in the matter; lawyers, in this paper's opinion,
have frequently brought trouble and kept exhibitors
and distributors divided. No legal opinion is required to
determine whether two people can or cannot get to-
gether to lay their troubles before a conciliator, be
such a conciliator an individual or a committee, so that
this conciliator might decide where an injustice lay, as
long as the parties to the dispute are not compelled to
accept the conciliator's decision, and as long as no
penalties are attached to either of the disputants if he
should reject the decision.
If some of the industry's lawyers were inclined to
advise their clients rightly, they should have advised
them not to pass the resolution that stipulated that any
theatre-owning member of their association that played
films without the Code Administrator's seal was to pay
a fine of $25,000 ; for if any act of the producers' has
been illegal certainly this one has; in the opinion of this
paper, it reeks with illegality.
There have been cases, and the Department of Justice
no doubt knows of them, where affiliated theatres re-
fused to play a film, simply because it did not have the
Code Administrator's seal. Admissions to that effect
have been made. The lawyers will have a tough time
justifying the attitude of their clients in this matter.
As a matter of fact, the seal itself is, in the opinion
of Harrison's Retorts, the best proof of the existence
of a monopoly.
As far as the independent theatre owners are con-
cerned, it does not matter really whether the producer';
will offer to them a plan of conciliation, or of self-
regulation, as it is some times called, for the United
States Government has now undertaken to bring about
the abolition of the abuses. The best the exhibitors will
receive from the producers under the system of self-
regulation is a morsel; on the other hand, the least they
will receive through the Government's efforts will be
far more than the producers could offer voluntarily.
One point alone would be more than the producers'
greatest voluntary offer — separation of exhibition from
production-distribution, which the Government's suit
seeks to effect. So in suspending negotiations, the pro-
ducers are doing the exhibitors a favor rather than a
disservice.
THOUGHTS AT RANDOM
(Contributed by an Active Exhibitor)
Several years ago the distributors evolved a plan for
increasing grosses by contributing to the advertising
budgets of theatres in key cities. Often times the dis-
tributors bore the entire cost of the opening day ads,
but in the majority of cases they shared 50-50 on ex-
penditures over the theatres' normal advertising budget.
Concerning the continuance of such cooperative ad-
vertising Motion Picture Herald carried the following
news story: —
"Dissatisfaction among distributors over the support
given by exhibitors to cooperative advertising cam-
paigns, for which both share costs, reached an action
point this week when Paramount dropped its coopera-
tive policy in favor of magazine advertising and Warner
Bros, indicated it will adopt a similar position.
"... At Columbia, Mr. Cohn pointed out that:
'Exhibtors must realize they are in show business and
regardless of every other consideration look upon ad-
vertising as the life blood of their business.
" 'We don't mind giving money for cooperative ad-
vertising if the exhibitor will use it to increase his own
budget for advertising. But we are fed up with giving
exhibitors money to sell a picture and then seeing them
not only not use it for that but actually cut their own
house budget.' "
At Warner Bros., Mort Blumenstock, eastern di-
rector of advertising and publicity, said, "We feel that
we have been imposed upon by some exhibitors."
That some exhibitors "chiseled" on the distributors'
generosity, there is no question in the mind of the
writer. But isn't it a case of the shoe pinching when
it's on the other foot?
Still vivid in the minds of exhibitors are several law-
suits and buying strikes against distributors who tried
to chisel exhibitors by taking pictures off one year's
contract and putting them on the following year's at
higher rentals. Then, too, there was the neat bit of
chiseling performed when rental increases were ex-
tracted because of mounting production costs which
never mounted. And so on into the night.
That the Department of Justice felt that exhibitors
were being taken advantage of is shown in the anti-
trust suit recently filed.
Every showman knows that the backbone of any
local advertising campaign is the daily newspaper.
(Continued on last f>ane)
146
HARRISON'S REPORTS
September 10, 1938
"Block-Heads" with Stan Laurel
and Oliver Hardy
{MGM, August 19; time, 56 min.)
A good slapstick comedy. It is tilled with gags, both
old and new, some of which are extremely comical.
From the first scene, which shows Laurel guarding a
trench for twenty years without realizing that the war
was over, to the last one, the picture offers situations
that keep the audience laughing throughout. As a mat-
ter of fact, some of the scenes are so comical that one
does not have to be a Laurel-Hardy fan to enjoy them.
In the development of the plot, Hardy, who thought
his pal Laurel had been killed in the war, is happy,
twenty years later, to find him alive. Thinking that
Laurel had lost a leg, he offers him the hospitality of
his home; even when he finds out that he had been mis-
taken he still insists that he live with him and his wife
(Minna Gombell). After many misadventures, during
which Laurel ruins Hardy's car and gets him into a few
fights, they finally arrive at Hardy's apartment. But
Miss Gombell objects to Laurel's presence and leaves.
The two men, in an effort to cook dinner, blow up the
stove, wrecking the apartment. Patricia Ellis, the next-
door neighbor, tries to help them out; but the untimely
return of Miss Gombell and Miss Ellis' jealous husband
(Billy Gilbert), makes it necessary for Hardy to hide
Miss Ellis. Eventually Gilbert finds out that Miss Ellis
was hiding in a trunk in Hardy's apartment and is furi-
ous. He goes for his gun and chases the two men
through the streets, determined to kill them.
Charles Rogers, Felix Adler, James Parrott, Harry
Langdon and Arnold Belgard wrote the original screen
play, John G. Blystone directed it, and Hal Roach, Jr.,
produced it. In the cast are James Finlayson, and
others.
Suitability, Class A.
"Valley of the Giants" with Wayne Morris,
Claire Trevor and Charles Bickford
(Warner Bros. [1938-39], Sept. 17; time, 83 min.)
Very good. It is a virile out-door melodrama, with
plentiful action and thrills. Aided by the excellent tech-
nicolor photography and the impressive background of
the California Redwood Forest country, it is the type
of entertainment that has appeal for almost all types of
audiences. The several fights between the homesteaders
and the villain's men are so realistic that one is held in
tense suspense. But the most thrilling scene is that in
which the heroine and a friend, locked in a runaway
log train which was about to pass over a bridge that
had been tampered with by the villain's men, are saved
by the hero; one is held breathless during this scene.
Several changes have been made in the plot and in
characterizations, thereby lessening its human appeal;
but these changes are not serious enough to affect the
picture's entertainment value: —
Charles Bickford, a millionaire lumber pirate, learns
that, through a legal technicality, he was in a position
to steal thousands of acres of redwood timber from the
homesteaders. He sends Claire Trevor and her partner
(Jack LaRue), owners of a gambling palace, to San
Hedrin, to set up a gambling palace there and to help
him in his plans. The one person who stood in Bick-
ford's way was Wayne Morris, an independent mill-
man, who controlled the most important territory. Miss
Trevor becomes acquainted with him and learns that
the bank was holding his note for $50,000, which would
soon fall due. She imparts this news to Bickford who,
after some trickery, forces the bank to sell the note to
him. Morris, realizing that, unless he could cut enough
timber, Bickford would steal his land, enlists the aid
of all his friends to help him out. When his henchmen
report that progress was being made by Morris, Bick-
ford orders them to do anything to stop it. Morris is
forced to dynamite to stop the gangsters from carrying
out their plans. In a terrific fight with Bickford, he
throws him down a cliff in the path of the blasting; but
he rushes down and drags him to safety. Bickford, ap-
preciating what Morris had done and realizing that he
was licked, leaves the state, thereby bringing peace and
happiness to the homesteaders who get back their
lands. Morris and Miss Trevor, who had been regen-
erated, are married.
The plot was adapted from the novel by Peter B.
Kyne; Seton I. Miller and Michael Fessier wrote the
screen play, William Keighley directed it and Lou
Edelman produced it. In the cast are Frank McHugh,
Alan Hale, Donald Crisp and John Litel.
Suitability, Class A.
"Breaking the Ice" with Bobby Breen,
Charles Ruggles and Dolores Costello
(RKO, August 26; time, 82 min.)
A fairly good comedy-drama, with human appeal ; it
should go over well where Bobby Breen is liked. The thin
story is bolstered up by Bobby's singing, Charles Ruggles'
antics, and the ice skating routine by five-year-old Irene
Dare, who makes her initial appearance in this picture.
As for general adult appeal, the story lacks action and
force : —
Dolores Costello, a widow, and her son (Bobby) live
with relatives (Dorothy Peterson and Robert Barrat) in a
Mennonite village. Bobby is at times unhappy because of
the strict rules imposed upon him by Barrat, who forbade
him to sing and act in a spirited manner. Determined to
help his mother to return to Kansas, where she had a
farm and where the man she was in love with lived,
Bobby runs away with Ruggles, a happy-go-lucky antique
dealer, who lived in Philadelphia. Bobby earns money by-
singing at a skating rink and in time returns home with his
savings, only to find that he had been accused of stealing
twenty dollars from his uncle. Bobby realizes that the
money must have dropped ir.lo a newspaper he had saved
and which he had later used for stuffing in a rocking chair
owned by Ruggles, but which they had sold. After a
hectic search, Bobby, helped by Ruggles, recovers the
money and proves his innocence. He and his mother are
happy to leave for Kansas.
Fritz Falkenstein and N. Brewster Morse wrote the
story, and Mary McCall, Jr., Manuel Seff and Bernard
Schubert, the screen play ; Edward F. Cline directed it,
and Sol Lesser produced it. In the cast are Billy Gilbert,
Charlie Murray, Jonathan Hale, Spencer Charters, and
others.
Suitability, Class A.
"Tenth Avenue Kid" with Bruce Cabot,
Beverly Roberts and Tommy Ryan
(Republic, August 22; time, 65 min.)
A good program melodrama, with human appeal.
Although the story is not particularly novel, it holds
one's attention throughout; in addition, the production
is good and the acting capable. The picture belongs,
however, to twelve-year-old Tommy Ryan; he is ex-
tremely convincing in the part of a tough youngster,
who becomes regenerated; he acts with ease, arousing
laughs or tears as the occasion requires. The closing
scenes hold one in suspense and provide some excite-
ment. The romance is pleasant but unimportant: —
Under instructions from Ben Welden, gang leader,
three crooks, led by John Wayne, hold up an armored
truck; they use Wayne's young son (Tommy) to carry
out their plans. Bruce Cabot, ace detective in charge
of the investigation, is tipped off by a stool-pigeon and
goes to Wayne's apartment; in a gun fight he kills
Wayne. He takes Tommy to the police station and tries
to make him talk; but Tommy, who was tough and
knew all the answers, refuses to be bullied. He is sent
to a reform school. Cabot, hoping to win Tommy over
with kindness, obtains his release and takes him to his
home. Tommy softens under the influence of Horace
MacMahon, an ex-pugilist, who worked for Cabot.
Tommy, thinking that Cabot was just using him, de-
cides to go to Welden with the baggage receipt for the
suitcase that contained the money. He repents and gets
a message to Cabot, who raids the hideout. Welden is
arrested, and Tommy is happily reunited with Cabot,
who had grown to love him. Tommy is assured of a
good home for Cabot had decided to marry Beverly
Roberts, a newspaper reporter, who was devoted to
Tommy.
Gordon Kahn and Adele Buffington wrote the story,
and Gordon Kahn, the screen play; Bernard Vorhaus
directed it, and Harry Grey produced it. In the cast
are Jay Novello, Charles Wilson, and others.
Suitability, Gass A.
September 10, J 938
HARRISON'S REPORTS
147
"My Lucky Star" with Sonja Henie
and Richard Greene
(20th Century-Fox [1938-39], Sept. 2; time. 84 mm.)
Although this is just fair in entertainment values, owing
to a weak story, it has very good hox-office possibilities
because of the popularity of Miss Henie and of the sup-
porting players. In addition, it has particular appeal for
women for Miss Henie wears attractive clothes through-
out. But the thing that gives this picture real value is the
skating pageant in the closing scenes called "Alice in
Wonderland," which is photographed in tint and is lav-
ishly produced. During this pageant, Miss Henie does the
most intricate skating routines that she has yet attempted.
Joan Davis and Buddy Ebsen help things along with
their comedy and dancing. The romance is pleasant : —
Cesar Romero, the young extravagant son of George
Barbier, owner of a large Fifth Avenue department store,
marries gold-digging Louise Hovick. His father is furious
and orders him to leave town. Romero, late one night,
discovers Miss Henie skating in the store's sport de-
partment ; by pretending that he was ill he induces her
to assist him to his apartment. His wife, in company
with a detective, arrives in order to get evidence against
Romero; but he manages to spirit Miss Henie away.
Knowing that Miss Henie wanted an education, Romero
induces his father to send her to college on a business
proposition — that is, to supply her with a large wardrobe
and thus build up trade for the store. Miss Henie becomes
a favorite because of her skating ability and is entered
for the annual Ice Carnival. She meets and falls in love
with Richard Greene, one of the students. Miss Hovick,
noticing Miss Henie's picture on a magazine cover, starts
an action naming her as corespondent. Because of the dis-
grace, Miss Henie is expelled from college; but Greene
believes in her. Miss Hovick agrees to retract her state-
ment upon payment to her of a large sum of money. Helped
by the college students, Miss Henie puts on a skating
pageant in the store as a publicity stunt. This wins Bar-
bier over ; he pays Miss Hovick the money she wanted,
and she, in turn, clears Miss Henie. Miss Henie is rein-
stated and is welcomed back by Greene and the other
students.
Karl Tunberg and Don Ettlinger wrote the story, and
Harry Tugend and Jack Yellem, the screen play; Roy
Del Ruth directed it, and Harry Joe Brown produced it.
In the cast are Arthur Treacher, Billy Gilbert, and
others.
Suitability, Class A.
Note: The well-known magazine "Life" receives some
excellent advertising in this picture.
"Carefree" with Ginger Rogers
and Fred Astaire
(RKO, September 2 ; time, 82 min.)
Good entertainment; it has been produced with the
customary lavishness of an Astaire-Rogers picture.
Despite a somewhat weak story, it manages to be en-
tertaining owing to the dancing by the stars, the
catchy tunes, and the good performances; and there
are several situations that provoke hearty laughter.
Although it is not up to some of the previous Astaire-
Rogers pictures, it should do good business because of
the fact that they have not been seen together for some
time and audiences may be eager to see them again: —
Ralph Bellamy, a wealthy lawyer, is in love with
Ginger Rogers, an actress; but she cannot make up her
mind whether to marry him or not. Bellamy induces
her to have a consultation with his best friend (Fred
Astaire), a psychiatrist, in order to find out why she
was so uncertain of herself. In a short time Miss Rogers
is deeply in love with Astaire, but he treats her just
like another patient. He puts her in a trance, ordering
her to forget about her inhibitions and to do whatever
she wanted to. While he is out of the office, she leaves,
and, still under the trance, gets into trouble. Eventually
she confesses to Astaire her love for him; he, thinking
she was just infatuated with him. again puts her in a
trance and impresses upon her the fact that she really
hated him and loved Bellamy. After he puts the thought
into her head he realizes he loved her, and tries to get
her back to a normal state; but Bellamy, knowing that
if Astaire succeeded, he would lose his fiancee, pre-
vents him from seeing her. The wedding date is set;
Astaire, with the help of a friend, succeeds in getting
to Miss Rogers just before the ceremony. He brings
her back to her former way of thinking, and she falls
into his arms; the wedding proceeds, but with Astaire
as the bridegroom.
Dudley Nichols and Hagar Wilde wrote the story, and
Ernest Pagano and Allan Scott, the screen play; Mark
Sandrich directed it, and Pandro S. Berman produced
it. In the cast are Luella Gear, Jack Carson, Franklin
Pangborn, and others.
Suitability, Class A.
"Freshman Year" with Constance Moore
and William Lundigan
(Universal [1938-39], Sept. 2; time, 67 min.)
As the initial offering in the collegiate series Universal
has announced for production, "Freshman Year" is an
entertaining program college comedy, with music; it
should appeal particularly to young folk. It has comedy,
of the wise-cracking type, mild romantic interludes, and
peppy music of the popular variety ; the story itself is
unimportant : —
Three freshmen, William Lundigan, Stanley Hughes,
and Frank Melton, become good friends and room to-
gether. Lundigan and Hughes quarrel over one of the
girl students (Constance Moore), but they soon settle their
differences. Lundigan hits upon the idea of making money
by selling "flunk insurance," that is, for fifty cents, he
would guarantee the payment of the ten dollars required
should a student "flunk" and have to take the examination
again. Lundigan felt safe for he knew that Ernest Truex,
an old-fashioned professor, had given the same simple
examination for years ; but Truex had decided to change
things and gives instead so difficult an examination that
most of the students fail. Not having enough cash with
which to meet the policies, Lundigan, with the help of
Hughes and other students, puts on a show, which nets
him enough to pay all the money that he owed.
Thomas Ahearn and F. Maury Grossman wrote the
story, and Charles Grayson, the screen play ; Frank Mac-
Donald directed it, and George R. Bilson produced it. In
the cast are Dixie Dunbar, Tommy Wonder, and others.
Suitability, Class A.
"Meet the Girls" with Lynn Bari
and June Lang
(20th Century-Fox [1938-39], Oct. 7; time, 66 mm.)
A moderately entertaining program picture, suitable
mostly for the second half of a double-feature bill. The
production is pretty good, but the story is extremely
far-fetched and has been developed according to for-
mula. Although some of the situations, despite their
silliness, are comical, the involved plot becomes tire-
some by the time the picture is half way through. The
producers have announced a series of adventure-com-
edies in which Lynn Bari and June Lang are slated
to appear, of which this is the first: —
After losing their positions as entertainers in a
Hawaiian cafe, and their cash in a dice game, Miss
Bari and Miss Lang board a steamer bound for San
Francisco, hoping thereby to get free food at some
farewell party. But they drink too much and before
they realize what had happened the boat sails and they
find themselves in the position of stowaways. Their
presence on the liner is a source of irritation to the
Captain, for they are constantly getting into trouble:
they even get mixed up in a jewel robbery involving
wealthv Gene Lockhart and his wife (Ruth Donnelly).
Miss Donnelly, who thought that they knew some-
thing of her escapades with a Hawaiian gigolo (Rob-
ert Allen), offers to give them $5,000 if they would
recover the jewel for her. They endanger their lives in
an attempt to get the jewel, and are finally successful.
Richer by $5,000. they land in San Francisco filled with
hopes.
Marguerite Roberts wrote the story and screenplay;
Eugene Forde directed it, and Howard J. Green pro-
duced it. In the cast are Constantinc Romanoff, Jack
Norton, and others.
Suitable for adults more than for children. Class B.
148
HARRISON'S REPORTS
September 10, 1938
Patrons have not yet been educated to pick up a maga-
zine to find out what is playing in town tonight. A
strong magazine campaign will be completely effective
only when backed up by a strong local campaign.
Funny how easy it is to shout, "I've been robbed!"
* * *
Sometime ago a prominent producer made the state-
ment that "there is nothing wrong with this business
that good pictures can't cure."
We have just gone through a summer of very medi-
ocre pictures and business was in line with the quality
of the product.
Two weeks ago "Alexander's Ragtime Band" was
released nationally. Whether it's playing at your thea-
tre or at the opposition house, the amazement is just
about the same. Not only is "Alexander" doing top
business but it is running ahead of the phenomenal
grosses of "Snow White."
Just when everyone believes the industry is on its
knees along comes "Alexander" to prove that a good
picture will do business. And good pictures will con-
tinue to do business.
Our hat is off to 20th Century-Fox and the produc-
tion staff responsible for "Alexander's Ragtime Band."
But let us have more like it!
* * *
"ELIMINATION OF GIVEAWAYS IN FOX-
WEST COAST HOUSES ORDERED BY SKOU-
RAS!" were the headlines in the trade papers.
What has caused Mr. Charles P. Skouras, operating
head of the Fox- West Coast Theatres, to make this
startling decision, the writer is at loss to know, but his
palms are red from applauding.
Does it mean that Mr. Skouras has suddenly discov-
ered that he is in the amusement business and giving
away automobiles, chinaware, merchandise, and cash
does not come under the head of selling entertainment?
Or does it mean that "thar is gold in them thar fillums"
when handled by a showman?
Last year, in the New York territory, the various
chains, independent and affiliated, tried to get rid of
giveaways, but little, if anything, happened to the
movement.
On the west coast, F-WC controls the situation and
if they definitely remove the cancer, independents, too,
will return to selling pictures and pictures alone.
The writer is of the opinion that the sooner give-
aways make an exit the better off we will be. We hope
that the F-WC move will be followed by exhibitors in
every section.
The next stigma to go is double features in first run
houses. Let's hear from Mr. Skouras on that!
BOX-OFFICE PERFORMANCES OF
1937-38 SEASON'S PICTURES— No. 1
This is the fifth series of articles giving the box-office
performances of 1937-38 season's pictures. The first series
was printed beginning with the October 23 issue ; the sec-
ond, beginning with the December 18 issue ; the third, be-
ginning with the March 5 issue, and the fourth, beginning
with the May 28 issue.
Columbia
"Main Event," with Robert Paige and Jacqueline Wells,
produced by Ralph Cohn and directed by Danny Dare, from
a screen play by Lee Loeb: Fair- Poor.
"Law of the Plains," with Charles Starrett and Iris
Meredith, directed by Sam Nelson, from a screen play by
Maurice Geraghty : Fair- Poor.
"Holiday," with Katherine Hepburn, Cary Grant, Doris
Nolan and Lew Ayres, produced by Everett Riskin and
directed by George Cukor, from a screen play by Donald
Ogden Stewart and Sidney Buchman : Very Good-Good.
"Stagecoach Days," with Jack Luden and Eleanor
Stewart, directed by Joseph Levering from a screen play
by Nate Gatzert : Fair-Poor.
"Highway Patrol," with Jacqueline Wells and Robert
Paige, produced by Wallace MacDonald and directed by
C. C. Coleman, Jr., from a screen play by Robert E. Kent
and Stuart Anthony: Fair-Poor.
"West of Cheyenne," with Charles Starrett and Iris
Meredith, directed by Sam Nelson, from a screen play by
Ed Earl Repp: Fair-Poor.
"City Streets," with Leo Carrillo and Edith Fellows, pro-
duced by Wallace MacDonald and directed by Albert S.
Rogell, from a screen play by Fred Niblo, Jr., and Lou
Breslow : Fair.
"Pioneer Trail," witli Jack Luden and Joan Barclay,
directed by Joseph Levering, from a screen play by Nate
Gatzert : Poor.
"Reformatory," with Jack Holt, Bobby Jordan and
Frankie Darro, directed by Lewis D. Collins, from a screen
play by Gordon Rigby : Good-Fair.
"South of Arizona," with Charles Starrett and Iris Mere-
dith, directed by Sam Nelson, from a screen play by Bennett
Cohen : Fair-Poor.
Forty-eight pictures have already been released. Group-
ing the pictures of the different ratings (including West-
erns) from the beginning of the season, we get the follow-
ing results :
Excellent, 2 ; Very Good-Good, 1 ; Very Good-Poor, 1 ;
Good-Fair, 4; Good-Poor, 4; Fair, 11; Fair-Poor, 23;
Poor, 2.
Thirty-eight pictures were released during the 1936-37
season, excluding the Westerns ; they were rated as fol-
lows :
Excellent, 1 ; Very Good, 1 ; Very Good-Good, 1 ; Good,
4; Good-Fair, 4; Good-Poor, 1; Fair, 5; Fair-Poor, 13;
Poor, 8.
First National
"Mystery House," with Dick Purcell and Ann Sheridan,
produced by Gordon Hollingshead and directed by Noel
Smith, from a screen play by Sherman Lowe and Robert-
son White : Fair- Poor.
"Crime School," with Billy Halop, Humphrey Bogart
and Gale Page, produced by Bryan Foy and directed by
Lew Seiler, from a screen play by Crane Wilbur and
Vincent Sherman : Very Good-Fair.
"When Were You Born," with Anna May Wong, Mar-
garet Lindsay and Lola Lane, produced by Bryan Foy and
directed by William McGann, from a screen play by An-
thony Coldeway : Fair- Poor.
"My Bill," with Kay Francis and Dickie Moore, pro-
duced by Bryan Foy and directed by John Farrow, from a
screen play by Vincent Sherman and Robertson White :
Good-Fair.
"Penrod's Double Trouble," with the Mauch Twins,
Dick Purcell and Gene Lockhart, produced by Bryan Foy
and directed by Lew Seiler, from a screen play by Crane
Wilbur : Good- Poor.
"The Amazing Dr. Clitterhouse," with Edward G. Rob-
inson, Claire Trevor and Humphrey Bogart, produced and
directed by Anatole Litvak, from a screen play by John
Wexley and John Huston : Very Good-Good.
Twenty-eight pictures have already been released.
Grouping the pictures of the different ratings from the
beginning of the season, we get the following results :
Excellent- Very Good, 1 ; Excellent-Good, 2 ; Very Good-
Good, 3 ; Very Good-Fair, 1 ; Good, 3 ; Good-Fair, 4 ;
Good-Poor, 1 ; Fair, 6 ; Fair-Poor, 7.
Twenty-seven pictures were released during the 1936-37
season, excluding the Westerns ; they were rated as fol-
lows :
Very Good-Good, 3 ; Good, 5 ; Good-Fair, 5 ; Good- Poor,
1 ; Fair, 6; Fair-Poor, 5; Poor, 2.
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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol, XX SATURDAY, SEPTEMBER 17, 1938 No. 38
MISREADING THE MOTIVES OF THE
UNITED STATES GOVERNMENT
For some time, The Hollywood Reporter has been carry-
ing on a campaign of misrepresentation of the motives of
the U. S. Government in the matter of the lawsuit that it
has brought against the major companies for the purpose
(a) of putting an end to their discriminatory practices
against the independent theatre owners, (b) of compelling
them to give up their monopolistic practices, and (c) of
dissociating themselves from the ownership or control of
picture theatres as tending to further the virtual monopoly
that they have set up. Says W. R. Wilkerson, its publisher,
in the August 13 issue :
"It's really too had the Government had to move in on
the picture business with its anti-trust trial. And too bad
the industry did not have someone with sufficient brains to
sit down with the Government, a long time ago, when the
tip was sent around that investigators were spotted all over
the country, to explain the real lowdown of everything the
Government wanted to know, and supply the RIGHT
information.
"If the industry had had a man who knew his ground,
a man who could explain any situation the Government
wanted to know, there would have been no investigation.
Certainly, there might have been a demand here or there
to correct something out of line, but there would have been
so little of the sort that the change never would have been
noticed.
"But, most important, the right man with the right knowl-
edge could have pointed out the FACTS of why the major
companies were forced to acquire theatres in motivating
spots in which to exhibit their pictures. He could have
explained, with reason, why certain protective measures
had to be placed on the business of exhibition. He could
have pointed out that the growth of this industry into the
third largest and greatest in the entire world, depended on
and was made so by those protective measures the majors
had to install into the exhibition of their product. . . ."
According to Mr. Wilkerson's reasoning, the U. S.
Government, in applying the anti-trust laws against the
violators of them, is prompted to do so, not by the viola-
tions of the law, but by its lack of understanding of the
law-violators' motives, and that, when the "purity" of
such motives is explained to its investigators, the Govern-
ment does not proceed with the prosecution of the violators
of the law. Mr. Wilkerson believes also that the producers
have none amongst them who understands his business ;
for if they had, he would have sat down with the Govern-
ment investigators a long time ago ". . . to explain ...
everything the Government wanted to know," by supplying
the "right" kind of information.
The Government investigators could, for example, be
told by such "right persons" why the major companies
went into exhibition, and why certain restrictions had to
be placed on the business of exhibition. If such a thing had
happened, there would not have been, according to the same
Wilkerson, a suit against the major companies.
It is difficult to understand how a man of W. R. Wilker-
son's experience could print such nonsense. Yes, one dig-
nifies such writings by calling them "nonsense," for they
are worse — they are drivel.
If Mr. Wilkerson should have taken a little time to read
court decisions, he would never have written such stuff,
for he would have then known what the U. S. Supretne
Court in unanimously upholding the lower courts, which
had declared compulsory arbitration illegal, on November
24, 1930, said partly :
"The Sherman Act seeks to protect the public against
evils commonly incident to the unreasonable destruction
of competition and no length of discussion or experimenta-
tion amongst parties to a combination which produces the
inhibited result can give validity to their action. Congress
has so legislated 'as to prevent resort to practices which
unduly restrain competition or unduly obstruct the free
flow of such commerce, and private choice of means must
yield to the national authority thus exerted.' . . .
"It may be that arbitration is well adapted to the needs
of the motion picture industry ; but when under the guise
of arbitration parties enter into unusual arrangements which
unreasonably suppress normal competition their action be-
comes illegal.
"In order to establish violation of the Sherman Act it is
not necessary to show that the challenged arrangement
suppresses all competition between the parties or that the
parties themselves are discontented with the arrangement.
The interest of the public in the preservation of competi-
tion is the primary consideration. The prohibition of tin-
statute cannot 'be evaded by good motives. The law is its
oivn measure of right and wrong, of what it permits, or
forbids, and the judgment of the courts cannot be set up
against it in a supposed accomodation of its policy with
the good intention of the parties, and it may be, of some
good results.' "... (The italics are ours.)
In other words, the good motives of the producers cannot
swerve the Department of Justice from doing its duty
against all those who violate the anti-trust laws.
Unfortunately, Mr. Wilkerson seems not to have read
this and other opinions to familiarize himself with the fact
that no matter how good the motives of the producers, they
are not excused from imposing upon the weak restrictions
which they think are demanded by the nature of the moving
picture business. For him to keep on passing information so
misleading will but harm those whom he aims to serve.
It would be well if Mr. Wilkerson should stop trying to
give a lesson of right conduct to the U. S. Government. In
this manner he would avoid making himself so ridiculous.
WHAT COOPERATION CAN DO!
The Motion Pictures' Greatest Year drive is already
proving an unprecedented success.
The success of the drive is owed to but one factor —
cooperation. With some minor exceptions, which are con-
fined, not to the drive itself, but to some minor details,
there has been complete harmony between exhibitors and
producer-distributors. Almost every one in the industry
has rolled up his sleeves and has gone to work. And busi-
ness is coming into the theatres.
Why couldn't this great strength have been utilized all
along? It could, but the greed of some of the major pro-
ducers couldn't let them see the greater benefit that would
accrue to them by giving the little fellows, too, a chance to
live. Instead of exploiting what they had to the greatest
degree, getting the benefit to the fullest extent, they utilized
their energies toward employing all kinds of political
manipulation to get it all. And now that they have it they
are running the risk of losing greatly more than they were
asked to give.
Where are they going to be after the Government suit is
tried?
They are lulling themselves into the belief that the
Government will not succeed in the end — that the U. S.
Supreme Court will reverse the decision of the lower courts
if they should decide against them.
Down in their hearts they hardly believe that such will
be the outcome. But suppose, for the sake of argument, tliat
(Continued on last page)
150
HARRISON'S REPORTS
September 17, 1938
"You Can't Take It with You" with
Lionel Barrymore, Jean Arthur
and James Stewart
(Columbia [1938-39], Sept. 29; time, 127 win,)
Excellent. Robert Kiskin did a fine job in adapting it
from the stage play for he wisely placed emphasis on the
human rather than on the farcical side of the story ; yet he
did this without sacrificing any of the comedy angles. The
home life of the eccentric family and their equally eccentric
friends is depicted in so delightful a manner that, despite
their antics, one finds them likeable and sympathetic. It is
the type of entertainment that amuses one and sets one to
thinking, for, mixed in with the romance and comedy,
which at times causes uproarious laughter, it offers some
sensible homespuw philosophy that is understandable to the
masses. No one player can be singled out as giving the best
performance, for every one in the cast is excellent : —
Lionel Barrymore, who thirty years previously had de-
cided to stop working, enjoys his leisure. Following his
example, his daughter's family, with the exception of
daughter Jean Arthur, likewise do just what they please.
For instance, his daughter (Spring Byington) wrote plays
because some one had left a typewriter in their house by
mistake, her husband (Samuel Hinds) and two of his
cronies, who lived with the family, manufactured fire-
crackers in the cellar, and Ann Miller, the other daughter,
studied ballet dancing under the supervision of Mischa
Auer, a Russian outcast, who practically lived at the house ;
even Miss Miller's husband, who lived with them, had a
hobby, and the colored maid was jolly and natural. Miss
Arthur surprises her family by announcing that she had
become engaged to James Stewart, son of millionaire Ed-
ward Arnold. Stewart, who was charmed by the family and
wanted his parents to see them without any preparation,
surprises Miss Arthur by bringing them unannounced.
Everything starts happening — the firecrackers explode and
every one in the house is arrested as a radical. They are
eventually released; but, because of the attitude of Stew-
art's parents, Miss Arthur breaks the engagement. Arnold's
contact with the slightly mad family makes him realize that
he was missing something. And so he gives up a ruthless
business venture that would have ruined many and, instead,
goes to visit with Barrymore. His presence at the house
brings joy to the family, for it meant happiness to Miss
Arthur, who had been pining since her separtion from
Stewart.
The plot was adapted from the play by George S. Kauf-
man and Moss Hart ; Frank Capra directed and produced
it. In the cast are Donald Meek, H. B. Warner, Halliwell
Hobbes, and others.
Class A.
"Secrets of an Actress" with Kay Francis,
George Brent and Ian Hunter
(First Nat'l, [1938-39], Sept. 10; time, 69}/> miu.)
Just a lair program picture. The story is trite and lacks
fast action. And it is developed in so routine a manner, that
one knows just what is going to happen and how it will
end ; for this reason one loses interest in the outcome.
There is not much that the performers can do with the
material, for almost throughout they are made to mope : —
Kay Francis, an actress waiting for a chance to play on
Broadway, becomes acquainted with Ian Hunter, a wealthy
architect ; he is so impressed with her beauty and talent that
he is determined to finance a play, with her as the star. His
partner (George Brent) is very much against the idea, but
Hunter refuses to listen to him. Once Brent meets Miss
Francis, he changes his mind, and even falls in love with
her, as she does with him. But he does not tell her that he
was married ; he had been living apart from his gold-dig-
ging wife (Gloria Dickson) for two years, and wanted to
ask her for a divorce before speaking of the matter to Miss
Francis. In the meantime, Miss Francis finds out about the
marriage and. in despair, turns to Hunter, promising to
marry him. But Hunter realizes that she loved Brent and,
by a ruse, induces Miss Dickson to give Brent a divorce.
The lovers are happily reunited.
Milton Krims, Rowland Leigh, and Julius J. Epstein
wrote the original screen play, William Keighley directed
it, and David Lewis produced it. In the cast are Isabel
Jeans, and others.
Although there is nothing morally unsuitable in the pic-
ture, it is hardly the type of entertainment for children.
Therefore, Class B.
"Road to Reno" with Randolph Scott, Hope
Hampton and Helen Broderick
(Universal [1938-39], Sept. 30; time, 68 min.)
Just a light program comedy. As for Miss Hampton's
return to the screen, this reviewer fears that there is not
much hope of her becoming popular. Considering the fact
that operatic stars whose names have been before the public
constantly have not had much success in pictures, it is
doubtful whether Miss Hampton, who has not appeared on
the screen or in public in general for many years, will
attract the masses. Nor is the story of much help; it is for
the most part pretty silly, and at times slightly risque. The
actions of the characters are not such as to awaken the
spectator's sympathy : —
Miss Hampton, a famous operatic star, goes to Reno to
obtain a divorce from her rancher husband (Randolph
Scott), with whom she had never lived because he had
wanted her to give up her career ; she planned to marry
wealthy Alan Marshall. But Scott refuses to consent to the
divorce and makes it difficult for Miss Hampton to serve
papers on him. On the advice of Scott's aunt (Helen Brod-
erick), Miss Hampton turns the place into a dude ranch,
much to Scott's disgust; but he refuses to let even this
annoyance change his mind about the divorce. Marshall
arrives on the scene to complicate matters, for by this time
Miss Hampton had decided that she really loved Scott and
did not want a divorce. Mistaking Scott's friendship with
Glenda Farrell, a much-divorced young woman, Miss
Hampton proceeds with the divorce. She changes her mind
again and purposely testifies incorrectly so as not to win
the decree ; but Scott, who, in the meantime, had served
her with papers, wins his divorce, only to become recon-
ciled with Miss Hampton when he realizes that she really
loved him.
The plot was adapted from the novel by I. A. R. Wylie;
Charles Kenyon and F. HurIt Herbert wrote the new story,
and Roy Chanslor and Adele Comandini, the screen play ;
S. Sylvan Simon directed it, and Edmund Grainger pro-
duced it. In the cast are David Oliver, Samuel S. Hinds,
and others.
Not suitable for children. Class B.
"Three Loves Has Nancy" with Janet
Gaynor, Robert Montgomery
and Franchot Tone
(MGM [1938-39], Sept. 2; time, 68 min.)
A delightful comedy. The story in itself is not unusual;
but it has been developed in so amusing a fashion, that it
holds one's attention throughout. In addition, the acting
and direction are excellent. Not only are the situations
comical, but the dialogue, too, is amusing. And to top it off,
it has human appeal, due mostly to the charm and simple-
ness of the heroine. The romantic entanglement involving
the heroine and two friends is the cause for most of the
comedy : —
Janet Gaynor, a young naive Southern girl, arrives in
New York to look for her fiance, who had failed to show up
at their wedding. Failing to find him at the place where he
was last employed, she goes to the apartment of Robert
Montgomery, a sophisticated eccentric author whom she
had met on the train. He considers her a pest and wants
her to leave immediately ; but suddenly it dawns on him
that he could use her to get rid of scheming Claire Dodd,
who wanted to marry him. Franchot Tone, Montgomery's
publisher and next-door neighbor, is attracted to Miss
Gaynor, and after tasting the breakfast she had made, he
insists that she become his cook ; but when he informs
Montgomery that he intended to marry hera Montgomery
sends for Tone's parents ; Tone, in the meantime, sends for
Miss Gaynor's folk. Eventually, after a heated argument
between the two families, Miss Gaynor saddens Tone by
telling him that she did not love him. Montgomery then
realizes that he loved Miss Gaynor, as she did him, and
they are united.
Lee Loeb and Mort Braus wrote the story, and Bella
and Samuel Spewack, George Oppenheimer, and David
Hertz, the screen play ; Richard Thorpe directed it, and
Norman Krasna produced it. In the cast are Guy Kibbee,
Reginald Owen, Cora Witherspoon, and others.
Suitability, Class A.
September 17, 1938
HARRISON'S REPORTS
151
"Boys Town" with Spencer Tracy
and Mickey Rooney
(MGM [1938-39], September 9; time, 93 min.)
A very good drama, with strong emotional appeal. The
picture is dedicated to Father Flanagan, who has done
excellent work on behalf of homeless boys in Nebraska,
where he actually established such a place as Boys Town.
It is an inspiring story that is unfolded here, for it shows
the determination and courage of one man, in the face of
hardships, to help homeless boys. Spencer Tracy, in the part
of Father Flanagan, has a great deal to do with the picture's
excellence; he plays with restraint and dignity. Mickey
Rooney is, as usual, outstanding ; starting out as a tough
boy, his actions in the beginning a|e the cause for hearty
laughter. His regeneration in the end, although brought
about by a sentimental episode, touches one deeply. There
are several situations that bring tears to the eyes. There
are no women in the cast.
In the development of the plot, Father Flanagan, who
had built Boys Town after a terrific financial struggle, dur-
ing which he was helped mostly by Dave Morris (.Henry
Hull), an old friend, goes to visit a young convict. The
convict pleads with him to take care of his young brother
YVhitey (Rooney) and Father Flanagan promises. At first
Whitey, who was tough, refuses to go ; but Father Flana-
gan forces him to. Whitey turns out to be the most difficult
case Father Flanagan had ever handled. After a fight in
which he is beaten, Whitey decides to leave Boys Town.
One of the small boys, who adored him, runs after him and
is knocked down by an automobile. Heartbroken and
ashamed of himself, Whitey wanders into town. Hearing
shots, he rushes into an alley, only to find his brother, who
had escaped from prison, in the midst of a bank holdup.
Whitey becomes inmplicated in the crime, but refuses to
talk. This brings bad publicity to Boys Town, just at a time
when they needed the public's confidence and contributions.
Everything is straightened out when the robbers are caught
and confess. Mickey is cleared and restored to the good
graces of the members of Boys Town. He changes to a
well-mannered young man and is overjoyed when he is
elected Mayor of Boys Town.
Dore Schary and Fleanore Griffin wrote the story, and
John Median and Dore Schary, the screen play ; Norman
Taurog directed it, and John W. Considine, Jr., produced
it. In the cast are Leslie Fenton, Gene Reynolds, and others.
Suitability, Class A.
"Mysterious Mr. Moto" with Peter Lorre,
Mary Maguire and Henry Wilcoxon
(20th Century-Fox [1938-39], Oct. 21 ; time, 62V2 min.)
An exciting mystery melodrama, with a fairly lavish pro-
duction ; it is the best one so far produced in the Moto series.
Even though it is simple for one to detect the identity of
the murderous gangster leader, it holds one in suspense
throughout owing to the constant danger to the hero and
to the detective. The closing scenes, where the detective
outwits the villain, causing his death instead of the hero's,
are particularly thrilling. The romantic interest is mildly
pleasant. London is used as the background : —
Lorre, a famous detective, arrives in London in order to
track down the leader of an international league of assas-
sins. He becomes valet to Leon Ames, whom he suspected
of being one of the gang ; his innocent manner fools Ames,
but Harold Huber, another member of the gang, becomes
suspicious of him. Lorre finds out that the next victim of
the gang would be millionaire Henry Wilcoxon, who re-
fused to turn over a new steel formula to the gang. Wil-
coxon at first declines Lorre's offer to help him ; but urged
on by his secretary (Mary Maguire), who loved him, and
his best friend (Erik Rhodes), he agrees to be cautious.
Lorre finds out where and how the gang intended to commit
the murder. By means of a disguise, lie enters the place and
by a clever trick places the gang leader, who, it develops,
was none other than Rhodes, in the spot intended for Wil-
coxon. Rhodes is killed and the gang captured. Wilcoxon
is thankful to Lorre.
Phillip MacDonald and Norman Foster wrote the origi-
nal screen play ; Norman Foster directed it, and Sol M.
Wurtzel produced it. In the cast arc Forrester Harvey,
Fredrik Vogeding, and others.
Not for children. Suitability, Class B.
"Under the Big Top" with Anne Nagel,
Marjorie Main and Jack LaRue
(Monogram [1938-39], Aug. 31 ; time, 63 min.)
A fair program drama, with a circus background : it
should go over in small towns. Stock shots of actual
scenes at tent circuses have been well blended in with the
action to give it an authentic flavor. The trapeze act in the
closing scenes offers some excitement in that the life of the
heroine, one of the performers, is endangered owing to the
unsteadiness of her partner. The romance is routine : —
Marjorie Main, owner of a bankrupt circus, receives
word that her orphan niece was being sent to her ; she is
annoyed to have additional trouble. While plavinp, the child
sets fire to the equipment ; but this is good luck for Miss
Main, for, with the insurance money, she is able to buy new
equipment and start over again. As the years roll by, the
circus becomes successful; but the real joy to Miss 'Main
is the fact that her grown niece (Anne Nagel) had de-
veloped into a marvelous trapeze artist. Miss Nagel worked
with two brothers (Jack LaRue and Grant Richards). She
and Richards fall in love; this makes LaRue unhappv for
he, too, loved her. When Miss Main finds out about the
romance she discharges the brothers; Miss Nagel leaves
with them. Just as the team was ready to sail for London,
they find out that Miss Main was ill and her circus in a
bad way because of the lack of an outstanding act. The
three go back. LaRue, who had been drinking, is afraid to
go on ; but Miss Nagel pleads with him to do so. During
the act he realizes that he was in a bad condition, and so,
in order to protect Miss Nagel. purposely falls to the
ground, thereby injuring himself. Miss Main, sorry for her
harshness, gives her consent to the marriage.
_ Marion Orth wrote the original story and screen play;
Karl Brown directed it, and William T. Lackev produced
it. In the cast are George Cleveland, Herbert Rawlinson,
and others.
Suitability, Class A.
"The Higgins Family" with James, Lucile,
and Russel Gieason
(Republic, August 29; time, 64]/2 min.)
A good wholesome comedy, revolving around an average
American family. The action is fast and the situations, for
the most part, are comical enough to provoke hearty laugh-
ter. It has plentiful human interest, too, for the members
of the family are likeable and, although at times their
actions are silly, one cannot help feeling svmpathy for them
throughout.
The family, consisting of father, mother, sister, brother
and grandfather, all have their eccentricities, but they love
each other. The father (James Gieason) is happy when his
employer, who had to leave on a vacation, puts him in
charge of the advertising concern, cautioning him to take
good care of their special client (Paul Harvey). Gieason
invites Harvey to his home for dinner ; but the dinner is a
failure for everything goes wrong. In addition, the family,
not knowing of Harvey's connection with a certain food
company, speak disparagingly of his products. Gieason con-
vinces Harvey that he should have a radio program ; Har-
vey, after hearing Gleason's wife on the radio, during an
interview by a roving street reporter, insists that she be
on the program ; but before Gieason can talk to her, an
opposing food company signs her up. In order to try to help
her husband, she praises Harvey's foods instead of the
sponsor's ; this brings about a law-suit and Gieason loses
his position. He goes into the advertising business for him-
self, but again his wife spoils everything. Gieason leaves
home ; his wife brings a divorce action. But they forget
about the divorce when they hear that their daughter had
run away ; but it turns out she had run away to marry her
fiance. The family is happy once again.
Richard English wrote the story, and Paul G. Smith and
Jack Townley, the screen play ; Gus Meins directed it, and
Sol C. Sicgel produced it. In the cast are Lynn Roberts,
Harry Davenport, William Blakewell, and George Meeker.
Suitability, Class A.
152
HARRISON'S REPORTS
September _17,J1938
the last court docs decide in their favor, have they over-
looked the fact that the Government will appeal to Congress
for such laws as will destroy the monopoly they now enjoy
and as will correct the other industry abuses, which the
Government seeks to correct by means of this suit ?
There is yet time for them to see that cooperation will
gain them more than obstinacy. They should begin im-
mediately to dispose of the theatres in the small towns.
They have no business there.
Let them remember that, what the Federal Government
will not be able to do, the state governments will do — by
means of taxation and legislation. And let them not forget
litigation : they already have their hands full with court
cases.
JAY EMANUEL ON THE ABANDON-
MENT OF THE CONCILIATION
PROGRAM
In connection with the postponement of the conciliation
efforts, Mr. Jay Emanuel wrote the following editorial in
the September issue of The Exhibitor, under the heading,
"No Sense" :
"There are a lot of things in this business which don't
make sense but the latest addition to this list takes the cake.
"We refer to the indication by the distributors' committee
that the industry conciliation plan being formulated by the
distributor representatives for exhibitors' examination has
been postponed until after Labor Day and perhaps later.
"One reason advanced is that there are certain legal
angles, because of the government suit against the distribu-
tors, which must be considered.
"The reason for the postponement may be logical from
the distributors' standpoint but coming when it does it is at
odds with the general spirit of the business.
"On one hand we have a commendable 'go forward' note.
We have in mind the industry drive for renewed confidence
and business. Independents are asked to join with distribu-
tors and producers in making the business bigger and better.
That is as should be.
"But on the other hand we have the 'go slow' signal from
the distributors who say to the exhibitors : 'That concilia-
tion matter will have to wait a while.'
"Wouldn't it be much better for all concerned if both
movements took place at the same time ? It would seem
so."
THOUGHTS AT RANDOM
(Contributed by an Active Exhibitor)
At last the poor maligned exhibitor has come into his
own ! He has been acknowledged publicly, via paid adver-
tisements in the trade papers, as the backbone of the in-
dustry. And by one of the industry's leaders too ! Has the
"worm" turned?
Lest anyone think that this be a pipe dream let me quote
from the trade announcement of Motion Pictures' Greatest
Year as signed by Mr. George J. Schaefer, who, in business
life, is vice-president in charge of sales for United Artists:
". . . Theatre owners have been and always will be the
backbone of our business and there can be no serious or
lasting crisis in an industry which can so speedily and
effectively throw its resources and energies behind a plan
of mutual help.
"... 1 believe that when the Drive is over, the actual
box office benefits will be so marked and the goodwill
built, so widespread that the entire business world will
see in it a new record for cooperation in any industry.
"It is the theatre men alone who have made this possible.
For on them rests the duty of putting the Drive over. And
thus far, no work has been too hard . . . no demands too
great.
"The General Committee looks forward to the next four
months with utmost confidence, knowing that the hardest
task . . . that of building and sustaining public interest . . .
is in the capable hands of the theatre operator.
". . . And the thanks of everyone whose lives touch motion
pictures . . . will be grateful to those who have really made
the Drive a success . . . the theatre owners of America."
Now that one of the industry's foremost sales executives
has stated publicly how much the exhibitor means to movie
business and what an important factor he is, the writer
would like to get a few things off his chest.
Why do distributors try to drive the exhibitor ("the
backbone of our business") by harsh and unfair sales
policies? The government would also like to have that
question answered.
Why are circuit-controlled theatres trying to drive inde-
pendents to the wall by choking off product, cut-throat
tactics, etc.? The government would like to know this, too.
And when the Drive has been pronounced a success, Mr.
Schaefer says everyone, whose lives touch motion pictures,
will give grateful thanks to the theatre owners of America.
We cannot help but wonder if the distributors will be
numbered among the "everyone," or will they go on wring-
ing the last penny out of film rentals.
We sincerely hope that Mr. Schaefer wasn't paying us
mere "lip services."
%
BOX-OFFICE PERFORMANCES OF
1937-38 SEASON'S PICTURES— No. 2
MGM
"Hold That Kiss," with Maureen O'Sullivan, Dennis
O'Keete and Mickey Rooney, produced by John \V. Con*
sidine and directed by Edwin L. Marin, from a screen play
by Stanley Rauh : Good-Fair.
"Swiss Miss," with Stan Laurel, Oliver Hardy, Delia
Lind and Walter Woolf King, produced by Hal Roach and
directed by John G. Hlystone, from a screen play by James
Parrot and Charles Melson : Fair-Poor.
"Yellow Jack," with Robert Montgomery and Virginia
Bruce, produced by Jack Cummings and directed by George
B. Seitz, from a screen play by Ldward Chodorov: Good.
"Three Comrades," with Robert Taylor, Franchot Tone,
Margaret Sullavan and Robert Young, produced by Joseph
L. Manckiewicz and directed by Frank Borzage, from a
screen play by F. Scott Fitzgerald and Edward E. Para-
more : Excellent-Good.
"The Toy Wife," with Luise Rainer, Melvyn Douglas,
Robert Young and Barbara O'Neil, produced by Merian
C. Cooper and directed by Richard Thorpe, from a screen
play by Zoe Akins: Very Good-Fair.
"Woman Against Woman," with Herbert Marshall, Vir-
ginia Bruce and Mary Astor, produced by Edward Cho-
dorov and directed by Robert Sinclair, from a screen play
by Edward Chodorov : Good-Fair.
"Lord Jeff." with Freddie Bartholomew and Mickey
Rooney, produced by Frank Davis and directed by Sam
Wood, from a screen play by James K. McGuinness : Good-
Fair.
"Port of Seven Seas," with Wallace Beery, Maureen
O'Sullivan, Frank Morgan and John Beal, produced by
Henry Henigson and directed by James Whale, from a
screen play by Preston Sturges : Good-Poor.
"Fast Company," with Melvyn Douglas, Florence Rice
and Claire Dodd, produced by Frederick Stephani and di-
rected by Edward Buzzell, from a screen play by Marco
Page and Harold Tarshis : Good-Fair.
"Shopworn Angel," with Margaret Sullavan, James
Stewart and Walter Pidgeon, produced by Joseph L.
Manckiewicz and directed by H. C. Potter, from a screen
play by Waldo Salt: Good.
"Love Finds Andy Hardy," with Mickey Rooney, I^ewis
Stone and Judy Garland, directed by George B. Seitz.
from a screen play by William Ludwig: Excellent- Very-
Good.
"The Chaser," with Dennis O'Keefe and Ann Morriss,
produced by Frank Davis and directed by Edwin L. Marin,
from a screen play by Everett Freeman. Harry Ruskin,
Bella and Samuel Spewack : Good-Poor.
"The Crowd Roars." with Robert Taylor, Maureen
O'Sullivan, Edward Arnold and Frank Morgan, produced
by Sam Zimbalist and directed by Richard Thorpe, from a
screen play by Thomas I^ennon, George Bruce and George
Oppenheimer : Excellent-Good.
Forty-two pictures have already been released. Group-
ing the pictures of the different ratings from the beginning
of the season, we get the following results :
Excellent, 1 ; Excellent- Very Good, 1 ; Excellent-Good,
3; Very Good-Good, 9; Very Good-Fair, 3; Very Good-
Poor, 1 ; Good, 8; Good-Fair, 12; Good- Poor, 2; Fair, 1 ;
Fair-Poor, 1.
The first 42 of the 1936-37 season were rated as follows :
Excellent, 3 ; Excellent-Very Good, 3 ; Very Good, 2 ;
Very Good-Good, 2; Good, 3; Good-Fair, 6; Good-Poor,
1 : Fair, 13; Fair-Poor, 5; Poor. 4.
BnMnd a* aec««t4 -olaas autMec Jnuwnrj 4, 19*1, at the post office at New Tori, New York, under the act ef Marsh S, IN.
Harrison's Reports
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U. S. Insular Possessions. 16.50 Rwra 10,4 Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . ,, ., _. . _ _
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ool a. ^upy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, SEPTEMBER 24, 1938 No. 39
A WAY FOR THE PRODUCERS TO
SHOW THEIR SINCERITY
One of the moves that would show that the producers
have changed their mind, and that they intend to treat with
the independent exhibitors candidly and sincerely, should
be the dissolution of that hybrid organization, called Mo-
tion Picture Theatre Owners of America. They gained
control of it by subsidizing it, through the theatres they
control, for the purpose of using it as a means of "muddy-
ing the waters," so that the public might be confused. They
used it to battle the exhibitor efforts for correcting the
industry evils by means of legislation.
It is no longer a secret, either to the lawmakers, in the
different states as well as in Washington, or to a large
section of the public, that this organization is supported
by producer money. Its existence has, therefore, ceased to
be of any real value except as a nuisance. Consequently, its
dissolution should be effected at once. Its maintenance is a
proof to the independent theatre owners that the producers,
although they profess that they have changed, inwardly
remain the same — selfish, greedy, and unwilling to give an
inch unless they are compelled to.
How long could that organization remain in life without
the money they pour into its treasury every month in the
form of dues from affiliated theatres? And how long could
its president continue issuing statements as to what policy
the producers should adopt in treating with independent
exhibitors ?
How much faith can the independent exhibitors have in
the producers' profession of good faith when they see them
continue employing the old tactics ?
LENGTH OF FEATURES INCREASING
Some time ago Harrison's Reports found it necessary
to call the attention of the industry to the fact that the
short-length features produced were too many.
In a recent issue of Contact, the house organ of the
Philadelphia exhibitor organization criticized the fact that
many of the features are still short.
A checkup made by this paper discloses the following
facts :
Out of one hundred feature pictures reviewed in Harri-
son's Reports beginning with the issue of June 4 and end-
ing with the issue of September 10, fourteen have been
short enough for complaint. Here is a list of them :
Company Title Min.
COLUMBIA: "Convicted" 54
"Highway Patrol" 57
"Reformed" 61
METRO: "Blockheads" ..56
"Woman Against Woman" 60
PARAMOUNT: "Bulldog Drummond in
Africa" 58
"Booloo" 60
RKO • "Border G-Man" 60
"Blond Cheat" 61
20TH CENTURY-FOX: "Safety in Numbers" 58
"Time Out for Murder" ...59
"Panamint's Bad Man" ....59
"Speed to Burn" 61
WARNER BROS.: "Mr. Chump" 60
Though the average length of the features has been
increased considerably, there is still room for improvement.
ONE DIRECT BENEFICIAL EFFECT AS A
RESULT OF THE GOVERNMENT'S SUIT
One of the first beneficial results of the Government's
suit against the major companies has been the return of
courage into the hearts of the independent exhibitors. They
have, in fact, gained so much courage that dozens of thea-
tres throughout the country have been either built or pro-
jected. And most of these theatres are built in localities
where the affiliated theatres have control.
These exhibitors are not worrying where the film will
come from. So confident do they feel as to the ability of
the Government to break the affiliated theatres' strangle-
hold upon picture selling!
Given equal chances in the buying of choice pictures, the
independent manager has it all over the manager of an
affiliated theatre. There are independents who are operating
their theatres successfully running against affiliated thea-
tres even now, when they are able to buy only what the
affiliated theatres do not want. You may imagine what will
happen when the market is thrown wide-open.
The peculiar thing about making picture-buying acces-
sible to all by removing the present restrictions is the fact
that producers themselves will profit from it. Their good
pictures will find a wider market, and naturally will bring
in more money for them. And when their good pictures
bring in more money, they will have no incentive to make
pictures of inferior grades.
Unfortunately they cannot see it that way, any more
than they could see that the cleaning up of the pictures
Would react to their benefit. They have always been reluc-
tant in instituting reforms. Having the power, they fear to
relinquish any of it. It is only when they are compelled to
do so by some superior agency that they realize how better
is the new order from the old order of things.
THOUGHTS AT RANDOM
(Contributed by an Active Exhibitor)
The Weekly Payment Gag on Shorts
Several years ago MGM injected an innovation into the
selling of films with a weekly payment plan for short sub-
jects. It was not long before the other majors discovered
what a godsend the plan was and one by one followed suit.
This year each major company is trying to foist the weekly
payment plan for short subjects upon exhibitors.
The WPP is very simple. The distributor simply com-
putes the market value (not entertainment value) of the
subjects for the year and breaks down the lump sum into
52 equal weekly payments.
The inequity from such a procedure arises from the fact
that the exhibitor is forced to pay for shorts that he did not
run and probably had no use for in the first place. Not only
that but the majority of the reels produced today are so
lacking in novelty and entertainment value that they have
no business being on even a third rate screen.
When an exhibitor signs a contract for pictures at a
given figure he is legally obligated to "play or pay." In the
event he does not play the pictures for which he has con-
tracted the accepted industry practice is settlement on thl
basis of 50r/c of the contract price at the expiration of the
contract. Under WPP the exhibitor has no recourse, for
he has completely paid for the contract even though he has
been able or willing to play only a small portion of the
shorts produced.
(Continued on last faje)
154
HARRISON'S REPORTS
September 24, 1 938
"Juvenile Court" with Paul Kelly, Rita
Hayworth and Frankie Darro
(Columbia, Sept. 15; running time, 58 min.)
Just a moderately entertaining program melodrama,
revolving around the regeneration of juvenile delin-
quents. Since the production of "Dead End," many
pictures dealing with this theme have been made, and
this version suffers somewhat by comparison. The
far-fetched story is developed in a routine manner; and
the production is ordinary. There is some excitement in
the end, but it is not of the pleasurable kind for it is
brought about by a robbery committed by a young boy.
The romance is pleasant: —
Frankie Darro, a slum resident, hated the police,
particularly after his brother, a murderous gangster,
was convicted and sentenced to the electric chair. Both
he and his sister (Rita Hayworth) treat Paul Kelly,
the lawyer who represented their brother, with con-
tempt, for they felt he was incompetent. Kelly con-
vinces Miss Hayworth that there was nothing he could
have done. He enlists her aid in a plan to help boys
living in slum districts; Kelly induces the officials to
permit him to organize the boys and train them to work
with the police instead of against them. Darro becomes
a member; at a benefit performance staged by the club,
the cashier collects a large sum of money. Darro steals
it, feeling that with this money he could get a good
lawyer to fight for his brother. He forces three of his
friends to run away with him in a stolen car. But they
meet with an accident, and one of the boys is injured.
Darro suddenly realizes how wrong he had been and
goes back; he returns the money and gives himself up.
Kelly vouches for him and obtains his release. Darro
is happy when he learns that his sister was going to
marry Kelly.
Michael L. Simmons, Robert E. Kent, and Henry
Taylor wrote the original screen play; D. Ross Leder-
man directed it. In the cast are Hally Chester, Don
Latoree, David Gorcey, Dick Selzer, and others.
Morally unsuitable for children. Class B.
"Campus Confessions" with Betty Grable,
William Henry and Hank Luisetti
(Paramount [1938-39], Sept. 16; time. 66 min.)
Typical college program fare. Except for the fact
that basketball is used as the college sport instead of
football, it is developed strictly in accordance with the
formula set for these pictures — even to the closing
scenes in which the leading player is brought into the
game during the last few minutes to play and wins the
game for his team. It might do better than average
business, however, if properly advertised for Hank
Luisetti, All American basketball player, is in the cast
and plays on a few occasions; and the game itself has
become extremely popular in the past few years: —
Since Thurston Hall was the main contributor to his
Alma Mater, the college board is compelled to accept
his ruling that sports were not to be stressed. This
angers the students, who regretted the fact that they
did not have a winning team in any sport. When Hall's
son (William Henry) arrives as a student at the col-
lege, he is disliked by all because of his snobbishness;
but he changes in time and is unhappy because he
cannot make friends. Betty Grable, one of the students,
feels sorry for him. In an effort to make amends, Henry
suggests that Luisetti and the other members of the
basketball team be his guests for the summer, since his
father would be in Europe; the idea was that they could
practice and develop into a good team. As a matter of
fact, Henry shows promise as a player and is made a
member of the team. Once back at school, Henry sur-
prises every one by his change in manner and appear-
ance; Miss Grable falls in love with him. The students
are overjoyed when their team wins all the basketball
games. But Hall returns and insists that the team be
disbanded. He changes his mind, however, when he
watches them play; he is particularly proud of his son.
Lloyd Corrigan and Erwin Gelsey wrote the original
screen play; George Archainbuad directed it. In the
cast are Eleanore Whitney, John Arledge, Fritz Feld,
Roy Gordon, and others.
Suitability, Class A.
"Room Service" with the Marx Brothers,
Lucille Ball and Frank Albertson
(RKO [1938-39], Sept. 30; time, 78 min.)
A good comedy. The Marx Brothers change their
routine somewhat — that is, they are not as unrestrained
as usual; furthermore, Harpo does not play the harp
nor does Chico play the piano. As in the play, most of
the action takes place in one hotel room, where
Groucho, a shoe-string theatrical producer, and bis
friends try to outwit the hotel manager so as to stay
in their quarters and close a deal with a backer. The
methods they use to accomplish this, such as pretend-
ing that the author had the measles, and later that he
had committed suicide, are so comical that there is no
doubt of their effect on an audience. In spite of the
fact that the action is concentrated mostly in one room,
the pace is fast, for something is happening every
minute. The romance is pleasant: —
Groucho and all the actors who were rehearsing in
his new play live at a hotel run by Groucho's brother-
in-law (Cliff Dunstan) without paying any bills. Just
when Groucho was at the point of closing a deal, the
hotel auditor (Donald MacBride) arrives and insists
that Groucho and all his actors leave at once. But
Groucho, by pretending that the author ( Frank Albert-
son) had the measles and was, therefore, unable to
move, stays in the room so as to keep an appointment
with the backer's representative. He receives a check
for $15,000; but so many things happen while the repre-
sentative is there that when he leaves he stops payment
on the check. Groucho and his gain' know of this; but,
realizing that the check was drawn on a California
bank, they permit MacBride, who had become their
friend, to finance them, knowing that it would take five
days for him to find out about the check. On the open-
ing night of the show, MacBride receives word from
his bank about the check and is determined to close the
show; but again Groucho detains him, this time by
pretending that Albertson had killed himself. The
show goes on, and it turns out to be a smash success,
which meant that MacBride and all the others would
make a profit.
