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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.

Harrison's Reports

Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by

tt o*»»„„ tK nn Harrison's Reports, Inc.,

United States .... $15.00 New York 20, N. Y. Publisher

U. S. Insular Possessions. 16.50 ±-uD»sner

Canada 16 50 A Motion Picture Reviewing Service P- S. HARRISON, Editor

Mexico, Cuba, Spain 16.50 Devoted Chiefly to the Interests of the Exhibitors

Great Britain ............ 17.50 Established July 1, 1919

Australia, New Zealand,

India, Europe, Asia 17.50 its Editorial Policy: No Problem Too Big for Its Editorial

35c a Copy Columns, if It is to Benefit the Exhibitor. circle 7-46ZZ

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXXVII SATURDAY, JANUARY 1, 1955 No. 1

MORE ON "THE LONG GRAY LINE"

Our recent report that the grosses on "The Long
Gray Line" have fallen far below expectations in its
opening engagements has brought forth some interest-
ing comments in exhibitor organizational bulletins:

Bob Wile, executive secretary of the Independent
Theatre Owners of Ohio, cautioned his members in
this fashion: "If you go for the terms that Columbia

is asking for this picture, you are digging your own
grave. You know the company's policy on adjust-
ments. You'll get a couple of reissues you didn't want
for nothing."

Theatre Facts, the organizational bulletin of Allied
Theatre Owners of Indiana, had this to say : "Exhibi-
tors who attended the 'Long Gray Line' screening in
Indianapolis all reported that it was an excellent pic-
ture on which they anticipated top returns, but in
spite of these screening room opinions it would seem
foolhardy for any exhibitor to floor his scale or con-
tract for a high fixed percentage in the face of these
early returns. For Columbia to persist in its present
sales policy on this picture is a manifestation of a lack
of concern for the welfare of exhibitors. Exhibitors
who acede to such demands are hastening their own
demise.

"When viewers reported to us what a stirring pic-
ture 'Long Gray Line' was and the feeling it aroused
for America and its institutions, we thought : 'What
a wonderful picture to play in every possible situation
so that no one anywhere would have to miss it. But
at 70/30/10 and with 50% minimums, we knew that
a great many theatres would be forced to pass the
picture. It's a wonder that the Army, Veterans
organizations or similar groups have not made pro-
test to Columbia to revise their sales policy to enable
every theatre in the country to exhibit the picture."

LOCAL BOY MAKES GOOD

If any film company is a firm believer in thorough
exploitation of its pictures, it is Universal-Interna-
tional. One of its top campaigns was the six-city per-
sonal appearance tour just completed by Kirk Douglas
in connection with "Man Without a Star."

A highlight of this tour was a two-day homecom-
ing celebration for Douglas, held on Monday and
Tuesday of this week in Albany, NY., his home
town, and climaxed by a "Welcome Home" dinner
sponsored by the local Variety Club. High tribute
was paid to Douglas by city and state dignitaries,
and when he arose and thanked the members of his
family and others who had helped him on the road
to stardom, even the most hardened members of the
press could not help but be touched by his humbleness
and sincerity.

The success of this event was due in no small
measure to its intelligent handling by the U-I pub-
licity and exploitation staff. These alert publicists
and exploitation men know every showmanship
"gimmick" in the book and utilize them all to good
advantage, but in the case of this event they had the
good sense and taste to substitute warmth and dignity
for ballyhoo, thus bringing credit, not only to Doug-
las, but to the motion picture industry as a whole.

HARRISON'S REPORTS

"A Man Called Peter" with Richard Todd
and Jean Peters

(20th Century-Fox, April; time, 119 min.)

A great dramatic entertainment, one that 20th
Century-Fox in particular, and the motion picture
industry in general, may well be proud of. PhotO'
graphed in CinemaScope and DeLuxe color, it is an
inspired and deeply moving biography of the late
Peter Marshall, the famed Protestant minister, who
at the time of his death had attained the post of
Chaplain of the U.S. Senate. That the picture will
be an outstanding box-office success seems assured, not
only because it is a powerful human document that
is presented in terms of entertainment, but also be-
cause it has and is being backed by one of the strong-
est advertising and public relations campaigns ever
received by any picture. For example, in a series of
preview showings held this week in 60 key cities
across the country in cooperation with the National
Council of Churches, it is estimated that approxi-
mately 100,000 opinion-makers, including ministers,
lay church figures, Sunday school teachers, United
Church Women groups and other civic leaders, will
have seen the picture. Protestant church organizations
are solidly behind the picture, and many ministers
throughout the nation are urging their congregations
to see it.

The picture, however, is not one that is limited in
appeal to Protestants, for its message of devotion to
God and family and love for one's fellow man, as
practiced by a real, down-to-earth human being, is so
inspirational and heartwarming that it is sure to make
a deep impression on all people, regardless of their
religious beliefs.

Richard Todd is nothing short of superb in his
sensitive portrayal of the renowned cleric. Ebullient
and sincere, he endears himself to the spectator from
the very start, and whether he is courting Jean Peters,
delivering a sermon from the pulpit or entertaining
G.I.'s in a church canteen, he is completely believable
in everything he does or says. Even his sermons hold
one enthralled, not only because of their eloquence,
but also because of the meaningful things he has to
say in terms that can be understood by all. Miss
Peters, as Catherine Marshall, his wife, is completely
charming and sympathetic and, after this picture,
ought to rise to new heights in popularity. Henry
Koster has directed the principal characters with such
keen understanding that the audience feels affection
for them and shares the joys and sorrows they parti-
cipate in. The production values are first-rate, and so
is the color photography. All in all, it is a picture
that can be shown with pride in every theatre in the
country.

Briefly, the story opens in Scotland in 1909 and
depicts Peter as a seven-year-old boy who is dis-
covered as a stowaway in an unsuccessful attempt to
go to sea. The years skip by and, as a young man still
in his teens, he receives a feeling that God has called
him to the ministry. He sets sail for the United States,
where he obtains employment as a laborer and in due
time receives an appointment to enter Columbia
Theological Seminary at Decatur, Georgia. He grad-
uates with high honors four years later and is offered
the unusual choice of going to a small church in
Covington or a large one in Atlanta. He accepts the
smaller church, but within three years is assigned
to the Atlanta pastorate. His work there is so success-
ful that he soon attracts national attention. Mean-

while he meets and falls in love with Catherine, a
graduate student at a college nearby, and marries her
after a whirlwind courtship. Their joyful honeymoon
is climaxed by news that he had been transferred to
the famed New York Avenue Presbyterian Church
in Washington, D.C., where Abraham Lincoln had
worshipped. Peter's informality in the conduct of his
duties and his "folksy" approach in his sermons go
over big with most of the parishioners, and his min-
istry soon attains tremendous popularity, particularly
with young folk, who stand outside in the rain to
hear his voice over loudspeakers. The birth of a son
gives him unbounded delight, but his joy is tempered
that same day by news of the Japanese attack on
Pearl Harbor. Both Peter and Catherine go through
a trying period when she is bedded for several months
with tuberculosis. Her condition bears heavily on
Peter, but God answers his prayers when she makes
a slow but sure recovery. Shortly thereafter Peter
suffers a heart attack during a sermon but manages
to survive. He proves to be a restless convalescent and
returns to his pulpit against his doctor's orders and
Catherine's pleadings. When he is offered the post of
Chaplain of the U.S. Senate, he concedes nothing to
his health and joyously accepts. He suffers a second
heart attack soon after and passes on.

It was produced by Samuel G. Engel, and directed
by Henry Koster, from a screenplay by Eleanore
Griffin, based on the book by Catherine Marshall.

Excellent for every one.

"Cult of the Cobra" with Faith Domergue,
Richard Long and Marshall Thompson

(Univ.-lnt'l, May; time, 82 min.)

This is one of those fantastic horror melodramas
that should prove satisfactory wherever pictures of
that type are acceptable. Except for the closing scene
and for the terrified cries of the victims, most of the
horror action takes place by indirection; that is, the
audience is asked to presume that a beautiful woman
transforms herself into a cobra at will so as to wreak
vengeance on those who had disrupted a sacred meet-
ing of a Hindu cult of snake worshippers, who be-
lieved that human beings changed into snakes and
back again to humans. The atmosphere is appropri-
ately eerie and the action holds one in pretty tense
suspense. There is no comedy to relieve the tension.
The photography is good: —

Six American G.I.'s, including Richard Long, Mar-
shall Thompson, William Reynolds, James Dobson,
David Jannsen and Jack Kelly invade a secret meet-
ing of the Hindu cult. Pandemonium breaks loose
when one of them takes a flash photo and, as they
escape, they are cursed by the high priest who vows
that the Snake Goddess will kill them all. On the
following day, Dobson is found dead with the fang
marks of a cobra on his neck. The remaining five
G.I.'s are shipped home shortly after this tragedy. All
live in New York and remain close friends. Thomp-
son is disappointed when he learns that Kathleen
Hughes, a young actress, whom he and Long had
been wooing, had decided to marry Long. But his
heart mends when he meets Faith Domergue, an exotic
beauty who had moved into the apartment next to
his. Through Marshall, Faith meets the other boys.
Then, one by one, Reynolds, Kelly and Jannsen suffer
violent deaths, in each of which a snake bite had
been involvd. Fantastic though the idea was, Long
becomes convinced that Faith is the Snake Goddess

March 26, 1955 HARRISON'S REPORTS 51

and that she is carrying out the high priest's curse.
From Faith's apartment, where the body of Reynolds
had been found, Long telephones Marshall at a theatre
where he and Faith had gone to watch Kathleen in a
new play, and asks him to hold Faith in her seat until
the police arrive. But when Marshall returns to the
auditorium he finds that Faith had disappeared. Sus-
pecting the worst, he dashes to Kathleen's dressing
room and finds a cobra threatening the terrified girl.
He seizes a chair and pushes the cobra out of the
window to the pavement below. After the snake lands
on the street, it materializes into the lifeless body of
Faith.

It was produced by Howard Pine, and directed by
Francis D. Lyon, from a screenplay by Jerry Davis,
Cecil Maiden and Richard Collins, based on a story
by Mr. Davis.

Though unobjectionable morally, it seems best
suited for mature audiences.

"Marty" with Ernest Borgnine and Betsy Blair

(United Artists, March; time, 92 min.)

Excellent! Based on Paddy Chayef sky's prize-win-
ning television play of the same name, it is a down-
to-earth human-interest drama that is sure to have
wide appeal, for it is a portrayal of life as it really
is and as it is understood by the great mass of people.
Favorable word of mouth advertising will no doubt
give the picture a considerable boost at the box-office,
but it will require extensive exploitation just the same
because of the lack of marquee names. The acting,
however, is most skillful. Ernest Borgnine, the leading
player, who heretofore has been see in villainous roles,
does an excellent piece of acting in a thoroughly sym-
pathetic characterization — that of a mild-mannered
butcher who is not particularly handsome, and who
is hounded by friends and relatives, including his
mother, to find a girl and get married before he gets
too old. He is so genuine a fellow that one shares his
joy when he finds a girl to his liking and feels keenly
his dejection when his mother, who had prayed for
the day this would happen, turns sour on the idea
because of the realization that she could not continue
to live with him once he is married. Betsy Blair, too,
does fine work as the lonely, not-too-attractive school-
teacher, whom nobody seems to want until Borgnine,
another lonely soul, falls head over heels in love with
her. It is a completely heart-warming human docu-
ment, one that moves the spectator because of the
understandable personable problems involved and
at the same time leaves him with a feeling of gratifi-
cation because of the fulfillment found in life by two
dejected but highly decent and compassionate people.
There is a great deai of mild comedy relief : —

Borgnine resents the urgings of his friends and
family to get married, for he has an inferiority com-
plex and feels that girls do not care for him. While
visiting a neighborhood dance hall on a Saturday
night, he meets Betsy, who had been ditched by her
escort, a worthless fellow, who had brought her to the
dance as a blind date. He asks Betsy to dance with
him and they spend a very happy evening together.
They soon feel as if they had known each other for
years. Both pour their hearts out, and all their frus-
trations and personal problems get a thorough airing
and a sympathetic hearing. Borgnine takes Betsy to
his home to meet Esther Minciotti, his mother, who
had just returned from a visit with her sister, an
elderly, nagging woman, who could not get along

with a daughter-in-law, whose home she had been
asked to leave. Miss Minciotti fears that the same
fate might befall her, and for that reason her attitude
toward Borgnine marrying undergoes a change. Hav-
ing promised to telephone Betsy on Sunday evening
to take her to the movies, Borgnine hesitates to do so
because of the many criticisms made by his mother
about Betsy. And to add to his depression, even Joe
Mantell, his closest pal, talks Betsy down, rating her
as just a "plain jane." Meanwhile Betsy waits de-
jectedly for his call. It is not until Borgnine joins
several of his pals who wonder how to spend the
evening that he becomes alive to his need for Betsy's
company. He rushes to a telephone and arranges to
meet her at once.

Harold Hecht produced it, and Delbert Mann di-
rected it, from a story and screenplay by Paddy
Chayefsky, who also acted as associate producer.

Family.

"An Annapolis Story" with John Derek,
Diana Lynn and Kevin McCarthy

(Allied Artists, April 10; time, 81 min.)

A well made dramatic service story, photographed
in Technicolor and revolving around the moulding of
a midshipman into a naval officer. Most of the action
unfolds on the grounds of the Naval Academy at
Annapolis. There are also melodramatic scenes of
aerial fighting in Korea. These scenes are library clips,
but they have been blended so well with the staged
action that most spectators will think that they were
photographed as needed. The parade scenes on the
Annapolis grounds, to the accompaniment of martial
music, are stirring. There is a romance and the usual
mild comedy revolving around horseplay between
classmates. The color photography is exquisite : —

John Derek, a midshipman at the Annapolis Naval
Academy, is injured in a crash while taking off from
a flat-top during a training cruise, and Kevin Mc-
Carthy, his brother and classmate, risks his life to
save him. Derek is flown to a Navy hospital, and
McCarthy writes to Diana Lynn, a naval captain's
daughter, to whom he is engaged, to visit Derek at
the hospital. One visit leads to another and, by the
time Derek is discharged from the hospital, the two
fall in love with each other. When Derek returns to
class, he informs McCarthy that he and Diana had
fallen in love. From then on the two brothers become
estranged, with McCarthy particularly bitter at the
thought that his own brother had taken his girl away
from him. In due time the two boys are sent to Korea
as fighter pilots. Meanwhile, Diana goes to Tokyo to
visit her father, where he had been assigned. Derek
obtains a leave of absence and visits Diana, but she
finally tells him that she cannot marry him because
she still loves McCarthy. Derek returns to his carrier
heartbroken. On the following day the two boys are
sent out on a mission and McCarthy is wounded in
a fight with the enemy. Derek, seeing his brother's
plane in trouble, gives him instructions and bids him
to bail out. While he does so, Derek radios informa-
tion as to McCarthy s position and a helicopter is
dispatched in time to save him. McCarthy is hospi-
talized, and his first visitor is Diana. A pleasant rela-
tionship is reestablished between the two brothers
when Diana informs McCarthy that she had given up
Derek and that she intended to marry him.

Walter Minsch produced it, and Don Siegel di-
rected it, from a screenplay by Dan Ullmun and
Geoffrey Homes. Family.

HARRISON'S REPORTS

March 26, 1955

CAN YOU TOP THIS?

Dear Pete:

Noticed an item in a recent issue where a gentle-
man by the name of Ackerman, from San Francisco,
calls attention to the fact that he has your Reports
on file since January 1, 1933.

We can beat that record — We have Reports on
record back to 1928!

Thought you might be interested. — R. 7^. Hurt,
General Manager, Alger Theatres, Peru, 111.

"The Purple Plain" with Gregory Peck

(United Artists, April; time, 100 mm.)

Set in the jungles and hill-country of Burma during
the war days in 1945, and photographed in Techni-
color, this British-made war adventure drama is a
fairly interesting, if not exceptional, picture of its
kind. Its box-office chances will depend heavily on
the drawing power of Gregory Peck's name. The
action has its moments of high excitement and sus-
pense, but the picture fails to come through as the
stirring melodrama it is intended to be, mainly be-
cause of an ordinary story and equally ordinary
characterizations. Peck does his usual competent work
as a Canadian squadron leader who had become emo-
tionally unstable because of the untimely death of
his wife in a London air raid, but who finds a new
interest in life when he falls in love with a native
Burmese beauty, charmingly played by Win Min
Thau. While a considerable part of the picture has
to do with Peck's mental sufferings, the main action
is concerned with the hazards he faces with injured
colleagues when their plane crashes in Jap-controlled
territory and they seek to make their way back
through the wilderness in a blistering heat and with-
out food or water. Their suffering is so realistic that
it becomes almost too torturous for the spectator to
bear. The photography is first-rate: —

Peck, a Canadian squadron leader attached to the
RAF in Burma, cannot forget the horrible death of
his wife and, believing that he has nothing to live
for, flies with reckless bravery. Some of his men be-
come bitterly critical over the risks he takes and his
moodiness lowers the squadron's morale. In an effort
to cheer up Peck, Bernard Lee, the medical officer,
takes him to a Burmese encampment run by Brenda
de Banzie, a Scots missionary. There he meets Win
Min Thau, a sympathetic and intelligent native girl,
who rekindles his interest in life. While flying a mis-
sion with Maurice Denham and Lyndon Brook, Peck's
plane develops engine trouble and crashes in flames
in enemy-held territory. Denham is badly shocked
and Brook's legs are so severely burnt that he can-
not stand. Disregarding orders to stay by the aircraft,
Peck decides to walk back to camp, carrying the
injured Brook on an improvised stretcher. They march
by night, sleeping by day, with no food and little
water. Peck pushes on relentlessly, but Denham goes
mad in the blistering heat and shoots himself to death.
Peck, however, refuses to give up . He carries Brook
on his back, gives the wounded man the last of the
water and staggers on. When all seems lost he man-
ages to find some water, which gives him the strength
to reach the encampment, thus saving himself and
Brook and becoming reunited with Win Min Thau.

It was produced by John Biyan, and directed by
Robert Parrish, from a screenplay by Eric Rambler.
Family.

"Interrupted Melody" with Glenn Ford and
Eleanor Parker

(MGM, no rel. date set; time, 106 min.)
A heart-warming musical drama, biographical of
the life of Marjorie Lawrence, the renowned operatic
star, who was stricken with infantile paralysis at the
height of her fame but who resumed her career in
a wheel chair with the aid of her patient and under-
standing husband. Photographed in CinemaScope
and Eastman color, its tender story of love and devo-
tion is strongly dramatic in a number of situations,
particularly where Glenn Ford, as the husband, pre-
vents his dejected wife, played by Eleanor Parker,
from committing suicide. Another powerful scene is
where he snaps her out of a fit of depression. The
first half of the picture, which deals with the singer's
rise to fame and with her romance, is loaded with
operatic arias, supposedly sung by Mss Parker.
Actually the voice heard is that of Eileen Farrell's,
with Miss Parker's hp movements synchronized per-
fectly to the singing. The lovers of classical music
will, of course, be delighted by the different arias, but
there is such an overdose of this operatic music that
those who are not particularly fond of it might become
restless. Fine performances are turned in by both Miss
Parker and Ford, and both their characterizations are
highly sympathetic. The production values are lavish,
and the CinemaScope process and color photography
add much to the grandeur of the operatic scenes: —

Winner of a singing contest in Australia, Eleanor
goes to Paris, where she becomes an opera star after
much hard study. On the night of her first triumph,
she meets and falls in love with Ford, a young Ameri-
can doctor, who was about to sail for home. Several
years go by before they meet again in New York.
They resume their romance and marry, and, because
of Ford's refusal to give up his practice, she limits
her singing engagements to New York in order to
remain close to him. Her happiness is rudely shattered
when a contractual obligation compels her to accept
a concert engagement in Latin America. There, she
becomes a sudden victim of polio. Ford rushes to her
side and, during the agonizing months that follow,
he ignores his practice to treat her in Florida. She
becomes terribly depressed over her paralyzed condi-
tion and unsuccessfully attempts suicide when she
learns that they are out of funds. Ford patiently con-
tinues to give her treatments and in due time she is
able to sit in a wheel chair. To replenish their finances,
she accepts an offer to sing with the Miami Civic
Symphony, but she becomes panic stricken at the last
minute and refuses to go on stage. This incident brings
her to her senses, and she persuades Ford to return
to New York to resume his practice while she remains
behind. Shortly thereafter, she is persuaded to sing
for wounded soldiers at an Army hospital. Her suc-
cess helps her to regain her confidence and, with
Ford's consent, she makes a tour of the European and
Pacific battle areas. After the war, she is invited to
return to the Met to sing in a special performance of
"Tristan and Isolde." Ford wheels her on stage, but
just before the curtain rises she once again becomes
panic-stricken. Ford deliberately ignores her calls and,
once the curtain rises, she regains her composure and
proceeds to score one of her greatest triumphs.

It was produced by Jack Cummings, and directed
by Curtis Bernhardt, from a screenplay by William
Ludwig and Sonya Levien.
Family.

IN TWO SECTIONS— SECTION ONE

.Entered as second-class matter January 4, 1921, at the post offlo* 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 N.wV . ,n N Y Harrison's Reports, Inc..

U. S. Insular Possessions. 16.50 Wew 1 K ' n' 1 ' Publisher

Canada 16.50 A Motion pictUre Reviewing Service P- S. HARRISON. Editor

Mexico^ Cuba, Spain 16.50 Devoted Chiefly to the Interests of the Exhibitors

Great Britain ............ 17.50 Established July 1. 1919

Australia, New Zealand,

India, Europe, Asia 17.50 its Editorial Policy: No Problem Too Big for Its Editorial ~T _ „

35c a Copy Columns, if It is to Benefit the Exhibitor. circle t-ibtz

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXXVII SATURDAY, APRIL 2, 1955 No. 14

SAY IT WITH PLAY-DATES!

Welcome news to the exhibitors is the announcement
made in New York last week by Steve Broidy, president of
Allied Artists, that his company will invest $25,000,000 for
the production of 38 pictures during the next 17 months,
exclusive of the 34 pictures the company plans to put in
release this year.

Broidy, who is on a nationwide tour during which he is
meeting with exhibitor groups in key cities in a strong bid
for top playing time, told a large New York gathering
of theatre owners and circuit heads that the $25,000,000
program will be launched around the middle of July, when
William Wyler's "Friendly Persuasion,'" starring Gary
Cooper, goes before the cameras. This will be followed by
a Jose Ferrer production, set to roll between September 15
and October 15. In November, Billy Wilder is scheduled to
launch "Arlane" with two stars who, according to Broidy,
are "the top male and female box-office draws today." In
January, 1956, John Huston will get underway with "The
Man Who Would Be King," starring Humphrey Bogart and
a Co-star of equal caliber.

Broidy made it clear that the production schedule will
be flexible. He said that his company could complete the
program in 12 months if it gets the support pledged by
exhibitors throughout the country. "The exhibitors," he
declared, "will dictate the number of films we will produce
within a specific period of time."

In a straight-from-thc-shoulder talk that minced no
words, Broidy chided those exhibitors who plea for addi-
tional product but who, for the most part, are "fretful"
about giving top playing time to an independent company
lest it hurt their relationship with the salesmen of the major
companies. Allied Artists, he rightfully declared, does not
want to be a "service station" to which exhibitors come as
a last resort when major company product is unavailable.

An apt comment on this situation was made at the
luncheon meeting by Leonard Goldenson, president of
American Broadcasting- Paramount Theatres, who had this
to say: "Unless exhibition encourages Allied Artists and
other independent producing organizations to attain the
same opportunities given to the major companies, we, as
exhibitors, are doing a great injustice to ourselves. Unless
we stimulate competition, we are going to limit the supply
of film to a point where we will earn nothing above our
operating costs."

ALLIED DOCUMENTS ITS CASE

The following bulletin was issued this week from the
Washington headquarters of Abram F. Myers, board chair-
man and general counsel of Allied States Association of
Motion Picture Exhibitors:

"THE ROUND TABLE BLINKS OUT

"The top level conference on the state of the industry
proposed by Al Lichtman seems to have passed into limbo.
At Allied's National Drive-In Convention last month, Bill
Gehring said we could expect an announcement on the sub-
ject in about three weeks. Since then an interview with
Lichtman by a prominent Allied leader developed nothing
beyond the now familiar alibi that the round table cannot be
held until the arbitration issue is settled. Arbitration has
been kicked around for four years, and since the film com-
panies will not agree to arbitrate film rentals or selling

policies, it is impossible to see how this issue can have any
bearing on the round table proposal.

"There are those who have asserted, possibly with tongue
in cheek, that for the film company presidents to hear from
prominent leaders the exhibitors' views concerning current
pricing policies and practices might expose them to prosecu-
tion under the anti-trust laws. A recent trade paper story
indicates that this question was brought to the attention of
officials of the Department of Justice and that they could
see no objection to such a conference. These officials, accord-
ing to the account, added the obvious comment that if any
price agreements were entered into, a different question
would arise. This is horn-book law and should occasion no
surprise to anybody.

"All the exhibitors have sought is the opportunity to place
their case before the responsible heads of the film companies,
in hopes that each such official, with respect to his own com-
pany, would voluntarily abate or abandon policies which
threaten the whole industry. Cynicism begets cynicism and
the manner in which exhibitor overtures looking to a peace-
ful settlement of this controversy have been rejected, engen-
ders the thought that this idea of a top level conference
may have been advanced merely to induce exhibitors to
postpone their plans for remedial action, while the film com-
panies continue to wax fat on their present destructive
policies.

"FILM COMPANIES NULLIFY TAX RELIEF

"Since there is to be no round table conference the exhi-
bitors must now perfect their case for presentation in other
forums. Chief among the grounds which will be relied upon
in seeking outside help is the charge that the film companies
have drained off all or nearly all of the tax relief granted by
Congress to the theatres. Film company spokesmen have
denied any specific purpose or intent to confiscate the
exhibitors' tax benefits. But they are subject to the rule that
men are presumed to intend the probable and reasonable
consequences of their acts; and Allied proposes to tell all who
will listen just what the film companies have done. Allied
will harp on a few incontrovertible facts: (1) That follow-
ing April 1, 1954, (the effective date of the tax bill) film
prices increased; (2) that, in consequence, the film com-
panies' net earnings have increased by leaps and bounds;
while (3) the exhibitors continue to be no better off than
they were before the bill was passed.

"The purpose of this bulletin is to call attention to the
net earnings of the film companies since April Fool's Day
last year. We will confine this study to net earnings after
taxes so as to eliminate the companies' contention that their
exorbitant film rentals are made necessary by increased
production costs. The figures are taken from published
sources and it is not believed that their accuracy will be
challenged. While quarterly figures are not necessarily final,
they are not usually revised materially and we are con-
fident of the substantial accuracy of the information herein
contained.

"It would, of course, be inaccurate to attribute all in-
creases in net earnings to confiscation of tax benefits. In some
cases the film companies have more than absorbed the tax.
A number of factors have contributed to the companies'
present prosperity, such as improved films and revival of
the foreign market; but the big item is exploitation of the
starved domestic market. The bare fact that the companies'
profits are soaring while the exhibitors are barely holding
their own and in many cases are losing ground, tells us all
we need to know about what happened to the tax benefits.

April 2, 1955

"The Prodigal" with Lana Turner
Edmund Purdom and Louis Calhern

(MGM, May; time, 114 mm.)

An extremely lavish Biblical spectacle, photographed in
CinemaScope and Eastman color, and based on the Parable
of the Prodigal Son, as told in Luke, Chapter XV. Unfor<
tunately, the lush production values, though highly impres'
sive, are not enough to lift the picture above the level of
fair entertainment. The chief trouble with the story is the
fact that the characterizations are shallow and unbelievable.
Consequently, the emotional situations depicted fail to come
through with any appreciable dramatic force. The acting is
not particularly noteworthy. Edmund Purdom, as the prodi-
gal son, is mechanical. Lana Turner, as the pagan high
priestess, is beautiful and sexy, but her acting is awkward.
The action for the most part is slow-moving, except for the
last few reels, where Purdom leads the slaves and others
in revolt against the cruel pagan rulers of Damascus in
70 B.C., a revolt that ends with the pagan temples destroyed,
along with the priests and priestesses. There is considerable
excitement in these well staged mob scenes. There is also
much brutality and sensuality in the action, to a degree that
limits the picture's suitability to adults only. One sequence
where Purdom, believed to be dead, is thrown into a hole
filled with skeletons and is attacked by a giant vulture, is so
gruesome that it will turn the stomachs of squeamish movie-
goers. The sweep of the CinemaScope process accentuates
the massiveness and lavishness of the settings. The color
photography is exquisite.

The incident-filled story has Purdom, son of Walter
Hampden, a Hebrew patriarch, passing through the market-
place in Joppa and saving the life of James Mitchell, a
mute, runaway slave, who had been sentenced to death for
trying to stir up a revolt against Louis Calhern, the high
priest of Baal, and Lana Turner, the high priestess of
Astarte, male and female gods of the flesh, in idol-worship-
ing Damascus. Purdom subsequently sees Lana and is so
smitten by her beauty that he breaks his engagement to
Audrey Dalton, leaves the home of his broken-hearted
father and, taking part of his inheritance with him, heads
for Damascus with Mitchell, who had become his faithful
servant. There he buys a palatial villa and earns the enmity
of Calhern by pursuing Dana. To win her favors, he pur-
chases a fabulous pearl of love and subjugates his own faith
to adopt the ways of an infidel. In the course of events,
Calhern, through treachery, burns down Purdom's villa and
imprisons him for debt. He is offered his freedom if he
will renounce his religion and accept the pagan gods, but
he declines. He manages to escape from prison through an
ingenious scheme and leads the people, victimized by Cal-
hern, in a rebellion against the priesthood. The successful
revolt brings death to Lana, Calhern and the others of the
priesthood, as well as destruction of their temple. Purdom
then returns to his home, wins his father's forgiveness and
reunited with Audrey.

It was produced by Charles Schnee, and directed by
Richard Thorpe, from a screenplay by Maurice Zimm,
based on an adaption from the bible story by Joe Breen, Jr.,
and Samuel James Larsen.

Adult fare.

"Shotgun" with Sterling Hayden,
Yvonne de Carlo and Zachary Scott

(A!!ied Artists, April 24; time, 81 min.)
Audiences who like strong Western melodramas ought
to "eat up" this one, for the action is fast, exciting and
interesting. Moreover, it holds one in tense suspense, for
the lives of the sympathetic characters, particularly of
Sterling Hayden, are constantly placed in danger. Hayden
does good work as a fearless deputy who sets out to cap-
ture the killers of a U.S. Marshal and who accomplishes
his mission after endangering his life several times. Compe-
tent performances are turned in also by Yvonne de Carlo,
as a fiery half-breed, and Zachary Scott, as a man who
seeks to collect a reward for the killer's capture. Worthy of
special mention is the beauty of the outdoor backgrounds,
which are enhanced by the fine Technicolor photography.
In many of the shots the rock formations stand out as
sentinels. There is no comedy relief, but plentiful emotional
relief: —

Guy Prescott, a ruthless killer, murders Lane Chandler,
a U.S. Marshal. Armed with a shotgun, Hayden sets out to
get Prescott. On the trail he meets Robert Wilke, one of
Prcscott's henchmen, who, together with Yvonne, had been

tied in a snake trap by Apache Indians and left to die.
Hayden frees them, but he is forced to kill Wilke when the
latter makes a dive for a gun. Hayden tames Yvonne as she
and Zachary Scott, who had joined them, travel to Cervalis,
a stage depot. There they are ambushed by two of Prescott's
gunmen, but Hayden kills them in the resultant gun fight.
Hayden, alone, again sets out to get Prescott, now known
to be delivering guns to the Apaches. Yvonne and Scott
follow Hayden and on the way are attacked by a small
Indian band. Hayden hears the gunfire and rushes to the
rescue. He finds Scott dying, pinned to a tree by arrows
thrust through his body. Meanwhile Yvonne had been taken
by the savages. Hayden reaches the Indian camp, enters it
fearlessly and reprimands the Indian chief for consorting
with Prescott, who was at the camp. The chief agrees to
permit Hayden and Prescott to battle it out with shotguns.
During the savage duel, Prescott's courage f nils him and
he attempts to bolt, but the Apaches slay him as a coward.
Hayden and Yvonne, by this time in love, are set free.

John C. Champion produced it, and Lesley Selander
directed it, from a screenplay by Clark E. Reynolds and
Rory Calhoun.

Family entertainment from the moral point of view, even
though it is implied that Miss De Carlo was a woman of
easy virtue.

"Mambo" with Silvana Mangano,
Michael Rennie, Shelley Winters
and Vittorio Gassman

(Paramount, April; time, 94 min.)

There is not much to recommend in this Italian-made
adult drama about a Venetian salesgirl who wins fame as
a mambo dancer but who suffers a broken heart from two
seamy romances that end unhappily. Filmed entirely in
Venice and Rome, the story is unrealistic and unbelievable,
the dialogue dull, and the acting, for the most part, unin-
spired. Silvano Mangano, as the troubled heroine of the
piece, is curiously passive and cold in a role that seems to
demand a more electric quality. Shelley Winters, as manager
of a mambo dance troupe, has a comparatively brief role
in the proceedings. English dialogue is spoken by all the
players, with a dubbed-in English-speaking voice used for
Miss Mangano, whose lip movements are well synchronized
with the dialogue spoken for her. In the picture's favor are
the fascinating Rome and Venice backgrounds, and several
exciting mambo dance numbers executed by Katherine Dun-
ham and her troupe, but these are not enough to compensate
for a confusing story that has little point, offends logic and
lacks sympathetic characters: —

Silvana, resentful of her drab life as a salesgirl, longs to
become a "somebody" and finds refuge in her friendship
with Vittorio Gassman, a chap who wanted love, money
and a place in the sun without expending too much effort.
Gassman grasps an opportunity to become involved with the
social set when he and Silvana have a chance meeting with
Michael Rennie, a nobleman, who invites them to a fashion-
able costume ball. The scheming Gassman arranges for
Rennie to escort Silvana to the ball, and the gala evening
ends with her being seduced by him. Silvana, dejected, is
aproached by Shelley Winters, who had seen her join the
Katherine Dunham troupe in an impromptu mambo dance
at the ball. She tells Silvana that she has natural talents
as a dancer and offers her a job with the troupe. Silvana
accepts the offer, after a bitter quarrel with Gassman for
engineering her seduction. She soon wins fame as a dancer
but gives up her career to become Gassman's mistress.
Rennie, really in love with Silvana, proposes marriage to her.
She ignores the proposal, but when Gassman hears about
it and at the same time learns that Rennie is suffering from
hemophilia, a dread blood disease, he persuades her to agree
to marry Rennie, explaining that she might become a
wealthy widow within several months, thus enabling them to
wed and live a life of ease. In the complicated events that
follow, Silvana marries Rennie and learns to love him,
particularly after he stands up against his aristocratic family,
who wanted no part of her. Gassman berates Silvana for
taking her marriage seriously, and this leads to an alterca-
tion with Rennie, who is hurt accidentally and subsequently
dies from his injuries. It all ends with a saddened Silvana
relinquishing her rights to Rennie's fortune, renouncing
Gassman and resuming her career as a mambo dancer.

It was produced by Dino De Laurentiis and Carlo Ponti,
and directed by Robert Rossen, from a story and screenplay
by Guido Piovene, Ivo Perilli, Enio De Concini and Mr.
Rossen. Adult fare.

April 2, 1955

HARRISON'S REPORTS

"This Island Earth" with Jeff Morrow,
Faith Domergue and Rex Reason

( Univ.-Int'l, June; time, 87 min.)

A good science-fiction melodrama, photographed in Tech-
nicolor. It should go over well wherever such pictures are
popular, for the story is highly imaginative and frequently
chilling and thrilling. Revolving around a nuclear scientist
who becomes involved in weird happenings having to do
with a war between two interstellar planets, the action
should delight the science-fiction addicts, for it deals with
space travel in a giant flying saucer, death rays, gruesome
planetary inhabitants and all sorts of fantastic laboratory
gadgets. Some of these mechanical contrivances are highly
fascinating. A thrilling sequence is the one where the space
ship is attacked by guided meteors as it makes its way to
one of the planets. It is all completely improbable, but those
who accept the story for what it is should find it to their
liking. The special effects are extraordinary, and the color
photography fine: —

When a jet plane flown by Rex Reason, a nuclear scien-
tist, suddenly goes out of control, he is mysteriously saved
from crashing by a weird green ray. Later, he receives some
odd equipment in his laboratory and, after assembling it,
sees the image and hears the voice of Jeff Morrow, a visitor
from Metaluna, an interstellar planet, who invites him to
a secluded workshop in Georgia. There he meets Faith
Domergue, also an expert in nuclear fission. Both are
suspicious of Morrow's efforts to find a new source for
uranium. When they try to escape, Morrow kidnaps them
in his space craft. En route to Metaluna, he explains that
his planet was under continuous attack by enemy forces
from other planets, and that the Metalunans needed new
uranium sources to power their defense. Landing on Met-
aluna, they find that only a few of the inhabitants remain
alive. Douglas Spencer, in charge of the planet, reveals
his plan to relocate on the Earth. Rex and Faith realize the
danger to Earthlings of such a project, and Morrow agrees
with them. They escape from the planet in the space ship,
but before doing so Morrow is savagely clawed by a Mutant,
a half-human giant insect. As they approach the Earth's
atmosphere, Rex and Faith soar off in a plane stored within
the craft. Morrow, wounded fatally, dives the space ship
into the sea.

William Alland produced it, and Joseph Newman directed
it, from a screenplay by Franklin Coen and Edward G.
O'Callaghan, based on the novel by Raymond F. Jones.

Family.

"Strategic Air Command" with James Stewart,
June Allyson and Frank Lovejoy

{Paramount, May; time, 114 min.)
Photographed in VistaVision and Technicolor, "Strategic
Air Command" offers some of the most exciting and stirring
aerial photography ever seen on the screen. As a matter of
fact, the magnificent aerial photography is the picture's chief
asset, for the story, which deals with the problems faced
by a married couple when the husband is unexpectedly
recalled to duty, follows a rather familiar pattern and is only
moderately interesting, despite the competent acting of the
entire cast. Not to be discounted, of course, in any evalua-
tion of the picture's box-office chances, is the drawing power
of James Stewart and June Allyson, who once again are
teamed as husband and wife. Much more intriguing than
the personal story involved in the proceedings is the vivid
depiction of the structure, operations and functions of the
Strategic Air Command of the United States Air Force —
the atom-bomb carrying force on whose retaliatory strength
America depends for protection and for the preservation of
peace. It is when the action is concerned with the activities
of SAC, both on the ground and in the air, that it is at its
best, but since all this is more interesting from an informa-
tive rather than an entertainment point of view, its ticket-
selling appeal is difficult to foretell. The picture was shown
at a special screening in Omaha, Nebraska, where it was
presented on a giant, slightly-curved screen by means of
special double-frame VistaVision horizontal projectors with
curved apertures. This method, according to claims made
by Paramount provides a picture of "unsurpassed clarity,
stunning brilliance of color and an exciting sense of audience
participation." This reviewer agrees that the photography
was sharp and clear and the color vivid, but not more so
than other processes on the market. As to "an exciting
sense of audience participation," he did not experience any.
It should be pointed out that relatively few theatres in the
country, possibly 100, will be able to accommodate this
horizontal VistaVision projection method. And since the

picture was not shown to the reviewers through standard
projectors with a standard VistaVision print, such as will
be used in practically all the theatres that will play it, no re-
port can be made as to whether such showings will attain the
same degree of photographic clarity and color brilliance: —

Stewart, a star third baseman with the St. Louis Cardinals,
is at the peak of his career when he fine's himself recalled
by the Air Force for service in the SAC, which was badly
in need of seasoned fliers. During the war, Stewart had won
a reputation as the hottest B-29 pilot in the service. He is
ordered to the SAC command at Caswell Air Force Base
for 21 months of duty. June, his wife of a few months,
realizes that his recall may spend the end of his diamond
days, but she sublets their new home and follows him to the
base. Stewart quickly learns to fly B-36's and he and June
get into the swing of Air Force life. In due time he is made
commander of his own aircraft and takes off on a four-day
test flight to the Arctic. His ship catches fire over the
frozen wasteland and he is forced to make a crash landing
after ordering his crew to bail out. He suffers a shoulder
injury and two days later is rescued by a helicopter, at
which time he learns that he had become the father of a
baby girl. As his tour of duty draws to a close, he is pro-
moted to full Colonel and made Deputy Wing Commander
of a B-47 unit, all of which was part of a campaign carried
on by Frank Lovejoy, the commanding general, to keep him
in the SAC permanently as a career officer. Torn between
the responsibility he feels he owes his country and considera-
tion for June's desire that he return to civilian life, particu-
larly since the nation is at peace, Stewart finally decides
to remain in the Air Force. His shoulder injury, however,
becomes aggravated and a medical report disqualifies him
from future operational duty. Rather than tie him to a
desk job, the Air Force lets him go. The injury also ends his
baseball playing days, but he becomes the manager of a small
league team and looks to the future with hope that he will
one day mastermind a major league team.

It was produced by Samuel J. Briskin, and directed by
Anthony Mann, from a screenplay by Valentine Davies
and Beirne Lay, Jr., based on a story by Mr. Lay. Family.

"Jungle Moon Men" with Johnny Weissmuller

(Columbia, April; time, 69 mm.)

Followers of the Johnny Weissmuller jungle pictures
should find this one acceptable, for it is no better and no
worse than the previous offerings. The story is somewhat
confusing; it seems to have been expanded to stretch it to
feature length. This time Weissmuller's adventures stem for
his efforts to help an American girl doing research work to
learn something about an African tribe, which lived in a
location where a great white civilization once existed.
Worked into the plot is Weissmuller's rescue of a kidnapped
white man, and the unsuccessful efforts of villainous char-
acters to steal diamonds from a native temple guarded by
lions. The action is typical of the other Weissmuller pictures,
with some library shots of animals to create a proper atmo-
sphere. There is a mild romance: —

Jean Byron, doing research work on Ra, the Egyptian
Sun-God, persuades Johnny, her guide, to take her into
Baku, a remote region inhabited by the Moon Men, a pygmy
tribe that used poison darts as weapons. En route, Johnny
meets an African chief, who informs him that the Moon
Men had captured his son. The party is joined by Bill
Henry, a sportsman, and by Myron Healey, a crooked
trader. They find the chief's son dead in the jungle and
wearing a huge diamond pendant. Johnny captures the
pygmy chief and learns that the dead boy had escaped from
Helene Santo, High Priestess of Baku, who wanted him for
her High Priest. Healey, coveting the glittering diamond,
returns to his trading post, recruits three evil henchmen,
and retraces his steps to the Baku country. Meanwhile the
Moon Men rescue their chief and make off with Bill Henry.
Healey and his men overtake Johnny and take the diamond
away from him. A little later, the Moon Men capture Healey
and his confederates, as well as Johnny and Jean, and im-
prison them in the temple of the Moon Goddess. Aided by
his pet chimpanzee, Johnny finds an escape route. All es-
cape but Healy and his men are killed by lions guarding the
temple. Since the loose lions were now a threat to her own
life, the High Priestess leads Johnny's party to an under-
ground passage to reach the outside. But once the sun hits
her, the High Priestess dissolves into a pile of ashes. This
frees the pygmies from bondage to the Priestess and enables
them to live in peace with the other African tribes.

Sam Katzman produced it, and Charles S. Gould directed
it, from a screenplay by Jo Pagano and Dwight V. Babcock,

Family.

HARRISON'S REPORTS

April 2, 1955

"THE HEIGHT OF OPULENCE

"Attached hereto is a tabulation showing the net earnings
of nine film companies by quarters during the fiscal years
1953 and 1954, together with a few such statements for
1955. The extraordinary earnings of certain of the Big
Eight companies call for special comment.

"1. Paramount. During the 2d quarter of 1954 (April 4
to July 3) Paramount's net after taxes amounted to
$2,558,000, as against $1,617,000 for the 2d quarter in
1953, a gain of 58%. In the 3d quarter (July 4 to Oct. 2)
the company's net was $2,428,000 as against $2,005,000
for the same quarter in the preceding year, an increase of
21%. But in the 4th quarter of '54 Paramount's net soared
to $2,613,000 as against only $1,784,000 for the last quarter
of '53, a gain of 46%.

"Using Paramount as an example, consider how this
company's earnings were affected by the tax bill. For the 1st
quarter of 1954 (Jan. 1 to April 3), while the tax was still
on, Paramount earned a modest $1,404,000 and this was
only $30,000 more than its net for the like period in 1953.
It was not until after April 1 that Paramount's net zoomed
upward. And now for the final shocker. Paramount's net for
the fiscal year 1953, when the tax was on, was a modest
15% over 1952, which indicates that the company was
slowly climbing out of its slump. But what about Para-
mount's increase in fiscal '54, with nine months tax relief,
over fiscal '53, when the tax was still on? A mere matter
of $9,003,000 as against $6,780,000, or 33%.

"2. Warner Bros. Paramount was cited first because there
appears to be more complaints against it than any other
company. Next in line for the dubious honor of the most
complained against company is Warner Bros. Its fiscal year
runs from August 1, hence the first half of fiscal '54 is
interesting mainly for the purposes of comparison. The
3d quarter (Feb. 27-May 29) showed net earnings of
$918,000 as against $796,000 for the same quarter in '53.
But in the 4th quarter, covering three full months of tax
relief, Warner Bros.' net soared to $1,441,000 as against
$779,000 for the same quarter in '53, a gain of 85%. And
to show that this is no fluke, the 1st quarter of the current
fiscal year ('55) yielded $1,203,000 in net earnings as
against only $765,000 for the 1st quarter in '54. For the
fiscal year '54, Warner Bros, showed a net profit of
$3,977,000 as against $2,908,000 for '53, a gain of 37%.

"3. Universal. Coming to Universal, which does not go
unnoticed by the complaining exhibitors, we find that the
3d quarter of fiscal 1954 (May 1-July 31), was the first
full quarter after tax relief. Net earnings for that quarter
were $915,415 as against $704,376 for the like period in
the preceding year. But the 4th quarter (Aug. 1-Oct. 30)
netted a whopping $1,161,273 as against a measly $565,348
for the same quarter in 1953, a gain of 105%. And Univer-
sal still rolls on. The 1st quarter of its current year, ending
Jan. 29, 1955, disclosed net earnings of $1,136,928. The
fiscal year 1954, including only seven months of tax relief,
showed a net of $3,797,000 as against $2,216,356 for the
preceding year, a gain of 45%.

"4. Columbia. For some really staggering earnings subse-
quent to the tax bill, attention is invited to published state-
ments regarding Columbia Pictures Corporation. Its fiscal
year begins in June, hence only the last quarter (March 29-
June 27) of fiscal '54 reflected the absorption of tax bene-
fits. Its net for that period was $93 1,000 as against $632,000
for the fourth quarter of '53. But in the 1st quarter of the
current fiscal year, with three full months of tax benefits
under its belt, Columbia shoved its net earnings to $1,349,-
000 as compared with $762,000 in the preceding year, a
gain of 77%; and its terrific $1,474,000 for the 2d quarter
shows that the company is still rolling. Columbia's net for
the fiscal year ending June 26 was $3,595,000 as compared
to $942,000 for the preceding year, a gain of $2,653,000
or 282%. This is squeezing product-starved exhibitors with
a vengeance!

"5. Twentieth Century-Fox. The picture here is not as
clear with respect to tax absorption because this company
first hit the comeback trail with CinemaScope several months
before April Fool's Day, 1954. Its fiscal year coincides with
the calendar year and its 4th quarter and yearly earnings
generally are announced at the end of March or early in
April. Actually, therefore, we have figures for only the 2d
and 3d quarters covering the tax relief period. For the 2d
quarter (Mar. 28-June 26) the net was $1,048,000 as
against a loss of $865,656 for the like period in 1953. And

the 3d quarter (June 27- Sept. 25) disclosed a net of
$2,635,518 as against $1,274,728 for the 3d quarter of '53,
a gain of 107%.

"6. Loew's, Inc. (M.G.M.). This company's fiscal year
begins September 1. The second quarter in '54 (Nov. 26-
Mar. 18) contained 16 weeks and, therefore, affords a poor
basis for comparison. The 3d quarter (Mar. 19-June 10)
showed a net of $1,267,210, which was not extraordinary,
but compared favorably with the $1,014,142 for the same
period in '53. The 4th quarter showed a healthy $2,110,935
as against $1,194,732 for the last quarter of '53, a gain
of 77%. Loew's total for the fiscal year '54 was $6,577,000
as against $4,380,000 for the preceding year, an increase
of 50%.

"Loew's is still called the 'friendly company' as a carry-
over of Bill Rodgers' popularity with exhibitors. The 'popu-
larity polls' conducted by Allied indicates that the exhibitors
regard it as less greedy than some of the others. But how
long will this last? At the recent stockholders' meeting
Loew's management was criticized for not matching Para-
mount's spectacular earnings. Thus another danger threatens
— the danger that the stockholders of all the companies,
seeing what the ruthless exploitation of a starved market
can produce in the way of profits, will insist that the com-
panies continue their gouging tactics with increasing severity.

"WHAT DO YOU SAY?

"This bulletin is being sent to a considerable number of
thoughtful exhibitors and leaders. Their comments, criticisms
and views will be most welcome. As most of them are
aware, Allied's board of directors has directed the Emerg-
ency Defense Committee to take certain actions to protect
the exhibitors against extortionate film rentals so that they
also can make a profit. The board's directives include the
seeking of legislation to regulate film prices. What we
would particularly like to know is whether, in view of the
contents of this bulletin, the exhibitors can see any alterna-
tive to legislative relief that will preserve the exhibitors in
their business and property?"

"Jump Into Hell" with Jack Sernas,
Kurt Kaznar and Arnold Moss

(Warner Bros., May 14; time, 93 min.)

An overlong and muddled war melodrama, revolving
around the brave but hopeless defense made by the French
at Dienbienphu in Indo-Chirra. The picture is not only
routine and undistinguished, but the screenplay is so con-
fusing that one loses interest in the proceedings long before
the final reel. At best, it belongs on the lower half of a
mid-week double bill, but even there it presents a problem
because of its excessive running time. Another drawback
is the fact that there is no one in the cast who means any-
thing at the box-office. There is plenty of war action, with
library clips of actual warfare blended with the staged ac-
tion, but the picture on the whole is so uninspired that it
fails to thrill or excite the spectator. Not much can be said
for either the direction, the acting or the photography.

Briefly, the highly complicated story has Arnold Moss,
commander of the French forces at Dienbienphu, requesting
reinforcements when he learns that the Viet Minn rebels
attacking the fortress outnumbered his men four to one. The
scene shifts to Paris, where the request for volunteers is
answered by Jack Sernas, a Legionnaire captain, who im-
mediately offers his services. En route by air to Indo-China,
Sernas meets three other mufti-dressed Legionnaires, includ-
ing Kurt Kaznar, a captain, whose unfaithful wife had
persuaded him to volunteer to further his military career;
Peter Van Eyck, a German veteran of the Afrika Corps, who
was constantly trying to prove that he is on the side of
democracy; and Norman Dupont, a visibly frightened lieu-
tenant, who had never experienced actual warfare. The four
men are parachuted into the fortress, and from then on the
proceedings are concerned with their heroic deeds in defense
of the fortress and with their varied personal problems.
After 56 days of battle, the Reds breach the last defenses
of the fortress and, of the four volunteers, Kaznar and Van
Eyck lose their lives, while Sernas and Dupont escape under
orders of the commander, taking back to France vital infor-
mation concerning the struggle.

It was produced by David Weisbart, and directed by
David Butler, from a screenplay by Irving Wallace.

Unobjectionable morally.

IN TWO SECTIONS— SECTION TWO

HARRISON'S REPORTS

Vol. XXXVII NEW YORK, N. Y., SATURDAY, APRIL 2, 1955 No. 14

(Partial Index No. 2 — Pages 30 to 52 Inclusive)

Titles of Pictures Reviewed on Page

An Annapolis Story — Allied Artists (81 min.) 51

Big Combo, The — Allied Artists (89 min.) 32

Big House, U.SA.— United Artists (82 min.) 38

Blackboard Jungle — MGM (101 min.) 38

Bowery to Bagdad — Allied Artists (64 min.) 46

Canyon Crossroads — United Artists (83 min.) 47

Captain Lightfoot — Univ.-Int'l (91 min.) 30

Chief Crazy Horse— Univ.-Int'l (86 min.) 35

Cult of the Cobra— Univ.-Int'l (82 min.) 50

Doctor in the House — Republic (92 min.) 30

East of Eden — Warner Bros. (115 min.) 30

Glass Slipper, The— MGM (94 min.) 31

Hit the Deck— MGM (112 min.) 39

Interrupted Melody — MGM (106 min.) 52

Jungle Gents — Allied Artists (64 min.) 35

Land of Fury — Univ.-Int'l (82 min.) 40

Ma and Pa Kettle at Waikiki— Univ.-Int'l (79 min.) . . 42

Man Called Peter, A— 20th Century-Fox (119 min.) . . 50

Man Without a Star— Univ.-Int'l (89 nun.) 40

Marty — United Artists (91 min.) 51

New Orleans Uncensored — Columbia (76 min.) 31

New York Confidential — Warner Bros. (87 min.) .... 32

Purple Plain, The — United Artists (100 min.) 52

Rage at Dawn— RKO (87 min.) 42

Revenge of the Creature — Univ.-Int'l (82 min.) .... 47

Seven Angry Men — Allied Artists (90 min.) 42

Stranger's Hand, The— DCA (86 min.) 34

Stranger on Horseback — United Artists (66 min.) .... 38

Tarzan's Hidden Jungle— RKO (72 min.) 32

Three for the Show — Columbia (92 min.) 34

Tight Spot— Columbia (97 min.) 46

Treasure of Ruby Hills — Allied Artists (71 min.) 46

Untamed — 20th Century-Fox ( 1 1 1 min.) 39

Wyoming Renegades — Columbia (72 min.) 34

Yellowneck — Republic (83 min.) 43

RELEASE SCHEDULE FOR FEATURES
Allied Artists Features

(1560 Broadway, Hew Yor\ 19, H T.)