The plot was adapted from the play by John Murray
and Allan Boretz; Morrie Ryskind wrote the screen
play, William Seiter directed it, and Pandro S. Berman
produced it. In the cast are Ann Miller, Philip Loeb,
Philip Wood, and others.
Suitability, Class A.
"Renegade Ranger" with George O'Brien
and Rita Hayworth
(RKO, Sept. 16; tune, 59 mm.)
A fairly good Western. Typical of the George
O'Brien pictures, it has exciting fist fights and thrill-
ing horseback riding. And, because of the constant
danger to the hero, one is held in fair suspense through-
out. The occasional musical interpolations are well
rendered : —
O'Brien, a Captain in the Texas Rangers, is assigned
to the job of arresting Rita Hayworth, daughter of a
well-known Spanish family, on the charge oi having
murdered a wealthy rancher, who, with his partner
(William Royle), had bought up her ranch at a forced
tax sale, just as they had done with other ranches.
Once O'Brien gets all the facts together, he realizes
that Royle was a crook. In order to protect Miss Hay-
worth, O'Brien arrests her; but Royle outwits him by
having his men kidnap her from the jail. O'Brien, in
company with the Mexican band that Miss Hayworth
had formed to fight Royle, goes after the villian and his
men and rescues Miss Hayworth. He forces Royle to
confess to his partner's murder, thereby clearing Miss
Hayworth. Having fallen in love with each other,
O'Brien and Miss Hayworth plan to marry.
Bennett Coen wrote the story, and Oliver Drake, the
screen play; David Howard directed it, and Bert Gilroy
produced it. In the cast are Ray Whitley, Tim Holt,
Charles Stevens, and others.
Suitability, Class A.
September 24, 1938
HARRISON'S REPORTS
155
"Sons of the Legion" with Lynne Overman
and Donald O'Connor
(Paramount [1938-39], Sept. 23; time, 61 mm.)
A fair program entertainment, with human appeal.
It presents its patriotic theme in a way to appeal to the
masses; and, if properly exploited, it should do well,
particularly in small towns where the American Legion
is active. There are a few situations that touch one's
emotions, and others that provoke laughter. And in
the closing scenes there is plentiful excitement, due to
the efforts of the club members to help a young boy,
whose gangster father was trying to force him to run
away with him. The performances are good particularly
that of Donald O'Connor, as a tough youngster who
becomes regenerated; Lynne Overman plays his part
with understanding and wins one's sympathy. The mild
romance is unimportant: — •
Tim Holt, an American, organizes the young sons of
American Legion members, in an effort to teach them
the blessings of democracy and the meajiing of Amer-
icanism. The two young sons of Overman are the
leaders, and are heartbroken when their father informs
them that they could not join; they do not know that
Overman had been dishonorably discharged from the
Army and that, therefore, they would not be eligible for
membership. O'Connor, a tough youngster whose
father was supposedly dead, joins, thinking he could
use the boys; but in time it means something to him.
His father (Edward Pawley), an escaped convict, re-
turns and insists that O'Connor run away with him;
the members of the club rush after Pawley and save
O'Connor; they turn Pawley over to the police. Since
he had been responsible for Overman's disgrace, his
confession clears Overman, who obtains honorable dis-
charge papers. His sons are happy when fhey are
finally able to join the patriotic organization.
Lillie Hayward, Lewis Foster, and Robert F. Mc-
Gowan wrote the original story and screen play; James
Hogan directed it, and Stuart Walknr produced it. In
the cast are Evelyn Keyes, Elizabeth Patterson, Wm.
Frawley, and others.
Suitability, Class A.
"Mr. Doodle Kicks Off" with Joe Penner
and June Travis
(RKO [1938-39], Oct. 7; time, 11 min.)
An amusing program college football picture. Al-
though the story is routine, it is more entertaining than
most program pictures of this type because of the
comedy angle. The football end of the story is not
treated too seriously; as a matter of fact it is bur-
lesqued, for each time Joe Penner, one of the college
players, gets on the field the audience forgets about the
game due to Penner's antics, which provoke laughter.
A few songs are well interpolated, without interfering
with the action. The romance is developed according to
formula: —
Penner, leader of a swing band, is annoyed when his
millionaire lather (William B. Davidson) insists that he
go back to college. Davidson offers a $200,000 endow-
ment to the college if Penner could be turned into a
good football player; but Penner hates the game and
refuses to join the team. Knowing that Penner was in
love with his daughter (June Travis), the Dean sug-
gests that, for the sake of the college, she induce him
to join the team; the scheme works. Because of Pen-
ner's helplessness on the field, the other players are
compelled to work out plays in which they could pro-
tect him and help him make touchdowns. Penner, be-
lieving he alone was responsible for the touchdowns,
becomes conceited. Miss Travis tries to tell him what
was actually happening, but he refuses to listen. He
finds out about it in the last game and, during the first
half, walks off the field. Miss Travis gets word to him
that she loved him; this inspires him and he goes into
the game again and this time helps his team win. The
college gets the endowment and Penner wins Miss
Travis.
Mark Kelly wrote the story, and Bert Granet, the
screen play; Leslie Goodwins directed it, and Robert
Sisk produced it. In the cast are Richard Lane, Ben
Alexander, Billy Gilbert, and others.
Suitability, Class A.
"Hold That Co-Ed" with George Murphy,
Marjorie Weaver and John Barrymore
(20//! Century-Fox [1938-39], Sept. 16; time, 80 mm.)
A good college comedy. It satirizes politics and foot-
ball in a good-natured and novel way, at times arousing
hearty laughter; and for those who are not interested
in either subject there is music and romance. John
Barrymore is excellent as the politically ambitious
Governor; he caricatures the part, but so cleverly, that
one is in sympathy with him. Most of the comedy is
provoked by Joan Davis, who brings fame to her col-
lege by joining the football team and helping them win
with her remarkable kicking ability. The closing
scenes, in which she fights against a windstorm to
make a touchdown, are the most comical. The romance
is pleasant: — •
George Murphy, a football coach, arrives at the state
college from which he had received a contract, only to
find a broken-down school building with no facilities
or equipment for sports. He urges the students to rebel
and to demand that the Governor make an appropria-
tion for the school. Led by Murphy, the students storm
the Governor's office, where Marjorie Weaver, the
Governor's secretary, meets them and asks them to
leave; but Barrymore, the Governor who wanted to be-
come a Senator, realizing that he could get a great deal
of publicity by building up the school, appropriates a
large sum of money to them, demanding that they get
the finest of everything, including a stadium for foot-
ball games. The team wins many games. But Barry-
more's political opponent (George Barbier) makes a
bet with Barrymore that the college he was sponsoring
could beat the state college, the loser to withdraw from
the Senatorial race. Up until the very end, it looks as if
the state college would lose, but by a freak play Miss
Davis makes the winning touchdown. Murphy and
Miss Weaver, who had fallen in love with each other,
are overjoyed.
Karl Tunberg and Don Ettlinger wrote the story,
and they and Jack Yellen, the screen play; George
Marshall directed it, and David Hempstead produced
it. In the cast are Jack Haley, Ruth Terry, Donald
Meek, Johnny Downs, and others.
Suitability, Class A. 4
"Strange Boarders" with Tom Walls
and Renee Saint-Cyr
(Gaumont-Britisli [1938-39], Aug. 1 ; time, 71 win.)
A pretty good espionage melodrama. In spite of the
fact that the settings and accents are typically British
and that the players are unknown here, it should find
favor with American audiences because of the interest-
ing story and fairly exciting action; it holds one in
suspense throughout. The romantic interludes occa-
sionally slow up the action but they help to relieve the
tension. As is usual in stories of this type, the plot is
at times far-fetched. Most of the excitement is con-
centrated in the closing scenes where the hero, a mem-
ber of the British Secret Service, rounds up the gang
of spies: — ■
Tom Walls is annoyed when, on his wedding night,
he is compelled to leave his wife (Renee Saint-Cyr) in
order to investigate an important case involving spies;
he is forbidden to tell her about his mission, and, since
she did not know that he was in the Secret Service, she
thinks he was running after another woman. His inves-
tigations lead him to a boarding house, where he regi-
sters under an assumed name; he is shocked when his
wife follows him there. The first person he gets proof
against is the servant girl; he kidnaps her and locks her
in his apartment. But one of her agents helps her
escape and she returns to the boarding house, to Wall's
surprise. There he is surrounded by the members of
the gang, all boarders, who plan to kill him and his
wife. Quick thinking on Wrall's part brings help to
them. He rounds up the gang, and then proceeds on his
belated honeymoon with his wife.
The plot was adapted from the novel by E. Phillips
Oppenheim. Sidney Gilliatt and A. R. Rawlinson wrote
the screen play, and Herbert Mason directed it. In the
cast are George Curzon, C. V. France, Leon M. Lion,
and others.
Suitability, Class A.
156
HARRISON'S REPORTS
September 24, 1938
Film salesmen will make every effort to impress upon
their accounts the fact that they cannot sell a contract
unless short subjects are on the WPP. It is my belief that
this is not true — that shorts can be bought on a reel basis,
that until the producers make shorts, all of which have
entertainment value, the exhibitor is in no way obligated to
pay for the entire contract at its full price.
Of the new season's reels already screened by the writer
it looks as if the 1938-39 season will be a repetition of the
1937-38 season — excess newsreel footage, dated vaudeville
acts, drag travelogues, and orchestras hanked in the corner
of a night club.
Not until money and brains start going into short sub-
ject production can the exhibitor be expected to shoulder
pait <if the responsibility.
* * #
Radio's Threats
Movies' friendly enemy, radin, is reported to be wailing
and gnashing its teeth because it has received none of the
large advertising appropriation for the "Motion Pictures
Are Your Best Entertainment" campaign.
Reprisals are threatened because broadcasting executives
assume that they have been very generous to tin screen.
According to Variety they base that assumption upon four
points: (1) Amount of gratis time for previews, gossip
spielers, nutshell dramatizations; (2) Extent of plugging
for him tunes : (3) Use of platters and free chatter sent out
by Hollywood praiserics; (4) Number of stars employed
on radio programs.
Let us break down their generosity, point by point, and
see how much of it is real and how much fancied.
In the first place, the time given over to previews seldom
if ever interferes with any commercial program. The time
it consumes is invariably taken away from a sustaining
program of the run-of-the-mill variety. As for the gossip
Spielers, I doubt very much if there is a single showman
who would even as much as whisper a protest if they were
permanently barred from the air. Of the free air time only
nutshell dramatizations could, by any stretch of the imagi-
nation, be classed as generosity on the part of the broad-
casters.
In the second place, where would radio be if film tunes
were suddenly taken off the air? They had a short taste of
such a situation recently when the publishing houses con-
trolled by Warner Bros, denied them the privilege of broad-
casting the songs on which they held the copyrights.
Thirdly, most stations have been almost as glad to accept
free platters as the Hollywood "praiserics" were to send
them. Those same were played on local stations for local
theatre managers and not for the industry itself.
Lastly, how the broadcasters could have even dared to
cite the employment of stars on radio programs as an act
of generosity is beyond me. Have they been completely
deaf to the pleas and threats of exhibitors over the air
appearances of picture stars? Lest the radio executives
think that they are doing the motion picture industry any
favors by putting stars on the air, thus making it attractive
tor prospective theatre patrons to sit home and listen to the
radio, let me be one of the thousands of exhibitors to tell
them that they are sadly mistaken.
Make no mistake about it — pictures owe radio nothing.
Whatever radio has done for pictures it has been fully
repaid. Possibly not in cash, but in building a reputation
for itself.
BOX-OFFICE PERFORMANCES OF
1S37-38 SEASON'S PICTURES— No. 3
Paramount
"Cocoanut Grove," with Fred MacMurray and Harriet
Hilliard, produced by George M. Arthur and directed by
Alfred Santell, from a screen play by Sy Bartlett and Olive
Cooper: Very Good-Fair.
"Hunted Men," with Lloyd Nolan, Mary Carlisle and
Lynne Overman, produced by Stuart Walker and directed
bj Louis King, from a screen play by Horace McCoy and
William R. Lipman: Good-Fair.
"You and Me," with George Raft and Sylvia Sydney,
produced and directed by Fritz Lang, from a screen play
by Virginia VanUpp : Good-Fair.
"Prison Farm," with Shirley Ross, Lloyd Nolan and
John Howard, directed by Louis King, from a screen play
by Eddie Welch, Robert Yost and Stuart Anthony : Good-
Fair.
"Bar 20 Justice," with William Boyd, George Hayes and
Russell Hayden, produced by Harry Sherman and di-
rected by Lesley Selander, from a screen play by Arnold
Belgard : Good-Poor.
"Tropic Holiday," with Martha Raye, Bob Burns,
Dorothy Lamour and Ray Milland, produced by Arthur
Hornblow, Jr., and directed by Theodore Reed, from a
screen play by Don Hartman, Frank Butler, John C.
Mofhtt and Duke Atteberry : Very Good-Good.
"Booloo," with Colin Tapley, produced and directed by
Clyde E. Elliott, from a screen play by Robert E. Welsh:
Fair- Poor.
"Professor Beware," with Harold Lloyd, produced by
Mr. Lloyd and directed by Elliot Nugent, from a screen
play by Delmer Daves: Very Good-Fair.
"Bulldog Drummond in Africa," with John Howard,
Heather Angel and H. B. Warner, produced by Harold
Hurley and directed by Louis King, from a screen play by
Garn^tt Weston : Fair.
• The Texans," with Joan Bennett and Randolph Scott,
produced by Lucien Hubbard and directed by James Hogan.
from a screen play by Bertram Millhauser, Paul Sloane
and William W. Haines: Very Good-Fair.
Fifty-four pictures have already been released. Group-
ing the pictures of the different ratings (including West-
erns) from the beginning of the season, we get the fol-
lowing results :
Excellent- Very Good, 1 ; Excellent-Good, 1 ; Very Good,
1 ; Very Good-Good, 3 ; Very Good-Fair, 5 ; ( iood, 3 ; Good-
Fair, 12; Good-Poor, 7; Fair, 11; Fair-Poor, 7; Poor. 3.
Fifty-three pictures were released during the 1936-37
season, excluding the Westerns ; they were rated as fol-
lows :
Excellent. 1; Excellent-Very Good, 2; Very Good, 3;
Very Good-Good. 5; Good, 9; Good-Fair, 4; Fair, 9;
Fair-Poor, 17; Poor, 3.
RKO
"Blind Alibi," with Richard Dix, Whitney Bourne and
Eduardo Ciannelli, produced by Cliff Reid and directed
by Lew Landers, from a screen play by Lionel Houser.
Larry Segall and Ron Ferguson : Fair.
"The Saint in New York," with Louis Hayward and
Kay Sutton, produced by William Sistrom and directed by
Ben Holmes, from a screen play by Charles Kaufman and
Mortimer Offner : Good-Fair.
"Blond Cheat." with Joan Fontaine and Derrick De-
.Yiarney, produced by William Sistrom and directed by
Joseph Santley, from a screen play by Charles Kaufman,
Paul Yawitz, Viola Brothers Shaw and Harry Segall :
Fair- Poor.
"Border G Man," with George O'Brien, produced by-
Bert Gilroy and directed by David Howard, from a screen
play by Oiiver Drake: Good-Poor.
"Having Wonderful Time," with Ginger Rogers and
Douglas Fairbanks. Jr., produced by Pandro S. Berman
and directed by Alfred Santell, from a screen play by
Arthur Kober : Very Good-Good.
"Crime Ring," with Allan Lane and Frances Mercer,
produced by Cliff Reid and directed by Leslie Goodwins,
from a screen play by Gladys Atwater and J. Robert Bren :
Fair.
"Sky Giant," with Richard Dix, Chester Morris and
Joan Fontaine, produced by Robert Sisk and directed by
Lew Landers, from a screen play by Lionel Houser : Fair.
"Mother Carey's Chickens," with Anne Shirley, Ruby
Keeler, James Ellison and Fay Bainter. produced by Pan-
dro S. Berman and directed by Rowland V. Lee, from a
screen play by S. K. Lauren and Gertrude Purcell : Good-
Fair.
"I'm from the City," with Joe Penner, produced by
William Sistrom and directed by Ben Holmes, from a
screen play by Nicholas T. Barrows, Robert St. Clair and
John Grey: Fair-Poor.
"Painted Desert," with George O'Brien, produced by
Bert Gilroy and directed by David Howard, from a screen
play by John Rathmell and Oliver Drake: Fair-Poor.
Fortv-one pictures have already been released. Grouping
the pictures of the different ratings (including Westerns)
from the beginning of the season, we get the following
results :
Excellent-Good, 2; Very Good-Good, 1; Good-Fair, 7;
Good-Poor, 7; Fair, 8; Fair-Poor, 14; Poor, 2.
The first 41 of the 1936-37 season were rated as follows:
Very Good-Good, 2; Good, 3; Good-Fair, 9; Fair, 11;
Fair-Poor, 12 ; Poor, 4.
IN TWO SECTIONS— SECTION ONE
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. XX SATURDAY, OCTOBER 1, 1938 No. 4U
TAXATION OF LOWER
DENOMINATION TICKETS
There arc many problems besides Greater Movie Season
campaigns on which independent exhibitors and producer-
distributors could work together harmoniously.
One of such problems is the taxing of admission tickets.
Talk emanating from Washington indicates that the U. S.
Government may seek to tax admission tickets of lower
than forty-cent denomination. No limit has been indicated
as to what price tickets will be exempted. Even the ten-cent
tickets may be taxed. It is the duty of every one connected
with the industry, therefore, to prepare himself to resist the
revision of the ticket tax.
This paper realizes that the Government must find money
in some way to meet the constantly increasing budget, but
if the lower than forty cent denomination tickets should be
taxed, net only the Government will not collect much more
than the amount it is collecting now, but also the exhibitors
will find their profits vanishing, for this reason : since the
admissions are now as high as the "traffic" will bear, the
exhibitors will not be able to pass the tax on to the public.
Consequently, the tax will have to come out of the ex-
hibitors' profits.
Now, it the exhibitors were compelled to pay to the
Federal Government, in the form of ticket tax, some of
their profits, a large number of them will not be able to
stay in business, unless they should recoup themselves of
most of that expense from some source. They cannot reduce
the labor item, because the unions will not stand for it. And
they cannot reduce their rents, because the landlords will
not stand for it. There is then just one item from which
they can take it out — film rentals: the distributors will be
compelled to stand for it, because, if they will not, they will
run the risk of losing all the film rentals from those
exhibitors who will be compelled to shut down their
theatres.
That is why this paper lias said that every one connected
with the motion picture industry must prepare himself to
resist revision of the admission-ticket tax. It is a problem
on which exhibitors and producer-distributors can and
must work together.
THE CASE OF COMMERCIAL
ADVERTISING
The subject of commercial advertising on the screen has
been treated on these pages so often that additional com-
ment should not have been necessary. Unfortunately a large
number of exhibitors still insist upon flashing on their
screens national commercial advertising, for which they
receive money.
As said before, the newspaper people watch the screens
for such advertising and when they detect it they pass the
word around to other newspapers, with the result that the
theatre of the offending exhibitor is not given as much free
publicity as it was given before.
When an exhibitor shows on his screen national com-
mercial advertising he encroaches upon the field of the
newspapers. And it is neither fair nor wise for exhibitors
to engage in the other fellow's business, particularly when
such business is foreign to that of a moving picture theatre.
THOUGHTS AT RANDOM
(Contributed by an Active Exhibitor)
One of the Most Important 1938 Events
Reading anybody's list of the ten major events in the 1938
movie year, the event that will strike one as being the most
important will unquestionably be the government's anti-
trust suit.
Regardless of what the outcome will be, drastic changes
will occur in the distribution as well as the exhibition of
moving pictures.
How radical such changes will be, no one can predict,
no matter how well informed.
It is interesting to note on this subject the opinion of
W. R. Wilkerson, editor and publisher of The Hollywood
Reporter, who is very close to production :
"Unquestionably this Government suit, whether tried or
passed over in a consent decree, will leave its mark on
production, through insisting that a new, and more eco-
nomical method be employed in the making of screen enter-
tainment.
"To save argument, we must grant that the four or five
majors who own large theatre strings will have to divorce
those houses from their own production, whether by or-
ganizing separate corporate structures for production and
distribution, with no interlocking directorate and no control
of one corporation by the other, or by the outright forced
sale of their 2600 or 2800 theatres with a long term con-
tract for the exhibition of product going with the sale. In
either case there will be new demands placed on production
that will NOT permit the making of any picture costing
better than, say $1,500,000, because the risk would be too
great.
"As at present, Paramount with part ownership in over
1000 theatres, Warners with 527, Loew's with 119, RKO
with 124, and Century-Fox with 42 per cent ownership in
around 520 houses, figure on a lot of money in thelbag.^r
the exhibition of any of their pictures — more on the best
and substantial return on others — from their own group
theatres. This enables them to take gambles. Should they
be forced to lose control of those exhibition outlets, which
in addition to giving them money, influence other theatres
in the play and exploitation of the same picture, it would
be necessary for the producers to proceed a bit more care-
fully and, certainly more economically with their produc-
tion."
This writer believes that Mr. Wilkerson's vision is
slightly beclouded because, no doubt, of that very prox-
imity to production which prompted this editorial. Does he
really think that, if divorcement comes, the producer-owned
theatres will pass out of existence and that there will be
no longer any need for quality pictures? And does he
assume that the producers will have a narrower market for
their product? Does he really feel that the independent ex-
hibitors are incapable of exploiting pictures to, the fullest
extent unless they are supervised by producer press agents?
(See Mr. Schaefer's recent statement.) Arc we to under-
stand that the same care will not be exercised, and as great
economy in production will not be practiced?
Does he think that the producer-owned theatres now
play a "lemon" much more promptly and much more whole-
(Conlinued on lost pofie)
158
HARRISON'S REPORTS
October 1, 1938
"Too Hot to Handle" with Clark Gable,
Myrna Loy and Walter Pidgeon
(MGM [1938-39], Sept. 16; time, 105 min.)
Excellent mass entertainment. In addition to the
drawing power of the stars, it offers the type of
story that should get word-of-mouth advertising
to insure even better results at the box-office than
ordinary pictures with these stars would get. Fast
action and thrills are combined with romance and
comedy ; even though some of the incidents are
implausible, audiences will overlook this fact be-
cause of the exciting way in which they are pre-
sented. The situation in which a newsreel truck
collides with a plane, causing the plane to crash
and catch on fire, should hold spectators in tense
suspense ; but there are many situations, equally
breathtaking. The comedy is unusually good ; most
of it is caused by the tricks two rival newsreel
cameramen play on each other to obtain scoops. As
for the romance, it is believable and charming, and
ends in a way to please the spectator : — -
Having been scooped by cameraman Clark
Gable, who had sent faked newsreel shots from
Shanghai to his home office in New York, Walter
Pidgeon, rival cameraman, plans a faked scoop for.
himself ; he engages Myrna Loy, an expert avi-
atrix, to fly from Manila to Shanghai, supposedly
on a mercy errand to bring serum to war-torn
Shanghai. But Gable gets wind of what is going on
and drives into the landing field, his purpose being
to get in front of the plane in order to block out
Pidgeon ; but his driver gets too close to the plane,
thereby crashing it. It catches on fire ; Gable rescues
Miss Loy just in time, only to find out about the
trick. In the meantime his sound "man (Leo Car-
rillo) had recorded the entire conversation. But
when Miss Loy tells him that she had flown the
plane in order to earn enough money to get together
an outfit to scout for her brother, an aviator who
had been lost in the jungle, Gable promises to help
her. They all go back to New York, Gable for the
purpose of getting Miss Loy, with whom he had
fallen in love, a job with his outfit ; everything
works out all right until Pidgeon's employer ob-
tains the crash reel and exposes Miss Loy. She is
humiliated and parts from Gable. Gable and Pidg-
eon, feeling responsible for the whole thing, sell
all their equipment and send the money to Miss
Loy for the expedition. They then follow her to
the jungle. Eventually, after capture by savage
Voodoo tribes and many other exciting events,
they find Miss Loy's brother and rescue him. Once
back in New York, Miss Loy realizes what Gable
had done for her ; she rushes to him for a recon-
ciliation.
Len Hammond wrote the story, and Laurence
Stallings and John Lee Mahin, the screen play;
Jack Conway directed it, and Lawrence Wein-
garten produced it. In the cast are Walter Con-
nolly, Johnny Hines, and others.
Suitability, Class A.
"Wanted by the Police" with Frankie
Darro, Evalyn Knapp and Robert Kent
{Monogram [1938-39], Sept. 21 ; time, 59 min.)
A fair program racketeer melodrama. In addi-
tion to the fast, and at times exciting, action, it has
human appeal, which is brought about by the un-
happiness the hero and his mother suffer as a result
of the hero's innocently becoming involved with
crooks. One is held in suspense throughout ; par-
ticularly exciting are the closing scenes, where the
hero risks his life to trap the crooks. The romantic
interest is mildly pleasant : —
Having graduated from high school, Frankie
Darro decides to go to work to help support his
mother ; his sister ( Miss Knapp) had been carrying
the burden for a long time. He obtains a position
as a garage mechanic; his other duties were to
drive cars for the owner (Matty Fain). To his
horror, he learns that Fain was engaged in the
stolen car racket and that he, by driving a car
across the border line, had become one of the gang.
Threatened with exposure by the gang, Darro is
forced to continue with the work ; he is a witness
to a murder committed by the gang. His mother
(Lillian Elliott), noticing how depressed Darro
was, finally forces him to tell her the truth. She
enlists the help of her daughter's fiance (Kent), a
policeman, to help clear Darro. Darro and Kent
work out a scheme to trap the crooks; but a tipoff
by one of the gang changes their plans somewhat.
Darro manages, despite a gun wound, to get in
touch with Kent ; the gang is rounded up and Darro
is cleared.
Donn O'Mullally and Sally Sandin wrote the
story, and Wellyn Totman, the screen play; How-
ard Bretherton directed it, and Lindsley Parson
produced it. In the cast are Don Rowan, Sam
Bernard, Thelma White, and others.
Unsuitable for children. Class B.
"Crime Takes a Holiday" with Jack Holt
and Marcia Ralston
{Columbia [1938-39], Oct. 5; time, 59 min.)
A fair program racketeer melodrama. It is de-
veloped according to formula, and is somewhat in
the line of recent melodramas, in which a coura-
geous District Attorney sets out to clean up racke-
teering. Although the production is not lavish, it
has fast action and enough excitement to please the
average follower of gangster melodramas. The
closing scenes, in which the leader is finally
trapped, are exciting, even though they are slightly
far-fetched. The romance is of little importance : —
Jack Holt, District Attorney, is known for his
honest efforts to rid the city of racketeering. But
he is hampered in his work, for the leader's iden-
tity was unknown to him ; in the meantime, he is
pestered by a Citizens' League to take further ac-
tion. When Holt finally does arrest members of
the gang, he cannot get witnesses to testify against
them, for the shopkeepers, from whom they had
extorted money, were frightened. A police lieuten-
ant is killed ; Holt hits upon the idea of convicting
an innocent man, hoping thereby to trap the real
criminals. He finally realizes that the gangster
leader was none other than Douglas Dumbrihe, a
member of the Citizens' League, supposedly an
honest business man. By a ruse, Holt gets Dum-
brille to confess to the murder and the racketeering
business. Holt is happy when his work is finally
completed.
Henry Altimus wrote the story, and he, Jeffer-
sonson Parker, and Charles Logue, the screen
play ; Lewis D. Collins directed it, and Larry Dar-
mour produced it. In the cast are Russell Hopton,
Arthur Hohl, Thomas Jackson, and others.
Suitability, Class B.
Ortcber f, 1938
HARRISON'S REPORTS
159
"The Lady Objects" with Gloria Stuart
and Lanny Ross
(Columbia, Sept. 9; time, 65 min.)
Good program entertainment. It is an interesting
marital drama, lavishly produced and well acted ;
although the story is not particularly novel, it holds
one's attention. Lanny Ross sings a few good num-
bers ; the music has been so well interpolated in the
plot that it does not interfere with the action ; on
the contrary, it adds to the picture's entertainment
value. Both the hero and the heroine, despite their
mistakes, win and hold the spectator's sympathy :
Ross, an architect, is discouraged because of his
inability to progress rapidly in his field. His wife
(Gloria Stuart), a lawyer, cheers him up; they go
to their college reunion where they meet Joan
Marsh, who had become a well-known night club
singer. Miss Marsh is disappointed to find that
Ross had married for she had not forgotten him.
Miss Stuart's ability becomes known to the head
of the law firm for which she worked, and he gives
her an important position ; in a short time, she
becomes a member of the firm. With the money
she earns, she and Ross are able to live luxuriously ;
but he dislikes it. Tired of everything, he decides
to become a singer, in order to make more money ;
he obtains an engagement at Miss Marsh's club.
He and Miss Stuart quarrel and separate. Miss
Marsh goes to Ross' apartment ; he asks her to
leave, but she refuses and he goes out. She drinks
too much, and gets caught in the cord necklace she
was wearing; she is strangulated. Ross is arrested.
Miss Stuart, despite Ross' objections, appears at his
trial and makes so eloquent a plea to the jury about
her own blindness in permitting a career to inter-
fere with her marriage that she wins his freedom.
They becomes reconciled ; Ross becomes a famous
singer.
Gladys Lehman and Charles Kenyon wrote the
original screen play ; Erie Kenton directed it, and
William Perlberg produced it. In the cast are
Robert Paige, Arthur Loft, Pierre Watkin, Roy
Benson, and others.
Not suitable for children. Class B.
"Touchdown Army" with John Howard,
Mary Carlisle and Robert Cummings
(Paramount [ 1938-39] , Oct. 7 ; time, 70 min. )
Just another football picture, with the familiar
West Point background. At the beginning, quite a
number of stock shots are used showing the cadets
drilling and parading. The story is thin and is de-
veloped according to formula, with very few new
angles. Football fans will find the game in the clos-
ing scenes not much to get excited about ; particu-
larly unbelievable is the final play which shows
a player, who suddenly realized he was running in
the wrong direction, turn around and throw the
ball to another player clear across the field. The
routine romance is fairly pleasant : — -
Robert Cummings, a conceited football player,
whose services were desired by several college
teams, decides to enroll in West Point, for he felt
that a uniform would dazzle the ladies. He falls in
love with Mary Carlisle, the Commander's dauph-
ter and, despite regulations to the contrary, tries to
see her ; this annoys John Howard, an upper class-
man, who, too, loved Miss Carlisle. Cummings'
conceit is knocked out of him a little by his class-
mates ; he becomes the team's best player, winning
most of the games for them. Just before the big
game of the year, he is told that, unless he passed
his French test, he would not be permitted to play.
Although Miss Carlisle was angry at him for 'a
joke he had pulled, she agrees to coach him. At the
examination he finds that the questions were the
same ones she had coached him in. Thinking that
she had cheated to help him, Cummings goes to the
governing board and informs them that he knew
the answers ; but he does not involve Miss Carlisle.
He is taken out of the game. During the game, Miss
Carlisle finds out what had happened ; she explains
the matter satisfactorily by making the authorities
understand that she had innocently used old test
papers. Cummings is brought to the field by aero-
plane, and in the last minute to play wins the game.
He and Miss Carlisle are reconciled.
Lloyd Corrigan and Erwin Gelsey wrote the
story and screen play ; Kurt Neumann directed it.
In the cast are Owen Davis, Jr., William Frawley,
Minor Watson, Benny Baker, and others.
Suitability, Class A.
"Personal Secretary" with William Gargan
and Joy Hodges
(Universal [ 1938-39] , Sept. 9 ; time, 62 min.)
A breezy program comedy-melodrama. It holds
one's interest throughout, for the identity of the
murderer is not disclosed until the end. Most of the
comedy is brought about as a result of the conflict
between the hero and the heroine, newspaper col-
umnists, who disapproved of each other's work.
There is plentiful excitement in the closing scenes,
where the heroine traps the murderer, at the risk
of her own life. The romance is routine, with mis-
understandings and eventual reconciliation : —
William Gargan, columnist and radio commen-
tator, is enraged when a rival columnist (Joy
Hodges), whom he had never met, makes dis-
paraging remarks about his predictions as to the
outcome of a certain murder trial. He felt certain
that the woman who was being tried was guilty,
while Miss Hodges felt otherwise. Since Gargan
did not know her, Miss Hodges is able to obtain a
position as his secretary, in order to scoop him. But
eventually her scheming makes her ashamed of
herself, for she had fallen in love with Gargan, as
he had with her. When he finds out who she was, he
orders her out of the office, and tells her he does not
want to see her again. But Miss Hodges, eager to
prove her sincerity, goes after the murderer, who
had attempted to kill Gargan. Her life is endan-
gered when the murderer realizes she suspected
him ; but the timely arrival of Gargan, who had
learned where she had gone, saves her life. The
murderer is arrested. Gargan and Miss Hodges are
reconciled, and all is forgiven.
Robert Lively and Betty Laidlaw wrote the
story, and they and Charles Grayson, the screen
play ; Otis Garrett directed it, and Max H. Golden
produced it. In the cast are Andy Devine, Ruth
Donnelly, Samuel Hinds, Kay Linaker, and others.
Suitability, because of the murder, Class B,
160
HARRISON'S REPORTS
October 1, 1938
hcartedly than do independent theatres, merely hecause
either the parent or a friendly company has produced it?
If he thinks so, he is sadly mistaken. And just to cite an
example, we call his attention to the fact that many a
Warner picture has failed to see the screen of many a
Warner theatre. If he has any doubt about it, let him ask
the independent exhibitors of the Philadelphia zone.
It is manifest that Mr. Wilkerson's vision has been dim-
med because of his proximity to production.
* * *
The MPTOA Annual Convention
In a month the Motion Picture Theatre Owners of Amer-
ica are scheduled to meet in convention in Oklahoma City.
In the writer's opinion this will be the most important
conclave of the MPTOA since its inception.
Since their last meeting a lot has happened within the
industry which might change the entire system of distribu-
tion and exhibition, i.e. the government's anti-trust suit.
To anyone unfamiliar with the membership of the
MPTOA, the first impression is that the membership of the
organization is composed entirely of independent exhibitors.
Actually, by virtue of the fact that they own theatres,
Loews, Warner Bros., Paramount, RKO, and 20th Cen-
tury-Fox, are members and will be represented.
Although the writer has not seen the agenda it is reason-
able to assume that much of the gathering's business session
time will be devoted to discussing self-regulation and the
government's suit. Unless such subjects are jockeyed off
the floor the majors can be expected to tip their hands as to
the future course of their respective companies.
What, if any, resolutions will be adopted to reopen the
self-rcgulaton discussions? What attitude will the
MPTOA assume toward divorcement? What efforts will
be made to do away with block booking and enforced buy-
ing of shorts? Will the widespread practice of weekly
payment plans for shorts be condemned? Will any attempts
be made to show the government that the theatre owners
are trying to satisfy the government's complaints in its bill
of particulars without the help of outside agencies?
These are only a few of the questions for which the
writer is anxiously awaiting the MPTOA Convention to
answer. We sincerely hope that this year will not be a
repetition of previous years' conventions where a good time
was bad by all and the industry was permitted to continue
on its rocky road to pot.
s£ £ +
The Movie Campaign and General Business
A report from a large number of the nation's leading
department stores in the first week in September indicate
a striking upturn in the retail business.
How much of this upturn is owed to the Greater Movie
Season Campaign, conducted with vigor and enthusiasm
by every branch of the industry, is hard to tell ; but there
is no question that it had a great deal to do with it.
When campaign plans were first formulated the neces-
sity of merchant cooperation was quite apparent. Movies
not only had to be sold to the public but also they had to
be sold to (and by) the merchants of every community.
Following this line of reasoning the slogan "Trade Follows
The Movies" was coined for the special benefit of mercan-
tile establishments.
How well the few words in that slogan summed up the
situation, comparatively few merchants will ever realize.
People are induced to leave the comforts of their homes
to go to q movie. Immediately transportation companies
get some of Mr. Patron's money. The corner drug store
usually finds him wandering in, either before or after the
show. While the patron is away from his home and in the
shopping district, window shopping becomes part of the
fun. In many cities if it weren't for the movies bringing
people out at night the merchant might just as well turn off
his window lights at six o'clock instead of eleven o'clock.
In many instances there are theatres which are keeping
entire blocks alive. Whenever such a theatre has a bad
picture, every merchant on the block feels it.
Trade paper reports of the grosses in key cities show a
marked improvement over the corresponding period of last
year. Oddly enough, retail business in the same situations
show improvement in about the same proportion to that of
the movies.
These reports are based, for the theatres, upon down-
town houses and, for the department stores, also upon
downtown establishments. Since contest pictures began with
August releases, in the larger communities, downtown
houses were the first to feel the effects of the campaign.
The neighborhoods are just now getting contest pictures
and they, along with the community merchants, can look
forward to much better business.
The automobile industry boasts that it led the way out
of the depression. Based on first returns, the movie industry
will probably be able to say that it led the way out of the
recession.
As a rule, bragging lowers the "bragger" in the estima-
tion of those who hear him; but in this instance, bragging,
and there is plenty to brag about, will produce the opposite
effect. Theatre owners need have no fear of pointing out to
their friends and patrons the part the industry is playing to
bring about better times.
BOX-OFFICE PERFORMANCES OF
1937-38 SEASON'S PICTURES— No. 4
Twentieth Century-Fox
"Kentucky Moonshine," with the Riiz Brothers, Mar-
jorie Weaver and Tony Martin, produced by Kenneth
Macgowan and directed by David Butler, from a screen
play by Art Arthur and M. M. Musselman: Very Good-
Good.
"Rascals," with Jane Withers, Rochellc Hudson and
Robert Wilcox, produced by John Stone and directed by
H. Bruce Humberstone, from a screen play by Robert
Ellis and Helen Logan: Good-Fair.
"Kidnapped," with Warner Baxter, Freddie Bartholo-
mew and Arleen Whcltm, produced by Kenneth Macgowan
and directed by Alfred Wcrker, from a screen play by
Sonya Levien, Eleanor Harris, Ernest Pascal and Edwin
Blum : Good-Fair.
"Josctte," with Simonc Simon, Don Amcche and Robert
Young, produced by Gene Markey and directed by Allan
Dwan, from a screen play by Paul Frank and George
Fraser : Good-Fair.
"One Wild Night," with June Lang and Dick Baldwin,
produced by John Stone and directed by Eugene Ford,
from a screen play by Charles Bclden and Jerry Cady :
Fair-Poor.
"Three Blind Mice," with Loretta Young and Joel
McCrea, produced by Raymond Griffith and directed by
William A. Seiter, from a screen play by Brown Holmes
and Lynn Starling : Very Good-Good.
"Mr. Moto Takes a Chance," with Peter Lorre, Rochellc
Hudson and Robert Kent, produced by Sol M. Wurtzcl
and directed by Norman Foster, from a screen play by
Lou Breslow and John Patrick : Good-Poor.
"Always Goodbye," with Barbara Stanwyck and Her-
bert Marshall, produced by Raymond Griffith and directed
by Sidney Lanfield, from a screen play by Katharine Scola
and Edith Skouras : Good-Fair.
"We're Going to Be Rich," with Gracie Fields, Victor
McLaglen and Brian Donlevy, produced by Samuel G.
Engel and directed by Monty Banks, from a screen play by
Sam Hellman and Rohama Siegal : Good-Poor.
"Panamint's Bad Man," with Smith Ballew and Evelyn
Daw, produced by Sol Lesser and directed by Ray Taylor,
from a screen play by Luci Ward and Charles Arthur
Powell : Good- Poor.
"Passport Husband," with Stuart Erwin, Pauline Moore
and Joan Woodbury, produced by Sol M. Wurtzel and
directed by James Tinting, from a screen play by Karen
DeWolf and Robert Chapin : Fair-Poor.
"I'll Give a Million," with Warner Baxter and Marjorie
Weaver, produced by Kenneth MacGowan and directed
by Walter Lang, from a screen play by Boris Ingster and
Milton Sperling : Good-Fair.
"Little Miss Broadway," with Shirley Temple, George
Murphy and Phyllis Brooks, produced by David Hemp-
stead and directed by Irving Cummings, from a screen
play by Harry Tugend and Jack Yellcn : Excellent-Good.
Fifty-seven pictures have already been released. Group-
ing the pictures of the different ratings (including West-
erns ) from the beginning of the season, we get the follow-
ing results :
Excellent, 2; Excellent-Very Good, 2; Excellent-Good,
2; Very Good-Good, 7; Very Good-Fair, 2; Very Good-
Poor, 1; Good-Fair, 21; Good-Poor, 8; Fair, 7; Fair-
Poor, 4 ; Poor, 1.
Fifty-four pictures were released during the 1936-37
season, excluding the Westerns ; they were rated as fol-
lows :
Excellent, 1; Excellent- Very Good, 4; Very Good, 3;
Very Good-Good, 6; Good, 11; Good-Fair, 10; Fair, 11;
Fair-Poor, 8.
IN TWO SECTIONS— SECTION TWO
HARRISON'S REPORTS
Vol. XX NEW YORK, N. Y., SATURDAY, OCTOBER 1, 1938 No. 40
(Partial Index No. 5 — Pages 130 to 156 Incl.)
Title of Pictures Reviewed on Page
Barefoot Bov — Monogram (63 min.) 135
Block-heads— MGM (56 min.) 146
Boy Meets Girl — Warner Bros. (86 min.) 135
Boys Town— MGM (93 min.) 151
Breaking the Ice— RKO (82 min.) 146
Campus Confessions — Paramount (66 min.) 154
Carefree— KKO (82 min.) 147
Colorado Trail, The — Columbia (55 min.) . . Not Reviewed
Come on Leathernecks — Republic (65 min.) 143
Convicted — Columbia (54 min.) 142
Crime Over London — Gaumont-British (62 min.) ....130
Crowd Roars, The— MGM (89^ min.) 131
Desperate Adventure, A — Republic (65 min.) 130
Fcur Daughters — First National (90 min.) 139
Four's a Crowd — Warner Bros. (90 min.) 135
Freshman Year — Universal (67 min.) 147
Fugitives for a Night— RKO (62^ min.) 143
Garden of the Moon — First National (92l/2 min.) 142
Gateway — 20th Century-Fox (73 min.) 134
Gay Imposters, The — Warner Bros. (See "Gold
Diggers in Paris") 90
Give Me a Sailor — Paramount (76 min.) 134
Gladiator, The — Columbia (72 min.) 138
Gold Mine in the Sky — Republic (60 min. ). Not Reviewed
Gun Smoke Trail — Monogram (56 min.) . .Not Reviewed
Held for Ransom — Grand Nat l (59 min.) . . Not Reviewed
Heroes of the Hills — Republic (55 min.) . . .Not Reviewed
Higgins Familv, The — Republic {M'/2 min.) 151
Hold That Co-Ed— 20th Century-Fox (80 min.) 155
I Am the Law — Columbia (83 min.) 143
I Command — Grand Nat'l (59 min.) Not Reviewed
I Married a Spy — Grand Nat'l (59 min.) .. Not Reviewed
Juvenile Court — Columbia (58 min.) 154
Man's Country — Monogram (55 min.) .... Not Reviewed
Marie Antoinette— MGM (157 min.) 138
Meet the Girls — 20th Century-Fox (66 min.) 147
Missing Guest, The — Universal (67;/ min.) 138
Mr. Doodle Kicks Off— RKO (77 min.) 155
My Lucky Star— 20th Century-Fox (84 min.) 147
Mysterious Mr. Moto — 20th Century-Fox (62JX min.) .151
Painted Desert— RKO (59 min.) 131
Phantom Gold — Columbia (56 min.) Not Reviewed
Pride of the West — Paramount (55 min.) . . Not Reviewed
Renegade Ranger— RKO (59 min.) 154
Renfrew on the Great White Trail —
Grand National (59 min. 1 Not Reviewed
Rich Man, Poor Girl— MGM (71?^ min.) 139
Road to Reno — Universal (68 min.) 150
Rollin' Plains — Grand Nat'l (57 min.) .... Not Reviewed
Room Service— RKO (78 min.) 154
Safety in Numbers — 20th Century-Fox (58 min.) 139
Secrets of an Actress — First National (69K> min.) . . . .150
Sing You Sinners — Paramount (89 min.) 1?4
Six Shootin' Sheriff — Grand Nat'l (59m.).. Not Reviewed
Smashing the Rackets — RKO (69 min.) 130
Sons of the Legion — Paramount (61 min.) 155
South of Arizona — Columbia (56 min.) . . . .Not Reviewed
Spawn of the North — Paramount ( 109 min. ) 142
Strange Boarders — Gaumont-British (71 min.) 155
Tenth Avenue Kid— Republic (65 min.) 146
Three Loves Has Nancy— MGM (68 min.) 150
Time Out For Murder — 20th Century-Fox (59 min.) . . 131
Under the Big Top — Monogram (63 min.) 151
Utah Trail, The— Grand Nat'l (59 min.) . . . Not Reviewed
Valley of the Giants— Warner Bros. (83 min.) 146
Whirlwind Horsemen — Grand Nat'l (58m.). Not Reviewed
You Can't Take It With You— Columbia (127 min.) . . .150
RELEASE SCHEDULE FOR FEATURES
Columbia Features
(729 Seventh Ave., New York, N. V.)
8207 South of Arizona— Starrett (56 min.) July 28
8011 The Gladiator— Joe E, Brown Aug. 15
8039 Convicted — Hayworth-Quigley Aug. 18
8213 Phantom Gold— All Star west. (56m.) (r.).. Aug. 31
8005 I Am the Law— E. Robinson- Barrie Sept. 2
8208 The Colorado Trail— Starrett (55 min.) ....Sept. 8
8013 The Lady Objects— Stuart-Ross (reset) Sept. 9
8026 Juvenile Court — Kelly-Darro-Hayworth . . . Sept. 15
8284 The Stranger from Arizona ( Phantom
Trail) — Buck Jones (56 min.) Sept. 22
Girls' School — A. Shirley- R. Bellamy ( r.) . . Sept. 30
{"Wings of Doom" listed in the last Index as a Sept. 5
release has been withdrawn)
(End of 1937-38 Season)
Beginning of 1938-39 Season
You Can't Take It With You — Arthur-Stewart-
L. Barrymore Sept. 29
Crime Takes a Holiday— Jack Holt Oct. 5
Flight to Fame — Farrell-Welis Oct. 12
Homicide Bureau — Cabot-Hay worth Oct. 19
There's That Woman Again — Douglas-Bruce ....Oct. 31
First National Features
(321 W. 44th St., New York, X. Y.)
260 My Bill — Francis-Granville-Louise July 9
276 Penrod's Double Trouble — Mauch Twins ....July 23
262 Amazing Dr. Clitterhouse — Robinson July 30
(End of 1937-38 Season)
Beginning of 1938-39 Season
365 Secrets of an Actress — Francis-Brent Sept. 10
352 Four Daughters — Lane-Page-Garfield Sept. 24
Garden of the Moon — O'Brien-Lindsay Oct. 1
Broadway Musketeers — Lindsay-Litel Oct. 8
Girls on Probation — Reagan-Bryan Oct. 22
Brother Rat — Morris-P. Lane-Wvman Oct. 29
Gaumont-British Features
(1600 Broadzvay, New York, N. Y.)
Crime Over London — Grahame-Cavanaugh Aug. 15
The 39 Steps — Reissue Sept. 15
Men With 100 Faces — Walls-Palmer (reset) Oct. 1
The Lady Vanishes — Lockwood-Lukas (reset) ...Oct. 15
Grand National Features
(1270 Sixth Ave., New York, N. Y.)
219 International Crime — LaRocque-Allwyn ....Apr. 22
221 Whirlwind Horsemen — Mavnard (58 min.) ..Apr. 29
224 Six Shootin' Sheriff— Maynard (59 min.) ....May 21
223 Life Returns — Wilson-Stevens June 10
222 Held for Ransom — Mehaffey-Withers (59m.). June 17
225 I Married a Spy — Neil Hamilton (59 min.) . . .July 1
226 Rollin' Plains— Tex Ritter (57 min.) July 8
227 I Command— Lionel Atwill (59 min.) July 15
228 Renfrew on the Great White Trail —
Newill (59 min.) Julv 22
229 The Utah Trail— Tex Ritter (59 min.) Aug. 12
Metro-Goldwyn-Mayer Features
(1540 Broadzmy, New York, N. V.)
840 The Crowd Roars— faylor-O'Sullivan Aug. 5
843 Rich Man, Poor Girl — Young-Avres-Hussev . Aug. 12
844 Block-heads— Laurel-Hardy-Ellis "..Aug. 19
845 Marie Antoinette — Shearer- Power Aug. 26
(End of 1937-38 Season)
Beginning of 1938-39 Season
901 Three Loves Has Nancy — Montgomery -
Gaynor-Tone Sept. 2
902 Boj s Town — Tracv-Rooney Sept. 9
903 Too Hot to Handle— Gable- Loy-Pidgeon ...Sept. 16
No release set for Sept. 23
905 Vacation from Love— O'Keefe-Ricc-Oweu ..Sept. 30
906 Stablemates — Beery-Rooney Oct. 7
904 Listen, Darling — Garland-Bartholomew Oct. 14
Monogram Features
(1270 Sixth Ave., New York, N. V.)
3719 My Old Kentucky Home— Venable-Hall . . . .Feb. 16
3733 Tbe Painted Trail— Tom Keene (SO min.) . .Feb. 23
3725 Port of Missing Girls— Allen-Carey Mar. 2
3728 Code of tbe Rangers— Tim McCoy (56 min.). Mar. 9
3715 Rose of the Rio Grande— Movita Mar. 16
3739 Land of Fighting Men— Randall (53 min.) . . Apr. 11
3713 Female Fugitive — Venable-Reynolds Apr. 15
3729 Two Gun Justice— Tim McCoy (57 min.) ..Apr. 30
3740 (Am Smoke Trail— J. Randall (56 min.) .... May 8
3709 Numbered Woman— Blane May 22
3730 Phantom Ranger— Tim McCoy ( 53 min. ) . . May 29
3712 Marines Are Here — Travis-Oliver June 8
3702 Romance of the Limberlost — Parker . June 22
3742 Man's Country — Jack Randall ( 55 min. ) ....July 6
3741 Mexicali Kid (Last Frontier) — Jack
Randall (51 min.) (reset) Sept 14
(End of 1937-38 Season)
Beginning of 1938-39 Season
3810 Barefoot Boy — Moran-Fain-Windsor Aug. 3
3811 Under the Big Top (Circus Comes to
Town) — Main-Nagel-LaRue Aug. 31
3859 Starlight Over Texas — Tex Ritter (56 min.). Sept. 7
3817 Wanted by the Police — Darro-Knapp Sept. 21
Mr. Wong, Detective — Boris Karloff Oct. 5
Sweetheart of Sigma Chi — Carlisle Oct. 10
Where the Buffalo Roams— Tex Ritter Oct. 12
Gangster's Boy — Jackie Cooper Nov. 2
Paramount Features
(1501 Broadway, New York, N. Y.)
3749 Give Me a Sailor — Raye-Hope-Grable Aug. 19
3750 Spawn of the North — Raft-Fonda-Lamour . . Aug. 26
(End of 1937-38 Season)
Beginning of 1938-39 Season
3854 Pride of the West— Wm. Boyd (55 min. ) ... .July 8
3801 Sing You Sinners — Crosbv-MacMurray ....Sept. 2
.'855 In Old Mexico— W. Boyd-Hayes (66j^m. ) . Sept. )
3802 Campus Confessions — Grable-Henry (re.) ..Sept. 16
3803 Sons of the Legion — O'Connor-Lee (re.) . . .Sept. 23
K:iv> f)f Alcatraz — Naish-Patrick Sept. 30
3805 Touchdown, Army— Howard-Carlisle Oct. 7
Arkansas Traveler — Burns-Parker (re.) . . . .Oct. 14
Mysterious Rider — Dumbrille-Fields Oct. 21
Illegal Traffic — Naish-Carlisle Oct. 21
Escape from Yesterday — Farmer-Tamiroff . .Oct. 28
Men with Wings — MacMurray Oct. Special
Republic Features
(1776 Broadivay, Nezi> York, N. Y.)
7118 Heroes of the Hills— Three Mesq. (55m.) . . Aug. 1
7024 Come On Leathernecks — Cromwell-Hunt ..Aug. 8
7013 A Desperate Adventure — Novarro-Marsh ..Aug. 15
7025 Tenth Avenue Kid — Cabot-Roberts Aug. 22
7128 Durango Valley Raiders— Steele (55m.) ...Aug. 22
7014 The Higgins Family (Home Sweet Home)
— Gleason family Aug. 29
7104 Man From Music Mountain— Autrv (58m.)
( r. ) Sept. 12
Prairie Moon — Gene Autry Oct. 3
( more to come)
Beginning of 1938-39 Season
861 Pals of the Saddle— Three Mesq. (55 min.) . . Aug. 20
851 Billy the Kid Returns— Roy Rogers (56m).. Sept. 4
862 Overland Stage Raiders — Three Mes. (55m.). Sept. 20
Down in Arkansas— Byrd- Weaver Bros Sept. 29
The Night Hawk — Livingston-Travis Oct. 3
RKO Features
(1270 Sixth Ave., New York, N. Y.)
845 Breaking the Ice — Breen-Ruggles Aug. 26
837 Carefree — Astaire-Rogers-Bellamy Sept. 2
884 The Renegade Ranger — George O'Brien Sept. 16
(End of 1937-38 Season)
Beginning of 1938-39 Season
902 Tbe Affairs of Annabel— Oakie-Ball Sept. 9
903 Fugitives for a Night — Albertson Sept. 23
901 Room Service — Marx Bros.-Miller-Ball ....Sept. 30
904 Mr. Doodle Kicks Off— Joe Penner Oct. 7
905 A Man to Rememeber — Ellis-Shirley Oct. 14
9(K> The Mad Miss Manton — Stanwyck-Fonda ...Oct. 21
907 Miracle Racket— Filers-Miller-Bowman Oct. 28
Twentieth Century-Fox Features
(444 W. 56th St.. New York. N. Y.)
907 Hold That Co-Ed— J. Barrymore-Weaver ..Sept. 16
908 Time Out For Murder— Stuart- Whalen Sept. 23
911 Straight, Place and Show — Ritz Bros Sept. 30
910 Meet the Girls— Lang-Bari-Allen Oct. 7
909 Submarine Patrol — Greene-Kelly-Foster Oct. 14
912 Mysterious Mr. Moto — I^orre-Maguire Oct. 21
914 Always in Trouble— Withers-Rogers Oct. 28
913 Suez — Power- Young- Annabella-Bromberg ..Nov. 4
United Artists Features
(729 Seventh Ave.. New York,N. )'.)
Blockade — Fonda-Carroll-Carrillo June 17
South Riding — Best-Richardson July 1
(End of 1937-38 Season)
Beginning of 1938-39 Season
Algiers — Boyer-Gurie-Lamarr Aug. 5
Drums — Sabu-Livesey-Massey-Hobson Sept. 30
There (iocs My Heart — March-Bruce Oct. 14
Lady and the Cowboy — Cooper-Oberon Nov. 1
Made For Each Other — Lombard-Stewart Nov. 15
The Young In Heart — Gaynor-Fairbanks, Jr.. . Postponed
Universal Features
(1250 Sixth Ave.. New York. N. Y.)
A2028 Prison Break— Farrell-MacLane July 15
A2008 Little Tough Guy— Wilcox-Parish July 22
A20:)3 Letter of Introduction — Leeds-Menjou ....Aug. 5
A2031 The Missing Guest— Kelly- Moore Aug. 12
Dark Rapture — Roosevelt Exp. (re.) ....Aug. 26
That Certain Age — Durbin-Cooper (re.) ..Oct. 7
( End of 1937-38 Season )
Beginning of 1938-39 Season
A3057 Strawberry Roan — Maynard reissue Aug. 15
A3058 Fidcllin' Buckaroo — Maynard reissue Aug. 15
A3059 King of the Arena — Maynard reissue Aug. 15
A3060 Honor of the Range — Maynard reissue. . . .Aug. 15
A3061 Smoking Guns — Maynard reissue Aug. 15
A3062 Gun Justice — Maynard reissue Aug. 15
A3025 Freshman Year — Dunbar-Truex Sept. 2
Personal Secretary — Gargan-Hodges Sept. 9
A3051 Black Bandit— Bob Baker (57 min.) Sept. 16
A3017 Road to Reno — Scott-Hampton Sept. 23
Youth Takes a Fling — McCrea-Leeds (r.) .Sept. 30
Swing That Cheer — Truex-Wrilcox-Moore.Oct. 14
A3052 Guilty Trail— Bob Baker Oct. 21
Service DeLuxe — C. Bennett-Price Oct. 21
The Storm — Bickford-MacLane-Grey Oct. 28
The Last Express — K. Taylor- D. Kent ...Oct. 28
Warner Bros. Features
(321 W. 44th St., New York. N. Y.)
208 White Banners — Rains-Bainter-Cooper June 25
215 Men Are Such Fools — Morris-P. Lane July 2
217 Cowboy From Brooklyn — Powell-O'Brien ...July 16
227 Mr. Chump — Davis-L. Lane-Singleton Aug. 6
205 Racket Busters — Bogart-Brent Aug. 13
213 Boy Meets Girl — Cagney-O'Brien Aug. 27
(End of 1937-38 Season)
Beginning of 1938-39 Season
306 Four's a Crowd — Flynn-DeHavilland Sept. 3
305 Valley of the Giants — Morris-Trevor Sept. 17
'The Sisters — Flynn-Davis-LouTse Oct. 15
SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel
8705 Krazy Magic— Krazy Kat (6/m.) May 20
8860 Screen Snapshots No. 10— (9/m.) May 27
8509 Window Shopping— Col. Rhapsody (7/m.) .June 3
8809 Thrilling Moments— W. of Sport (10m.) . . .June 10
8659 Community Sing No. 9— (8y2m.) June 25
8810 Fistic Fun— World of Sport (9/ min.) . . . . July 1
8510 Poor Little Butterfly— Col. Rhap. (8 m.) . . . .July 4
8706 Krazy's Travel Squawks— K. Kat (6/ m.)..July 4
8660 Community Sing No. 10— (9/ min.) July 4
8861 Screen Snapshots No. 11— (10/. min.) July 8
8758 City Slicker — Scrappys (6/ min.) July 22
851 1 Poor Elmer — Color Rhapsody (7 min.) ....July 22
8862 Screen Snapshots No. 12— (9/ min.) July 29
881 1 Athletic Youth— World of Sport ( 9 min. ) . . July 29
8512 The Frog Pond— Color Rhapsody (7/m.).. Aug. 12
8812 Demons of the Deep— World of Sport (9m.). Aug. 19
8661 Community Sing No. 11 — (10/ min.) Aug. 26
8662 Community Sing No. 12— ( 10/ min.) Sept. 15
(End of 1937-38 Season)
Beginning of 1938-39 Season
9501 Hollywood Graduation — Color Rhap. (,7m.) .Aug. 26
97U1 Gym Jams — Krazy Kat (6/ min.) Sept. 2
9501 Larlv Bird — Scrappys (6/ min.) Sept. 16
9851 Screen Snapshots No. 1— (9/ min.) Sept. 16
9502 Animal Cracker Circus — Color Rhapsody .. Sept. 23
9801 Football Giants— Sport Thrills (10/ min.) . Sept. 28
9651 Community Sing No. 1 Oct. 1
9752 Happy Birthday — Scrappys Oct. 7
9852 Screen Snapshots No. 2 Oct. 14
9802 Ski Legs— Sport Thrills Oct. 20
9702 Hot Dogs on Ice— Krazy Kat Oct. 21
9503 Little Moth's Rig Flame— Color Rhapsody ... Oct. 25
Columbia — Two Reels
8186 The Apache Killer— Great Adv. S6 (19m.).. Aug. 4
8187 Prowling Wolves— Great Adv. 97 ( 18m.) . . . Aug. 11
8188 The Pit— Great Adv. S8 (17m.) Aug. 18
8189 Ambushed— Great Adv. $9 (16m.) Aug. 25
8190 Savage Vengeance— Gt. Adv. 110 ( 19/m. ) . Sept. 1
8191 Burning Waters— Great Adv. ffll (15/m. ) . Sept. 8
8192 Desperation— Great Adv. Jtl2 (17/m.) ....Sept. 15
8193 Phantom Rullets— Great Adv. S13 Sept. 22
8194 The Lure— Great Adv. £14 Sept. 29
8195 Trails End— Great Adv. SIS Oct. 6
(End of 1937-38 Season)
Beginning of 1938-39 Season
9421 Many Sappy Returns— All star (17/m.) ...Aug. 19
9401 Violent Is the Word for Curly — Stooge
(18 min.) Sept. 2
9422 Sue My Lawyer — All star (17 min.) Sept. 16
9423 Not Guilty Enough— All star Sept. 30
9402 Mutts to You— Stooge ( 18 min.) Oct. 14
9424 Nightshirt Randit— All star (17 min.) Oct. 28
Metro-Goldwyn-Mayer — One Reel
W-686 What a Lion — Captain cart. (9 min.) ....July 16
T-662 Paris on Parade — Traveltalks (9 min.) ...July 23
F-757 The Courtship of the Newt — Renchley
(8 min.) July 23
S-712 Follow the Arrow— Pete Smith (10 min.) .July 30
H-728 The Rravest of the Brave— Hist. Myst.