1953-54

5421 Bowery to Bagdad — Bowery Boys Jan. 2

(End of 1953-54 Season)
Beginning of 1954-55 Season

5501 The Human Jungle — Merrill-Sterling Oct. 3

5502 The Bob Mathias Story — Mathias Oct. 24

5503 Target Earth — Denning-Grey Nov. 7

5504 Cry Vengeance — Stevens-Vohs Nov. 21

5505 Port of Hell— Clark-Morris Dec. 5

5506 Tonight's the Night — DeCarlo-Niven Dec. 19

5507 Treasure of Ruby Hills — Scott-Matthews Jan. 23

5508 The Big Combo— Wilde-Conte Feb. 13

5510 Murder Is My Beat — Payton Roberts Feb. 27

5509 Dial Red O— Bill Elliott Mar. 13

5512 The Big Tip Off— Conte-Smith Mar. 20

5511 Seven Angry Men — Massey-Paget-Hunter ..Mar. 27

5513 Annapolis Story — Derek-Lynn Apr. 10

5514 High Society — Bowery Boys Apr. 17

5515 Shot Gun— Hayden-De Carlo Apr. 24

5516 Las Vegas Shakedown — O'Keefe-Grey May 8

5 518 African Fury — Documentary May 15

5517 Dark Venture — Lovejoy-Tucker-Castle ....May 22

Columbia Features

(729 Seventh Ave., Hew Tor\ 19, H- Y.)
719 The Black Knight — Ladd-Medina Nov.

716 Fire Over Africa — O'Hara-Carey Nov.

718 Cannibal Attack — Weissmuller Nov.

723 The Affairs of Messalina — Italian-made Nov.

715 Phffft — Holliday-Lemmon Dec.

717 They Rode West— Francis-Reed Dec.

735 The Violent Men—

Ford-Stanwyck-Robinson (C'Scope) Jan.

731 The Bamboo Prison — Francis-Foster Jan.

729 Masterson of Kansas — Montgomery-Gates Jan.

725 Ten Wanted Men — Randolph Scott Feb.

726 Women's Prison — Lupino-Sterling-Moore Feb.

706 Pirates of Tripoli — Henreid-Medina Feb.

730 New Orleans Uncensored — Franz-Garland Mar.

727 Wyoming Renegades — Carey-Evans-Hyer Mar.

734 The Detective — Alec Guinness Mar.

737 Three for the Show —

Grable-Champions (C'Scope) Apr.

Jungle Moon Men — Weissmuller Apr.

The Return of October — reissue Apr.

End of the Affair — Johnson-Kerr May

728 Tight Spot — Rogers-Robinson May

Seminole Uprising — Montgomery-Booth May

Cell 2445, Death Row — Campbell-Grant May

736 The Long Gray Line — Power-O'Hara Special

701 The Caine Mutiny — all-star special

Uppert-Pictures Features

(145 Ho. Robertson Blvd., Beverly Hills, Calif.)

5403 A Race for Life — Conte-Aldon Dec. 10

5407 The Black Pirates — Dexter-Chaney Dec. 24

5406 They Were So Young — Brady- Burr Jan. 7

5415 Thunder Over Sangoland— Hall-Lord Feb. 18

5411 The Silver Star — Buchanan-Windsor Mar. 25

5415 Thunder Over Sangoland — Hall-Lord Apr. 4

5409 The Glass Tomb — John Ireland Apr. 11

5413 Air Strike — Denning-Jean Apr. 25

5414 Phantom of the Jungle — Hall-Gwynne May 2

5416 The Lonesome Trail — Morris- Agar May 23

Metro-Gold wyn-Mayei- Features

(1540 Broadway, Hew York 19, H- Y.)

507 Athena — Powell-Reynolds-Purdom Nov.

510 The Last Time I Saw Paris —

Taylor-Johnson-Reed Nov.

508 Tarzan and the Ape Man — reissue Nov.

509 Tarzan Escapes — reissue Nov.

5 1 1 Crest of the Wave — Kelly-Richards Dec.

512 Deep in My Heart — Ferrer-Oberon Dec.

513 Battleground — reissue Dec.

514 The Asphalt Jungle — reissue Dec.

515 Bad Day at Black Rock— Tracy-Ryan (C'Scope) Jan.

516 Green Fire — Granger-Kelly-Douglas (C'Scope) ..Jan.

517 Many Rivers to Cross —

Taylor-Parker (C'Scope) Feb.

518 Jupiter's Darling— Williams-Keel (C'Scope) Feb.

519 Hit the Deck — All-star cast (C'Scope) Mar.

520 Anchors Aweigh — reissue Mar.

523 Bedeviled — Baxter-Forrest Apr.

522 Glass Slipper — Wilding- Caron Apr.

The Prodigal — Turner-Purdom (C'Scope) May

The Marauders — Duryea-Richards May

Love Me or Leave Me — Day-Cagney (C'Scope) .June

Moonfleet — Granger-Lindfors (C'Scope) June

Interrupted Melody — Ford-Parker (C'Scope) .not set

521 Blackboard Jungle — Ford-Francis not set

Paramount Features

(1501 Broadway. Hew Tor\ 18, H- T.)
5430 White Christmas — Crosby-Kaye Dec.

5404 Three Ring Circus — Martin 6? Lewis Jan.

5405 The Bridges at Toko-Ri— Holden-Kelly Feb.

5407 Conquest of Space— Brooke-Fleming Feb.

5408 Ulysses — Douglas-Mangano Mar.

5409 The Country Girl— Crosby-Holden-Kelly Mar.

5406 Mambo — Winters-Mangano-Gassman Apr.

5410 Run for Cover — CagneyiDerek-Lindfors Apr.

5425 Strategic Air Command — Stewart-Allyson ....May

5411 Hell's Island — Payne-Murphy June

5412 The Far Horizons — MacMurray-Heston-Reed .June

5413 The Seven Little Foys — Bob Hope July

5408 Ulysses— Douglas-Manguno-Quinn July

RKO Features

(1270 Sixth Ave.. Hew Tor^ 20, H- T.)

505 Cattle Queen of Montana — Stanwyck-Reagan . .Nov.

508 Hansel fe? Gretel — Puppets Dec.

507 Tarzan's Hidden Jungle — Gordon Scott Feb.

509 The Americano — Ford-Theiss-Romero Jan.

506 Underwater! — Russell'Roland Feb.

510 Quest for the Lost City — Documentary Apr.

511 Rage at Dawn — Scott-Powers-Tucker Apr.

Escape to Burma — Stanwyck-Ryan Apr.

573 The Informer — reissue Apr.

574 Berlin Express — reissue Apr.

575 Bringing Up Baby — reissue May

576 I Remember Mama — reissue May

Son of Sinbad — Robertson-Forrest May 28

577 The Big Street — reissue June

Makamba — Documentary June 18

Pearl of the South Pacific — Mayo-Morgan . . . .July 16
Jet Pilot — Wayne-Leigh not «et

5313
5314
5315
5430
5431
5326
5432
5402
5403
5433
5404
5434

Republic Features

(1740 Broadway, Hew Tor\ 19, H- T.)
Trouble in the Glen — Lockwood- Welles .... Dec. 1

The Atomic Kid — Rooney-Davis Dec. 8

Hell's Outpost — Cameron-Leslie Dec. 15

African Manhunt — HealeyBooth Jan. 5

Trouble in Store — English-made Jan. 12

Carolina Cannonball — Judy Canova Jan. 28

The Square Ring — English-made Jan. 28

Timberjack — Hayden-Ralston-Brian Feb. 28

Yellowneck — McCarthy-Courtleigh Mar. 22

A Day to Remember — British-made Mar. 29

Sante Fe Passage- — Payne-Cameron-Domergue Apr. 4
I Cover the Underworld — McClory-Jordan . .Apr. 11

Twentieth Century-Fox Features

(444 W. 56th St.. Hew Tor\ 19, H- T.)

1954

423 Black Widow— Tierney-Heflin (C'Scope) Nov.

425 Desiree — Brando-Simmons-Mature (C'Scope) ..Nov.

427 The Outlaw's Daughter — Williams-Ryan Nov.

428 Black 13 — British-made Nov.

429 Devil's Harbor — Arlen-Gynt Dec.

430 The Other Woman — Haas-Moore Dec.

426 There's No Business Like Show Business —

Monroe-Dailey-Merman-O'Connor (CScope) .Dec.
422 Carmen Jones — Dandridge-Bailey (C'Scope) Jan.

1955

540- 5 Twelve O'Clock High — reissue Jan.

502- 5 Prince of Players —

Burton-McNamara (C'Scope) Jan.

505- 8 The Racers — Douglas-Darvi (C'Scope) Feb.

503- 3 White Feather — Wagner-Moore (C'Scope) ...Feb.

541- 3 Belle Starr's Daughter — reissue Feb.

542- 1 Dakota Lil — reissue Feb.

507*4 Untamed — Hayward-Power (C'Scope) Mar.

511- 6 Angela — O'Keefe-Lane Mar.

508- 2 The Adventures of Sadie — Collins-Moore ....Apr.

509- 0 A Man Called Peter— Peters-Todd (C'Scope) .Apr.

510- 8 Violent Saturday — Mature-Sydney (C'Scope) .Apr.

506- 6 A Life in the Balance — Montalban-Bancroft . . .May

513- 2 Magnificent Matador —

O'Hara-Quinn (C'Scope) May

512- 4 The Living Swamp — Documentary (C'Scope) .May

515- 7 Daddy Long Legs — Astaire-Caron (C'Scope) .May

Call Northside 777 — reissue May

Where the Sidewalk Ends — reissue May

504- 1 That Lady — DeHaviland-Roland (C'Scope) . .June

514- 0 Soldier of Fortune —

Gable-Hayward (C'Scope) June

516- 5 House of Bamboo — Stack-Ryan (C'Scope) . . . .July

Sir Walter Raleigh — Davis-Todd (C'Scope) . .July
How to Be Very, Very Popular —

Grable-North (C'Scope) Aug.

The Left Hand of God—

Bogart-Tierney (C'Scope) Aug.

A Many Splendored Thing —

Holden-Jones (C'Scope) Sept.

Seven Cities of Gold — Egan-Rennie (C'Scope) .Sept.

The Tall Men— Gable-Russell (C'Scope) Oct.

Pink Tights— Dailey-North (C'Scope) Oct.

United Artists Features

(729 Seventh Ave.. Hew Yor\ 19, H-l T.)

Shield for Murder — O'Brien-English Nov.

Snow Creature — Paul Langton Nov.

Twist of Fate — Rogers-Bergerac Nov.

The White Orchid — Lundigan-Castle Nov

You Know What Sailors Are — British-made Nov

Vera Crua — Cooper-Lancaster (SuperScope) Dec.

Romeo and Juliet — Harvey-Shantell Dec.

The Steel Cage— Kelly-O'Sullivan Dec.

Black Tuesday — Robinson-Parker Jan.

Battle Taxi — Hayden-Franz Jan.

The Beachcomber — Newton-Johns Jan.

Sabaka — Karloff-Denny-Jory Feb.

The Good Die Young — British-made Feb.

Canyon Crossroads- — Basehart-Kirk Feb.

Big House, U.S.A. — Crawford-Meeker Mar.

Stranger on Horseback — McCrea-Miroslava Mar.

Marty — Blair-Borgnine Mar.

The Purple Plain — Gregory Peck Apr.

A Bullet for Joey — Robinson-Raft-Totter Apr.

Lilacs in the Spring — Flynn-Neagle Apr.

Universal-International Features

(445 Par\ Ave., Hew ror\ 22, H- T.)

501 Bengal Brigade — Hudson-Dahl Nov.

502 Four Guns to the Border— Calhoun»Miller Nov.

504 Ricochet Romance — Main-Wills Nov.

510 Yellow Mountain — Barker-Powers Dec.

505 Sign of the Pagan — Chandler-Palance (C'Scope) . Dec.

506 Sign of the Pagan — (Standard 2-D) Dec.

507 So This is Paris — Curtis-Calvet Jan.

508 Destry — Murphy-Blanchard Jan.

503 West of Zanzibar — English-made Jan.

511 The Far Country — Stewart-Roman-Calvet Feb.

512 Six Bridges to Cross — Curtis-Adams Feb.

513 Abbott fe? Costello Meet the Keystone Cops Feb.

514 Captain Lightfoot — Hudson-Rush (C'Scope) ...Mar.

515 Captain Lightfoot — (standard) Mar.

516 Smoke Signal — Andrews-Laurie Mar.

509 Land of Fury — Hawkins-Johns Mar.

520 Man Without a Star — Douglas-Crain Apr.

519 Ma fe? Pa Kettle at Waikiki— Main-Kilbride Apr.

517 Chief Crazy Horse — Mature-Ball (C'Scope) Apr.

518 Chief Crazy Horse — (standard) Apr.

521 Revenge of the Creature- — Agar-Nelson (3D) . .May

522 Revenge of the Creature (2D) May

523 Cult of the Cobra — Domergue-Long May

524 The Looters — Calhoun-Adams May

525 The Man from Bitter Ridge — Barker-Cordey . . . .June

526 Abbott fe? Costello Meet the Mummy June

527 This Island Earth — Reason-Domergue June

Warner Bros. Features

(321 W. 44th St., Hew Tor\ 18, K T.)

404 Drum Beat — Ladd-Dalton Nov. 13

405 Track of the Cat—

Mitchum-Wright (C'Scope) Nov. 27

406 Saratoga Trunk — reissue Dec. 1 1

407 The Big Sleep — reissue Dec. 11

409 Young At Heart — Day-Sinatra Jan. 1

403 A Star is Born — Garland-Mason (C'Scope) ..Jan. 22

408 The Silver Chalice— Mayo-Palance (C'Scope) .Feb. 5

412 Unchained — Hirsch-Hale Feb. 26

411 Battle Cry— Heflin-Ray-Hunter (C'Scope) ..Mar. 12

413 New York Confidential — Crawford -Conte . . .Mar. 12

414 East of Eden — Harris-Dean-Massey (C'Scope) Apr. 9

410 Jump Into Hell — Sernas-Kasznar May 14

415 Strange Lady in Town—

Garson-Andrews (C'Scope) May 28

Tall Man Riding — Scott-Malone-Castle June 11

SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel

75 52 Candid Microphone No. 2 (101/$ m.) Dec. 2

7605 Mysto Fox — Favorite (reissue) (7 m.) Dec. 9

7701 Destination Magoo — Mr. Magoo (6J/2 m.) . .Dec. 16

7854 Hollywood Life — Screen Snapshots (10 m.) .Dec. 16
7953 The Leguona Cuban Boys —

Thrills of Music (101/2 m.) Dec. 23

7804 Rasslin' Redskin — Sports (91/2 m.) Dec. 23

7509 When Magoo Flew —

Mr. Magoo (C'Scope) (6'/2 m.) Jan. 6

7606 Polar Playmates —

Favorite (reissue) (6'/2 m.) Jan. 6

7553 Candid Microphone No. 3 (11m.) Jan. 13

7805 Flying Mallets — Sports (10 m.) Jan. 13

7855 Pennies from Hollywood —

Screen Snapshots (9 m.) Jan. 20

7502 Spare That Child— UPA Cartoon (6j/2 m.) . .Jan. 27

7607 Catnipped— Favorite (reissue) (1]/2 m.) ...Feb. 3

7954 Tony Pastor & Orch.—

Thrills of Music (reissue) (10 m.) Feb. 10

7806 Aquatic Stars — Sports (9m.) Feb. 17

7608 Unsure Hunts — Favorite (reissue) (7J/2 m.) .Feb. 17

7856 Hollywood Shower of Stars —

Screen Snaps hots (10 m.) Feb. 24

7702 Magoo's Check Up — Mr. Magoo (6J/2 m.) . .Feb. 24
7554 Candid Microphone No. 1 (9 m.) (9 m.) . .Mar. 3

7609 River Ribber — Favorite (reissue) (6m.) . .Mar. 10

7807 Fishing Paradise — Sports (9 m.) Mar. 17

7857 Hollywood Fathers — Screen Snapshots . . . .Mar. 24

7610 Treasure Jest — Favorite (reissue) (6</2 m.) .Apr. 7

7955 Elliot Lawrence 6? Orch. —

Thrills of Music (reissue) (10J/2 m.) Apr. 14

7611 Picnic Panic — Favorite (reissue) (6 m.) . . . .Apr. 21

Columbia — Two Reels

7423 Cupid Goes Nuts —

Favorite (reissue) (16 m.) Dec. 2

7412 Kids Will Be Kids—

All-Star Comedy (16 m.) Dec. 9

7433 The Good Bad Egg-

Favorite (reissue) (17 m.) Dec. 16

7404 Fling in the Ring — Stooges ( 16 m.) Jan. 6

7413 His Pest Friend— Quillan-Vernon (W/2 m.) .Jan. 20

7405 Of Cash and Hash— Stooges (16 m.) Feb. 3

7424 Half-Way to Hollywood —

Favorite (reissue) (l7'/2 m.) Feb. 10

7414 G.I. Dood It— Joe Besser (16 m.) Feb. 17

7140 Black Arrow — Serial (15 ep.) Feb. 24

7425 A Knight and a Blonde —

Favorite (reissue) (14 m.) Mar. 3

7406 Gypped in the Penthouse — Stooges ( 16 m.) .Mar. 10

7434 You're Next — Favorite (reissue) (17 m.) ..Mar. 17

7407 Bedlam in Paradise — Stooges Apr. 14

7435 Ready, Willing but Unable —

Favorite (reissue) (16)/2 m.) Apr. 21

7415 One Spooky Night — Andy Clyde Apr. 28

Metro-Goldwyn-Mayer — One Reel

W-640 Dixieland Droopy — Cartoon (8 m.) Dec. 4

S-652 Rough Riding— Pete Smith (9 m.) Dec. 11

C-632 Touche Pussy Cat—

C'Scope Cartoon (7 m.) Dec. 18

T-614 Glacier Park & Waterton Lakes —

Traveltalk (9 m.) Dec. 25

S-653 Man Around the House — Pete Smith (9m.) Jan. 1
W-662 Part Time Pal — Cartoon (reissue) (8 m.) Jan. 8
W'663 Cat Concerto — Cartoon (reissue) (7 m.) . .Jan. 22

S-654 Keep Young— Pete Smith (9 m.) Feb. 5

T615 Mexican Police on Parade —

Traveltalk (reissue) (9 m.) Feb. 12

W-664 Dr. Jeykll and Mr. Mouse —

Cartoon (reissue) (8 m.) Feb. 26

S-655 Sports Trix— Pete Smith (9 m.) Mar. 5

C-635 Southbound Duckling —

C Scope Cartoon (7m.) Mar. 12

W-665 Salt Water Tabby-
Cartoon (reissue) (7 m.) Mar. 26

T-616 Mighty Niagara —

Traveltalk (reissue) (10 m.) Apr. 9

S'656 Just What I Needed — Pete Smith (9 m.) .Apr. 16

W-631 Pet Peeve— Cartoon (7 m.) (2D) Apr. 23

C-637 Pup on a Picnic — C'Scope Cartoon (7m.) .Apr. 30

S-657 Global Quiz,— Pete Smith (10 m.) May 14

W-633 Touche Pussy Cat— Cartoon (2D) (7 m.) .May 21
W-635 Southbound Duckling —

Cartoon (2D) (7 m.) June 25

W-637 Pup On a Picnic— Cartoon (2D) (7 m.) .July 23

H14-1
B14-2
E14-2
R14-4
K14-2

P14-2

R14-5

Ml 4*2
E14-3
M14-3

K14-3
B14-3

Paramount — One Reel

Rail-Rodents — Herman Katnip (7 m.) .Nov. 26
Boo Ribbon Winner — Casper (6m.) ...Dec. 3

Gopher Spinach — Popeye (6m.) Dec. 10

Boyhood Thrills — Sportlight (9 m.) Dec. 10

How To Win At the Races —

Pacemaker (11m.) Dec. 17

No Ifs, Ands or Butts —

Noveltoon (6m.) Dec. 17

The Pike's Peak Arena —

Sportlight (9m.) Dec. 24

Killers at Bay— Topper (10 m.) Dec. 31

Cookin' With Gags — Popeye (7 m.) ... .Jan. 14
Just the Bear Facts, Ma'am —

Topper (9 m.) Jan. 14

You're a Trooper — Pacemaker (10 m.) . .Jan. 21
Hide and Shriek — Casper (7 m.) Jan. 28

Ml 4-4

P14-3
E14-4
R14-6
H14-2

B14-4
E14-5
P14-4
R14-7

H14-3

M14-5
M14-6
E14-6
B14-5

All Chimps Ashore — Topper (10 m.) . . .Feb 4

Dizzy Dishes — Noveltoon (6 m.) Feb. 4

Nurse to Meet Ya — Popeye (6m.) Feb. 11

Swim and Survive — Sportlight (9 m.) . . .Feb. 11
Robin Rodenthood —

Herman fj? Katnip (7 m.) Feb. 25

Keep Your Grin Up — Casper (6 m.) . . . .Mar. 4

Penny Antics — Popeye (8 m.) Mar. 11

Git Along Li'l Duckie — Noveltoon (7 m.) Mar. 25
Baseball's Acrobatic Age —

Sportlight (9m.) Apr. 1

A Bicep Built for Two —

Herman & Katnip (7m.) Apr. 8

Let's Look At the Birds — Topper Apr. 15

Pick a Pet — Topper Apr. 22

Beaus Will Be Beaus — Popeye May 20

Spooking With a Brogue — Casper May 27

Paramount — Two Reels

VI 4-1 Vista Vision Visits Norway —

Special (17 m.) Nov. 5

T14-4 Assignment Children —

UNICEF Special (19 m.) Mar.

V14-2 VistaVision Visits Mexico —

Special (17 m.) Apr. 29

Vl4r3 VistaVision Visits the Sun Trails — Special May 27

RKO — One Reel

54304 Canadian Stampede — Sportscope (8 m.) ..Nov. 26

54204 Cinema Capers — Screenliner (8 m.) Dec. 10

54305 Sports Island — Sportscope (10 m.) Dec. 24

54205 Water, Water, Everywhere —

Screenliner (8J/2 m.) Jan. 7

54103 No Hunting— Disney (6 m.) Jan. 14

54306 Ski Saga — Sportscope (8 m.) Jan. 21

54104 The Pelican and the Snipe —

Disney (reissue) (9 m.) Jan. 28

54206 Camera Crazy — Screenliner (8 m.) Feb. 4

54307 Chamois Hunt — Sportscope (8 m.) Feb. 18

54105 Lake Titicaca — Disney (reissue) (7 m.) . . .Feb. 18

54207 Nature's Showcase — Screenliner (8 m.) ..Mar. 4

54106 Contrasts in Rhythm —

Disney (reissue) (8 m.) Mar. 11

54308 Here's Hockey — Sportscope ( 10 m.) Mar. 18

54208 Bush Doctor — Screenliner (11 m.) Apr. 1

54107 Blame It on the Samba —

Disney (reissue) (6m.) Apr. 1

54209 Inland Seas — Screenliner (8m.) Apr. 29

54210 Staff of Life — Screenliner (8 m.) May 27

RKO — Two Reels

53102 Circus Trainer— Special (17 m.) Nov. 12

53402 Redskins 6? Redheads-
Ray Whitley (reissue) (18 m.) Nov. 19

53504 Mind Over Mouse —

Kennedy (reissue) (17 m.) Nov. 19

53705 I'll Take Milk— Errol (reissue) (18 m.) ..Nov. 26

53505 Brother Knows Best —

Kennedy (reissue) (17 m.) Dec. 3

53901 Football Highlights— Special (15J/2) m.) • -Dec. 10

53706 Follow the Blonde— Errol (reissue) (18 m.). Dec. 10
53 506 Home Canning —

Kennedy (reissue) (16 m.) Dec. 17

53103 Fast Freight— Special (15 m.) Dec. 17

53104 River to the Past — Special (15 m.) Jan. 21

53105 Big Top Caravan— Special (16 m.) Feb. 25

53106 Finders Keepers — Special (15J/2 m.) Apr. 1

Republic — One Reel

5386 Thailand— This World of Ours (9m.) Nov. 15

5387 Bali— This World of Ours (9 m.) Dec. 15

5388 Venezuela— This World of Ours (9 m.) ..Mar. 1

Republic — Two Reels

5483 Panther Girl of the Kongo — Serial (12 ep.) . .Jan. 3

5484 Jesse James Rides Again — Serial (12 ep.) . .Mar. 28

Twentieth Century-Fox — One Reel

5501- 2 Barnyard Actor (Gandy Goose) —

Terrytoon (7m.) Jan.

5503- 8 A Yokohama Yankee — Terrytoon (7 m.) ...Jan.

5502- 0 Dear Old Switzerland —

Terrytoon (reissue) (7 m.) Jan.

5504- 6 Swooning the Swooners —

Terrytoon (reissue) (7 m.) Feb.

5 505-3 Duck Fever (Terry Bears)—

Terrytoon (7 m.) Feb.

5506- 1 It's All in the Stars —

Terrytoon (reissue) (7 ra.) Mar.

5507- 9 The First Flying Fish (Aesops Fable) —

Terrytoon (7 m.) Mar.

5508- 7 The Two Headed Giant—

Terrytoon (reissue) (7 m.) Apr.

5509- 5 No Sleep for Percy (Little Roquefort) —

Terrytoon (7 m.) Apr.

Twentieth Century-Fox — C'Scope Reels
1954

7422 The CinemaScope Parade — Special (23 m.) . . .Oct.
7421 Fabulous Las Vegas — C'Scope (18 m.) Oct.

7423 El Torio — C'Scope (9 m.) Oct.

7425 The Empire Games — C'Scope (13 m.) Oct.

7426 Flying to Fish — C'Scope (16 m.) Nov.

7427 Far East Bastions — C'Scope (10 m.) Nov.

1955

7505- 1 Supersonic Age — C'Scope ( 13 m.) Jan.

7503- 6 Birthday Parade — C'Scope (10 m.) Jan.

7501- 0 Tuna Clipper Ship — C'Scope (18 m.) Jan.

7504- 4 5th Ave. to Fyjiyama — C'Scope (10 m.) Feb.

7502- 8 Stampede City— C'Scope (7 m.) Feb.

7506- 9 Land of the Nile — C'Scope Mar.

7507*7 Tears of the Moon — C'Scope Mar.

7508- 5 Isle of Lore — C'Scope (10 m.) Apr.

7509- 3 Punts and Stunts— C'Scope (9 m.) Apr.

Universal — One Reel

1321 I'm Cold— Cartune (6m.) Dec. 20

1341 Trouble Bruin — Variety View (9m.) Dec. 27

1381 Dust Eaters — Color Parade (9 m.) Feb. 28

1322 Helter Shelter — Cartune (6 m.) Jan. 7

1342 Little Lost Scent — Variety View (9 m.) . . . Jan. 31

1323 Crazy Mixed Up Pup — Cartune (6 m.) Feb. 14

1351 The Band Master—

Cartune (reissue) (6J/2 m.) Feb. 21

1324 Witch Crafty— Cartune (6m.) Mar. 14

1382 Moose Country — Color Parade (9]/2 m.) . . .Mar. 21

1352 The Mad Hatter — Cartune (reissue) (7 m.) Mar. 28
1326 Private Eye Pooch — Cartune (6m.) Apr. 9

1325 The Legend of Rock-a-Bye Point —

Cartune (6 m.) Apr. 11

1353 Banquet Busters —

Cartune (reissue) (6J/2 m.) Apr. 25

Universal — Two Reels
1201 A Gift from Dirk— Special (19 m.) Nov. 12

1301 Champ Butler Sings — Musical (15 m.) Nov. 29

1200 Speed Sub-zero —

Special (Vistarama) (9'/2 m.) Dec. 5

1302 Road Show— Musical (15 m.) Dec. 30

1303 The Robins Sing — Musical (15 m.) Jan. 7

1304 Keep It Cool— Musical (16 m.) Feb. 14

1305 Les Brown Goes to Town — Musical (15 m.) .Mar. 14

1300 A World of Beauty— Special (17 m.) Mar. 15

1203 Fortress of Freedom — Vistarama (10 m.) . .Mar. 28

1306 Strictly Informal — Musical ( 16 m.) Apr. 11

Vitaphone — One Reel

2707 Sheep Ahoy— Merrie Melody (7 m.) Dec. 11

2503 Rodeo Roundup — Sports Parade (10 m.) ..Dec. 11

2402 So You Want to Know Your Relatives —

Joe McDoakes (10 m.) Dec. 18

2724 Baby Buggy Bunny — Bugs Bunny (7 m.) . . .Dec. 18

2305 Trial of Mr. Wolf-

Hit Parade (reissue) (7m.) Dec. If

2603 Bit of the Best— Variety (10 m.) Dec. 25

2803 South American Sway —

Melody Master (reissue) (10 m.) Jan. 1

2708 Pizzicato Pussycat — Merrie Melody (7m.) ..Jan. 1

2504 Silver Blades — Sports Parade (10 m.) Jan. 15

2709 Feather Dusted — Merrie Melody (7m.) Jan. 15

2403 So You Don't Trust Your Wife-

Joe McDoakes (10 m.) Jan. 29

2710 Pests for Guests — Merrie Melody (7 m.) . Jan. 29

2306 Back Alley Uproar —

Hit Parade (reissue) (7 m.) Feb. 5

2725 Beanstalk Bunny — Bugs Bunny (7 m.) Feb. 12

2505 Caribbean Playgrounds —

Sports Parade (10 m.) Feb. 19

2711 All Fowled Up— Merrie Melody (7m.) Feb. 19

2804 Stan Kenton & Orch. —

Melody Master (reissue) (10 m.) Feb. 26

2712 Stork Naked— Merrie Melody (7 m.) Feb. 26

2307 You Were Never Duckier —

Hit Parade (reissue) (7 m.) Feb. 26

2404 So You Want To Be a Gladiator-

Joe McDoakes (10 m.) Mar 12

2713 Lighthouse Mouse — Merrie Melody (7 m.) .Mar. 12

2506 Football Royal— Sports Parade (10 m.) Mar. 19

2604 Those Exciting Days — Variety (10 m.) Mar. 19

2726 Sahara Hare — Bugs Bunny (7 m.) Mar. 26

2714 Sandy Claws — Looney Tune (7m.) Apr. 2

2308 House Hunting Mice —

Hit Parade (reissue) (7m.) Apr. 2

2715 The Hole Idea— Looney Tune (7m.) Apr. 16

2806 The Playgirls—

Melody Master (reissue) (10 m.) Apr. 16

2309 Crowing Pains — Hit Parade (reissue) (7 m.) Apr. 23
2508 Rocky Mountain Big Game —

Sports Parade (10 m.) Apr. 23

2716 Ready, Set, Zoom! — Looney Tune (7 m.) . .Apr. 30

2605 Fire, Wind, Flood— Variety (10 m.) Apr. 30

2727 Hare Brush — Bugs Bunny (7 m.) May 7

2405 So You Want To Be On a Jury-

Joe McDoakes (10 m.) May 7

2717 Past Performance — Merrie Melody (7 m.) ..May 21

2507 Riviera Revelries — Sports Parade (10 m.) .May. 21
(Ed. T^ote: "U.S. Service Bands," a Melody Master

reissue listed in the previous index as an April 16 release,
has been removed from the schedule.)

Vitaphone — Two Reels

2003 Mariners Ahoy — Special (17 m.) Nov. 6

2102 Camera Hunting —

Featurette (reissue) (19 m.) Nov. 20

2005 Bill of Rights— Special (22 m.) Dec. 4

2004 Where Winter is King — Special (17 m.) . . Jan. 8

2103 Three Cheers for the Girls — Featurette Jan. 22

2006 Beauty and the Bull — Special (17 m.) Feb. 5

2007 Mississippi Traveler — Special Mar. 5

2104 When the Talkies Were Young — Featurette Mar. 26

2008 Old Hickory— Special Apr. 9

2010 Wave of the Flag — Special May 14

2105 At the Stroke of Twelve — Featurette May 28

(Ed. T^ote: "Carnival Days," listed in the previous index
as a May 14 release, has been removed from the schedule.)

NEWSWEEKLY NEW YORK

RELEASE DATES

News of the Day 7 4 Mon. (E) ... .Apr. 25

262 Wed. (E) . . .Mar. 30 75 Wed. (O) ....Apr. 27

263 Mon. (O) ...Apr. 4 "6 Mon. (E) May 2

264 Wed. (E) ...Apr. 6 77 Wed. (O) May 4

265 Mon. (O) ...Apr. 11 78 Mon. (E) May 9

266 Wed. (E) ...Apr. 13 7$> Wed. (O) May 11

267 Mon. (O) ...Apr. 18 »0 Mon. (E) May 16

268 Wed. (E) ...Apr. 20 81 wed. (O) May 18

Inl ffi • • ' Apn H Fox Movietone

Wed- • • -£Pr- 21. 28 Tues. (E) ... .Mar. 29

III ^ {%l V \ 29 Friday (O) ...Apr. 1

^^Cd-/n '-™ay q 30 Tues (E) .... Apr. 5

III w"T (,? "■iJay,? 31 Friday (0) ...A?r. 8

lit ^Cd- ,(n! * • 'Kay a 32 T"es (E) ... .Apr. 12

III v?70"r ffi * • '^ay « 33 Friday l(6) . . .Apr. 15

276 Wed. (E) . . .May 18 34 Jucs (E) . . . . A?r. 19

Paramount News 35 Friday (O) ...Apr. 22

65 Wed. (O) Mar. 30 36 Tues. (E) Apr. 26

66 Sat. (E) Apr. 2 37 Friday (O) . . .Apr. 29

67 Wed. (O) ....Apr. 6 38 Tues. (E) May 3

68 Sat. (E) Apr. 9 39 Friday (O) ...May 6

69 Wed. (O) Apr. 13 40 Tues. (E) May 10

70 Sat. (E) Apr. 16 41 Friday (O) . . .May 13

71 Wed. (O) Apr. 20 42 Tues. (E) May 17

72 Sat. (E) Apr. 23 Universal News

73 Wed. (O) ... .Apr. 27 ^nive.r(5*1 oo

74 Sat. (E) Apr. 30 659 Tues. (O) . . .Mar. 29

75 Wed. (O) ....May 4 660 Thurs. (E) . .Mar. 31

76 Sat. (E) May 7 66 Tues. (O) ...Apr. 5

77 Wed (O) • • • -May 11 662 Thurs. (E) . .Apr. 7

78 Sat. (E) May 14 663 Tues. (O) .Apr. 12

79 Wed (O) . . . .May 18 664 Thurs .(E) . .Apr. 4

665 lues. (O) ...Apr. 19

Warner Pathe News 666 Thurs. (E) ..Apr. 21

67 Wed. (O) Mar. 30 667 Tues. (O) ...Apr. 26

68 Mon. (E) Apr. 4 668 Thurs. (E) ..Apr. 28

69 Wed. (O) Apr. 6 669 Tues. (O) ...May 3

70 Mon. (E) Apr. 11 670 Thurs. (E) ..May 5

71 Wed. (O) Apr. 13 671 Tues. (O) ...May 10

72 Mon. (E) Apr. 18 672 Thurs. (E) . .May 12

73 Wed. (O) Apr. 20 673 Tues. (O) . . .May 17

Entered as second-class matter January 4, 1921, at the post oflice 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. XXXVII SATURDAY, APRIL 9, 1955 No. 15

IT WILL NOT BE A SERIOUS LOSS

Of more than passing interest is the statement made
this week by Herbert J. Yates, president of Republic
Pictures, that his company, within the next sixty
days, will decide whether or not it will discontinue
production and distribution of theatrical motion pic-
tures to devote itself exclusively to television and
laboratory activities.

Yates made this announcement at a stormy stock-
holders meeting held in New York on Tuesday, in
response to a stockholder's query about the future
of the company, and it followed a glum report made
by Richard W. Altschuler, the company's vice-
president in charge of world-wide sales, who fore-
cast a dismal future for theatrical motion pictures
both at home and abroad.

Referring to the domestic market, Altschuler
stated that the smaller theatres are closing very
rapidly, thus diminishing the number of theatres in
which Republic pictures can play, and he pointed
to the fact that, over the past ten years, movie attend-
ance has dropped from 90,000,000 weekly to about
45,000,000. He pointed out also that television is
having a drastic effect on movie attendance, and stated
that the recent telecast of "Peter Pan," with Mary
Martin, seen by an estimated 60,000,000 viewers, had
reduced attendance in the theatres that night by
approximately fifty per cent.

In announcing the possibility that Republic may
withdraw from the theatrical field, Yates said that the
only thing that can change the company's thinking
along these lines would be the willingness of the
four top circuits in the country to grant Republic
pictures more playing time and better terms. Yates
did not identify the circuits, but he claimed that he
had talked to their presidents and had apprised them
of his company's intentions. This has been denied
by such circuit heads as Leonard Goldenson, presi-
dent of American Broadcasting- Paramount Theatres,
and by Si Fabian, president of Stanley Warner
Theatres.

Yates' announcement met with strong opposition
from many of the minority stockholders present at
the meeting. Among other things, they pointed out
that every producing company in the business was
doing well, with the exception of Republic; expressed
their dissatisfaction with the management's handling
of the company's affairs; and demanded that the
management hire competent people who know the
motion picture business.

That Yates is seriously thinking of quitting the
theatrical field is evidenced by his statement that the
company is not signing up any more contract players,
that present player contracts will expire within the
year, and that the company is operating on a picture-
by-picture arrangement. Moreover, he pointed out
that the company was doing exceedingly well with its
TV and laboratory operations, and that it could make
a yearly profit of $1,000,000 by merely renting out
studio space.

The possibility that any film company may step out
of theatrical production is, of course, to be deplored,
for the product shortage is more acute than ever. In
the case of Republic, however, the loss to exhibition
should not be serious, for the company, ever since
it started selling its old pictures to TV several years
ago, has not been a dependable source of product
supply, despite the grandiose statements made peri-
odically by Mr. Yates to the effect that the company
will produce the greatest number of top-budget
pictures in its history, with budgets that will either
double or triple the amounts it spent in prior
seasons.

As a matter of fact, less than two months ago,
in a four-page advertisement inserted in the trade
press, Mr. Yates promised to deliver "week after
week" throughout 1955 "the greatest number of top
money productions in Republic's 20 years of picture
making." He also added this personal statement : "My
optimism for the future of motion pictures is ex-
pressed by putting more money into expansion and
production at Republic in 195? than at any time in
the company's history."

But, despite Mr. Yates' statements and promises,
the fact remains that the number of pictures released
by his company over the past few years has been
sparse, and their overall entertainment quality has
been nothing to brag about.

To forestall a decision to withdraw from the
theatrical market, Mr. Yates, in effect, is now telling
the exhibitors that they must give his company's pic-
tures more playing time and higher rentals. This
paper feels confident that most exhibitors would be
more than willing to comply with his request, pro-
vided his company delivers proper merchandise both
in quality and quantity. Unless that can be done, it
is doubtful if Republic's exit from the theatrical field
will be a serious blow to the exhibitors, particularly
among those who have not forgotten that it is the
one film company, more than any other, whose TV
activities have helped considerably to cut attendance
at the theatres.

HARRISON'S REPORTS

April 9, 1955

"Conquest of Space" with Walter Brooke and
Eric Fleming

(Paramount, February; time, 80 min.)

This is one of those fantastic melodramas that will
appeal primarily to those who enjoy science- fiction of
the interplanetary brand. Photographed in Technicolor
and centering around a rocket trip to Mars, under-
taken from a man-made space station 1,000 miles
above the earth, the plot, which deals with training
and conditioning of the crew and with clashes in
personalities, is pretty feeble dramatically. The pic-
ture, however, is given a fascinating quality by the
highly imaginative sets and special effects, and by the
fact that none of the action takes place on earth —
all of it occurs in the space station, the rocket ship and
on the planet Mars. The youngsters, in particular,
should go for it in a big way. The color photography
is excellent: —

For more than a year a group of Army volunteers,
commanded by Walter Brooke, lead a fantastic exist-
ence on The Wheel, a man-mad space station designed
as a base for a rocket flight to the Moon. Second in
command is Eric Fleming, Brooke's son, who wants
to return to his bride on earth. Brooke, however, re-
fuses to approve his transfer. When Brooke receives
orders to fly to Mars instead of the Moon, he insists
that the mission is too hazardous, but he reluctantly
agrees to head the expedition when he is told that the
purpose of the trip is to find raw materials to replace
those vanishing from the earth. He blasts off for Mars
in a rocket ship together with his son and three en-
listed men. After an eventful flight, during which
one of the men is killed by a falling asteroid while
making repairs, they land on Mars. Meanwhile the
death of the man had unnerved Brooke, who sees it
as a sign of God's anger for having invaded His
domain. He suddenly goes beserk, and Eric, in an
effort to restrain him, accidentally kills him. Many
months are spent on the desolate planet obtaining
samples of raw materials, and on the day of the
scheduled departure an earthquake threatens to des-
troy the ship. They manage to take off after several
tense moments and roar earthward with a gratified
feeling that space can be conquered.

It was produced by George Pal and directed by
Byron Haskin, from a screenplay by James O'Hanlon,
based on the book by Chesley Bonestell and Willy
Ley. Family.

"Escape to Burma" with Barbara Stanwyck,
Robert Ryan and David Farrar

(RKO, April; time, 86 min.)

This jungle adventure melodrama is handicapped
by a hodge-podge story and by characters who are
merely automatons, manipulated by the author. But
the jungle background, enhanced by the SuperScope
process and fine Technicolor photography, is so beau-
tiful and the action so swift that one's attention is
held pretty tight all the way through. The popularity
of the players should, of course, mean something at
the box-office. The action takes place in the Burma
jungle and centers around the efforts of Robert Ryan
to escape arrest as a murderer. In the end, however, it
comes to light that he is innocent. He is aided in his
flight by Barbara Stanwyck, and the action gives them
ample opportunity for several "hot" embraces. The
direction and acting are adequate enough when one
considers the limitations of the script: —

Barbara, mistress of a teak forest, is lonely until

Ryan makes his way to her isolated estate. He had
fled from the police, who sought to arrest him for
killing the son of Robert Warwick, a sort of Burma
Rajah. Everything is peaceful until the arrival of
David Farrar, a security officer, who poses as a buyer
of elephants. Barbara sees through Farrar's pretense
and compels him to admit that he had come there to
arrest Ryan. A slug fired from Ryan's gun matches
the murder bullet, which Farrar had in his possession.
Ryan escapes and Farrar pursues him. Barbara, rather
than have Ryan kill or be killed, persuades him to
surrender to Farrar. Bandits attack the party and,
thinking that Ryan is fellow-bandit, release him. He
then secures a gun and routs the bandits. In the events
that follow, Ryan escapes again only to be recaptured
by Farrar, but complications arise when Warwick,
who had learned of Ryan's whereabouts, sends soldiers
to bring him in. The soldiers open fire on the party
when Farrar refuses to surrender his prisoner, and
Ryan, to save his companions from harm, surrenders
on his own. As Warwick prepares to punish him, a
witness turns up with conclusive evidence that Ryan
had really been a close friend of his son and had shot
him in self-defense after the young man, delirious with
the plague, had gone on a shooting spree endangering
the lives of those around him. Ryan, set free, looks
to a new life with Barbara.

Benedict Bogeaus produced it, and Allan Dwan
directed it, from a screenplay by Talbot Jennings and
Hobart Donavan, based on a story by Kenneth
Perkins. Family.

"The Eternal Sea" with Sterling Hayden,
Alexis Smith and Dean Jagger

(Republic, no rel. date set; time, 103 min.)

Biographical of the naval career of Rear Admiral
John M. Hoskins, this is a warm and sympathetic ac-
count of a dedicated man who distinguished himself
in World War II and Korea, despite the loss of a leg
in battle action. The picture's running time is some-
what overlong for what it has to offer, but it holds
one's attention well throughout because of the effec-
tive direction and competent acting. Sterling Hayden
is very good as the admiral. His mastering of an
artificial limb, his determined fight against forced
retirement and the manner in which he proves his
exceptional ability, despite his physical handicap, are
followed with keen interest by the spectator. Equally
good is Alexis Smith, as his wife; the anguish she
suffers because of her concern for his safety, and the
sacrifices she makes to help him fight retirement, pro-
vide the proceedings with many a heart-tug. Worked
into the story are some highly thrilling battle action
scenes, which are made all the more exciting by actual
war clips that have been blended with the staged ac-
tion in expert fashion. The title, however, seems
unattractive : —

When Hoskins, a relatively young captain, is given
command of the carrier Hornet, his wife, Sue, stifles
her disappointment over his not being kept in the
states. The Hornet is sunk before he can take com-
mand, and Admiral Thomas L. Semple (Dean Jag-
ger), his close friend, assigns him to training duty.
In due time he is given command of the Princeton
and boards the vessel on the eve of the Philippine
invasion. The ship is sunk before he can assume his
post, and during the battle he sustains a serious leg
wound necessitating amputation. He obtains a room
in a naval hospital overlooking the Philadelphia Navy
Yard and watches the construction of the new Prince-

April 9, 1955

HARRISON'S REPORTS

ton while mastering the use of an artificial limb. When
a medical board rules that he must go into retirement,
Hoskins bitterly opposes the decision and asks for a
hearing. Realizing that retirement might have a ser-
ious effect on her husband, Sue, sacrificing her per-
sonal wishes, brings to his attention a naval ruling,
quietly given to her by Semple, which states that no
man disabled in combat can be retired without his
consent. This ruling enables Hoskins to remain on
active duty, and his happiness is complete when he is
assigned as the first skipper of the new Princeton.
His career zooms when he successfully pioneeers the
use of carrier-based jet planes, and further glory
awaits him when the jets prove themselves in Korea.
He is offered high naval honors, but declines them to
work in a lesser capacity with wounded Navy men
as living proof that no physical handicap can disable
a man who retains his spirit.

It was produced and directed by John H. Auer,
from a screenplay by Allen Rivkin, based on a story
by William Wister Haines. Family.

"A Bullet for Joey" with Edward G. Robinson,
George Raft and Audrey Totter

(United Artists, April; time, 85 min.)

A fair program crime melodrama, centering around
an unsuccessful attempt by Communist spies to kid-
nap a Canadian atomic physicist. That it does not rise
above the level of program fare is due mainly to the
fact that the story is too complicated and talky, and
the pace too sluggish. The names of Edward G.
Robinson and George Raft should, however, be of
some aid at the box-office. Robinson, as a detective-
inspector with the Royal Canadian Mounted Police,
and Raft, as a deported American gangster who is
hired by the spies to do their dirty work, are compe-
tent enough in standard characterizations. The same
may be said of Audrey Totter as Raft's reluctant
"moll." Worked into the plot, which is set in Mon-
treal, are several killings and some moments of high
excitement, but these are not enough to overcome
the general tediousness of the proceedings as a whole.

Briefly, the complicated story has Peter Van Eyck,
a spy living in Montreal as a rare book dealer, master-
minding a plot to kidnap George Dolenz, an atomic
physicist, and spirit him out of the country. In Lisbon,
one of Van Eyck's agents offers George Raft, a de-
ported American gangster, $100,000 to kidnap Do-
lenz. Raft accepts the offer, enters Canada as an
emigrant, and ostensibly goes to work on a farm
operated by the spy ring. There, Raft organizes his
old gang, including Joseph Vitale, John Cliff and Bill
Bryant, and sees to it that Audrey, his former girl-
friend, joins him, despite her protests. Raft assigns
Bryant to make a play for Toni Gerry, Dolenzs secre-
tary, and orders Audrey to somehow meet and vamp
Dolenz. Bryant seduces the unsophisticated Toni,
obtains valuable information from her, and kills her
when she becomes suspicious. Meanwhile Audrey
succeeds in making Dolenz's acquaintance and really
falls in love with him. Tonfs death, as well as that
of a constable, brings Robinson into the case, and
different clues, coupled with information received
from the FBI, lead him to suspect the guilty parties.
In the involved events that follow, Raft kidnaps Do-
lenz and puts him aboard a freighter. Robinson,
through clever police work, trails the kidnapped man
to the freighter only to be captured himself. Alone for
a few moments with Raft, Robinson convinces the

latter that he will not only be double-crossed but that
he was playing a part in a plot that could destroy the
world. Realizing the significance of the situation, Raft
kills Van Eyck and frees both Robinson and Dolenz,
but accomplishes this at the sacrifice of his life.

It was produced by Samuel Bischoff and David
Diamond, and directed by Lewis Allen, from a screen-
play by Geoffrey Homes and A. I. Bezzerides, based
on a story by James Benson Nablo. Adults.

"Bedevilled" with Anne Baxter and
Steve Forrest

(MGM, April; time, 85 min.)

Photographed in CinemaScope and Eastman color,
this is a moody and somewhat tragic melodrama about
a young man who, while studying for the priesthood,
becomes involved with a frightened American girl, a
cafe entertainer in Paris, whom he tries to protect
from underworld killers seeking vengeance for a
murder she had committed. It is a mildly engrossing
tale that has some suspenseful moments, but on the
whole it is given more to talk than action, making
for a tedious pace that serves to wear down the spec-
tator. Proficient performances are turned in by Anne
Baxter, as the "shady lady" of the piece, and by Steve
Forrest, as the young man who protects her and who
is torn between his love for her and his desire to be-
come a priest, but the story is so weighted down with
gabby conversation that it fails to come through with
any appreciable dramatic impact. The ending, which
has Miss Baxter shot to death by the underworld, is
tragic. The actual Paris backgrounds are fascinating,
and the low-key photography is in keeping with the
mood of the story: —

En route to a European seminary to prepare for
the priesthood, Forrest stops over in Paris for a three-
day holiday and sets out to have a look at the city. He
becomes involved with Anne when he returns a reli-
gious medal that had dropped out of her purse. While
he talks to her in her dressing room, police arrive and
demand to know of her whereabouts that evening.
She tells them that she had been with Forrest and,
after they depart, explains to the young man that she
had been having trouble with a labor permit. Forrest
escorts her to her apartment and, in a quick succession
of events, finds himself accosted by Maurice Teynac,
an underworld character, and two of his thugs, while
Anne flees from the apartment. When he regains con-
sciousness, Forrest locates Anne hiding in Napoleon's
tomb, where she explains that Teynac wanted to kill
her because she had witnessed a murder. He takes
Anne to a hideout in Montmarte after she convinces
him that she cannot go to the police. While trying
to figure a way out of her dilemma, both fall in love.
She is stunned, however, when she learns that he is
studying for the priesthood. She confesses her sordid
past and reveals that she had been in love with
Teynac 's brother, only to discover that he was a mar-
ried man. She had shot him in self-defense when he
tried to stop her from leaving him. When Teynac and
his men surround their hideout, Anne and Forrest
escape over the Paris roofs and find sanctuary in a
church. Forrest falls asleep while guarding her, and
Anne, realizing that their love can only bring disas-
ter to him, walks out of the church and is promptly
shot down by Teynac. Forrest rushes to her side and
leads her in a prayer before she dies in his arms.

It was produced by Henry Berman, and directed
by Mitchell Leisen, from a story and screenplay by
Jo Eisinger. Adults.

HARRISON'S REPORTS

April 9, 1955

INTELLIGENT HANDLING OF A
TOUCHY PROBLEM

MGM's "Blackboard Jungle," which deals with
juvenile delinquency in a big city high school, is
proving to be a top box-office attraction in its opening
engagements throughout the country. The picture,
as most of you no doubt know by this time, has
stirred up considerable controversy among educa-
tors, newspaper people and others.

Those who are against the picture label it as a
distorted and grossly exaggerated depiction of juvenile
delinquency in schools, one that reflects unfairly on
the ability of teachers to control students and that
may very well cause some youngsters to imitate the
ruffianism and crime shown in the film.

Those who are for the picture, look upon it as
forceful entertainment and, as pointed out by the
7\[eu> Tor\ Daily Js[ews, one that "gives the honest,
slam-bang lowdown on the junior punks and electric
chair candidates who have been permitted to make
a shambles of some U.S. high and vocational schools."

Needless to say, this raging pro and con argument
has focused attention on the picture and is no doubt
of inestimable aid at the box-office.

Since many school authorities do not feel too kindly
toward the picture, however, its booking may present
a problem to some exhibitors. In this regard it is
interesting to note how the RKO Theatre in New
Brunswick, N.J., handled the problem after the local
school authorities expressed concern upon learning
that the picture had been booked into the theatre.

To maintain cordial relations with the educators,
a meeting was held with them and everybody was
happy when it was agreed to run a special trailer at
the conclusion of each showing, worded as follows :

'TO OUR PATRONS!

"The school and situations you have just seen are
NOT to be found in this area!