(11 min.) Aug. 6
W-687 The Pygmy Hunt — Captain cart. (8 min.) .Aug. 6
C-741 The Little Ranger— Our Gang c. (11m.) . .Aug. 6
S-713 Fisticuffs— Pete Smith (9 min.) Aug. 27
F-758 How to Read— Benchley (9 min.) Aug. 27
C-742 Party Fever — Our Gang (10 min.) Aug. 27
H-729 The Man on the Rock— Hist. Mys. (11m.). Sept. 3
W-688 Old Smokey — Captain cartoon (7 min.) ..Sept. 3
S-714 Football Thrills— Pete Smith (10 min.) ..Sept. 10
W-689 Buried Treasure — Captain cart. (8 min.) . .Sept. 17
H-730 Nostradamus— Hist. Mysteries Sept. 24
W-690 The Winning Ticket — Captain cartoon . . . .Oct. 1
(more to come)
Beginning of 1938-39 Season
M-871 The City of Little Men— Miniat. (11m.) . .Aug. 20
M-872 Streamlined Swing — Miniatures (9 min.) . Sept. 10
T-851 Cairo, City of Contrast — Travel. (9 min.) .Sept. 10
T-852 Madeira, Isle of Romance — Traveltalk ....Oct. 1
Metro-Goldwyn-Mayer — Two Reels
R-606 It's in the Stars— Musical (19 min.) July 30
P-615 They're Always Caught — Crime Doesn't
Pay (22 min.) Sept. 3
P-616 Think It Over — Crime Doesn't Pay Sept. 24
(End of 1937-38 Season)
V8-1
T8-1
K8-1
E8-1
C8-1
A8-2
P8-2
R8-2
J8-1
V8-2
T8-2
E8-2
R8-3
A8-3
P8-3
L8-2
K8-2
V8-3
Paramount — One Reel
Tannhaueser — Paragraphic (12 min.) Aug. 12
Pudgy, The Watchman — Betty Boop (7m.). Aug. 12
Guatemala — Color Cruises (9 min.) Aug. 12
Bulldozing the Bull — Popeye (6 min.) Aug. 19
All's Fair at the Fair — Col. CI. (8 min.) Aug. 26
Lights! Action! Lucas! — Headliner (10m.). Sept. 2
Paramount Pictorial No. 2 — (9 min.) Sept. 2
Hunting Thrills — Sportlight (9/ min.) ...Sept. 2
Popular Science No. 1 — (10/ min.) Sept. 2
Mildewed Melodramas — Para. (10/ min. ). Sept. 9
Buzzy Boop at the Concert — Boop (7 min.) .Sept. 16
Mutiny Ain't Nice — Popeye (7 min.) Sept. 23
Racing Pigeons — Sportlight ( 9 min. ) Sept. 30
Busse Rhythm — Headliner (10/ min.) ....Oct. 7
Paramount Pictorial No. 3 — (9 min.) Oct. 7
Unusual Occupations No. 2 Oct. 7
Mexico — Color Cruises Oct. 7
Rube Goldberg's Travelgab — Para. (8/m.) .Oct. 14
RKO— One Reel
84118 Mickey's Parrot— Disney cart. (8 min.) .. .Sept. 9
(End of 1937-38 Season)
Beginning of 1938-39 Season
94201 Under a Gypsy Moon — Nu Atlas ( 10 min.) .Sept. 2
94301 Fisherman's Paradise — Sport. (9 min.) Sept. 9
94601 Submarine Circus — Reelism (10 min.) ....Sept. 16
94101 Brave Little Tailor— Disney (9 min.) Sept. 23
94202 Styles and Smiles— Nu Atlas (11 min.) . . . .Sept. 30
94302 Not Yet Titled— Sportscope Oct. 7
94102 Farmyard Symphony — Disnev (8 min.) ....Oct. 14
94203 Talent Auction— Nu Atlas (10 min.) Oct. 28
94103 Donald's Golf Game— Disney (8 min.) Nov. 4
RKO — Two Reels
83113 March of Time— (19 min.) Aug. 5
83303 Hunting Trouble— Jed Prouty (16 min.) . .Aug. £2
(End of 1937-38 Season)
Beginning of 1938-39 Season
93101 March of Time— (21 min.) Sept. 2
93501 A Western Welcome— R. Whitley (18m. ). Sept. 9
93701 Stage Fright— Leon Errol (18 min.) Sept '3
93102 March of Tim? Sept. 30
93401 Beaux and Errors — Kennedy (18 min.) ....Oct. 7
93601 Sea Melody— Ted Fio Rito "( 19 min. ) Oct 21
93103 March of Time Oct. 38
Twentieth Century-Fox — One Reel
Beginning of 1938-39 Season
9101 Golden California — Rd. to Rom. ( l()/m. ) . . Aug. 5
9501 Chris Columbo — Terry-Toon (6/ min.) ...Aug. 12
9201 Recording Modern Science — Cameraman
(10 min.) Aug. 19
9521 String Rean Jack— Terrv-Toon (6/m.) Ann >o
9401 What Every Boy Should Know— Lehr
(10 min.) Sept. 2
9502 The Goose Flies High— T. Toon (6/m.) . . .Sept. 9
9601 Fashion Forecasts— Fashions Sept 16
9503 Wolf's Side of the Story— T. Toon (6/m. ). Sept. 23
9301 Thoroughbreds — Sports Sept. 30
9522 The Glass Slipper— Terry-Toon (6/m.) Oct. 7
9102 Laud of Contentment— L. Thomas ( l()/m.) . Oct. 14
9504 The New Comer — Terrv-Toon ..Oct. 21
9202 Filming Big Thrills— Adv. Camera (9/ni.) .Oct. 28
Universal — One Reel
A2292 Queen's Kittens— Oswald cart. min.). Aug. 8
A2293 The Big Cat and Tlie Little Mousie—
Oswald cartoon (7 min. ) Aug. 15-
A2294 Ghost Town Frolics — Oswald cart. (7m.). Sept. 5.
A229S Pixie Land — Oswald cart (7 min.) Sept. 12
(End of 1937-38 Season,)
Beginning of 1938-39 Season
A33S1 Going Places with Thomas #53 — (9m.) .. .Aug. 22
A3364 Stranger Than Fiction #53— <9m.) Aug. 29
A3352 Going Places witli Thomas #54— (9y,m. ) . Sept. 12
A3365 Stranger Than Fiction #54— (9m.) Sept. 19>
A3353 Going Places with Thomas #55— (9m. ) . . . Oct. 3
A3241 The Cat and the Bell— Lantz cart. (7m.) . . .Oct. 3.
A3366 Stranger Than Fiction #55— (9^m.) Oct. 1ft
Universal — Two Reels
A3590 In the Claws of the Cougar — Flaming
Frontiers #10 (\9l/2 min.) Sept. 6
A3221 Rhythm Cafe— Mentone (20 min.) Sept. 7
A3591 The Half Breed's Revenge— Flaming
#11 (2QJ4 min.) .Sept. 13.
A3592 The Indians Are Coming— Flaming
#12 (19 min.) Sept. 20
A3593 The Fatal Plunge— Flaming #13 ( 20m.) .. Sept. 27
A3222 Beauty Shoppe— Mentone (19^ min.) ...Sept 28'
A3594 Dynamite— Flaming #14 (20m.) Oct. 4
A3595 A Duel to Death— Flaming #15 (I7j^m.) . .Oct. 11
A.1223 Side Show Fakir — Mentone Oct 12
0L3681 Millions For Defense—Red Barrv No.. 1
(19'/, min.) Oct. 25
Vitaphone — One Reel
3511 Mechanix Illustrated — Color-Tour ( 10m.) . . July 23*
3417 Cinderella Meets a Fella — Mer. Mel. (8m.) . July 23
3312 Night Intruder— True Adv. (11m.) July 23.
3717 Saturday Night Swing Club — Mel. M. (11m). July 30
3615 Porky and Daffy — Looney Tunes (7m.) ....Aug. 6
3912 Swing Cat's lamboree — Vit. Var. (8m.) ....Aug. 6t
3812 Hollvwood-Saillins-Furs— Pic. Rev. (lOm).Aug. 13
3418 The Major Lied Till Dawn— Mer. M. (7m.). Aug. 13
3313 Trapped Underground — True Adv. ( 14m. ) . . Aug. 2ft
3718 Clyde McCoy and Orch.— Mel. Mas. ( 11m.) .Aug. 20
361o Wholly Smoke — Looney Tuues (7 min.) ...Aug. 27
3419 A Lad in Bagdad— Mer. Mel. {7l/2 min..) ...Aug. 27
3513 The Hermit Kingdom — Color-Tour ( 10m.) .Aug. 27
3420 Cracked Ice— Mer. Melodies (8 min.) Sept. lft
(End of 1937-38 Season)
Beginning of 1938-39 Season
4701 Larry Clinton— Mel. Masters (10 min.) Sept. 3'
4901 The Great Library Misery— Vit. Var. (llm).Sept 10
4601 Miracles of Sport— Color Par. (9 min.) Sept. 1ft
4301 Identified — True Adventures (12 min.) ....Sept. 17
4501 A Feud There Was— Mer. Mel. (8 min. )... Sept. 24
4801 Porky in Wackvland — L. Tunes (7 min.) .. Sept. 24
4602 China Today— Color Parade ( 1 1 min. ) Oct. 1
4401 Pow Wow — Technicolor Special (10 min.) ..Oct. I
4702 Ray Kinney and His Hawaiians —
Melody Masters (10 min.) Oct. 1
4502 Little Pancho Vanilla— Mer. Mel. (7 min.).. Oct. 8"
4802 Porkv's Naughty Nephew— L. Tun. (7^m.) .Oct. 15
4303 Not Yet Titled— True Adventures Oct. 15
4902 Table Manners— Vit. Var. (10 min.) Oct. 15
4703 Jimmy Dorsey and Or-h.— Mel. Mast. (9m.). Oct. 22
4503 Johnny Smith and Poker Huntas — Mer. Mel.. Oct. 22
Vitaphone — Two Reels
3030 There Goes the Bride — Gaveties (22 min.) ..Aug. 27
(End of 1937-38 Season)
Beginning of 1938-39 Season
4009 Zero Girl— Bway. Brev. (20 min.) Sept. 3
4001 Campus Cinderella— Tech. Prod. (18m.) ...Sept. 17
4010 Murder with Reservations— B. Brev. (21m.) .Sept. 24
4011 Toyland Casino — Bway. Brevities Oct. 8
4012 Two Shadows — Bway. Brevities Oct. 22
4013 The Knight Is Young— Bway. Brev Oct. 29
4014 Hats and Dogs— Bway. Brevities Nov. 12
NEWSWEEKLY
NEW YORK
RELEASE DATES
Universal
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Paramount News
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21 Saturday Nov. 5
2S Wednesday . . . Nov. 9
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Pathe News
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Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
'S
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v* Co.umns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, OCTOBER 8, 1938 No. 41
IS THE PHILADELPHIA EXHIBITOR
LEADERSHIP DIVIDED?
Under the heading, "Reminder and a Warning I" Contact,
the house organ of the Philadelphia territory exhibitors,
accuses "certain exchanges" of taking advantage of the
differences between "certain leading exhibitors" "to drive
home very sharp bargains." "Promises previously made to
adjust grievances," says Contact, "are being ignored or re-
pudiated. . . . Clearance, long established, is being changed
without consulting the complaining exhibitor."
Contact warns the distributors that these tactics are em-
bittering the exhibitors, driving them all into the ranks of
those who believe that relief can come only through the
Government at Washington. It also states that the major
companies' professed desire to establish a conciliation sys-
tem is not supported by any change in the attitude of the
distributor employees toward the independent exhibitors.
Contact, by implication, leads the readers to understand
that division in the exhibitor leadership of that territory
has prompted the distributor employees to alter their atti-
tude towards the independent exhibitors.
If what Contact implies is true, then the cause of the
division in the leadership should be removed, for its continu-
ance works harmfully upon the interests of the members of
the rank and file. Certainly the leaders of that zone are big
enough to make sacrifices for the good of the organization.
To refrain from making sacrifices will denote either stub-
bornness, which is bad, or selfishness, which is worse.
Philadelphia has done some mighty big things in days
gone by, some of them not very long ago. Is that strength
going to be dissipated for some unworthy motive? If he
who is at fault should refuse to consider the interests of
the membership, which are, according to what Contact
writes, suffering, then this paper appeals to Mr. Abram F.
Myers to step into the breach so as to bring harmony out of
strife, for even though that organization is not a member of
Allied States its aggressiveness, coupled with the coopera-
tive spirit its leaders showed toward Allied in a recent
campaign, has been a source of help to Allied States.
Perhaps some of the cool heads of the Philadelphia zone
will invite Mr. Myers to take steps to make the territory an
Allied unit.
ABOUT TIME THAT IT HAPPENED
According to a Hollywood dispatch that was printed in
a recent issue of Motion Picture Daily, the producers have
made up their minds to fight the industry's radio critics by
means of the radio itself, the program to be called, "Caval-
cade of Hollywood." It will be a national network, but will
have no commercial sponsor.
A meeting by many industry leaders took place at the
home of W. S. Van Dyke, and the idea was endorsed unani-
mously.
It is about time that the industry took steps to offset the
gabbing of some radio critics, who employ sensational
language in the traducing of the motion picture industry so
that they might maintain, and even increase, the number of
their listeners.
Harrison's Retorts hopes that one of the other matters
that this committee should take up should be to induce the
studio heads of some companies to refrain from engaging
such critics to act in feature pictures. The object of en-
gaging such critics is, no doubt, to induce them to leave the
employing company alone. It is not the best method of
silencing such critics; as a matter of fact, it is the worst
method, for it encourages some of the other critics to con-
tinue their blasts, and even to intensify them, with the hope
perhaps that some "windfall" will come their way.
THOUGHTS AT RANDOM
{Contributed by an Active Exhibitor)
Selling of Picture* Tough This Season
Reports from various sections of the country indicate
that this year's selling is considerably slower and tougher,
as far as the exchanges are concerned, than the previous
year.
For this state of affairs there are several excellent rea-
sons namely, (1) the distributors, for the most part, have
failed to take into consideration that general movie business
along with every other form of business is subnormal and
the outlook is not particularly bright ; (2) the principle of
demanding increased rentals each year is so thoroughly
engrained that from force of habit salesmen have received
their same annual instructions; (3) the distributors have
devised no sales argument such as last year's "we are put-
ting so many more millions into production," in order for
them to win the sympathy of the exhibitors ; (4) the dis-
tributors have completely overlooked the fact that the gov-
ernment has filed an anti-trust suit against them and is
openly inviting complaints from exhibitors further to
strengthen their case.
Film rentals for the most part seem to be based on what
the traffic will bear, and frequently much more than it will
bear. There can be no argument to the fact that movie
patronage is off, severely off. But so is that of every other
business. The movie contest and unusually strong pictures
released in rapid succession have given it a shot in the arm.
Every exhibitor hopes that the hypo will be of a lasting
nature. However, you can't afford to sign stiff contracts
on mere hopes and expect to stay in business for long. An
equitable solution would seem to be sliding contracts with
liberal split figures.
While the memory of the writer extends back compara-
tively few years the annual cry of "we can't sell a contract
which doesn't provide for an increase over last year" is
becoming all too familiar and hackneyed. We can readily
appreciate that sales managers must justify their healthy
salaries and that this can best be done by showing stiffer
prices on each succeeding contract But we fail to see why
exhibitors should be made the goats in thi* drive. Product
should be sold on merit and merit alone.
At the beginning of the 1938 season salesmen won the
exhibitor's sympathy with fabulous tales of how much
money was going into bigger and better productions. When
the recession hit studios they started to operate on a busi-
ness basis and cut their budgets according to conditions. The
economies put into effect were found so practical that they
were carried over to the 1938-39 product But unlike their
insistence that exhibitors share the burden of increased
picture budgets, the distributors are unwilling to have them
share in the decreased budgets.
In spite of the fact that the government is training its
guns on the picture industry, the distributors are going
their merry way of playing straight into the government's
{Continued on last page)
162
HARRISON'S REPORTS
October 8, 1938
"Straight, Place and Show" with the Ritz
Brothers, Phyllis Brooks and Richard Arlen
(20th Century-Fox, September 30; time, 67 min.)
A fair comedy. The Ritz Brothers are not at their best
here, owing to the weakness of the material given them.
With the exception of one extremely comical scene, in
which Harry Ritz wrestles with a powerful opponent, they
are forced to resort to making faces in an attempt to arouse
laughter. The serious end of the story is slightly tiresome
and unbelievable ; in addition, the characters, by reason of
their actions, fail to win one's sympathy. A few musical
numbers are well rendered by Ethel Merman; but some-
bow one feels they are out of place and were inserted just to
liven things up a bit. The Ritz Brothers will need stronger
material than this in pictures where they are starred : —
Arlen, engaged to wealthy Miss Brooks, is annoyed at
the fact that she keeps putting off their wedding date ; she
was busy training a horse for racing. He makes an agree-
ment with her that, should her horse fail to make a good
showing in a few races, she would turn the horse over to
him to do with as he pleased. He wins the bet ; he gives the
horse to. the Ritz Brothers, strangers to him, on condition
that they would not sell the horse. Excited at the idea of
owning a race horse, they try to think of means of getting
enough money together to enter it in races. When Miss
Brooks learns what Arlen had done, she is furious and sets
out in search of the new owners. She finds them and pleads
to "be permitted to stay with them in order to train the
horse ; they agree. On the day of the big race, Arlen, sorry
for what he had done, obtains permission from the Ritz
Brothers to ride the horse; overhearing three riders plot-
ting to ruin Aden's chances of winning, the Ritz Brothers
knock them out and take their places in the race. The
horses they ride are so' good that for a time it looks as if
they would win; but they manage to get off the track in
time. Arlen wins ; the Ritz Brothers become wealthy, and
Miss Brooks and Arlen are reconciled.
The plot was based on the play by Damon Runyon and
Irving Caesar ; M. M. Musselman and Allen Rivkin wrote
the screen play^ David Butler directed it, and David Hemp-
stead, produced it. In the cast are George Barbier, Sidney
Blackmer, Will Stanton, and others.
Suitability, Class A.
"Broadway Musketeers" with Margaret
Lindsay, Ann Sheridan and John Litel
(First National, October 8; time, 62l/2 min.)
.An, unpleasant program drama. Although no mention is
made on the screen credits as to the original story source,
this seems to be a remake of "Three On a Match," produced
by First National in 1932, which was a rather sordid and
depressing entertainment. A few changes were made in this
version, but not enough to remove the unpleasantness. One
feels little sympathy for the characters, particularly for the
heroine, who deserts her child and devoted husband ; the
fact that in the end she suddenly shows love for her child,
even to the point of sacrificing her own life, does not change
one's feeling towards her : —
Although Margaret Lindsay was married to wealthy
John Litel, who loved her, and had a lovely child (Janet
Chapman), she was restless and longed for excitement.
During her husband's absence on a business trip, she goes
to a night club with a friend (Marie Wilson) at which
another friend (Ann Sheridan) was a singer. Miss Lindsay
flirts with Richard Bond, a gambler; thereafter they see
each other often. Eventually she divorces Litel and marries
Bond, who gambles away her settlement money in a short
time. Litel and Miss Sheridan fall in love -with each other
and marry ; she is devoted to Janet. Miss Lindsay asks Miss
Sheridan for money ; spying Janet, she pleads with Miss
Sheridan to give her to her for the afternoon ; she takes the
child to her apartment.' Bond arrives, excited ; he had
given a bad check to Dick Purcell, a gambler-racketeer,
and was planning to run away. Purcell's henchmen arrive
and kill Bond ; they take Miss Lindsay and Janet to a hide-
out; their plan was to kill Miss Lindsay and demand ran-
som for Janet. But Miss Lindsay,, realizing that they
might kill the child, jumps out of the window so that the
police might find her and rescue the child. She dies; but
her plan works— Janet is saved and the crooks are arrested.
Don Ryan and Kenneth Garnet wrote the screen play;
John Farrow directed it, and Bryan Foy produced it. In the
cast are Anthony Averill and Dewey Robinson.
Unsuitable for children or adolescents. Class B.
"The Night Hawk" with Robert Livingston,
June Travis and Robert Armstrong
(Republic, October 3; time, 63 min.)
A fast-moving and, for the most part, exciting program
melodrama. In spite of the fact that the story is far-fetched,
one's interest is held to the very end. The hero, a newspai>er
reporter, is a likeable character, who wins the spectator's
admiration by his display of courage in the face of danger.
The closing scenes, where he is held captive by a gang of
smugglers who planned to kill him, are thrilling and bold
one in tense suspense. There is comedy and romance, both
well developed : —
Robert Livingston, newspaper reporter, is sent to an
incoming ocean liner to get two stories— one about an iron
lung that had been ordered by a racketeer (Robert Arm-
strong) for his sick brother, and the other about a Federal
Agent, who had collected data with reference to smugglers.
Since the Federal Agent was a friend of Livingston's, the
reporter is able to see him first Learning that the ship had
been quarantined because of small-pox, Livingston and his
assistant, a young Chinese photographer, hide in the iron
lung, which was being taken off the ship. The machine is
hijacked by Ben Welden, Armstrong's enemy; but Living-
ston manages to outwit the crooks and get the machine to
the hospital, for which Armstrong is grateful. Livingston
is shocked to hear that the Federal Agent had been killed.
He suspects Armstrong as being the brains behind the
racket and decides to go after him. But in doing so his life
is endangered. In the end, he gets the information he needs,
and helps round up the gang. Armstrong sacrifices his own
life in saving Livingston from the other gangsters. Living-
ston and June Travis, the publisher's daughter, who had!
helped him in his work, decide to marry.
Earl Felton wrote the original screen play; Sidney Sal-
kow directed it, and Herman Schlom produced it. In the
cast are Lucien Littlefieid and Joseph Downing.
The murders make it unsuitable for children. Gass B.
"If I Were King" with Ronald Colman,
Basil Rathbone and Frances Dee
(Paramount, November 11; time, 100 min.)
Very good; the production is lavish and the perform-
ances are excellent. Produced three rimes before, the last
time in 1930, under the title "The Vagabond King," this
still offers the type of entertainment that the masses should
go for — adventure, comedy, dirills, and romance ; unlike
the last version, however, this has no music. There is excit-
ing action throughout; particularly thrilling are the closing
scenes in which the hero leads his men in a battle against
enemy invaders. The action takes place in France : —
Eager to find out the names of those who were plotting
against him with the Burgundians, traitors who had block-
aded Paris, King Louis XI (Basil Rathbone), disguised,
goes to a tavern where he knew the plotters would meet.
There he finds Francois Villon (Ronald Coltnan) and his
gang of ruffians, who were making merry with food and
wine they had stolen from the King's storehouse. The King
becomes interested in what Villon had to say about what
he would do if he were King. Soldiers, headed by the Grand
Constable (John Miljan V,- who had followed Villon to the
tavern, enter and in a battle Villon kills the Grand Con-
stable ; the King then reveals his identity and orders the
arrest of every one at the tavern. Having found out that
the Grand Constable had been the chief plotter, the King is
grateful to Villon for killing him,- but he feels he should
be punished. But first, for his own amusement, he appoints
Villon Grand Constable, with full powers to do as he
pleased; Villon naturally releases- all his friends. Villon
.suggests that the King's army attack the Burgundians, but
the generals disapprove of such tactics; the King tells
Villon to prepare for his own hanging. At the suggestion
of Lady Katherine DeVaucelles (Frances Dec), with
whom he had fallen in love, Villon decides to open the
King's storehouses to the hungry populace ; left without
food, the King is compelled to issue orders for his men to
fight. Through Villon's bravery, the enemy is routed. The
King pardons him and permits him to leave the country ;
Lady Katherine follows Villon.
The plot was adapted from the play by Justin H. Mc-
Carthy ; Preston Sturgis wrote the screen play, Frank
Lloyd directed and produced it, with Lou Smith as asso-
ciate oroducer. In the cast are Ellen Drew, Alma Lloyd,
Colin Tapley, and others.
Suitability, Class A.
October 8, 1938
HARRISON'S REPORTS
163
"Youth Takes a Fling" with Joel McCrea
and Andrea Leeds
(Universal, September 30; time, 77 min.)
An entertaining romantic comedy: Although it lacks fast
action, it holds one's attention well because of its human
appeal. The story is simple but charming, and the charac-
ters are of the down-to-earth type that the masses can
sympathize with. Nothing exciting happens ; nevertheless,
in its simple way, it is the type of entertainment that leaves
the spectator satisfied. The performances are excellent: —
Andrea Leeds, who worked in a department store, had
romantic dreams about the man she would fall in love with.
The moment she sees Joel McCrea, who worked in the
shipping department, she knows that he was the man for
her. But McCrea could think of nothing but the sea — he in-
tended to sign up on a boat and sail around the world. With
the' help of her two friends, Dorothea Kent and Frank
Jenks, she manages to get McCrea to go out with her and
to have dinner at her apartment ; but all he talks about is
the sea. Annoyed when Jenks teases him about Miss- Leeds,
McCrea finally signs up- with, a ship ; he tells Miss Leeds
about it at a week-end picnic the company had arranged.
Heartbroken, Miss Leeds dresses up in an expensive wed-
ding gown she was supposed to deliver to a customer the
following morning. She wanders outdoors ; McCrea sees
her and talks to her. Suddenly there is a downpour and
the dress is ruined. She tearfully blames McCrea for all her
troubles. Feeling that he was responsible, McCrea tries to
help her. By doing this he is delayed and cannot make his
ship. Miss Leeds wanders down to the dock, thinking that
McCrea had; already sailed, when she notices him in a
launch nearby; he was arguing with the Captain to rush
him to his ship. Miss Leeds gets in, just as the launch starts
moving; but they cannot catch up to the boat. McCrea is
thankful, for . he had become seasick and wanted to get
back on land. He and Miss Leeds finally marry.
Myles Connolly and Tom Reed wrote the screen play ;
Archie Mayo directed it, and Joe Pasternak produced it.
In the cast are Virginia Grey, Grant Mitchell,. Isabel
Jeans, and others.
Suitability, Class A.
"Always in Trouble" with Jane Withers
(20th Century-Fox, October 28; time, 69 min.)
A good program comedy; although the story is far-
fetched, the action is fast and amusing. The Withers fans
should enjoy this, for Jane makes the most of every situa-
tion, arousing hearty laughter by the tricks she plays. She
acts with ease, as usual, both in the sentimental and comedy
scenes, and displays new talents. Eddie Collins is a good
partner for her ; together they, turn somewhat silly, material
into good eomedy situations. In the closing scenes, the
action borders on slapstick but is extremely comical. The
romance is pleasant ; it has its ups and downs due to Jane's
interference : —
Jane feels sorry for her father (Andrew Tombes), whose
oil fields had made him a millionaire over night ; her mother
(Nana Bryant) and sister (Jean Rogers) wanted to break
into society and refused to permit Tombes to work. Jane
manages to get a letter out to Tombes' New York office,
requesting that papers with reference to an important
merger be sent to him. Kellard, a clerk in the New York
office, arrives with the papers, only to find Tombes in an
intoxicated condition and unable to attend to business. Jane
induces Kellard to take the family away on a yachting trip,
so as to give Tombes an opportunity, when he awakened,.to
read the papers - without interference Once aboard the
yacht," she leads her mother, sister, and uncle (Collins) to
believe that ..they were being kidnapped. Kellard accident-
ally-crashes the yacht and they land on an island, where
they find a palatial house. They become involved with
smugglers, who were making their headquarters there; the
smugglers decide to hold them for ransom, but Jane,
through a ruse, scares them away. Eventually they are
rescued. Jane is overjoyed when she realizes that' the trip
had cured her mother and sister of their snobbishness, and
that her sister had fallen in love with Kellard.
Albert TreynOr and Jeff Moffitt wrote the story, and
Karen DeWolf and .Robert Chapin, the screen play ; Joseph
Santlcy directed it, and John Stone produced it. In the cast
are Joan Woodbury, Arthur Treacher, and others.
Suitability, Gass A.
"Girls School" with Anne ShirJeyj Nan Grey
and Ralph Bellamy
(Columbia, September 30; time , .72 min.)
Good entertainment. The story centers around a fashion-
able finishing school for girls ; it gives a realistic picture of
life at the school, and, in a humorous and human way,
shows how young girls in their teens act. One of the most
delightful situations is that in which the girls are shown
preparing for their school dance, to which their boy friends
had been invited ; their excitement and comments should
make spectators chuckle. There is also a serious side- to the
story ; this involves Anne Shirley, who, being poor, felt
that she was an outsider. Two aduit romances are worked
into the plot in an interesting way : —
Having been admitted to the fashionable finishing school
she was attending on a scholarship, Miss Shirley is not
permitted to forget that she was poor; among her many
duties she is given the unpleasant task of being monitor and
reporting on the girls. In line with her duty, she is com-
pelled to report that she had seen Nan Grey, the wealthiest
and most popular student, sneak in early one morning,
which meant that she had been out all night. All the girls-,
and Miss Grey in particular, hate Miss Shirley. The head
of the school sends for Miss Grey's parents. Knowing that
they were separated, Miss Shirley wants to save Miss Grey
the humiliation of having the other girls find out about it.
She rushes to the gate to meet Miss Grey's father (Pierre
Watkin) and in a subtle way, suggests that he wait for his
wife so that, they might both enter together. Miss Grey is
oyerjoyed at seeing her parents together; she tells them
that she had been out with the boy she loved, and that she
intended to marry him. Watkin urges his daughter to be-
come friends with 'Miss Shirley, but she refuses. At the
dance, Miss Grey accuses Misss Shirley of having stolen
her flowers; she did not know that her father had sent the
same kind of flowers to Miss Shirley. Miss Shirley decides
to leave the. school the next day. Miss Grey, who was
ready to elope, finds her flowers and, realizing what a ter-
rible mistake she had made, postpones her elopement to
help Miss Shirley. She rushes to her for forgiveness ; both
girls are happy in their newly acquired friendship.
Tess Slesinger wrote the story, and she and Richard
Sherman, the screen play; John Brahm directed it, and
Sam Marx produced it. In the cast are Dorothy Moore,
Gloria Holden, Noah Beery, Jr., and others.
Suitability, Class A.
"Dark Rapture"
{Universal, August 26; time, ~9l/2 min.)
This is an extremely interesting travelogue. Photo-
graphed in the Belgian Congo by the Denis- Roosevelt Ex-
pedition, it- is "outstanding not only for the novelty of its
subject matter but for the excellent photography and in-
teresting commentary.
One sees tribal customs and ceremonies that have not
been shown before. For instance, according to- the rules of
one of the tribes, young boys, upon reaching the age of
eight years, are compelled to show their courage so that
they may be regarded as men worthy of the tribe. They are
put through all kinds of torture and exposed to hardships
that would try" the patience of older men; but these boys
go through it all without whimpering or complaining.
The most exciting scenes are those showing the pvemies,
who were afraid of water and could not swim, building a
bridge. Their ingenuity in planning and completing tiieir
work is remarkable
In another unusual scene, the courage of the native is
again displayed when he is shown capturing and training
a wild elephant
In the mountain country, the Expedition discovered a
race of so-called giants, men who measured over seven feet
in height. Here again one is in for a surprise, for these tall
people are entirely different from the other tribes: they
have dignity, grace, and good looks, and carry themselves
like kings.
With the exception of one scene, the picture should hold
one's attention well. The scene referred to is that in which
the natives are shown having a feast over the carcass of an
elephant ; this may sicken sensitive persons.
Armand Denis directed the picture, and he and Leila
Roosevelt produced it.
Suitability, Gass A.
164
HARRISON'S REPORTS
October 8, 1938
hands. While we are not so naive as to believe that the
anti-trust suit would completely wreck the distribution sys-
tem, we certainly expected sales policies to be liberalized
so that the producers arid distributors could face the court
with more or less clean hands for the coming year and not
give the government additional ammunition.
To those exhibitors who have resisted the outrageous
sales policies of most of the majors, we take off our hat.
It is a lot better to break even on an inferior picture than
to work like a horse and turn over all the receipts to the
exchange.
* * *
Selling Advertising on the Screen
During the depression exhibitors had to resort to many
things such as bank nights, games, giveaways, etc., in order
to remain in business. Some even went into the advertising
business and sold their screens for a mess of porridge.
In the case of screen advertising it actually put money in
the bank but, at the same time, it also kept many patrons
out of the theatre. It has always been the contention of the
writer that a theatre manager is selling entertainment, and
anything that does not come under the head of entertain-
ment has no business in the theatre.
We shall not go into a discussion of how unfair and dis-
gusting it is to take a patron's money with the promise of
giving him several hours of entertainment and then ring
some advertising in on him.
Heretofore commercial film companies were the sole
distributors of screen advertising. Within the past year
advertising agencies discovered what a rich field they were
passing op by neglecting the theatres.
Soon exhibitors will be flooded with requests to run ad-
vertising reels. Some will make very enticing offers, others
will want their reels run for nothing because they possess
some slight educational value and would save you the price
of a short subject.
To any and all requests for screen advertising, regardless
of the remuneration, we can offer but one solution — keep
your screen free of advertising unless it is a civic or com-
munity proposition.
BOX-OFFICE PERFORMANCES OF
1937-38 SEASON'S PICTURES— No, S
United Artists
"Blockade," with Madeleine Carroll and Henry Fonda,
produced by Walter Wanger and directed by William
Dieterle, from a screen play by John Howard Lawson:
Good-Fair.
"South Riding," with Edna Best and Ralph Richardson,
produced by Alexander Korda and directed by Victor
Saville, from a screen play by Ian Dalrymple : Poor.
Twenty-three pictures have been released. Grouping the
pictures of the different ratings from the beginning of the
season, we get the following results:
Excellent- Very Good, 4; Excellent-Good, 2; Excellent-
Fair, 1 ; Very Good-Good, 1 ; Good, 2 ; Good-Fair, 3 ;
Good-Poor, I ; Fair, 3; Fair-Poor, 4; Poor, 2.
Twenty pictures were released during the 1936-37 sea-
son ; they were rated as follows :
Excellent, I; Very Good-Good, 3; Very Good- Poor, 1;
Good, 6; Good-Fair, 3; Fair, 2; Fair-Poor, 3; Poor, 1.
Universal
"The Devil's Party," with Victor McLaglen, William
Gargan, Paul Kelly and Beatrice Roberts, produced by
Edmund Grainger and directed by Ray McCarey, from a
screen play by Roy Chanslor: Good-Fair.
"Wives Under Suspicion," with Warren William and
Gail Patrick, produced by Edmund Grainger and directed
by James Whale, from a screen play by Myles Connolly :
Good-Fair.
"Western Trails," with Bob Baker and Marjorie Rey-
nolds, produced by Paul Malvern and directed by George
Wagner, from a screen play by Norton S. Parker: Fair-
Poor.
"Outlaw Express," with Bob Baker and Cecilia Callego,
produced by Paul Malvern and directed by George Wagner,
from a screen play by Norton S. Parker : Fair-Poor.
"Young Fugitives," with Harry Davenport, Dorothea
Kent and Robert Wilcox, produced by Barney A. Sarecky
and directed by John Rawlins, from a screen play by Ben
G. Kohn and Charles Grayson: Fair-Poor.
"Danger on the Air," with Donald Woods and Nan
Grey, produced by Irving Starr and directed by Otis Gar-
rett, from a screen play by Betty Laidlaw and Robert
Lively : Fair-Poor.
"Rage of Paris," with Danielle Darrieux and Douglas
Fairbanks, Jr., produced by B. G. DeSylva and directed by
Henry Koster, from a screen play by Bruce Manning and
Felb. Jackson: Very Good-Good.
"Prison Break," with Barton MacLane and Glenda
Farrell, produced by Trem Carr and directed by Arthur
Lubin, from a screen play by Norton S. Parker and
Dorothy Reid: Fair.
"Little Tough Gay," with 'The Dead End" Boys, Rob-
ert Wilcox and Helen Parrish, produced by Ken Gold-
smith and directed by Harold Young, from a screen play
b" Brenda Weisberg and Gilson Brown: Very Good-Fair.
"Letter of Introduction," with Andrea Leeds, Adolphe
Menjou, Edgar Bergen and George Murphy, produced
and directed by John M. Stahl, from a screen play by
Sheridan Gibney and Leonard Spigelgass: Very Good-
Good.
Forty-eight pictures have already been released Group-
ing the pictures of the different ratings (including West-
erns) from the beginning of the season, we get the follow-
ing results :
Excel lent- Very Good, 1 ; Excellent-Good, 1 ; Very
Good-Good, 3; Very Good-Fair, 1; Good- Fair, 7; Good-
Poor, 1; Fair, 15; Fair-Poor, 18; Poor, 1.
Thirty-three pictures were released during the 1936-37
season, excluding the Westerns ; they were rated as fot-
lows:
Excellent, 1 ; Excellent- Very Good, 1 ; Very Good-Good,
1; Good, 2; Good-Fair, 3; Fair, 13; Fair-Poor, 12.
STATEMENT OF THE OWNERSHIP, MANAGEMENT, CIR-
CULATION, ETC., REQUIRED BY THE ACT OF CON-
GRESS OF AUGUST 24. 1912. AND MARCH 3, 1933, OF
HARRISON'S REPORTS, published Wtvkly at New York,
N. Y.. for Oct. I, 1?38.
Stat* of New York.
County of Nrw Y»rk.
Before me, a Notary Public, in and for the State and County
aforesaid, personalty appeared P. S. Harrison, who, having been dnly
sworn actordinj to Taw, deposes and says that he is the Editor of the
HARRISON'S REPORTS and that tie following rs, to the best oi
his knowledge and belief, a true statement of the ownership, manage-
ment, etc., of the aforesaid puDlication for the date shown in the
above caption, required by the Act of August 24, 1912", as amended
by the Act of March 3, 1933, embodied in section 537, Postal Laws
and Regulations, to wit:
1. That the names and addresses of tie publisher, editor, managing
editor, and business manager, are:
Publisher, Harrison's Reports, Inc., 1270 6th Ave., New York, N. Y.
Editor. P. S. Harri'on. 1270 6th Ave., New York, N. Y.
Managing Editor, None.
Business Manager, Sylvi* Miller.
2. That the owner is: Harrison's Reports, Inc., 1270 6th Ave.,
Nrw York. N. Y.
P. S. Harrison, 1270 6th Ave., Netv York. N. Y.
3. That the known bondholders, mortgagees, and" other security
holders owning or holding 1 per cent, or more of total amount o£
bonds, mortgages, or other securities are: None.
4. That the two paragraphs next above, giving the name of the
owners, stockholders, and security holders, if any, contain not only
the list of stockholders as they appear upon the books of the company
but also, in cases where the stockholder or security holder appears
upon the books of the company as tmstees or in any other fiduciary
relation, the name of the person or corporation for whom such trustee
is acting, is given; also that the said two paragraphs contain state-
ments embracing affiant's full knowledge and belief as to the circum-
stances and conditions under which stockholders and security holders
who do not appear upon the books of the company as trustees, hold
stock and securities in a capacity other than that of bona fide owners;
and this affiant has no reason to believe that any other person, asso-
ciation, or corporation, has any interest direct or indirect in the said
stock, bonds, or other securities than as so stated by him.
(Signed) SYLVIA MILLER,
(Business Manager).
Sworn to and subscribed before me this 22nd day of September,
I93&.
LILLIAN SILVER.
(My cornxmssioD expires March 30, 1940.)
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. XX SATURDAY, OCTOBER 15, 1938 No. 42
WHAT A FUNNY WORLD THIS IS!
On the editorial page of the September 17 issue of Box
Office, Red Kann reproduces a letter from Ed. Kuykendall,
president of Motion Picture Theatre Owners of America,
which is a favorable comment on an editorial Mr. Kann
printed in the September 3 issue.
Ed. calls Red's attention to the fact that he has been the
foremost advocate of the 20% cancellation proposal.
In his letter, he says partly the following :
"It appears that the average small town, with one or two
theatres, has playing time for slightly over 300 feature
pictures per year. The single theatre town has about two
two-day and three single-day runs per week, with one
double-feature program, which uses 312 features per year.
The larger two-theatre towns have longer runs, and other
variations in the theatre policies work out about the same.
The eight major distributors released 380 features (includ-
ing Westerns) last year. By canceling 20 per cent of the
features, an exhibitor who bought from all these com-
panies would have 304 selected features for 312 play-dates.
Every important feature from all eight companies would
get a showing.
"Without the cancellation today, if he fulfills all his con-
tracts, he can only buy six of the eight major products.
Two companies are always frozen out of the town, any way
you figure it. Of course, it's not always the same two — no
company even comes near to selling every account.
"With the option to cancel, isn't it plain that what a com-
pany loses theoretically by the exercise of the option to
cancel is more than made up by the extra accounts they
acquire from situations where they are now squeezed out?
If one company loses $200,000 in cancellations, who gets
the $200,000 business? It doesn't vanish, somebody inherits
that much more business they otherwise would not get,
because the theatre will still fill every playdate just the
same. Isn't it inevitable that the same company will inherit
an equal amount of the new business from the other seven
competing companies ?"
It is surprising how time moulds the opinions of persons.
Mr. Kuykendall did everything there was in his power to
defeat the Neely Bill, originally introduced by Senator
Brookhart, in 1918. He left no stone unturned since that
date to attain his object. And now, in order for him to
induce, appaienily, the producers to grant the 20% can-
cellation provision, he employs the very arguments Mr.
Abram F. Myers and every Allied leader has advanced to
prove that the total elimination of block-booking will not
harm the producers. Editorial after editorial was printed in
Harrison's Reports in support of this very argument.
Mr. Kuykendall appropriates the arguments of the Allied
leaders to convince the producers that if they were to con-
cede to a 20% cancellation, their interests will not be hurt,
by pointing out to them that there is at any one time a
given number of play-dates, which must be filled with the
existing pictures at that particular time. If the exhibitor
is given the right to cancel 20% of the pictures of one
producer, he must contract from other producers for an
equal number of canceled pictures to fill in his playing
time. Why isn't it true, then, that the same condition will
prevail if block-booking were eliminated entirely? Perhaps
one company may lose $1,000,000 from exhibitors who will
refrain from booking its weak pictures, but is it not true
that this company will more than make up its loss from
play-dates that are available to it by those exhibitors who
refrained from booking weak pictures of other companies?
The only difference between the position of Ed. Kuyken-
dall and that of Mr. Myers is this: Ed. Kuykendall wants
the establishment of the right of an exhibitor to cancel 20%
of the contracted pictures, whereas Mr. Myers wants the
exhibitor to have an unrestricted right to book whatever
pictures will suit his particular requirements. The Kuy-
kendall proposal, if accepted, will not bind the producers ;
if another administration should come into power in Wash-
ington, more friendly to them, they could notify the ex-
hibitors that they have withdrawn the cancellation" fight,*
whereas Allied wants the cancellation, or rather the non-
purchasing, right established by law.
Another difference in the method each pursues is this:
Mr. Myers has been consistent, for he has stuck to the
same policy all along, whereas Kuykendall is inconsistent,
for he changes his views like a weather vane.
HOW BIGOTRY CAN BEST BE FOUGHT
Maurice Kann, editor-in-chief of Box Office, calls this
paper's attention to a piece of scurrilous literature that has
been circulated in the midwest, attacking people of the
Jewish race, accusing them of controlling communism
through the anti-Nazi League, and calling upon Americans
to boycott the movies. The facts are given in the October 1
issue of Box Office.
Harrison's Reports gladly joins Mr. Kann in stigma-
tizing this vicious propaganda, instigated no doubt by
believers in Nazi type of totalitarianism, and suggests to
exhibitors to fight it with all the means at their command,
not only because the democratic principle of tolerance is
violated, but also because the interests of the entire industry
will suffer unless such propaganda is counteracted.
To the suggestions of Mr. Kann as to how this vicious
propaganda against the industry could be counteracted,
Harrison's Reports desires to add the following:
There should be produced a single reel with some of the
most prominent moving picture stars delivering a speech
to picture audiences, assuring the American people that
there is no communism in Hollywood.
In the case of Shirley Temple, whose name has figured
prominently in the investigation of the Dies Committee, an
attempt to ridicule the assertion should be made. And one
way by which it could be ridiculed is to show Shirley
giving a suit of clothes to some poor girl and a bystander
saying : "She is a communist !"
The industry leaders may have a different way of doing
it ; but it should be done and every exhibitor in the coun-
try should volunteer to show such a reel on his screen.
That is, of course, an indirect way of fighting propa-
ganda, but Harrison's Reports believes that, in •figlvting •
this sort of attack upon the industry, the indirect way is
the most effective.
Harrison's Reports calls upon the industry's leaders to
consider these suggestions.
MOTION PICTURE RESEARCH COUNCIL
STILL ACTIVE AGAINST BLOCK
BOOKING
Motion Picture Research Council has not given up its
fight against block booking just because the Neely Bill
was defeated, or tabled (which means almost the same
thing), in the House of Representatives, for it continues
to contact its membership so as to keep the spirit against
bi ck booking and blind selling alive.
Motion Picture Research Council is a powerful organi-
zation and its support of the exhibitor cause has been of
great help.
I have no doubt that the Allied leaders are getting ready
for the battle next January. If every exhibitor will exert
his efforts at least to the same degree that he exerted them
this year and the previous years, with the support wc are
getting from civic, fraternal, as well as religious organiza-
tions wc should have no trouble in seeing block booking
and blind selling outlawed by a federal statute.
166
HARRISON'S REPORTS
October 15, 193S
"The Arkansas Traveler" with Bob Burns,
Fay Bainter, Jean Parker and John Beal
{Paramount , October 14; time, 83 min.)
Good entertainment, with human interest, romance, and
comedy. The small-town characters and background make
it ideal fare for neighborhood theatres. Bob Burns plays
the part of the hobo printer to perfection, winning one's
sympathy by his kindness and courage. The manner in
which he outwits the town's richest man, preventing him
from duping the woman editor of the town's newspaper,
should prove highly amusing and satisfactory to most
audiences. Although the closing scenes may seem slightly
far-fetched, they are exciting and laugh-provoking. The
romance is pleasant : —
Burns, a good-natured hobo, arrives at the small town
where he takes over the job of typesetter for Fay Bainter,
editor of the newspaper. He does not tell her that he had
known her husband, who had died, and that he had come to
the town to help her for he felt that she might be too
proud to accept help. John Beal, son of the Mayor, arrives
in town ; he had hurried home to see his sick mother, but,
having arrived too late, decides to leave again ; but Burns,
who had taken an interest in him and noticed that Miss
Bainter's daughter (Jean Parker) loved the young man,
forces him to stay in town by pressing charges against him.
When Beal gets to know Burns he forgives him and prom-
ises to work on the newspaper in order to rid the town of
his crooked father and Lyle Talbot, the town's richest man.
Miss Parker, who had laith in Talbot, resents the articles
they print about him; but finally Burns convinces her that
what he was writing was true. Discovering that the news-
paper had a radio franchise, Burns enlists the aid of his
hobo friends to help him get the station working. Talbot,
who wanted the newspaper and the station to carry on his
crooked work, tries to stop the workers, but Burns outwits
him ; the station is built in time. Burns suggests to the
townsfolk that they elect Beal Mayor ; his suggestion is
carried out. Feeling that he had completed his work, Burns
prepares to leave, but Beal prevents him from doing so.
Beal and Miss Parker are married.
Jack Cunningham wrote the story and Viola Brothers
Shore and George S. Perry, the screen play ; Alfred San-
tell directed it and George M. Arthur produced it. In the
cast are Irving S. Cobb, Dickie Moore, Porter Hall, and
others.
Suitability, Class A.
"King of Alcatraz" with J. Carrol Naish,
Lloyd Nolan and Gail Patrick
(Paramount, September 30 ; time, 5S]/2 min.)
A good gangster melodrama. Although most of the story
takes place aboard a ship, there is plentiful exciting action;
one is held in tense suspense throughout. The picture starts
off in a comical fashion, with bickering between two sea-
going friends, who fight at the least provocation ; but once
both aica are aboard ship and become involved with the
gangsters, the comedy is dropped for melodrama. The
methods used by the two pals to overpower the gangsters
should thrill spectators. A pleasant romance is worked into
the plot : —
Lloyd Nolan and Robert Preston, ship radio operators,
are constantly quarreling and getting into scrapes. Porter
Hall, owner of the steamship line for which they worked,
transfers them to a freighter, warning them that, unless
they worked harmoniously, he would discharge them.
Nolan is surprised to find Gail Patrick on board as ship's
nurse ; they loved each other but had parted because of
Nolan's wildness; Preston confesses that he, too, loved
Miss Patrick. It develops that the small group of passen-
gers were all gangsters, and the leader (J. Carrol Naish),
an escaped convict from Alcatraz. They take over the ship
by force and order the Captain to change the course. Nolan
is shot when he attempts to overpower one of the men.
Miss Patrick receives instructions by radio from another
ship's doctor as to how to operate on Nolan and save his
life. Eventually, through quick thinking by one of the
stokers, the members of the crew overpower the gangsters
and get them to the authorities. Nolan and Miss Patrick
become reconciled, and Fester is best man at the wedding.
Irving Reis wrote the story and screen play; Robert
Florcy directed it. In the cast are Harry Carey, Anthony
Quinn, Richard Stanley, and others.
Suitability, Class B.
"A Man to Remember" with Edward Ellis,
Anne Shirley and Lee Bowman
(RKO, October 14; time, 78 min.)
A very good program drama. The simple story has deep
human appeal, and there are a few situations that touch
one's emotions, bringing tears to the eyes. The action is
neither fast nor exciting ; nevertheless, the story is so-
absorbing and the leading characters so appealing that one's
attention is held throughout. Edward Ellis, as the small-
town doctor around whom the story revolves, gives an
excellent performance ; his actions in sacrificing material
comforts to help the poor are inspiring. The romance is
the least important part of the picture. The story is told in
flashback : —
Ellis, a doctor, settles in a small town with his mother-
less son. His patients are mostly the poor folk, who pay
him out in potatoes and the like. When a poor woman dies
in childbirth, the embittered husband leaves the infant girl
on Ellis' doorstep. Ellis does not complain; he raises the
girl as if she were his own child. The girl (Anne Shirley)
grows up to be a great comfort to him. Ellis meets with,
his first disappointment when his son (Lee Bowman), who
had returned home after completing his medical studies in
Europe, informs him that he was going to work with the
leading doctor in town, who had a lucrative practice. But
Ellis goes on working just the same. Called in to see a
sick child, he feels quite certain that the child had infantile
paralysis. He rushes to the town officials, begging them to
call off the County Fair they had planned; but they refuse.
Ellis, with the help of Miss Shirley, issues handbills plead-
ing with mothers to keep their children home, assuring
them that he would call at their homes to spray children's
throats. When the epidemic becomes serious in other towns
and does not affect Ellis' patients, the officials and doctors-
finally realize what a courageous thing EHis had done. He
is honored by his neighbors ; he dies happy in the thought
that his son had given up the fashionable practice to work
amongst the poor, as he had done ; and also that he was-
going to marry Miss Shirley. The whole town turns out
at the funeral.
Katherine Haviland-Taylor wrote the story, and Daltort
Trumbo, the screen play ; Garson Kanin directed it, and
Robert Sisk produced it. In the cast are William Henry,
John Wray, Granvilk Bates, and others.
Suitability, Class A.
"The Mad Miss Manton" with Barbara
Stanwyck and Henry Fonda
(RKO, October 21 ; time, 79 min.)
A good comedy-murder mystery melodrama. Although
several murders are committed, the picture is not grue-
some, for the tension is relieved by wise-cracks and comi-
cal situations. The story is interesting and, since the mur-
derer's identity is not divulged untd the last scene, one's-
attention is held throughout. The closing scenes in which
Miss Stanwyck confronts the slightly mad murderer, who
threatens to kill her, are thrilling. The romance is de-
veloped in a delightful and comical way. An added attrac-
tion for women patrons is the lavish production and the
gorgeous clothes worn by Miss Sianwyck and her friends :
Miss Stanwyck, a wealthy debutante, and her group of.
girl friends are known for the pranks they play. While out
walking with her dogs, Miss Stanwyck notices a young
man, with whom she was acquainted, running out of a
supposedly deserted house. She goes into the house and
finds a dead man. She calls the police, but by the time
they arrive the body is gone. The lieutenant (Sam Levene)
warns Miss Stanwyck to stop playing jokes. Henry Fonda,
newspaper reporter, prints an article ridiculing Miss Stan-
wyck; she starts a million dollar libel suit against him.
Miss Stanwyck and her girl friends decide to solve the ease
themselves. They go to the apartment of the man who had
been seen running out of the house, only to find him mur-
dered. This time the police are convinced that something
was wrong, particularly after they find the first body.
Fonda falls in love with Miss Stanwyck and pleads with
her to leave the case to the police, for he felt that she w:as
endangering her life ; but she persists in carrying on. The
murderer traps her in her apartment and threatens to kill
her; but Fonda and the police arrive just in time to save
her and capture the murderer. Having fallen in love with
Fonda, she decides to marry him. ,
Wilson Collison wrote the story, and Philip G. Epstein,
the screen play ; Leigh Jason directed it, and P. J. Wolfson
produced it. In the cast are Frances Mercer, Stanley
Kidges, Whitney Bourne, Vicki Lester, and others.
The murders make it unsuitable for childrsn. Class B.
October 15, 1938
HARRISON'S REPORTS
167
"That Certain Age" with Deanna Durbin,
Melvyn Douglas and Jackie Cooper
(Universal [1937-38], October 7; time, 100 min.)
Excellent. The production is lavish and the direction
outstanding. Not only does Deanna Durbin charm the
audience by her beautiful singing voice, but also by her
acting of a rather difficult part. Helped along considerably
by an intelligent screen play, and by excellent supporting
players, she makes the young girl in the throes of adoles-
cent love so appealing that one feels deep sympathy for
her ; and at no time do her actions seem silly. The music
is good, and the comedy extremely amusing : — ■
Deanna, daughter of a wealthy newspaper publisher
(John Halliday), is annoyed when she is told by the ser-
vants that the guest house, which she and her friends were
using as a rehearsal hall for a play they were going to give
for the benefit of a Boy Scout troop, was to be vacated
by them to be prepared for a guest her father was bringing
home. They decide to make things so uncomfortable for
the guest (Melvyn Douglas) that he would be forced to
leave. But once Deanna meets Douglas, a sophisticated
special feature writer, she forgets all about the play and
her friends. Jackie Cooper, the director of the play, is
heartbroken when he realizes what was happening ; but
Douglas is completely unaware of Deanna's feelings
towards him. When Jackie congratulates him, Douglas is
puzzled ; upon questioning, he learns the truth and is
shocked. He takes the matter up with Halliday and his
wife (Irene Rich), but they find themselves unable to cope
with the situation. Halliday hits upon an idea ; when
Douglas' friend (Nancy Carroll) arrives, he introduces
her as Douglas' wife. Douglas pretends to treat Miss
Carroll in an offhand manner ; this so disgusts Deanna
that she is cured of her romantic ideas. She goes back to
her friends and to rehearsal, forgetting all about the
agonies of love she had suffered ; this makes Cooper happy.
F. Hugh Herbert wrote the story, and Bruce Manning,
the screen play ; Edward Ludwig directed it, and Joe
Pasternak produced it. In the cast are Jackie Searl,
Juanita Quigley, Peggy Stewart, and others.
Class A.
"Stablemates" with Mickey Rooney
and Wallace Beery
(MGM, October 7 ; time, 89 min.)
Good entertainment, with very good box-office possibili-
ties because of the popularity of Mickey Rooney and Wal-
lace Beery. The story is not novel ; but, because of the
performances given by Mickey and Beery, it seems to take
on new life and holds one's interest throughout. It has con-
siderable human appeal and a few situations that touch
one's emotions deeply. There is no romance, and the two
women who appear in the cast have minor parts ; never-
theless, it should appeal to women because of the relation-
ship that develops between Mickey and Beery. The action
is a little slow at times due to too much talk ; but the end
is exciting and touching, too : —
Mickey, a jockey, has great faith in the horse he had
been taking care of. When the horse fails to make a good
showing at an important race, its owner decides to dispose
of it. Mickey pleads with the owner to sell it to him, offer-
ing to give him everything he owned; the owner agrees and
Mickey is overjoyed. He is annoyed when Beery, a drunk-
ard, who hung around the tra k, speaks disparagingly of
the horse; but when Beery tells him just what the trouble
was he is impressed. Mickey comes to the conclusion that
Beery must have been the famous veterinarian he was
talking about. Beery at first denies it, but, when the boy
tearfully pleads with him to save the horse, he operates on
it. Beery and Mickey become great friends and in a short
time decide to adopt each other as father and son, respec-
tively. By working hard, they earn enough money to enter
the horse in an important race. But Mickey is miserable
when he finds out from a certain detective that Beery was
wanted on a criminal charge ; he tries to keep Beery away
from the track, but in vain. The horse wins; but Mickey's
:oy is dimmed when Beery is apprehended. They take
tearful leave and assure each other that the year Beery
had to serve would not be too long to wait. Mickey is
taken under the wing of Marjoric Gateson, a generous
stable owner, who had helped him race his horse.
William Thiele and Reginald Owen wrote the story, and
Leonard Praskins and Richard Maibaum, the screen play;
Sam Wood directed it, and Harry Rapt produced it. In the
cast are Margaret Hamilton, Minor Watson, Oscar
(/.shea, and others.
Suitability, Class A.
"Vacation from Love" with Denis O'Keefe,
Florence Rice and Reginald Owen
(MGM, September 30; time, 65 min.)
An entertaining program romantic farce, with a fairly
lavish production. In spite of the fact that the story is not
new, it manages to keep one amused throughout because of
the comical situations and wisecracks ; in addition, the
action is fast. The characters are appealing, and the parts
are played with spirit : —
When Denis O'Keefe, a saxaphone player in a night club
band, reads that Florence Rice, with whom he had fallen
in love at first sight, was going to marry a silly-looking
society man, he decides to do something about it. He and
his pal (Edward Brophy) manage to get into her house;
O'Keefe stops the ceremony by objecting to the bride-
groom. Reginald Owen, Miss Rice's father, is horrified and
orders the servants to throw O'Keefe out. But Miss Rice
decides that O'Keefe was right and runs out. O'Keefe
helps her escape, and then tells her how he had seen her
once and had fallen in love with her; she decides, she
loves him and, despite her father's objections, marries him.
Owen takes O'Keefe into his advertising business and the
young man proves to be very competent. Although he and
his wife are still madly in love, O'Keefe's duties at the
office keep them from having a good time. Quarrels follow
and they part. Miss Rice goes to Paris for a divorce;
O'Keefe follows her. During the trial, they suddenly decide
to drop the action and start over again.
Harlan Ware and Patterson McNutt wrote the story
and screen play ; George Fitzmaurice directed it, and
Orville O. Dull produced it. In the cast are June Knight,
Herman Bing, and Tom Rutherford.
Suitability, Class A.
"The Sisters" with Bette Davis
and Enrol Flynn
(lVa?-ncr Bros., October 15; time, 98 min.)
A very good box-office attraction, considering the popu-
larity of the stars. The story, which was adapted from the
novel by Myron Brinig, was cleaned up considerably, and
the ending changed to a more cheerful one ; this is to the
picture's benefit. It offers, in addition to the dramatic and
romantic angles, good material for exploitation; for in-
stance, the period in which the story takes place, from 1904
to 1908, is an interesting one and is depicted lavishly and
with realism ; then there is the San Francisco earthquake,
which, although not built up to any considerable extent, is
exciting. The story is, in its way, slightly episodic since it
deals with events in the lives of three sisters ; but one's
interest is focused mostly on Miss Davis, with whom the
spectator is in deep sympathy : —
The story revolves around three sisters — Miss Davis,
Anita Louise, and Jane Bryan. Miss Davis marries Flynn,
an adventurous newspaper writer who had plans to write
a book; she goes to San Francisco with him. Miss Bryan
marries a young wealthy banker (Dick Foran), and is
happy in her domestic life ; Miss Louise, flirtatious and
selfish, marries wealthy Alan Hale, a man old enough to
be her father, and goes to Europe with him. Although
Flynn loves his wife passionately, he feels tied down by
marriage and takes to drink ; he resents furthermore the
fact that he did not earn enough to give his wife luxuries.
But Miss Davis is patient. She is happy when she becomes
pregnant ; but constant worry and hard work bring on a
miscarriage; Flynn begs for forgiveness and promises to
work hard. But things go bad and he loses his job. Miss
Davis takes a position as secretary to Ian Hunter, depart-
ment store owner ; he falls madly in love with her. Flynn,
unable to stand things as they were, signs up on a ship and
goes away; Miss Davis is heartbroken. She is injured
during the earthquake and cared for by a friend; Hunter
and her father find her and take her home. She recuperates
and goes back to work, becoming very successful. She helps
Miss Bryan out of a predicament, when Foran becomes
enmeshed with the town prostitute. In the meantime, Hale
dies and Miss Louise marries again; she soon tires of her
new husband and contemplates a divorce to marry again.
Flynn returns after a two year absence; he was longing to
sec his wife again; they are reunited.
Milton Krims wrote the screen play, Anatole Litvak
directed it, and David Lewis was associate producer. In
the cast arc Beulah Bondi, Henry Travers, Patric
Knowles, Lee Patrick, and others.
It is doubtful if children will understand the suggestive-
ncss in some of the situations ; suitability, Class A.
168
HARRISON'S REPORTS
October 15, 1938
THOUGHTS AT RANDOM
(Contributed by an Active Exhibitor)
Exhibitor-Distributor Conciliation
Dating from the year one in the motion picture industry
there has been a consistent battle between producer and
producer, distributor and exhibitor, circuit and independ-
ent. Never have any of the opposing elements been able to
agree on any controversial problem.
A few months ago came the government's anti-trust suit.
The first reaction on the part of those who would benefit
most by the intervention of the government was "they had
it coming to them." But despite the benefits that would
accrue to independents in all branches of the industry, they
joined with the defendants in stating that they did not want
the government messing in the film industry.
Since the filing of the suit the following developments
have taken place: Self-regulation conferences which were
either planned or in process were cancelled ; expensive
legal batteries were engaged by the defendants who, after
ignoring invitations to confer with the government's at-
torneys, later met with them with undisclosed results ; a
rash of individual suits broke out and bills for theatre
divorcement are being framed for introduction into the
various state legislatures.
Based on past performances it is hardly likely that the
suit will reach the trial stage before another eighteen
months. In the meantime, can anything be done to clean
our houses so that the government will not find it necessary
to do it for us ?
This suit was brought on entirely through the efforts of
independent exhibitors. When they had justifiable com-
plaints about which the distributors refused to do anything,
there was only one course open to the exhibitor — appeal to
the courts for relief. Because of the interstate nature of the
business and of the high cost of trials the Department of
Justice was the logical place to file these grievances. With
such a mass of evidence in their possession, and much more
whenever they wanted it, the government had a strong case
in which they are an odds on favorite to win.
Is it too illogical or naive to suppose that the government
would drop the suit if the distributor and exhibitor sat
down and ironed out their differences over a conference
table rather than in a court room?
I, for one, am convinced that, if the various branches of
the industry can show the government a clean bill of
health, the suit will be dropped. I do not believe that the
government is particularly anxious to drag our dirty linen
into court if they can be shown that justice can be done
outside of the courtroom.
* * *
A Sudden Distributor Discovery!
Comes the new year and a most pleasant surprise for us.
We suddenly discovered that we were the victims of a
huge joke — it wasn't at all necessary to buy all those short
subjects the film salesmen said we had to!
Being endowed with a sense of humor there was nothing
that we could do but laugh and resolve that it would never
happen again. We were going to take the statements of
the various sales executives as reported by Box Office, blow
them up to a 40x60, and display it in a prominent place in
our sanctum sanctorum. It is to serve a two fold purpose —
to prove that we had a sense of humor and as guarantee
that we wouldn't be ribbed any more.
Copy for our 40x60 will read :
Neil F. Agnew, Paramount Pictures, Inc.: "Paramount's
policy is clear. We sell shorts whenever we can. Nobody is
forced to buy them. Such a procedure has never been
feasible or practical. I believe that most exhibitors make
fair deals. We do not force them to buy shorts where they
cannot use them."
William A. Scully, Universal: "Our representatives are
instructed to advise exhibitors as to the quality of our short
product and prevail upon them to purchase as many of these
shorts as their requirements permit. We force no one to
buy our shorts in order to buy our features."
20th Century-Fox spokesman restating S. R. Kent's
position: "It has never been the practice of this company
to force shorts with features. As a practical matter of dis-
tribution they arc sold at the same time but under different
agreements."
Abe Montague, Columbia: "It has never been the prac-
tice of this company to 'force' shorts with features as the
expression is commonly used by exhibitors."
George J. Schaejer, United Artists: "The sale of fea-
tures has nothing to do with the sale of shorts here."
Earle W. Hammonds, Grand National: "I have never
believed in forcing shorts; it has never been a sound
policy."
William F. Rodgers, Metro-Goldzvyn-Mayer: "We do
not make it conditional that short subjects be leased in
order to obtain our features."
These quotations are going to make a beautiful 40x60.
In fact I don't know of another poster from which I will
derive so much pleasure.