"We should all be proud of the facilities provided
for OUR youth by the Public Schools of New
Brunswick and the Middlesex County Vocational and
Technical High Schools.

"We suggest a visit to any of the fine schools in
our city and county!

"Your interest will be cordially welcomed!"

The use of this trailer is a very fine idea, and
Harrison's Reports would suggest to MGM that
it provide all exhibitors booking the picture with such
a trailer. Since it would be too costly to make special
trailers mentioning the names of specific towns, cities
and schools, the wording of the third paragraph
could be changed to the following: "We should all
be proud of the facilities provided for OUR youth by
the schools in our community." In that way the
trailer will be suitable for all situations.

FURTHER EVIDENCE THAT RKO
WILL NOT SELL TO TV

The announcement by RKO that it is reissuing
five of its old top productions, including "The In-
former," "Berlin Express," "Bringing Up Baby," "I
Remember Mama" and "The Big Street," should put
to rest for good the recurrent rumor that the com-
pany's backlog of films is being considered for sale
to television.

These past hits are pictures with top names, such
as Cary Grant, Katharine Hepburn, Robert Ryan,
Lucille Ball, Henry Fonda and Irene Dunne, and
could easily command high fees for TV showings.
But, as it has been doing with other films from its
library, RKO prefers to reissue them on the large
theatre screen rather than the small TV screen.

Howard Hughes, who controls the company, has
given indication that he is now interested in releasing
more RKO pictures. This is evidenced by the changes
he has made in "French Line" and "Son of Sinbad,"
which has been receiving considerable attention in the
national magazines for the past one and one-half
years, so that both have received Production Code
approval. Although "French Line" has already played
many theatres, the Code Seal will now permit more
theatres to book it. "Sinbad" will be made available
to the country's exhibitors beginning May 28.

In addition, a recent release schedule announced
by J. R. Grainger, the company's president, lists seven
features, all in color, for distribution between now
and the middle of July. And seven more are currently
in preparation for scheduled release by the end of
the year.

All in all, it appears as if the Messrs. Hughes and
Grainger, as well as the independent producers whose
films RKO is releasing, are acutely aware of the
exhibitors need for more product and are doing some-
thing about it.

THE NEW CHAMPION

In our March 12 issue we published a letter from
Irving C. Ackerman, a San Francisco exhibitor, in
which he boasted that he had a complete file of
Harrison's Reports since July 1, 1933.

Not to be outdone by this boast, Mr. R. N. Hurt,
general manager of the Alger Theatres, Peru, 111.,
advised us (March 26 issue) that he can beat Mr.
Ackerman's record, for he has a complete file dating
back to 1928.

Now it is Mr. Hurt who must take a back seat,
for Mr. F. J. Lundholm, owner of the Eagle and
Lyric Theatres in Swift Current, Saskatchewan,
Canada, has sent us the following communication:

"Just to let you know that we have a complete file
of your Reports from May 3, 1924. We just couldn't
do without it."

Candidates to dethrone Mr. Lundholm are wel-
come, but any who claim to have a complete file of
the Reports dated before July 1, 1919 will be dis-
qualified, for it was not until that date that the first
issue of Harrison's Reports saw the light of day.

CHECK YOUR FILES FOR MISSING COPIES

Now and then your copy of Harrison's Reports
is either lost in the mails or mislaid in the office but
you are not aware that it is missing until you look
for some information you need immediately. In such
a case you are greatly inconvenienced.

Why not look over your files now to find out
whether a copy of an issue or two issues is missing?
A sufficient number of back issues is kept in stock for
such an emergency. All such copies are furnished to
subscribers on request, free of charge.

Entered as second-claas matter January 4, 1911, at the poet office at New York, New York, under the act of March t, 1879.

Harrison's Reports

Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by

United States $15.00 « Y . 20 N Y Harrison's Reports, Inc..

U. S. Insular Possessions. 16.50 NeW York 20« N" Y' Publisher

Canada 16.50 A Motion pictUre Reviewing Service P- S. HARRISON, Editor

Mexico, Cuba, Spain 16.50 Devoted Chiefly to the Interests of the Exhibitors

Great Britain ............ 17.50 Established July 1, 1919

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India, Europe, Asia 17.50 its Editorial Policy: No Problem Too Big for Its Editorial ~ , , ,„„

35c a Copy Columns, if It is to Benefit the Exhibitor. circle i-Mi

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXXVII SATURDAY, APRIL 16, 1955 No. 16

AN OVERDUE BUT WELCOME
CHANGE OF POLICY

In a reversal of policy that is no doubt looked upon with
dismay in distributor circles but with elation in exhibitor
circles, the Theatre Owners of America issued a blistering
statement last weekend in which it sharply attacked distribu-.
tion for its imposition of unbearable film rentals and "in-
equitable conditions of licensing" pictures, and in which it
demanded that the proposed industry roundtable conference
be held immediately, without waiting for agreement on an
arbitration system.

The firm position now taken by TOA is identical with
that taken by National Allied, thus creating a solid exhibi-
tion front on a national basis in the demand for remedial
measures to preserve the exhibitors in business.

The TOA statement, which was titled "A Call to Action,"
and which is without a doubt the strongest blast against
distribution ever issued by that organization, had this to
say:

"The officers and members of the Board and of the
Executive Committee of TOA have viewed with increasing
alarm the devastating and precarious position of exhibitors
large and small. These conditions have been brought about
by the unreasonable and unbearable film rentals and the
inequitable conditions of licensing being demanded by dis-
tribution. Distributors, operating as they are, in a seller's
market, have refused to listen to the sincere and justifiable
complaints of exhibitors everywhere. Nothing seems too
much or too unreasonable to demand. Coupled with this is
distribution's apparent indifference to the welfare of exhi-
bitors. Exhibitors were lulled into complacency by distribu-
tion statements such as that of Mr. Al Lichtman at the 1954
TOA Convention when he said:

" 'We should and must work together cooperatively and
honestly and we should not seek to profit at each other's
expense. Our profits should only be earned jointly from
the public'

"Mr, Lichtman pointed out at that time, as have other
distributor representatives pointed out at other times, that
it is the duty of a sales manager to distribute and to sell his
company's pictures on a fair and square basis. We ask:
what is fair and square about a minimum of 509c? What is
fair and square about distributor demands for prohibitive
film rentals that prevent exhibitors from earning a fair re-
turn? What is fair and square about the failure of distribu-
tors to recognize the forces now threatening extinction to
exhibitors?

"Distributors' profits are greater than ever. Yet they
continue ruthlessly on their gouging ways. They either do
not know, or do not care to know, that every successful
revolution of importance was accomplished by a handful
of men. That will be the story in this industry if the distri-
butors do not awaken from their dreamworld and take heed
of the justifiable complaints of their customers.

"TOA was pleased to learn, some months ago, that distri-
bution was planning to call an industry conference to con-
sider and to discuss industry grievances. When Mr, Licht-
man thereafter announced that the calling of the confer-
ence would be held up until such time as an arbitration
system had been completed and approved, our President,

Mr. E. D. Martin, agreed with him because TOA felt that
the completed plan would give the industry conference a
solid basis from which to work. But our decision to go along
with a waiting period was based on Mr. Lichtman's state-
ment at the same 1954 Convention:

" \ . . we have agreed with the committee of exhibitors
representing several exhibitor groups on everything but
one point.

" '. . . I am sure that as soon as we are able to meet
again — which we plan to do in the very near future — we
will be able to resolve that one point.'

"We have learned that what Mr. Lichtman said was not
so; that much more than one point separated the thinking
of exhibition and distribution.

"We now believe that it is the purpose and intention of
distribution to keep the scope of arbitration and the avenues
of relief as narrow as possible. While our area of agreement
is wide, it is nevertheless true that the road ahead leading
to completion is far and long, and due to no fault of
exhibition. In fairness to our membership, and to all exhibi-
tors everywhere, we can no longer hold the posiiton that
the completion of an arbitration system must precede the
industry conference. It is now untenable. The crucial times
and the crying need for relief dictate that the industry
conference be held immediately, and that a constructive
program of relief result from it. We dare not sit idly by and
permit the distributors to drive exhibitors, and themselves,
out of existence.

"We hasten to state that no part of our present statement
should be taken to mean that our interest in an industry
system of arbitration is any the less keen. But first things
come first! What is needed now, more than anything else,
is immediate and substantial relief from the inequitable
conditions of licensing, and from the outrageous and pro-
hibitive rentals being demanded by distributors. Not only
have these conditions and terms made it difficult for exhi-
bitors to make a reasonable return on their investments,
but they have prevented the accumulation of exhibitor capi-
tal reserves so that newer and improved theatres might
result.

"It is not possible to think of an industry, other than
the motion picture industry, wherein the sources of supply
display such indifference and such callousness toward its
customers!

"And so to repeat, it is our best judgment that negotia-
tions for arbitration continue with sincerity of purpose and
with a keen desire for accomplishment, but that the calling
of the proposed industry conference be no longer condi-
tioned on the completion of that plan: that the industry
conference be called forthwith with the express intention
in distribution to evolve formulae for substantial relief. To
do any less is to drive harried and overburdened exhibitors
into desperate acts, which they and the entire industry may
well regret in the foreseeable future.

"The TOA and its predecessors have been peace-loving
people. Each administration has dedicated itself to long-
view thinking based on the philosophy that this is an inter-
dependent industry. That philosophy, however, is a two-
way street, and it is obvious now that distribution not

(continued on bac\ page)

HARRISON'S REPORTS

April 16, 1955

"Violent Saturday" with Victor Mature,
Richard Egan and Stephen McNally

(20th Century-Fox, April; time, 90 win.)
Taut and exciting melodramatic fare is served up in
"Violent Saturday," a unique thriller that may very well
catch the public's fancy and prove to be a box-office sur-
prise. Superbly photographed in Cinemascope and Deluxe
color, the story, which includes several interesting sub-plots,
is concerned mainly with the preparation and execution
of a bank robbery in a small, modern mining community.
As the three thugs who commit the crime lay their plans,
the plot develops, scene by scene, into a skillful exercise
in suspense, reaching a nerve-tingling climax with the com-
mission of the robbery, the escape, and the violent deaths
met by the thugs at an isolated Amish farm, where they
tangle with the courageous foreman of a local copper mine,
and with the peace-loving Amish farmer, who seeks to pro-
tect his family. The battle at the farm will long be remem-
bered by movie-goers as one of the most violent and sen-
sational such scenes ever filmed. In some respects the story
is too contrived and depends on the long arm of coincidence,
but the production as a whole has been handled with such
sound craftsmanship that credence is lent to the happenings
that coincide.

The action takes place within a period of twenty-four
hours and opens with the arrival in town of Stephen Mc-
Nally, J. Carrol Naish and Lee Marvin, three gangsters
with a "perfect" plan for robbing the local bank. While the
trio proceed to "case" the layout, sub-plots introduce the
following characters: Victor Mature, foreman of a local
copper mine, who is disturbed by the behavior of Bill
Chapin, his little son, who was disillusioned because his
father had served his country at the mine during the war
and not as a combat hero; Richard Egan, son of the mine
company's owner, who is unhappily married to Margaret
Hayes, a nymphomaniac who cannot resist the advances of
whatever man happens to be around; Virginia Leith, a nurse
at the mine, who befriends Egan and understands his exe
cessive drinking; Tommy Noonan, the bank manager, a
love-starved "Milquetoast" character, who is so fascinated
by the sexy-looking Virginia that he resorts to "peeping
Tom" activities; and Sylvia Sidney, the town librarian, who
steals the purse of a patron in order to pay a bank loan.
In the course of events, Egan and his wife decide to start
a new life together and, in preparation for a second honey-
moon, she goes to the bank to pick up traveller's checks.
Meanwhile, the thugs set their robbery plans in motion by
kidnapping Mature in order to use his car. They take him
to an isolated farm owned by Ernest Borgnine, an Amish
farmer, and tie him up along with Borgnine and his family.
They return to town to rob the bank and, in the ensuing
violence, kill Margaret, rob Sylvia of the money she had
stolen and wound Noonan. Escaping to the farm, the gang-
sters find that Mature had overpowered the guard they left
behind. In a fierce exchange of gunfire, Mature kills Mc-
Nally and Naish while Borgnine kills Marvin with a pitchz
fork in order to save his family as well as Mature. It ends
with Mature a hero in the eyes of his son, and with Egan
finding solace over his wife's murder in the love and un-
derstanding of Virginia.

It was produced by Buddy Adler, and directed by Rich-
ard Fleischer, from a screenplay by Sydney Boehm, based
on the novel by William L. Heath. Adults.

"Dial Red O" with Bill Elliott,
Keith Larsen and Helene Stanley

(Allied Artists, Mar. 13; time, 63 min.)

A very good program picture. It has been so well di-
rected and acted that the characters are believable in
whatever they do. Their actions ring true. Although the
story is not too pleasant, it holds one's attention tight
throughout. One is in sympathy with Keith Larsen, who is
shown hunted for a crime he did not commit. One realizes,
however, that his innocence will be established. Helene
Stanley does well in her part as the faithless wife. The
clues that give the sheriff's men the hint that the murder
had been committed by Paul Picerni are not so clear, but
this defect may be attributed to dramatic license. Bill
Elliott does fine work as a lieutenant in the sheriff's office,
but the exhibitors who play the picture should make it
clear to their patrons that it is a modern-day melodrama
and not a western. There is no comedy relief: —

Keith Larsen, heroic young veteran of two wars in the
Pacific, is sent to the psychiatric ward of a veterans' hospi-

tal for treatment. When he receives word that Helene
Stanley, his wife, is divorcing him, he escapes with the
idea of reaching her and making her change her mind. His
escape touches off a wide manhunt, with the authorities
fearful lest he become violent and murder Helene. The
sheriff's deputies are headed by Bill Elliott and Robert
Bice. For more than a year Helene had been having an
affair with Paul Picerni, a realtor, who had been a judo
expert in Larsen's old Marine outfit. Helene insists that
Picerni divorce his wife and marry her, but when he re-
fuses she becomes furious and threatens him. Angered,
Picerni uses his judo knowledge to murder her and then
tries to set up a tight alibi, throwing suspicion on Larsen,
who soon finds himself arrested and held on suspicion of
homicide. Convinced the Picerni had committed the mur-
der, Larsen escapes from his cell and goes to Picerni's home.
Picerni, advised of Larsen's escape, is warned to be cau-
tious. He starts shooting at Larsen when he arrives, but
the sheriff's men, who had reason to suspect Picerni, reach
the scene in time to prevent Larsen from killing him.
Assured by Elliott that he does not want him but Picerni,
Larsen surrenders his gun. Picerni is arrested.

Vincent M. Fennelly produced it, and Daniel B. Ullman
wrote and directed it.

Adults.

"The End of the Affair" with Deborah Kerr,
Van Johnson and John Mills

( Columbia, May; time, 106 min.)

The great majority of picture-goers, including class pa-
trons, will derive greater pleasure attending a funeral than
attending a performance of this heavy and moody British-
made drama, for it centers around a friend having an affair
with his friend's wife, with both lovers becoming extremely
unhappy when the heroine falls into a state of spiritual con-
fusion. Moreover, it is so excessively talkative that one
becomes weary watching the story unfold. The tone is
"downbeat" all the way through; there is not a cheerful
moment anywhere in the action. A distasteful point is
reached when the hero, consumed with unwarranted
jealousy, hires a private detective to watch the movements
of the heroine. A lengthy repetitive flashback toward the
end of the overdrawn tale only adds to one's weariness. Both
Van Johnson and Deborah Kerr are capable performers, but
both appear to have been "sunk" in this heavy drama and
their efforts to make something meaningful of their roles
do not succeed. The photography is in a low key: —

In war-time London at the height of the "blitz," Johnson,
a successful author, attends a party given in the home of
Peter Cushing, a minor government official, in the hope of
gathering material for his next book. He meets Deborah,
Cushing's neglected wife, and both feel a mutual attraction.
One meeting leads to another and they soon fall madly in
love. Johnson, however, begins to distrust Deborah in the
belief that she did not love him but merely tolerated him.
When Cushing leaves on a business trip, the lovers decide
to spend their time together in Johnson's flat. A bomb
strikes the building during an air raid, and Johnson,
knocked unconscious, is pinned beneath some heavy timber.
Deborah, thinking he is dead, prays to God and vows that
she will never see Johnson again if his life is spared. She
is shocked when Johnson recovers consciousness and walks
into the room. She abandons him without explaining the
reason, and he suspects that she wanted him dead in order
to end their sordid affair. He decides to forget her. After
the war, Johnson again meets Cushing and finds him
troubled over Deborah's strange moods and her desire to
go out for walks alone. Suspecting another man in her life,
Johnson hires John Mills, a private detective, to watch her
movements. He is beside himself when Mills reports that
she had been visiting Michael Goodlife. In a fit of jealousy,
he reveals this information to Cushing. Meanwhile, Deborah
had decided to leave her husband to go back to Johnson,
but when Cushing comes home bewildered and distraught,
her own understanding of human unhappiness moves her
to remain with her husband. Through a diary the detective
had obtained from Deborah's home, Johnson learns about
her vow to God and discovers that Goodlife was an atheist
from whom she had sought advice. He realizes also that she
had been through a spiritual emancipation and that he had
done her an injustice by suspecting her, but his belief in
her comes too late, for she dies prematurely from an illness.

David Lewis produced it, and Edward Dmytryk directed
it, from a screenplay by Lenore Coffee, based on the novel
by Graham Greene. Adults.

April 16, 1955

HARRISON'S REPORTS

"Strange Lady in Town" with Greer Gar son,
Dana Andrews and Cameron Mitchell

(Warner Bros., May 28; time, 112 min.)

An entertaining, though somewhat overlong, outdoor
melodrama, centering around the adventures of a woman
doctor who sets up a practice in Sante Fe, during the
frontier days of 1880. Photographed in CinemaScope and
WarnerColor, the story, which deals primarily with the
opposition she encounters from the opinionated local male
doctor who resents her intrusion yet falls in love with her,
moves along at a slow pace during the first half, but it
picks up speed and excitement in the second half, where
the heroine's wayward brother becomes involved in cattle
rustling and a bank robbery before he is ambushed and
killed by a sheriff's posse. Greer Garson is effective as the
woman doctor, and so is Dana Andrews as her two-fisted
professional rival. Miss Garson's work in a mission hospital
operated by the local priest provides the story with a
number of human interest situations. There are good
touches of light comedy here and there. The outdoor back-
grounds, enhanced by CinemaScope and the fine color
photography, are a delight to the eye: —

To be near Cameron Mitchell, her brother, a lieutenant
in the U.S. Cavalry, and to get away from the prejudices
of medical men in Boston, Greer comes to Santa Fe to
set up a practice. She is given a warm welcome by the
friendly Mexican peons and by Walter Hampden, the
town's kindly priest, but Andrews, a widower, and the
only other doctor in town, openly shows his disdain at the
idea of a woman doctor. A strong friendship develops, how-
ever, between Greer and Lois Smith, Andrews' 'teen-aged
daughter. Greer and Andrews clash personally and pro-
fessionally when she begins treating his patients in a primi-
tive mission hospital built by the priest, but he falls in
love with her just the same and in his aggressive fashion
tries to overwhelm her. She forgives his past arrogance
when he arranges a surprise birthday party for her, and
agrees to marry him, but a clash over advice she gives to
one of his patients disrupts the wedding plans. Complica-
tions arise when Mitchell, caught by the Army in a stolen
cattle deal, escapes to evade court martial and becomes the
head of an outlaw gang. He and his men hold up a bank
during a fiesta, and in the excitement that ensues acci-
dentally kill the priest. The gang is tracked by a sheriff's
posse to an abandoned ranch house, where all, including
Mtchell, are killed in the gun battle that follows. Some of
the townsfolk, resentful of Greer's boldness in practicing
medicine, use her brother's criminal activities to arouse
anger against her. A mob gathers outside her home to de-
mand that she leave town. Andrews rushes to the scene,
brushes the ringleaders aside, and castigates them for their
attitude. He then announces that Greer is going to become
his wife and drives off with her as the mob's anger softens.

It was produced and directed by Mervyn LeRoy, from a
story and screenplay by Frank Butler.

Family.

"Cell 2455, Death Row" with
William Campbell

(Columbia, May; time, 77 min.)
Supposedly biographical of the criminal career of Caryl
Chessman, the convicted rapist who, through a series of
legal moves, has successfully delayed his execution in San
Quentin for the past six years, this crime melodrama is
a vicious account of his exploits. The picture has been pro-
duced on a modest budget and is of program quality, but it
may do better than average business by reason of the wide
publicity given to the case in the nation's press. The story,
which covers Chessman's criminal career from the time he
became a hoodlum at the age of fifteen, unfolds in a series
of flashbacks and depicts the numerous robberies and other
criminal acts in which he was involved. Emphasis is laid on
the sordid aspects of his exploits, such as the hold-up of a
house of ill repute, complete with "ladies of the evening."
Played up also is the depiction of brutal attacks on couples
parked in deserted spots, with the plain inference that the
girl in each case is assaulted. The attacker is not identified
to the audience, and William Campbell, who portrays Chess-
man, denies throughout that he had committed these at<
tacks, despite the weight of circumstantial evidence against
him. The one redeeming thing about the picture is that it
does not attempt to win sympathy for the incorrigible youth.
All in all, it is grim stuff, and hardly suitable for theatres
that cater to the family trade.

With his execution in the gas chamber but a few hours
away, Campbell's wasted life flashes before his mind. He
recalls that his family's poverty had provoked him into
stealing groceries. His next criminal step — stealing a car —
was motivated by a desire to get a date with a 'teen-aged
moll. She had introduced him to her gang, and within a year,
though only seventeen, he had become the gang's leader,
taking part in every kind of crime, from auto theft to fcrmed
robbery. After a term in reform school, he had reorganized
his gang and life proved to be one thrill after another until
he was caught again and sent to San Quentin. for a long
stretch. He had engineered a transfer to the Honor Farm
at Chino, from which he had escaped at the first oppor-
tunity. His freedom, however, was shortlived, for he was
captured the first night out and sent to Folsom Prison for
four years. Upon his release, he organized a new gang, and
this time resorted to holding up gambling houses and
other places of vice. The gang had split up when the under-
world got after them and they went their separate ways.
Meanwhile a so-called "Red Light Bandit" had terrorized
the Los Angeles area by his attacks on women, and differ-
ent victims had identified him from photographs as their
attacker. He protested his innocence when picked up by
the police and, when leading criminal lawyers refused to
handle his case, he became his own lawyer, but he was
found guilty and sentenced to death in 1948. During the
next six years, his self-acquired knowledge of the law had
saved him from execution three times. As Campbell's
thoughts come back to the present, he receives word that he
had won another stay of execution.

It was produced by Wallace MacDonald, and directed by
Fred F. Sears, from a screenplay by Jack DeWitt, based
upon the book by Caryl Chessman. Strictly adult fare.

"The Looters" with Rory Calhoun,
Julie Adams and Ray Danton

(Univ.-lnt'l, May; time, 87 min.)

A moderately interesting melodrama that does not rise
above the level of program fare. It is not a pleasant enter-
tainment, for it centers around a struggle for $250,000
found in a plane wreck, with one friend turning against
another friend for possession of the money. One can find
no pleasure in seeing a supposedly loyal friend make such
a switch. There is some suspense in that throughout most
of the action the faithless friend and another greedy sun
vivor hold the other survivors under control by threatening
to shoot any one who would not obey their orders, but
the melodramatics are unconvincing and the pace top
sluggish to hold one's interest tight. In its favor is some
impressive mountain scenery and several mountain climbing
thrills, but these are not enough to overcome the uneven
script and the lack of forceful direction. There is no comedy
relief. The photography is very good: —

Rory Calhoun, an expert mountaineer, and Ray Danton,
his former war buddy, learn of a plane crash and set out to
reach the wreckage for possible survivors. When they reach
the wreck, they find four survivors, including the badly
injured pilot; Julie Adams, a flashy model; Frank Faylen,
a retired Navy petty officer; and Thomas Gomez, sup-
posedly a financier but really only a bank clerk. In the
plane's wrekage, Gomez finds a tin box containing $250,000
in currency. He hides the box, but when he inadvertently
reveals his find, Danton lays plans to get hold of it, and
makes a deal with Gomez to share the loot. By obtaining*
possession of the party's only two rifles, they force Calhoun
to lead them out of the mountains. Calhoun realizes that
he and the others will be murdered as soon as they reach
safe terrain, and, knowing that the Army was about to
conduct target practice in an area nearby, schemes to lead
the party to that area. Danton kills the injured pilot whose
condition was delaying the escape, and he disposes also of
Gomez after a disagreement. When the group reaches what
appears to be safe ground, Danton makes plans to murder
the others only to be startled by a salvo from a mountain
battery, just beginning its target practice. Before Danton
has a chance to recover his composure, Calhoun jumps on
him and the two engage in a fierce struggle. Successive
salvos come nearer and nearer to the struggling men. Cal-
houn finally succeeds in knocking Danton unconscious and
taking cover just as a final salvo lands on the spot where
Danton had fallen, obliterating him.

Howard Christie produced it, and Abner Biberman di-
rected it, from a screenplay by Richard Alan Simmons,
based on a story by Paul Schneider.

It is hardly a picture for the family.

HARRISON'S REPORTS

April 16, 1955

recognized that philosophy, or, having recognized it, has
refused to go along with it. It is now, therefore, for distribu-
tion to choose the road: along one lies peace, harmony, and
the greatest good for the greatest number; along the other
lies strife, jungle warfare, and chaos. We prefer the former,
by all means, but we shall have the courage to accept the
latter if that is distribution's challenge.

"The time for calling the all-industry conference is now!"

Up to this time, the TOA has been following a "friendly
approach" policy in its efforts to make the distributors see
the error of their ways, but the blistering statement it has
issued makes it apparent that the organization has finally
come to the realization that such an approach, though
idealistic, is completely ineffectual in practice. And the proof
of it is the fact that, while TOA has patiently cooperated
with distribution over the past eleven months in an effort
to formulate an arbitration system that would offer a speedy
and effective means by which exhibitors may settle many of
their grievances, other than the question of film rentals,
the distributors have not only kept the scope of arbitration
and the avenues of relief "as narrow as possible," but,
during these negotiations, they have done nothing to curb
their oppressive practices and have, in fact, become even
more unreasonable in their demands, with the result that
more theatres are on the verge of failure today than there
were at the start of the arbitration negotiations.

It is unfortunate, of course, that so many precious months
were lost before TOA came to the realization that the time
had come to take a more militant stand in dealing with
distribution, but it is to the credit of the present TOA
leadership that it recognized the need for an immediate
change in policy.

The friendly cooperation it has received from TOA has
enabled distribution to dilly-dally on finding ways and
means by which the exhibitors may receive the relief they
need in order to remain in business. But now that the
organization has created a solid exhibitor front by lining
up with National Allied in the demand for an immediate
industry roundtable conference, the best thing that the
distributors can do is to set up such a conference without
farther delay.

' Merely setting up such a conference, however, will not be
enough. The distributors must be prepared to come to such
a meeting with a real conciliatory spirit, expressing their
readiness to make substantial concessions in order to alle-
viate the precarious position of the exhibitors. Unless they
do so, they may find that TOA will carry its new militant
attitude a step further by joining the Allied move for
Government regulation of the business.

In short, if the distributors will not grant the needed
relief voluntarily, the exhibitors who are threatened with
extinction will have no alternative but to seek such relief
by legislative means, even though such a step is distasteful
to the great majority of them.

A PROJECTIONIST TAKES EXCEPTION

Dear Mr. Htrrison:

With reference to the article in Harrison's Reports
dated March 19, 195?, entitled "Backward Showmanship,"
I, as a projectionist, am in complete disagreement.

The management of the theatre where I am employed,
and myself, feel that a CinemaScope trailer would be a
better seller of pictures than a 2D trailer but that the
expense and inconvenience of trying to screen one during
a 2-D program far outweighs the benefit that would be
gained.

For instance, our theatre contains about 900 seats and
we have one of the best CinemaScope set-ups I have seen
to date; full 4-track stereophonic sound and large curved
screen. Our standard picture, screened at 1.66-1 ratio, occu-
pies the center of the screen. Masks of wood frame and
black cloth are moved in to mask the sides of the picture.

They hook over the top of the screen frame and can only
be moved manually. When screening our regular pictures
we open the curtains so that only the screen and about half
of the black masking shows on each side. (The masks are
each about 2' wide.) Both the manager and myself feel,
after experimenting, that an unmasked picture in the middle
of a large CinemaScope screen has a very crude untheatrical
appearance similar to a hastily thrown-up portable 16mm
program in a hall with the picture not fitting the screen!

When we are showing a CinemaScope feature we remove
the masks of course, but the only time the picture is not
masked on the sides is during the 2-D short subjects. This
is bad enough, but Mr. Lichtman would have us have an
unmasked screen during the whole 2-D program so that
we could run one 2 or 3 minute CinemaScope trailer!

Granted, Mr. Lichtman and Harrison's Reports, a
projectionist can easily change lenses during a program of
standard films also aperture plates, and go to a great deal
of trouble and other complicated figuring in order to set
up the second machine for running a CinemaScope trailer.
Please remember many booths in our smaller communities
employ only one man. Mine falls into that category. How-
ever, we can figure out how to do it and put on the private
act of a speed contortionist in order to carry it out if
necessary.

So far I have only considered using an anamorphic
trailer with an optical sound track but we are set up to run
4-track stereophonic sound because we are so equipped. I
gather from Harrison's Reports that we should run 4-
track stereophonic trailers. Now, anyone familiar with
CinemaScope and 4-track stereophonic sound knows that
the CinemaScope picture is not placed on the film in the
same place as the 2-D picture and that it is necessary to
move the projectors to the right when setting up for Cinema-
Scope. There are very few machines with swivel bases and
mose projectors are quite heavy to move across the booth
floor to get in the right position for proper screening. It is
necessary for me to do this every time I set up for Cinema-
Scope and, of course, I have to move them back in order
to run a regular 2-D program. I feel that it would be asking
an awful lot of any projectionist to do this just to screen
a 2 or 3 minute trailer! Of course we could leave the
machines in the CinemaScope positions all the time but
then our 2-D feature and shorts would never be shown
in the center of the screen, but slightly to the right. We
couldn't even mask the sides of the picture with the cur-
tains evenly as our curtains close in the middle of the
screen in an even, showmanship-like manner.

Then to switch from optical to magnetic sound has its
problems. In my case it involves running across the booth to
my amplifier rack, then back again to check focus control
curtains, etc. This is not so bad when you are going in or
out of a CinemaScope feature that will run over an hour,
but all this for a small trailer or two? Well!

Of course with movable masks controlled from the booth
and other fancy equipment some of these problems could
be met, but as I stated at the beginning of this letter, it
would be expensive and most inconvenient for a small
theatre. Much more practical to run a 2-D trailer, don't you
think? —BERNARD L. SARGENT, Projectionist, Strand
Theatre, Key West, Fla.

A NOTE TO SUBSCRIBERS

If you are a subscriber and you receive a circular letter
soliciting your subscription, please disregard it. Such a
letter is not meant to serve as notification that your sub-
scription is about to expire.

Every effort is made to exclude the names of subscribers
from the list of exhibitors to whom circulars are sent, but
the list is so large that, no matter how carefully the work
is done ,the name of a subscriber or one of his theatres
is sometimes included.

Entered as second-class matter January 4, 1M1, at the pom office at New York, New York, under Um act of March J, 1871.

Harrison's Reports

Yearly Subscription Rates: 127 0 SIXTH AVENUE Published Weekly by

tt_i»„j (.,..„„ tic no Harrison's Reports, Inc.,

United States *15.00 New York 20, N. Y. Publisher

U. S. Insular Possessions. 16.50 t-uDiisner

Canada 16.50 A Motlon Plcture Reviewing Service P- 8. HARRISON, Editor

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India, Europe, Asia 17.60 it8 Editorial Policy: No Problem Too Big for Its Editorial r>Tr<>i» 7 ituv

36c a Copy Columns, if It is to Benefit the Exhibitor. <-ircie i-mt

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXXVII SATURDAY, APRIL 23, 1955 No. 17

THE TENSE
INTRA-INDUSTRY RELATIONS

Sparked by the scathing statement issued last week by
the Theatre Owners of America, in which it joined National
Allied in demanding that distribution set up an immediate
industry roundtablc conference, distributor-exhibitor rela-
tions continued to seethe at a turbulent boiling point this
week, with the following developments:

1. Issuance of a statement at the weekend by Al Licht-.
man, 20th Century-Fox's director of distribution, in which
he rejected the idea of by-passing arbitration to call a round-
tablc conference now.

2. A joint meeting held this Wednesdiy ir Chicago be-
tween a committee representing TOA and one representing
National Allied, with both groups jointly extending an in'
vitation to the presidents of all the film companies to a top-
level industry conference on May 24 in New York "to dis-
cuss and act upon the pressing and acute problems of ex-
hibition."

3. A statement by Harry C. Arthur, Jr., head of the
Southern California Theatre Owners Association, that his
organization is no longer interested in the arbitration nego-
tiations because "nothing will come of it."

Mr. Lichtman, who issued his statement from Hollywood,
had this to say:

"The remarks attributed to the president of TOA in
Monday's trade papers, which just reached me, caused me
great personal distress. I have now seen the full text of this
statement and I am more deeply concerned than ever for
the welfare of the industry. Vicious attacks on producers
and distributors and dire threats of one kind of action or
another cannot create the kind of atmosphere in which an
intelligent, fair-minded, open discussion of matters of in'
dustry concern and interest can take place.

"I think also that it is high time that the facts be stated
without the varnish of poison and prejudice and threat.

"A plan of arbitration has been the subject of intense,
sympathetic and serious consideration for some time. Both
sides have thus far acted in good faith. Sure, there have
been differences of opinion on matters which have required
thoughtful consideration for solution, but the goal is in
sight. Arbitration has and should receive priority at all times.
At no time during the meetings or discussions on arbitration
has there been any difference of opinion between exhibitors
and distributors attending these meetings on the fact that
film rentals were not to be an arbitrable issue.

"In response to certain inquiries, I, acting on my own
behalf and without consultation with any other representa-
tive of distributors, suggested a conference of distributors
and exhibitors to discuss industry problems. When I ap-
proached the sales managers of the other distributors, they
agreed that such a meeting might be productive of good but
only on the distinct understanding that no meeting was to be
held until the plan of arbitration had been finalized. It was
also made clear that at such an industry conference indi-
vidual policies of any company were not appropriate sub-
jects of discussion. Specifically, film rentals of the various
distributors was not a subject of discussion at such a public
meeting.

"The negotiating committee representing exhibitors, and
including the TOA members of this committee, agreed that
no roundtable conference should take place until the discus<
sions on arbitration had been resolved one way or the
other. There was never any doubt in anybody's mind but
that the plan of arbitration then being worked on would
ultimately be agreed upon.

"The latest attempt to by -pass arbitration and to have a
roundtable conference at which the principal item of dis-
cussion would be film rentals and the sales policies of the
individual companies is contrary to the expressed purposes
of such a conference.

"I know that no company can participate in a discussion
of its film rentals and its sales policies in the presence of
other distributors. There are certain matters, the responsi-
bility for which, rests on each company for decision in its
own company, without consulting or advising with any other
company. Decisions in regard to production and sales and
film rental policies come within this category.

"Until there is a complete understanding on what matters
are appropriate for discussion at a roundtable industry con-
ference, and until such time as the atmosphere is cleared of
name-calling, vituperation and threat, I must sadly con-
clude that it would serve no purpose to call such a confer,
ence.

"In the meantime, every effort should be made to bring to
a fruition the arbitration plan and I shall do my share
to see that this is done."

Lichtman's rejection of an immediate roundtable con-
ference was, of course, deplored by exhibitor leaders of both
Allied and TOA.

E. D. Martin, TOA's president, issued this statement in
answer to Lichtman:

"The 'Call to Action' statement of TOA issued last
week speaks for itself, and is as appropriate and sincere
now as it was when it was issued. Nothing in Mr. Licht-
man's reply calls for any revision in the TOA statment or
position."

According to a report in Film Daily, Rube Shor, National
Allied's president, characterized Lichtman's action as "a
disservice to the industry," and stated that "it will bring
about exactly what he doesn't want to have happen." Shor
charged that Lichtman had reversed the position taken by
him when he first proposed a roundtable meeting, and
maintained that, originally, nothing was said about holding
the roundtable talks after the arbitration job was done.

Referring to Lichtman's declaration that film rentals
would not be an appropriate subject for discussion at a
roundtable meeting, Shor wanted to know what else such
a meeting would be expected to deal with in view of the
fact that rentals hold the key to all the exhibitors' difficulties.

Another to comment on Lichtman's statement was Abram
F. Myers, Allied's board chairman and general counsel,
who was quoted in Motion Picture Daily as predicating that
the exhibitor organizations would remain united in their op-
position to the "high-handed" policies of the film distntuu

(Continued on back, page)

HARRISON'S REPORTS

April 23, 1955

"Kiss Me Deadly" with Ralph Meeker,
Albert Dekker and Paul Stewart

(United Artists, May; time, 105 min.)

Based on Mickey Spillane's best-selling novel of the same
name, "Kiss Me Deadly" has all the elements that typify
Spillane's writings — violence, sadistic killings, brisk action
and plentiful sex. The running time is much too long for
what it has to offer, and one finds it difficult to either follow
the involved plot or comprehend the obscure motivations of
the different characters. Despite these shortcomings, how-
ever, it should easily satisfy those who like their melodramas
tough, tense and torrid. Ralph Meeker, who portrays the
part of Mike Hammer, the redoubtable private detective, is
competent in the role. As he goes about the business of in-
vestigating the brutal murder of an hysterical, half-naked
blonde, the spectator is kept on edge because of his en-
counters with numerous unsavory characters, including,
thugs, racketeers and several beautiful but dangerous
women. But it is not until the closing reels that the spectator
learns, in an obscure way, that the involved doings were
tied in with the theft of a radio-active element from the
Government. All in all, the picture packs enough punch
and excitement to warrant strong exploitation wherever the
previous Mickel Spillane stories have proved popular.

The picture opens with Meeker giving a lift in his car to
a distraught blonde who stops him on the highway and who
explains that she had escaped from a mental institution, in
which she had been confined by a gang of thugs who feared
that she knew too much about their activities. Shortly there-
after, both are waylaid by mysterious characters, who force
them over a cliff in the car after torturing them. The young
woman dies, but Meeker manages to survive his injuries and
sets out to find the killers and to solve the reasons behind
the crime. The twists and turns taken by the plot as he en-
deavors to find the murderers are so complicated and con-
fusing that a synopsis of the happenings is practically im-
possible. Suffice it to say that he becomes involved in a
series of fantastic experiences in which he gives and takes
beatings, and narrowly escapes several death traps after his
search brings him into contact with a gang masterminded
by a scientist who was seeking to escape from the country
with a stolen radio-active element. The closing sequence
has Meeker and his pretty secretary escaping with their
lives while the last surviving member of the gang, a double-
crossing blonde, is consumed by flames, after she unwit-
tingly exposes herself to the terrific heat given off by the
radio-active substance.

It was produced by Robert Aldrich, from a screenplay
by A. I. Bezzerides.

Strictly adult fare.

"The Man from Bitter Ridge" with Lex Barker,
Mara Corday and Stephen McNally

(Univ.-lnt'l, June; time, 80 min.)

This outdoor melodrama should go over well with those
who like robust action in their screen fare, for more shoot*
ing is done in it than is done in five average Westerns. It
has been photographed in Eastman color, and the color is
pleasing. The story itself follows a familiar pattern, but it
has been handled well and there are plentiful heroics. Lex
Barker does good work as the undercover agent of a stage-
coach company, seeking to uncover the identity of the gang
that had been holding up stages. Stephen McNally, too,
does good work as the leader of a group of sheep ranchers
who are framed for the robberies but who help Barker to
round up the villains. There is some light comedy relief and
a romance. The photography is fine: —

On his way to Tomahawk to investigate a series of stage
holdups, Barker finds himself faced with an immediate
hanging when a posse comes upon him shortly after one of
the actual bandits had swapped horses with him at the point
of a gun. He is saved by the timely arrival of Trevor Bar-
dette, the sheriff, who releases him when he provides con-
vincing proof of his innocence. Meanwhile John Dehner,

a wily lawyer, who secretly headed the holdup gang together
with Myron Healey and Warren Stevens, his brothers, is
eager to pin guilt on Barker for the robberies and to link
him with a group of sheepmen headed by Stephen McNally,
who were suspected by the townspeople of being implicated
in the holdups. When Barker meets and falls falls in love
with Mara Corday, daughter of a murdered sheep rancher,
McNally resents the courtship, but, despite their rivalry, he
joins Barker in the effort to prove that Dehner and his
brothers were responsible for the crimes. They capture Ray
Teal, one of the bandits, and compel him to reveal details of
Dehner's operations. Stevens tries to stop Teal from talking
and is slain in a gun battle. Barker and McNally then
take Teal to the sheepmen's settlement ,and that night the
gang invades the community, killing many sheep with dyna-
mite charges, but they fail to get Teal and are driven off. On
the following day, Barker, escorted by the sheepmen, brings
Teal to Tomahawk to tell his story to the sheriff. Teal is
shot down by a sniper before he can talk, but his testimony
proves to be needless, for his murder sets off a gun battle in
which Barker and the sheepmen wipe out the remaning
members of the gang. With his mission completed, Barker
decides to settle down in Tomahawk with Mara as his wife.

Howard Pine produced it, and Jack Arnold directed it,
from a screenplay by Lawrence Roman, based on the adapta-
tion by Teddi Sherman of a novel by William MacLeod
Raine.

Adults.

"Seminole Uprising" with George Montgomery,
and Karin Booth

(Columbia, May; time, 74 min.)

A run-of-the-mill Indians-versus-U. S. Cavalry melodrama,
which should serve well enough as a supporting feature in
secondary situations. Photographed in Technicolor, the
story is not startling in its originality, but it is permeated
throughout with enough action, heroics and skullduggery to
satisfy those who enjoy pictures of this type. The picture
was obviously produced on a modest budget, but it appears
to be endowed with good production values by reason of
the expert use of library clips of huge battle scenes involving
the Indians and Cavalry. Aside from the fact that the color
has a washed out appearance in these clips, they have been
blended with the staged action so well that few movie-goers
will notice it. The direction and acting are adequate: —

Headed by Steve Rich, their Chief, the Seminole In-
dians break out of their Florida reservation and head
for Texas, where they hide out in the mountains. There, to
combat the tactics of brutal white ranchers, the Indians go
on occasional forays and make off with captives. George
Montgomery, an Army lieutenant, is ordered to Fort Clark
to combat the Indians. The assignment is a difficult one for
him, first because he knew the Seminole chief as a boy, and,
secondly, because he had been involved in an unhappy ro-
mance with Kann Booth, the commanding officer's daughter,
who, because of a widely believed suspicion that Mont-
gomery is half-Seminole and a brother of the Chief, had
dropped him for Ed Hinton, a snobbish and unethical cap-
tain. But when Karin and Montgomery meet again at the
fort, their love is reawakened. To rescue hostages taken by
the Seminoles, Montgomery organizes a diversion that draws
the Indian warriors away from their encampment, thus en-
abling Hinton and a troop to slip in. There, Hinton captures
the Chief's wife and small son. Rory Mallinson, a vicious
rancher, whose anti-Indian activities had resulted in the
killing of his family, induces Hinton to give him custody of
the Chief's wife and son to cancel a huge gambling debt.
Mallinson and his cohorts promptly murder the mother and
child. The Chief, infuriated by this murderous act, launches
an attack on the fort, kidnaps Karin and heads across the
deadly Capote desert, a vast waterless waste, towards Mex-
ico. Montgomery volunteers to take a contingent of troops
across the desert to recapture Karin. To aid this death-
del ying mission, Hinton is ordered to stand by with water

April 23, 1955

HARRISON'S REPORTS

for for Montgomery's outfit when and if it returns to the
half-way point. Montgomery defeats the Scminoles, rescues
Karin and captures the Chief. Meanwhile Hinton, aware
that he had lost Karin to Montgomery, deliberately drains
the water supply and orders his men to evacuate the area.
One of Hinton's soldiers argues against this ruthless order,
and both die in an exchange of shots. The discovery of a
water hole by the Chief, who also proves that Montgomery
is a white man, enables Montgomery to lead his men back
safely to the fort, where he prepares to marry the willing
Karin.

It was produced by Sam Katzman, and directed by Earl
Bellamy, from a screenplay by Robert E. Kent, based on the
novel "Bugle's Wake," by Curt Brandon.

Family.

"The Marauders" with Dan Duryea,
Jeff Richards and Keenan Wynn

(MGM, May; time, 80 miti.)
Handicapped by an implausible screenplay, unconvincing
characterizations and some of the most flamboyant acting
ever seen in a picture, this western melodrama does not
rise above the level of moderately interesting program fare.
Its best asset is the rugged desert scenery, photographed in
Eastman color with prints by Technicolor. The story, which
is another variation of the powerful rancher-versus-home-
steader theme, is dramatically ineffective, for a number of
the situations are unbelievable and illogical. As to the pew
formances, the least believable is that of Dan Duryea; his
portrayal of a half-crazed consumptive who, at gunpoint,
establishes himself as the leader of the desperadoes and
forces them to do his bidding, borders on the ludicrous.
Those who are not too fussy about story values should find
considerable suspense in the closing reels, where the hero
uses a home-made catapult to hurl charges of dynamite at
the villains, thus defeating them. The photography is ex-
cellent:—

Homesteading in Arizona in 1875, Jeff Richards pre-
pares to repulse a band of killers hired by Harry Shannon, a
powerful rancher, to evict him. Just before the attack be-
gins, James Anderson, traveling across the wasteland with
Jarma Lewis, his wife, and David Kasday, their small son,
is compelled to take refuge in Richard's cabin. Anderson
helps Richards to beat off the attack, during which Shan-
non is wounded mortally. As Shannon lays dying in his
camp, Duryea, his unassuming bookkeeper, suddenly as-
sumes command of the outfit. The hired killers laugh at
him, but they change their tone when he shoots one of them
dead to convince them that he means business. Keenan
Wynn, one of the killers, reluctantly agrees to become
Duryea's chief lieutenant. Meanwhile Richards refuses to
permit Anderson and his family to leave the cabin, because
he feared that, through them, the gang will learn that he is
making his stand single-handed. Anderson escapes, only to
be captured by the demented Duryea, who kills him for
denying that a sizeable force is helping Richards. Unaware
of her husband's fate, Jarma, too, escapes and goes to
Duryea's camp for aid. She soon learns that Duryea is a
madman and, to pacify him, "confesses" that Richards had
a large force of men helping him. Duryea, who affected
military manners and fancied himself to be a battle tactician,
sends her back to Richards with his surrender terms. Now
wholeheartedly on Richard's side, Jarma helps him to pre-
pare his defenses. When Richards fails to surrender, Dur-
yea orders his men to haul a wagon up a mountain, set it on
fire, and send it crashing into Richard's cabin. Richards
successfully repulses the attack with hurled charges of
dynamite and, during the confusion, Duryea's men escape
and leave him stranded. Beside himself with rage, he suffers
a coughing attack and starts to hemorrhage internally. He
surrenders to Richards in proper military fashion, then dies.

It was produced by Arthur M. Loew, Jr., and directed by
Gerald Mayer, from a screenplay by Jack Leonard and Earl
Fenton, based on the novel by Alan Marcus.

Too vicious and gory lor children.

"Lady and the Tramp"

(Buena Vista, no rel. date set; time, 75> min.)

Walt Disney scores another entertainment bull's-eye with
"Lady and the Tramp," his first cartoon feature in Cinema^
Scope and Technicolor. It is the kind of picture that will
be enjoyed thoroughly by all picture-goers, regardless of
their age or of their taste in movie fare, for, in bringing
to the screen a love story between two dogs — one a cute,
pedigreed cocker spaniel, named Lady, and the other a
jaunty, roving mongrel from the wrong side of the tracks,
named Tramp — , Disney, as only he can, has endowed it
with an appeal that is at once heartwarming, charming
and highly comical. As in the previous cartoon features pro-
duced by Disney, this one abounds with distinctive and de-
lightful character creations that rank with the best he has
ever created. In addition to the sheltered, well-bred heroine
and the raffish hero of the piece, the other wonderful canine
characters include Trusty, a slow-witted bloodhound who
had lost his sense of smell but not his impeccable breeding;
Jock, a peppery and thrift scottie; Boris, a Russian wolf-
hound philosopher; Toughy, a mongrel with a New York
accent; Pedro, a Mexican chihuahua with a Peter Lorre
outlook; Peg, a fallen show-dog of Pekingese ancestry; and
Bull, an unsightly British bulldog with a cockney accent —
all have been given touches of human attributes that lend
meaning to the story, but at the same time, to quote Disney,
are kept "properly doggy." Among the other unforgettable
characters he has created are two slinky Siamese cats named
Si and Am, whose mischevious antics provide the picture
with one of its most hilarious sequences.

Briefly, the story, which was written by Ward Greene,
presents Lady as the cuddlesome pet of a young married
couple, who lavish their attentions on her. Dejection enters
Lady's carefree life when the doting owners expect a baby
and seem to lose all interest in her. She is comforted by
Jock and Trusty, her close friends, and Tramp, who is
attracted to Lady while prowling through the neighborhood,
predicts a dire future for her. After the birth of the baby, the
parents take a vacation and leave the household in charge
of a maiden aunt, who arrives with her two slinky Siamese
cats. Lady tries to prevent the cats from stealing the baby's
milk, but her efforts are misunderstood by the aunt, who has
her muzzled. Terrified, Lady breaks away and is immediately
pursued by a pack of vicious dogs. Tramp comes to her
rescue and, after a day of high adventure, including dinner
at an Italian restaurant, where they are serenaded by the
owner and the cook, they spend the night together on a
hilltop. On the following morning Lady is captured by the
dog-catcher when she accompanies Tramp on a chicken coop
raid. In the pound, she meets an odd assortment of charac*
ters and learns from them that Tramp has quite a reputation
as a gay dog. She is finally returned to her home, chained
in disgrace, and refuses to talk to Tramp when he comes
around to apologize. Moments later, howover, she is horrified
to see a rat scamper up a trellis and into the baby's room. Her
barking brings Tramp on the run and, breaking her chain,
she helps him to kill the huge rodent after a vicious fight.
The aunt, misunderstanding the commotion, locks up Lady
and sends Tramp to the pound, just as the parents return
from their vacation. Lady manages to make her owners un-
derstand that Tramp had saved the baby's life. As a result,
Tramp is adopted by them, and within a few months Lady
becomes the proud mother of a litter of puppies.

A brief synopsis cannot do justice to the many charming
and hilarious highlights of the film. The scintillating musical
score and several songs, the dialogue and the voices, the
behavior and expressions of the different characters, the
mellow turn-of-the-century backgrounds, the beautiful color
and the sweep of the CinemaScope process — all these add
up to one of the most enjoyable cartoon features Disney
has ever made. The only questionable sequence is the battle
between the dogs and the rat; it is so realistically vicious
that it might terrify children.

HARRISON'S REPORTS

April 23, 1955

tors. Recalling that Lichtman has been a leading advocate
of a merger of all exhibitor groups, Myers declares that he
(Lichtman) now "reacts to his first taste of exhibitor unity
as though it were a green persimmon."

It is apparent that Lichtman's stand served to speed up
the scheduling ot the long-planned meeting between the
Allied and TOA committees lor a discussion of mutual
problems. The official joint press release issued by both
organizations from Chicago had this to say:

"A committee from the Theatre Owners of America,
composed of E. D. Martin, Walter Readc, Jr., Alfred Starr
and Myron Blank met on Wednesday, April 20, in Chi-
cago with a committee from National Allied, composed of
Rube Shor, Ben Marcus, Ben Berger and Jack Kirsch to
discuss mutual exhibition problems.

"This joint Alhed-TOA committee has wired invitations
to the presidents of all film companies to a top-level industry
conference May 24 in New York to discuss and act upon
the pressing and acute problems of exhibition.

"This committee strongly feels the immediate need of
this conference among these men of good faith in an effort
to improve the relationship between the film companies and
their customers and to the mutual benefit of both.

"The committee is of the firm belief that the industry
conference as called is of greatest importance to the in-
dustry and should be given top priority. It is believed that
the presidents of the film companies will recognize the ur-
gency and seriousness ot this conference and will attend and
cooperate."

In a seperate statement issued by TOA, it was pointed
out that the Chicago meeting was the first that has ever
been held between Allied and TOA leaders on exhibition
problems, and that "there was complete agreement and
unanimity of thinking that film and sales policies were ex'
hibitors' number one problem and every effort must be made
to obtain relief from their present suppressed position."

The statement added that TOA had great faith in the
industry conference called by Allied and itself, and pledged
that the organization "will make every sincere and honest
effort to work for industry harmony and solutions to ex-
hibitors' problems." The statement, however, served warn-
ing that, "short of this, the officers and directors of TOA
will seek relief through any other means necessary."

The joint meeting held by Allied and TOA leaders is
indeed a significant move in view of the bitterness that has
developed between exhibition and distribution, for it indu
cates that the organized exhibitors of the country, both the
little fellows and the large circuit operators, are determined
to stand shoulder to shoulder in an effort to correct the
many current evils that threaten to put them out of existence.