Only one thing is bothering me — why practically every
one of the sales executives said, in essence, that while it
was not necessary to buy shorts in order to get features,
they did believe that shorts should be sold in the same pro-
portion to the number of features sold. That is, if you buy
half of a company's features you should buy half of their
shorts. And if you buy all their features, you should take
all the shorts !
* * *
A Sensational Distributor Statement
Frequently many of the industry's important men make
statements which arc so self-explanatory and far-reaching
that they can be quoted without any editorial comment
whatsoever :
Such a statement was recently made by Mr. George J.
Schaefer before a group of Philadelphia exhibitors. We are
pleased to reprint it here :
"It is manifestly unfair for a producing company to have
the right of cancellation in its contract without giving the
exhibitor the same right. If our company finds it necessary,
because of technical reasons or otherwise to cancel a pic-
ture included in an agreement, then I believe that the
entire group of undelivered pictures should likewise be
canceled to give the exhibitor the right to reappraise the
value of the whole group.
"I do not believe that it is fair for a producer to caned a
picture which looks like a probable hit for the purpose of
raising the price in a new contract — and then leave the
exhibitor holding the bag for the inferior product."
BOX-OFFICE PERFORMANCES OF
1937-38 SEASON'S PICTURES— No. 6
Warner Bros.
"Little Miss Thoroughbred," with John Litel, Ann
Sheridan and Janet Chapman, produced by Bryan Foy and
directed by John Farrow, from a screen play by Albert
DeMond and George Bricker : Fair.
"Gold Diggers in Paris," with Rudy Vallee, Rosemary
Lane and Allen Jenkins, produced by Sam Bischoff and
directed by Ray Enright, from a screen play by Earl
Baldwin and Warren Duff : Good-Poor.
"White Banners," with Fay Bainter, Claude Rains and
Jackie Cooper, produced by Henry Blanke and directed by
Edmund Goulding, from a screen play by Lcnore Coffee,
Cameron Rogers and Abem Finkel : Very Good-Good.
"Men Are Such Fools," with Wayne Morris, Priscilla
Lane, Hugh Herbert and Humphrey Bogart, produced by
David Lewis and directed by Busby Berkeley, from a screen
play by Norman Reilly Raine and Horace Jackson : Good-
Poor.
"Cowboy from Brooklyn," with Dick Powell, Pat
O'Brien and Priscilla Lane, produced by Lou Edelman
and directed by Lloyd Bacon, from a screen play by Earl
Baldwin : Very Good-Good.
"Mr. Chump," with Johnnie Davis, Lola Lane and
Penny Singleton, produced by Bryan Foy and directed by
William Clemens, from a screen play by George Bricker :
Fair-Poor.
"Racket Busters," with Humphrey Bogart, George Brent
and Gloria Dickson, produced by Sam Bischoff and di-
rected by Lloyd Bacon, from a screen play by Robert
Rossen and Leonardo Bercovici : Very Good-Fair.
Twenty-six pictures have already been released. Group-
ing the pictures of the different ratings from the beginning
of the season, we get the following results :
Excellent-Very Good, 1 ; Very Good-Good, 5 ; Good, 1 ;
Good-Fair, 5; Good-Poor, 6; Fair, 2; Fair-Poor, 6.
Twenty-seven pictures were released during the 1936-37
season, excluding the Westerns; they were rated as fol-
lows :
Very Good, 1 ; Very Good-Good, 3 ; Very Good-Poor, 1 ;
Good, 3; Good-Fair, 6; Fair, 10; Fair-Poor, 3.
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. XX SATURDAY, OCTOBER 22, 1938 No. 43
A TRADE-PRESS CONFERENCE WITH
THE DISTRIBUTOR NEGOTIATING
COMMITTEE
For the purpose of keeping the press informed
as to the developments of producer-exhibitor
conferences, Mr. W. F. Rodgers, general sales
manager of MGM and chairman of the distri-
butor committee, sent for the members of the
trade press to meet him at his office Tuesday,
at 1 1 in the morning.
Messrs. Ned Depinet, of R. K. O., Gradwell
Sears, of Warner Bros., and Abe Montague, of
Columbia, of the negotiating committee, were
present.
In view of the fact that the meetings have not
yet started there was nothing definite to give
out ; but Mr. Depinet, speaking on behalf of the
distributor committee, asked for the whole-
hearted cooperation of the press. He said that
the distributors were condemned in the past for
having failed to get together with the exhibitors
to remove the causes of complaints, but since a
definite and sincere effort is now being made he
requested the trade press to be patient in re-
gards to news as to the development of the
negotiations.
Mr. Rodgers assured the members of the
trade press that they will be informed regularly,
at stated times, as to the progress of the nego-
tiations.
What the writer observed is that the members
of the distributor committee were inspired with
sincerity in their efforts to come together with
the exhibitors ; and if the heads of the companies
they represent along with the other companies
should be inspired with the same sentiments
there is no reason why a satisfactory agreement
should not be reached.
Allied has already accepted the invitation to
confer with the distributors.
THE PRODUCER ASSURANCES ABOUT
NOT FORCING PURCHASE OF SHORTS
The}- arc making themselves ridiculous. I am
talking about the major producers who, as soon
as MGM made the announcement that it docs
not compel the exhibitors to buy their shorts
along with their features if such exhibitors have
no room for shorts, began issuing statements
they, too, had never compelled the exhibitor to
buy their shorts along with their features.
It is perfectly clear that they are issuing such
statements in an effort to convince the Govern-
ment that they have not been unfair to the
exhibitors in the sale of shorts, with the hope
that the Government officials who have charge
of the suit might believe them.
That the home offices of the major companies
have been advised by their lawyers to ease up on
the exhibitors in the matter of the sales of shorts
and that the home offices have accepted their
advice, this paper cannot doubt ; but shorts are
still being forced on the exhibitors, because they
have not taken care to impress their sales repre-
sentatives to stop compelling the exhibitors to
buy shorts with features. They have, no doubt,
notified them to that effect, but a mere notifica-
tion is not sufficient to impress upon salesmen
that a change of policy has been effected. How
else can one interpret the fact that the sales-
men are still forcing the exhibitors to buy shorts
when they want the features? Several exhibitors
with whom I have discussed the matter lately
have told me : "Try and get them."
The difficulty of impressing the sales forces
that a change of policy has been effected lies in
this fact: because of the size of the circuits,
both affiliated and unaffiliated, most of the sell-
ing is done in New York. As a result, not as
many salesmen are employed today as there
were in former years, when the circuits were
few, and small.
Since the jobs for salesmen are now only a
fi action of what they used to be, a salesman
feels that, to hold his job, he must show volume
sales ; and since forcing shorts with features
presents his home office with volume sales, he
is not scrupulous in observing the Home Office
orders about a change in sales policy. Can any-
one then blame the exhibitor for seeking relief
in legislative halls?
Before the week is over, yoir will read in the
trade papers whether Allied will or will not ac-
cept the invitation of the producers' commit ten'
to talk things over with the idea of eradicating
industry abuses and of setting up a system of
conciliation. In all probability it will accept
such invitation. Whether, however, something
good can come out of these conferences remains
to be seen.
In reference to these conferences, let us heed
what Mr. Abram F. Myers, general counsel of
Allied States, said in his speech at the annual
convention of Allied Theatre Owners of Michi-
gan, held at Grand Rapids, Michigan, on Octo-
ber 12:
"In the next 65 days motion picture history
may be written. If there is a sincere desire on
the part of the distributors to set their house in
order, great things may be accomplished. If it
should develop that present overtures are
merely a political trick to lull the exhibitors into
quiescence until the Big Fight can square things
(Continued on last page)
170
HARRISON'S REPORTS
October 22, 1938
"Five of a Kind" with the D tonne
Quintuplets, Jean Hersholt
and Claire Trevor
(20th Century-Fox, Oct. 14; time, 85 min.}
Just fair entertainment. The main attraction is the
Quintuplets, for the story itself is rather weak. Where
their other two pictures have gone over, this should do
well, too, for there arc several scenes in which the children
appear ; although there is nothing remarkable in what they
do, it is amusing to watch the five of them together — play-
ing, singing, and eating. Naturally, its appeal is mostly for
women. Despite the efforts of the performers, the far-
fetched story falls flat; even the romance is unbelievable: —
Claire Trevor and Cesar Romero, two rival newspaper
reporters, are constantly playing tricks on each other.
Their rivalry eventually leads them to the same town in
Canada, where they both try to sign up the Quintuplets for
a radio program. Romero, by posing as a police inspector
from New York, induces the constable (Slim Summer-
villc) to arrest Miss Trevor; but the trick is discovered
and Miss Trevor is released. She obtains the contract from
Jean Hersholt, the children's doctor. Henry Wilcoxon, a
young doctor and director of a nursery in New York, calls
on Miss Trevor to ask for her help in helping him raise
funds for the nursery. She hits upon the idea of bringing
the Quintuplets to New York for a benefit performance
on behalf of the nursery. But Romero, through a trick,
places Miss Trevor in a position where she is discredited;
because of this the managers of the Quintuplets call off the
performance. Realizing what he had done, Romero goes to
the Canadian officials and confesses ; but they refuse to
permit the children to go to New York. Romero finally in-
duces them to permit the performance to go on by means
of television ; and so the benefit performance is successful.
Romero and Miss Trevor are reconciled.
Lou Breslow and John Patrick wrote the original screen
play; Herbert I. Leeds directed it. In the cast are Inez
Courtney, John Qualen, Jane Darwell, Pauline Moore,
and others.
Suitability, Class A.
"There Goes My Heart" with Fredric
March, Virginia Bruce and
Patsy Kelly
(United Artists, Oct. 14; time, 83 min.)
A fairly good comedy. Lacking a substantial plot, the
picture depends mostly on gags and wisecracks for its
entertainment value ; for the most part, these are good.
Patsy Kelly provokes most of the laughter ; two situations
in which she appears, one, as a customer in a cafeteria and,
another, as a demonstrator for a vibrator, are extremely
comical and should provoke hearty laughter. As a matter of
fact, each time she appears there is something to laugh
about. The action lags a bit in a few spots ; this is so par-
ticularly towards the end. Fredric March and Virginia
Bruce make a pleasant romantic team, despite the routine
way in which the romance is developed: —
Virginia Bruce, the world's wealthiest heiress, is tired
of being denied freedom by her grandfather (Claude Gil-
lingwater). When he is called to London on a business
trip, she orders the Captain of her yacht to take her to
New York ; she then runs away. The newspapers learn of
the latest exploit by the runaway heiress ; Fredric March,
a reporter, is assigned to the case by his editor. In the
meantime, Miss Bruce strikes up an acquaintance in a
cafeteria with Miss Kelly, who thinks she is homeless and
penniless ; Miss Kelly takes her to her shabby one-room
apartment and then offers to get her a position in her own
department store. Miss Bruce loves the experience and
enjoys working. March finds out who she is, but does not
let her suspect that he knew. They become good friends
and he starts working on his story, promising to give it to
the editor when it was completed: in the meantime, how-
ever, he falls in love with Miss Bruce. He tears up the
story; but the irate editor pieces it together again and
prints it. Naturally Miss Bruce is disgusted and agrees to
go back to her grandfather. Miss Kelly, by a ruse, brings
them together again, and sees to it that they get married.
Ed Sullivan wrote the story, and Eddie Moran and Jack
Jcvne, the screen play; Norman Z. McLeod directed it,
and Hal Roach produced it. In the cast are Alan Mowbray,
Nancy Carroll, Eugene Pallette, Arthur Lake, and others.
Suitability, Class A.
"Brother Rat" with Wayne Morris
and Priscilla Lane
(First National, Oct. 29; time, 88 min.)
A delightful comedy, centering around the lighter side of
student life at Virginia Military Institute; the perform-
ances are excellent. Without resorting to music, or college
dances, or football scenes, it offers something novel in the
way of entertainment for a picture of this type. Most of
the action centers around three students, who manage to
get into trouble more than any of the others ; their adven-
tures and the resultant punishments are the cause for
hearty laughter. It is all treated in a light vein, even to
the romances ; no serious problems are presented. This is
the type of picture that makes a spectator forget his troubles
and relax : —
Wayne Morris, Ronald Reagan, and Eddie Albert are
roommates at V.M.I. Morris is constantly getting into
trouble and dragging his pals in it with him. He induces
Reagan to sneak out with him to visit Priscilla Lane, who
had just arrived home with a girl friend. They are caught
.and punished. Albert was eagerly looking forwatd to win-
ning the $250 prize given to the school's best athlete. But
the night before the big football game of the season, he
learns from Jane Bryan, to whom he was secretly married,
that he was to become a father. Realizing that he would be
expelled if it became known that he was married, he be-
comes nervous. In the meantime, Morris, to whom Albert
had entrusted $50, decides to bet it fin the game in order to
help Alljcrt along. But when Albert tells him about his
troubles and expresses a desire not to play in the game,
Morris chases around pawning whatever he could put his.
hands on in order to get enough money together to bet on
the other team and so safeguard Albert's money. Albert is
hit on the head with a ball, and his team loses the game ;
with that he loses the athletic prize. But he graduates and
is overjoyed when he gets the news that he had a son ; with
this he gets $300 for being the first father of his class.
The plot was adapted from the play by John Monks, Jr.,
and Fred Finklehoffe ; Richard Macaulay and Jerry Wald
wrote the screen play, William Keighiey directed it, and
Robert Lord produced it. In the cast are Johnnie Davis,
Jane Wyman, Louise Beavers, Henry O'Neill, William,
Tracy, and others.
Suitability, Class A.
"Girls on Probation" with Jane Bryan,
Ronald Reagan and Sheila Bromley
(First National, Oct. 22; time, 63 min.)
A good program melodrama. It holds one's interest
throughout because of the sympathy one feels for the her-
oine, who innocently becomes involved in crime due to the
machinations of a particularly vicious character. There are
several exciting situations ; the closing scenes, where the
crooks are caught, are thrilling. The hero, because of his
faith in the heroine and his efforts to help her, is an ap-
pealing character : —
Held down by a harsh father (Sig Rumann), who re-
fused to let her have good clothes or go out with young
men, Jane Bryan decides to take the advice of Sheila Brom-
ley and go out dancing with her and two young men ; Miss
Bromley suggests that Miss Bryan wear one of her dresses,
which she accidentally tears. It develops that the dress had
been taken by Miss Bromley from the cleaning store where
she worked ; the insurance company insists on prosecuting.
Miss Bryan is arrested, but later, up .n payment of the cost
of the dress, is released. Miss Bromley had shifted all the
blame on Miss Bryan and then had ran away. A few months
later Miss Bryan sees Miss Bromley sitting in an auto-
mobile ; she enters the car to talk to her to ask her to dear
her name; in that way she becomes involved in a bank rob-
bery along with Miss Bromley and Anthony Averill. They
are all caught, tried, and sentenced to prison. Miss Bryan
wins the sympathy of a parole officer (Dorothy Peterson),
who believes her story ; she is released and goes back home.
She works for Ronald Reagan, assistant district attorney ;
in a short time they are in love with each other. When Miss
Bromley is released, she calls to see Miss Bryan an 1 makes
her miserable by saying that she was going to use her
again. Miss Bryan tells Reagan what was happening. Even-
tually Miss Bryan is instrumental in turning over Miss
Bromley and Averill, who had escaped from prison, to the
police ; her name is cleared.
Crane Wilbur wrote the story and screen play; William
McGann directed it, and Bryan Foy produced it. In the
cast are Esther Dale, Elizabeth Risdon, Henry O Neill,
and others.
Unsuitable for children. Class B.
October 22, 1938
HARRISON'S REPORTS
171
"The Lady Vanishes" with Margaret
Lockwood, Michael Redgrave
and Paul Lukas
(Gaumont-British, Nov. 1 ; time, 91 min.)
A very good melodrama, with excellent comedy, and a
charming romance. Alfred Hitchcock, director of "The 39
Steps" and "The Girl Was Young," again displays his
talents in the field of melodrama ; taking ordinary situa-
tions, he builds them up in so exciting a manner that the
spectator is held in tense suspense. As a matter of fact some
of the situations are so thrilling that they send chills down
one's spine. Although most of the action takes place aboard
a train, the pace is fast and the action thrilling. The comedy,
both in dialogue and situation, is unusually good : —
Margaret Lockwood, a beautiful English girl, leaves the
Balkans, where she had been vacationing, to return to
London, there to marry a titled Englishman. She is an-
noyed to find that Michael Redgrave, an easy-going mu-
sician whom she disliked, was on the same train. She be-
comes acquainted with Dame May Whitty, a harmless-
looking spinster, who takes care of her when she is
accidentally hit on the head by a flower-pot. Miss Whitty
suggests that she go to sleep. When she awakens and asks
the other passengers in her compartment where Miss
Whitty was, they look at her strangely and claim that no
one else had been in that compartment. Paul Lukas, a brain
specialist, shows an interest in Miss Lockwood and sug-
gests that the blow on her head might have affected her.
Miss Lockwood turns to Redgrave for help; it takes her
a long time to convince him that such a person as Dame
Whitty existed. Their investigation leads them to the sur-
prising discovery that they were dealing with dangerous
characters ; they take Lukas into their confidence, not
knowing he was one of the conspirators. They eventually
find and rescue Dame Whitty ; she admits that she was a
member of the British Intelligence Service and that she
had information that Lukas and his assistants did not want
her to pass on. After many thrilling adventures, during
which their lives are endangered when Lukas detaches their
car from the rest of the train, Redgrave and some of the
other passengers finally overpower the conspirators and
get to the border safely. In the meantime, Miss Lockwood
and Redgrave had fallen madly in love with each other and
decide to marry.
Ethel Lina White wrote the story, and Sidney Gilliatt
and Frank Launder, the screen play; in the cast are Cecil
Parker, Linden Travers, and others.
Suitability, Class A.
"Down in Arkansaw" with Ralph Byrd,
Weaver Brothers and Elviry
(Republic, Sept. 29; time, 65 min.)
This hillbilly comedy-melodrama, with music, offers
fairly good program entertainment for neighborhood thea-
tres and small towns. The Weaver Brothers and Elviry
provoke laughter by their antics and sing hillbilly songs in
their custemiary style. Excitement is causeel when agents
for the scheming power company attempt to thwart the
Government's efforts to build a power dam. The mild ro-
mance is of slight importance : —
Ralph Byrd, government agent, is ordered to serve a
summons on the mountain folk, in the government's test
case to get a decision as to whether or not they could force
the mountaineers to vacate their homes, so as to make way
for the building of a government power dam; the govern-
ment was willing to place the mountain folk in new homes.
Things work out smoothly until the agents for the schem-
ing power company, that did not want to see the project go
through, stir up trouble. The court finally decides in favor
of the mountaineers. But Byrd has another idea ; he puts up
a sample house to show them how much more comfortable
they would he in a new place. But things go wrong when
the agents shoot one of the mountain boys and start the
feuding again. Byrd uncovers the identity of the trouble-
makers and forces them to confess. This satisfies the moun-
taineers and they agree to go through with the govern-
ment's suggestion. Byrd marries one of the mountain girls.
Dorrel and Stuart McGowan wrote the original screen
play; Nick Grinde directed it, and Arniand Schaefer pro-
duced it. In the cast are June Storey, Pinky Tomlin, Berton
Churchill, Guintl Williams, and others.
Suitability, Class A.
"The Last Express" with Kent Taylor
and Dorothea Kent
{Universal, Oct. 28; time, 62}4 min.)
Just a moderately entertaining program murder mystery
melodrama, with comedy. In its favor is the comedy, which
is good; this is provoked by wisecracks and occasional
stupid actions on the part of the hero's assistant. But the
story is so muddled that it is difficult for the spectator to
follow it ; one has no idea as to how the hero gets his infor-
mation to unravel the mystery, or why certain characters
are mixed up in the case. There is just a hint at a romance :
Kent Taylor, a private detective, and his assistant (Don
Brodie) are selected by Addison Richards, gambler and
racketeer, to act as go-between in a transaction whereby
certain incriminating papers that had been stolen from the
District Attorney's office involving Richards would be
turned over in exchange for a large amount of money. The
money is stolen from them. Taylor's investigations lead him
to a member of the District Attorney's staff (Edward
Requello) ; but before Taylor could find out anything Re-
quello is killed, presumably from a shot fired at him by a
cliscarded sweetheart, a married woman, whose husband
was involved in the case, too. Following a statement made
by Requello before he died, Taylor, in company with the
District Attorney and others, goes to an abandoned subway
where he finds the money and the papers. He finally clears
the case by proving that Paul Hurst, who worked in the
District Atorney's office, was the murderer and the one who
had stolen the papers and negotiated for their sale. With
the work finished, Taylor decides to devote his time to an
attractive witness (Dorothea Kent), who had been ques-
tioned in the case.
Baynard Kendrick wrote the story, and Edmund L.
Hartmann, the screen play ; Otis Garrett directed it, and
Irving Starr produced it. In the cast are Greta Granstedt,
Robert E. Keane, J. Farrell MacDonald, and others.
Because of the murder it is unsuitable for children.
Class B.
"Young Dr. Kildare" with Lew Ayres,
Lionel Barrymore and Lynne Carver
(MGM, Oct. 14; time, 81 min.)
An engrossing drama, centering around the medical pro-
fession ; both the direction and acting are of the highest
order. One is in deep sympathy with the hero, a young doc-
tor, whose ideals prevent him from taking the easiest roael to
success ; his earnestness and sincerity are inspiring. Even
when the plot wanders off to a melodramatic side-issue
involving a patient, one's interest is held, for the hero's
future depended on the outcome of the case. The romance
is minimized ; but this is in keeping with the story, and,
although the ending may disappoint those romantically in-
clined, it is the only logical conclusion. There are occa-
sional spurts of comedy : —
When Lew Ayres returns to his small home town a full-
fledged doctor, his parents (Emma Dunn and Samuel S.
Hinds) are happy for they felt that he would work with his
father, a country doctor. But Ayres had other ideas ; al-
though he did not want to hurt his parents, he felt that he
had to find out where he really belonged in meelicinc before
he settled down. And so he goes to a large New York
hospital as an interne. This makes his sweetheart (Lynne
Carver) unhappy; but she does not stop him. Ayres is
noticed by Lionel Barrymore, a brilliant diagnostician ;
but because of the caustic remarks Barrymore passes Ayres
thinks he disliked him. Ayres gets into trouble because ei
his stand in a case involving the young daughter of we-althy
parents ; the hospital authorities, guided by an eminent au-
thority on mental cases, were of the opinion that the girl
was mentally unbalanced, but Ayres, having talked to the
girl, knows that something was troubling her. He investi-
gates and finds out what had happened to her; he is then
able to talk to her and make her realize that she had
imagined many things. In that way he brings her back to a
normal state. Ayres is nevertheless dismissed for insubor-
dination; he prepares to go back home. But Barrymore,
who appreciated Ayres' talents, chooses him as his assistant.
Max Brand wrote the story, and Willis Goldlxxk and
Harry Ruskin, the screen play ; Harold S. Bucquet di-
rected it. In the cast are Walter Kingsford, Truman Brad-
ley, Jo Ann Sayers, Nat Pendleton, and others.
Suitability, Class A.
172
HARRISON'S REPORTS
October 22, 1938
with the Government and slip unscathed through
another session of Congress and the State legis-
latures, the whole thing will -blow up with a
bang that will be heard from Maine to Cali-
fornia. There is no evidence of any such sinister
purpose and I would not have issued a call for
the board if I had not believed that Bill Rodgers
told Nate and me. And so I am uttering a prayer
for the success of the movement which Rodgers
has so skillfully launched, a plea for continued
confidence in and support of Allied and a com-
mittee which it may name, and a solemn warn-
ing to distributors and exhibitors alike that
during the next 65 days they will be very much
on the spot. All concerned in the forthcoming
deliberations will be under close observation by
the entire industry, the Government and the
organized consumer groups, Any display of in-
sincerity, bad faith, personal selfishness or at-
tempted conniving will meet with swift retri-
bution."
DISTRIBUTORS WILLING TO SELL BUT
EXHIBITORS REFUSING TO BUY
According to a recent Minneapolis dispatch,
printed in Variety, the representatives of some of
the major companies are not in a rush to sell
their product, and that the exhibitors, because
of this "absent treatment" these major distribu-
tors are giving them, are worried.
In view of the fact that Variety's Minneapolis
man has received this bit of information from
the exchanges, the story sounds "fishy." More-
over, the information that has reached Harri-
son's Reports from several parts of the United
States confirms this view.
The following seems to be the exact state of
affairs : The independent exhibitors of the Min-
neapolis zone, who are all, with a few excep-
tions, members of Ailied Theatre Owners of the
Northwest, have refrained from rushing into
buying their 1938-39 season's product. They
were instructed to be slow in buying by their
own organization.
Seeing that the exhibitors were slow in mak-
ing purchases, the exchangemen decided to em-
ploy a bit of psychology to expedite sales. They
evidently believe that, by throwing a scare into
the exhibitors' hearts, they might frighten every
one of them into buying pictures at once. It is
a stunt as old as history, which does not always
work.
From information that this paper has received
all along, it seems as if the exhibitors have
learned their lesson ; they feel that there is no
use paying for pictures prices that will bring
them a loss. If their competitors want to work
for the exchanges, that is very fine, so far as
they are concerned ; the wise ones are deter-
mined to get some profit for their work. Glory
alone — the glory of operating a theatre, does
not pay either the landlord or the butcher.
THOUGHTS AT RANDOM
(Contributed by an Active Exhibitor)
Newspapers Discontinuing Previews
According to reports, Los Angeles and Holly-
wood theatres have reached an agreement with
their newspapers whereby reviews of previews
will no longer be published. The picture will
now be reviewed just as they are in every city —
when the picture opens its regular engagement.
If the producers could reach the same, agree-
ment with the air gossipers a great deal of good
would be accomplished.
When a picture is previewed in Hollywood it
does not necessarily mean that the picture is
then ready for general release. Often, on the
basis of the audience reaction, scenes are added
or deleted. However the picture is "aireviewed"
on the basis of the preview.
Several men attempt to tell millions of people
of dissimilar tastes and intelligence what is good
and what is bad. Consequently the exhibitor has
little opportunity to tell his patrons about a
coming attraction for they have already heard
all about it several weeks before the exhibitor
even knew when he was going to play it.
The writer, frankly, would like to see gos-
sipers off the air entirely. If that cannot be done,
we're willing to settle for dissertations on the
latest Hollywood fashions and hairdresses.
Exhibitor-Distributor Conferences
At long last the distributors have agreed to
sit down at the conference table with the exhi-
bitors and try to iron out their differences :
Invitations have been sent over the signature
of William F. Rodgers, MGM general sales-
manager, to the MPTOA and Allied States
along with eight regional unaffiliated regional
groups. Thus a new milestone has been reached
In 1936, both the national exhibitor bodies
framed a list of grievances and pleaded with the
distributors to do something about them. Ne-
gotiations were carried on in a haphazard
manner and in two years absolutely no progress
whatsoever was made, unless, of course, you
can class the entrance of the government into
the situation as progress.
Both exhibitor group programs, after two
years, retain their original form : —
(1) An unrestricted 20% cancellation right;
(2) Establishment of local conciliation boards
for the adjustment of exhibitor-distributor com-
plaints ; (3) Elimination of the score charge;
(4) A ban on the forcing of the sale of shorts
with features; (5) Elimination of designated
playdates ; (6) A prohibition on overbuying of
product ; (7) A correction of "unfair" clearance
and zoning schedules; (8) Adoption of a short
form of exhibition licensing agreement; (9) A
curb on cut-rate competition ; ( 10) A curb on
non-theatrical competition (radio). In addition
Allied objects to undue theatre expansion, non-
delivery of pictures, and compulsory block
booking.
That these trade talks are but the first in the
important events that will effect distribution
and exhibition in the next year goes without
saying. While the various exhibitor groups are
in a position where they can drive a hard bar-
gain we do not expect them to pull a "Munich"
but to iron out their differences with the dis-
tributors on a fair and equitable basis. The
programs are in no way harsh or unreasonable
but merely the outgrowth of years of abuse on
the part of the distributors.
Knlered 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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Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, OCTOBER 29, 1938 No. 44
THE TRADE PRACTICES CONFERENCES
I don't want to throw a monkey wrench into
the machinery of trade practices conferences by
criticizing them before they have been com-
pleted, but certain signs indicating that nothing
constructive will come out of them are so strong
that, were I to refrain from commenting upon
them now, I would feel as if 1 failed in my duty
to the independent theatre owners.
One of these signs is the fact that MPTOA is
included in these conferences, although the rep-
resentatives of this organization and two mem-
bers of the producer committee (Sidney R.
Kent and Ned Depinet) are holding conferences
separately; that is, not in conjunction with
representatives of Allied States.
What the producers want the independent
theatre owners to understand is, no doubt, that
they have a desire to be impartial, and at the
same time fair : they want to convey the impres-
sion that they are giving each national inde-
pendent exhibitor organization an equal chance.
That would be a fine move if MPTOA repre-
sented bona fide independent exhibitor inter-
ests ; but it does not represent any such inter-
ests. And here is the reason for it: Every one of
you knows, I am sure, that the money for the
upkeep of this organization comes from the pro-
ducers' coffers, paid to it through dues by the
theatres they own. How could such an organi-
zation, then, represent independent exhibitors?
Does it require great imagination to know that
a threat on the part of the producers to put an
end to all financial support would make this
organization's representatives do their bidding?
It is true that some independent exhibitors do
belong to this organization, but this fact does
not make them bona fide members, for the
proof of an exhibitor's membership to an or-
ganization is payment of dues. And I doubt
whether all the independent exhibitors who
belong to MPTOA pay to all its units combined
even $2,000 a year, not enough to pay the salary
of the secretary of even one unit. And this
money is contributed only by such exhibitors
as either have been misled, or fear reprisals by
the exchanges if they were to join an Allied
unit.
Since the producers are aware of the fact that
the independent exhibitors know the nature of
this organization, is not their very act of hav-
ing invited its representatives to confer with
their own representatives to establish an under-
standing with independent exhibitors the best
proof of their insincerity?
I don't mean to question the sincerity of the
producer committee members. As a matter of
fact I believe that, if they were given an un-
restricted right to use their own good judg-
ment, a full understanding with the independ-
ent exhibitors could have been reached by this
time. But they have not been given, as I see it,
freedom of action : the final approval as to what
concessions should be granted to the exhibitors
must be given by those for whom these work.
Here is another proof of producer insincerity,
as I see the matter : they have invited certain
regional exhibitor units that are not affiliated
either with MPTOA or with Allied States. Rep-
resentatives of these units are to hold a con-
ference on Monday, October 24, (after this edi-
torial is written). Some of these organizations
are supported in the main by dues from affili-
ated theatres ; others are moribund — they have
no membership at all, but its leaders retain
their offices. Representatives of this latter class
will take part, nevertheless, in the Monday con-
ference. The producers are thoroughly familiar
with these facts ; yet they have invited repre-
sentatives of these organizations to confer with
their own representatives.
What is the motive other than to make the
independent exhibitors appear as divided? Can
an}- one of you doubt, then, that the producers
lack sincerity, and that, because of it, they will
grant no worth-while concessions to the inde-
pendent exhibitors?
THE MPTOA CONCESSIONS NO
CONCESSIONS
Representatives of MPTOA closed their con-
ferences here last week and departed, with a
trade paper announcement that they had agreed
with the producers on most points. •The .facts
will, they said, be submitted to their annual
national convention, which will be held in Okla-
homa City at the end of this month.
Looking over the points of the possible agree-
ment, as have been given in the trade papers
from time to time, I find that two of the points
on which the independent exhibitor is chiefly
interested in have not even been touched upon
at all. These are : The right to buy, and separa-
tion of theatres from production-distribution. If
every concession an exhibitor has ever asked for
is granted, unless he gains the right to buy and
unless the producers promise to divest them-
selves of their theatre holdings, the independent
exhibitors will have gained nothing worth-
while.
The MPTOA leaders will, no doubt, make
much trumpet-blowing by announcing that
they have gained the right to cancel 20% of
the pictures the exhibitor may contract for. 1
don't know whether you realize it or not, but
(Continued on lost page)
174
HARRISON'S REPORTS
October 29, 1938
"Annabel Takes a Tour" with Jack Oakie
and Lucille Ball
(RKO, November 11 ; lime, 67 min.)
This is a good followup to "Affairs of Annabel." As
in the first picture, the laughs are provoked by the
stunts Jack Oakie pulls in order to get publicity for
Lucille Ball, a motion picture actress. Only this time,
it is not only Oakie's tricks that get her into trouble,
but her own ideas as well. Miss Ball handles the comic
part of the actress very well; she is particularly good in
the latter half of the picture, after she meets Ralph
Forbes, a titled Englishman, and assumes haughty
manners. The closing scenes, which border on the slap-
stick, should provoke hearty laughter: —
Miss Ball urges Bradley Page, production head of
the studio, to reengage Oakie as her publicity agent for
her personal appearance tour; he agrees to this against
his better judgment. Everything goes smoothly until
Oakie conceives the idea of linking Miss Ball's name
with that of Forbes, a titled Englishman and a well-
known author; he arranges an appointment without
consulting Forbes, who objected to such publicity
stunts. But when Forbes' publisher tells him it would
be a good thing for him to have his name linked with
Miss Ball's, in order to stimulate the sale of his books,
Forbes agrees to go out with her. Miss Ball takes it
seriously and decides to give up pictures in order to
marry Forbes, much to Page's anger. At a farewell
personal appearance at a theatre, Miss Ball says good-
bye to her public; to her embarrassment she learns that
Forbes was married and the father of four children; in
addition, Forbes' wife was trying to serve her with
papers in an action for alienation of affections. Oakie
saves the day by getting Miss Ball back to Hollywood
and away from the lawsuit; she then admits that her
place was in pictures.
Joe Bigelow and Bert Granet wrote the story, and
Bert Granet and Olive Cooper, the screen play; Lew
Landers directed it, and Lou Lusty produced it. In the
cast are Ruth Donnelly, Alice White, Pepito, Donald
MacBride, and others.
Suitability, Class A.
"Listen Darling" with Judy Garland,
Freddie Bartholomew, Mary Astor
and Walter Pidgeon
(MGM, October 21 ; time, 74J4 min.)
A delightful program comedy, with human appeal; it
is not a lavishly produced picture, for most of the action
takes place outdoors or in a trailer. Although the story
is far-fetched, it is consistently entertaining because of
the charming performances and amusing situations and
dialogue. And, as an added attraction, Judy Garland
sings three songs, which have already become popular.
The romance is developed in an appealing way: —
Horrified at the idea that her widowed mother (Mary
Astor) intended to marry the village banker (Gene
Lockhart) in order to provide a home for herself and
the two children (Judy Garland and Scotty Beckett),
Judy asks her best friend (Freddie Bartholomew) for
advice. They decide to "kidnap" Miss Astor and Scotty
and take them to the country in the family trailer until
such time as Miss Astor would change her mind. At
first she is angry, but when she realizes why they had
done it she forgives them; but she convinces Freddie
that she could not go on alone and had to marry Lock-
hart. Another idea strikes him — to find a husband who
would be liked both by Miss Astor and the children.
He meets Walter Pidgeon, a fellow-trailer traveler on
the road, and by direct questioning finds out that he
could support a family; then he brings him together
with Miss Astor. After many complications, during
which Freddie finds what he believes to be an even
more substantial suitor, things turn out to the satisfac-
tion of all — Miss Astor and Pidgeon fall in love with
each other and decide to marry.
Katherine Brush wrote the story, and Elaine Ryan
and Anne M. Chapin, the screen play; Edwin L. Marin
directed it, and Jack Cummings produced it. In the cast
are Alan Hale, Barnett Parker, Charley Grapcwin, and
others.
Suitability, Class A.
"Down on the Farm" with Jed Prouty,
Spring Byington and Louise Fazenda
(20th Century-Fox, December 16; time, 61 min.)
This is the most entertaining picture so far produced
in the "Jones Family" series. An amusing story, the
addition of new characters, and fast action give it wider
appeal than the previous ones in this group. There is
plentiful comedy, both in characterizations and action;
Eddie Collins and Louise Fazenda are particularly
good, provoking hearty laughter each time they appear.
For a change, the family is moved away from their
usual home surroundings to a farm, where excitement
reigns when the father is entered in a corn-husking
contest : —
When his home is wrecked by bungling firemen, Jed
Prouty decides to take his family to his sister's (Louise
Fazenda's) farm, while the house was being repaired.
Miss Fazenda has her troubles trying to keep her farm-
hand (Eddie Collins), who had been courting her for
fifteen years, away from corn liquor. Prouty and Miss
Fazenda decide to hold the annual corn-husking contest
on their farm, and to enter Collins as a contestant. But
Collins does not care for the strenuous training and
purposely injures his thumb; Prouty, who had been a
champion in his youth, is compelled to take Collins'
place. The news spreads to his home town; his friends
decide to nominate him for State Senator, feeling that
he would appeal to the farmers. The politicians try to
spoil things by kidnapping him; but he manages to
escape and to win the contest, to the joy of his family
and friends, who had placed bets on him.
Homer Croy, Frank Fenton, and Lynn Root wrote
the story, and Robert Ellis and Helen Logan, the
screen play; Malcolm St. Claire directed it, and John
Stone produced it. In the cast are Russell Gleason, Ken
Howell, George Ernest, June Carlson, and others.
Suitability, Class A.
"Service DeLuxe" with Constance Bennett,
Charlie Ruggles and Vincent Price
(Universal, October 21; time, 86 min.)
A fairly good romantic comedy. It offers a somewhat
novel plot; with fast action and comical situations. The
heartiest laughs are provoked by Mischa Auer, an
exiled Russian prince working as a cook for Charlie
Ruggles, especially when he starts talking to the spirit
of his departed cooking instructor, asking for his ad-
vice. The romantic involvements are amusing, too, for,
in keeping with the rest of the story, they are handled
in a light vein: —
Constance Bennett, owner of a personal service bu-
reau, is tired of running the lives of other persons and
longs to meet a man who could make his own decisions.
One of her clients assigns to her the unpleasant task of
preventing his small-town nephew from visiting him;
she meets the nephew (Vincent Price) and, because of
his domineering manner, promptly falls in love with
him. Realizing, however, that he disliked those who
meddled in other persons' affairs, she does not let him
know about her business. She brings him together with
Ruggles, one of her clients, an eccentric millionaire
engineer, without Price suspecting that she had a hand
in it. Ruggles is interested in Price's invention for a
new type tractor and agrees to finance it; he provides
Price with a workshop in his own home. Price is pes-
tered by Joy Hodges, Ruggles' silly man-crazy daugh-
ter, but he has eyes for no one but Miss Bennett. When
he finally finds out about Miss Bennett, he is so angry
that he proposes marriage to Miss Hodges, who joy-
fully accepts him. But he is unable to go through with
the marriage; instead he arranges matters so that Miss
Hodges marries Auer, and he and Miss Bennett are
reconciled.
Bruce Manning and Vera Caspery wrote the story,
and Gertrude Purcell and Leonard Spigelgass, the
screen play; Rowland V. Lee directed it, and Edmund
Grainger produced it. In the cast are Helen Broderick,
Halliwell Hobbes, and others.
Suitability, Class A. _ i _
October 29, 1938
HARRISON'S REPORTS
175
"Suez" with Tyrone Power, Loretta Young
and Annabella
(20th Century-Fox, October 28; time, 104 min.)
A very good box-office attraction, mainly because of
the drawing power of the stars, the lavish production,
and the mechanical ingenuity used in filming two thrill-
ing situations — one of a hurricane and the other of the
dynamiting of a mountain. But the story is weak in
spots and lacks force; this is due mostly to the fact that
Tyrone Power is not quite suitable or believable in the
part of the serious dreamer, Ferdinand deLesseps. In
addition, many liberties were taken with historical facts
in order to build up the romantic angle. There is only
one situation that touches the spectator's emotions, and
that is when Annabella dies: —
Ferdinand deLesseps and Eugenie deMontijo (Lor-
etta Young) are in love; but Louis Napoleon (Leon
Ames), President of France, had noticed her beauty.
He, therefore, has deLesseps sent to Egypt, as secre-
tary to the consulate general. DeLesseps pleads with
Eugenie to marry him, but she, flattered by Napoleon's
attentions, asks for time to consider. DeLesseps arrives
in Egypt, where he is greeted by his father (Henry
Stephenson), the French Consul, who advises him to
try to make friends with Prince Said (J. Edward Brom-
berg), and in that way win favors for his country. Fer-
dinand and Toni Pellerin, the impish granddaughter of
Sergeant Pellerin, become good friends; she falls madly
in love with him, but he cannot forget Eugenie. Ferdi-
nand conceives the idea of a canal connecting the Red
Sea and the Mediterranean. Encouraged by Mohammed
Ali, he goes to Paris for financial backing. He learns
that Eugenie had become Napoleon's mistress. Eugenie
induces deLesseps to intercede with his father to ad-
journ the Assembly; she gives him Napoleon's written
promise that he would recall them. But Napoleon goes
back on his word and, instead, proclaims himself
Emperor; the shocks kills deLesseps' father. Discour-
aged and ashamed, deLesseps gives up his dreams of
the Canal. But Toni reinspires him, and Napoleon signs
a proclamation financing the work. Things do not go
smoothly, however, and the work lags. Eventually de-
Lesseps wins the support of Disraeli and the work is
finally completed. But his joy is overshadowed by the
fact that Toni had been killed in a hurricane, and
Eugenie had married Napoleon.
Sam Duncan wrote the story, and Philip Dunne and
Julicn Josephson, the screen play; Allan Dwan directed
it, and Gene Markey produced it. In the cast are Joseph
Schildkraut, Sidney Blackmer, Sig Rumann, Nigel
Bruce, and others.
Suitability, Class A.
"Swing That Cheer" with Robert Wilcox,
Tom Brown and Constance Moore
(Universal, October 14 ; time, 62 min.)
Just another college football picture. There is nothing
in it to distinguish it from other football stories, for it
follows the routine plot, even to having the hero step
into the important game in the last two minutes to play
and winning it. Aside from the football scenes, the rest
of the picture is taken up with a great deal of talk about
football and with the bickering between two college
students. The romance is mildly pleasant: —
Robert Wilcox and Tom Brown, roommates, become
the two best players on the football team. Wilcox's
head is turned by the publicity he receives; he takes all
the credit for winning games without realizing that
Brown's tackling and guarding were responsible for his
making the touchdowns. Constance Moore, Brown's
girl friend, writes an editorial in the school paper about
it; this annoys Brown and they quarrel and part. Brown
changes his room and berates Wilcox for his conceit.
They have a quarrel at a cafe one night, and Brown
is slightly injured. But, in order to teach Wilcox a
lesson, he pretends that his foot hurt him too much to
play and so he stays out of the important game. With-
out Brown, Wilcox is lost. Realizing that his trick
would cost his team the game, Brown rushes into the
game in the last two minutes to play, and wins it. He
and Wilcox forget their enmity, and Miss Moore and
Brown are reconciled.
Thomas Ahearn and F. M. Grossman wrote the
story, and Charles Grayson arid Lee Loeb; -the :scVetrf
play; Harold Schuster directed it, and Max H. Golden
produced it. In the cast are Andy Devine, Samuel
Hinds, Raymond Parker, and others.
Suitability, Class A.
"Read Demon" with Henry Armetta
(20th Century-Fox, December 2 ; time, 70 min.)
An ordinary program melodrama, with some com-
edy; it lacks box-office names of value. The plot is
routine, offering just lair entertainment in the auto-
mobile racing scenes, which are made up mostly of
stock shots of races. Henry Armetta and Inez Palangc,
as his wife, provoke laughter by their excitability. The
race in the closing scenes holds one in suspense, due to
the efforts of two racers to force the hero, one of the
racers, off the track. The romance is mildly pleasant:—
Henry Arthur, a truck driver, has ambitions to be-
come an automobile racer. He meets Joan Valerie,
sister of Thomas Beck, a racer, and falls in love with
her. When Beck, who had been out drinking the night
before, is unable to make a test run, Arthur takes his
place. Something goes wrong with the car and he
wrecks it. Miss Valerie, who misunderstood Arthur's
efforts to help them, refuses to talk to him. Arthur and
Armetta, a grocery dealer, buy the wrecked car and fix
it up to race it; Arthur was doing this to give Beck his
chance. But the villain frames Beck off the track;
Arthur takes his place and wins the race. Armetta, who
stood to lose if the car won because he had sold too
many shares to his relatives, is overjoyed when he
learns that his wife had bought back the shares. Miss
Valerie realizes that she had misjudged Arthur and
asks for forgiveness; they are reconciled.
Robert Ellis and Helen Logan wrote the original
screen play; Otto Brower directed it, and Jerry rioit-
man produced it. In the cast are Bill Robinson, Jona-
than Hale, Murray Alper, Lon Chaney, Jr., and others.
Suitability, Class A.
"Mr. Wong, Detective" with Boris Karloff
(Monogram, October 5 ; time, 68 min.)
A good program murder mystery melodrama. It is
the first of a series of four pictures Monogram has an-
nounced, with Boris Karloff as the Chinese detective,
Mr. Wong. Karloff is excellent in the title part; he
makes the detective a believable and likeable character.
The story is interesting; it holds/one^n 'suspense until
the very last scene, when the murderer is identified by
the detective. The romance and comedy are minimized,
which is to the picture's benefit, for in that way the
melodramatic action is not interfered with: —
Karloff, well-known Chinese detective, promises to
help John Hamilton, a chemical manufacturer, ..who
feared that his life was in danger; but before he could
do anything for him, Hamilton is murdered by what
Karloff discovers is poison gas. Hamilton's two part-
ners, whom Karloff had at first suspected, meet with
the same fate. Investigation leads Karloff and Grant
Withers, the police captain working with him, to a
gang of international spies who were interested in ob-
taining the formula for a poison gas held by the chemi-
cal firm. Eventually Karloff proves that the murderer
was the inventor of the poison gas; he had placed the
gas in a glass bulb which exploded by vibration. He
had murdered the three men because he felt they were
trying to rob him of his share of the profits in the sale
of the gas.
Hugh Wiley wrote the story, and Houston Branch,
the screen play; William Nigh directed it, and Win. T.
Lackey produced it. In the cast are Maxine Jennings,
Evelyn Brent, George Lloyd, Lucien Prival, and John
St. Polis.
Because of the murders, suitability, Class B.
176
HARRISON'S REPORTS
October 29, 1938
establishing the right to cancel 20% of the pic-
tures contracted for will be the worst blow the
independent exhibitors could receive. Today,
under the 10% cancellation provision, the affili-
ated theatre can contract for only four major
products ; under the 20% cancellation provision,
it will be able to contract for five major prod-
ucts and still be free of the accusation that it
has bought more pictures than it could use.
It is neither the right to cancel a certain num-
ber of pictures nor any other provisions that
matter much, but the right to buy pictures in
the open market, and a market free from whole-
salers' competition. It is on these two points
that the conferences must stand or fall.
THOUGHTS AT RANDOM
(Contributed by an Active Exhibitor)
The Trade Practices Conferences
At this writing self-regulation sessions have
just begun. As an exhibitor, I can but hope that
the sessions will be productive of a definite
meeting of minds and an immediate correction
of abuses of which exhibitors have justly com-
plained for many years.
We fully realize that the distributors did not
extend the invitation to confer because of any
altruistic motives but merely to stave off com-
plete government supervision in a setup similar
to the Federal Communications Commission.
Their back is now to that same wall where the
handwriting was becoming increasingly visible.
Both national exhibitor bodies, Allied and
MPTOA, have definite programs which, in
many respects, are quite similar. The other con-
ferring organizations also have programs which
are somewhat localized. Put all the programs
together, eliminate duplication, and there re-
mains about fifteen reforms, which, if instituted
immediately, would make the average exhibitor
quite happy.
We have previously expressed the thought
that the various exhibitor bodies were not un-
reasonable in their demands ; the reforms they
ask are necessary if the independent exhibitor
is to nr*d it profitable to remain in business.
A glance at the financial statements of sev-
eral distributors shows that, despite a recession
in this country and dwindling foreign grosses,
the distributors' earnings have been maintained
at last year's levels ! How many exhibitors can
boast of anyway near the same record?
The next few weeks will tell whether or not
the lion and the lamb are to lie down together
or whether they will need a chaperon in the
person of Uncle Sam.
Republic's Contemplated Radio Hour
On several occasions the writer has gone on
record as being strongly opposed to pictures' in
any way helping to build up radio's listening
audience and thereby further opposition. Such
an opinion has only mirrored that of thousands
of independent exhibitors.
Within a short time a new and even greater
cause for complaint, if present plans are con-
summated, will be given exhibitors. Republic
Pictures is readying a radio show of its own!
If no sponsor is found it is believed that the
program will go on the Columbia Network as a
sustaining feature.
Republic, as a producing company, is com-
paratively young. In the few years of its exist-
ence it has made rapid strides. But those ad-
vances could not have been made without the
active support of the independent exhibitors, to
whom it first appealed for support. Though I
cannot recall of any Republic salesman saying
it, the implication was that "the best defense
against the abuses of the major companies is
strong independent producers. In helping us
you help yourself."
Now that Republic has attained a little sta-
ture, it is starting to emulate its bigger brothers
and, in so doing, is repeating the practices
which were so obnoxious, and upon which Re-
public got its start.
Before plans for putting the show on the air
are completed, the writer believes that it would
be advisable to take a lesson from the present
day method of influencing legislation and either
write or wire Republic Pictures of your objec-
tions to their proposed plan of going on the
radio.
Inasmuch as the MGM "Good News of 1939"
program comes up for renewal in December it
might be wise to let them, too, know of your
objections.
Affiliated Circuits Continue Expanding
Last week a Philadelphia exhibitor filed suit
against Warner Bros, alleging that Warners,
through continued building, have pushed him
so far back that he no longer has hopes for any
profits.
It is situations like this that caused the gov-
ernment to step in to protect the little fellow.
Professor Arnold, in charge of the govern-
ment's suit, has been insisting that the affiliated
circuits cease expansion operations until a court
decision has been rendered. He has threatened
to enforce his demands with an injunction.
Continued expansion in the face of the gov-
ernment opposition is not only heaping coals on
the fire but also is an invitation to disaster.
Other trusts have sneered at the government
much to their dismay.
(Editor's Note: MGM, too, has been guilty
of such a practice ; it has just acquired the Cri-
terion, on Broadway, this city.)
MR. JOSEPH SCHENCK IS RIGHT — BUT
According to Film Daily, Mr. Joseph
Schenck, upon reaching the United States from
abroad, made the following statement to a re-
porter of that paper regarding the right to
cancel 20% of the pictures contracted for:
"Serious cancellation will cause a lowering of
production budgets as it reduces the income. A
20% cancellation which is being asked for by
some groups would be extremely serious, and
if we cut budgets the quality of product won't
be to the exhibitor's expectations. I personally
am against cancellation and I don't believe that
any company can stand more than 10 per cent."
This paper upholds Mr. Schenck in his oppo-
sition to a twenty per cent cancellation. As a
matter of fact, this paper believes that the ex-
hibitor should play every picture he contracts
for — provided he is given a chance to know
what he buys, before signing the contract.
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. XX SATURDAY, NOVEMBER 5, 1938 No. 45
HAS THE "MOVIE" CAMPAIGN HELPED
THE BOX OFFICE RECEIPTS?
In the last three weeks I have heard much ad-
verse exhibitor criticism against the "Motion Pic-
tures Are Your Best Entertainment" campaign.
Some of the critics criticized one feature of the
campaign ; others other features, while some con-
demned the campaign in its entirety.
The Movie Quiz contest came in for considerable
criticism. Some of the critics went so far as to say
that this feature of the campaign will eventually do
more harm than good, by reason of the fact that
there will undoubtedly be received more than one
million correct answers but there will be, they say,
only one fifty thousand dollar prize to hand out.
Consequently, every one of those who will have
sent a correct answer but will have received no
prize, either large or small, will feel aggrieved and
he and his relatives and friends will become the in-
dustry's enemies. Conceding that each such person
exerts influence over five other persons, there will
be created, they figure out, anywhere from five to
ten million enemies.
It seems to me as if all those who have criticized
and are still criticizing the movie campaign have
overlooked the primary objects for which this cam-
paign was instituted. For several months previ-
ously to the starting of the campaign the industry's
reputation was at its lowest. Radio commentators
took ghoulish delight in maligning the entire indus-
try by telling the public that the producers in Holly-
wood had lost the public's "touch," that the pictures
they were producing lacked merit, that the picture-
going public had been fed up with them, and
that the motion picture industry was in a tight
corner. Exhibitior organizations were telling the
industry, by means of paid advertisements, which
were afterwards discussed in the daily press as well
as over the radio, that a certain number of the stars
were box-office "poison." Certain industry leaders
were giving to the newspapers interviews telling
the American public that Hollywood can no longer
make good pictures. The result was that the theatre
box offices took a dip that frightened not only ex-
hibitors but the entire industry. Less money was
sent to Hollywood for the production of pictures,
and those in charge of production began to dis-
charge stars, directors, actors, producers, writers,
technicians and others in an effort to fit their bud-
gets to the lowered income. Every one in the in-
dustry was in a panic.
At this juncture some one conceived the idea of
starting a campaign to offset the malicious propa-
ganda against the industry.
The campaign is now several weeks old and,
although its end is still several weeks off, an oppor-
tunity is offered to us to render some judgment
whether it has or has not benefited the industry in
general and the theatre box offices in particular.
But before placing ourselves into a position
where we may render a correct judgment, it is nec-
essary that we ask ourselves whether the primary
object of the campaign, that is, to stop radio com-
mentators from maligning the industry and to re-
capture the public's good will, has or has not been
accomplished. Let us examine the facts :
The radio commentators no longer treat the in-
dustry and motion pictures with the disrespect, not
to say the malice, with which they treated it before
the campaign — if anything, they are now treating
them with respect. Exhibitor organizations no
longer buy space in trade papers to tell the industry
how "poisonous" to the box office are some stars.
Producers no longer give out interviews telling the
American public that the quality of the pictures
produced today are poor. Hundreds of newspapers
have told, and are still telling, the public, through
their editorial columns, that the motion picture in-
dustry is sound, and that the producers in Holly-
wood are making highly entertaining pictures ; they
are congratulating the industry for its efforts to
serve the public. So changed has been the sentiment
of the newspaper editors toward the industry, in
fact, that a recent check-up showed that, out of five
hundred editorials that appeared in the newspapers
of the nation, more than ninety-five per cent were
highly favorable. And additional favorable edi-
torials have been printed since. Can the industry
point out to another such record ?
All these facts prove conclusively but one thing,
that the campaign, as concerns the recapturing of
public good will, has been highly successful.
Let us now discuss whether the box offices of the
theatres have been helped or not. When thousands
of theatres throughout the land use attractive ad-
vertisements in the marquees, in the lobbies and on
the screens, calling the public's attention to the in-
dustry's efforts to give it good picture entertain-
ment ; when banners are stretched from one side of
the street to the other with the same object in view ;
when newspaper advertisements appear extolling
not any particular pictures but the industry itself ;
when millions of pieces of literature are mailed to
the picture-goers calling their attention to the com-
ing, as well as the current, attractions ; when pa-
rades are held for the same purpose ; when so un-
precedented an activity to bring the industry to the
attention of the public is resorted to, can any one
doubt that the theatre box offices have benefited?
And the campaign is not yet over. In view of the
fact that the critics of the movie campaign have
been mostly subsequent-run exhibitors, before we
can know the results to them we must wait until
the campaign is over.
And this is not the only benefit that the industry
is going to receive as a result of this campaign ; it
will benefit also from the improvement in the qual-
(Continued on last page)
178
HARRISON'S REPORTS
November 5, 1938
"Men with Wing?" with Fred MacMurray,
; Louise Campbell and Ray Milland
(Paramount, Rcl. date not set; time, 105 min.)
Technically this picture is very good, but that is as far
as it gets, for it is completely lacking in human appeal, at no
.time touching the spectator's emotions. The technicolor
photography is impressive, particularly in the out-door
scenes, •• of aerial combats, a;nd of regular 'flights. And it
gives an accurate account of the growth in America of
iiviation, from its very inception, which may prove inter-
esting to aviation enthusiasts. But the picture leaves one
cold, for several reasons : first, the hero is an unsympathe-
tic character, whose restlessness leads him away from his
home and duty to his family in search of adventure ;
secondly, the story lacks dramatic force and unfolds in so
leisurely a manner that one loses interest in the characters
themselves. This is no fault of the actors, whose perform-
ances are good ; it is just that the material is weak : —
Louise Campbell, whose father, a pioneer aviation enthu-
siast, had met with death in one of the first planes designed,
docs not lose her enthusiasm for flying. Her two pals
(Fred MacM.urray and Ray Milland) from childhood days
feel the same way about aviation as she does ; as a matter
of fact, in the year 1914, they design and build a plane that
revolutionizes the industry. On the strength of it they be-
come associated with an aeroplane manufacturer. But stay-
ing on the ground does not appeal to MacMurray and so he
goes to France to fight in the war. Miss Campbell follows
him there and marries him ; this hurts Milland, who loved
her. They return to America, but MacMurray is still rest-
less. On the night that his baby is born he signs up to fight
in Morocco ; ever-faithful Milland stands by Miss Campbell.
MacMurray returns and for a time everything goes well ;
he and Milland start an aeroplane factory, which makes
them both wealthy. But when the depression sets in and
things go bad, MacMurray goes off again, this time to
China. Milland designs a new type bomber, which is ap-
proved by the U. S. Army and which brings him fame and
fortune ; Miss Campbell is ever by his side. In the year
1938 MacMurray, who had gone off to another war, is
killed. This brings Milland and Miss Campbell together.
Robert Carson wrote the screen play, and William A.
Wcllman directed and produced it. In the cast are Andy
Devine, Porter Hall, Walter Abel, Kitty Kelly, James
Burke, and others.
. Suitability, Class A.
"Shadows over Shanghai" with
James Dunn, Ralph Morgan
and Linda Gray
(Grand National, October 14; time, 64J/ into.)
Fairly good program entertainment, with special appeal
to followers of action melodramas. In spite of the fact that
the story is far-fetched, it holds one in suspense because
of the constant, danger, to the hero and the heroine. Several
s^ock and he\vsreel shots df 'jvar' scenes' are used to good
advantage, adding to the excitement in some of the situa-
tions. The love interest is pleasant. Shanghai is the back-
ground : — ■ . . '
After her brother, an aviator, had been shot down and
wounded, Linda Gray agrees to take over his job of deliver-
ing,,aop .anju.le.tito agents in, Sau Francisco; .this amulet
ivoiild release a $5,000,000 fund which was to be used for
the purchase of ammunition for China. Miss Gray is fol-
lowed by Robert Barrat, a Russian, who wanted to get
hold of the amulet in order to obtain the money for him-
self ; another one trying to get the amulet was Paul
Sutton, a Japanese war lord. Miss Gray goes to see Ralph
Morgan, as her brother had suggested ; at Morgan's apart-
ment she meets James Dunn, a newsreel cameraman
stationed in Shanghai. The two men promise to help her.
Morgan suggests that Dunn marry Miss Gray in order
to make it easier for her to get into the United States ; they
follow his suggestion. Their lives are endangered on several
occasions ; eventually Barrat is killed by an explosive
intended for Miss Gray. They finally realize that their
efforts had been in vain for the United States had placed
an embargo on ammunitions intended for countries at war.
Having fallen in love with ea<-h other, Miss Gray and Dunn
decide to stay married, and leave for the United States.
Richard B. Sale wrote the story, land Joseph Hoffman,
the screen play; Charlcs Lamont directed it, and Franklyn
Warner produced it. In the cast are Edward Woods, Edwin
Mordant, Victor- Wong, and others.
Suitability, Class A:. > ' . ' •)
"Dangerous Secret" with Paul Lukas,
Hugh Williams and Linden Travers
(Grand National, Sept. release; time, 58]/2 min.)
This British-made triangle drama , is fairly, good adult
entertainment, despite a routine story ; the performances
by the three leading players are outstanding. Its one draw-
back for the American theatres is the fact that, outside of
Paul Lukas, the players are not well known here. It
should find favor mostly with women because of the ro-
mantic involvements ; the action is too slow for general
appeal. Some of the situations are pretty sexy, particularly
towards the end ; but these have been handled intelligently
and are not too offensive : —
Hugh Williams and Linden Travers meet in a London
restaurant. After spending the night together they realize
that they loved each other ; but they are compelled to part
since Williams had to leave for India. The telegram he
sends her from India, asking her to join him so that they
might be married, goes astray. When he returns five years
later he finds Miss Travers married to a college professor
(Lukas), who was much older than she was. They find that
they still loved each other ; but Miss Travers feels that she
could not betray Lukas, who adored her. Lukas, through
the accusations of his housekeeper, who was mad with
jealousy, finally understands the situation. Nevertheless
lie berates the housekeeper for talking against his wife and
orders her out of the house. Realizing the nobleness of
Lukas' character, the lovers decide to forget each other ;
Williams goes away, and husband and wife are reconciled.
Basil Mason wrote the screen play, Edmond Greville
directed it, and Hugh Perceval produced it. In the cast
are Marie Ney, Renee Gadd, and others. *The title is
Not suitable for children. Class B. DANGEROUS
SECRETS
"The Citadel" with Robert Donat
and Rosalind Russell
(MGM, October 28; time,\\2 min.)
A straightforward and at times stirring drama centering
around the medical profession in England ; it shows both
sides — that of the struggling young idealist, and of the
unethical practitioner. As entertainment, its appeal, how-
ever, will be directed mostly to class audiences rather than
to the masses, for several reasons ; first, because of the
nature of the story and of the rather sombre and at times
depressing atmosphere, and, secondly, because of the heavy
accents. It may, however, do pretty well in big cities, because
of the popularity of the novel from which the plot was
adapted. The picture it shows of fee-splitting doctors is
not a pleasant one, even though the practice itself may be
considered ethical amongst doctors ; the fact that the hero
becomes a party to such a practice lessens the feeling of
sympathy that the spectator had for him up until that point.
Certain changes were made in the story, such as substituting
the death of a friend for the wife. No doubt the change was
made as a concession to the masses ; nevertheless, it weakens
the story from a dramatic standpoint : —
Robert Donat is appointed community doctor of a Welsh
mining town ; he takes his work seriously, even to refusing
to carry on an old practice of issuing false certificates to
miners so that they might receive wages while pretending
to be ill and not working. This antagonizes some of the
miners. Donat carries on research work in tuberculosis,
using the coal mine dust as the basis for his studies. But
the superstition and antagonism on the part of the doctors
and ignorant miners disgust him, and so he and his wife
(Rosalind Russell) leave for London. But again Donat is
disappointed — no patients, no practice, and no money. One
day he meets an old school friend (Rex Harrison), who
had become a wealthy society doctor. He introduces him to
other doctors, who carry on the unethical practice of split-
ting fees obtained from wealthy patients. Donat becomes
one of them, despite his wife's objections, and in a short
time he becomes wealthy. But the death of his best friend
(Ralph Richardson) at the hands of one of his incompetent
fee-splitting friends makes him realize how he had degener-
ated. He gives up everything and joins an unlicensed but
highly competent man in tuberculosis work; he permits this
man to operate on the young daughter of a friend. The girl
is saved ; nevertheless, the medical association brings a
charge against him for working with an unlicensed surgeon.
He pleads his case eloquently, but leaves with his wife
without waiting for a verdict.
The plot was adapted from the novel by A. J. Cronin ;
Tin Dalrymple, Frank Wead and Elizabeth Hill wote
the screen play; King Vidor, directed it and Victor Savjlle
produced it.' In the cast arc Emlyn Williams, Penelope
Pu lley Ward, and others.
Suitability, Class A.
HARRISON'S REPORTS
"Angels with Dirty Faces" with
James Cagney, Pat O'Brien
and Ann 5heridan
(First National, November 19; time, 97 min.)
A powerful gangster melodrama. Although it is not very
different in story content from other pictures of its type,
it is unusual in other respects — the acting, particularly by
James Cagney, is brilliant, the comedy involving the
"Dead End" boys with Cagney is at times hilariously
comical, the action is fact and extremely exciting; and to
top it off, there are situations that have strong emotional
appeal. All these things combined go to make up one of the
most thrilling pictures produced in some time. The clos-
ing scenes are so strong that they leave one with a choked-
up feeling, making it difficult for one to restrain the tears.
Cagney's actions throughout are, of course, pretty demoral-
izing ; but since he pays for his misdeeds in the end, it brings
out its point that crime does not pay. The romance is of
slight importance : —
Two boys grow up in the same slum neighborhood— one
(Pat O'Brien) becomes a priest, and the other (Cagney) a
gangster. Cagney, after serving a three year prison term,
returns to his old neighborhood ; O'Brien welcomes him.
Cagney becomes acquainted with six tough boys in the
neighborhood, who try to steal his wallet ; when he tells
them who he was, they express their admiration for him and
ask him to teach them some of his tricks. They learn to
idolize him. Cagney visits his former lawyer (Humphrey
Bogart), who was holding $100,000 belonging to him.
Bogart had formed a racketeering partnership with George
Bancroft; he tries to have Cagney killed by his henchmen,
but Cagney outwits them, and forces Bogart to turn the
money over to him. He uses one of the young boys of the
gang to help him out, and then gives the boys a large sum
of money to divide amongst themselves. O'Brien, realizing
how harmful Cagney's influence could be to the boys, starts
a radio and newspaper campaign to rid the city of racke-
teers. Bancroft decides to kill O'Brien, to which Cagney
objects. A quarrel follows and Cagney kills both Bogart
and Bancroft; pursued by the police, he locks himself in
a warehouse and starts shooting, killing policemen. O'Brien
finally goes into the building and convinces Cagney that
he should give himself, up. Cagney is tried. and sentenced to
die by the electric chair. O'Brien pleads wi.t'.i him to pretend
to turn yellow as he enters the death chamber, in order to
make the boys think less of him. He refuses, but at the
last minute does as O'Brien asked; the newspaper accounts
of his actions have the effect on the boys that O'Brien hoped
it would have.
Rowland Brown wrote the story, and John Wcxley and
Warren Duff, the screen play; Michael Curtiz directed it,
and Sam Bischoff produced it. In the cast are Joe Downing,
Edward Pawley, and others.
Unsuitable for children ; adult fare. Class B.
"I Stand Accused" with Robert Cummings
and Helen Mack
(Republic, October 28; time, 63 min.)
This racketeer melodrama, revolving around a young
lawyer who becomes mixed up with the leaders of the
gang, is fairly good program tnlertainmcnt ; it holds one's
attention throughout. Up until almost tihe closing scenes,
the actions of the herb are such as to in 'ie the spectator
feel antagonistically towards him : but Hi the end, when he
risks his own life to see that justice is done, one feels
some sympathy for him. The production, direction, and
acting are good : —
Upon graduating from law school, Robert Cummings and
Thomas Beck form a partnership. Beck was an idealist
who refused to handle any crooked cases or represent
shady characters ; after a few months in business the part-
ners find themselves in a bankrupt state. Cummings be-
comes acquainted with Lyle Talbot, gunman for a noted
racketeer ; he represents him in a criminal charge and
handles the case so well that he wins his freedom. Beck
disapproves of the whole thing, and in a short time breaks
the partnership to join the District Attorney's office as
special prosecutor in crime actions. In the meantime, Cum-
mings develops a lucrative practice representing racketeers.
His wife (Helen Mack) is not pleased with the work be
was doing and so tells him ; they quarrel and part. Beck
starts a drive against crime in the city. Cummings eventu-
ally regrets his part in the crime wave and sends Beck
evidence that would help him win his case against the
criminals; but Beck, knowing that Cummings would be
involved, burns the evidence. Cummings insists, therefore,
on taking the stand and telling all. He then aids the police
in arresting Talbot, who, in addition to his many murders,
had killed his leader. Cummings is shot doing this, but he
recovers ; he and his wife are reconciled, and the old part-
nership is revived.
Gordon Kahn wrote the original screen play, and John
H. Auer produced and directed it. In the cast are Gordon
Jones, Robert Paige, Leona Roberts, Robert Middlemass,
Thomas E. Jackson and others.
,.- N«t ^suitable for children; adult fare. Class B.
"Tarnished Angel" with Sally Eilers
and Lee Bowman
(RKO, October 28; time, 68 min.)
Just a moderately entertaining program drama. The story
is far-fetched and lacks dramatic power. A similar idea,
that of a young woman making a racket out of evangel-
ism, was used in Columbia's "Miracle Woman," produced
in 1931 ; but that is as far as the comparison goes for as
powerful and believable as was "Miracle Woman" so weak
and unbelieveable is this picture. Part of the fault is
due to the screen play and part to the unconvincing per-
formances. One is not in sympathy with the heroine for,
up until the very end, her actions are unprincipled. The
romance is kept in the background : —
Sally Eilers, a hostess at a clip joint, outwits the police
during a raid; the police inspector (Jonathan Hale) is
determined to get something on- her. He makes it impossible
for her to get a position at another night club, and so, in
company with her two friends (Ann Miller and Paul
Guiltoyle) she leaves town ; but Hale follows them. Miss
Eilers decides to become an evangelist in order to make easy
money by means of collections. But things don't work out
as well as she had expected and so she calls in a crook she
had known in New York, to help her work out a scheme to
make more money. Alma Kruger, a wealthy woman who
had taken an interest in Miss Eilers, is chosen as the victim ;
she had in her possession a valuable diamond necklace
that they had decided to steal. But Miss Eilers undergoes
a change of heart and cannot go through with the theft ;
her work as an evangelist and the faith of her followers had
regenerated her. Knowing how she felt, Guilfoyle outwits
the crook, who is arrested by Hale. Hale, realizing that
Miss Eilers had really reformed, informs her that she was
free. Miss Eilers is grateful, and is happy when Lee Bow1
man, who loved her, arrives to help her.
Saul Elkins wrote the story, and Jo Pagano, the screen
play ; Leslie Goodwins directed it, and B. P. Fineman pro-
duced it. In the cast are Jack Arnold and others
Not suitable for children. Class B.
"The Storm" with Charles Bickford,
Tom Brown, Prestcn Foster
and Nan Grey
(Universal, October 28; time, 76 min.)
A fair program melodrama. It has a few exciting
moments in which the spectator is held in tense suspense ;
but for the main part the plot is developed according to
formula. The performances by the leading players arc its
chief ass.et ; they are. able to give dramatic value to some-
what ordinary situations. A scene that is supjxised to be one
of the highlights of the picture, where a nurse operates on a
man at sea from instructions sent to her over the radio by
a doctor, -was already used in "King of Alcatraz," recently
released. The romance is appealing : —
Charles Bickford, ship wireless operator, is determined
th.1t his" younger brother (Tom Brown) should not follow
in his footsteps. But Brown, who had always idolized
Bickford, disregards his brother's orders and studies for
the same profession. Bickford had a grudge against Barton
MacLane, a Captain ; he blamed him for the death of his
friend (Preston Foster), a wireless operator, who had
gone down with the sinking ship MacLane had com-
manded, for MacLane had made no attempt to save him.
Despondent when he sees his old ship and the crew blown
up in an explosion, Bickford decides to take a desk job.
But he changes his mind when he learns that his brother
had signed up as a wireless operator on MacLajic's new ship
and was taking with him Nan Grey, whom he intended to
marry; because of a joke Miss Grey had played on him,
Bickford thought she was not respectable. But he changes
his mind about her when, during a storm, she is forced to
operate on Brown from radio instructions by a doctor.
Brown recovers and marries Miss Grey. While at the
wedding celebration at a cafe, Bickford sec MacLane; he
challenges him to a fight and gives him a good beating.
Daniel Moore and Hugh King wrote the story, and they
and Theodore Reeves, the screen play ; Harold Young di-
rected it and Ken Goldsmith produced it. In the cist are
Andy Devinc, Frank Jenks, Samuel Hinds, and others.
Suitability, Class A.
180
HARRISON'S REPORTS
November 5, 1938
ity of the pictures, for the producers have been put
on their mettle as a result of it.
There is no question that mistakes have been
made. The "Movie Quiz" is, in my opinion, one of
them. Personally I feel that, if the $250,000 that
have been appropriated for the prizes of this con-
test had been spent in newspaper advertisements,
the industry would have benefited to a much greater
extent. But even these deductions are a matter of
opinion; the results of this contest will not be
known until after the prizes have been handed out.
If mistakes have been made, the exhibitor must
remember that the need for starting this campaign
was so pressing that no time could be lost in dis-
cussing all phases of it thoroughly. I am sure that
those who are in charge of it will profit by these
mistakes and will avoid them in future campaigns
of this kind.
Next year it will be fifty years since the motion
picture was invented, and Harrison's Reports
hopes that the industry will not overlook the oppor-
tunity this occasion offers for gaining still more
public good will and for helping the box offices to a
still greater degree. The industry leaders should,
therefore, begin laying down plans for a celebra-
tion right now. In this manner they will give a
chance to those whom they will place in charge of
the campaign to avoid errors and to obtain much
better results.
PHILADELPHIA BREAKS THE
SHACKLES
On Friday last week more than one hundred in-
dependent theatre owners, representing between
one hundred and fifty and one hundred and sixty
theatres of the Philadelphia zone, met in Philadel-
phia to hear Col. A. H. Cole, of Texas, member of
the Allied States Association board of directors,
speak on organization. The arrangement for hear-
ing Col. Cole was made by a few Philadelphia zone
exhibitors at Atlantic City two weeks ago. while
attending the New Jersey exhibitors' annual con-
vention.
For a long time United Motion Picture Theatre
Owners of Eastern Pennsylvania, Southern New
Jersey & Delaware has been disorganized on ac-
count of a personal feud between Lewen Pizor, its
President, and Dave Milgram, an exhibitor, mem-
ber of that organization, engendered by competitive
acts. Many exhibitors, friends of Mr. Pizor, ad-
vised him to resign the Presidency for the good of
the organization, but he would not take their ad-
vice. As a result, the influence of that body, power-
ful once, has sunk to the lowest level that it could
possibly sink.
Many exhibitors felt that Mr. Pizor was trying
to perpetuate himself in office, and this idea brought
further resentment.
Since the organization there ceased functioning,
many exhibitors felt that a new organization should
be formed to bar as officers all those who might
prove a detriment to it. It was while they were
looking around for a start that these exhibitors
approached Col. Cole for guidance.
Col. Cole advised the Philadelphia gathering that
two things are needed to make an organization suc-
cessful, loyal membership and the unfailing pay-
ment of dues. Every one of the exhibitors present
assured him that they will do both.
A committee was appointed to apply for an
Allied charter and to effect the organization.
It was only a few weeks ago that this paper, hav-
ing been informed of conditions there, urged Allied
States to send a representative to Philadelphia to
organize the exhibitors under its banner.
* * *
Since we are talking about the benefits of a well
conducted exhibitor organization, it might not lie
amiss for us to talk about those exhibitor units that
are not affiliated with a national organization. The
present producer-exhibitor conferences have
proved conclusively that units of this kind do more
harm to the exhibitor cause than good, by reason
of the fact that, first, they do not add their own
strength to that of the national body, and the pro-
ducers are using them as a means to discourage the
national organization for obtaining the most con-
cessions possible. Besides, the problems taken up
at these conferences were national in nature. And
no local unit, unaffiliated with a national body,
could undertake the solution of national problems
successfully.
It is too commonplace to cite to them the Aeso-
pean parable about the farmer who pointed out to
his sons, by means of a bundle of sticks, that the
sticks could be broken one at a time but not as a
bundle, and by inference how much stronger these
units would be were they to join a national organi-
zation. The only question they should decide should
be, which national organization to join. That should
not be so difficult a problem for them to solve : let
them find out how each organization subsists. If it
subsists with producer money, it must comply with
the wishes of the producers, for if it does not do so
the monthly or yearly allowance would naturally
cease. Let each exhibitor remember that the person
who pays the check every Saturday is the boss.
Since Allied is the only national organization
that does not accept a bounty from the producers,
then each unaffiliated unit should join that organi-
zation. If it has defects, let them point them out
and fight for their correction from within the
ranks.
Harrison's Reports hopes that every member
of an unattached exhibitor organization unit will
urge the officers of his organization to apply for an
Allied charter without delay.
ABOUT UNITED ARTISTS PICTURES
Some exhibitors have complained to this office
that United Artists is not delivering to them "Al-
giers," which features Charles Boyer, although
they have under their contract "The Illusionist,"
which was promised to them with Charles Boyer.
Morally they are right ; they bought a Charles
Boyer picture and United Artists now refuses to
deliver it to them. But from the legal point of view,
they cannot compel it to deliver "Algiers," by rea-
son of the fact that, first, it is not described in their
contract, and secondly the synopsis in the work
sheet, which the distributor considers as no part
of the contract, is entirely different from the story
of the picture ; there is no relation between the two.
In reference to "Blockade," the story bears a
greit similarity to the description in "A Kiss in
Paris." Consequently, no exhibitor can legally re-
fuse to accept "Blockade."
"Drums" and "Mutiny in the Mountains" seem
to be the same story.
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 187&.
"114 it
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Mexico, Cuba, Spain IB. 50 , „ ,. _, ' _
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«r„ n ('m,v Its Editorial Policy: No Problem Too Big tor Its Editorial Circle 7-4622
*>oc- a ^°1>y Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Voi. XX SATURDAY, NOVEMBER 12, 1938 No. 46
CRUDE!
Donahue & Co., Inc., which is an advertising
agency with headquarters at Rockefeller Center, is
handling the advertising for the "Motion Pictures
Are Your Best Entertainment" campaign. It is
this agency that selects the newspapers to advertise
in, communicates with them, and hands out the
advertising.
About the end of September, an official of this
company wrote to the advertising manager of a
small-town newspaper the following letter:
"This week we are releasing additional advertis-
ing in connection with the Motion Picture Indus-
try campaign. Proofs of typical current ads are
attached.
"Unfortunately, our client has instructed us not
to run any further advertising in your paper be-
cause of the fact that there is no local theatre in
your community cooperating with the campaign.
"Consequently there is no way in which any of
the readers of your paper can obtain Movie Quiz
Booklets locally. Accordingly, it must be obvious to
you that the advertising which we released for pub-
lication in September in your community was, to
a substantial degree, wasted.
"It has occurred to us that you might be able to
influence one or more of your local theatres to co-
operate with the industry campaign, in order that
Movie Quiz booklets might be available locally,
thus making it possible for us to continue that
campaign in your paper.
"All local theatres can obtain complete details
regarding the Industry advertising campaign from
whatever Film exchange they normally do business
with."
This letter does not seem to be the only one sent
out by Donahue & Co., Inc. ; there must have been
many others, if I am to judge by the fact that I
have received information to the effect that also a
newspaper in another state has received a similar
letter.
When the producers approached the Postmaster
General for an approval of the Movie Quiz Con-
test, the approval was given, as I have been in-
formed, upon the understanding that every theatre
owner, irrespective of whether he subscribed to the
campaign or not, would receive the Movie Quiz
pamphlets. It was only thus that the campaign
could be considered as not offending the post office
regulations regarding lotteries. But this smart
"client" seems to have overlooked this part of the
arrangement.
I don't know who this "client" the Donahue &
Co., Inc., official refers to is, but if this official had
started out to enrage the newspaper publishers he
could not have done it more effectively, for they are
a proud class of people and, although for the time
being they may capitulate so as not to lose adver-
tising, they don't forget so easily.
Those who have received such "threatening" let-
ters are not the only ones who will bear resentment
against the motion picture industry for this crude
method of compelling newspaper publishers and
advertising managers to become salesmen for the
•'Motion Pictures Are Your Best Entertainment"
campaign ; most others will feel the same resent-
ment, for they will be informed of this high-handed
method through the confidential organs that circu-
late only among newspaper employers and impor-
tant employees. The newspaper people are organ-
ized very closely, and an offense to one is usually
an offense to all the others.
Harrison's Reports calls upon the producers
to find out who this "client" is so as to compel him
to stop sending to the newspapers letters of this
kind.
A LOSS BY THE ALLIED EXHIBITORS
It was announced last week that Mr. H. M.
Richey, formerly business manager of Allied Thea-
tre Owners of Michigan, and for the last few
months connected with Cooperative Theatres, of
Detroit, Michigan, has been appointed by Mr.
George Schaefer, President of RKO, as director of
exhibitor relations for that company.
His duties will be. no doubt, to smooth out and
adjust any differences that might arise between ex-
hibitors and RKO.
It is too bad that Allied States let Mr. Richey
get away from it, for he is one of the finest organ-
izers the exhibitors have ever had. Without mean-
ing to deprecate the hard work the business mana-
gers, secretaries, presidents and the officers of
other exhibitor organizations have done to build
up their organizations, I can say that the work Mr.
Richey did for the organized exhibitors of Michi-
gan will stand as a monument.
It was said by Col. Cole at the recent gathering
of the Philadelphia exhibitors that a successful
organization needs for success loyal membership
and unfailing payment of dues. Mr. Richey. while
in charge of the Michigan organization, was able
to attain both: not only was his membership the
greatest ever known in the history of that state, but
also the treasury of the organization hat! the most
money. At no time did the treasury run short of
funds.
Mr. Richey always was an asset to national
Allied, particularly in the first years after its birth.
Whenever money was needed to carry on some
{Continued on lost /w/r)
182
HARRISON'S REPORTS
November 12, 1938
"Submarine Patrol" with Richard Greene,
Preston Foster and Nancy Kelly
{20th Century-Fox, November 25; time, 94 min.)
Very gdod! It touches upon a branch of the naval
service used during the war that should be of interest
to ' the masses — that of the . "splinter fleet," small
wooden torpedo ships used as submarine patrols for
ocean-going liners; it is a new subject as far as war
pictures go. It combines thrills with unusually good
comedy and a delightful romance. One particular situ-
ation is so brilliantly directed that spectators will re-
member it for a long time— it shows one of the small
submarine chasers, commanded by Preston Foster,
going after a German submarine that was known to be
the most dangerous of all. By silently gliding through
the mine zone during a heavy mist, they find the sub-
marine base without making their presence known; but
they arc soon spied. After terrific fighting, they are
successful in sinking the submarine. Another thrilling
situation is that in which the same submarine chaser
locates and sinks a submarine that was menacing a
ship on its way to Europe with supplies for the Allies.
The tension is relieved by extremely comical dialogue
that takes place between the men quartered on the
small chaser.
In the development of the plot, Richard Greene, one
of the crew, meets and falls in love with Nancy Kelly;
but her father (George Bancroft), Captain of a trans-
port liner is against the match, for he did not trust
Greene, who was wealthy. Bancroft thwarts their at-
tempts to get married. Eventually he realizes how un-
just he had been and goes to see Greene on his ship;
Greene, mistaking his intentions, knocks him out; in
the meantime the ship sets sail on a dangerous mission.
When Bancroft is revived, he offers to help and is
instrumental in saving the ship and the crew. Once
back at the station, Bancroft plans an elaborate mar-
riage for Miss Kelly and Greene; but again their plans
are upset for Greene had been ordered to sail imme-
diately. The two ships pass and the lovers send signals
declaring their love for each other.
Ray Milholland wrote the story, and Rian James,
Darrell Ware, and Jack Yellen, the screen play; John
Ford directed it, and Gene Markey produced it. In the
cast are Slim Summerville, John Carradine, Henry
Armctta, Warren Hymer, Douglas Fowley, J. Farrell
MacDonald, Maxie Rosenbloom, and others.
Suitability, Class A.
"Lawless Valley" with George O'Brien
and Kay Sutton
, , ,, ■ (J?KO, November 4 ; time, 58 l/z min.)
A good outdoor melodrama. Although the story is
routine, it should appeal to the western fans for it has
fast action, thrilling horseback riding, and exciting fist
fights, in addition to comedy and romance. The hero's
efforts to prove the innocence of himself and his father
on a framed charge keeps the spectator interested
throughout, particularly since one is in sympathy with
the hero, who shows courage in the face of danger: —
Released from prison on a parole after having served
a year for holding up a stagecoach, George O'Brien
goes back to his home town in an effort to prove that
he and his father had been framed and that his father
had not committed suicide but had been murdered. On
the road he meets Walter Miller, a fellow hobo, and
they become friends; Mjller accompanies O'Brien to
the ranch of his only friend. No sooner is O'Brien back
than he is warned by Fred Kohler and his son that he
was not wanted there; but O'Brien knew that Kohler
was trying to force his ward (Kay Sutton) to marry
his son, even though she loved O'Brien, and so he
warns Kohler to leave him alone. Helped by Miller,
O'Brien finally gets the proof he needed — that Kohler
and his son had committed the robbery and had mur-
dered his father. It develops that Miller was a federal
officer, and he takes charge of the case. His name
cleared, O'Brien is free to marry Miss Sutton.
W. C. Tuttle wrote the story, and Oliver Drake, the
screen play; David Howard directed it, and Bert Gilroy
produced it. In the cast arc Fred Kohler, Jr., Lew
Kelly, and others.
Suitability, Class A.
"Mars Attacks the World" with
Larry (Buster) Crabbe and Jean Rogers
(Universal Special; running time, 67l/2 min.)
This picture is a condensation of "Flash Gordon's Trip
to Mars," the Universal serial; it has been put out by
Universal in feature form to take advantage of the recent
radio panic that the Orson Welles radio broadcast had
caused among thousands of people in this country.
It is a fantastic story, in which the hero is shown entering
a rocket on the earth and flying to the planet Mars to pre-
vent the destruction of the earth by a would-be scientist
with nitron rays. All kinds of weird things happen in that
planet : human beings walk on rays of light that act as solid
bridges, queer-looking aeroplanes fly around spreading
destruction, and many other similar happenings. The ruler
of Mars is a woman (heroine), who possesses extraor-
dinary powers, even to the extent of condemning people to
spending their lives within a coat of clay; but the villain
schemes to depose her and thus becoming the absolute ruler,
With the object of carrying out his plans of destroying the
earth. But his plans, of course, are upset by the arrival of
the hero from the earth. Once his mission is accomplished
the hero and his aides return to earth in the rocket they had
used originally.
Though the story is, as said, fantastic, it has been pro-
duced so well that it produces realism. There are many
thrilling situations, caused by the struggle of the hero to
overpower the villain so as to prevent him from destroying
the earth. But whether the majority of picture-goers will
accept it seriously it is hard to tell ; perhaps those who have
shown it in their theatres as a serial will have formed an
idea.
The original story was based on Alex Raymond's news-
paper strip, "Flash Gordon," syndicated by King Features.
T-Ile picture was directed by Ford Beebe and Robert
Hill. The supporting cast consists of Charles Middleton,
Frank Shannon, Beatrice Roberts, Donald Kerr, Montague
Shaw, Richard Alexander, Wheeler Oakman, Kane Rich-
mond and Kenneth Duncan.
Children should enjoy it immensely. An excellent Satur-
day picture for small towns. Suitability, Class A.
"Illegal Traffic" with J. Carrol Naish,
Mary Carlisle and Robert Preston
(Paramount, November 4; time, 67 min.)
A good program gangster melodrama. Although the
story is developed according to formula and one knows
just how it will end, the action is so fast and exciting
that it holds one in tense suspense throughout. The real
thrills are concentrated in the second half, after it is
established that the hero was a federal investigator
and not a member of the gang. The method employed
by the hero to capture the gangster leader is both
novel and thrilling. A pleasant romance is worked into
the plot in a logical way, without interfering with the
action : —
J. Carrol Naish, gangster leader, is the head of an
outfit that furnished, for a large sum of money, trans-
portation out of the country to criminals wanted by the
police. He does not hesitate to kill any one who stands
in his way. Robert Preston, an aviator who had at one
time barnstormed with Regis Toomey, one of Naish's
aviators, is accepted into the gang. He shows courage
in the face of danger, which pleases Naish. Preston
meets and falls in love with Mary Carlisle, daughter of
an innkeeper whose place was used as a stop-off by the
criminals; she is unaware of the nature of Naish's busi-
ness and does not realize that her father was connected
with him. Naish eventually finds out that Preston was
a federal investigator and plans to kill him; but Pres-
ton, although wounded by a gun shot from Naish, pilots
a plane in order to give chase to Naish, who was trying
to escape in an automobile; he is compelled to kill
Naish when he rushes out of the car. The gang is
rounded up. Preston and Miss Carlisle plan to marry.
Robert Yost, Lewis Foster, and Stuart Anthony
wrote the story and screen play; Louis King directed
it, and William C. Thomas produced it. In the cast are
Judith Barrett, Pierre Watkin, Larry Crabbe, George
McKay, and others.
Not for children; adult fare. Class B.
November 12, 1938
HARRISON'S REPORTS
183
"Torchy Gets Her Man" with Glenda
Farrell and Barton MacLane
{Warner Bros., November 12; time, 62 min.)
A good program melodrama. Of the pictures so far
produced in this series, this one is the most exciting.
The story is developed in a logical way, the action is
fast and at times thrilling, and the tension is relieved by
good comedy bits. Particularly thrilling are the closing
scenes, where the heroine is trapped by the gangsters:
Glenda Farrell, newspaper reporter, is annoyed when
her fiance, a police inspector (Barton MacLane) re-
fuses to give her information about a case he was work-
ing on. By investigating on her own, she discovers that
he was working with a federal officer (Willard Robert-
son) to track down a noted counterfeiter. Her snooping
leads her to the hideout, where she is caught; to her
surprise she finds that Robertson was not a federal
officer but the counterfeiter himself. MacLane, who
had begun to suspect Robertson, arrives in time to
save Miss Farrell and to round up the gang.
Albert DcMond wrote the original screen play, Wil-
liam Beaudine directed it, and Bryan Foy produced it.
In the cast are Tom Kennedy, George Guhl, Thomas
Jac kson, and others.
Suitability^, Class A.
"The Young in Heart" with Janet Gaynor
and Douglas Fairbanks, Jr.
{United Artists, October 27; time, 90 min.)
Very good! It is a deeply appealing comedy-drama,
with a heartwarming, sentimental quality, excellent
comedy bits, and two appealing romances. The produc-
tion is lavish, and the direction and acting most impres-
sive; as a matter of fact, each one of the players gives
a superb performance. There are scenes that touch
one's heart and even bring tears to the eyes, without
being maudlin. The pleasant part of it is that the story
is developed naturally and with simplicity. The even-
tual regeneration of a family of four, who had lived by
their wits, through their love for an elderly woman, is
inspiring: —
Roland Young, his wife (Billie Burke), and their two
children (Janet Gaynor and Douglas Fairbanks, Jr.)
live by their wits; Young even cheats at cards. Just as
they were about to consumate a lucrative marriage for
their son, they are informed by the police to leave town.
On the train to London, Miss Gaynor becomes ac-
quainted with a charming elderly woman (Minnie Du-
prce), who invites her and her family into her private
compartment; she orders dinner for them. They save
her life when the train is wrecked; she, being lonesome,
pleads with them to stay at her home, and they, being
broke, gladly accept. Once there, they decide to ingra-
tiate themselves into her affections so that she would
make them her heirs. In order to impress her, Young
and Fairbanks obtain positions. As time goes on, they
find that they enjoy honest work. Fairbanks falls in
love with Paulette Goddard, who worked in his office.
Miss Dupree becomes ill; her lawyer (Henry Stephen-
son), who knew all about the family, tells them she had
made a will leaving everything to them, but that the
joke was on them for, unknown to Miss Dupree, her
holdings were worthless. The family, heartbroken be-
cause of Miss Dupree's illness, inform Stephenson that
they did not want any money, and also that, if Miss
Dupree should survive, she could make her home with
them. She becomes better and goes to live with her four
friends; Roland's job develops into an important one,
Fairbanks marries Miss Goddard, and Miss Gaynor
marries Richard Carlson, a righteous young Scotch-
man, who had at first disapproved of her family.
The plot was adapted from the story by I. A. R.
Wylie; Paul Osborn wrote the screen play, Richard
Wallace directed it, and David O. Sclznick produced it.
Others in the cast arc Irvin S. Cobb, Lucilc Watson
and Margaret Early.
Suitability, Class A.
"Just Around the Corner" with
Shirley Temple, Charles Farrell
and Joan Davis
{20th Century-Fox, November 11 ; time, 69y2 min-)
Good for the Shirley Temple fans, particularly the
younger ones. She is as delightful as ever, singing and
dancing in her usual competent manner; one tune she
sings is quite catchy and should become popular. The
story in itself is simple yet appealing; a few of the
situations are, however, so far-fetched that adults
might become somewhat impatient. Joan Davis and
Bert Lahr are in for a brief spell, provoking laughter by
their antics; and Franklin Pangborn, as a harrasscd
hotel manager, adds to the gaiety. The romance is
mildly pleasant: —
When motherless Shirley is compelled to leave the
fashionable school she was attending to return home to
her father, she is happy. Even when she learns that
her father, an architect (Charles Farrell), had met
with financial reverses and was compelled to move from
the penthouse apartment down to the basement, she
does not mind, for she loved being with him. In answer
to a question that she puts to him, Farrell explains that
things were bad because "Uncle Sam," meaning the
United States Government, was being harrassed on all
sides, that he needed help, and that if he got it things
would pick up. Shirley, thinking that by "Uncle Sam"
Farrell meant Claude Gillingwater, a banker, with
whose nephew (Bennie Bartlett) she had become good
friends, decides to help him. She gives a benefit per-
formance for "Uncle Sam," collecting nickels for the
admission fee; she then turns all the money over to
Gillingwater. At first he thinks the whole thing was a
trick to belittle him in the public's eye; but when he
learns the truth he is touched. He decides to reopen
factories he had closed, and also to finance Farrell in
his dream of a new building project. Farrell and
Amanda Duff, Gillingwater's niece, plan to marry.
Paul Gerard Smith wrote the story, and Ethel Hill,
J. P. McEvoy, and Darrell Ware, the screen play;
Irving Cummings directed it, and David Hempstead
produced it. In the cast are Bill Robinson, Cora With-
crspoon, Hal K. Dawson, and others.
Suitability, Class A.
"Gangster's Boy" with Jackie Cooper
and Robert Warwick
{Monogram, November 9 ; time, SO min.)
On the strength of the title and Jackie Cooper's pop-
ularity this should do good business. It has human
appeal and some comedy. The most agreeable thing
about it is Jackie Cooper's performance; he plays a
difficult part with ease, winning and holding the spec-
tator's sympathy throughout. The casting of Robert
Warwick as a reformed gangster is faulty; he overacts
the part to such an extent that at times he appears
ridiculous. Considering the good business that "Boy of
the Streets" did it is possible that this may duplicate its
success at the box-office: —
Jackie, the most brilliant and popular boy in school,
is overjoyed when his father (Warwick) returns home
after a long absence. But a snooping newspaper re-
porter brings sorrow to the family when he prints the
story of Warwick's career as a racketeer; he does not
say anything about Warwick's having reformed. His
schoolmates, with the exception of two friends, a
brother and a sister, shun him. Jackie, knowing that the
father of these two friends, a Judge, objected to his
father and was trying to force him out of the town, asks
them not to see him. But they insist on being with him,
and leave together after a dance in Jackie's new auto-
mobile; the brother drives the car and meets with an
accident in which a young man is injured. Jackie sends
them home and takes the blame himself; he refuses to
talk. Eventually the truth comes out and Jackie is
praised by all for his courage. The Judge apologizes
and welcomes Jackie's father to the community.
Karl Brown and Robert D. Andrews wrote the story,
and Mr. Andrews, the screen play; William Nigh di-
rected it, and William Lackey produced it. In the cast
are Lucy Oilman, Louise Lorimcr, Tommy Wonder,
Sclmer Jackson, Betty Blythe, and others.
Suitability, Class A.
184
HARRISON'S REPORTS
November 12, 1938
campaign, he and Al Steffes would put their heads
together and would unfailingly find the money that
was needed. No exhibitor would refuse a liberal
contribution when these two leaders appealed to
him for funds.
The organized exhibitor's loss is, of course,
RKO's gain, for in his new position Mr. Richey
will be able to render that company invaluable
services.
EDWARD GOLDEN AGAINST BLOCK
BOOKING AND FOR THEATRE
DIVORCEMENT
That old war horse, Edward Golden, vice presi-
dent of Monogram Pictures, has done it again — he
has declared himself and his company in favor of
the elimination of block-booking and for the di-
vorcement of theatres from production-distribu-
tion. This he did by a speech he delivered to the
exhibitors that gathered in Oklahoma City, Okla-
homa, on the occasion of the annual gathering of
MPTOA.
Mr. Golden criticized the attempts at self-regu-
lation, by reason of the fact that the "regulators,"
he said, represent vested interests in the industry,
and such interests must necessarily look after them-
selves first, even if their decisions and acts would
harm others.
Mr. Golden called the attention of his hearers to
the observations he made at the self -regulation ef-
forts under the NRA Law, when he represented
independent distributors on the Code Authority.
"I saw too much of the operations of people in our
industry during my association with the Code Au-
thority," he said, "ever to agree to a continuation
of the methods employed in self -regulation as they
proposed it."
PICTURE THEATRES EXEMPTED FROM
PROVISIONS OF WAGE-HOUR LAW
Last week the Wage-Hour Law Administration
issued an informal opinion that moving picture
theatres, since they are intra-state business, are
exempt from the provisions of the Wage-Hour
law.
At the same time, however, Mr. Calvert Ma-
gruder, general counsel of the Wage-Hour Law
Administration, issued a warning that this is merely
an informal opinion, and that, in case the courts
decided differently, it has to be modified in ac-
cordance with the courts' decision. This opinion,
as well as other similar opinions that may be issued
from time to time, has been issued, he said, merely
for the guidance of the administrator until he is
directed otherwise by a court ruling.
SEE "THE YOUNG IN HEART" FOR
YOUR OWN ENTERTAINMENT
BY ALL MEANS
Few exhibitors can spare the time to see a picture
for their own entertainment. Whenever they see a
picture, it is to determine its value to their box
office that they see it for.
Occasionally, however, a picture comes along
that they see and enjoy as entertainment and not
for the purpose of determining its value to their
box office.
"The Young in Heart" is a picture that deserves
to be seen by exhibitors for their own entertain
ment.
PROOF THAT THE BLIND SELLING
SYSTEM IS WRONG
When a producer tells you that he is going to
spend two million dollars on a picture and that he
is, therefore, entitled to fifty per cent of your gross
receipts, you are made to believe that he has a fine
story ready for that picture, and that the picture
will really turn out to be excellent entertainment.
Fifty per cent of the gross receipts is too much
for any picture — that you know, but under the talk
of the distributor's representative you are made to
weaken and, despite past experiences, you give in.
What is your chagrin, then, when the picture turns
out to be no better than an ordinary melodrama,
despite huge settings and length?
When Paramount induced many of you to agree
to give as the distributor's share fifty per cent of
your gross receipts for "Men with Wings," you
were no doubt made to believe that it would turn
out one of the finest aeroplane melodramas that
have been produced to this day. What shock you
will get when you see it ! With the exception of the
color and the huge settings, there is hardly a situa-
tion in it but has been shown in one form or another
in program melodramas of this type that have been
produced by either Universal, RKO, or Columbia.
Paramount should do with "Men with Wings"
what MGM has usually done when it found out
that one of its big pictures did not "click" at the
box office — place it on a lower classification.
REPUBLIC WILL NOT GO ON THE AIR
Under the heading, "Thoughts at Random," of
the October 29 issue, there was published a criti-
cism of Republic Pictures, on the ground that it
contemplated going on the air with a sponsored
program. The information was taken by the ex-
hibitor-contributor from different trade papers,
which published this information at different times
lately and was not denied.
Mr. Herbert Yates, Sr., the force behind Re-
public Pictures, denies that his company has ever
contemplated going on the air. He is first, last and
always, he says, an independent producer, and
intends to make no move that will harm the inter-
ests of independent exhibitors.
Harrison's Reports congratulates Mr. Yates
tor his fine sentiments toward the independent
exhibitors.
AN ADVERTISING ANGLE ON "DRUMS"
"Abe Lincoln in Illinois," the stage drama by
Robert E. Sherwood, now playing at the Plymouth
Theatre, in New York, is making a great hit. Most
of the reviewers have praised it.
Raymond Massey, as Lincoln, does great work.
Mr. Massey is one of the stars of the United
Artists picture "Drums."
Those exhibitors who have "Drums" booked
might take advantage of the fact that Raymond
Massey is the star to draw additional patrons into
the theatre ; they might use the following wording,
in their newspaper advertisements as well as in the
lobby of their theatre:
"Since you cannot sec Raymond Massey in the
stage play, "Al>e Lincoln in Illinois," now playing
to capacity houses at the Plymouth Theatre, in
New York City, see him in "Drums," now playing
at the Theatre, on ."
IN TWO SECTIONS— SFCTION ONE
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. XX_ ~ SATURDAY, NOVEMBER^7T938- No~47
THE CURE FOR HOLLYWOOD'S LOSS
OF SPIRIT
How often have I warned you to be careful as to
what prices and to what terms you agree in pur-
chasing your 193<8-39 season's pictures? Many
times, I am sure you remember. My reasons for it
were the demoralization of the production forces
in Hollywood.
It seems as if the Hollywood fellows are still
demoralized. Read what W. R. Wilkerson has
said in his editorial that appeared in the October
28 issue of the Hollywood Reporter :
"Hollywood is not the same Hollywood. It's not
the same place it was last year, the year before and
years before that. There's not the same atmos-
phere, there's not the same spirit — the same en-
thusiasm. It's peopled by the same individuals, but
reflecting on their personalities of last year, the
year before and years before that. They are not the
same — they seem like strangers.
"What's happened to Hollywood? What's hap-
pened to the great romance of making successful
pictures ? What's happened to the happy men and
women who used to enthuse so with great accom-
plishment and fight to win it?
"Hollywood has lost heart. There is no heart in
Hollywood. The people are cold, their enthusiasm
for accomplishment has been taken up now with
scheming, with an effort to dictate and a demand to
rule each other. There is not the old spirit, there is
no friendship, no gaiety based on real happiness,
there is no pride in successful effort nor the fight to
accomplish it. No, it's a spirit of domination, of
power, of rule. That would be swell if that domi-
nation would make better pictures, if the power
would tend to better conditions contributing
greater happiness; if that rule would make the
burden placed on every one for greater accomplish-
ment in their work. But has it ? Or will it ?
"There is no inspiration for greater picture prog-
ress. Every one has a mad on for everyone else
that has bred envy, jealousy and generated a spirit
of doing nothing. Every one wants to fight to gain
the edge. But gaining it, where does it place them?
What has been the accomplishment, where are
they headed for with that edge ? Every faction that
goes into making pictures, from the producer clown
to the grip, is at odds with each other. So how can
better pictures be made? How can this industry
progress ?
"Hollywood has lost heart and will lose more than
that unless its creators awaken to the fact there is a
job to be done. But it can't be accomplished with all
this fighting; particularly a battle that no one
seems to be able to reason what he hopes to win
and, in winning, what's the reward."
This is Hollywood for you ! But it is a true pic-
ture, for Mr. Wilkerson lives there and meets
people every day and is in a position to get a true
picture of Hollywood as it is. Now you can see for
yourself why there are so large a number of million-
dollar flops.
The disease is rooted too deeply to be cured by
admonition. Those who look for the high-paying
jobs of those above them in position will not stop
from looking for them just because a trade paper
editor has told them that they are doing the wrong
thing; they will continue looking for them: their
eyes are riveted to the size of the weekly check,
which the other fellow gets.
There is only one cure for the deplorable condi-
tion in Hollywood : the elimination of block book-
ing and blind selling, so that pictures may sell on
merit, for when pictures sell on merit there will be
a reckoning for those who haven't the ability to
make them : there will be no room for incompe-
tents. Then one has to show that he deserves the
higher salary before he can have any hope of get-
ting it.
Separation of theatres from production is an-
other means whereby the conditions in Hollywood
may be ameliorated. Today, the man who makes a
picture for a major company knows that, good or
bad, it will be played in the theatres, not only of
his own company, but also of the other companies.
Under such circumstances, there is no real incen-
tive for them to make good pictures.
Eliminate block-booking and blind-selling, and
separate theatres from production-distribution.
That's the cure !
"MOVIE QUIZ" A MISTAKE BUT —
Fifty answers to the $250,000 prize Movie Quiz
contest are sold at newstands for fifteen cents. This
naturally lowers the dignity of the contest, and may
add to the number of dissatisfied participants.
The following footnote is attached to the list :
"Note : All titles marked with this star (*) have
no correct answers. Any answer you may have
picked will be considered right by the judges.
"There arc a number of pictures listed above
that may not have as yet been shown in your city.
If you desire to choose any of them it will be to
your advantage because you will be in a position to
check the answers when viewing the pictures."
Interference of this kind certainly cannot prove
helpful to the contest.
But whether the Movie Quiz contest is a mistake
or not, the industry cannot help going through with
it. And it cannot admit openly that it has proved a
failure.
186
HARRISON'S REPORTS
November 19, 1938
"Man with 100 Faces" with Tom Walls,
Lilli Palmer and Noel Madison
(Gaumont-British, October 1 ; time, 71 mm.)
A fair crook melodrama, with a somewhat limited
appeal for American audiences since the players, with
the exception of Noel Madison, are not known well
here. It is a sort of modern "Robinhood" story, in
which the hero steals from the rich in order to help the
poor. The story is pretty far-fetched insofar as the
methods employed by the hero are concerned, for he
carries out the most difficult robberies with the utmost
of ease; as a matter of fact, it is not made clear just
how he does it. The production is lavish and the per-
formances adequate. For the first half hour the action
is draggy; but it picks up speed in the second half and
ends in a fairly exciting way. The love interest is
unimportant: —
Unknown to everyone but his assistant, Tom Walls
carries out the most daring robberies in order to turn
over the funds to charitable and worthy institutions.
Lilli Palmer, a wealthy society woman, suspects Walls,
but, since she was in love with him, does not say any-
thing about it. A gang of American gangsters are eager
to meet Walls, since he had outwitted them in two
important robberies. Miss Palmer unwittingly leads
them to him. But Walls is ready and traps them, turn-
ing them over to the police. He then leaves the country
with Miss Palmer, who had promised to marry him.
W. B. N. Ferguson wrote the novel from which the
plot was adapted, and A. R. Rawlinson and Michael
Pertwee, the screen play; Albert dcCourville directed
it. In the cast are Edmond Breen, Leon M. Lion,
Charles Heslop, and others.
Not for children; adult fare. Class B.
"The Great Waltz" with Luise Rainer,
Fernand Gravet and Miliza Korjus
(MGM, November 4; time, 103 min.)
Very good entertainment. It is a delight to the eye as well
as to the ear, for, in addition to the well-known and charm-
ing Strauss waltzes which are played throughout, the pic-
ture has been given a beautiful production. The photography
and lighting are really extraordinary ; this is so particularly
in one scene where the composer and a singer ride through
the Vienna Woods, the beauty of which inspires Strauss to
compose the song "Tales of the Vienna Woods." The plot
has been changed around considerably ; nevertheless, it still
has human appeal, and as entertainment should be a wel-
come relief to those who do not enjoy swing music. There
is no doubt as to its effect on mature and music-loving au-
diences ; not only are the familiar waltz tunes played and
presented well, but some of them are sung by MGM's new
European star, Miliza Korjus, who shows remarkable tal-
ents'; in addition to an unusual voice, she has beauty and
personality. As to how the young, swing-crazy crowds will
take it, that is another matter, for they are more or less
contemptuous of classical music : —
Johann Strauss (Fernand Gravet) gives up his position
as a bank clerk to devote his time to composing waltzes ; he
has the approval of Poldi, his fiancee (Luise Rainer). He
forms an orchestra and appears at a cafe to play for the
owner, who shuts the windows so that the people would not
hear the waltzes, which were taboo in polite society. The
music is, however, heard by Carla Donner (Miss Korjus),
an opera singer, and she is so pleased with it that she invites
Strauss to a party at her home. There she sings his latest
composition, which so enchants the guests that they shout
their approval. But Strauss, humiliated when Carla jests
about his affection for her in the presence of her wealthy
lover, Count Hohenfried, (Lionel Atw'll), leaves. Later he
marries Poldi. His compositions become popular through-
out the world and he is soon wealthy. But another meeting
with Carla, during a revolutionary uprising, makes him
realize that he loved her ; she, too, confesses her love for
him. Poldi finds out about this and is miserably unhappy.
When the time comes for the lovers to go away together,
Carla sends Strauss back to his wife, for she felt that they
could not be happy with her shadow between them. Years
later, Strauss is decorated by the Emperor.
Gottfried Reinhardt wrote the story, and Samuel Hoffen-
stcin and Walter Reisch, the screen play; Julien Duvivier
directed it. In the cast are Herman Bing, Hugh Herbert,
Curt Bois, Leonid Kinsky, Al Shean, and others.
Suitability, Class A.
"Blondie" with Penny Singleton
and Arthur Lake
(Columbia, November 30; time, 72 min.)
An amusing program comedy, revolving around the
trials and tribulations of a young married couple who find
it difficult to keep out of trouble. The characters are taken
from a syndicated newspaper comic strip and, therefore,
are known widely; it is possible that Columbia plans a
series of pictures with these characters. If so, there should
be a ready market for them since many people follow this
strip daily in the newspa[>crs. The masses should enjoy
the picture, since it presents, in a comic vein, problems that
beset many families in moderate circumstances.
In the development of the plot, the young couple (Penny
Singleton and Arthur Lake) and their child (Larrv
Simms) live in a small house in the suburbs. Miss Single-
ton worries Lake because, as soon as he finishes paying for
one thing that she had bought on the installment plan, she
buys another. For their wedding anniversary, she plans to
surprise him with new furniture, which she had ordered on
the installment plan. But things don't work out as she had
planned. Lake, unknown to her, had endorsed a $500 note
for a girl in his office ; the girl had disappeared and the col-
lection agency was demanding payment from Lake. Since
he could not pay, they take the furniture away. In order to
help Lake out, Jonathan Hale, his employer, offers to give
him a bonus and a raise if he would put through a deal with
Gene Lockhart, a difficult customer, who had refused to see
other salesmen. Through an accident, Lake and Lockhart
become friends; Lockhart does not know who Lake really
was. Through a harmless prank, they get into trouble and
even land in jail. But eventually everything is solved ; Lake
puts the deal through, gets a $5,000 bonus, and a salary in-
crease ; peace reigns in his household once again.
The characters were taken from the comic strip by Chic
Young ; Richard Flournoy wrote the screen play, Frank R.
Strayer directed it, and Robert Sparks produced it. In the
cast are Ann Doran, Gordon Oliver, and others.
Suitability, Class A.
"Flight to Fame" with Charles Farrell
and Jacqueline Wells
(Columbia, October 12; time, 57 min.)
A fair program melodrama, with some good stunt flying.
In May, 1935, Columbia released a picture called 'Air
Hawks," which used for its main idea a situation similar to
the one in this picture— that is, the villain, by playing a
death-ray beam on aeroplanes, could destroy them and their
occupants. The story has, however, been changed around,
the only similarity being in the use of the ray, and in the
manner in which the hero finally traps the villain. For those
who did not see the other picture, this offers some exciting
momenls, particularly in the closing scenes, where the hero
endangers his own life in order to capture the villain. The
romance is mildly pleasant : —
Charles Farrell, an officer in the U. S. Army aviation
division, and a few of his superior officers, go to the home
of an inventor, to investigate a machine which he claimed
could, within a few minutes, completely destroy an aero-
plane or ship on which it focused its beam ; but the experi-
ment does not work. Farrell invites the inventor and his
daughter (Jacqueline Wells) to the air base, where tests
were going to be made of a new plane he had designed.
Farrell himself takes the plane up and pilots it safely
through some daring flying. The following day his com-
mander takes the plane up; but the plane mysteriously
burns in mid-air, falling to the ground; the commander is
killed. This happens again, when another aviator takes up
Farrell's second model. Farrell is of the opinion that the
ray was the cause of it. In company with a friend, he goes
up in his plane and spies the machine in a secluded spot;
he drops bombs on it. They finally land and discover that
the murderer was the inventor's assistant, who had had a
grudge against the men he had killed and others whom he
hid planned to kill; he dies. Farrell is happv that Miss
We lis' father was not involved in the scandal. He and Miss
Wells plan to marry.
Michael L. Simmons wrote the story and screen play ;
C. C. Coleman, Jr. directed it. In the cast are Hugh Soth-
ern, Alexander D'Arcy, Jason Robards, and others.
Suitability, Class A.
November 19, 1938
HARRISON'S REPORTS
187
"Exposed" with Glenda Farrell
and Otto Kruger
(Universal, November 4; time, 63 mitt.)
A fair program melodrama. What the story lacks in
plausibility is made up for in fast and exciting action, and
so one's attention is held pretty well throughout. The hero-
ine is not a very pleasing character for she resorts to
trickery to carry out her plans; but one cannot help admir-
ing her courage in the face of danger. The romance is
pleasant : —
Glenda Farrell, chief photographer for a picture maga-
zine, snaps a picture of a sleeping hobo in a cheap lodging
house, only to learn that he had been a former assistant
district attorney who had disappeared after a criminal case
in which an innocent man had been sent to the electric chair.
Her paper prints the picture with disparaging remarks,
and Kruger sues them for libel. He agrees to settle the case
for $15,000 on condition that Miss Farrell find for him the
missing daughter of the man he had sent to the chair.
Learning that the girl had died, Miss Farrell induces her
girl friend (Lorraine Krueger) to pose as the missing
girl ; Kruger then settles the case and turns the check over
to the girl, who naturally turns it back to Miss Farrell.
Kruger is a changed man ; he goes back to the district at-
torney's office. But a gangster who had known the girl
Miss Krueger was impersonating, tries to blackmail them.
Miss Farrell is compelled to get something against him.
She takes pictures of him and his gang committing a mur-
der. They attempt to kill her, but Kruger, who had found
out the truth, saves her. He forgives her and asks her to
marry him.
The story idea was by George R. Bilson ; Charles Kauf-
man and Franklin Coen wrote the screen play, Harold
Schuster directed it, and Max H. Golden produced it. In
the cast are Herbert Mundin, Charles Brown, Richard
Lane, and others.
Not suitable for children. Class B.
"Hard to Get" with Dick Powell
and Olivia DeHavilland
(Warner Bros., November 5 ; time, 78 win.)
A fair comedy. The production is pretty lavish and the
acting spirited. The story is, however, routine, and depends
mostly on gags for its comedy situations ; some of them are
comical and others just mildly amusing. Dick Powell sings
only one song, of the popular variety. Charles Winninger,
as the athletically-inclined father of the heroine, provokes
laughter on several occasions by his attempts to outwit his
valet, a superior athlete. The action becomes a little silly in
a few spots ; but, since the whole thing is done in a light
vein without any attempt at seriousness, it will probably
prove amusing to those who enjoy comedies : —
Olivia DeHavilland, daughter of millionaire Winninger,
is enraged when Dick Powell, manager of a gas station,
forces her to clean ten bungalows when she cannot pay for
the gas he put in her car ; he refuses to believe her story.
She decides to teach him a lesson. She goes back to the gas
station the following day and apologizes ; she then makes a
date with Powell. When they meet that evening she tells
him she was a maid at Winninger's home ; she then sug-
gests that he go to Winninger with a business plan he had
in mind. Winninger, knowing what his daughter wanted,
sends Powell to a friend, pretending that he needed his
o.k. first ; the friend throws him out of the office. But
Powell tries many different ways of getting in to see him.
In the meantime. Miss DeHavilland falls in love with
Powell and decides to tell him the truth. But he finds out
all about it himself and refuses to have anything to do with
her. Winninger and his friend realize that Powell had a
good business proposition and arrange to finance him.
Eventually Winninger brings the young couple together
and helps them get married.
Joseph Schrank and Wally Klein wrote the story, and
Richard Macaulay, Jerry Wald and Maurice Leo, (he
screen play; Ray Fnright directed it, and Sam Bischoff
produced it. In the cast are Allen Jenkins, Melville Cooper,
Bonita Granville, Isabel Jeans, and others.
Suitability, Class A.
"Strange Faces" with Dorothea Kent,
Frank Jenks and Andy Devine
(Universal, November 18; time, 66 min.)
A good program comedy-melodrama. The action is fast
and at times pretty exciting. Most of the laughter is pro-
voked by the efforts of the hero and the heroine, rival
reporters, to obtain scoops for their respective newspapers
and to outwit each other in so doing, in spite of the fact
that they were in love with each other. The closing scenes,
in which the heroine's life is endangered by the villain,
who was posing as a respectable citizen but whom she had
suspected, holds one in suspense,: —
Dorothea Kent and Frank Jenks, reporters working on
rival newspapers, plan to marry ; they promise to trust
each other. But the moment a story breaks they forget
promises and try to outwit each other. When a young man,
supposedly a notorious gangster, is found murdered, the
heroine doubts that it was the gangster. Knowing of a
young man who had looked just like the gangster, she goes
to his rooming house only to find that he had gone back
home. She follows him to the small town, but she feels
certain that he was really the gangster, and that he had
murdered the young man who looked like him so as to fool
the police and at the same time ingratiate himself with the
young man's wealthy uncle. Jenks follows Miss Kent to
this town ; they have many quarrels. Miss Kent tries to
prevent the gangster from marrying the town's richest girl
(Mary Treen), whose fortune he planned to get. He forces
both girls in a car and drives away with them ; but Jenks
and Andy Devine, who loved Miss Treen, rush after them
and rescue the girls ; the gangster is caught.
Gornelius Reece and Arndt Guisti wrote the story, and
Charles Grayson, the screen play ; Errol Taggart directed
it, and Burt Kelly produced it. In the cast are Hobart
Cavanaugh, Frank M. Thomas, Leon Ames, and others.
The murder makes it unsuitable for children. Class B.
"The Little Adventuress" with
Edith Fellows, Jacqueline Wells
and Cliff Edwards
(Columbia, October 24; time, 62 min.)
Mediocre program fare. The hackneyed plot is developed
without one new angle ; and since the action is for the
most part slow-moving, one loses interest in the outcome.
Although the individual performances are satisfactory, the
players are handicapped by the ordinary material and trite
dialogue. As entertainment, it is suitable mostly for chil-
dren, who may be thrilled at the sight of little Edith Fel-
lows riding a horse to victory in an important race : —
When her parents, vaudeville performers, are killed,
Edith's only consolation was the fact that she still had the
horse that had been used in the act ; she felt that this horse
would make a great racer. Cliff Edwards, who had been
with the act for some time, feels compelled to send Edith
to her aunt ; but Edith pleads with him to take her to her
cousin (Richard Fiske), who used to race horses. Her
cousin is delighted to see her, and promises to help her
train the horse, even though he knew his fiancee (Jacque-
line Wells) objected to his being mixed up with racing
again. The horse fails in its first race, but Fiske cheers
Edith up. Edwards sells his automobile and trailer in order
to get enough money together to enter the horse in another
race. The aunt places an attachment on the horse for an old
debt. Miss Wells pays off the debt. The horse becomes ill
but recovers in time to enter the race. When Edwards dis-
covers that their jockey was crooked, he insists that Edith
race the horse ; she does and wins. Every one is happy.
Miss Wells' father decides to go into the racing stable
business with Fiske.
Michael L. Simmons and Paul Jarrico wrote the story,
and Michael L. Simmons, the screen play ; D. Ross Leder-
tnan directed it. In the cast are Virginia Howell, Harry
Bradley, Kenneth Harlan, and Charles Waldron.
Suitability, Class A.
ORDER YOUR MISSING COPIES
Look over your files and if you find the copy of any issue
missing order a duplicate copy at once; it will be supplied
to you free of charge.
You cannot know when the very copy missing will be the
one you'll need ; so why not go over your files now?
188
HARRISON'S REPORTS
November 19, 1938
NO AGREEMENT BETWEEN ALLIED
AND PRODUCERS
The following statement was issued on Novem-
ber 8 by the Washington office of Allied States
Association of Motion Picture Exhibitors regard-
ing the progress of the negotiations :
"NO AGREEMENT REACHED
"In Chicago on the 4th instant Chairman Cole, of
Allied's Negotiating Committee, issued a state-
ment setting forth the status of the negotiations
with the Distributors' Committee. That statement
pointed out that the Allied Committee had received
from the Distributors the maximum concessions
the latter felt they could yield and that these were
being reduced to writing after which they would
be reported to Allied's Board of Directors for final
action.
"Unfortunately, Cole's statement was not pub-
lished in full but appeared under headlines an-
nouncing that an agreement between Allied and the
Distributors had been reached. The Allied Com-
mittee is at a loss to understand this since their
statement did not warrant the assumption and they
made it clear to the Distributors' Committee that
the publicity should not reflect even by implication
that there was an agreement.
"DIRECTORS MUST ACT
"Cole's statement pointed out that a resolution
of the Allied Board required that the maximum
concessions of the Distributors be reported back
for final action. Not only does the Board want the
final say, but in the nature of the case there could
be no agreement at this time, since much will de-
pend on the manner in which the commitments of
the Distributors in reference to trade practices and
the details of the arbitration machinery are set
down on paper. In order that there may be no fur-
ther misunderstanding, the following is quoted
from the resolution of the Board authorizing the
continuation of negotiations :
* * *, final approval and ratification by the
Board of Directors to be conditioned upon the
working out of a satisfactory arbitration procedure
to .deal with important issues as enumerated in the
memorandum of the Negotiating Committee dated
October 27, and upon the further condition that
nothing in the arrangement shall bind Allied or any
of its members from pursuing such measures as
may be decided upon to gain such further relief as
may seem necessary or desirable.'
"ALLIED'S MAIN POINTS NOT
CONSIDERED
"An additional and important reason why
Allied's Committee could not enter into an agree-
ment at this time is that the two main planks in
Allied's platform — (a) abolishment of compulsory
block booking and blind selling and (b) separation
of production and distribution from exhibition —
have not been considered in the negotiations. The
reason for this is that the Distributors' Committee
announced that it was not authorized to go any fur-
ther on one than to offer a small cancellation privi-
lege and was not authorized to deal with the other
at all.
"It goes without saying that the Board will want
to consider with the greatest care any proposed
agreement which docs not include the two points
for which Allied has waged a campaign for many
years.
"NO M. P.T. O.A. MERGER
"Another matter that has caused uneasiness in
independent exhibitor ranks is the rumor that a
movement to merge Allied into the Motion Picture
Theatre Owners of America is on foot. This sug-
gestion, coming at this time, tends to impair the
confidence of the independent exhibitors in the
pending negotiations as reflected by inquiries
reaching this office.
"Let it be known that no such action is in con-
templation so far as Allied is concerned. Nor would
such action be possible under the constitution which
restricts membership to independent theatres.
"EDITORS PLEASE PUBLISH
"The Allied Negotiating Committee joins in
urging the trade papers to correct the inaccurate
impressions that have been created regarding the
status of the negotiations and the continued mde-
pendence of Allied. Only by keeping the record
straight can confidence in the situation be main-
tained and the proceedings carried to a full devel-
opment and logical conclusion."
AN ALLIED STATES' APPEAL
FOR FUNDS
Mr. Nathan Yamins, President of Allied States
Association, has just sent out an appeal to the
exhibitors for financial assistance to the national
organization.
"Look at the headlines for the past year or so "
says he.
"North Dakota Divorcement Bill Passed
"Important Victory in the Dallas Interstate Case
"Passage by the Senate of the Neely Bill
"Federal Three-judge Court Uph olds North
Dakota Theatre Divorcement Bill
"Government Announces Sweeping Monopoly
Investigation
"Government Files Anti-Trust Suit Against
Motion Picture Monopoly
"All these have been instigated through Allied's
work, and as a direct result negotiations are now
being carried on with a Distributors' Committee
looking to regulation within the industry, if possi-
ble, of the following trade practices :
"Compulsory Block Booking; Right to Buy ;
Unfair Allocation Changes; Forcing of Shorts'
Newsreels, Trailers; Contract Description of
Product; Exclusive Selling; Unreasonable Protec-
tion; Designated Playdates ; Non-Delivery of Pic-
tures ; Score Charges ; and Minimum Admissions."
He closes his appeal with a plea that each exhibi-
tor send his check for $5 to help defray the ex-
penses the organization has made and is still to
make until it gains for the exhibitors ail the advan-
tages possible.
Harrison's Reports recommends that every in-
dependent exhibitor heed Mr. Yamins' appeal by
sending a check for that amount of money, or for
more, to Mr. Herman A. Blum. Treasurer, Allied
States Association of Motion Picture Exhibitors
729 Fifteenth Street, N. W., Washington D c'
IN TWO SECTIONS— SECTION TWO
HARRISON'S REPORTS
Vol. XX NEW YORK, N. Y., SATURDAY, NOVEMBER 19, 1938 No. 47
(Partial Index No. 6 — Pages 158 to 184 Incl.)
Title of Pictures Reviewed on Page
Always in Trouble — 20th Century-Fox (69 min.) 163
Angels with Dirty Faces — First Nat'l (97 min.) 179
Annabel Takes a Tour — RKO (67 min.) 174
Arkansas Traveler, The — Paramount (83 min.) 166
Broadway Musketeers — First National (62l/2 min.) ..162
Brother Rat— First National (88 min.) 170
Citadel, The— MGM (112 min.) 178
Crime Takes a Holiday — Columbia (59 min.) 158
Dangerous Secret — Grand National (58j/£ min.) 178
Dark Rapture— Universal (79^ min.) 163
Down in Arkansaw — Republic (65 min.) 171
Down on the Farm — 20th Century-Fox (61 min.) 174
Fast Play — Paramount (See "Campus Confessions") . 154
Five of a Kind— 20th Century-Fox (85 min.) 170
Gangster's Boy — Monogram (80 min.) 183
Girls on Probation — First National (63 min.) 170
Girls' School — Columbia (72 min.) 163
I Stand Accused — Republic (63 min.) 179
If I Were King— Paramount (100 min.) 162
Illegal Traffic — Paramount (67 min.) 182
Just Around the Corner— 20th Cent.-Fox (69^ min.). 183
King of Alcatraz— Paramount (55 l/2 min.) 166
Lady Qbjects, The— Columbia (65 min.) 159
Lady Vanishes, The— Gaumont-British (91 min.) 171
Last Express, The— Universal (62^ min.) 171
Last of the Cavalry, The — Republic
(See "Army Girl") 119
Lawless Valley— RKO (58^ min.) 182
Listen Darling— MGM (74^ min.) 174
Mad Miss Manton, The— RKO (79 min.) 166
Man to Remember, A— RKO (78 min.) 166
Mars Attacks the World— Universal (67^ min.) 182
Men with Wings— Paramount (105 min.) 1/8
Mr. Wong, Detective— Monogram (68 min.) 175
Night Hawk, The— Republic (63 min.) .162
Personal Secretary— Universal (62 min.) 159
Road Demon— 20th Century-Fox (70 min.) 175
Service DeLuxe— Universal (86 min.) 174
Shadows over Shanghai— Grand Nat'l (64l/2 min.). '.178
Sisters, The— Warner Bros. (98 min.) 167
Stablemates— MGM (89 min.) . 167
Storm, The— Universal (76 min.) 179
Straight, Place and Show— 20th Cent.-Fox (67 min ) 162
Submarine Patrol— 20th Century-Fox (94 min.) 182
Suez— 20th Century-Fox (104 min.) 175
Swing That Cheer— Universal (62 min.) '..'.'.175
Tarnished Angel— RKO (68 min.) 179
That Army Touchdown — Paramount
(See "Touchdown Army") 159
That Certain Age— Universal (100 min.) . . . . . . . . . 167
There Goes My Heart— United Artists (83 min.) . 170
They're Off— 20th Century-Fox
(Sec "Straight, Place and Show") 162
Too Hot to Handle— MGM (105 min.) 158
Torchy Gets Her Man— Warner Bros. (62 min.) 183
Touchdown Army— Paramount (70 min.) 159
Vacation from Love— MGM (65 min.) 167
Young Dr. Kildare— MGM (81 min) 171
Young in Heart, The— United Artists (90 min.) . . . * 1 83
Youth Takes a Fling— Universal (77 min.) 163
Wanted by the Police— Monogram (59 min.) 158
RELEASE SCHEDULE FOR FEATURES
Columbia Features
(729 Seventh Ave., New York, N. Y.)