This unified stand should not be taken lightly by the
film companies. Allied has made it clear that it is ready to
go to the Government for relief, and though TOA has al-
ways shied away from such a step, it now declares that, un-
less it can obtain the needed relief by peaceful methods, it
is ready to seek such relief "through any other means
necessary."

It is to the credit of both organizations that they are
holding their understandable militancy in abeyance in a
final effort to work out the problems at the May 24 con-
ference proposed by them. It is to be hoped that the presi-
dents of the film companies will accept the invitations in
the same harmonious spirit in which they were extended
to them, and that they will come to such a conference
with open minds and with a willingness to give sincere
and unprejudiced consideration to the predicaments faced
by the exhibitors as a result of unreasonable sales policies.
Relations between exhibition and distribution have become
too tense for comfort, and unless there is speedy agree-
ment and understanding the industry will once again find
itself engulfed by strife, a condition that the business as
a whole can ill afford.

THE "NEW" VISTA VISION

What Paramount calls "a new presentation" of Vista-
Vision was given a highly impressive introduction this week
at the New York Paramount Theatre in connection with
the world premiere of "Strategic Air Command," which
without a doubt contains some of the most beautiful aerial
photography ever captured on film, and is nothing short of
breathtaking when projected on a giant screen which, in
this case, measures 64 feet wide and 35 feet high.

Installed at a reported cost of $100,000, the system uti-
lized in the Paramount Theatre is designed for houses seat-
ing 3,000 or more persons. It includes, in addition to the
giant screen, special projection machines to handle large-
frame prints that pass through the projectors horizontally at
twice the normal speed. The system is the same as that used
in the Radio City Music Hall in connection with the show-
ing of "White Christmas," except that this time a curved
rather than a flat screen is used, and curved aperture plates
are used on the projectors to correspond with curved mask*
ing on the screen. This results in giving one the illusion of
a screen that is more curved than it actually is, but it does
not, as claimed by Paramount, add illusion of depth to
the picture, nor does it give on a feeling of "audience par-
ticipation."

A decided disadvantage about the installation in this
theatre is the large percentage of seat-loss from a viewing
standpoint. For example, the mezzanine section, which has
approximately 375 seats, cannot be utilized at all, because
the overhang of the balcony completely cuts off the upper
half of the screen. In the orchestra, the mezzanine overhang
cuts off part of the heads of the characters on the screen
for those who sit in the last six or seven rows. A large
number of side seats in the orchestra are made useless be-
cause the overhang of the upper side loges obstructs a huge
part of either the left or right side of the screen, depending
on which side of the house one sits. Moreover, at least the
first ten rows in the orchestra are not in a comfortable view-
ing area, for the screen is so vast that one has to watch the
picture with his head tilted back, let alone twisting from
side to side to watch the movement on the screen.

In other words, of the 3,664 seats in the theare, 375 in
the mezzanine are a total loss, and approximately 600 to 700
seats in the orchestra offer either obscured or uncomfortable
vision.

There are not many theatres in the country that are large
enough to utilize this type of installation and, of these, it
is doubtful if more than a few will adopt it, for, as a practi-
cal matter, the installation is very expensive, the seat-loss
too great, and the new projection machines cannot be used
to project any other type of pictures.

The system does appear to be ideally suited for large
drive-in theatres with massive screens, but since the present
cost of the projectors is approximately $5,000 to $6,000 each
and will require extensive changes in the booth, there is a
question of whether or not the investment will be worth-
while, particularly since their use will be limited to Vista-
Vision pictures that will be made available with horizontal
prints.

KIND WORDS FROM A READER

Dear Mr. Harrison:

... I want to convey to you my feeling of how invaluable
your Reports have been to me in the past. While I read all
the trade papers, I have never seen even one picture to be
reviewed in an unfavorable manner. The reason is quite
obvious and needs no further comment.

In this turbulent period of our business only your publi-
cation deserves unlimited credit for protecting the inde-
pendent exhibitor and giving him sufficient light for
guidance.

Wishing you continued sucess. — Arthur Wininer,
tional Drive-In Theatres, Cleveland, Ohio.

Entered a* ninari at— mAtMr January 4, 18*1, at Um poat oAe« at Now York, New York, under the act of March 3, ] S79.

Harrison's Reports

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United States $15.00 N«w York 2D N Y Harrison's Reports, Inc..

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35c a Copy Columns, if It is to Benefit the Exhibitor. urcie <-4b^

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXXVII SATURDAY, APRIL 30, 1955 No. 18

A JUSTIFIED COMPLAINT

Paramount, which has the dubious distinction of being
the most complained against company in the business, has
been cited once again for its tough selling policy, this time
in a complaint lodged with the U.S. Air Force by the Allied
Theatre Owners of the Gulf States, in connection with the
stiff rental terms demanded by the company for "Strategic
Air Command."

In a letter sent to Harold E. Talbott, Secretary of the
Air Force, Abe Berenson, president of the exhibitor associa-
tion, stated that "we as theatre men and taxpayers" know
that the picture was made "through the cooperation of and
at great expense to the U.S. Air Force," and "that it is the
intent of your department to have the greatest number of
people witness the picture."

After pointing out that it is "our desire as theatre men
to show this picture at each and every one of our theatres,"
Berenson stated that, "at the present time, the Paramount
Pictures Corp., are asking such exorbitant and confiscatory
rental terms that I venture to say very few, if any, of us
will be able to afford the exhibition of this great motion
picture."

The Air Force, at considerable expense to itself, has given
Paramount all-out cooperation in the production of "Strate-
gic Air Command" and it is currently doing its utmost to
help promote the picture. The reason, of course, is the desire
of the Air Force to make the public aware of the operations
and problems of the SAC and the steps that are being taken
to make it a most potent instrument of offense, on whose
retaliatory strength this country must depend for protection.

The picture carries a strong informational message that
should be seen and heard by every American. Paramount
would indeed make a mockery of this all-out cooperation
it has received and is receiving from the Air Force if it
persists in a selling policy that will restrict the film's
exhibition.

ALLIED LAUNCHES DRIVE FOR
FEDERAL CONTROL

According to an official statement handed out by Na-
tional Allied, Abram F. Myers, board chairman and general
counsel, and Benjamin Berger, chairman of Allied's Emerg-
ency Defense Committee, spent several hours on Capitol
Hill last Thursday (21) "discussing with various legislators
the best procedures for obtaining relief from the grasping
policies of the film companies, which are driving theatre
owners to the wall."

The statement added that "Messrs. Berger and Myers
reported that the legislative representatives they talked to
were sympathetic toward the exhibitors' problems and ex-
pressed a willingness to lend whatever help will be most
effective. Study is now being given to the question of pro-
cedure; namely, whether it would be better to introduce a
bill at this time and await hearings in due course before a
legislative committee, or to appear before a non-legislative
committee in the near future and make out a case which
would facilitate passage of a bill thereafter.

"Messrs Berger and Myers will keep in close contact
with the legislators in question, and expect to perfect then
plans in the next 10 days."

PARAMOUNT'S SALE OF OLD FILMS
TO TV

With typical disregard for the economic welfare of its
customers — the exhibitors, Paramount has sold 35 of its old
feature pictures to television, thus becoming the first major
studio to take such a step. The pictures, which were Pine-
Thomas productions owned outright by Paramount, were
sold to Elliott Hyman, head of Associated Artists Produc-
tions, for a reported sale price of $1,550,000. The most
recent of the pictures were released by Paramount in 1948.

Whether or not any of the other major studios will fol-
low Paramount's lead and sell old features to TV remains
to be seen. Meanwhile Paramount may be sure that thou-
sands of exhibitors, whose struggle to remain in business is
aggravated by the free home TV competition, will remember
that the continuation of their diminishing returns will be
due in some measure to the "new" entertainment provided
for TV viewers by this sale.

MAKELIM LOWERS THE "BOOM"

Hal R. Makelim, head of the production company bear-
ing his name and originator of the Makelim Plan, announced
this week that 3,518 theatres — including "154 of the biggest
and finest circuits in America" — have joined his plan for
exhibitor participation in production, and that "no con-
tracts, requests for contracts or corrected contracts" will be
accepted by him after May 25. He added that correspondence
postmarked up to midnight of that date will be considered.

As most of you probably know by this time, exhibitors
who contract under the Makelim Plan are not required to
invest money; they sign to pay for pictures on delivery at
rentals specified in "play or pay" contracts for the entire
schedule of twelve feature productions, which are to be
delivered to them at the rate of one a month. The rentals
received from the theatres participating in the plan will
cover the production costs, and the profits earned from dates
in non-participating theatres and in the foreign market will
be divided equally between Makelim and the exhibitors who
are signed up with the plan by May 25.

Makelim said that he would soon announce his first group
of pictures, and he emphasized that these pictures will be
"clean, powerful and entertaining stories that will bring a
tear, a smile or a thrill. There will be no smut and no epics
— just good, clean pictures."

Ever since the Makelim Plan was launched one year ago,
Makelim has been subject to constant pressure to start pro-
ducing at once. But being a practical business man. he
followed practical business methods and refused to be
stampeded into production until enough exhibition con-
tracts were on hand to enable him to do so properly. Mean-
while, his own faith in the plan has been backed by his own
finances, and he has spent much more than $150,000 in his
campaign to secure contract deals for his twelve pictures.

Now that he has reached his goal, Makelim had this to
say: "The road has been rough — stumbling blocks, doubts,
fears and walls of resistance were overcome while we slowly
moved onward to achievement. But never once did progress
stop."

As it has already been pointed out in these columns, the
beauty of the Makelim plan lies in the fact that it not only
will provide the paiticiputing exhibitors with twelvi picture!

(Continued on bac\ page)

HARRISON'S REPORTS

April 30, 1955

"The Big Tip Off" with Richard Conte,
Constance Smith and Bruce Bennett

(Allied Artists, March 20; time, 78 min.)

A fair program melodrama, suitable for the lower
half of a double bill. The story idea is not bad, but
a poor script and unsatisfactory direction ruined its
chances. There is too much talk and things happen
without adequate motivation. The weakest part of
the story is toward the end, where Constance Smith
is supposed to have been strangled to death by Bruce
Bennett and thrown into the sea, but, without ade-
quate explanation, is found later in a hospital recupe-
rating. Some persons at the screening groaned when
Miss Smith was brought back into the picture. There
is no comedy relief. The photography is good: —

After an absence lasting many years, Bennett,
friend of Richard Conte, columnist of a Los Angeles
newspaper, comes back to the city and again becomes
entangled in Conte's life. With Bennett is Constance,
his so-called secretary in a professional fund-raising
organisation for different charities. Not suspecting
the organization s crookedness, Conte introduces Ben-
nett to Sam Flint, a Catholic priest, and Cathy
Downs, a Sister, for the purpose of organizing a ba-
zaar for St. Anns parish. The drive is successful.
Meanwhile Conte had been receiving advance under-
world tips, giving him exclusive information on gang
killings. James Millican, a detective-lieutenant and
friend of Contes, pleads with the columnist to give
him the source of his information. Conte's refusal re-
sults in his receiving a 30-day sentence for contempt
of court. The case becomes a sensation nationally and,
after his release, Bennett prevails upon Conte to act
as the master of ceremonies at a gigantic telathon to
raise funds for a hospital. In the meantime, Conte
and Constance fall in love. Immediately after the
highly successful telecast, Bennett tries to frame
Conte into making off with the funds. Before doing
so, however, Bennett tries to murder Constance to
keep her from tipping off Conte. But the plan mis-
fires, and he is tricked into confessing his crooked
schemes. Conte kills Bennett in a fierce fight through
the skid row alleys, after which he finds Constance
in a hospital, where she had been taken by people
who had found her on the beach.

William F. Broidy produced it, and Frank Mc-
Donald directed it, from a screenplay by Stev» Fisher.

Adult fare.

"Five Guns West" with John Lund and
Dorothy Malone

(American Rel. Corp., no rel. date set; time, 78 mm.)

This program western should prove acceptable to
those who like pictures of this type, particularly be-
cause of the fine Pathecolor photography. As to the
action, it has its moments of excitement, but for the
most part it is slowed down by too much gabbing.
The story, however, is interesting. It is set in the
Civil War days and centers around five convicts who
are pardoned by the Confederacy for the express
purpose of capturing a Southern Intelligence deserter
with $30,000 in gold. Considerable interest and sus-
pense is aroused by the manner in which the crimi-
nals conspire to doublecross one another for the gold.
There is sex appeal in a number of the situations, for
each of the criminals becomes fascinated with Dorothy
Malone, the beautiful heroine, but their jealousy of
one another serves to protect her honor. The back-

ground scenery of rugged mountains and brush is
eye-filling. There is no comedy relief : —

Carrying $30,000 in Southern gold and a list of
Southern agents operating in the North, Jack Ingram,
a Confederate traitor, travels in a Union cavalry-
escorted stagecoach headed for Fort Mahon, where
he hopes to bargain the list of agents for Northern
amnesty. To capture Ingram as well as the gold, Con-
federate authorities pardon five convicted criminals
who knew the hostile Indian territory through which
the stage must pass and who volunteer to take on
the assignment in exchange for their freedom. They
include Paul Birch, an old renegade; Bob Campbell,
a ruthless young killer; Jonothan Haze, Campbells
half-wit brother; and Touch Connors, a gunfighter.
The fifth man is John Lund, a Confederate officer dis-
guised as a holdup man, sent along to see that the
criminals carry out their mission. Shortly after the
trek begins, they begin to plot among themselves to
doublecross one another for the gold. They eventu-
ally reach Dawn Springs, a way station, where they
are to ambush the stage, and which was operated by
James Stone, an old drunkard, and Dorothy Malone,
his beautiful niece. Lund is drawn to her, but his
time is occupied keeping the rebellious killers in line
and planning the ambush. The stage is ambushed suc-
cessfully when it arrives and Ingram is captured.
When Ingram discloses that he had left the gold on
deposit in California, Lund is still interested in taking
him South, but the others determine to take him
back to California for the gold. Lund takes Ingram
at gunpoint into the station, aided by Dorothy and
her uncle. In the complicated events that follow,
Lund outwits the criminals and kills them off one by
one as they charge the station. It ends with his head-
ing South with Ingram after promising to return to
Dorothy when the war is over.

Roger Corman produced and directed it from a
screenplay by R. Wright Campbell.

Adults.

"Top of the World" with Dale Robertson,
Evelyn Keyes and Frank Lovejoy

(United Artists, May; time, 90 min.)

This aerial adventure melodrama holds one's atten-
tion well when it concerns itself with the hazards
faced by the Air Weather Service of the U. S. Air
Force at its northernmost Arctic bases. It becomes
boresome and draggy, however, when it concerns it-
self with the personal relations of the hero, his ex-
wife and another officer who falls in love with her,
for that part of the story is dully routine, has little
substance or reality, and is further handicapped by
excessive dialogue. When dealing with the activities
of the Air Weather Service, the action offers con-
siderable excitement. A particularly thrilling se-
quence is the one where a group of the men, marooned
on an ice island that was slowly breaking up, are
rescued by means of a flying plane that hooks onto a
giant glider and jerks it into the air. The authentic
Arctic scenes are interesting, and the aerial photo-
graphy very good: —

Because he is considered to be too old to fly jet
planes, Dale Robertson, a Major in the U. S. Air
Force, is transferred from Hickam Field, Honolulu,
to Ladd Field, Alaska, for service with a weather
observation unit. Just before departing he receives a
letter lrom Evelyn Keyes, his ex- wife, who informs

April 30, 1955

HARRISON'S REPORTS

him that she no longer wanted his alimony since she
was earning enough money as operator of a night-
club. A burning engine forces Robertson and his
crew to bail out of their plane while en route to
Alaska, but all are rescued from the frozen waste-
land by a plane flown by Frank Lovejoy, also a
Major, who brings them to Ladd Field safely. There,
Robertson rinds himself attracted to Nancy Gates, the
public relations officer, but she soon makes it clear
that she is in love with Lovejoy. It turns out, however,
that Lovejoy had lost his heart to the chief enter-
tainer of the Klondike Club in Fairbanks, who proves
to be none other than Evelyn, Robertson's ex-wife.
Roberston is surprised no end to meet Evelyn in Fair-
banks, and though he had no use for her because of
past indiscretions, he does not interfere with her plans
to marry Lovejoy. In due time Robertson learns that
Lovejoy is a decent chap, and he decides to save him
from Evelyn. His efforts, however, create considerable
friction all around when he learns that Evelyn had
told Lovejoy all about her past and that it had not
diminished his love for her. In the events that fol-
low, Robertson finds himself marooned with a crew
near the North Pole, and the isolation gives him time
to reflect and to realize that he is still in love with
Evelyn. Meanwhile, back at the base, Evelyn shows
great concern for his safety. Lovejoy notices this and
risks his life to rescue Robertson and his crew. When
all return to the base, it becomes clear that Evelyn
will reunite with Robertson, and that Lovejoy will
resume his romance with Nancy.

It was directed by Lewis R. Foster, who co-
produced it with Michael Baird. The screenplay was
written by John D. Klorer and N. Richard Nash.

Family.

"I Cover the Underworld" with Sean McClory,
Joanne Jordan and Ray Middleton

(Republic, April 11; time, 70 min.)

A run-of-the-mill gangster melodrama that may
get by as a supporting feature in secondary situations.
There is not much originality in the unrealistic story,
which centers around a divinity student who imper-
sonates his criminal twin brother in an effort to put
an end to waterfront rackets. Like most pictures of
this type, this one has its moments of violence, but
on the whole it is handicapped by a slow pace and
offers a minimum of excitement. Sean McClory does
well enough in the dual role, but neither he nor the
other players in the cast make their stereotyped
characterisations believable. The direction is or-
dinary : —

McClory, a divinity student, learns that Gunner
0"Hara (also played by McClory), his twin brother
and gang overlord, is about to be paroled from pri-
son. He visits Gunner and pleads with him to give up
his life of crime, but Gunner scoffs at him. Aware that
Gunner's release will spark a war among rival gangs
for control of the waterfront, McClory proposes to
the authorities that his brother be held incommuni-
cado in prison while he impersonates him and secures
the evidence needed to break up the gangs. The plan
is put into effect and, while Gunner rages in an iso-
lated cell, McClory takes up his dangerous role in
the underworld and assumes the leadership of his
mobsters, including Lee Van Cleei, James Griffith,
Frank Grestle and Robert Crosson, a comparative

youngster, who has a feverish case of hero-worship for
the "big shot" he believes McClory to be. All goes
well for a time, but McClory slips up on little things
that lead Jaclynne Greene, Gunner's mistress, and
Van Cleef, his chief hood, to suspect that he is not
the real Gunner. He gains two allies, however, when
he rescues young Crosson from a rival gang and wins
the gratitude of Joanne Jordan, the young man's
pretty sister. While McClory works on a deal to
merge the interests of all the gangs, Gunner escapes
from prison and sends a telegram to Van Cleef expos-
ing McClory s impersonation. Crosson accidentally
intercepts the telegram and, to save McClory, leads
the police to a hideout where Van Cleef planned to
murder McClory. Gunner, too, comes to the hideout,
only to be shot dead by Van Cleef, who mistakes him
for McClory. Gunner's death and the records Mc-
Clory had obtained from the merger dealings, break
the gangster's stranglehold on the city. McClory re-
sumes his life as a divinity student and welcomes Cros-
son as a convert to a law-abiding way of life.

It was produced by William J. O'Sullivan, and
directed by R. G. Springsteen, from a screenplay by
John K. Butler.

Adults.

A FINE PROPOSAL

In a letter sent to the heads of the different exhibi-
tor organizations, Merlin Lewis, executive secretary
of the Theatre Equipment and Supply Manufacturers
Association, takes note of the fact that "the lack of
financial reserves on the part of exhibitors has
caused hesitation to buy needed equipment by some
theatres and has prevented the purchase of such
equipment and furnishings entirely by most of the
small theatres, at least."

Lewis points out that the exhibitors inability to
accumulate capital reserves that would enable them
to refurbish their theatres "might be an underlying
cause of comparatively poor attendance even when
a strong attraction is offered in some theatres."

To overcome this condition, Lewis proposes that
the exhibitors throughout the United States and
Canada insist upon taking at least 3% "off the top"
of their own gross on every picture they buy on a
percentage basis before any calculations are made for
payment to the distributor.

"TESMA," admits Lewis, "has a selfish interest in
a move such as is suggested here, since it would, if suc-
cessful, permit the average theatre to put aside capi-
tal reserves in sufficient volume to permit the refurb-
ishing of theatres in the booth, on the stage, the seat-
ing, the decorations, the carpeting etc., so that
theatres might be able to compete physically with
the comfort of the TV viewer's living room. The
distributor, too, should be able to understand that
theatres must be made inviting and comfortable for
the potential customer, if they are to obtain what
they believe to be a sufficient amount of money out
of the pictures they lease to you — and therefore
they should be willing to pay for part of the cost to
accomplish that comfort."

Mr. Lewis' proposal is indeed a very good one
and the great majority of exhibitors would certainly
favor such a plan. Distributor executives, who have
complained long and loud about the failure of many
exhibitors to modernize their theatres m> to entice
more patronage, now have a chance to do their bit.

HARRISON'S REPORTS

April 30, 1955

within one year at rentals they can afford to pay, but will
also give them an opportunity to get back all or a good
part of the money they have paid as rental for a particular
film since they will share one-half of the profits made from
the sale of that picture to non-participating exhibitors
throughout the world. Moreover, it will give the partici-
pating exhibitors a means by which to combat the product
shortage.

Makelim now has on hand enough exhibition contracts
to put his plan into operation, but he has set a May 25
deadline for those who have not yet taken advantage of the
opportunity to participate in the plan. So if those of you
who have not yet joined want the full benefits that the plan
has to offer, you had better sign a contract at once.

AN ALERT CRITIC

At the press preview of "Strategic Air Command," held
in the New York Paramount Theatre on April 20, Para*
mount's publicity representatives roped of two rows of
choice seats in the center section of the orchestra, to which
they escorted the daily newspaper and magazine critics.

These choice seats enabled the critics to get an ideal view
of the pictorial effects attained on the vast 64 x 35 ft. screen
through horizontal projection, and their reviews were un-
stinting with high praise for this "new presentation" of
Vista Vision.

Of these critics, however, only one — Jesse Zusner, of
Cue Magazine, was alert enough to leave his seat in order
to judge the presentation from different parts of the theatre.
This is what he had to say in his review with regard to the
process:

"On the 'biggest screen in the world' (64 x 35 ft.) the
movie filmed in Vista Vision and color, fills the whole area
under the theatre's proscenium arch. VistaVision is a com-
bination of larger film projected on a gigantic screen —
giving sharper definition, brighter, truer colors, and vast
visual range. These are considerable technical improvements.
However, the Paramount's screen is now so fantastically big,
that unless you sit in the middle of the theatre the images
are seriously distorted, as though seen through a Fun House
mirror — and the sound occasionally becomes harsh and
raspy. Roughly a quarter of the seats in the theatre are now
in locations undesirable for complete audience enjoyment."

The alertness shown by Mr. Zusner in judging a new
screen innovation from all angles of a theatre should be
emulated by his fellow-critics so that the movie-goers who
pay attention to their reviews may have a complete idea of
what to expect when and if they go to the theatre.

THE READERS HAVE THEIR SAY

Dear Pete:

I have read with considerable interest and mixed feelings
the recent letter from Mr. Bernard L. Sargent of the Strand
Theatre, Key West, Fla., regarding the showing of Cinema-
Scope trailers. (Editor's N.ote: Mr. Sargent's letter was
published in the April 16 issue.)

My mixed feelings are simply explained. To begin with,
I am happy that Mr. Sargent, as a projectionist, is so inters
ested in proper presentation of motion pictures that he has
taken the trouble to sit down and write such a cogent letter.
This is the kind of spirit — however much I disagree with
his conclusions — that I think keeps our industry on its toes.

Of course, I disagree with the main point. He says that
the "expense and inconvenience" of screening a Cinema-
Scope trailer during a 2-D program "far outweighs the
benefit that would be gained."

The difficulties which he explains are understandable.
Certainly, we at Twentieth Century-Fox are more aware than
anyone else of the problems of any changeover from the
old style to CinemaScope. But I think that in the Strand
Theatre projection booth one must face up to this situation
just as much as any other projection booth in the nation.

I am sure that he must know that since the days of the
change from silent to sound, there have been available
convenient little switchover devices for moving the lens
itself from one center line to another. These will fit on

practically any projector, are readily available through the
theatre equipment supplier, are equipped with locating
stops and require only a flick of the finger, rather than
trying to move the projector which is obviously unwieldy.
Furthermore, the cost does not seem excessive, running
around $125.00 a pair. The same thing goes for traveling
masks, which can be readily installed and when equipped
with stops, will move the masking from one position to
another with no more effort on the part of the operator than
pushing a button. Neither is such an installation prohibi-
tively costly. Any theatre operator today who desires to
keep up-to-date and continue to make money, must expect
to budget at least a small amount for theatre improvements,
just as he would buy new and up-to-date chairs or new signs
for his marquee.

It is unfortunate that the Strand sound controls have
been located in such awkward positions. That is by no
means inherent in the process. It would seem that a little
ingenuity on the part of the sound service company could
correct even this condition.

From the way Mr. Sargent describes the set-up of his
theatre, it is indicated that he has a pretty high standard of
motion picture presentation, and that to maintain that
standard he goes to a good bit of work. I presume that the
reason he does this is because he believes that every addi-
tional piece of good showmanship means better patronage.
That happens to be what we believe, too; and that is why
we follow this through to the logical conclusion that the way
to trailerize CinemaScope is with CinemaScope. As a matter
of fact, the terrific impact of the huge CinemaScope picture
in the midst of the 2-D show is an important extra asset.

The only way to prove it is to try it. After all, it was
certainly "expensive and most inconvenient," to use his
words, when he installed what I am delighted to hear him
describe as "one of the best CinemaScope set-ups I have
seen to date; full 4-track stereophonic sound and large
curved screen." But he did it, and it turned out to be an
excellent step.

I hope that this letter will help convince Mr. Sargent and
the management of the Strand Theatre to maintain its own
high CinemaScope standard for trailers as well as for regu-
lar programs. If there is any assistance that our technical
people can render to help with the problem, they should not
hesitate to call on us.

When you go to a super market, every package on the
shelf has a sales message to get you to buy it; but at the
movies the only direct sales message in the space of a couple
of hours is the trailer. The trailer can't pull its punches, and
neither should any theatre cut down its punching power.
This business of ours, don't forget, is a combination of
sell and cellulois. Let's not sell it short by selling it narrow-
gauge. — William C. Gehring, Exectuive Assistant General
Sales Manager, 20th Century-Fox Film Corporation.

* * *

Dear Mr. Harrison:

I find your Reports most enlightening and helpful. You
are doing a grand job. Keep it up! — C. R. Kempnich,
Savoy Theatre, Gympie, Queensland, Australia.