1937-38 Season
8213 Phantom Gold— All Star west. (56 min.) ...Aug. 31
8O05 I Am the Law — E. Robinson-Barrie Sept. 2
8208 The Colorado Trail— Starrett (55 min.) .... Sept. 8
8013 The Lady Objects— Stuart-Ross Sept. 9
8026 Juvenile Court — Kelly-Darro-Hayworth ...Sept. 15
8284 The Stranger from Arizona — Jones (56 m.). Sept. 22
8012 Girls' School— A. Shirley-R. Bellamy Sept. 30
8285 Law of the Texan— Buck Jones (54 min.) . . .Oct. 24
8286 California Frontier — Buck Jones Dec. 15
{End of 1937-38 Season)
Beginning of 1938-39 Season
9101 You Can't Take It with You— Arthur Sept. 29
9201 West of Santa Fe— Starrett (57 min.) Oct. 3
9021 Crime Takes a Holiday— Jack Holt Oct. 5
9026 Flight to Fame— Farrell-Wells Oct. 12
The Little Adventuress — Fellows Oct. 24
9211 In Early Arizona — All Star west. (53 min.) .Nov. 2
Adventure in Sahara — Kelly-Gray Nov. 15
Blondie— Singleton- Lake Nov. 30
The Terror of Tiny Town — Midgets Dec. 1
9202 Rio Grande— Starrett (59 min.) Dec. 8
There's That Woman Again — Douglas (r) . . Dec. 24
International Spy — Wray-Bellamy Dec. 29
("Homicide Bureau" listed in the last Index as an October
19 release has been postponed)
First National Features
(321 IV. 44th St., New York, N. Y.)
Beginning of 1938-39 Season
365 Secrets of an Actress — Francis-Brent Sept. 10
352 Four Daughters — Lane-Page-Garfield Sept. 24
358 Garden of the Moon — O'Brien-Lindsay Oct. 1
368 Broadway Musketeers — Lindsay-Litel Oct. 8
369 Girls on Probation — Reagan-Bryan Oct. 22
Brother Rat — Morris-P. Lane-Wyman Oct. 29
Angels with Dirty Faces — Cagney-O'Brien ..Nov. 19
Gaumont-British Features
(1600 Broadivay, New York, N. K.)
Man with 100 Fncex— Wat!s-Pj)mcT-Madison Oct. 1
The Lady Vanishes — Lockwood-Lukas (reset) ..Nov. 1
The Frog — Beery-Harker Nov. 15
Climbing High — J. Matthews-M. Redgrave Dec. 1
Grand National Features
(1501 Broadway, New York, N. Y.)
229 The Utah Trail— Tex Ritter (59 min.) Aug. 12
231 King of the Sierras — H. Bosworth (57 min.) .Aug. 26
230 Dangerous Secrets — Paul Lukas Sept. 2
(End of 1937-38 Season)
Beginning of 1938-39 Season
311 Shadows over Shanghai — Dunn-R. Morgan ..Oct. 14
325 Frontier Scout — G. Houston-B. Marion Oct. 21
326 Titans of the Deep — undersea story Oct. 28
312 Cipher Bureau — L. Amcs-J. Woodbury Nov. 4
345 The Sunset Strip Case— Sally Rand Nov. 11
Metro-Goldwyn-Mayer Features
(1540 Broadzvay, New York, N. Y.)
905 Vacation from Love — O'Kecfe-Rice-Owen ..Sept. 30
906 Stablemates — Beery-Kooney-Hamilton Oct. 7
907 Young Dr. Kildare— Ayrcs-L. Barrymore ...Oct. 14
904 Listen Darling — Garland- Ha rtholomew (r) ..Oct. 21
909 The Citadel— Donat-Russell-Richardson Oct. 28
908 The Great Waltz— Rainer-Gravat-Korj us ...Nov. 4
911 Spring Madness — O'Sullivan-Ayres-Hussey .Nov. 11
912 The Shining Hour — Crawi'ord-Sullavan Nov. 18
913 Out West with the Hardys— Rooncy-Stone ..Nov. 25
Flirting with Fate — Joe E. Brown Dec. 2
Dramatic School — Rainer-Marshall-Goddard .Dec. 9
[Catherine the Last — Gaal-Torte-Connolly Dec. 16
A Christmas Carol — Owen-Kilburn Dec. 23
910 Sweethearts — MacDonald-Eddy-F. Morgan ..Dec. 30
Monogram Features
(1270 Sixth Ave, New York, N. Y.)
1937-38 Season
3742 Man's Country — Jack Randall (55 miu.) July 6
3741 Mcxicali Kid— Jack Randall (51 min.) Sept. 14
(End of 1937-38 Season)
Beginning of 1933-39 Season
3810 Barefoot Boy — Moran-Fain- Windsor Aug. 3
3811 Under the Big Top — Main-Nagel-LaRue ...Aug. 31
3859 Starlight over Texas — Tex Ritter (56 min.) .Sept. 7
3817 Wanted by the Police — Darro-Knapp Sept. 21
3834 Mr. Wong, Detective— Boris Karloff Oct. 5
3827 Sweetheart of Sigma Chi — Reissue Oct. 10
3860 Where the Buffalo Roam— Ritter (62 min.) .Oct. 12
3801 Gangster's Boy — Jackie Cooper (reset) ....Nov. 9
3851 Gun Packer— Jack Randall Nov. 9
Gang Bullets — Anne Nagel Nov. 16
3861 Little Tenderfoot— Tex Ritter Nov. 23
I Am a Criminal — John Carroll Dec. 7
Tough Kid— Frankie Darro Dec. 14
3852 Last Outlaw— Jack Randall Dec. 21
Sky Raiders — John Trent Dec. 28
RKO Features
(1270 Sixth Ave., New York, N. Y.)
906- The Mad Miss Manton — Stanwyck- Fonda Oct. 21
937 Tarnished Angel (Miracle Racket)— Eilers ..Oct. 28
981 Lawless Valley — George O'Brien Nov. 4
908 Annabel Takes a Tour— Bail-Oakie Nov. 11
Twentieth Century-Fox Features
(444 W. 56th St., New York, N. Y.)
910 Meet the Girls— Lang-Bari-Allen Oct. 7
919 Five of a Kind — Dionne Quints Oct. 14
912 Mysterious Mr. Moto — Lorre-Maguirc Oct. 21
913 Suez — Power-Young-Annabcila (re) Oct. 28
914 Always in Trouble — Withers (re) Nov. 4
915 Just Around the Corner — Temple Nov. 11
916 Sharpshooters — Donlevy-Bari Nov. 18
909 Submarine Patrol — Greene-Kelly (r) Nov. 23
918 Road Demon — Arthur- Valeric-Armctta Dec. 2
924 Up the River — Martin-Brooks-Foster Dec. 9
920 Down on the Farm — Prouty Dec. 16
917 Thanks for Everything — Menjou-Oakic Dec. 23
923 Kentucky — Young-Greene- Brennan Dec. 30
United Artists Features
(729 Seventh Ave., Nciv York, N. Y.)
Beginning of 1933-39 Season
Algiers — Boyer-Gurie-Lamarr Aug. 5
Drums — Sabu-Livcsay-Massey-Hobsun Sept. 30
There Goes My Heart — March-Brucc-Kclly Oct. 14
The Young in Heart — Gaynor-Fairbanks, Jr Oct. 27
Lady and the Cowboy — Cooper-Oberon (reset) ..Nov. 17
Trade Winds — March-J. Bennett-Sothern Dec. 22
The Duke of West Point — T. Brown-Hayward . . .Dec. 29
Made for Each Other — Lombard-Stewart Postponed
Paramount Features
(1501 Broadway, New York, N. Y.)
3802 Campus Confessions — Grable-Henry Sept. 16
3803 Sons of the Legion — O'Connor-Lee Sept. 23
3804 King of Alcatraz — Naish- Patrick Sept. 30
3805 Touchdown Army — Howard-Carlisle Oct. 7
3806 Arkansas Traveler — Burns-Parker Oct. 14
3807 Mysterious Rider— Dumbrille-Fields Oct. 21
3808 Men with Wings — MacMurray Oct. Special
3809 Illegal Traffic— Naish-Carlisle (re) Nov. 4
3810 If I were King — Colman-Dee-Rathbone ...Nov. 11
3811 Thanks for the Memory — Hope- Ross Nov. 18
3812 Arrest Bulldog Drummond — Howard- Angel. Nov. 25
Little Orphan Annie — Gillis-Kent Dec. 2
Ride a Crooked Mile (Escape from Yesterday)
— Farmer-Erikson-Tamiroff (re) Dec. 9
The Frontiersman — Boyd-Hayes-Hayden ..Dec. Id
One Third of a Nation — Sidney-Erikson Dec. 23
Tom Sawyer, Detective — O'Connor-Cook ..Dec. 23
Artists and Models Abroad — J. Benny-
J. Bennett-M. Boland Dec. 30
Republic Features
(1776 Broadway, Nczv York, N. Y.)
1937-38 Season
7014 The Higgins Family — Gleason family Aug. 29
7104 Man from Music Mountain — Autry (58 m.).Sept. 12
7107 Prairie Moon — Gene Autry (59 min.) Oct. 3
7108 Rhythm of the Saddle— Autry (58 min.) Nov. 4
{End of 1937-38 Season)
Beginning of 1938-39 Season
861 Pals of the Saddle— Three Mesq. (55 min.) . .Aug. 20
851 Hilly the Kid Returns— Rogers (56 min.) ...Sept. 4
862 Overland Stage Raiders— Three Mcs. (55m.) . Sept. 20
805 Down in Arkansaw — Byrd-Wcaver Bros. . . . Sept. 29
817 The Night Hawk — Livingston-Travis Oct. 3
8iX3 1 Stand Accused— Cummings-Mack-Talbot ...Oct. 28
Storm over Bengal— P.' Knowles-Cromwcll .Nov. 14
Universal Features
(1250 Sixth Ave, New York, N. Y.)
.A2028 Prison Break — Farrell-MacLane July IS
A2008 Little Tough Guy— Wilcox-Parish July 22
A2003 Letter of Introduction — Leeds-Men jou . . . .Aug. 5
A2031 The Missing Guest — Kelly-Moore Aug. 12
A2007 That Certain Age— Durbin-Cooper Oct. 7
("Dark Rapture'' listed in the last Index as an August 26
release, has been taken from the 1937-38 season and put in
the 1938-39 release schedule)
(End of 1937-38 Season)
Beginning of 1938-39 Season
A3057 Strawberry Roan — Maynard reissue Aug. 15
A3058 Fiddlin' Buckaroo — Maynard reissue Aug. 15
A3059 King of the Arena — Maynard reissue Aug. 15
A3063 Honor of the Range — Maynard reissue ...Aug. 15
A3061 Smoking Guns — Maynard reissue Aug. 15
A3062 Gun Justice — Maynard reissue Aug. 15
A3041 Dark Rapture — Roosevelt Exp Aug. 26
A3025 Freshman Year — Dunbar-Truex Sept. 2
A3034 Personal Secretary — Gargan-Hodges Sept. 9
A3051 Black Bandit— Bob Baker (57 min.) Sept. 16
A3017 Road to Reno — Scott-Hampton Sept. 23
A3012 Youth Takes a Fling— McCrea-Leeds ....Sept. 30
A3026 Swing That Cheer — Truex- Wilcox-Moore. Oct. 14
A3052 Guilty Trail— Bob Baker (57 min.) Oct. 21
Service DeLuxe — C. Bennett-Price Oct. 21
The Storm — Bickford-MacLane-Grey Oct. 28
A3028 The Last Express— K. Taylor-D. Kent . . . .Oct. 28
Exposed — Farrell-Kruger (63 min.) Nov. 4
A3053 Prairie Justice— Bob Baker (57 min.) Nov. 4
His Exciting Night — Ruggles-Munson ...Nov. 11
A3035 Strange Faces — Kent-Jenks (66 min.) ....Nov. 18
Little Tough Guys in Society — Boland-Auer-
Horton Nov. 25
Secrets of a Nurse — Lowe-Mack Dec. 2
The Last Warning — Foster-Jenks Dec. 9
Pirates of the Skies — Taylor-Hudson Dec. 16
Newsboys' Home — J. Cooper-W. Barrie ..Dec. 23
Warner Bros. Features
(321 W. 44th St., New York, N. Y.)
Beginning of 1938-39 Season
306 Four's a Crowd — Flynn-DeHavilland Sept. 3
305 Valley of the Giants — Morris-Trevor Sept. 17
302 The Sisters— Flynn-Davis-Louise Oct. 15
Hard to Get — Powell-DeHavilland Nov. 5
Torchy Gets Her Man — Farrell-MacLane . . .Nov. 12
Nancy Drew, Detective — Granville-Litel Nov. 26
Me tro-Goldwyn- Mayer — Two Reels
P-616 Think It Over— Crime Doesn't Pay (20m.) .Sept. 24
(End of 1937-38 Season)
SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel
Beginning of 1938-39 Season
9501 Hollywood Graduation — Color Phap. (7m.). Aug. 26
9701 Gym Jams — Krazy Kat (6y2m.) Sept. 2
9751 (9561) Early Bird— Scrappys ((>y2m.) ....Sept. 16
9851 Screen Snapshots No. 1— (9^m.) Sept. 16
9502 Animal Cracker Circus — Color Rhap. (7m.) . Sept. 23
9801 Football Giants— Sport Thrills (10^m.) ...Sept. 28
9651 Community Sing No. 1— (lO^m.) Oct. 1
9852 Screen Snapshots No. 2— (10m.) . . . . : Oct. 14
9702 Hot Dogs on Ice— Krazy Kat (5^m.) Oct. 21
9503 Little Moth's Big Flame— Color Rhap. (r) .Nov. 3
9802 Ski Rhythm (Ski L;gs)— Sport Thrills (r).Nov. 4
9652 Community Sing No. 2 — (lOj^m.) Nov. 4
9551 Bermuda — Islands of Paradise — Col. Tours .Nov. 4
9552 Provincial Quebec — Tours Nov. 18
9553 Big Town Commuters — Tours Dec. 2
(9752 "Hap[>y Birthday," listed in the last Index as an
October 7 release, has been postponed)
Columbia — Two Reels
1937-38 Season
8193 Phantom Bullets— Great Adv. $13 ( \6y2m.) . Sept. 22
8194 The Lure— Great Adv. #14 (16m.) Sept. 29
8195 Trails End— Great Adv. 815 (15^m.) Oct. 6
(End of 1937-38 Season)
Beginning of 1938-39 Season
9421 Many Sappy Returns— All Star (17^m.) ..Aug. 19
9401 Violent is the Word of Curly— Stooge (18m). Sept. 2
9422 Sue My Lawyer— All Star (17m.) Sept. 16
9423 Not Guilty Enough— All Star (17m.) Sept. 30
9402 Mutts to You— Stooge (18m.) Oct. 14
9121 Night of Terror— The Spider's Web 31
(29y2 min.) Oct. 21
9424 Nightshirt Bandit— All Star (17m.) Oct. 28
9122 Death Below— Spider #2 (19m.) Oct. 28
9123 High Voltage— Spider Jf3 (19m.) Nov. 4
9124 Surrender Or Die— Spider 84 (18m.) Nov. 11
9425 A Nag in the Bag— All Star (17m.) Nov. 11
9125 Shoot to Kill— Spider fS Nov. 18
9126 Sealed Lips— Spider 86 Nov. 25
9403 Three Goofy Gobs— Stooge (16m.) Nov. 25
9127 Shadows of the Night— Spider #7 Dec. 2
9128 While the City Sleeps— Shadow 88 Dec. 9
9426 Home on the Rage— All Star (17m.) Dec. 9
Metro-Goldwyn-Mayer — One Reel
1937- 38 Season
H-730 Nostradamus— Hist. Mystery (11m.) Sept. 24
W-690 The Winning Ticket— Captain cart. (9m.). Oct. 1
W-691 Honduras Hurricane — Capt. cart. (9m.) ..Oct. 15
S-715 Grid Rules— Pete Smith (10m.) Oct. 15
(more to come)
1938- 39 Season
T-851 Cairo, City of Contrast— Travel. (9m.) ...Sept. 10
C-931 Alladin's Lantern— Our Gang (10m.) Sept. 17
T-852 Madeira, Isle of Romance- Travel. (8m.).. Oct. 1
F-951 How to Watch Football— Bcnchley (9m.) Oct 8
C-932 Men in Fright— Our Gang (11m.) Oct 15
K-921 Passing Parade 31 — (10m.) Oct. 15
M-873 They Live Again— Miniatures (10m.) Oct 22
S-901 Hot on Ice— Pete Smith (10m.) Oct 22
T-853 Jaipur, The Pink City— Travel. (8m.) ....Oct. 29
F-952 Opening Dav— Robert Benchley Nov 12
M-874 Miracle of Salt Lake— Miniatures Nov 12
S-902 Man's Greatest Friend — P. Smith (10m.) ..Nov 19
Paramount — One Reel
A8-3 Busse Rhythm— Headliner (10j^ min.) ....Oct. 7
P8-3 Paramount Pictorial No. 3— (9 min.) Oct. 7
L8-2 Unusual Occupations 82— (10m.) Oct. 7
K8-2 Mexico— Color Cruises (8^m.) Oct. 7
V8-3 Rube Goldberg's Travelgab— Para. (8Hm.).Oct. 14
T8-3 Sally Swing— Betty Boop (6y2m.) Oct. 14
E8-3 Goonland— Popeye (8m.) Oct. 21
R8-4 Champion Airhoppers — Sportlight (9m.) ...Oct. 28
C8-2 The Playful Polar Bears— Col. Clas. (7^m.).Oct. 28
A8-4 Orrin Tucker and His Orchestra — Headliner
(9y2 min.) Nov. 4
P8-4 Paramount Pictorial 84 — (9y2m.) Nov. 4
J8-2 Popular Science 82 — (10m.) Nov. 4
V8-4 Raising Canines — Paragraphic (9^m.) ....Nov. 11
T8-4 On with the New— Betty Boop Nov. 11
E8-4 A Date to Skate — Popeye cartoon Nov. 18
R8-5 Super-Athletes— Sportlight (9^m.) Nov. 25
A8-5 Hal Kemp and His Orchestra — Headliner
(9 min.) Dec. 2
L8-3 Unusual Occupations 83 Dec. 2
K8-3 Costa Rica — Color Cruises Dec. 2
P8-5 Paramount Pictorial 85 Dec. 9
T8-5 Pudgy in Thrills and Chills— B. Boop Dec. 9
94601
94101
94202
94302
94102
94602
94203
94103
94303
94204
94104
','4105
94205
94106
93501
93701
93102
93401
93601
93103
93201
93702
93104
93402
93502
93602
RKO — One Reel
Submarine Circus — Reclism (10 min.) . . . . Sept. 16
Brave Little Tailor — Disney (9 min.) ....Sept. 23
Styles and Smiles — Nu Atlas (11m.) Sept. 30
Deep End — Sportscope (10m.) Oct. 7
Farmyard Symphony — Disney (8m.) Oct. 14
Trans America — Reelism (11m.) Oct. 14
Talent Auction— Nu Atlas (10m.) Oct. 28
Donald's Golf Game — Disney (8m.) ..Nov. 4
Bird Dogs — Sportscope (10m.) Nov. 4
Venetian Moonlight — Nu Atlas (11m.) . . . .Nov. 25
Ferdinand the Bull — Disney (8m.) Nov. 25
Merbabies — Disney (9m.) Dec. 9
Cafe Rendezvous — Nu Atlas (10m.) Dec. 23
Mother Goose Goes Hollywood — Disney
(8 min.) Dec. 23
RKO — Two Reels
A Western Welcome— R. Whitley (18m.). Sept. 9
Stage Fright — Leon Errol (18 min.) Sept. 23
March of Time— (18m.) Sept. 30
Beaux and Errors — Kennedy (18m.) Oct. 7
Sea Melody— Ted Fio Rito (19m.) Oct. 21
March of Time— (20m.) Oct. 28.
Hectic Honeymoon — Radio Flash (17m.) ..Nov. 4
Major Difficulties — Leon Errol (19m.) Nov. 18
March of Time Nov. 25
A Clean Sweep — E. Kennedy (17m.) Dec. 2
Prairie Papas— Ray Whitley (18m.) Dec. 16
Romancing Along — Headliner (21m.) .... .Dec. 30
Twentieth Century-Fox — One Reel
9401 What Every Boy Should Know— Lehr
(10 min.) Sept. 2
9502 The Goose Flies High— T. Toon (6y2m.) . . .Sept. 9
9601 Fashion Forecasts — Fashions (lOj^m.) Sept. 16
9503 Wolf's Side of the Story— T. Toon (6^m.) .Sept. 23
9202 Filming Big Thrills— Adv. Cam. (9y2m.) r. Sept. 30
9522 The Glass Slipper— Terry-Toon (6^m.) ...Oct. 7
9102 Land of Contentment— L. Thomas (10j/m.) . .Oct. 14
9504 The New Comer— Terry-Toon (6^m.) Oct. 21
9301 Timber Toppers— Sports (10^m.) (r) Oct. 28
9505 The Stranger Rides Again— T. Toon (7m.). Nov. 4
9204 Athletic Oddities— Adv. Cam. (9m.) Nov. 11
9523 Housewife Herman — Terry-Toon (6'/>m.) . . Nov. 18
9402 What Every Girl Should Know— Lew Lehr
(11 min.) Nov. 25
9506 Village Blacksmith— Terry-Toon Dec. 2
9203 Daily Diet of Danger— Adv. Cam. (9m.) ....Dec. 9
9524 Gandy Goose in Doomsda\ — Terry-Toon Dec. 16
9602 Fashion Forecasts Dec. 23
9507 Gandy Goose in the Frame Up— T. Toon . . . .Dec. 30
Universal — One Reel
1937-38 Season
A2295 Pixie Land— Oswald cart. (7m.) Sept. 12
A2296- Hollywood Bowl— Oswald (6^m.) Sept. 26
(End of 1937-38 Season)
Beginning of 1938-39 Season
A3366 Stranger Than Fiction 855— (9^m.) Oct. 10
A3242 Rabbit Hunt— Lantz cartoon (7m.) Oct. 17
A3243 The Sailor Mouse — Lantz cart (7m.) Nov. 7
A33S4 Going Places with Thomas 856— (10m.) ..Nov. 14
A3367 Stranger Than Fiction #56 Nov. 21
A3244 Disobedient Mouse — Lantz cart. (8m.) ...Nov. 28
A3355 Going Places with Thomas $57 (S^m.) . . . Nov. 28
A3368 Stranger Than Fiction #57 Dec. 5
Universal — Two Reels
A3223 Side Show Fakir— Mentone (20m.) Oct. 12
A3681 Millions for Defense — Red Barry 81
(19^ min.) (reset) Oct. 18
A3682 The Curtain Falls— Barry 82 (19^m.) . . . .Oct. 25
A3683 The Decoy— Barry 83 (21m.) Nov. 1
A3684 High Stakes— Barry 84 (20m.) Nov. 8
A3685 Desperate Chances — Barry 85 (18m.) Nov. 15
A3224 Patio Serenade — Mentone (17m.) Nov. 16
A3686 Oriental Torture— Barrv 86 (21m.) Nov. 22
A3687 Midnight Tragedy— Barry 87 (20m.) ....Nov. 29
A3688 The Devil's Disguise— Barry 88 (19m.) ...Dec. 6
A3689 Between Two Fires— Barry 89 (19m.) Dec. 13
A3225 Music and Models — Mentone (18m.) Dec. 14
NEWSWEEKLY
NEW YORK
RELEASE DATES
Vitaphone — One Reel
Beginning of 1938-39 Season
4701 Larry Clinton— Mel. Masters (10 min.) Sept. 3
4901 The Great Library Misery— Vit. Var. (11m). Sept. 10
4601 Miracles of Sport — Color Par. (9 min.) Sept. 10
4301 Identified — True Adventures (12 min.) Sept. 17
4501 A Feud There Was— Mer. Mel. (8 min.) .. .Sept. 24
4801 Porky in Wackyland — L. Tunes (7 min.) ..Sept. 24
4602 China Today — Color Parade (11 min.) Oct. 1
4401 Pow Wow — Technicolor Special (10 min.) ..Oct. 1
4702 Ray Kinney and His Hawaiians —
Melody Masters (10 min.) Oct. 1
4502 Little Pancho Vanilla— Mer. Mel. (7 min.).. Oct. 8
4802 Porky's Naughty Nephew— L. T. (7^m.) . . .Oct. 15
4303 Defying Death— True Adv. (11m.) Oct. 15
4902 Table Manners— Vit. Var. (10m.) Oct. 15
4703 Jimmy Dorsey and Orch.— Mel. Mas. (9m.). Oct. 22
4503 Johnny Smith and Poker Huntas — M. Mel.
(8 min.) Oct. 22
4504 You're an Education — Mer. Mel. (7yZm.) ..Nov. 5
4603 Mechanix Illustrated — Col. Parade (10m.).. Nov. 5
4803 Porky in Egypt — L. Tunes (7m.) Nov. 5
4302 Toils of the Law— True Adv. (12m.) Nov. 12
4704 Merle Kendrick and Orch.— Mel. M. (10m.) .Nov. 12
4402-The 'Immortal Brush— Tech. Special (9m.) . .Nov. 19
The Night Watchman— Mer. Mef. (7m.) ...Nov. 19
4903 A Vaudeville Interlude— Vit. Var. (10m.) . .Nov. 19
4804 The Daffy Doc— Looney Tunes Nov. 26
4604 Nature's Mimics — Color Parade Dec. 3
4506 Daffy Duck in Hollywood— Mer. Mel Dec. 3
4705 Happy Felton and Orch.— Mel. M. (10m.) ..Dec. 3
4304 Treacherous Waters — True Adventures Dec. 10
4904 Robbin' Good— Vit. Varieties Dec. 10
4805 Porky the Gob — Looney Tunes Dec. 17
4507 Count Me Out — Merrie Melodies Dec. 17
4706 Dave Apollon and Orch.— Mel. M. (11m.) ..Dec. 24
4508 The Mice Will Play— Mer. Melodies Dec. 31
4605 Mechanix Illustrated 82 — Color Parade Dec. 31
Vitaphone — Two Reels
4011 Toyland Casino— Bway. Brev. (19m.) Oct. 8
4012 Two Shadows— Bway. Brev. (20m.) Oct. 22
4013 The KniRht Is Young— Bway. Brev. (19m.) .Oct. 29
4014 Cleaning Up (Hats and Dogs) — Cross and
Dunn (17 min.) Nov. 12
4002 Declaration of Independence — Technicolor
Prod. (18 min.) Nov. 26
4015 Stardust— Benny Davis (18m.) Dec. 10
4016 Boarder Trouble — Joe Asbestos Dec. 17
4017 Hats and Dogs— Wini Shaw Dec. 31
Universal
719 Wednesday
720 Saturday . .
721 Wednesday
722 Saturday . .
723 Wednesday
724 Saturday . .
72b Wednesday
726 Saturday . .
727 Wednesday
728 Saturday . .
729 Wednesday
730 Saturday . .
731 Wednesday
732 Saturday . .
..Nov. 16
. .Nov. 19
. . Nov. 23
..Nov. 26
..Nov. 30
..Dec. 3
..Dec. 7
..Dec. 10
..Dec. 14
..Dec. 17
..Dec. 21
. . Dec. 24
. . Dec. 28
..Dec. 31
Fox Movietone
19 Wednesday . . . Nov. 16
20 Saturday Nov. 19
21 Wednesday . . . Nov. 23
22 Saturday Nov. 26
23 Wednesday . . . Nov. 30
24 Saturday Dec. 3
25 Wednesday . . . Dec. 7
26 Saturday Dec. 10
27 Wednesday ...Dec. 14
28 Saturday Dec. 17
29 Wednesday ...Dec. 21
30 Saturday Dec. 24
31 Wednesday ...Dec. 28
32 Saturday Dec. 31
Paramount News
30 Wednesday ...Nov. 16
31 Saturday Nov. 19
32 Wednesday . . . Nov. 23
33 Saturday Nov. 26
34 Wednesday . . . Nov. 30
35 Saturday Dec. 3
36 Wednesday . . . Dec. 7
37 Saturday Dec. 10
38 Wednesday . . . Dec. 14
39 Saturday Dec. 17
40 Wednesday . . . Dec. 21
41 Saturday Dec. 24
42 Wednesday . . . Dec. 28
43 Saturday Dec. 31
Metrotone News
217 Wednesday .
218 Saturday . . .
219 Wednesday .
220 Saturday . . .
221 Wednesday .
222 Saturday . . .
223 Wednesday
224 Saturday .
225 Wednesday
226 Saturday .
227 Wednesday
228 Saturday .
229 Wednesday
230 Saturday .
. Nov. 16
.Nov. 19
. Nov. 23
.Nov. 26
. Nov. 30
.Dec. 3
..Dec. 7
..Dec. 10
. .Dec. 14
..Dec. 17
..Dec. 21
. . Dec. 24
. . Dec. 28
..Dec. 31
Pathe News
95234
95135
95236
95137
95238
95139
95240
95141
95242
95143
95244
95145
95246
95147
Wed. (E.)
Sat. (O.).
Wed. (E.)
Sat. (O.).
Wed. (E.)
Sat. (O.).
Wed. (E.)
Sat. (O.).
Wed. (E.)
Sat. (O.).
Wed. (E.)
Sat. (O.).
Wed. (E.)
Sat. (O.).
.Nov. 16
.Nov. 19
. Nov. 23
. Nov. 26
. Nov. 30
.Dec. 3
.Dec. 7
.Dec. 10
.Dec. 14
.Dec. 17
.Dec. 21
. Dec. 24
.Dec. 28
.Dec. 31
Entered aa second-class matter January 4, 1921, at the post offioe at New York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates : 1270 SIXTH AVENUE Published Weekly by
United States f 15.00 p 1 »1 9 Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 KOOm lol£ Publisher
Canada 10.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 '
Great Britain . 15 75 A Motion Picture Reviewing Service
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia 17.50
35c a Copy Its Ed'torial Policy: No Problem Too Big for Its Editorial Circle 7-4622
Coiumns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX
SATURDAY, NOVEMBER 26, 1938
No. 48
Do the Producers Want Peace in the Industry?
Several weeks have passed since a committee of exhibi-
tors met with a committee of distributors to agree upon a
program that would remove industry abuses and to estab-
lish fair voluntary arbitration, but so far no agreement has
been reached. It is supposed that the distributors are putting
into writing whatever reforms they have granted to the
exhibitors at these conferences, to be discussed finally when
the draft is ready and the committees are again called to
meet.
Since the concessions are to come, not from the exhibi-
tors, but from the distributors, it is reasonable for us to
assume that the failure of the committees to come to a full
understanding with the exhibitors has been caused by the
reluctance of the distributors to grant to the exhibitors con-
cessions the latter would consider worth-while. From what
has appeared in the trade papers and from what Mr. Abram
F. Myers, general counsel of Allied, said at Columbus,
Wednesday, last week, at the Ohio exhibitors convention,
one gathers the impression that, what the distributors have
so far granted is nothing but the Kuykendall program,
which they themselves prepared, but which is altogether
unsatisfactory to the independent theatre owners repre-
sented by Allied. The independent exhibitors want the
right to buy pictures against any competitor, as long as they
are willing to pay the price. And they want the producers
to divorce themselves from exhibition, a demand made on
them also by the U. S. Government. What the producers
have so far offered seems merely enough to enable them to
tell the Government that self-regulation in the industry has
already been effected by common consent, and that, as a
result of it, neither the prosecution of the suit against them
now pending, nor corrective legislation, is necessary. If
they should succeed in "selling" such an idea to the Govern-
ment officials, the efforts of the independent theatre owners
to bring about a passage of the Neely Bill and to have state
legislatures enact protective laws will be frustrated.
Are we to assume that the producers intend to grant no
worth-while concessions, and that they have carried on
negotiations merely for the purpose of stalling? Their con-
duct toward the Department of Justice in the pending suit
is interpreted by many exhibitors as an indication of a well-
defined plan of bluffing and of stalling. Not only are they
employing legal technicalities to i nable them to avoid filing
an answer to the suit, but they are also refusing to discon-
tinue their acquisition of theatres while legislation is
pending.
One of the two concessions that the exhibitors want more
than anything else has not been even dicussed. I am refer-
ring to the exhibitor demand that the distributors give up
operation and control of picture theatres. Unless they grant
this demand, why continue negotiating?
Personally I regret that the producers have assumed such
an attitude, particularly since they are now dealing with
the United States Government. They realize that the pres-
ent Government suit is the consequence of their failure to
recognize some of the just exhibitor demands. Yet they
don't realize that their dilatory tactics may have further
consequences. Isn't it about time for them to stop tom-
foolery, settling down to making a serious attempt to ad-
just the exhibitor grievances?
There is no question that most members of the distribu-
tor committee are working sincerely to effect a solution of
the exhibitor grievances. And they would have solved them
long before this had those higher up given the word.
REFORMS THE PRODUCERS ARE
WILLING TO GRANT
When the exhibitor and the distributor committees ad-
journed in New York toward the end of October they
agreed to meet in Chicago on November 3 to have further
talks.
Before the date of the Chicago meeting, Allied prepared
a memorandum, setting forth what the Allied representa-
tives asked of the producers, and what the producers
granted to the exhibitors. This memorandum was to be of
confidential nature, by reason of the fact that the two com-
mittees were to keep the discussions secret until a full
agreement was reached. But a representative of Box Office
obtained in some way a copy of this memorandum, and (he
terms that had so far been agreed upon were divulged by
that paper.
Since the points upon which agreement had already been
reached had been divulged, Mr. Abram F. Myers, general
counsel of Allied States Association, felt that he was no
longer bound by secrecy. Consequently, he discussed these
terms at the Columbus meeting of the Ohio exhibitors, on
November 16. Here is a resume of the exhibitor-distributor
agreement :
1. Theatre Divorcement: Distributors unwilling to dis-
cuss subject.
2. Block-booking and Blind-selling : Allied first de-
manded that all pictures be identified, with allocations writ-
ten in, with the exhibitor to have the right to select the pic-
tures he desired from the total number offered. The distri-
butors first offered a sliding scale of cancellations based on
average film rental paid for all features offered, as follows :
20%, up to $100 ; 15%, from $100 to $200; 10%, over $200,
with Westerns and Foreign features not counted in comput-
ing cancellation percentages. No cancellation for top per-
centage brackets. They also offered to identify as many
pictures as possible, but they could not promise many.
To satisfy the civic, fraternal and religious groups, they
offered to leave cancellation of the objectionable pictures to
arbitration, and to permit the exhibitor to buy an occasional
good picture from programs he had not contracted for. This
agreement did not include United Artists, for which the
distributor representatives could not speak.
Although the exhibitor representatives felt that the dis-
tributor proposals fell short of the ideal condition, they
were impressed by the reasons the distributor representa-
tives cited ; yet they felt that the distributor proposal could
be enlarged. The exhibitor representatives expressed their
willingness to accept the distributor proposal with respect
to the identified pictures, with the understanding that the
top price for the i5% eliminations be made $250. In regard
to the unidentified pictures, the cancellations to be as fol-
lows : 30%, up to $100; 25%, from $100 to $250 ; and 20%,
over $250, with the understanding that the same method be
applied for arriving at the average film rentals as with the
identified pictures.
The exhibitor representatives agreed to accept the elimi-
nation proposals that refer to the satisfying of the public
groups. They also demanded that the cancellations should
not be confined only to lower brackets, as is the rase now,
but should be distributed through the several brackets so as
not to disturb the exhibitor's "average."
The distributors finally expressed their willingness to
distribute the cancellations through all the brackets on nu-
merical basis, but they were unwilling to agree to sell on a
basis of '"average," to be adjusted at the end of the season.
3. Arbitration: The distributors first offered local con-
ciliation boards, with a possibility of establishing in New
York a national supervising body. Allied proposed a pro-
cedure on the model of commercial arbitration, involving :
(a) establishing in each exchange center of panels of avail-
able m*i renrfsfnting each economic division in the terri-
tory : (b) arbitration boards evenly balanced as between
conflicting interests, with the riiiht (1) to call in a referee
(Continued on last Page)
190
HARRISON'S REPORTS
November 26, 1938
"Prison Train" with Fred Keating
and Linda Winters
(Malcolm-Broimc Prod., running time, 65 min.)
A fair program melodrama, with a better-than-avcragc
production for an independent picture of this type ; it should
do pretty well on the lower half of a double-feature pro-
gram. The photography and sound are good ; and the story
is developed in a logical way, with some excitement and
suspense. For die most part, the director has done a com-
petent job; the only fault is that at times he strives for
effect by using closeups and in so doing slows up the action.
The love interest is mildly pleasant: —
Fred Keating, gangster head of the number rackets busi-
ness, knows that Alexander Leftwich, night-club owner
and racketeer, was trying to frame him so as to get him
out of the way in order to take over the business for him-
self ; but Keating warns him not to try anything. Keating,
who had made a fortune, decides to leave the racket to
travel with his young sister (Linda Winters), who was
unaware of her brother's nefarious practices. Keating, an-
noyed when Leftwich's son tries to make love to his sister,
quarrels with him and kills him; he is tried and sentenced
to life imprisonment at Alcatraz. But Leftwich is deter-
mined that Keating should not reach the prison alive. By
clever scheming and helped by his gang, he manages to get
the prison train switched to a siding. But Keating, who had
been tormented by the other prisoners and knew what to
expect, grabs a gun from one of Leftwich's henchmen
(Clarence Muse), who was travelling on the train as a
waiter. He kills Leftwich and then falls to his death under
the wheels of the train. His sister, who had been travelling
on the train to be near her brother, is consoled by Peter
Potter, a federal agent, who had been sent along to see
that nothing happened to the prisoners. He captures the
gang.
Leonardo Bercovici wrote the story, and Shepard Traubc,
the screen play ; Gordon Wiles directed it, and Alvin G.
Manuel was associate producer. In the cast are Faith
Bacon, James Blakely, John Pearson, Val Stanton, and
others.
Not for children. Adult fare. Class B.
"His Exciting Night" with Charles Ruggles,
Richard Lane and Ona Munson
{Universal, November 11 ; time, 60 min.)
A good program comedy, the kind that should go over
well in crowded theatres. There are several situations that
provoke uproarious laughter, due to the plight of the meek
hero, who, on his wedding night, is victimized by his
scheming employer. The action moves at a fast pace, with
something happening every minute. Charles Ruggles is very
good in the part of the harrassed bridegroom ; despite the
silliness of some of the situations in which he is placed, one
cannot help sympathizing with him : —
Richard Lane, head of the brokerage concern for which
Ruggles worked, is furious when he hears that he would
lose a good account when Ruggles married the niece of
his client, who had decided to let Ruggles handle her
affairs. Immediately after the wedding, Regis Toomey,
working under instructions from Lane, whisks Ruggles
away on the pretext that the bride (Ona Munson) had so
arranged it. He takes Ruggles back to his own apartment,
where a blonde vaudeville actress (Marion Martin) was
waiting for him ; all this was part of the plot. The woman's
husband (Maxie Rosenbloom) breaks in and Ruggles and
Miss Martin are forced to flee. They become involved with
a crazy taxi driver, who takes them out to the country, and
finally get back to the city in the morning. Miss Munson is
heartbroken, for the taxi driver had called to tell her that
her husband was dead. When Ruggles returns, his wife
thinks she was seeing a ghost. More complications arise ;
but Ruggles finally finds out about Lane's part in the whole
affair and forces him to sign a confession. He then leaves
on a honeymoon with his wife.
The plot was adapted from the story "Adam's Evening,"
by Katherine Kavanaugh ; Pat C. Flice, Edward Eliscu
and Morton Grant wrote the screen play, Gus Meins di-
rected it. and Ken Goldsmith produced it. In the cast are
Stepin Fctchit, Benny Baker, Raymond Parker, Francis
Robinson, and others.
There are quite a few risque remarks which children will
not understand, but adolescents may; suitability, therefore,
for adults, Class B.
"Sharpshooters" with Brian Donlevy,
Lynn Bari and John King
(20//i Ccntttry-F 'ox , November 18; time, 63 min.)
A fair program comedy-melodrama, with a mythical
kingdom background; it should appeal mostly to young
folk. The story, which is based on a familiar idea, is ex-
tremely far-fetched, to the point of being ridiculous at
times. But, since the action is fast, it may go over where
patrons are not too particular about story values. Discrim-
inating audiences will find some of the situations so silly
that they may become bored before the picture is half
finished : —
Brian Donlevy, a newsreel cameraman, and his assistant
(Wally Vernon), arrive at a small foreign country, there
to take pictures of the coronation of the young boy king,
whose father had been murdered by conspirators. Donlevy
manages to get through the guards onto the palace
grounds ; he meets the king, who turns out to be a real
boy. Having accidentally learned that the conspirators
planned to kill the young king, Donlevy tells Lynn Bari,
the king's teacher, what he had heard; she rushes with
him to the Army chief (Douglas Dumbrille). But it de-
velops that Dumbrille was at the head of the plot; he
imprisons Donlevy, Miss Bari, and the king. But through
a ruse, Donlevy and the king escape. They enlist the aid of
the people to overthrow Dumbrille and his cohorts; they
are helped by John King, uncle to the king, who had been
unjustly accused of treason by Dumbrille. Dumbrille and
his plotters are overpowered. Donlevy gives his blessings
to Miss Bari and John King, who were in love with each
other ; he then leaves with Vernon on a new assignment.
Maurice Raps and Lester Ziffren wrote the story, and.
Robert Ellis and Helen Logan, the screen play ; James
Tinling directed it, and Sol M. Wurtzel produced it. In the
cast are C. Henry Gordon, Sidney Blackmcr, and others*
Suitability, Qass A.
"Up the River" with Preston Foster,
Arthur Treacher, Phyllis Brooks
and Tony Martin
(20//; Century-Fox, December 9; time, 76 min.)
A good program comedy-melodrama ; the performances
are very good. It was made once before, in 1930, and, as in
the first version, this offers extremely good comedy situa-
tions ; they should provoke hearty laughter. It hasn't the
same strong emotional appeal as the former picture had,
for the melodramatic, serious side of the story has been
toned down in favor of comedy. Those who did not see the
first picture will find this an enjoyable change from the
ordinary prison story, as it is more or less of a burlesque
on prison life. Music and dancing have been worked into
the plot logically, — in the situation, where the inmates give
their yearly play. The romance is pleasant: —
When Preston Foster and Arthur Treacher, two confi-
dence men, are sent back to the prison in which they had
served terms previously, the inmates are happy for they
were the two best football players the team had ever had.
So popular are they, that they get many privileges. Tony
Martin, one of the prisoners, was looking forward to a
parole so that he could go back home and marry his sweet-
heart (Phyllis Brooks), who, too, had served a prison
term ; they had both been mixed up with a crooked bond
salesman (Sidney Toler), but, realizing they had made a
mistake, had decided to go straight. Martin learns that
Toler had gone to his home town and was fleecing his
mother along with their neighbors ; but Miss Brooks was
helpless to do anything for Toler threatened to expose her
and Martin, whose family did not know he was in prison.
Desperate, Martin plans to escape ; but Foster and Treach-
er, knowing he would ruin his chances for a parole if he
did so, knock him out and escape in his place. With the help
of the warden (Alan Dinchart), who had followed them,
they trap Toler, forcing him to return the money and leave
town. Treacher and Foster return to the prison in time to
win the football game for their prison.
Maiirine Watkins wrote the story, and Lou Brcslow and
John Patrick, the screen play; Alfred Werker directed it,
and Sol M. Wurtzel produced it. In the cast are Slim
Summerville, Eddie Collins, Jane Darwcll, Bill Robinson,
and others.
Suitability, Class B.
November 26, 1938
HARRISON'S REPORTS
191
"The Law West of Tombstone"
with Harry Carey
(RKO, November 18 ; time, 73 min.)
A good outdoor program melodrama. The action fans
should go for it for several reasons : first, the story is dif-
ferent from the general run of westerns, and, secondly, it
is chuck-full of action and excitement ; it has comedy, too,
both in situation and dialogue. Harry Carey is excellent in
the part of the self-made, quick-shooting Mayor, who be-
lieves the lies he tells about his heroism. One thrilling
situation is that in which Carey offers to shoot it out with
a desperado; what makes this scene exciting is the fact that
the audience does not know that Carey had removed all the
bullets from the gun. The romance is developed according
to formula : —
Carey, known as a liar, horse thief, and swindler, returns
to his home town in Texas, where he becomes involved in
a horse stealing charge. The Sheriff offers Carey his free-
dom on condition that he turn his talents to the side of the
law instead of against it ; his first assignment is to get a
desperado (Tim Holt). But Carey, who knew and liked
Holt, lets him get away, to the disgust of Jean Rouverol,
who had been one of Holt's victims in a train robbery.
Carey, by means of his customary exaggerations, builds up
sympathy for Holt, who is accepted into the community.
Carey appoints himself Mayor, holding court in his saloon.
He makes enemies of three brothers, who were bullies and
were hated by the community. In the meantime, Miss Rou-
verol shows her dislike for Holt, who had killed her fiance
(Allan Lane). She did not know that Lane had been a
highwayman. In a fight with the three crooked brothers
who were menacing the ranch owners by closing up Indian
property which lead to the river, Carey comes out victori-
ous. He is actually elected Mayor. In the meantime, Miss
Rouverol had found out the truth and, since Holt had
changed to a law-abiding citizen, falls in love with him.
Carey does not reveal that he was her father, for she
thought her father had died a hero in the war.
Clarence W. Young wrote the story, and John Twist and
Clarence W. Young, the screen play ; Glenn Tryon directed
it, and Cliff Reid produced it. In the cast are Evelyn Rrent,
Clarence Kolb, Esther Muir, Paul Guilfoyle, and others.
There is a little too much shooting in this for children.
Good for adults. Class B.
"Thanks for the Memory" with Bob Hope
and Shirley Ross
(Paramount, November 18; time, 78 min. )
A fair domestic comedy-drama. It is a remake of "Up
Pops the Devil," produced by Paramount in 1930 ; it was
not much of a picture then nor is it much now. The plot is
exactly the same, except for the insertion of a musical
number, which, although pleasing, cannot help matters
much. The hero and the heroine are likeable persons ; they
win one's sympathy, but they are surrounded bv worthless
characters, who spend most of their time drinking and
wisecracking, tiring the spectator with their chatter :—
Shirley Ross, married to Bob Hope, decides that, in
order for Hope to finish his novel, he must give up his job
and permit her to go back to work. He resents being sup-
ported by his wife, but she is so insistent that he succumbs ;
he has to take care of household duties and cook. Jealous
and annoyed when Hope, after a quarrel, asks their next-
door neighbor, a young girl, to go out with him, Miss Ross,
in the presence of friends, insults him by saying that she
supixirted him. He leaves in a rage, before the heroine could
tell him that she was going to have a baby. Hope regains
his self respect and finishes the novel. He goes back to the
pnartment to see the heroine, only to find that she was
planning to sublease it. He is shocked when she asks him
for a divorce. But when he learns about the baby, he is
overjoyed and induces Miss Ross to forgive him and start
over again.
Albert Hackett and Frances Goodrich wrote the story
and Lynn Starling, the screen play; George Archainhaiid
directed it, and Mel Shauor produced it. In the cast are
Charles Buttnrworth, Otto Kruger, Hedda Hopper, Patri-
cia Wilder. Rosroe Karns, Laura Hope Crews, Emma
Dunn and Wm. Collier, Sr.
Hardly suitable for children. Harmless for adults. Class B.
"Spring Madness" with Maureen
O'Sullivan, Lew Ayres and
Burgess Meredith
(MGM, November 11,; time, 66l/2 min.)
An enjoyable light, romantic program comedy. The
simple plot offers opportunities for several extremely
amusing situations ; but most of the credit for the enter-
taining quality of the picture belongs to the performers,
who bring freshness and spirit to their respective parts.
Although the action takes place on college grounds, the
story steers clear of campus activities that are usually
shown in college pictures : —
Maureen O'Sullivan, a college student, falls madly in
love with Lew Ayres, a Harvard senior ; he loves her, too,
but refuses to admit it since he and his roommate (Burgess
Meredith) had planned to leave college before graduation
in order to sail for Russia for a two year stay so as to
study the economic structure there. Meredith, fearing that
feminine wiles would upset their plans, pleads with Ayres
not to see Miss O'Sullivan again; but Ayres refuses. When
Miss O'Sullivan's college friends learn about Ayres' plans,
they set about to make him change his mind. First, one of
the girls has her father, a newspaper publisher, offer Ayres
a job as reporter ; but when that does not work, they decide
that the best thing to do would be to get him jealous. And
so with the help of their English professor (Truman Brad-
ley), they carry out their plans, which work. Ayres decides
to give up his plans to live in Russia and, instead, to settle
down to a pleasant, peaceful married life in America.
Meredith gives up in disgust.
The plot was adapted from a play by Philip Barry;
Edward Chodorov wrote the screen play, S. Sylvan Simon
directed it and Edward Chodorov produced it. In the cast
are Ruth Hussey, Ann Morriss, Joyce Compton, Jacqueline
Wells, Frank Albcrtson, Sterling Holloway, and others.
Suitability, Class A.
"Storm over Bengal" with Patric Knowles,
Richard Cromwell and Rochelle Hudson
(Republic, November 14; time, 65 min.)
A very good program adventure-melodrama. As far as
production values are concerned, it is comparable to most
of the major company product — the acting, direction,
photography, and settings are all of the highest order.
Although it is a little slow in getting started, it soon picks
up speed, offering exciting action and thrills. Particularly
thrilling are the closing scenes in which the hero, despite
many obstacles, almost single-handed puts an end to an
Arab revolt. The romance is pleasant. Most of the action
takes place in northwest India: —
Patric Knowles, British Captain stationed in India, is
overjoyed when his fiancee (Rochelle Hudson) arrives
with his brother (Richard Cromwell), who, too, was in the
Army. Cromwell, who had fallen in love with Miss Hud-
son, resents the fact that Knowles intended to marry Miss
Hudson and then send her away until he completed his
work of quelling a rebellious native leader (Douglas Dum-
brille), who, by means of a short wave radio broadcast,
was inciting the tribes to fight. But the marriage is delayed
since it was necessary for Knowles to fly to the palace of
the dying Maharajah and obtain his signature to a letter
granting Britain temporary military control of the border
in the event of his death. Knowles is captured by Dum-
brille, who learns that a British regiment was on its way
to capture him. Knowles' assistant, although wounded,
escapes and flies back to camp to warn the regiment, but
he is too late. Cromwell goes up in the plane, attaches a
message to his coat, and then crashes the plane to attract
the attention of the regiment ; he is killed. They get the
message and prepare for the attack. After terrific fighting,
they overcome the tribes ; Knowles, who had escaped, blows
up the cave where the ammunition was stored. He later
marries Miss Hudson.
Dudley Waters wrote the original screen play ; Sidney
Salkow directed it, and Arm and Schaefer produced it. In
the cast arc Colin Tapley, Gilbert Emery, Douglas Walton,
Halliwell Hobbes, and others.
Suitability, Class A.
192
HARRISON'S REPORTS
November 26, 193S
when desirable ; (2) to enter binding awards, within the
limitations of general law and of arbitration statutes, in
controversies involving: clearance controversies (even be-
tween exhibitors) , selling away from an established cus-
tomer, overbuying, coercion in selling pictures, lack of
available prints, forcing of shorts, unsuitability of pictures
for showing in a particular community or on preferred
playing time, unfair competitive practices in the operation
of theatres, shortage in reports on percentage engagements,
non-delivery of sold pictures, holding up of pictures by a
prior run, and all controversies arising under the exhibition
contracts and the commitments of the distributors growing
out of the negotiations. The Allied representatives proposed
also that formal pre-trials be held to try to bring about a
settlement of a controversy so as to avoid arbitration, but
that the findings at these pre-trials should not call for an
award in case no agreement is possible.
The distributors agreed on these proposals in principle,
the final decision to be made after the details were worked
out satisfactorily. But they expressed a doubt as to whether
arbitration affecting the operating policies of theatres, in-
cluding clearance, could be made effective, particularly if
the award involved the payment of money.
The Allied representatives felt that, if the distributor
committee should induce each distributor to sign, individu-
ally, an agreement to arbitrate all controversies arising out
of their dealings with the exhibitors, the exhibitor commit-
tee would undertake to induce as many exhibitors as possible
to sign a similar agreement, individually, embracing arbi-
tration in differences arising even between exhibitors them-
selves. Such an agreement, the Allied representatives felt,
would be acceptable to the Government.
4. The Right to Buy: The Allied representatives said,
"We want the right to buy !" The distributors proposed that
every established theatre that is not a "fly-by-night," and
is operated and maintained decently shall have a run — what-
ever run is available. In other words, they agreed to elimi-
nate "exclusive selling" entirely. But they refused to sell
away from an established theatre to any other theatre or
circuit of theatres, whether affiliated or otherwise, so long
as the customer keeps abreast of the times, operates and
maintains his theatre properly, and pays the same rentals.
The Allied representatives felt that these proposals are
broad and susceptible to possibly conflicting interpretations,
but they were willing to accept them provided the distribu-
tors agreed to let the interpretations and enfoi cement of
them be made by the arbitration boards.
5. Forcing of Shorts, Neii'srecls, and Trailers: The dis-
tributors first proposed that the forcing of shorts be made
proportional ; that is, the exhibitor to be obliged to take
from a particular distributor the shorts he needs to com-
plete his program on the days he uses that distributor's fea-
tures. They offered no concessions whatever on either news-
reels or trailers. Allied took the position that there must be
no forcing of either shorts, newsreels or trailers. The dis-
tributors finally agreed not to do any forcing. They said,
"We will try to sell shorts, newsreels and trailers without
features, but you won't have to take them in order to get
our features."
6. Designated Play-dates: The distributors first offered
that, if a local board declared a picture unsuitable for Sun-
day showing, the exhibitor need not show it on such a day,
but that they reserved the right to designate another pic-
ture in its place. Allied insisted that there should be no
play-date designation — not on either flat-rental pictures or
on pictures of the percentage with a minimum guarantee
class anyway. The final distributor proposal was that there
should be no play-date designation on flat-rental pictures
or pictures of the percentage with a minimum guarantee
class, but that there should be on the other classes.
The Allied position was prompted by the following con-
siderations : In some cities, the week-end business is as high
as eighty percent of the entire week's business. For an ex-
hibitor, then, to pay thirty-five or forty per cent of his
week-end business for only one picture creates a condition
that proves, in the long run, disastrous to him. For this
reason the Allied representatives insisted that the distribu-
tors concede this point. They particularly insisted that there
must not be preferred playing time on (1) flat-rental pic-
tures, (2) percentage pictures with a minimum guarantee,
and (3) pictures objectionable for week-end showing on
account ot : (a) public sentiment; (b) if prior experience
had proved that pictures of the same general type do not
produce the best results on the days selected by the distribu-
tor. Differences arising on pictures of the class (3) are to
be submitted to arbitration.
The exhibitor committee should have insisted that there
should be no percentage pictures with a minimum guarantee
at all. The supposition for the minimum guarantee demand
is that the exhibitor is thus compelled to work hard to put
over a picture contracted for on such terms. But when we
see theatre-owning distributors sidetrack even pictures they
themselves make because of their inability to put them over,
they certainly should be the last persons on earth to expect
an independent exhibitor to do something they themselves
are unable to do. Percentage creates a partnership between
exhibitor and distributor for a particular picture. The
distributor should, therefore, take his chances just as the
exhibitor takes them. If a picture cannot be put over be-
cause either of its poor quality, of poor advertising mate-
rial, or of inadequate aid from the distributor's exploitation
department, the distributor should be willing to sustain
losses in the same way as is the exhibitor.
In view of the fact that some of the companies have dis-
connnueci insisting upon a minimum guarantee, the Allied
committee should insist that the elimination of this annoy-
ing, sometimes disastrous for the exhibitor, policy should
be discontinued generally.
7. Score Charges: Allied insists that there should be no
score charges. The distributors finally offered to make this
charge an individual company policy, i>crhaps to he con-
sidered with the film rentals, at least on flat-rental pictures.
Harrison's Reports believes that, if the score charges
are to be dropped on flat-rental pictures, diey should be
dropped also on percentage pictures. There is more reason
why they should be dropped on percentage than there is on
flat-rental pictures, on account of the fact that, on percent-
age pictures, die distributor becomes, as said, die exhibitor's
partner during the playing of that picture. The distributor
should, therefore, furnish his show to the exhibitor com-
plete. And furnishing it without the score charge is not fur-
nishing a picture complete. As a matter of fact, this paper
has always preached that, on percentage pictures, the dis-
tributor should furnish the picture, not only with the score
charge paid, but also with the shorts required to complete
the program.
Why not? If he wants a share of the gross receipts from
a picture, he should furnish that picture as a complete pro-
gram. He should do so, not only as a matter of justice, but
also of common sense ; it should be his business to see that
the shorts put on the same program add to his feature's
box-office value instead of subtracting from it.
8. Coercive Selling: Allied insisted that a threat to build,
or to promote the building of, a theatre should not lie em-
ployed to compel an exhibitor to buy a distributor's pic-
tures. The distributors agreed on principle but were un-
willing to let the local boards act as fact finders. Allied in-
sisted that the arbitration boards be left to determine the
matter.
9. Minimum Admission Prices: Allied insisted that the
minimum-admission clause be struck from the contract,
leaving the matter to individual negotiation. The distribu-
tors insisted that it be left in the contract. They say that
they must have a "floor," below which admissions must
not fall.
10. Effective Date: The distributors want the reforms
agreed upon to take effect during die 1939-40 season.
Allied insists that the tail-end of the 1938-39 season become
subject to diese reforms.
Negotiations were carried on with other exhibitor
groups. These were conducted separately by common con-
sent. No doubt these groups may have injected proposals
that Allied did not discuss. These will, no doubt, be brought
to the attention of the Allied committee in due time.
Harrison's Reports hopes that, during the temporary
adjournment of the conferences, the distributors have had
time for better selection so that, when the conferences are
resumed after putting the proposals in writing, the distribu-
tor committee will have prepared for submission to the
exhibitor representatives concessions that will bring har-
mony in the industry, thus making die Govenuncnt suit
unnecessary.
MYERS DENIES SPLIT IN
ALLIED RANKS
At the Ohio exhibitors' convention in Columbus on the
15th and the 16th of this month, Mr. Abram F. Myers
denied the press reports to the effect that there has been a
split among the members of the Allied board of directors,
or that a merger with MPTOA is contemplated, as it has
been reported in some trade papers. He said that complete
harmony prevails m the Allied ranks, and the trade paper
reports is the first time that the Allied leaders have ever
heard about a merger with MPTOA.
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 2, 1879.
Harrison's Reports
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lip n Prmv Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4623
w Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, DECEMBER 3, 1938 No. 49
"VARIETY" CELEBRATES ITS THIRD
OF A CENTURY ANNIVERSARY
This month, "Variety," the well-known theatri-
cal paper, is celebrating the Anniversary of its 33rd
year of life.
"Variety" has rendered an inestimable service to
the amusement world. The following are extracts
from letters printed in the 25th Anniversary issue
attesting to it ; they were sent to the founder of this
paper, the late Sime Silverman :
Mr. Karl Hohlitzel : "In point of courage and
rugged character, 'Variety' stands out as a giant
among pygmies."
Mr. J. J. Murdock: "'Variety' is no longer
merely a mouthpiece of the show business. It has
become a connecting link between the show busi-
ness and those outside."
Mr. N. T. Granlund: "I go hack a few years,
when 'Variety' was only eight years old, and you
didn't have as many gray hairs as you have now. I
was a kid, Sime, new to Broadway, trying to make
good at an unfamiliar job, as publicity director of
the Loew circuit. Marcus Loew, the sweetest man
that ever lived, introduced me to you, and asked
you to help me. You did.
"Many a time you came to my office and helped
mc with suggestions and advice. . . .
". . . Sime, I'll never forget the midnights we sat
together in your deserted office while you labored
far beyond the time your staff had scrammed. You
helped me then, Sime, more than you'll ever know.
"You've been a grand guy to me, Sime. I only
hope that I can sit down like this and write you
another letter and tell you the same thing 25 years
from now. ..."
Mr. Joseph Leblang: "I had the pleasure of see-
ing "Variety' born, and I have enjoyed watching it
grow. . . I think you have served all of the show
business with a deep understanding and a trust that
has been inspiring.
"You have been a guide and a teacher. . . ."
Mr. Maurice Goodman : "You were always a
fearless protagonist for the right as you saw it, and
for the 'underdog' in the show world. These human
qualities are in my judgment the basis of 'Variety's'
preeminence in theatre journalism, and may it con-
tinue on its Golden Anniversary."
Mr. Samuel Goldwyn: "In congratulating you
on your continued success, we, all of us in the
industry, honor ourselves."
The spirit of Sime Silverman still guides the
policies of "Variety," for most of those who are
now writing for it are the pupils of Sime.
"Variety" is an institution in the entire show
world. And it has done a lot for the motion picture
industry. It was the first paper to start reviewing
pictures ; it started reviewing them thirty-three
years ago, with the first issue.
Harrison's Reports congratulates "Variety" on
its One-Third Century Anniversary and hopes that
it will have the pleasure of congratulating it also on
its Golden Anniversary. — P. S. Harrison,
THE DRIVE FOR THE FEDERATED
JEWISH CHARITIES
Mr. Jack Alicoate, publisher of Film Daily, has
again been requested by Messrs. Dave Bernstein,
of Loew's, Inc., and Major Albert Warner, of
Warner Bros., to head the Trade Publications
Committee of the Amusement Division for the
Federated Jewish Charities' annual drive, which is
now in progress.
"Having been associated with this movement for
several years," says Mr. Alicoate, "I can assure
you that no charity cause is more worthy, more
efficient, nor more in need of enthusiastic co-opera-
tion."
The writer agrees with Mr. Alicoate and feels
that every member of the motion picture industry
should help to the limit of his power, because this
year more than any other year the need is great.
Contributions should be sent directly to Mr.
Dave Bernstein, c/o Loew's, Inc., 1540 Broadwav,
New York, N. Y.
"THE EXHIBITOR" CELEBRATES
ITS 20TH ANNIVERSARY
"The Exhibitor," of Philadelphia, became twen-
ty years old last month, and Mr. Jay Emanuel, its
owner, feels that he is entitled to celebrate.
"Amen !" say we.
The first issue of "Vine Street" the "father" of
"The Exhibitor," was dated November 15, 1918 —
just seven and one-half months before Harrison's
Reports was born.
Mr. Emanuel deserves congratulations for an-
other reason — for making "The Exhibitor" a
weekly publication from the biweekly that it was.
Friends of Mr. Emanuel, along with his sub-
scribers, have been watching, 1 am sure, his prog-
ress with a sort of paternalistic interest; it is natu-
ral for any regular human being to want to sec his
friends make good.
Harrison's Reports joins every one of his
friends and every one of his subscribers in wishing
Mr. Emanuel and "The Exhibitor" a continued
happy and prosperous career for many more years.
194
HARRISON'S REPORTS
December 3, 1938
"Sixty Glorious Years" with Anna Neagle
and Anton Walbrook
(RKO, Rel. date not set; time, 94]/2 min.)
This is practically a remake of "Victoria the Great,"
produced and released last year, except that this version
has been photographed in technicolor. True, the production
is excellent, and the acting, as in the previous picture,
superb : but one wonders why it was made, as far as Amer-
ican audiences are concerned, for "Victoria the Great"
amply covered the subject of the Queen's reign. There is
nothing in this version that is new or surprising. As a mat-
ter of lact, the continuity was smoother in the first picture,
for in this version the action shifts from one episode to
another with rapidity. As with the first picture, its appeal
will be directed mainly to class audiences; and since "Vic-
toria the Great" did only from Good to Fair at the box-
office tiiere is no reason to believe that "Sixty Glorious
Years" will produce better box-orhec results, particularly
since the same players appear in it.
The story opens with the marriage of Queen Victoria to
Prince Albert of Saxe-Coburg. Both having strong wills,
they clash at times ; but they soon patch up their quarrels,
for they loved each other devotedly. Albert is miserable
because the English people misunderstood him and treated
him as an outsider. When he suggests the building of a
crystal palace in which to house a great international ex-
hibition, he is criticized for his idea, but, with the backing
of the Duke of Wellington, he is able to carry through his
plans. These work out well. Finally the British people ac-
cept him. The years bring to the royal couple joys as well
as sorrows ; they raise a large family, are pleased with the
romance of their eldest daughter, go through many sor-
rowful moments as a result of the Crimean War, which
they opposed, are saddened by the death of Wellington,
and feel happy when the war ends. When Albert dies,
Queen Victoria goes into retirement ; she emerges after
many years to take an active part in political affairs. Hav-
ing great respect for Disraeli, she approves of his foresight
in purchasing the control of the Suez Canal. The years pass
pleasantly. The Queen is thrilled at the Diamond Jubilee.
She dies at the age of eighty-one, mourned by the entire
nation.
Miles Mallcson and Charles DeGrandcourt wrote the
story, and they and Robert Vansittart, the screen play ;
Herbert Wilcox directed and produced it. In the cast are
C. Aubrey Smith, Walter Rilla, Charles Carson, ' and
ethers.
Suitability, Class A.
"Say It in French" with Olympe Bradna
and Ray Milland
(Paramount, November 25 ; time, 71 min.)
A delightful light comedy, suitable for adults. It is some-
what risque in spots, both in dialogue and situation, with-
out being vulgar. As a matter of fact, some of these situa-
tions are so comical that they should provoke uproarious
laughter. Although the plot is novel, one's attention is held
throughout, for the performances are spirited, the romance
is charming, and the action is fast-moving: —
When Ray Milland returns from France with his bride
(Olympe Bradna), he learns that his father was on the
verge of bankruptcy and that the only thing that could save
him would be to obtain the contract for the building of
three n.-w ships; this he could accomplish if Milland would
announce his engagement to wealthy Irene Hervey, whose
guardian controlled the ship company. Miss Bradna sug-
gests that Milland keep their marriage a secret, and that he
announce his engagement to Miss Hervey to help his father
along. Miss Hervey is agreeable, since she loved some
one else, but did not want her guardian to know about it.
In the meantime, Miss Bradna is mistaken for a servant
and. in order to be near Milland, decides to accept the posi-
tion of maid to Milland's mother (Janet Beecher). Things,
however, come to a head when Miss Hervey decides that
she wanted to marry Milland ; he is compelled to tell her
about his wife. She is amused and insists on helping him.
Through a ruse, they oijlain the ship-building contract from,
her guardian. Milland then rushes home with the good
news, only to fin ! that Miss Bradna, who thought he had
deserted her, was on her way back to Europe. Milland
rushes aboard the ship; but Miss bradna, who had decided
not to sail, shouts the good news to him from the pier as
the ship pulls out.
Jacques Deval wrote the story, and Frederick Jackson,
the screen play; Andrew L. Stone directed and produced
it. In the cast are Mary Carlisle, Holmes Herbert, VVm.
( oilier, Sr., Walter Kingsford, and Erik Rhodes.
Not for children. Good for adults. Class B.
"Secrets of a Nurse" with Edmund Lowe,
Helen Mack and Dick Foran
(Universal, December 9 ; time, 7A]/2 min.)
A fairly good program melodrama, well acted and in-
telligently directed. It holds one's interest throughout, due
to the sympathy one feels for the hero, a victim of gang-
sters, and for the heroine, who suffers thereby. Although
the ending is somewhat hard to believe, it has dramatic
power and holds one in suspense. The triangle romance is
handled in good taste —
Edmund Lowe, a famous criminal lawyer, falls in love
with Helen Mack, a nurse at the hospital where he had been
a patient for a time ; she does not, however, return his love.
When Dick Foran, a prizefighter, is brought into the hospi-
tal suffering from wounds inflicted upon him in his last
bout, during which he had been framed by a crooked
gambler (Leon Ames), Miss Mack falls in love with him;
she pulls him out of danger. They make plans, one of the
plans being that Foran was to give up fighting. This en-
rages Foran's manager (Paul Hurst), who had been wiped
out by betting on Foran and by hospital bills ; Foran
promises to pay him back. Lowe gets Foran a job as bus-
boy at a hotel. Hurst, who had suddenly realized the truth
about Ames' connection with the fight, goes to see him at
the hotel. In a quarrel that ensues, Ames' henchman kills
Hurst ; Foran, who had gone up to the room with ice, finds
the body. The murderer knocks him unconscious and then
puts the gun in his hand. Foran is natuially held for the
murder. Lowe defends him ; but it is useless. Foran is con-
victed and sentenced to die in the electric chair. But at the
last minute, Ames, who was dying from a gun shot, con-
fesses in the presence of Lowe and a judge. Miss Mack
feels that this was a miracle for, according to the doctor,
Ames had been dead for five minutes. Foran is freed.
Quentin Reynolds wrote the stor>. and Tom Leni.on and
Lester Cole, the screen play ; Arthur Lubin directed it, and
Burt Kelly produced it. In the cast are Samuel Hinds,
David Oliver, Clarence Muse, and others.
Unsuitable for children because of the murders. Class B.
"Artists and Mode!s A.broad" with
Jack Benny and Joan Bennett
(Paramount, December 30; time, 94j/£ min.)
A good comedy with music. There are not as many
musical numbers in this as there were in the previous
"Artists and Models," but that is not important, for it goes
in more for comedy than for "big" numbers. The few
musical numbers are, however, good. But lavishness has
not been overlooked in the settings ; one scene, in which the
creations of famous Parisian dressmakers are paraded, to
musical accompaniment, by beautiful models, should thrill
women because of the styles. Jack Benny, in his usual
nonchalant manner, is as amusing as ever ; and the compro-
mising situations into which he gets his troupe are the
cause for much of the laughter. The romance is pleasant : —
Stranded in Paris with his American show troupe, Benny
is at a loss as to what to do. He decides that the only way
they could get ba:k home would be to get themselves de-
ported ; but first they have to find a place in which to stay.
They pick a cheap hotel and talk the manager out of an
a lvance payment. While out trying to dig up some money.
Benny is stopped at an outdoor cafe by Joan Bennett, who
asks him to pay her check since she had left her money at
home. Not knowing that she was the daughter of an Amer-
ican oil millionaire (Charley Grapewin), he starts giving
her a lecture about picking up men ; he then offers to take
her in with his troupe. Fed up with the restrictions her aunt
(Mary Boland) had placed on her freedom and disliking
the man her aunt had picked as her fiance, Miss Bennett
jumps at the opportunity; she telephones the news to Miss
Boland. Grapewin, who had arrived in Paris unexpectedly,
goes after his daughter ; Benny upbraids him for neglecting
Miss Bennett, and gives him permission to stay with the
troupe. They all have an exciting time trying to find a
place where to sleep, for they had been locked out of the
hotel ; they dodge the police, and imitate Russians in order
to get employment as models. Benny believes that Grape-
win was a swindler and spoils an oil deai he was trying to
put through. But when he learns the truth, he faints ;
u.apewin is grateiul, for as matters turn out his oil prop-
erties were worth more than he had believed. Miss Bennett
convinces Benny that money should not interfere with their
romance.
Howard Lindsay and Russell Crouse wrote the story,
and they and Ken Englund, the screen play; Mitchell
Leistn directed it, an J Arthur Hornblow, Jr., produced it.
In the cast are the Yacht Club Boys, Fritz Feld, Phyllis
Kennedy, Joyce Compton, Monty Woolley, and others.
Suitability, Class A.
December 3, 1938
HARRISON'S REPORTS
195
"Peck's Bad Boy with the Circus" with
Tommy Kelly, Ann Gillis and
Edgar Kennedy
(RKO, November 25 ; time, 64 min.)
A fair comedy for the juvenile trade; it is doubtful if
adults will be entertained by it, for the story is thin and
deals mostly with children. But the youngsters should enjoy
it fairly well because of the circus background, as well as
of the young hero's exciting adventures. One of the most
amusing situations is that in which the boys at the circus
feed the lions with sleeping pills, thereby making them
drowsy, thus spoiling the act of the lion tamer. Billy Gil-
bert and Edgar Kennedy arouse laughter by their antics : —
Tommy Kelly looks forward to his trip to camp, there to
compete in an obstacle race. He had been the winner for
two summers, and if he could win again he would be the
owner of the silver loving cup. His parents go off on a
fishing trip and leave him ten dollars for his fare, promising
to meet him at the camp. But Tommy and his friends go to
the circus where they are caught sneaking in ; feeling gen-
erous, Tommy spends his ten dollars buying tickets and
candy. He helps Ann Gillis, a young bareback rider, and
her mother out of a predicament, when the manager's wife
(Benita Hume) tries to prevent Ann from going on with
her act. Tommy takes her place. In order to get to camp in
time to compete in the race, Tommy accepts Kennedy's
suggestion that he allow him to race him there in the circus
chariot. After a thrilling ride, Tommy arrives just in time
to start, and, to the joy of his parents, wins the race and
the cup.
The plot centers around the characters created by G. W.
Peck. Al Martin, David Boehm, and Robert Neville wrote
the screen play, Edward F. Cline directed it, and Sol
Lesser produced it. In the cast are Spanky McFarland,
Louise Beavers, Nana Bryant, Grant Mitchell, and others.
Suitability, Class A.
"The Shining Hour" with Joan Crawford,
Melvyn Douglas, Robert Young
and Margaret Sullavan
(MGM, November 18 ; time, 76 min.)
A strong emotional drama, suitable only for adults. It is
competently acted and directed and, considering the draw-
ing power of the combined star names, will probably do
well at the box-office. But it is not pleasurable entertain-
ment ; this is due to the romantic conflict that involves two
brothers and the wife of one. It is not inspiring to see a
man, who himself is married to a charming woman, trying
to win the love of his brother's wife. Nor is the story
particularly cheerful ; almost throughout the characters
are moping or complaining ; and the actions of one, the
sister of the two brothers, are malicious. The story ends,
however, on a happier note, with complete understanding
between the characters : —
When Melvyn Douglas, wealthy gentleman farmer, mar-
ries Joan Crawford, a night club entertainer, his old-maid
sister (I ay Bainter) feels certain that the marriage could
not last She treats Miss Crawford in an insulting manner,
and tries to make her as uncomfortable as possible. Miss
Bainter notices that her younger brother (Robert Young)
was paying too much attention to Miss Crawford. She
brings this to the attention of Young's wife (Margaret
Sullavan) ; at first Miss Sullavan is annoyed at Miss
Bainter's suspicions, but she soon realizes that they were
true. Miss Crawford tries to fight against her feelings for
Young. She looks forward to the time when she and
Douglas would move into their own home, which they were
building nearby. Even on the night of the housewarming
party, Miss Bainter sees fit to insult Miss Crawford, telling
her to go away. That night Miss Crawford, who had per-
mited Young to kiss her, pleads with Douglas to take her
away. This so annoys Miss Bainter that she sets fire to the
new house. Miss Sullavan, feeling that Young and Miss
Crawford should be free to go away together, runs into
the burning house ; but Miss Crawford rushes after her and
saves her. When the excitement dies down, Miss Crawford
knows the conflict was over. She makes Young realize that
he loved his wife, and that she really loved her own hus-
band. She prepares to go away; but Douglas rushes after
her, at the advice of Miss Bainter, who felt that she had
wronged her.
The plot was adapted from the play by Keith Winter ;
Jane Murfin and Ogden Nash wrote the screen play, Frank
l?Mrzage directed it, and Joseph L. Mankicwicz produced
it. In the cast arc Allyn Joslyn, Frank Albertson, Hattie
McDanicl, Harry Harris, and others.
Unsuitable for children or adolescents. Class B.
"Comet over Broadway" with Kay Francis,
Ian Hunter and John Litel
(First Nat'l, December 3; time, 69 min.)
A fair program drama. In adapting it from the Faith
Baldwin novel, the screenwriter made several changes;
these weakened the story dramatically. It may, however',
appeal to women, who will sympathize with the heroine
and admire her for the sacrifices she makes. One or two
situations stir the emotions ; but for the most part the plot
is developed according to formula, and the dialogue is
stilted :—
Kay Francis, wife of a small-town garage owner (John
Litel), dreams of becoming an actress. When a famous
New York actor (Ian Keith) arrives at the town for a
vacation, Miss Francis goes to see him. Litel follows her
there, and in a quarrel with Keith accidentally kills him ;
he is sentenced to life imprisonment. Feeling that she was
to blame, Miss Francis promises to work hard to obtain
Ins freedom. Taking her child with her, she leaves the
small town and seeks employment in the theatre. She starts
with a carnival show, and then goes to burlesque. In order
to better herself, she agrees to team up with one of the men
in a vaudeville act, but is compelled to go without her
child. She turns the baby over to Minna Gombell, a retired
burlesque player, who adored the child. Ian Hunter, a pro-
ducer, falls in love with her. Not wishing to make him
unhappy, she goes to London, where she becomes popular.
After a four year separation, Miss Francis is reunited
with her child, but she is unhappy, for the child (Sybil
Jason) thought Miss Gombell was her mother. Hunter
arrives in London and induces her to return to New York.
Needing a large sum of money to obtain her husband's
release, she agrees. The play is a success ; but Miss Francis
is unhappy for she realized she loved Hunter. When Litel
is finally released, Miss Francis and her child, who had
been told the truth, leave to join him. Hunter tells her to
count on him as a friend.
Faith Baldwin wrote the novel, and Mark Hellinger, the
screen play; Busby Berkeley directed it, and Bryan Foy
produced it. In the cast are Leona Maricle, Donald Crisp
and Melville Cooper.
Not for children. Class B.
"Little Tough Guys in Society" with
Mischa Auer, Mary Boland and
Edward Everett Horton
(Universal, November 25; time, 72 min.)
A very good comedy, of the boisterous type. Most of the
laughter is provoked by the antics of six young boys, desig-
nated as the "Little Tough Guys," when they arrive at a
wealthy country home. The boys that comprise this gang
are not the same as those who appeared in the first "Tough
Guy" picture; only one from the first group remains.
Nevertheless, they are just as adept as the others in acting
tough and slapping each other around. To offset this rough
comedy, there are Miss Boland, Auer, and Horton, who, in
their quiet way, manage to make the audience laugh each
time they appear. The closing scenes, in which the "tough
guys" redeem themselves, are pretty exciting : —
After breaking up the contents of a glass factory from
which their fathers had been shut out due to over-produc-
tion, the six boys find it necessary to hide from the police.
They go to the neighborhood boys' club and read a notice
about a rich woman's wanting to give six boys a vacation
at her country home. Not being able to convince the club
director that they should be sent, they think up a scheme,
with the help of Harold Huber, whereby the director be-
lieves the offer had been withdrawn. They manage to get
the tickets, and then leave for the country estate, owned by
Miss Boland ; she had sent for six boys at the suggestion
of Auer, a psychoanalyst, who believed that her spoiled
son (Jackie Searl), who refused to get out of bed, needed
some stimulation. The moment the boys arrive things stait
happening ; but they work wonders for Jackie. Everything
is spoiled when Ilubcr arrives with his pals to stage a
holdup ; he implicates the boys. But they show their hon-
esty by attacking Huber and his men during the robbery,
and holding them until the police arrive. They then decide
to go back to the city to face the charges against them.
Jackie is sorry to see them go.
Edward Eliscu and Mortimer OfTner wrote the original
screen play; Erie C. Kenton directed it, and Max H.
Golden produced it. In the cast arc Helen Parrish, Frankie
Thomas, Harris Bcrger, Hally Chester, Charles Duncan,
David Gorcey, William Benedict, and others.
Suitability, Class A.
196
HARRISON'S REPORTS
December 3, 1938
THANKS, PITTSBURGH!
The following resolution was passed by the
Pittsburgh zone independent exhibitors at their
recent annual convention :
"Whereas, P. S. Harrison, the editor of the
trade publication known as Harrison's Reports,
has at all times given honest, truthful and compe-
tent news reports ; and
"Whereas, we feel that he has at all times been
consistent in his efforts towards aiding the inde-
pendent exhibitors, giving them freely of the space
in 1 Iakrison's Reports; now, therefore, be it
"Resolved, that the members of the Motion Pic-
ture Theatre Owners of Western Pennsylvania,
Incorporated, in their Eighteenth Annual Conven-
tion assembled, do hereby re-affirm their faith in
P. S. Harrison and his paper, Harrrison's Re-
ports ; and be it further
"Resolved, that we recommend to our members
that they give Mr. Harrison their support and co-
operation by subscribing to Harrrison's Reports ;
and be it further
"Resolved, that this resolution be made a part of
the permanent record of this organization, and that
a copy thereof be sent to Mr. Harrison."
A SERIES OF TELEVISION ARTICLES
WILL BE PRINTED SOON
IN THIS PAPER
According to a dispatch in the November 28
issue of Motion Picture Daily from Hollywood,
the Research Council of Motion Picture Arts and
Sciences has rendered an opinion to the effect that
in all likelihood television and motion pictures will
be in competition with each other.
Harrison's Reports has gathered from tele-
vision experts the necessary material for a series
of articles on television with a view to acquainting
the industry with whether or not television is about
to become a competitor to motion pictures, and
whether or not the exhibitor should be looking for-
ward to installing in his theatre television equip-
ment.
The first article of the series should appear with-
in two weeks.
TRUER WORDS HAVE NEVER
BEEN SPOKEN
Mr. Howard Barnes, the motion picture critic of
the New York Herald Tribune, said the following
in his November 27 column :
"When the screen handles subject matter which
is neither significant nor fresh, it has a way of
doing so with a flourish. Technical tricks are sub-
stituted for sound dramatic situations, acting cap-
ers for valid make-believe and production pomp
for honest emotional appeal. The practice has a
touch of apology in it, but I am afraid that it is
more often prompted by the belief that a lot of
front will hoodwink the public. It has in the past
and it will probably continue to do so for some time
to come, but it is my hunch that film-goers are
catching on to the deception. Unless a motion pic-
ture has a core of honesty and essential dramatic
vigor, showy externals are only apt to make its
deficiencies more apparent. . . ."
Mr. Barnes then goes on to illustrate his point
by giving some examples of story dishonesty.
Truer words have never been spoken. Harri-
son's Reports has had occasion to comment on the
same thing repeatedly. It is not long since it com-
mented upon "Men with Wings," — on the fact that
the story is artificial, with hardly much of impor-
tance in it, and yet the producers tried to raise the
story to great importance by expedients. The re-
sult is that not many picture-goers will be fooled
by the substitution of cheap melodramatic situa-
tions for real drama, and by the dressing up of the
picture with color further to conceal the defects.
And this is only one instance of this kind.
I don't know whether the producers will pay any
more attention to Mr. Barnes' constructive criti-
cism than they have paid to other criticisms of this
kind, made by this paper as well as by many other
papers. But the exhibitors owe Mr. Barnes a debt
of gratitude for speaking his mind so clearly.
REGARDING THE "MOVIE SEASON"
CAMPAIGN
In the November 19 issue, the fact that some
organizations are selling to the public answers to
the Movie Quiz contest for fifteen cents was re-
vealed, and in the issue of November 12, that an
official of Donahue & Coe had written letters to
newspapers refusing to give them advertisements
unless they induced the local theatre owners to sub
scribe to the contest.
The object of commenting critically on these two
incidents was, first, to induce the proponents of the
campaign to abandon contests in future campaigns,
and, secondly, to discourage the heads of the com-
mittee that is conducting the campaign from per-
mitting the advertisers to employ high-pressure
salesmanship methods on newspaper publishers.
So far as the campaign itself is concerned, you
have read, I am sure, my views on it and how much
good it has, in my opinion, done to the theatre box
offices, for I expressed these views in an editorial
that appeared in the November 5 issue of this
paper.
The more information I gather the more I am
convinced that the campaign has done much good
to the industry, not only morally but also finan-
cially : morally, because it has made the majority
of the newspapers friendly toward the industry ;
financially because it has helped the box offices
generally.
Harrison's Reports hopes that the producers
will heed the recommendations made in the report
submitted by Mr. Howard Dietz, of MGM, to Mr.
George Schaefer, and establish a permanent com-
mittee to carry on the campaign continuously. We
may disagree with the producers on many points,
and we may condemn certain policies of theirs, but
we can agree with them in at least one point — the
need to increase movie patronage. And establishing
a committee to carry on a continuous campaign of
good will among, not only the newspapers, but also
the public, cannot help increasing movie patronage.
Other industries are doing it ; why not the motion
picture industry?
Kntored as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 P™™ io19 Harrison's Reports. Inc.,
U. S. Insular Possessions. 10.50 noora IOU Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . ,, ,. _. . _ . _
Great Britain 15.75 A Motion Picture Reviewing Service „.„
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia ... . 17.50 9
,r„ „ rwv Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
a ^°vy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, DECEMBER 10 1938 NoTTo
The Television Problem in Motion Picture Theatres — No. 1
From time to time there have heen printed in the bets on the horses, became so excited when they
newspapers news items dealing with the progress saw the horses coming down the stretch that many
television has so far made. of them, women preponderating, jumped up and
„ . . . , i i ^ it 1 i yelled as people usually do at a race course. The
Some of these items have stated that he devel- ^ g reproduced on the screen from film,
opment of television has so progressed hat its in- wag shown fco a a, audience that eVening, but
spallation in motion picture theatres is only a matter the nse was on,y normal even th h the ic_
of months. This naturally has disturbed a large ture ^ q{ faf betteV y
number of exhibitors, who fear that the advent ot
television will put their investments into jeopardy. One must bear in mind, however, that this was
the first time that such an event had been televised,
Since 1929 Harrison's Reports has published and lhe aiKi{ence reacted to it most favorably ; it is
occasionally articles dealing with the progress of assurned that, jf s0 iarge a number of persons were
television ; and in every one of them the exhibitor tn see SQ small a picture week after week, the reac-
has been assured that television, as a competitor tjon may not be so great Such was the case with
to motion pictures, is still far oil. the nrst talking pictures : at first, a talking picture.
With a view to presenting to the theatre owners whether good or poor, (and they were mostly poor)
of the country fresh information as to how far tele- shown under any conditions, would do; but as
vision has progressed, the writer has interviewed time went on and the novelty wore off, the public
television experts, among whom is Dr. Alfred N. became very discriminating, and exhibition condi-
Goldsmith, considered as one of the most active tions and sound reproduction had to be improved,
workers in that field and an authority in it. And so had the quality of talking pictures.
The questions that I asked of Dr. Goldsmith and Q. 2 : When you speak about the picture's
of the other experts are questions that would be "sharpness," or "definition," what do you mean by
asked by any exhibitor, were he to have a similar it?
opportunity. As to the answers, these are not in "sharpness" or "definition" of the pic-
the exact language of the experts ; but they convey .g ^ q{ ^ ft ^ show Qr ^
their views and thoughts accurately. ^ of informatiou h can give This depends on
O. 1 : Has television been yet perfected to a thc m;mher of lines ^ P]ctur.e consist^ of- Tele,-
pomt of being compared favorably with motion ™lon P^tures are classified m accordance with
• . •> the number of their lines, for the television picture
^ ' is projected, not as a whole, as is the case with
A. The largest television picture that has so far motion pictures, but in narrow and adjacent hori-
been produced is about six by eight feet. It is as zontal "strips," or ''lines, " each strip or line
bright as the normal motion picture, or even following the other so rapidly that the eye sees a
brighter. In sharpness, or "definition," and detail, complete picture. If the picture is projected in 441
however, it does not yet come up to the motion lines, as is the case with television pictures in the
picture standard. Medium shots of several persons United States at present, it is classified as a 411-
in a group and of small sets, as well as closeups, line picture. On that basis, the "sharpness," or
come through well; but long shots, scenes of "definition," of a standard-film motion picture,
crowds, pageants, elaborate architecture, land- when contrasted to a 4414ine television picture, is
scapes with detail scenery, and the like, do not come probably somewhere between 1,500 and 2,000 lines,
through so satisfactorily. or approximately from four to five times sharper.
It has been stated that a six by eight foot tele- Q 3 . Can the art of teievision produce as good
vision picture is satisfactory for an audience con- entertainment as can thc art of motion pictures ?
sistmg of anywhere from six to eight hundred per-
sons, but one would be more accurate if one were A. Since the entertainment value of a picture
to say that a picture of such a size would be more depends on the quality of the story material, it is
satisfactory to an audience consisting only of be- possible to get real entertainment into pictures that
tween three and five hundred persons, even though have a lesser degree of sharpness than that of the
recently a satisfactory private exhibition was given motion picture. Television pictures for the theatre
in England, in one o f the British-Gaumont theatres, may eventually be transmitted with a greater num-
to an audience consisting of seven hundred and ber of lines; for example, 729. If it should so
fifty persons. The event televised was the Derby, happen, it will be almost impossible for an audience
the famous horse race. According to reliable in- to notice any marked difference in sharpness he-
formation, thc audience, many of whom had placed tween television pictures and motion pictures.
(Continued next iccek)
198
HARRISON'S REPORTS
December 10, 1938
"The Cowboy and the Lady" with
Gary Cooper and Merle Oberon
( U nitcd A rtists, Nov. 1 7 ; time, 90 min. )
A fairly good romantic comedy. Its box-office
appeal will, however, have to depend mostly on the
popularity of the stars, particularly of Mr. Cooper,
for the story is thin, familiar, and at times it drags.
Gary Cooper and Merle Oberon give good perfor-
mances, in spite of the fact that they are handi-
capped by trite material ; but the talents of Patsy
Kelly are completely wasted in a part that gives
her little to do or to say. One or two situations
stand out. The situation in which Cooper, a simple
cowboy, puts a group of wealthy snobs in their
place, is one of the two. The romance is developed
according to formula, with misunderstandings and
eventual reconciliation.
Fearing that his daughter (Miss Oberon) might
become involved in a scandal owing to a raid on a
night club, which she had attended with her fun-
loving uncle (Harry Davenport), thus ruining his
chances of receiving the party nomination for
United States President, Henry Kolker insists that
she leave for Palm Beach with her two maids
(Miss Kelly and Mabel Todd). Since the season
had not yet started, and there was no company for
her, Miss Oberon is bored. Learning that her two
maids were going to keep a date with two cowboys
from the rodeo, Miss Oberon induces them to take
her along. She is paired with Cooper, who believes
her story to the effect that she was a lady's maid.
After a hectic courtship they marry; Miss Oberon
goes to Galveston with the rodeo. Receiving a
telephone call from Miss Kellv, warning her that
her father and important guests were arriving, Miss
Oberon rushes home, promising to meet Cooper at
his Montana ranch. She tells her father and uncle
what had happened ; her uncle cheers her, but her
father is horrified. Since his wife did not arrive at
the appointed time, Cooper goes in search of her ;
he is shocked when he learns the truth. He tells
Kolker and his daughter what he thought of them,
and then leaves. Realizing how inhuman his ambi-
tions had made him, Kolker gives up his political
hopes and, in company with Davenport and Miss
Oberon, flies to Montana, arriving there before
Cooper ; reconciliation follows.
Leo McCarey and Frank R. Adams wrote the
story, and S. N. Behrman and Sonya Levien, the
screen play ; H. C. Potter directed it, and Samuel
G.ildwyn produced it. In the cast are Walter
Brennan, Fuzzy Knight, Emma Dunn, Bcrton
Churchill, and others.
Suitability, Class A.
"Nancy Drew, Detective" with
Bonita Granville, Frankie Thomas
and John Litel
(Warner Bros., Nov. 26; time, 65 min.)
An entertaining mystery melodrama, with a
comedy angle. In spite of the fact that the story
is far-fetched, it holds one's attention well owing
to the engaging performances of Bonita Granville
and Frankie Thomas. Most of the laughter is pro-
voked by the artlessness of the two youngsters, who
attempt to solve a mystery without police aid. The
action becomes pretty exciting when they come in
contact with the gangsters, and one is held in sus-
pense in the closing scenes, when they are caught
by the gangsters snooping around the hideout.
There is no romance : —
When an elderly graduate wh5 had promised to
endow her school with her fortune of $250,000 fails
to show up at the appointed time, Bonita feels cer-
tain that something had gone wrong. She comes
upon a clue, which she turns over to her father
(John Litel), a lawyer, but he instructs her to give
it to the police. She takes into her confidence
Frankie and asks him to help her. At first he is
unwilling, but when the case becomes interesting
he is eager to go through with it. The two young-
sters find that the elderly woman had been made a
captive by a gang of desperate criminals, who were
trying to compel her to sign away her fortune to
them ; her lawyer was in on the deal. When the
gangsters find Bonita and Frankie at the hideout,
they lock them up in the cellar. Frankie finds an
old radio set and sends out an SOS. His call is
heard and the police, together with Litel, rush to
the hideout. They round up the criminals and save
the three prisoners. Bonita is praised for her good
work.
The plot was adapted from the novel by Carolyn
Keene. Kenneth Garnet wrote the screen play, Wil-
liam Clemens directed it, and Bryan Foy produced
it. In the cast are Dick Purcell, James Stevenson,
Frank Orth, and others.
Suitability, Class A.
"While New York Sleeps" with
Michael Whalen and Jean Rogers
(20//; Century-Fox, Jan. 6; time, 61 min.)
A fast-moving program murder mystery melo-
drama, with comedy and musical interpolations ; it
is the second picture in the "Roving Reporter"
series. Although the story is not novel, it holds
one's attention well, for the story is developed in an
interesting way ; and it keeps one in suspense, too,
since both the hero and the heroine are in danger,
at one time of becoming involved with the crimi-
nals. The romance in this instance is given a new
twist, for the hero fails to win the heroine : —
Michael Whalen, a newspaper reporter, is in love
with Jean Rogers, an entertainer at a night club
owned by Harold Huber. Suspecting that Huber
had something to do with the theft of bonds and
with the murder of his pal, an insurance agent, he
spends most of his time at the cafe, trying to dis-
cover evidence. This annoys Huber. Knowing that
Miss Rogers was angry at Whalen for trying to
break up her romance with her hometown sweet-
heart, Huber suggests that they play a practical
joke on him by pretending that Miss Rogers had
shot him (Huber). He felt sure that he, Whalen,
would naturally give the story to his paper and be
humiliated when the truth would be made known.
Everything works out as planned, except that
Huber is actually killed, not by Miss Rogers, but
by his own henchman, who wanted the bonds for
himself. Eventually Whalen uncovers the plot, gets
the evidence he wanted, and recovers the stolen
bonds. But he is disappointed, for Miss Rogers
marries her hometown sweetheart.
Frank Fenton and Lynn Root wrote the story,
and Frances Hyland and Albert Ray, the screen
play ; H. Bruce Humberstone directed it, and Sol
M. Wurtzel produced it. In the cast are Chick
Chandler, Robert Kellard, Joan Woodbury, Marc
Lawrence, Sidney Blackmer, and others.
Unsuitable for children because of the murders.
Class P..
December 10, 1938
HARRISON'S REPORTS
199
"I Am a Criminal" with John Carroll
and Martin Spellman
(Monogram, Dec, 14; time, 73 min.)
A deeply appealing human interest story, center-
ing around the regeneration of a racketeer through
his association with a tine young hoy. Both in pro-
duction and acting it is easily comparahle to most
of the major company output. Although all the
players give commendable performances, it is Mar-
tin Spellman, in the part of the young boy, who
raises the picture to its high entertainment level ;
he acts and speaks his lines with assurance, and
has such an appealing personality that the audience
takes him to its heart. There are several situations
that so stir one's emotions that they cause tears.
The situation in which the boy refuses to believe
that he is to be parted from his benefactor is one
of the most appealing.
Booked on a manslaughter charge in an acciden-
tal death that occurred in his gambling casino, but
released on $20,000 bail, Carroll decides to follow
his attorney's advice, and engages a press agent to
build up public sympathy for him. In line with this
plan, Carroll takes into his home an orphan news-
paper boy (Martin Spellman). In a short time the
boy and he develop a deep affection for each other.
Deserted by his girl friend (Kay Linaker ) and his
attorney, Carroll decides to jump hail and hide out
in a country place ; he tells the boy that he would
have to stay home, but the boy hides in the car and
is discovered when Carroll is far away. Yet he is
happy to see him. They stop at an inn, conducted
by Mary Kornman. Since the season had not yet
started, they are the first guests. Martin telephones
to Carroll's housekeeper to send him his bicycle.
Miss Linaker, who had called at the house, notices
the address on the tag and informs the District
Attorney. When the officials arrive at the inn,
Martin, in an effort to help Carroll escape, rushes
down to the lake to row a boat to a certain spot
where Carroll would meet him. But he falls in the
lake and, not knowing how to swim, struggles. Car-
roll rushes to his rescue, even though he knew that
by so doing he would be captured. Carroll decides
that it would be best to serve his sentence ; he
promises to return for Martin and for Miss Korn-
man, with whom he had fallen in love. Martin bids
him a tearful goodbye.
Harrison Jacobs wrote the story, and John
Krafft, the screen play ; William Nigh directed it,
and E. B. Derr produced it. In the cast are Craig
Reynolds, May Beatty, and Robert Fiske.
The regeneration makes it suitable for children.
Class A.
"Pygmalion" with Leslie Howard
and Wendy Hiller
(MGM, Rcl. date not set; time, 86 min.)
This is one of the most brilliant pictures to come
from England; but it is entertainment chiefly for
class audiences. The story is excellent, the dialogue
intelligent, and the acting, particularly of Wendy
Hiller, of superior artistry; they should be appre-
ciated by intelligent patrons. But, for the masses,
the picture lacks action, it is too "talky," and the
players, aside from Leslie Howard, arc unknown;
the British accents are too pronounced. Class audi-
ences should, however, find it stimulating entertain-
ment for, in addition to a novel story, the picture
olhrs moments of human appeal and of high
avnedv that will ho remembered long.
In the development of the plot, Leslie Howard, a
professor of phonetics, makes a wager with Scotts
Sunderland, another expert in phonetics, that he
could take Wendy Hiller, a vulgar slum girl, whose
diction was very poor, and train her to speak so cor-
rectly and to conduct herself in society so well that
he could pass her off as a Duchess. The experiment
so intrigues Howard, who was at best self-sufficient
and egotistical, that he, overlooking the fact that
Miss Hiller was a human being, treats her as if she
were a machine. After six months of hard work,
Howard takes Miss Hiller to an important diplo-
matic ball, which was to be attended by the Queen.
So well poised is Miss Hiller, and so beautiful does
she look, that she attracts the attention even of the
Queen. Howard and his friend return home elated ;
but Miss Hiller is heartbroken, for she had fallen
in love with Howard, who completely disregarded
her. Unable to control herself any longer, she tells
him what she thought of him and leaves. The fol-
lowing morning Howard goes in search of her, and
is frantic when he cannot find her ; but he finally
locates her at his mother's apartment. She treats
him with disdain, and informs him that she was
going to marry a young society man. He returns to
his apartment crestfallen. But his sorrow turns to
joy when Miss Hiller goes back to him.
Bernard Shaw wrote the screen play from his
own stage play. Anthony Asquith and Leslie
Howard directed it, and Gabriel Pascal produced
it. In the cast are Wilfred Lawson, Marie Lohr,
Jean Cadell, and others. Suitability, Class A.
"The Next Time I Marry" with Lucille Ball
and James Ellison
(RKO, Dec. 9 ; time, 64 min.)
A fair program comedy. The story itself is
familiar and at times silly ; yet there arc several
situations that provoke laughter. And, since the
action is kept moving at a pretty fast pace, one's
interest does not lag. As in comedies of this type,
the story hasn't much human appeal ; nor are the
actions of the characters such as to awaken the
spectator's sympathy. The performances are, how-
ever, satisfactory : —
Since the will of her father prevented her from
marrying any one but an American citizen, Lucille
Ball, who wanted to marry a Count (Lee Bowman) ,
decides to first marry an American citizen, collect
her legacy, and then divorce her American hus-
band to marry the Count. James Ellison, an im-
poverished college graduate, agrees to marry Miss
Ball for $750. He is annoyed when the newspapers
label him a Cinderella man ; in order to prove that
he was not after Miss Ball's money, he decides to
instigate the Reno divorce proceedings himself.
He forces Miss Ball to leave for Reno with him in
his trailer, so as to prevent her from filing the
papers first. Bowman follows them in his limousine
and keeps Miss Ball company each time Ellison
stops. When they get to Reno, complications arise ;
but finally Miss Ball decides she (Iocs not want a
divorce. She is heartbroken to find that her uncle
had annulled the marriage. Realizing that she loved
Ellison, she tricks him into marrying her again, and
then confesses her love for him; he is happy, for
he loved her.
Thames Williamson wrote the story, and Dudley
Nichols and John Twist, the screen play ; Carson
Kanin directed it, and Cliff Reid produced it. In
the cast are Granville Bates, Manton Morland,
Florence Lake, Arthur Hoyt, and others.
Suitability, Class A.
200
HARRISON'S REPORTS
December 10, 1938
THE TRADE PRACTICES CONFERENCES
On December 2, the distributor committee on
trade practices completed the memorandum that
was to contain the maximum concessions the pro-
ducers made to the exhibitors during the con-
ferences, and mailed a copy to each of the inter-
ested exhibitor bodies.
The statement issued by Mr. W. F. Rodgers,
acting for the Distributor Committee, reads as
follows :
"The Distributor's Committee on trade practices
Ins today forwarded to the interested exhibitor
bodies a memorandum of the understandings
reached in principle at the conferences conducted
by their respective Committees.
"To cover all subjects considered as national in
their scope, it has been necessary to synchronize
the thoughts expressed by the different theatre
groups and the draft form of memorandum repre-
sents only such subjects, it being the belief that
another and subsequent method will apply to those
topics that are purely local in their application.
"Every subject of general importance involving
trade practices has been discussed fully, and we
believe the suggested means of solution will create
a better understanding between all branches of our
industry."
In view of the fact that Allied has denied that
any understanding was reached between distribu-
tors and exhibitors, as Mr. Rodgers' release speaks
of, the reproduction of the statement that was
issued by Col. 11. A. Cole in Chicago on November
4, immediately after the adjournment of the Dis-
tributor and the exhibitor committee meeting,
seems necessary so as to keep the record clear.
Here it is :
"The distributors' committee headed by Wm. F.
Rodgers and the Allied committee headed by H. A.
Cole, resumed negotiations in Chicago on Thursday
and the deliberations were continued through Fri-
day morning.
"All subjects brought forward by both sides have
been fully discussed. The Allied committee has re-
ceived from the distributors' committee the maxi-
mum concessions which the distributors feel that
they can yield. Publication of the details must await
final action by the several interested groups based
on a written statement setting forth all the details.
"There being no occasion for further oral discus-
sion at this time, meetings were suspended to en-
able a drafting committee to reduce to writing all
the matters discussed including the details of the
industry machinery which has been proposed for
interpreting and applying the fair trade practices
under consideration.
"When and if a satisfactory document has been
evolved, it will, following a resolution of the Allied
board of directors, be reported back to the board
for final action.''
Notice that this statement mentions nowhere
"understanding," or "agreement."
When the trade papers, following the issuing of
the Cole statement, took it upon themselves to state
that "Distributors and Allied agree on reforms,"
Allied, through its Washington office, retorted that
there had been "no agreement" reached. It stated
that, in Chicago, "the Allied Committee had re-
ceived from the Distributors the maximum conces-
sions the latter felt they could yield and that these
were being reduced to writing after which they
would be reported to Allied's Board of Directors
for final action."
The Allied position is this : any concessions ob-
tained by the Allied Committee from the distribu-
tors must be reported to the full hoard of directors
of the Allied organization for final action. The
Allied statement of November 8 said: "Not only
does the Board want the final say, but in the nature
of the case there could be no agreement at this time,
since much will depend on the manner in which the
commitments of the Distributors in reference to
trade practices and the details of the arbitration
machinery are set down on paper."
Mr. Rodgers' statement says: "Every subject of
general importance involving trade practices has
been discussed fully" ; the Allied memorandum,
which was discussed in the November 23 issue of
Harrison's Reports, said that theatre divorce-
ment was not discussed, because the distributor
committee was unwilling to discuss the subject.
Evidently the distributor committee, for which
Mr. Rodgers, as said, speaks, does not consider that
theatre divorcement is a "trade practice." If so, the
Allied committee considers it an important matter
to he settled before any agreement can be reached,
for its November 8 statement, under the subhead-
ing, "Allied's Main Points Not Considered," said:
"An additional and important reason why
Allied's Committee could not enter into an agree-
ment at this time is that the two main planks in
Allied's platform — (a) abolishment of compulsory
block booking and blind selling and (b) separation
of production and distribution from exhibition —
have not been considered in the negotiations. The
reason for this is that the Distributors' Committee
announced that it was not authorized to go any
further on one than to offer a small cancellation
privilege and was not authorized to deal with the
other at all."
It seems as if no agreement will be reached un-
less the producers withdraw from their position
that theatre divorcement will not be discussed. So
far as block booking and blind selling is concerned,
if Allied should agree to the cancellation right that
has already been conceded to the exhibitors, it will
have to persuade the civic groups to accept it also ;
otherwise those civic groups that have committed
themselves strongly for the abolition of block
booking and blind selling may continue their efforts
towards their complete abolition.
Harrison's Reports hopes that, during the time
the distributor committee was putting down into
writing the concessions that the producers have so
far offered, the producers have had time to reflect
and that such a reflection has enabled them to
change their minds about not discussing theatre
divorcement. Unless they have reached such a deci-
sion, the independent exhibitors may prefer to wait
for the outcome of the Government's suit, which
aims to separate exhibition from production-
distribution.
ORDER YOUR MISSING COPIES
Look over your files and if you find the copy of
any issue missing order a duplicate copy at once ; it
will be supplied to you free of charge.
You cannot know when the very copy missing
will be the one you'll need ; so why not go over your
flies now ?
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. XX SATURDAY, DECEMBER 17, 1938 No. 51
The Television Problem in Motion Picture Theatres — No. 2
Q. 4 : Will television ever be developed to the
point of being employed to reproduce even the
feature motion pictures, or will it merely be an
important "filler" on the moving picture program?
A. The appeal that comes from seeing an event
at the very moment that it is occurring is consid-
erably different from the appeal that comes from
seeing an event subsequently ; for example, when
reproduced from a film record. Each type of pres-
entation has its appeal, and each has its individual
limitations. When the presentation of a news event
by means of television is to be considered first, it
should lie clear that an audience would be excited
by, for instance, the progress and ending of a
football game, prize fight, or the like, more than
it would be by the presentation of the same event
at a later time. When one sees an important news
event reproduced from a film record, one knows,
as a rule, what the outcome has been, whereas when
it is shown by means of television as it occurs, one
is held in suspense as one watches its progress.
Thus you will see that the presentation of cur-
rent events by means of television has an ad-
vantage over motion pictures. On the other hand,
it has also its disadvantages. In the first place, the
event may, for most theatres, occur at a time when
it could not fit into the program. Such should be
the case frequently, for most outdoor events occur
at day-time, when theatre audiences are not avail-
able in greatest numbers.
It is possible, however, that this difficulty may be
overcome to a large extent by holding sport events
at night, under artificial light. But even then, the
presentation of these events by means of television
at the time they occur may not be convenient for
all theatres.
Another disadvantage in the presentation of con-
current events by television is the practical im-
possibility of editing them smoothly and artistic-
ally. It may also be impossible to coordinate the
events that will come in from different parts of the
country, so that they may be fitted into a well-
ordered television program.
Such disadvantages do not, of course, prevail in
the presentation of current events by means of
film.
In reference to the time clement, its unsuitabilitv
may be overcome in the transmission of political
campaigns, conventions, visits of foreign celeb-
rities, unveiling of monuments and the like, by tbeir
being sent to a central studio, and from there re-
transmitted to all subscribing theatres of that
region.
But this brings up another problem — tbat of
setting up a costly television distributing station or
"exchange," to serve theatres in a radius which,
for the present, is approximately thirty miles.
Q. 5 : Will the small town theatres be able to
obtain television service?
A. Because of the fact that theatres in small
towns are scattered over a wide area and a program
transmitting television station could not reach more
than a comparatively small number of them, it is
doubtful whether a station can serve enough such
theatres profitably. Neighborhood theatres in large
cities, however, might be able to obtain such a serv-
ice from the station that may be set up for the
down-town theatres, no doubt at a smaller price
than that which will be paid by the big theatres.
Still another disadvantage in television presenta-
tion will be the high cost of the equipment, and of
its operation. It now is and may remain a compli-
cated piece of mechanism, and will require a crew
of at least two projectionists to operate ; and if the
theatre employs two projectionists for the opera-
tion of the moving picture machines, that theatre
will, as you see, be compelled to maintain four pro-
jectionists. It might also be necessary to have
two different screens, and even to place the tele-
vision projecting equipment on the stage, back of
the screen with translucent projection, or in the
orchestra pit for front projection. These mechani-
cal problems will increase costs, and unless the
television material were exciting as well as inter-
esting, the service reliable, transmitted without
breakdowns and received faultlessly, it might
hardly pay a theatre to install such equipment.
But it is unlikely that the events transmitted
every evening will be of high quality; in all proba-
bility they will be subject to the law of averages,
just as are the events that are presented by news-
reels. There is no way whereby televison events
may be stored, to be presented as desired and when
desired, unless they are recorded on film and repro-
duced from that record, in which case they will
create perhaps no greater interest, and cause no
more excitement, than they would if they were
projected on the picture screen through film.
(Continued next week)
A GOOD SUGGESTION
In his last release, Abram F. Myers condemns
those who are attributing to Mr. Goldwyn's act of
engaging the President's son as an attempt to stop
the (iovernment's suit, declaring it an injustice, and
suggests that the only way by which this injustice
may be undone is for every exhibitor to write to
Mr. James Roosevelt, in care of United Artists
Studios, Hollywood, welcoming him into the in-
dustry.
This paper approves of Mr. Myers* suggestion.
202
HARRISON'S REPORTS
December 17, 1938
"Little Orphan Annie" with Ann Gill is,
Robert Kent and June Travis
(Paramount , Dec. 2; time, 57 min.)
Mediocre program fare. It should be shown on Saturday
afternoons, for its only possible appeal will be to children,
who have followed the comic strip. The story is stretched to
such absurd lengths that adults will not have the patience to
sit through its showing. For instance, one of the ridiculous
ideas is to have a ten year old girl manage a prizefighter,
and another, to have her outwit a gang of racketeers. There
is little that the performers can do with the trite material : —
Ann Gillis, an orphan, lives with J. Farrell MacDonald,
a former prizefight manager, now poor. The neighborhood
they lived in was a broken-down, poverty-stricken district ;
most of the families were victims of loan sharks, who
treated them shamefully. Ann dreams of the day when her
truck-driver friend (Robert Kent), whom she had nick-
named "Robin Hood," would become a famous prizefighter.
She induces the families to invest whatever they had in a
common fund to help train Kent ; in that way they would
all share in the profits, pay off the loan sharks, and live
decently once more. On the night of the big fight, the loan
sharks lock Kent and Ann in a room, but Ann manages to
escape. She rounds up all the women of the neighborhood,
who arm themselves with rolling pins; they fight off the
racketeers and release Kent, who rushes to the fight. He is
cheered to victory by all his friends. Kent marries June
Travis, the daughter of one of the neighbors. Happiness
reigns in the neighborhood, where every one's debts are
paid off.
Samuel Ornitz and Endre Bohem wrote the story which
was based on the comic strip by Harold Gray ; Budd Wilson
Schulbcrg and Samuel Ornitz wrote the screen play. Ben
Holmes directed it, and John Speaks produced it. In the
cast are J. M. Kerrigan, Sarah Padden, James Burke, and
others.
Suitability, Class A.
"Ride A Crooked Mile" with Akim Tamiroff,
Leif Erikson and Frances Farmer
(Paramount, Dec. 9; time, 77 min.)
A good melodrama ; the story, insofar as it deals with
the relationship between father and son, is interesting; and
the performances are good. Although a little draggy in the
beginning, it picks up speed in the second half, ending in a
manner to excite the feelings and stir the emotions. The
weakest part is the development of the romance, which is
unbelievable and of little importance. As a box-office at-
traction, it is doubtful if this will do more than average
business, for the names are not strong enough to draw the
crowds : —
Akim Tamiroff, a former Cossack, now living in the
United States, is a ruthless, enormously wealthy, cattle
rustler. He is overjoyed to become reunited with his twenty-
one year old son (Leif Erikson), who, up to that time, had
lived with Tamiroff's divorced wife. Just when Tamiroff
was planning to give up his illegal business to travel with
his son, the federal agents arrest him ; he is tried and sen-
tenced to prison. Jail is unbearable to Tamiroff, whose bar-
baric Cossack blood demanded freedom. He keeps boasting
to his cell-mate (Lynne Overman) about his son's affec-
tion for him and assures him that he would engineer his
escape. Tamiroff learns that Erickson had joined the
United States Army in order to be stationed close to the
prison so as to engineer the escape of his father and Over-
man. But a change comes over Erikson — although he still
loved his father, he had suddenly realized what it meant to
betray the uniform and his country. He meets Tamiroff
and Overman at the appointed place and orders them back
to the prison. Tamiroff is forced to kill Overman in order
to protect his son's life. Realizing that he could not go back
to prison, but at the same time not wanting to harm his
son's career as a soldier, he jumps to his death, happy in
the knowledge that his son had a fine character. Frances
Farmer, a Russian protegee of Tamiroff's, consoles Erik-
son, with whom she was in love.
Ferdinand Reyher and John C. Moffitt wrote the story
and screen play ; Alfred E. Green directed it, and Jeff
Lazarus produced it. In the cast are Vladimir Sokoloff,
J. M. Kerrigan, John Miljan, and others.
The murders make it unsuitable for children. Class B.
"Gang Bullets" with Anne Nagel
and Robert Kent
(Monogram, Nov. 23; time, 61 min.)
A fair program gangster melodrama ; the action is kept
moving at a pretty fast pace. Several situations are some-
what exciting; this is so particularly towards the end, when
the gangster leader and his murderous henchmen are trap-
ped. One feels sympathy for the heroine, whose father, the
District Attorney, becomes involved with the racketeers ;
although it is not divulged until the end that the District
Attorney had purposely done so in order to get the informa-
tion he needed to convict the gangster leader, his innocence
is obvious, and so one follows his actions with interest. The
love interest is mildly pleasant.
In the development of the plot, the efforts of the District
Attorney (Charles Trowbridge) and of his assistant (Rob-
ert Kent) to obtain evidence with which to indict Morgan
Wallace, well-known gangster-racketeer, were of no avail.
A series of letters signed "Junius" appear in a newspaper,
accusing Trowbridge of working with Wallace. As a matter
of fact, Trowbridge accepts a bribe from Wallace, which is
exposed in another "Junius" letter. This makes Miss Nagel,
his daughter, unhappy ; she returns the bribe money to
Wallace and pleads with him to leave her father alone. Kent,
in line with his duty, brings Trowbridge and Wallace to
trial ; they are convicted. But Trowbridge discovers that
Wallace had arranged for their escape and slips a note to
Kent, signed "Junius." Kent then realizes that Trowbridge
himself had been sending the letters to the newspa]>er and
had joined the gangsters just as a means of getting evidence
against them. The gang is rounded up and Wallace cap-
tured. Kent and Miss Nagel plan to marry.
John T. Neville wrote the original screen play; Lambert
Hillyer directed it, and E. B. Derr produced it. In the cast
are J. Farrell MacDonald, John T. Murray, Arthur Loft,
John Merton, and others.
Not for children. Class B.
"Dramatic School" with Luise Rainer,
Paulette Goddard and Alan Marshal
(MGM, December 9; time, 80 min.)
This has been given an excellent production ; and the
direction and acting, particularly by Luise Rainer, are very
good. But it is limited in its appeal for, unlike "Stage Door,"
which it resembles in certain respects, it lacks comedy and
human appeal ; instead, it goes in for the more serious side
of theatrical training, at times becoming somewhat tire-
some. The romantic involvements are amusing; hut even
this part of the picture may not appeal to the masses because
of the disappointing way in which it ends : —
Miss Rainer, who worked in a gas meter factory at night
in order to pay her way at dramatic school, where she
studied during the day, is ashamed to let her fellow stu-
dents know that she worked at night ; instead, she makes up
a story that she went out each night with her fiance, a
Marquis (Alan Marshal), who wanted to marry her. Paul-
ette Goddard, another student, learns that the Marquis did
not even know Miss Rainer. She arranges a party at which
he and Miss Rainer were to appear ; but when Marshal sees
Miss Rainer, he feels sorry for her and pretends that the
affair actually existed. Learning of her poverty, he insists
that she give up the factory work in order to devote all her
time to her career. He gives her an apartment and beautiful
clothes. She falls very much in love with him, but he soon
tires of her and breaks the affair. She is heartbroken ; fur-
thermore, she is beset with worries about her career, which
was jeopardized by the petty jealousy of one of the teachers,
a woman (Gale Sondergaard) who, at one time, had been
famous; she resented Miss Rainer's youth and talents. But
Miss Sondergaard, realizing how unjust she had been, gives
Miss Rainer the leading part in the school production. She
is so good, on the opening night, that she receives an ova-
tion. Marshal calls to see her after the performance and
asks to take her to supper ; but she refuses, telling him that
the theatre was now the most important thing in her life.
Hans Szekely and Zoltan Egyed wrote the story, and
Ernest Vajda and Mary McCall, Jr., the screen play;
Robert B. Sinclair directed it, and Mervyn LeRoy pro-
duced it. In the cast are Lana Turner, Genevieve Tobin,
Anthony Allan, Henry Stephenson, Melville Cooper, Erik
Rhodes, and others.
Suitability, Class A.
December 17, 1938
HARRISON'S REPORTS
203
"Thanks for Everything" with Jack Haley,
Adolphe Menjou, Jack Oakie
and Arleen Whelan
(20th Century-Fox, Dec. 23; time, 12l/i min.)
A very good comedy for the masses. It is fast-moving,
has good musical interpolations, and offers novelty in com-
edy situations. The reason for its mass appeal is that the
story revolves around an average man, whose plight will
be understood by the rank and file ; they will feel sympathy
for him throughout and will cheer his victory in the end.
The closing scenes, in which the members of Haley's firm
play tricks on him in order to get his reaction to war, should
provoke uproarious laughter. Particularly comical are the
consequences of this trick, when Haley's protective instincts
are aroused. The romance is pleasant : —
Haley, a small-town grocery clerk, is overjoyed when
he wins a $25,000 prize in an average-man radio contest.
Cheered by his neighbors, and particularly by his sweet-
heart (Arleen Whelan), he leaves for New York to collect
the prize money. But Adolphe Menjou, head of the adver-
tising agency, has other ideas ; he wants to keep Haley in
New York in order to use him as a sort of "guinea pig" ; he
felt that by watching Haley's reactions he could make pre-
dictions as to what the average person would want to wear,
to eat, and to use. Helped by his two assistants (Jack Oakie
and Binnie Barnes), he leads Haley to believe that he had
been disqualified because one of his cousins worked for the
firm, and the rules forbade relatives of members of the ad-
vertising firm from competing. Ashamed to return home,
Haley agrees to work in the office, unaware that he was be-
ing used. Everything works out well, until Menjou receives
a request from a foreign government to obtain the average
American's reaction to war. Haley, love-sick, is unable to
give them the answer they wanted. While Haley is con-
fined to bed with a bad case of poison ivy, Menjou sends
him newspapers showing that America was ready to go to
war ; but Haley shows no interest in the news. By means
of sound instruments, however, they lead him to believe
that the city had been bombed by the enemy, and that
women and children had been hurt. The trick works ; Haley
gets dressed and rushes out to enlist. The enlistment officer
naturally thinks Haley is insane and has him taken to the
hospital, which Haley believes is a part of the army enlist-
ment rules. Finally the whole thing is explained and he is
furious. But his temper is appeased when Menjou gives
him the $25,000 priz? money and $100,000 in addition for
his help to the firm. Haley returns to his home town a hero,
and marries Miss Whelan.
Gilbert Wright wrote the story, and Curtis Kenyon and
Art Arthur, the screen play; William A. Seiter directed it,
and Harry Joe Brown produced it. In the cast are Tony
Martin, George Barbier, Warren Hymer, and others.
Suitability, Class A.
"Out West with the Hardys" with
Mickey Rooney, Lewis Stone
and Cecilia Parker
(MGM, November 25 ; time, 83 min.)
This new picture in the "Hardy" series is a worthy suc-
cessor to "Love Finds Andy Hardy," and should duplicate
its box-office success. It has human appeal, comedy, and
likeable characters ; but most important, it retains that
"homey" quality that has been such an important part of
the other pictures in this series. Mickey Rooney is, as usual,
delightful as the exuberant young son who has extreme
confidence in his abilities. The fun starts when he meets his
match in young Virginia Weidlcr, who puts him in his place
and proves to him that he was not as capable as he imagined
himself to be. The scenes in which these two youngsters ap-
pear together are extremely amusing. The melodramatic
twist holds the spectator in fair suspense : —
When Lewis Stone receives a letter from old friends,
who owned a ranch out West, asking his help in a matter of
importance, he decides to go there with his family. He finds
that his friends were in danger of losing their ranch to a
neighbor who held title to the water rights and was refusing
to renew their lease because he wanted them to sell their
ranch to him. In the meantime, Mickey's ego is gradually
deflated by little Virginia, who could ride and shoot much
better than could he. Determined to show Virginia that he
could ride her wild horse, he ties up the horse in an effort
to ride and train him. But the plan works out disastrously,
for the horse falls and breaks a leg. Virginia's grief at the
idea of having her horse shot so touches Mickey that he
becomes a changed person. He obtains the services of a
veterinarian, who saves the horse's life; but in doing so he
almost loses his life — he is lost in the desert. Quick think-
ing by Virginia, who goes out m search of him, saves him.
Mickey's sister (Cecilia Parker), who had imagined her-
self in love with Virginia's father (Gordon Jones), the
ranch foreman, changes her mind. Stone and his family
return home, unhappy that they could do nothing for their
friends. But he suddenly thinks of a plan, and telephones
the good news to his friends, who are overjoyed. Mickey
and his girl friend (Ann Rutherford), who had quarreled,
make up.
Kay Van Riper, Agnes C. Johnston and William Ludwig
wrote the screen play ; George B. Seitz directed it. In the
cast are Fay Holden, Sara Haden, Don Castle, Ralph Mor-
gan, and others.
Suitability, Class A.
"Orphans of the Street" with Tommy Ryan,
Robert Livingston and June Storey
(Republic, Jan. 2; time, 64 min.)
A fair program drama, suitable for the family trade. It
has human appeal, which is awakened by the sympathy one
feels for young Tommy Ryan, an orphan, whose love for
his dog leads him into many adventures. One is held in
suspense in the closing scenes, when young Tommy risks
his life in order to save his dog. There are other likeable
characters : Harry Davenport, as the veterinarian who
befriends Tommy, is one ; so are Robert Livingston and
June Storey, who try to help Tommy when he is in need.
In the development of the plot, Tommv is unhappy when
he is compelled to leave military school, for his father's
estate was completely depleted. He runs away from the
officer who had been sent to escort him to an orphanage,
because he would not permit him to take his dog. He and
the dog land in a small town, where Tommy becomes ac-
quainted with Livingston, a newspaper reporter covering
a dog show. When the dog shows animosity towards Victor
Kilian, whose car had struck Tommy, Kilian insists that
the dog be taken away from Tommy. But the kindly inter-
vention of Davenport saves the dog. However, when Kilian
is found murdered, suspicion centers on the dog because of
the type of injuries. The dog is taken away ; but Livingston
insists that it be given a trial. The judge sentences the dog
to be killed. Tommy sneaks the dog away, and sets out to
get the real murderer, whom he had suspected. He obtains
the evidence he needed and apprehends the real criminal.
He and his dog are rewarded; with the money he obtains
he is enabled to go back to military school. Davenport keeps
a watchful eye over him.
Earl Felton wrote the story, and Eric Taylor, Jack
Townley, and Olive Cooper, the screen play ; John H. Auer
directed it, and Herman Schlom produced it. In the cast
are Ralph Morgan, James Burke, and Sidney Blackmer.
Suitability, Class A.
"The Last Warning" with Preston Foster,
Frank Jenks and Frances Robinson
(Universal, Jan. 6 ; time, 63 min.)
A moderately entertaining murder mystery melodrama,
with comedy. The story is muddled and unbelievable, and
the -over-abundance of dialogue slows up the action. Not
until the closing scenes does the action become a little more
exciting. The only reason why one's attention is held at all
is owed to the fact that the murderer's identity is not di-
vulged until the end. The romance is of slight importance: —
Preston Foster, a private detective, and Frank Jenks, his
assistant, arrive at the home of wealthy Raymond Parker
in order to guard him ; he had been receiving notes warning
hjm that he would be killed unless he turned over a large
sum of money as designated. Foster learns that Parker
owed Richard Lane, casino owner, $50,000 on a gambling
debt. Believing that Lane had something to do with the
notes, he goes to his casino to see him. On that very night
Lane is killed. Parker's sister (Frances Robinson) is kid-
napped; her fiance (Robert Page) is frantic. Foster begins
to suspect E. E. Clive, uncle to Miss Robinson and Parker,
and trustee of their estate, of having a hand in the proceed-
ings. Kay Linaker, a mysterious guest at Parker's home is
murdered. Foster finally solves the case. He proves that
Parker himself was guilty ; that he had murdered Lane,
and that he and his sister had framed the kidnapping in
order to get money from Clive. Parker had then killed
Miss Linaker because she knew too much. Miss Robinson
is horrified when she learns that her brother was a mur-
derer. She is consoled by Page.
Jonathan Latimer wrote the story, and Edmund L. Hart-
mann, the screen play; Al Rogell directed it, and Irving
Starr produced it. In the cast arc Joyce Compton, and
others.
Unsuitable for children. Class B.
204
HARRISON'S REPORTS
December 17, 1938
KANN'S UNWITTING EFFORTS TO
DISRUPT THE NEGOTIATIONS
In the December 3 issue of Boxoffice, under the heading,
"Technical Victory Can Be Hollow," Red Kann printed an
open letter to Abram F. Myers, general counsel of Allied
States, criticizing him for having condemned the trade
press on the ground that, following the Chicago meeting,
they distorted the statement that had been issued by Col.
A. H. Cole, chairman of the Allied negotiating committee,
and tried to make it appear as if there were a division in
the Allied ranks.
In that letter, Mr. Kann tries to justify whatever he
wrote in Boxoffice relative to the negotiations. As a matter
of fact, he says that that letter should not be taken as an
apology.
"In Chicago," says part of Red's letter to Myers, "Harry
Cole issued a statement. So did Bill Rodgers. Your asso-
ciates left that city with a typewritten memorandum of the
points discussed. Those points were pretty thoroughly aired
as you, some others and we well know. No final agreement
was submitted to writing because it was necessary for your
board to approve, a slight detail not confined exclusively to
Allied by the way. Your bulletin a couple of days later
denied any such agreement had been reached. Rodgers had
declared there was one, but orally and in principle.
"Now we ask in all reasonableness if you sincerely think
that Rodgers, the man you and Nate Yamins had so gen-
erously praised at your Pittsburgh convention, would have
issued such a statement if he were in any doubt. Or whether
you sincerely believe he would have made a complete fool
of himself by so reporting to Sidney R. Kent and others in
New York unless concrete had been poured into the foun-
dation.
"You may have not thought so if judgment is to rest on
your statement. But that seems quite remote. Sidney Sam-
uclson, Herman Blum and Cole, your staunch supporters,
may not have thought so. That's equally as remote. But
Yamins, Ray Branch, Al Steffes and Max Cohen thought
otherwise. Interesting, isn't it? We happen to know how
they feel and it doesn't augur too well for Allied.
"Thus, your bulletin made your real motives suspect.
Unpleasant word. Sorry, it's the best fit we can find. . . ."
In another part, the letter says :
"You definitely rest on a legalistic interpretation when
you maintain no agreement was reached. Technically, you
are quite right, provided it is a written and signed docu-
ment to which you refer and we take it you do. What we
are about to urge upon you is the greater common sense in
relegating such technicalities to the background for the
success of the job at hand.
"There is much at stake and much in sight. You are a
significant factor in the situation. As such, you ought to be
broad-minded in your approach and in the negotiations
leading out of that approach. . . ."
For lack of space, Harrison's Reports cannot print the
entire letter, but what it has printed are the essential points
Mr. Kann wants to bring out.
From what has been reproduced here, however, you can-
not help coming to the conclusion that I have come to — that
Mr. Kann is using casuistry to justify an unjustifiable mis-
interpretation of the Allied committee's statement in Chi-
cago and of the intents and purposes of the same committee.
The Chicago statement, as printed in last week's Harri-
son's Reports, is clear — no misinterpretation of it can be
made by any one who does not want to read meanings that
arc not contained in it. The statement said partly : "All
subjects brought forward by both sides have been fully
discussed. The Allied committee has received from the dis-
tributors' committee the maximum concessions which the
distributors feel that they can yield. . . .
"There being no occasion for further oral discussion at
this lime, meetings were suspended to enable the drafting
committee to reduce to writing all matters discussed. . . .
"When and if a satisfactory document has been evolved,
it will, following a resolution of the Allied board of direc-
tors, be reported back to the board for final action."
You see that nowhere does the statement say that there
has been an agreement, or understanding. On the contrary,
it says that when a satisfactory document is evolved it will
be reported to the Allied full board for final action. And
yet Mr. Kann, in the November 12 issue of Boxoffice,
states: "Allied's program, orally agreed upon in principle
with the distributors' negotiators in Chicago late last week,
. . ." and "Out of Chicago and last week's conferences of
the Allied and distributor negotiators comes the word that
Harrison's Reports offers to its readers ;
all is in accord." And .now he, having been called to account
by Myers for having given the Chicago document the
wrong interpretation, tries to slide out of it by telling Mr.
Myers that he is giving that document a legalistic inter-
pretation, and that he, in so doing, lays his real motives
open to suspicion. Red divides the Allied leaders into two
factions, on the one side placing Col. Cole, Blum and Sam-
uelson, and on the other, Yamins, Branch, Max Cohen and
Al Steffes.
But Steffes, after reading Red's open letter to Myers,
gave Red a piece of his mind by a letter dated December 5.
Al takes exception to the part of the open letter in which
Red asserts that he knows how he, Al, felt. "I don't know
about the others, Red," Al says, "but if you can tell .me
what my feelings are in the entire matter you are a belter
man than I am. ... I went into these conferences with an
open mind and it still is open. By what right can you
definitely state tiiat you know how I feel about the state-
ments issued by various people? ... I don't mind telling
you at this time that I feel quite satisfied that if there is a
deal made it will have the entire and whole-hearted support
of Allied men and on the other hand if there should come a
time when Allied breaks negotiations you will also find
that Allied will be 100% in accord.
"Allied, under its present setup, is 10 years old and I will
venture to say that they have had as many arguments
within the confines of their own Board of Directors as is
consistent with good business, but after the brush was all
cleared away and everybody had an opportunity to voice
their opinion, you have always found Allied 100% in ac-
cord on any movement and I am sure you arc going to
continue to find them that way. . . .
"Why is it, Red, that other lines of business can hold
conferences without being bothered by reporters? Why is
it so necessary, in this industry, that every time a man takes
a trip over thirty blocks at least three trade paper reporters
have to ask him what the purpose of the trip was, whom
he saw and what he did ?
"Why don't you try, just once, to leave the conferences
alone on a matter as important as they have been conferring
on? . . ."
In sending a copy of Steffes' letter to Messrs. Cole,
Yamins, Sanmclson, Branch, and to other Allied leaders,
Mr. Myers said in a memorandum partly as follows :
"I still think that members of the Committee who under-
stood the position taken should write to Red and point out
that our Committee stipulated there should be no reference
in the publicity to an agreement, even an 'agreement in
principle,' because the details of arbitration had not been
agreed to and we did not want to be exposed to the danger
of having to disagree later over a detail when that detail
might be the most important factor in the setup.
"A bold attempt is being made to make it appear that
there is a rift in the Allied ranks, at a very crucial time,
when no such rift in fact exists. . . ."
It seems as if Red Kann has made a mistake and, instead
of coming right out and saying so, he tries to cover himself
tip by all kinds of editorial interpretations. Col. Cole's
Chicago statement is, as said, plain; nowhere does it con-
tain the word "understanding," or "agreement." Red must
have picked these words out of the air, and now, to justify
himself, he says that a "technical victory can be hollow" !
If Red Kann is interested in the success of the negotia-
tions, he should stop trying to throw a monkey wrench into
the machinery, for a successful outcome of these negotia-
tions will benefit every one connected with the motion pic-
ture industry, trade papers included.
Forget the matter, Red ! Wait until after the negotiations
take a definite turn one way or the other before you find
fault ! You will have much to write then !
ASSIST IN THE MAKING OF A STAR
Martin Spellman, who is about 11, does so good a piece
of work in "I Am a Criminal," the picture which Mr. E. B.
Derr has just produced for Monogram, that he surely ought
to be a drawing card in his next picture.
The late Louis J. Selznick often said, and rightly so, that
he could make a star out of any good actor by putting him
in one good picture. "I Am a Criminal" ought to do that
for Master Spellman, for, by virtue of a good story, capable
direction, and intelligent dialogue, the youngster is given a
real opportunity to display his talents.
Those of you who have not bought Monogram pictures
this season ought to buy this picture ; by so doing you will
do your hit in the establishing of a new star personality.
d subscribers the greetings of the season.
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
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 1 «1 •> Harrison's Reports, Inc.,
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toe a u-opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XX SATURDAY, DECEMBER 24, 1938 No. 52
The Television Problem in M<
Q. 6 : It has been suggested by some persons, no
doubt with optimism rather than assurance, that,
once theatres are equipped with television appara-
tuses, there is no reason why feature films can not
be presented, by the television method, on the
screens of them all at the same time, through a
central studio. Will this be possible ?
A. A plan of this kind seems very doubtful, be-
cause in such an event all theatres would have to
show the same program, even if they should hap-
pen to be in the same neighborhood. And no ex-
hibitor will be willing to show the program that is
shown by his competitor, at least not on the same
days. A second station to serve competitive thea-
tres with a different program may be out of
the question, because of the costs of the transmit-
ting station and of the pickup crews involved.
Transmitting stations of high power with elabo-
rate studio equipment may cost anywhere from
$500,000 to $750,000, and even small stations may
run over $100,000. And hundreds of thousands of
dollars would have to be added for the annual
salary cost for the pickup and station crews.
Even if these costs could be offset from the re-
ceipts, there would be no advantage in presenting
a film feature by means of television instead of di-
rectly from the film itself, and there would be a
great disadvantage, because the definition of a tele-
vision picture can not be as good as that of the
motion picture, not at least for a long time.
Still another disadvantage will be the fact that
television cannot at present transmit pictures in
natural color. It is true that the proportion of mov-
ing pictures in natural colors today is small ; yet an
exhibitor cannot afford to forego the showing of
the occasional good natural-color picture, as he will
be compelled to do if he were to make the presenta-
tion of his moving pictures entirely by television.
Q. 7 : What will be the cost of the television ser-
vice to the theatres ?
A. This is, indeed, an extremely difficult ques-
tion to answer, because the equipment for theatre
television is still in the experimental stage. A trans-
mitting station that could serve all the theatres of
its own circuit in a given large city would cost
probably several hundred thousand dollars, and
anywhere from two to ten times that amount a
year for the pickup of its news events.
What the theatre television equipment will cost
will depend entirely on size of picture and the quan-
tity in which the factories can put these equipments
out. Such a television outfit for a theatre might cost
anywhere from $5,000 to $50,000. It is certain to
run into thousands of dollars, for a high quality
television receiver, the powerful tubes, the high
grade amplifiers, and the delicate optical systems
ition Picture Theatres — No. 3
required for making the screen large, are costly
pieces of mechanism.
As far as the reproduction of sound is concerned,
little extra cost need be figured, for the sound
equipment that is now serving motion pictures will
serve also television pictures.
Television methods are highly complicated. Tele-
vision pictures are produced by placing, each in an
exact position on the screen, and during each sec-
ond, more than ten millions of tiny dots of light as
well as of shadow. If these dots should be of the
wrong brightness, or of insufficient "darkness," or
if they should be displaced even slightly, picture
quality is lost. It is natural, then, that the equip-
ment be precise and elaborate in construction, and
therefore costly.
Operating and servicing will present to the ex-
hibitor new problems. The salaries of the television
projectionists cannot be determined at present.
There are today practically no such projectionists
in existence ; at least not as professionals. These
salaries may be bigger than those of the moving
picture projectionists. At any rate, they will not be
smaller. The maintenance and servicing of the
equipment would probably cost several times more
than that of the film equipment. For all these rea-
sons each theatre owner will have to consider seri-
ously whether he can add to his box office receipts
enough to justify the investment of thousands of
additional dollars.
The exhibitor will have at least two other bills
to foot : the bill for the license from the equipment
manufacturer, for the right to use the equipment,
and the bill to the service station.
As for the cost of the license, this may be included
in the purchase price of the equipment ; but as far
as the service cost is concerned, no one yet knows
what it will be, not even those who are now en-
gaged in the development of television ; it may run
up from tens to hundreds, (or even conceivably
thousands), of dollars every week. The rapid and
reliable pickup of television events, the relaying of
them to the transmitting station, the retransmitting
of them to the theatres either by radio or by coaxial
cables, is an expensive operation. Whether such a
service would bring in enough added receipts to
justify contracting for it is something no one as
yet knows.
(Continued next zceck)
ALLIED'S TENTH ANNIVERSARY
On January 15 next, Allied will be ten years
old, and its leaders intend to celebrate the event,
but because that date falls on Sunday, the celebra-
tion will be held on the 17th and the 18th, the days
(Continued on last pay?)
206
HARRISON'S REPORTS
December 24, 1938
"A Christmas Carol" with Reginald Owen
(MGM, December 16 ; lime, 69 min.)
Delightful entertainment; it should, not only appeal to
those who have read the Dickens' story from which it was
adapted, but also touch the hearts of all those who have a
spark of kindliness in them. In 1935 Paramount released the
English picture, "Scrooge," which was based on the same
story ; this version is almost similar in treatment. Although
it is particularly suitable for the holiday season, it is the
type of picture that may be enjoyed at any time, for it car-
ries a message of good will that should appeal to the masses.
The story deals with Scrooge (Reginald Owen), the
skinflint, whose only amusement in life was to work hard
and hoard his money. He treats his clerk (Gene Lockhart)
heartlessly and pays him miserly wages. He even refuses
to offer Christmas greetings to his neighbors. On Christ-
mas eve, he receives a visit from the ghost of his former
partner, who begs him to change his ways of living ; other-
wise, like him, he would not find peace after death, because
of the way he had conducted himself during his life. Three
spirits take Scrooge to various homes where, unseen, he
observes what others were doing and saying. The scenes of
love and happiness make him realize how wasted was his
life. He awakens Christmas morning a changed man. He
rushes to his clerk's home, informs him he would receive
an increase in salary, and delights the family with gifts and
a turkey. He contributes to charity, and decides to make his
nephew (Barry Mackay) a partner in his firm, thus ena-
bling him to marry the girl he loved (Lynn Carver).
Hugo Butler wrote the screen play, Edwin L. Marin di-
rected it, and Joseph Mankiewicz produced it. In the cast
are Terry Kilburn (as Tiny Tim), Kathleen Lockhart,
Leo G. Carroll, Ann Rutherford, and others.
Suitability, Class A.
"There's That Woman Again" with Melvyn
Douglas and Virginia Bruce
(Columbia, December 24; time, 73 min.)
A very good comedy-murder melodrama ; it is a follow-
up to "There's Always a Woman," except that Virginia
Bruce appears in place of Joan Blondell. The story is in the
same vein, with many comedy angles to relieve the tension.
Again the actions of the scatter-brained wife provoke
hearty laughter. One of the most comical situations is that
which takes place at a beauty parlor where Miss Bruce,
unable to speak because of a mud pack on her face, whistles
her instructions through a glass tube. The comedy in no
way detracts from the interest one might have in the melo-
dramatic angle, for the story is mystifying enough to hold
one in tense suspense : —
Melvyn Douglas, a private detective, is hampered in his
work of tracking down a gang of jewel thieves because of
interference by his scatter-brained wife (Miss Bruce). He
takes Margaret Lindsay, part owner of the jewelry store
where the robberies had been occurring, to luncheon ; but
Miss Bruce, being jealous, insists on joining the luncheon
party, almost spoiling everything. In her own silly way,
Miss Bruce discovers important clues. Finding it necessary
to leave a dinner party to follow another clue, she pretends
that she had to go home because of her "condition" ; Doug-
las, thinking that she meant she was going to have a baby,
is naturally overjoyed. A clerk (Gordon Oliver) from the
jewelry store is arrested. After his arrest, however, another
robbery occurs, but this time it is accompanied by a murder
— that of Miss Lindsay's partner (Jonathan Hale). It de-
velops that Miss Lindsay herself was the guilty person ;
that she had been stealing the jewels and had disposed of
them through Stanley Ridges, a crook. She had not meant
to kill Hale, but he had walked into the trap she had set
for Ridges, who had been trying to blackmail her. Later
she kills Ridges. Her intention had been to build up a for-
tune for herself, leave her husband, and then run away with
Oliver. Douglas arrives at Miss Lindsay's apartment in
time to save his wife, whom Miss Lindsay, knowing that
she had guessed the truth, was planning to kill. Miss Lind-
say is captured, the jewels recovered, and the case closed.
Douglas is disappointed when he learns that his wife had
pretended she was going to have a baby.
Gladys Lehman wrote the story, and Philip G. Epstein,
James E. Grant and Ken Englund, the screen play ; Alex-
ander Hall directed it, and B. B. Kahane produced it. In
the cast arc Tom Dugan, Don Bcddoc, Pierre Watkin, and
others.
The murders make it unsuitable for children. Class B.
"The Strange Case of Dr. Mead" with
Jack Holt and Beverly Roberts
(Columbia, December IS; lime, 67 min.)
A fair program drama, centering around the efforts of a
doctor to overcome the superstition and bigotry of moun-
tain folk. The story is developed in a logical way ; it has
comedy, provoked by the antics of the rustic characters,
some excitement, when the crowd becomes unruly, and a
mildly pleasant romance. It is not, however, particularly
cheerful entertainment, for the action deals, in the main,
with sickness and ailing persons : —
Jack Holt, a famous New York surgeon, arrives at a
small mountain community for a vacation. While out hunt-
ing, he accidentally shoots a young boy ; he tries to take
care of the boy but meets with opposition. Appalled by the
lack of medical conveniences in the community and by the
incompetency of the village doctor, who knew practically
nothing about medicine, Holt goes to the state authorities
and requests them to put him in charge. He incurs the
enmity of the villagers, with the exception of Beverly
Roberts, who had studied nursing, when he operates on the
young man, even though he saves his life. And when he
vaccinates the children against typhoid, the villagers want
to run him out of town. But he finally overcomes their
prejudices and ignorance, during a typhoid epidemic, when
he shows that all those children who had been vaccinated
were immune to the disease. He establishes a clinic under
the care of a legitimate doctor, and then returns to New
.York, taking with him young Noah Bery, Jr., who was
eager to become a real physician. Miss Roberts, Beery's
sweetheart, promises to wait for him.
G. R. and Carlton Sand wrote the story, and Gordon
Rigby, the screen play; Lewis D. Collins directed it, and
Larry Darmour produced it. In the cast are Paul Everton,
John Qualen, Charles Middleton, and others.
Suitability, Class A.
"Heart of the North" with Dick Foran,
Patric Knowles, Gale Page and
Gloria Dickson
(First National, December 10; time, 82 min.)
A good outdoor action melodrama, photographed in na-
tural colors. If it weren't for the fact that it was photo-
graphed in technicolor, however, it would be just another
Canadian Royal Mounted Police melodrama, for the plot
is not novel. It should, nevertheless, please followers of
outdoor melodramas, for there are exciting fist fights, and
thrilling encounters between the gangsters and the officers.
The excitement during these scenes is intensified by the
colorful background. At times, the color is unflattering to
the performers ; but it is effective in the outdoor scenes : —
When Patric Knowles, Sergeant of the Mounted Police,
is murdered during a river steamer holdup, his pal (Dick
Foran) swears to get the criminals. Lie comforts Knowles'
orphan child (Janet Chapman), leaving her in the care of
his fiancee (Gale Page). But Janet hides in the motor
launch in which the officers were to start out in their search,
for she wanted to go along with Foran, whom she adored.
When Foran finds her, he naturally is compelled to stop;
he leaves her with Gloiia Dickson, daughter of a trapper.
While there, Foran and his men find in Miss Dickson's
father's storehouse some of the furs that had been stolen
from the steamer. Miss Dickson promises to hold her
father until Foran returns. But one of the men, wanting to
get credit for himself, arrests the trapper ; Miss Page, a
little jealous of Miss Dickson, identifies the trapper as one
of the river boat gunmen, even though she knew it was un-
true. In the meantime, Foran, handicapped by the necessity
of dividing his squad in accordance with instructions from
the commanding officer, finds the hiding place of the crooks.
He and his two assistants are wounded and are forced to
return to headquarters. Foran is put under arrest for not
having arrested the trapper. Realizing it would mean death
for the trapper unless he caught the criminals, Foran es-
capes and, in company with Allen Jenkins, goes in search
of the guilty men ; he finally captures them, bringing them
to headquarters just in time to save the trapper from the
mob that was bent on lynching him. Realizing how cruel
she had been, Miss Page goes away, leaving Foran free to
marry Miss Dickson. Foran becomes commanding officer.
William B. Mowery wrote the story, and Lee Katz and
Vincent Sherman, the screen play ; Lewis Seiler directed it,
and Bryan Foy produced it. In the cast are Joseph Sawyer,
James Stephenson, Anthony Averill, and others.
Suitability, Class A.
December 24, 1938
HARRISON'S REPORTS
207
"The Beachcomber" with Charles Laughton
(Paramount, Rcl. date not set; time, 90 min.)
In spite of the fact that Charles Laughton does good act-
ing, and that the picture has been founded on the story by
W. Somerset Maughan, the famous author, it is not a good
entertainment. Mr. Laughton is presented as a drunkard,
and the important woman character, Miss Elsa Lanchester,
who takes the part of sister to a missionary, assisting him
in his work, is a narrow-minded person, who tries to reform
everybody. The mob characters are natives of Malay, where
the picture unfolds, and the background is mostly sordid.
Some of the scenes are not very edifying, not at least for
young folk, for the hero's acts indicate that he was having
illicit relations with native women. The picture was pro-
duced in England ; the photography is nothing to brag
about : —
Because of a brawl with natives and the native police,
Laughton, a beachcomber in a tiny Malayan island, spend-
ing his money on drinking and carousing with women, is
sentenced by the Dutch commander of the island to a three-
month banishment on a neighboring island. But the com-
mander soon misses the hero, and, when Miss Lanchester
and Tyrone Guthrie, her brother, set out to visit the island
where the hero had been banished for the purpose of
preaching to the natives, he orders their native escort to
bring Laughton back. The launch breaks down and Miss
Lanchester is horrified to think that she would have to
spend the night near Laughton, a man with so terrible a
reputation ; but when she sees that the hero had treated her
with unconcern and as a gentleman she changes her opinion
of him. An epidemic breaks out among the natives in an-
other island and the two missionaries decide to go to inocu-
late them. The hero accompanies them. It is then that Miss
Lanchester begins to recognize noble instincts in Laughton.
They marry, return to England, open a bar room, and live
happily ever after.
The plot has been based on the novel, "Vessel of Wrath,"
by W. Somerset Maughan. Bartlctt Cormack wrote the
screen play. It was produced and directed by Erich Pom-
mer. In the cast are Robert Newton, Dolly Mollinger,
Rosita Garcia, and others.
Not for children, nor for young women. Not for Sunday
showing. Class B.
"Cipher Bureau" with Leon Ames
and Charlotte Wynters
(Grand National, November 4; time, 69!/2 min.)
A fair program espionage melodrama. The story deals
with the work done by the U. S. Army Cipher Bureau in
decoding messages sent out by spies. The methods employed
by the members of the bureau in this work is interesting.
Although parts of the story are somewhat far-fetched, they
are made to seem credible because of the good acting by a
capable cast. As a matter of fact, the performances are
superior to the material. There are two romances, one of
which is an important part of the story: —
Leon Ames, head of the Cipher Bureau, is on the trail of
a powerful spy ring. Each time that he closes in on the
spies, however, they manage to escape. Ames sends his
brother (Don Dillaway), a naval officer, to New York,
there to try, with the means of a new radio machine, to
pick up the whereabouts of the radio broadcasting station
used by the spies. Joan Woodbury, member of the spy ring,
following instructions from her superior, becomes ac-
quainted with Dillaway. The spies, by means of the infor-
mation she obtains from him, through drugging him and
making it appear as if he were intoxicated, are successful in
stealing important plans in his trust. He is naturally dis-
graced and dishonorably discharged from the Navy, But
Miss Woodbury, who had fallen in love with Dillaway, re-
deems herself when she passes on to Ames important in-
formation, which enables him to break up the spy ring and
to capture the leaders. Dillaway and Miss Woodbury arc
reconciled. And Ames decides to take time off to marry his
faithful secretary (Charlotte Wynters).
Monroe Shaft wrote the story, and Arthur Hoerl, the
screen play ; Charles Lamont directed and produced it In
the cast are Tenen Holtz, G. VonSeyffertitz, Waller Bohn
Jason Robard, and others.
Suitability, Class A.
"Swing Sister Swing" with Ken Murray,
Johnny Downs and Ernest Truex
(Universal, December 16; time, 67 min.)
Just a moderately entertaining program comedy-drama,
with music. It's the old story of the young man who per-
mits success to go to his head, only to learn his lesson in
the end. As entertainment, its appeal will be directed mainly
to devotees of swing music. The beginning is fairly amus-
ing, particularly when some of the older characters use the
slang terms employed by "jitterbugs"; and the introduc-
•tion of the swing dance is entertaining. But the dance is
repeated so often, without any variation, that it eventually
becomes tiresome to watch it. There is nothing that the
characters do to awaken the spectator's sympathy ; for that
reason the story lacks human appeal. Occasional wisecracks
by Ken Murray provoke laughter : —
Murray, a former vaudeville actor, arrives at his small
home-town to visit his mother. Attracted by the swing
dancing of Johnny Downs and Kathryn Kane, and by the
trombone playing of Eddie Quillan, Murray convinces
them that they belonged in New York. He goes to New
York to see Ernest Truex, a dancing instructor, and induces
him to advance the money to bring the three entertainers
to New York. Downs and Miss Kane introduce their dance
at a fashionable night club, where Quillan plays the trom-
bone. It catches the public's fancy ; Truex's school is filled
with pupils who want to leran the dance. Murray arranges
a tour for Downs, Miss Kane, and Quillan. Miss Kane,
realizing that the public would soon tire of the dance, saves
their earnings. As she had expected, the bookings suddenly
stop, and following Murray's advice, she and Quillan decide
to go back home ; but Downs, thinking that he had talent,
insists on remaining in New York. He finally realizes that
he was an amateur and returns home, where, to his joy, he
finds that Miss Kane had bought with his earnings a gaso-
line station for him. He and Miss Kane decide to marry.
Burt Kelly wrote the story, and Charles Grayson, the
screen play ; Joseph Santley directed it, and Burt Kelly
produced it. In the cast are Edna Sedgwick, Nana Bryant,
Ted Weems and his orchestra, and others.
Suitability, Class A.
STATEMENT OF THE OWNERSHIP, MANAGEMENT, CIR-
CULATION, ETC., REQUIRED BY THE ACT OF CON-
GRESS OF AUGUST 24, 1912, AND MARCH 3, 1933. OF
HARRISON'S REPORTS, published Weekly at New York,
N. Y., for Oct. 1, 1938.
State of New York.
County of New York.
Before me, a Notary Public, in and for the State and County
aforesaid, personally appeared Sylvia Miller, who, having been duly
sworn according to law, deposes and says that she is the business
manager of the HARRISON'S REPORTS and that the following is,
to the best of her knowledge and belief, a true statement of the
ownership, management, etc., of the aforesaid publication for the
date shown in the above caption, required by the Act of August 24,
1912, as amended by the Act of March 3, 1933, embodied in section
537, Postal Laws and Regulations, to wit:
1. That the names arid addresses of the publisher, editor, manag-
ing editor, and business manager, are: :
Publisher, Harrison's Reports, Inc., -1270 6th Ave., Netv York, N. Y,
Editor, P. S. Harrison, 1270 6th Ave., New York, N. Y.
Managing Editor, None. . .
Business Manager, Sylvia Miller.
2. That the owner is: Harrison's Reports, Inc., 1270 6th Ave.,
New York, N. Y.
P. S. Harrison, 1270 6th Ave., New York, N. Y.
3. That the known bondholders, mortgagees, and other security
holders owning or holding 1 per cent, or more of total amount of
bonds, mortgages, or other securities are: None.
4. That the two paragraphs next above, giving the name of the
owners, stockholders, and security holders, if any, contain not only
the list of stockholders as they appear upon the hooks of the company
but also, in cases where the stockholder or security holder appears
upon the books of the company as trustees or in any other fiduciary
relation, the name of the person or corporation for whom such trustee
is acting, is given; also that the said two paragraphs contain state-
ments embracing affiant's full knowledge and belief as to the circum-
stances and conditions under which stockholders and security holders
who do not appear upon the books of the company as trustees, hold
stock and securities in a capacity other than that of bona fide owners;
and this affiant has no reason to believe that any other person, asso-
ciation, or corporation, has any interest direct or indirect in the said
stock, bonds, or other securities than as stated by him.
(Signed) SYLVIA MILLER,
< (Business Manager).
Sworn to and subscribed before me this 22ud day of September
1938.
LILLIAN SILVER,
(My commission expires March 30, 1940 )
208
HARRISON'S REPORTS
December 24, 1938
on which the Allied board of directors meets, at the Hotel
Carlton, Washington, D. C.
A "Founders' Day" dinner will be given on the evening
of the 17th, to honor those who have done so much to bring
the organization to its present strength, and Harrison's
Reports suggests that every exhibitor who can attend do
so by all means.
THE PRODUCER MEMORANDUM
In a desire to avoid embarrassing both the exhibitor and
the distributor negotiating committees, Harrison's Re-
torts refrained from expressing its views on whether the
grants the distributors have made, as contained in the mem-
orandum that they have sent to the exhibitor bodies, may or
may not prove satisfactory to the independent theatre own-
ers. Rut in view of the fact that Allied Theatre Owners of
the Northwest, an Allied branch, at a general meeting in
Minneapolis recently, rejected forthwith the concessions,
despite Al Steffes' efforts to induce the organization to ac-
cept them, and that the board of directors of Independent
Theatre Owners of Southern California & Arizona, an in-
dependent exhibitor organization not affiliated with Allied
States Association, has, according to Mr. Albert Galston,
its president, felt "keen disappointment that the drafts do
not, in most instances, comprise" either "the intent" or "the
substance of the points presented by the Association's dele-
gates in New York City," reasons for withholding an
analysis of the distributor memorandum no longer exist.
At this time I should like to treat on three of the so-called
concessions, even though they do not appear in the memo-
randum in order : Theatre acquisition, score charges, and
preferred playing time. I shall use the numbers and sub-
titles that are given in the distributor memorandum :
"13. Acquiring Theatres : No distributor shall coerce any
exhibitor to enter into any contract for the exhibition of
motion pictures, by the commission of any overt act evi-
dencing an intention to build or otherwise acquire a motion
picture theatre for operation in competition with each ex-
hibitor, but nothing herein shall otherwise in any way
abridge the right of a producer or distributor to build or
otherwise acquire a motion picture theatre in any location."
In view of the pending suit by the Government, which
seeks to compel the producer-distributors, through court
action, (and if court action fails, through legislation), to
divorce themselves from the ownership, operation or con-
trol of motion picture theatres, one fails to comprehend
how so-called intelligent persons would dare make to the
exhibitors such an offer. The offer means simply this : "I
promise not to compel you to buy my pictures by threats of
either buying or building a theatre in your neighborhood to
compete with you, provided you agree in writing that you
can't stop me from either buying or building a theatre, in
any location, if I want to — that's my right, and I want you
to agree to it."
Have you any idea what y/ould happen if you signed such
an agreement ? The producers would go to the Department
of Justice and say to the Attorney General : "The exhibitors
have agreed to recognize our right to buy or build theatres
anywhere we want to. Consequently, there is no reason for
you to seek to drive us out of the exhibition business." The
independent exhibitor representative who would sign such
a document would never be able to show his face among
those whom he represented. Nor among any other inde-
pendent exhibitors. He couldn't look any one in the face.
If the concession was in any way fair, I would have
called your attention to the fact that Allied, in accordance
with my analysis of its memorandum in the November 26
issue of Harrison's Reports, insisted that the producers
agree not to use the promotion of a new theatre as a selling
threat, and would have suggested to your representatives
to insist that such a point be conceded, but since the con-
cessions on this matter are no concessions at all, there is
no need for my wasting your time with such a suggestion.
Since separation of theatres from production-distribution
is one of the points that the exhibitors intend to insist upon,
rind since the distributors refrain from even discussing it,
it is the opinion of Harrison's Reports that no final under-
standing can be reached between Allied States and pro-
ducers. I am sure that the same is true also of some of the
unaffiliated independent exhibitor units, such as the South-
ern California unit.
"7. Score Charges. In respect of license agreements com-
mencing with the season of 1938-39 all score charges, if
any, for pictures licensed on a flat rental basis shall be
added to and consolidated with the film rental and com-
mencing with the season 1939-40 there shall be no score
charge in respect of pictures licensed on a percentage basis."
In view of the fact that controversies arising out of the
method of consolidating score charges with rentals are not
made subject to arbitration, it is doubtful if this is a 100%
concession ; the salesman could make the exhibitor agree
on the flat rentals and then add the score charge to them
afterwards, and the exhibitor will have no way of getting
justice in case his flat-rental offer should be the highest he
could make. Let us not forget that what you are seeking
is, not consolidation of the score charges with the film
rentals, but elimination of them.
"4. Preferred Playing Time. Preferred playing time shall
not be designated by the distributor for a feature picture for
which the rental is either a fixed sum or computed in whole
or in part upon a percentage of the admission receipts with
a minimum fixed sum guaranteed. In respect of each feature
picture for which the film rental is to be computed wholly
upon a i>erccntagc of the admission receipts, the number of
such pictures to be played on preferred playing time as well
as the days constituting preferred playing time shall be
determined by mutual agreement between the distributor
and the exhibitor at the time of the making of the license
agreement and the distributor shall then be free to designate
the pictures to be played in accordance with such agree-
ment."
This concession has another paragraph, but the essence
of the concession is contained in the aforementioned para-
graph.
In view of the fact that the method of leasing pictures on
percentage with a minimum guarantee no longer exists, or
it exists only in a few isolated cases, and that the distribu-
tor has no right to designate pictures sold on a flat-rental
basis, the distributors are granting no worth-while conces-
sion on the question of "Preferred Playing Time." For
your representatives, then, to accept this proposal is merely
to fall into a trap: you are asked to sanction preferred play-
ing time on pictures leased on a straight-percentage ar-
rangement, merely on the pretext that something is offered
to you.
There are so many other pitfalls that your representa-
tives should not agree on this proposal unless a fairer offer
is made.
Reading over the distributor memorandum, particularly
the part referring to the three proposals discussed in this
article, I wonder whether it is you who are seeking conces-
sions, or whether the distributors are seeking concessions
from you, for if you agree to these proposals it will be yon
who would be granting the concessions. They want your
representatives to accept these proposals so that they may
nullify the efforts of the United States Government to bring
you genuine relief.
MR. ALBERT GALSTON'S STATEMENT
As mentioned elsewhere in this issue, Mr. Galston, presi-
dent of Independent Theatre Owners of Southern Califor-
nia & Arizona, announced that the board of directors of his
organization expressed keen disappointment at the fact that
the producer memorandum has ignored many of their just
demands, and hoped that they would realize that the exhibi-
tors cannot be satisfied with partial settlement of their
problems and that they will reconsider. A letter, he says,
was sent to Mr. Rodgers to that effect.
Part of the statement says :
"The exhibitor delegates sent to the New York confer-
ence of the unaffiliated exhibitor organizations of the
United States gave judicious thought to the preparation of
their briefs and each one of our points received the unani-
mous approval of all our representatives.
"We cannot believe that the Distributors Committee was
unanimous in the final adoption of their draft. It is our
guess that a number of members of the Distributors Com-
mittee endeavored to sway the constructive representatives
of the distributors on the committee who demonstrated a
sincere desire to end for all times the ancient exhibitor
problems. Therefore, it is our firm conviction that it is our
duty to continue our negotiations and we believe the subse-
quent sessions with the distributors will bring about a more
complete adoption of the balance of our points."
Harrison's Reports congratulates Mr. Galston and his
board of directors for the position they have taken relative
to the producer concessions.
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. XX SATURDAY, DECEMBER 31, 1938 No. 53
The Television Problem in Motion Picture Theatres — No. 4
Q. 8: One major film company has announced
that it has engaged in television experimenting and
may soon manufacture and sell receivers. It is to
be assumed that other film companies will in time
follow suit. Is it advisable for film companies to
engage in work that is foreign to their nature?
A. It is hard to understand why any motion pic-
ture producing concern should want to engage in
the manufacture and sale of television receivers.
The manufacture of radio receivers is a compli-
cated as well as difficult undertaking. There exist
in this country many large factories, fully capable
of handling the manufacture of both radio and
television receivers. These factories have had a
long experience, now possess costly machinery, a
skilled staff, reliable retail merchandising outlets,
and experienced wholesale distribution groups.
Not only can they meet the market demand for
television sets, but also produce an oversupply, just
as has often been the case with the manufacture of
radio sets : in some years the supply so exceeded
the demand that prices were slashed, causing both
manufacturers and retailers serious financial losses.
The manufacture of television receivers is even
more difficult and complicated than is the manu-
facture of radio receivers, and it is surprising that
companies that do not possess the slightest knowl-
edge of the manufacture, distribution and retail-
ing of even radio receivers should enter into a
field that is so different from their business. Ac-
cording to what seems reliable information, of the
radio receiver manufacturers with whom motion
picture companies have made deals, none has large
facilities for manufacturing receivers, long experi-
ence in such manufacture, and either nation-wide
distribution facilities, or a national retail outlet
system. For all these reasons, the entry of moving
picture producers into the television-receiver field
seems to be as logical as would be the entry of a
radio-set manufacturer into motion-picture produc-
tion, with great confidence that he would be able to
sell his pictures to the theatres at a profit. The mo-
tion picture producers would certainly laugh at
such a manufacturer; they would know how disas-
trous would be his undertaking. Isn't the case
similar to that of the picture companies' entering
the television manufacturing field? Will their hir-
ing of some experts to supervise the television
business for them be able to save them from disas-
ter ? Can a company run a business with hired men
when none of its executives knows the complex
structure of that business or has had practical
experience in it?
The motion picture industry can profit from tele-
vision, but by a different method entirely ; it could
produce pictures suitable for television purposes,
at a price, to be sent out from network stations to
home subscribers, and even sold to advertisers who
may wish to use them for television programs. The
requirements of such pictures would be different
from the requirements of pictures shown in thea-
tres : they would be short (perhaps from fifteen to
twenty minutes' duration), and minor stars could
be used in them. In this way, the motion picture
theatres would not be injured. As a matter of fact,
these theatres would benefit, for the players in such
pictures would gain popularity, eventually being
starred in feature motion pictures. Part of the
profits the producers would thus make could be
devoted to improving the quality of their feature
pictures. It would be a fine thing if the producers,
by these means, repaid, in a small measure, the debt
they owe to the picture theatres.
Q. 9 : Is it possible that television will fit better
in theatres designed to show exclusively current
events transmitted by television ?
A. It is possible that ultimately there will be
produced some sort of continuous television news
program, the nation-wide events transmitted to
some central station, to be redistributed to subscrib-
ing theatres nationally by either radio or cable net-
work, after being combined into a suitable pro-
gram, employing events recorded on film as fillers.
But such a project may prove too costly, because
the gathering and the distribution of such programs
nationally would involve connection facilities,
whether radio or cable, as well as pickup crews, and
an editing headquarters staff, which might prove
too expensive to maintain. The cables so far built
cost about $5,000 a mile. But even if the cable cost
should be reduced considerably, a cable length of
anywhere between 25,000 and 50,000 miles, as
would probably be required ultimately, would most
surely prove a staggering investment. The pickup
crews may have to be much larger than those em-
ployed for newsreel purposes, because these crews
would have to be stationed in widely separated
places, ready to pickup whatever events may be
taking place at any given time. The editing force,
too, would have to be large so that the assembling
of these events and the fitting of them with proper
commentary, ready for redistribution, may be done
with rapidity.
The opinion is that, although such a project
seems interesting, it might prove economically un-
sound. {Continued next zveck)
THE PRODUCER MEMORANDUM— No. 2
From among the concessions that the exhibitors
have been hoping to receive from the distributors,
two stand out : separation of exhibition from pro-
duction-distribution, and arbitration.
The question of theatre separation was dealt with
{Continued on last page)
210
HARRISON'S REPORTS
December 31, 1938
"Flirting With Fate" with Joe E. Brown
and Beverly Roberts
(MGM, Dec. 2; time, 68 min.)
Just a fair comedy. It is not as good as this star's last
picture, for the gags used are old and not particularly amus-
ing. Brown works hard to put freshness into trite situations,
but his efforts fall mostly flat, for the material is poor ; in
only a few situations docs the comedy provoke laughter.
There is some excitement towards the end, when Brown,
who had been intent on killing himself, suddenly decides he
wants to live, but finds his life endangered by a scheming
bandit. Incidental music has been worked into the plot, but
with only fair results : —
Stranded with his troupe in South America, Brown
realizes that their bad luck had been due to his poor man-
agement, for he had incurred the animosity of the most
powerful theatrical man (Charles Judels) in South Amer-
ica on account of his clumsiness each time he met him.
Knowing that the troupe would get good booking if they
could return to New York, Brown writes a note to Beverly
Roberts, a member of the troupe, assigning his life insur-
ance to them; he then sets out to kill himself. But all his
efforts are in vain : the gun he chooses turns out to be
empty, the ant poison he drinks turns out to be whiskey,
and the lion he battles with becomes tame. Finally he makes
a bargain with Leo Carillo, a bandit, whereby Carrillo, for
$500, would kill him. But first Brown has to go to a party
at Carrillo's hacienda, to await his execution at sunrise.
Carrillo brings Judels to the party by force to listen to
Steffi Duna sing, but she sings so terribly that Judels re-
fuses to listen; so they lock him up with Brown. Judels
promises Brown that, if he would obtain his release, he
would book his troupe for a year. Brown then decides to
live. But Stanley Fields, one of the bandits who had been
trying to overthrow Carillo, had other ideas; he wanted to
collect the $500. After a hectic fight, in which Brown and
Judels try to escape by hiding in the costume of a bull, the
bandits are subdued. Miss Roberts, who loved Brown, is
happy to find him alive.
Dan Jarrett and A. Dorian Otvos wrote the story, and
Joseph M. March, Ethel LaBlanche, Charlie Melson, and
Harry Clork, the screen play ; Frank McDonald directed
it, with Edward Gross as an associate producer under
David Loew, the producer. In the cast are Wynne Gibson,
Leonid Kinskcy, Chris Martin, and others.
Suitability, Class A.
"Arrest Bulldog Drummond" with
John Howard and Heather Angel
(Paramount, Nov. 25 ; time, 56 www.)
Good entertainment. It has fast action, thrilling situa-
tions, and a good sprinkling of comedy. In spite of the fact
that parts of the story are far-fetched, one is held in tense
suspense, for something is happening every moment. The
production values are good, and the acting commendable.
This time, Drummond and his pal (Reginald Denny)
accidentally stumble upon a murder, which soon involves
them in an international plot. The murdered man had in-
vented a powerful death ray, anil the villain, (George Zuc-
co), desiring to get the machine so that he might sell it to
international agents, had killed the inventor. Because of
threats to his fiancee (Heather Angel) from the villain,
Drummond is compelled to postpone his wedding. But he,
his pal, and his ever-faithful valet (E. E. Clive), deter-
mined to uncover the plot and to find the machine, start out
on their search. Drummond, learning that the villain and
his assistant were sailing on the boat on which his fiancee
was a passenger, flies down to the first stopping point,
equipped with full authority by Scotland Yard to bring
back the villain. Drummond's pal and his valet are caught
by the villain ; he plans to kill them after killing Drum-
mond, who, as he thought, was walking into a trap he had
set. But Miss Angel's quick thinking saves Drummond's
life. In company with his two friends, who had escaped, and
with police following, Drummond rushes to the villain's
hideout. Drummond blows up the machine and helps in
rounding up the villain and his co-workers.
II. C. McNcile wrote the story, and Stuart Palmer, the
screen play ; James Hogan directed it, and Stuart Walker
produced it. In the cast are H. B. Warner, Jean Fcnwick,
Zcffie Tilbury, and others.
Because of the murders, it is hardly suitable for children.
Class B.
"Sweethearts" with Jeanette MacDonald,
Nelson Eddy and Frank Morgan
(MGM, Dec. 30; time, 113 min.)
Very good. The lavish production is enhanced by the
technicolor photography. Even though the story is thin,
the MacDonald-Eddy fans will probably overlook this, for
the stars sing many good numbers in their customary
talented way. And there is comedy both in dialogue and
situation to brighten up things. The picture has unusual
appeal for women, for Miss MacDonald wears beautiful
cloihes and makes many changes; this is so particularly
in one scene, where she is shown buying a new wardrobe in
preparation for a trip. The romance is pleasant : —
Miss MacDonald and Mr. Eddy, stars of a Broadway
musical siiow that had been running for six years, arc mar-
ried and happy. They arc, however, slaves to their profes-
sion for not only do they appear at the theatre each night,
but they arc compelled to make appearances at benefits, sing
over the radio, and make recordings. The members of
their respective families live in luxury on the earnings of
the stars. Tired of their hectic existence and annoyed at
the demands of their manager (Frank Morgan) and of their
relatives, they decide to leave Broadway for Hollywood,
there to make motion pictures. Morgan is frantic, for it
meant losing his best source of revenue. Mischa Alter, a
playwright, thinks of a way of handling the situation, lie
reads the script of his new play to Miss MacDonald in
.which he includes dialogue similar to the love letters Eddy
had been sending to his wife each night; Miss MacDonald
is unaware that Auer had stolen the letters from her dress-
ing room. Auer leads her to believe that the notes had been
sent to a young lady by a married man whose wife knew
nothing of the affair. Miss MacDonald, thinking that the
persons involved were her husband and his trusted sec-
retary (Florence Rice), refuses to go to Hollywood; as a
matter of fact she leaves her husband. They both go on the
road with different companies, and both are miserably un-
happy. Eventually the truth comes out and husband and
wife are reconciled. They forgive Morgan for his part in
the affair and decide to remain on Broadway.
The plot was adapted from the Victor Herbert stage play ;
Dorothy Parker and Alan Campbell wrote the screen play,
W. S. VanDyke directed it, and Hunt Stromberg produced
it. In the cast are Ray Bolger, Reginald Gardiner, Herman
Bing, Raymond Walburn, Gene Lockhart, and others.
Suitability, Class A.
"Adventure in Sahara" with Paul Kelly
(Columbia, Nov. 15; time, 57 min.)
A trite program melodrama, centering around the For-
eign Legion. The plot besides being far-fetched, is depress-
ing. Most of the action deals with the cruelties of a sadistic
commander at a French foreign legion outpost, resulting
in the death of many men. Nor are the hero's actions par-
ticularly edifying, for they are motivated by a desire for
revenge. In one scene he is shown sending the cruel com-
mander and his loyal soldiers out in the desert with just
enough water for a short trip ; all' the men, with the excep-
tion of the commander, die. The love interest is somewhat
silly : —
When Paul Kelly, an aviator working in France, learns
that his brother, a member of tlse Foreign Legion, had died,
he gives up his position to join the Legion ; he requests that
he be placed in the regiment to which his brother had be-
longed. He knew that his brother's death had been caused
by the cruelties of the commander (C. Henry Gordon).
Once at the outpost. Kelly gets a taste of this cruelty. Gor-
don causes the death of many other men. The men having
decided to revolt, request Kelly to be their leader. Gordon
and those soldiers who desired to remain loyal to him are
sent out into the desert with a scant supply of food and
water. Gordon, the sole survivor, reaches the nearest out-
post and returns with soldiers and supplies. He arrives just
at the time of an Arab uprising, during which Kelly and
the other men distinguish themselves for bravery. Never-
theless they are arrested and tried; they are sentenced to
four months' imprisonment. But they gladly serve this term,
for Gordon's methods had been exposed and he had been
removed from office. Lorna Gray, Kelly's fiancee, promises
to wait for him.
Sam Fuller wrote the story, and Maxwell Shane, the
screen play; D. Ross Lcderman directed it. In the cast are
Robert Fiske, Marc Lawrence, Dick Curtis, and others.
Not particularly suitable for children. No Sunday pic-
ture. Class B.
December 31, 1938
HARRISON'S REPORTS
211
"Smashing the Spy Ring" with
Ralph Bellamy and Fay Wray
(Columbia, Dec. 29; time, 61 min.)
A good program espionage melodrama. It holds one's
attention throughout, tor the story is interesting, and the
action fast and at times exciting. One is held in suspense in
the second half; there the hero endangers his life in order
to uncover the identity of the leader of the spy ring. Some
of the methods employed by the spies in obtaining and pars-
ing on their information are novel, and, in spite of the fact
that they are slightly far-fetched, engage one's attention. A
pleasant romance is worked into the plot : —
Ralph Bellamy and Regis Toomey, members of the U. S.
Federal Bureau of Investigation, are instrumental in the
capture of a number of spies ; but they cannot discover the
leader. When they return to Washington, Bellamy visits
his fiancee (Fay Wray), whose brother (Warren Huil),
too, was a federal agent. Hull informs Bellamy that he was
on the trail of the leader, and that he expected to meet him
that night; he had arranged this by pretending to have
government plans that he wanted to sell. The leader (Wal-
ter Kingsford), a doctor who ran a sanitarium as a "blind,"
finds out who Hull was, and has one of his henchmen mur-
der him. Bellamy and Toomey, who suspected Kingsford,
work out a scheme to trick him. Bellamy poses as a famous
inventor of a poison gas who, because of the supposed
death of Toomey from the effects of the gas, suffers a men-
tal shock, thereby supposedly losing his memory. Kings-
ford, believing Bellamy to be the inventor, contrives to get
him admitted to his sanitarium. He tries to get Bellamy to
talk about the formula, but naturally to no avail. By snoop-
ing around, Bellamy finally obtains the information he
needed, and notifies the federal agents to raid the place.
They come just in time, for one of Kingsford's henchmen
had recognized Bellamy as a federal agent.
Dorrell and Stuart McGown wrote the story, and they
and Arthur Horman, the screen play; Christy Cabanne
directed it. In the cast are Ann Doran, Forbes Murray, and
others.
Suitability, Class A.
"The Duke of West Point" with Louis Hay-
ward, Richard Carlson, Tom Brown
and Joan Fontaine
(United Artists, Dec. 29; time, 109 min.)
Very good entertainment ; but it may need considerable
publicizing, for the players are not strong box-office attrac-
tions. George Bruce, who wrote "Navy Blue and Gold,"
wrote this story ; again he shows his understanding of the
essentials for a good motion picture, for, as was the case
with the other picture, it has human appeal, freshness of
treatment, and deeply moving situations. Without becoming
cither over-sentimental or "preachy," the story stresses
nobility of character, striking a patriotic note. And for ex-
citement, there is, in the closing scenes, a hockey game
which is certain to keep the spectators in tense suspense.
The romance is routine : —
Louis Hayward leaves Cambridge University to study at
West Point, where, for generations, the men in his family
had studied. His father, who was connected with the Amer-
ican Embassy in London, warns him that he might find it
difficult to acclimate himself to American ways since he
had spent so much time in England ; but Hayward, who
was completely self-assured, laughs away his fears. No
sooner does he arrive at West Point than he quarrels with
Alan Curtis, an upper classman, because of his attempts to
make friends with Joan Fontaine, the trainer's daughter,
with whom Curtis was in love. Hayward's swaggering ways
annoy his classmates; his only real friends are his room-
mates, Tom Brown and Richard Carlson. Knowing that
Carlson's mother was in straitened circumstances, and that
Carlson might have to leave school, Hayward wires her
one thousand dollars, asking her not to tell Carlson about
it. But in order to do this, he had sneaked out when he
should have been in bed. An officer sees him in front of the
telegraph office and telephones to Curtis. Curtis reports
him. Taken before a board meeting, Hayward denies having
been at the telegraph office, for he feared that, if he told
the truth, Carlson would suspect what had happened. When
the suggestion is made to him that he resign, lie refuses to
do so. An order is sent around that the students refrain
from talking to him; they all obey this except Brown and
Carlson. Hayward excels in sports and in his studies, yet
no one talks to him ; this goes on for a year, and Hayward
suffers inwardly. Eventually, the truth comes out. The
students apologize and offer their friendship, which Hay-
ward gratefully accepts. Miss Fontaine, who had not lost
faith in Hayward, promises to marry him.
Alfred E. Green directed it, and Edward Small produced
it. In the cast are Donald Barry, Charles D. Brown, Jed
Prouty, Emma Dunn, and others.
Suitability, Class A.
"Dawn Patrol" with Errol Flynn, David
Niven, Basil Rathbone and Donald Crisp
(Warner Bros., Dec. 24; time, 101 min.)
A thrilling war-time aviation melodrama. First produced
by Warners in 1930,' the story has lost none of its exciting
qualify. The marvelous stunt-flying, the scenes showing
combat between the German and British aviators, the bomb-
ing of an aerodrome and later of- a railroad depot and of
supply stations, are portrayed so realistically that they
thrill one and hold one in tense suspense. As in the first
picture, there is no love affair, nor do any women appear in
the cast. But it has human appeal, awakened by the friend-
ship between the hero and his pal, and by the sympathy one
feels for the men who go to their death with a smile. How
audiences of today will react to a picture such as this is for
each exhibitor to decide for himself.
Errol Flynn, a British Ace, constantly complains to his
commander (Basil Rathbone) because of the youth and
inexperience of the aviators sent to Mm to combat with the
experienced Germans. Rathbone is helpless to do anything
about it ; as a matter of fact his nerves reach the breaking
point. Overjoyed when promoted, he appoints Flynn in his
place. In a short time Flynn becomes similarly a nervous
wreck, first, because he was accustomed to being in the air
and fighting, and secondly because he worried about his
men. He receives orders to put every man in the air. Al-
though his best friend (David Niven) pleads with him not
to send his young brother up, Flynn refuses to make excep-
tions. When his brother does not come back, Niven accuses
Flynn of having caused his death. Flynn is ordered to send
a lone aviator behind the German lines to destroy supplies
and railroads, and calls for volunteers. Niven asks to be
sent. Flynn, however, filling Niven with liquor, goes off on
the perilous task himself. He accomplishes his work, but is
killed.
John Monk Saunders wrote the story, and Seton I. Miller
and Don Totheroh, the screen play ; Edmund Goulding
directed it, and Robert Lord produced it. In the cast are
Melville Cooper, Barry Fitzgerald, Carl Esmond, and
others.
Suitability, Class A.
"Going Places" with Dick Powell
and Anita Louise
(First Natl., Dec. 31 ; time, 83 min.)
A fairly good comedy, with music. It is a remake, with
a few changes, of "The Hottentot," produced twice before.
Although the first two versions proved to be excellent box-
office attractions, it is doubtful if "Going Places" will do
more than fairly well, for the public taste in screen fare has
changed in the last few years. Nevertheless it should prove
fairly entertaining to the rank and file, for it has comedy,
romance, and music. It offers some excitement in the clos-
ing scenes, when the hero, who didn't know how to ride a
horse; competes in a difficult steeplechase race. One of the
best musical numbers is that in which a group of colored
singers, including Louis Armstrong and Maxine Sullivan,
participate : —
Dick Powell decides to go to an important horse race
meet, there to pose as a famous gentleman rider and to boost
the sporting goods articles sold by his firm. The general
manager goes along with him" as valet. Powell finds him-
self in a difficult position: on the one hand, two gamblers
(Harold Hubcr and Allen Jenkins) insist that he ride a
certain horse in the race on which they wanted to place bets,
and on the other, Anita Louise, with whom he had fallen in
love, pleads with him to ride her horse. And the worst part
of it all was that he did not even know how to sit on a
horse. Notwithstanding the danger, he promises to ride
Miss Louise's horse. But when Hul>er and Jenkins hear of
this, they feed the horse apples and water, thereby making
him unfit for the race, and thus putting Powell in the posi-
tion where he was free to ride the horse they were betting
on. Powell tells Miss Louise the truth about himself ; she
is enraged. In order to prove to her that he had courage, he
decides to ride the horse the gamblers had bet on. He wins.
Miss Louise forgives him and promises to marry him.
The plot was adapted from the play by Win. Collier, Sr.
and Victor Mapes. Maurice Leo, Jerry Wald, and Sig
Herzig wrote the screen play ; Ray Enright directed it, and
Benjamin Glazer produced it. In the cast are Minna Goin-
bell, Walter Catlett, Ronald Regan, and others.
Suitability, Class A.
212
HARRISON'S REPORTS
December 31, 1938
extensively in last week's issue ; in this issue, arbitration is
discussed first in the list of concessions, contained in the
distributors' memorandum:
"15. Arbitration: The principles and factors involved in
the matters to be arbitrated, the rules and regulations to
govern submissions, hearings and awards, the methods of
selecting arbitrators and other matters in connection with
the arbitration proceeding have not yet been fully dis-
cussed. Subject to agreement thereupon, all matters herein
specifically made the subject of arbitration, all controver-
sies concerning performances of existing contracts between
a distributor and its customers and all claims that clearance
or zoning now or hereafter existing is unreasonable and
that an exhibitor has licensed more pictures than are re-
quired shall be subjects of arbitration.
"Conciliation also may be found to be a speedy and feasi-
ble method of settling certain classes of disputes prelimi-
nary to or in lieu of arbitration as may hereafter be deter-
mined."
According to the Allied memorandum, which was dis-
cussed in the November 26 issue of this publication, the
distributors first offered local conciliation boards, with a
possibility of establishing in New York City a national
supervising body ; but Allied proposed a procedure on the
model of commercial arbitration involving: (a) the estab-
lishing of territorial panels of available men representing
each economic division of the industry; (b) arbitration
boards evenly balanced as between conflicting interests,
with the right: (1) to call in a referee when needed; (2)
to make the awards binding within the limitations of the
general law and of the arbitration statutes in controversies
such as (2a) clearance, even between exhibitors ; (2b) sell-
ing away from an exhibitor customer ; (2c) overbuying ;
(2d) coercion in selling pictures; (2e) assertion that there
exists lack of available prints; (2f) compelling an exhibi-
tor to buy a distributor's shorts, including newsweeklies
and trailers; (2g) unsuitability of pictures for given com-
munities; (2h) unsuitability of pictures designated by the
distributor on certain days of the week; (2i) unfair com-
petitive practices in the operation of theatres; (2j) short-
age in the percentage-engagement reports; (2k) non-deliv-
ery of pictures already sold; (21) holding up by prior runs
the dating of pictures. As a matter of fact, the Allied memo-
randum called for the arbitration of all controversies aris-
ing under the exhibition contracts and the commitments of
the distributors growing out of the negotiations.
The distributors, as the Allied memorandum stated,
agreed to these proposals in principle, to be accepted after
the details were worked out satisfactorily. They expressed
a doubt, however, whether arbitration involving the opera-
tion policies of theatres, including clearance, could be made
effective, particularly if the award involved the payment of
money.
The Allied representatives felt that such matters could
be legally arbitrated and the awards enforced through the
courts if arbitration involved persons who had signed in
advance an agreement to submit to arbitration all such dif-
ferences. They told the distributor members of the com-
mittee that Allied felt sure that they could obtain the signa-
tures of exhibitors, and that it was up to them to obtain the
signatures of the affiliated exhibitors as well as of the
distributors.
In spite of the fact that Allied attached so much im-
portance to the subject of arbitration, the distributor memo-
randum, not only fails to put down any definite commit-
ment, leaving the matter to future negotiations, but also
limits the number of controversies that may be arbitrated.
Coercive selling, forcing of shorts, newsreels and trailers,
non-delivery of pictures already sold, holding up by a prior
run of the dating of pictures, arbitration between affiliated
and non-affiliated exhibitors — all these are left out, the
implication being that they are not to be arbitrated.
How could any person, be he even a trade-paper editor,
have ever conceived the idea that there was an agreement
in Chicago, when the details of arbitration had not yet been
worked out? What is happening now is just what Allied
had feared would happen : the Allied Committee would not
accept the distributor proposals, made finally to it in Chi-
cago, as being "an agreement," because, as Mr. Abram F.
Myers said, the details of arbitration had not been worked
out, and the committee members did not want to put them-
selves into a position where they might be compelled to
walk out on the conferences if there should be a disagree-
ment as to such details. It was a wise foresight, for had
they accepted the final distributor proposals in Chicago,
they would have now found themselves in the position they
so feared.
Why did the producers make their final proposals with-
out first settling the question of arbitration? They must
have known that the exhibitors would balk at accepting
any proposals from them unless the subject of arbitration
had been agreed upon first, not to mention the question of
theatre divorcement.
The remaining proposals will be discussed in the order in
which they appear in the distributor memorandum.
"1. Cancellation Privilege."
This is nothing but a substitute for the elimination of
block-booking and blind-selling. It offers to exhibitors the
right to cancel anywhere from ten to twenty per cent of the
contracted pictures. The members of the Allied committee
might disagree with some of its minor details, but these
might be ironed out if Allied should decide to let down the
civic, fraternal and religious organizations that have been
supporting the Allied cause for more than ten years, with-
out which support Allied would not be receiving from the
producers the consideration that they are now receiving.
Without the passage of the Neely Iiill in the Senate, which
passage was made possible only because Allied received the
whole-hearted support of a large number of non-theatrical
influential organizations, it is doubtful whether the produ-
cers would be paying any attention to all those of us who
have fought the block-booking and blind-selling evil for
ten long years.
Allied owes a debt of gratitude to these organizations. Is
it now going to let them down?
■ The producers say, of course, that, were block-booking
to be eliminated, they would have to shut down. That is
exactly what they said when a general outcry arose against
the salacious pictures they were once producing. But not
only did they not go broke after cleaning them, but they
made more money they had ever dreamed they would make.
When they know that they cannot sell the "clucks" they are
now producing, they will stop producing them. The outcome
will then be that they will be producing better pictures,
helping not only themselves, but also the exhibitors. Every
exhibitor knows that today, with all the bad business that
exists in exhibition, when he shows a first-class picture, he
makes more money than he has ever made. Correspondingly,
however, he loses more money with bad pictures than he has
ever lost. That is the answer to the producers' fear for the
elimination of block-booking.
Even if Allied were to accept the cancellation provision
that has been offered by the producers, which does not come
up to its demand, I doubt whether it will stop the pro-
ponents of the elimination of block-booking from carrying
on until they have seen it eliminated by a iaw. The system
is wrong and cannot be cured by palliatives. And a pallia-
tive is the cancellation provision, even if the number of
pictures that the exhibitor may cancel were to be raised to
thirty per cent.
Block-booking must go !
A LETTER FROM HERMAN BLUM
Mr. Herman Blum, of Baltimore, Maryland, an Allied
member of the Board of Directors, has sent a letter to this
office criticizing Red Kann, of Boxoffice, for his attitude
towards Allied. "In the name of common sense," he says,
"can you tell me what he's after? He is trying to twist
around everyone's words. . . .
"Before the board meeting was closed ... all were in
accord with the statement Cole left with Mr. Rodgers. . . .
"There are two things on which I want to make a definite
Statement in answer to Red. First, the committee, as a
whole, and I personally, have the highest regard for Mr.
Rodgers' integrity, and secondly concrete has been poured
for a foundation ; I hope that everybody will give their
honest effort to complete the structure."
DICK ROWLAND BACK IN HARNESS
Mr. Richard Rowland, president of the original Metro
company, and for several years head of First National
before it was taken over by Warner Bros., has been en-
gaged by Eddie Small to help those exhibitors who have
booked "The Duke of West Point," released through
United Artists, in exploiting the picture.
Mr. Small has taken a wise step, for Mr. Rowland is
fully qualified for the work.
Dick Rowland has contributed much to the motion pic-
ture industry. While he was head of Metro, he produced
"Four Horsemen of the Apocalypse," one of the outstanding
successes of all time. And while with First National, he
delivered to the exhibitors many a money-maker, among
which were "The Sea Hawk," "Black Oxen," "Flaming
Youth," and "Dark Angel."
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