* * *

Dear Pete:

Thought Mr. R. N. Hurt, Peru, 111., might be interested
to know that I have Harrison's Reports on file beginning
Saturday, November 22, 1924.

Front page gives a wonderful appraisal on "Paramount's
Next Forty." Wow! And what I used to pay for them com-
pared to today's 50%! — F. W. Zimmerman, Palace Theatre,
San Marcos, Texas.

* * *

Dear Mr. Harrison:

Note the comment about the file that some exhibitors have
of your Reports. Mine dates back 28 years. We like your
Reports. Your comment on VistaVision kept Paramount
from hi-jacking us on VV pictures. We are still being taken
in on CinemaScope. The distributors are trying to get top
bracket prices just because the picture is in CinemaScope.
— F. X. Faust, Roxy Theatre, Forsyth, Montana.

Entered as Moond-claaa matter January 4, 1*21, at the poa* oAea at New York, New York, und«r the act of March 3, 187a.

Harrison's Reports

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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXXVII SATURDAY, MAY 7, 1955 No. 19

THE MGM AND PARAMOUNT
ROUNDTABLE REJECTION

The silence of all the distribution company presi-
dents with regard to their acceptance of the joint
invitation issued two weeks ago by National Allied
and the Theatre Owners of America to attend an
industry conference in New York on May 24 was
broken this week with the disclosure that Nicholas
M. Schenck, president of Loew's, and Barney Balaban,
president of Paramount, have declined the invitations
extended to them.

In a telegram sent to Rube Shor, National Allied's
president, Schenck rejected the invitation on the
ground that he does not believe that it is proper to
discuss his company's sales policies at an industry con-
ference in the presence of representatives of compe-
titive companies. He added, however, that MGM's
customer relations have always been of first impor-
tance to him, that the company's open-door policy is
well known to the exhibitors, and that it is always
ready and willing to discuss grievances and, where
necessary, to make adjustments.

Balaban, who, too, replied to Shor, rejected the
invitation for reasons that are similar to those cited
by Schenck, and he, too, stated that his company's
doors are open for discussion of exhibitor problems
based on facts, and that it will grant relief when
merited.

At the time this is being written, the other com-
pany presidents either had not reached decisions on
the invitation or refused to make any comment, but,
in view of the action taken by Schenck and Balaban,
the outlook for their participation in the conference
is not too encouraging.

As a matter of fact, trade paper reports indicate
that there is doubt, at least among the Allied leaders,
that the proposed conference, even if it is held, will
be productive of results. Motion Picture Daily reports
that, at the North Central Allied convention, held
this week in Minneapolis, it was apparent from re-
marks made by Benjamin Bcrgcr, NCA president and
chairman of National Allicd's Emergency Defense
Committee, and by Rube Shor that they had little
faith in the outcome of the meeting.

Shor, for example, told the convention that "we
have reached the crossroads. The meeting on May 24
is the end of the line. This is it. I promise nothing
from the meeting. I am not optimistic."

Rube Shor's pessimism is shared by thousands of
exhibitors throughout the country, for they see in
the company presidents' reluctance to attend the pro-
posed industry conference a callous indifference to
their basic problem — relief from prohibitive film

rentals and inequitable conditions of licensing, which
not only prevent them from earning a fair return
but also threaten them with extinction.

With all due regard for MGM, which is con-
sidered by most exhibitors as one of the fairest com-
panies to do business with, it is doubtful if many
theatre owners, under present conditions, will be
pacified by assurances of an open-door policy for the
settlement of grievances and promises of adjustment
when warranted.

As Wilbur Snaper, the New Jersey Allied leader
once said, "adjustments are the unhealthiest thing in
the business. Any adjustment simply means that a
picture has been sold the wrong way. And it is the
distributor who fixes the terms and forces the theatre-
man to ask for an adjustment later on."

As for the claim that an industry conference is not
a proper place to discuss an individual company's sales
policies, this does not seem to be a valid reason for
rejection of the invitation, for neither the Allied nor
the TOA leaders have indicated that it is their inten-
tion to treat with the subject of sales policies on an
individual basis. In fact, Abram F. Myers, Allied's
board chairman and general counsel, made it clear
in a recent organizational bulletin that "all the exhi-
bitors have sought is an opportunity to place their
case before the responsible heads of the film com-
panies, in hopes that each such official, with respect
to his own company, would voluntary abate or aban-
don policies which threaten the whole industry."

In view of the stand taken by Messrs. Schenck and
Balaban, the joint Allied-TOA committee should
make it clear that the subject of film rentals and sales
policies will be discussed on an overall rather than on
a company basis. Such assurance should remove the
objections they have raised and induce them to re-
consider acceptance of the invitations extended to
them. At the same time it should forestall similar
objections from the other company presidents.

A BOON FOR EXHIBITION

Under the heading of good news this week is the
announcement by Richard W. Altschuler, Republic's
director of world-wide sales, that "twenty pictures in
the next twenty weeks will be delivered by Republic
on a regular schedule of one picture a week."

Pointing out that Republic has been and still is
engaged in one of the heaviest production schedules
in its history, Altschuler underscored the fact that
all the productions, which will be made available
during the period f rom May through September, are
either shooting or completed, with most ot them pho
tographed in Trucolor.

(Continued on bac\ page)

HARRISON'S REPORTS

May 7, 1955

"Murder is My Beat" with Paul Langton and
Barbara Payton

(Allied Artists, Feb. 27; 77 min.)

There is little to recommend in this routine program melo-
drama, even though it may get by on the lower half of a
double bill. Centering around the efforts of a detective to
clear a cafe singer of a murder charge, the story idea itself
is not bad, but poor motivations and an equally poor script
have prevented the producer from getting the best out of
it. Moreover, the plot is filled with arbitrary twists that
offend logic. The only commendable thing one can say about
the picture is that the individual performances are good.
There is no comedy relief: —

The body of a man is found in his apartment, burned
beyond recognition and making identification impossible.
On circumstantial evidence, Barbara Payton is arrested for
the crime and convicted. While Paul Langton is taking
her to the state prison, Barbara sees some one outside whom
she identifies as the man she is supposed to have murdered.
Langton, unwilling to have on his conscience the feeling
that he had helped send an innocent person to prison, per-
suades Barbara to jump off the train with him in an effort to
find the "murdered" man. They walk back to the town
where Barbara had seen the man. Days pass but their
search is in vain. One day they see on the street Tracey
Roberts, Barbara's roommate back in the city. Langton trails
her to the local hotel and learns that she is registered under
an assumed name. When he returns to the motel, Langton
finds Barbara gone. He finds also Robert Shayne, his police
partner, who had arrived to arrest him. Langton informs
Shayne of his belief that the "dead" man is alive and per-
suades him to wait 24 hours to give him a chance to solve
the case. Helped by Shayne, Langton locates the missing
man in a ceramics factory. He proves to be Roy Gordon,
owner of the plant, who had fallen in love with Barbara. It
then comes to light that the slain man was a private detec-
tive Gordon had hired to keep an eye on Barbara, and that
Gordon had slain him because he threatened to blackmail
him. Later, Tracey's body is found in her hotel room. She
had been slain by Selena Royale, Gordon's wife, in another
attempt at blackmail. Meanwhile Shayne learns that Barbara,
despairing of finding the missing man and concerned lest
Langton be expelled from the force, had gone to the state
prison and had surrendered to the warden. Freed, Barbara
finds Langton waiting for her with a marriage license, for by
this time he had fallen in love with her.

Aubrey Wisberg produced it, and Edgar G. Ulmer di-
rected it, from a screenplay by Mr. Wisberg, based on a
story he had written in collaboration with Martin Field.

Adult fare.

"Run for Cover" with James Cagney,
John Derek and Viveca Lindfors

(Paramount, April; time, 92 min.)

"Run for Cover" is handicapped by a sprawling story and
by plot inconsistencies, but on the whole it emerges as a
better-than-average Western melodrama, photographed in
Technicolor by the VistaVision method. Like most pictures
of its type, it has its moments of exciting action, but it
moves along for the most part at a leisurely pace and is
concerned more with characterization than with riding,
shooting and fighting. James Cagney's name, however, should
assure it of fairly good grosses in most situations. Cagney
gives a pretty good account of himself in the sympathetic
role of an ex-convict who becomes the fearless sheriff of a
pioneer town and who takes a misguided parental interest
in John Derek, a selfish young man with crooked tendencies,
whom he unsuccessfully tries to set on the right path. Derek
is not too convincing in his role, for the manner in which
he fluctuates between good and bad makes the characteriza-
tion confusing. Viveca Lindfors is warm and sympathetic
as a Swedish immigrant who wins Cagney's heart and marries
him. The rugged outdoor scenery is impressive, and the
color photography good: —

Heading for the town of Madison, Cagney meets up with
Derek. They become friends and ride towards the town to-
gether. When both happen to take pot-shots at a hawk, a
nervous railway clerk on a passing train thinks they are
holdup men. He tosses them a money bag and, upon reach-
ing town, notifies Ray Teal, the sheriff, of the "train rob-

bery." A posse sets out to hunt down the "bandits," and
when they spot Cagney and Derek coming in with the
retrieved money bag, they wound Derek and nearly hang
Cagney before they realize their mistake. Derek is taken to
the fa rm house of Jean Hersholt and Viveca Lindfors, his
daughter, who, together with Cagney, nurses Derek back
to health even though his injuries leave him crippled for
life. The townspeople, regretting their action, offer Cagney
the post of sheriff to replace the unfair Teal. Cagney
accepts the post and promptly appoints Derek as his deputy
to prove to the young man that he can still lead a useful
life. Meanwhile a romance had developed between Cagney
and Viveca, and her father consents to their marriage.
Cagney's faith in Derek wavers when the young man is
unable to prevent the lynching of one prisoner and the
escape of another. Shortly thereafter, during church services,
outlaws headed by Grant Withers invade the town and rob
the local bank, killing Hersholt in the process. During the
excitement, Withers reveals that Cagney was an old cell-
mate— a fact that Cagney curtly acknowledges with the
explanation that he had been sentenced for a crime he did
not commit and had been granted a full pardon. Despite
the suspicions of the townspeople, Cagney rides off with
Derek to apprehend the outlaws. In the complicated events
that follow, all but one of the outlaws are massacred by
Indians, and it comes to light that Derek had been in cahoots
with them. Derek escapes, but Cagney goes after him and
eventually finds him with Ernest Borgnine, the remaining
outlaw. In a final showdown, Derek tries to redeem himself
by killing Borgnine to save Cagney, but Cagney, mistaking
Derek's intention, shoots and kills him.

It was produced by William H. Pine and William C.
Thomas, and directed by Nicholas Ray, from a screenplay
by Winston Miller, based on a story by Harriet Frank, Jr.
and Irving Ravetch. Unobjectionable morally.

"Abbott and Costello Meet the Mummy"

(Univ.-Int'I, June; time, 79 min.)
A typical nonsensical Abbott &? Costello slapstick comedy,
the kind that should appeal to youngsters and to others who
still enjoy their brand of comedy. This time the boys'
whacky misadventures take place in Egypt, where they
become involved with no less than a living mummy and
with a murderous cult that worships him. Worked into the
"nutty" plot is a gimmick concerning the whereabouts of
a hidden treasure. It is all quite "goofy," and Abbott and
Costello work hard at being funny, but they press so hard
for laughs that their efforts frequently fall flat. Discrimi-
nating audiences will no doubt find it silly, noisy and
wearisome. The proceedings include several musical numbers
that come as a welcome relief from the silliness of the plot
as a whole: —

Stranded in Egypt, Bud Abbott and Lou Costello plan
to earn passage back to the United States as custodians of
the mummy of Karlis, which had been discovered by Kurt
Katch, an archaeologist. Before the boys can assume their
duties, the mummy is stolen and Katch murdered. The
killers prove to be a group of Egyptians who worshiped
Klaris and had kept him alive for many years by feeding
him a secret potion. Interested also in the mummy, who
wears a sacred medallion that held the key to a hidden
treasure, is a rival cult headed by Marie Windsor. Costello
accidentally obtains possession of the medallion and, after
many complications, he and Bud become the objects of
a chase that leads all concerned to an abandoned temple
in the desert, where the treasure was hidden. Wholesale con-
fusion results when every one tries to double-cross every
one else, and when three mummies, one genuine and the
other two fake, start to roam throughout the temple. Ulti-
mately, an explosion of dynamite disperses all the villains
and blasts a hole in a wall that reveals the fabulous treasure.
It ends with Abbott and Costello using the find to open
an elaborate nightclub, which they call the Club Klaris.

It was produced by Howard Christie, and directed by
Charles Lamont, from a screenplay by John Grant, based
on a story by Lee Loeb. Harmless for the family.

May 7, 1955

HARRISON'S REPORTS

"Hell's Island" with John Payne and
Mary Murphy

(Paramount, May; time, 84 min.)

Photographed in VistaVision and Technicolor, this adven-
ture melodrama is only moderately interesting and exciting,
but it should get by as a supporting feature with undis-
criminating movie-goers who are not too concerned about
story values. The plot, which offers a mixture of intrigue,
murder, double-crosses and female duplicity, while the hero
searches for a missing ruby, is so involved that one finds it
difficult to follow its ramifications. Moreover, no sympathy
is felt for the principal characters, and it is given more to
talk than to action, slowing down the pace considerably.
John Payne is adequate as the hero who seems to have
more brawn than brains, and Mary Murphy is curvaceous
and seductive as a homicidal woman who plays him for a
"sap." Incidentally, Paramount's advertising matter on this
picture is misleading, for it features the beautiful Miss
Murphy in a Bikini-type swimsuit, but there is no scene in
the picture in which she appears in such an outfit. The
direction is routine, and the photography good: —

Jilted by Mary, who had eloped with Paul Picerni, a
famous flier, Payne had gone on a binge that ended his
career as an assistant district attorney. He becomes a
bouncer in a Las Vegas gambling club, where Frances L.
Sullivan, a ruthless paralytic, offers him $5,000 to go to
Puerto Rosario to investigate the disappearance of a fabulous
ruby that was being smuggled out of the country to him
in a chartered plane that had crashed. Payne accepts the
assignment when he learns that the plane was owned by
Picerni, whom Sullivan suspected of stealing the ruby, and
who was now in jail, charged with sabotage. Upon arriving
in Puerto Rosario, Payne visits Mary, who confesses that
she no longer loves Picerni but is determined to arrange his
escape from an island penal colony before she leaves him to
go back to Payne. She tells Payne also that she knows
nothing about the missing ruby. Payne sets out to com-
municate with the mechanic who had worked on the sabo-
taged plane but the man is murdered before he can ques-
tion him. From then on Payne becomes involved in several
more killings and a number of doublecrosses, the details of
which are too complicated to chronicle here, but it is not
until he finds himself double-crossed by Mary that he realizes
that she had engineered the several murders, had possession
of the ruby, and sought to have her husband killed while
attempting an escape in order to collect his life insurance.
Payne tricks Mary into making a confession of all this
within earshot of the police and, as she is led away to jail,
he prepares to return to the United States — a sadder but
wiser man.

It was produced by William H. Pine and William C.
Thomas, and directed by Phil Karlson, from a screenplay by
Maxwell Shane, based on a story by Jack Leonard and
Martin M. Goldsmith.

Adult fare.

"High Society" with the Bowery Boys

(Allied Artists, April 17; time, 62 min.)

Followers of the Bowery Boys series of program comedy
melodramas may accept this latest effort as fair, but it does
not come up to the "Bowery to Bagdad" standard, released
previously. As a general rule, William Beaudine, the director,
can be depended upon to get the best out of a story, but
the material in this case is so weak that he apparently could
not overcome it. The comedy, such as it is, is so forced that
it is ineffective. The photography is good: —

Dayton Lummis, a high society crook, meets Huntz Hall
and conceives the idea of presenting him as a cousin of
Ronald Keith, heir to a fortune, so that he may lay his
hands on the boy's millions. Accompanied by Leo and Bern-
ard Gorcey, Huntz goes to live with Keith's wealthy family
at their estate. There they meet Amanda Blake, Lummis'
conniving sister, and Addison Richards, a crooked lawyer
working together with Lummis in the scheme to grab Keith's
millions. As time goes on, Leo and Huntz realize the
enormity of the crime about to be committed against Keith,
and decide to protect him. Lummis, aided by Richards and
another henchman, make captives of the boys and Keith
until a bank representative arrives to accept crooked docu-
ments designed to turn the fortune over to Huntz. But in a

mixup as a result of a fight, the boys succeed in convincing
the bank's representative of the crooked scheme, thus pre--
venting him from accepting the false documents. It all ends
with Keith and his butler visiting the boys in the Bowery
to express their gratitude.

Ben Schwalb produced it, and William Beaudine directed
it, from a screenplay by Bert Lawrence and Jerome S.
Gottler, based on a story by Edward Bernds and Elwood
Ullman.

Family entertainment.

"Daddy Long Legs" with Fred Astaire,
Leslie Caron, Terry Moore and
Thelma Ritter

(20th Century-Fox, May; time, 126 min.)

A thoroughly charming and appealing up-to-date musical
version of the famed Joan Webster novel is offered in this
elaborate CinemaScope production, beautifully photo-
graphed in DeLuxe color. It should prove to be a beguiling
entertainment for all types of audiences, for the story is
warm, human and light-hearted, and it has magnificent pro<
duction quality, humor, pathos and effectively staged musi-
cal numbers. Jean Negulesco's expert direction and the
winning performances by all the players do full justice
to the well known story, which deals with a 'teen-aged
orphan who is adopted by a millionaire who keeps his
identity a secret, sends her through college and wins her
heart before she becomes aware that he is her benefactor.
Leslie Caron is captivating as the orphaned French girl who
is bewildered by the good fortune that befalls her and
saddened by the fact that her unknown guardian does not
reply to the many grateful letters she sends him throughout
her years at college. Fred Astaire is ideal as the gay
millionaire bachelor who adopts her, arranges for her educa-
tion in an American college, and forgets about her existence
until her pleading letters are forcefully brought to his
attention by Thelma Ritter, his soft-hearted secretary. The
manner in which a romance develops between Miss Caron
and Astaire is utterly charming, despite the difference in
their ages. The song-and-dance routines that feature Miss
Caron and Astaire, individually and together, are imagina-
tive and enjoyable. Good touches of comedy prevail through-
out, with Miss Ritter and Fred Clark, as Astaire's aides,
contributing much of the humor: —

While visiting in France, Astaire has automobile trouble
and stops at an orphanage for help. There he becomes
fascinated by the manner in which Leslie mothers the
younger orphans and, through Larry Keating, the American
Ambassador, he adopts her without divulging his identity
and arranges for her to be sent to a New England college.
It is made clear to Leslie that her unknown benefactor wants
no gratitude, and she is instructed to write monthly to a
John Smith at a New York post office box to tell him of
her progress. Leslie imagines her guardian to be an old man
with long legs and nicknames him Daddy Long Legs.
Astaire does not bother to read the letters she sends him
during her stay at school until he is shamed into doing so
by Miss Ritter, his exasperated secretary. Intrigued by
what Leslie had to write, Astaire arranges to visit the col-
lege, ostensibly to see Terry Moore, his niece, who was
Leslie's roommate. The visit leaves Astaire intrigued with
Leslie's beauty and personality, and he arranges for both
girls to come to New York for a week-end. Leslie arrives
alone when illness prevents Terry from accompanying her.
Astaire and Leslie go out on the town, have a gay time
together, and fall deeply in love. He decides to propose to
her, but complications arise when the Ambassador, visiting
New York and occupying the hotel suite next to Leslie's,
overhears a conversation between her and Astaire and
places the wrong interpretation on their relationship. Ignor-
ing Astaire's protestations, the Ambassador compels him
to break off the romance. Leslie, unaware of what had
happened, returns to school heartbroken. On Commence-
ment Day, she is taken in tow by Miss Ritter, who brings
her to New York to finally meet her benefactor. Her joy
knows no bounds when she discovers that he is Astaire and
when he asks her to become his wife.

It was produced by Samuel G. Engel, and directed by
Jean Negulesco, from a screenplay by Phoebe and Henry
Ephron.

Fine for the lamily.

HARRISON'S REPORTS

May 7, 1955

The pictures and months of release are as follows:
May: "The Eternal Sea," starring Sterling Hayden,
Alexis Smith and Dean Jagger; "Sante Fe Passage,1'
starring John Payne, Faith Domergue and Rod
Cameron; "I Cover the Underworld," starring Sean
McClory and Joanne Jordan; and "Don Juan's Night
of Love," starring Raf Vallone and Silvana Pam-
panini.

June: "Road to Denver," starring John Payne,
Mona Freeman and Lee J. Cobb; "Flame of the
Island," starring Yvonne DeCarlo, Howard Duff and
Zachary Scott; "The Green Bhudda," starring
Wayne Morris and Mary Germaine; "City of
Shadows," starring Victor McLaglen; and "Double
Jeopardy," starring Rod Cameron and Gale Robbins.

July: "Magic Fire," starring Yvonne DeCarlo,
Carlos Thompson, Rita Gam and Valentina Cortese;
"Mystery of the Black Jungle," starring Lex Barker;
"Deadline Alley," starring Rod Cameron, Julie
Bishop and Ben Cooper; and "Jaguar," starring Sabu,
Chiquita and Barton MacLane.

August: "The Last Command," starring Sterling
Hayden, Anna Maria Alberghetti and Richard
Carlson; "The Divided Heart," starring Cornell
Brochers, Yvonne Mitchell and Alexander Knox;
"Lay That Rifle Down," starring Judy Canova; and
"Circus Girl."

September: "The Hostage," with Ray Milland and
Mary Murphy; "The Vanishing American," with
Scott Brady, Audrey Totter and Forrest Tucker; and
"Come Next Spring," starring Steve Cochran, Ann
Sheridan and Sonny Tufts.

This list of pictures is indeed impressive, and the
announcement of their consistent delivery during the
next five months is most gratifying, for it indicates
that Republic is no longer thinking of quitting the
theatrical field, as reported recently.

The exhibitors are badly in need of more product,
and so long as Republic delivers proper merchandise
both in quantity and quality, it is deserving of the
fullest support possible. The only support that counts,
however, is play dates!

DATE SET FOR COMPO
AUDIENCE AWARDS

A new and final date — November 17 through
November 27 — was fixed last week-end for the
nation-wide balloting that is to be held under the
auspices of COMPO to register the public's choice
of the best picture, best performances and most
promising young players of the previous year. Pre-
viously, the voting period had been from Thanks-
giving Day, November 24, to December 7.

The decision to change the date was made by
Elmer Rhoden, newly-appointed national chairman
of the Audience Awards campaign, following a con-
ference with COMPO representatives, two members
of the original Audience Poll committee and others,
including a representative of Price Waterhouse £•?
Co., public accounting firm.

It was decided also that the awards shall be made
at a function to be held in Hollywood on the night
of December 5, 6 or 7, whichever may later be de-
cided upon as being most convenient.

Nominations for the awards will be made by exhi-
bitors, under a procedure worked out by Rhoden.

The nominations, according to present plans, will be
made to cover three different periods, with all exhibi-
tors eligible to participate. The first nominating ballot,
as tentatively arranged, will be sent to COMPO by
exhibitors on or around June 1 and will permit exhi-
bitors to make their nominations from pictures gen-
erally released between October 1, 1954 and March
31, 1955. The distributors will determine which of
their pictures have been widely enough exhibited to
be eligible for nomination. Any picture or personality
receiving 75 per cent of the nominating votes from
exhibitors will go on the final ballot given to the
public.

A similar nominating procedure will be followed
by the exhibitors on or about August 1 in making
their nominations from pictures and personalities in-
cluded in the releases of April, May and June. The
final nominations will be made on or around October
1 on pictures and personalities included in general
releases of July, August and September. In each of
the three nomination ballotings any picture or per-
sonality receiving 75 per cent of the votes will go on
the final ballot to be used by the public.

September 30 will be the cutoff date of pictures
to be considered.

THE READERS HAVE THEIR SAY

Dear Pete:

I have read with much interest the report of Al
Lichtman regarding the use of 2-D trailers for
CinemaScope productions, and also the reply of the
projectionist (April 16).

Why all the fuss about a brief trailer, while
nothing is said concerning the really important sub-
ject of showing the CinemaScope picture in its full
width? From what I have been able to learn, the
masking out of the sides of CS productions in order
to better fill the screen is quite widespread. In my
opinion, when the ends are masked out, the picture
is no longer CinemaScope and the exhibitor should
not be permitted to advertise the picture as being
shown in CS. If the picture is not going to be shown
m its entirety, why make it in CS in the first place?
If the practice of eliminating the ends of CS produc-
tions is to prevail, then I suggest that we go back
to the old standard and eliminate the extra expense
and effort required to make CinemaScope prints.
— G. Par\ 'Weaver, projectionist, Ace Theatre,
'Wilmington, Del.

* * *

Dear Mr. Harrison:

Your articles as well as the ones by Jay Emanuel
on Vista Vision were quite interesting but I do feel
that you both missed the point in the great achieve-
ment Vista Vision has made in the progress of ulti-
mate production.

Do you recall the scene at the end of "White
Christmas' where the General blew out the candles —
yes they were all blown out — then immediately fol-
lowing was the finale — and as the camera moved back
taking in the entire club scene and the General —
the candles were lit again! So I say we must have a
great process as VistaVision lights the candles in
"White Christmas." — Fran\ W. Barnes, Elite
Theatre, Crawford, 7^ebras\a.

Rntered aa second-elaaa matter January 4, 1931. at the post office at New Tork, New York, under the act of March 3, 1'71.

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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXXVII SATURDAY, MAY 14, 1955 No. 20

THE BREACH WIDENS

Following a procedure that is similar to the one suggested
in this paper last week, the joint Alied-TOA committee,
which is seeking a roundtable conference with the presi'
dents of the different film companies, sent a telegram on
Monday of this week to the heads of Loew's, Inc., Para-
mount, 20th Century-Fox, RKO and Universal, assuring
them that it is not the intention to discuss individual com-
pany sales policies at the proposed meeting and requesting
that they reconsider their decisions rejecting the invitations
extended to them.

According to reports, the telegram was not sent to the
heads of the other companies because they rejected the invi-
tion on grounds other than an unwillingness to discuss in-
dividual sales policies. Some reports, however, indicate that
Alicd Artists and United Artists were willing to participate
in the meeting.

The telegram, which was signed by Rube Shor, president
of National Allied, and E. D. Martin, president of the
Theatre Owners of America, had this to say:

"Reurtel declining attendance proposed industry trade
conference for reasons stated by you that you cannot attend
conference that will discuss individual company sales and
trade policies. May I state that this is a misconception of the
purpose of the conference. There is no intention to discuss
individual company sales and trade policies but rather to
present the serious plight of exhibitors resulting in the
closing of theatres and decrease in patronage and further
the general sales policies of distribution that do not en-
courage licensing on the merits and ability to pay. It is the
American way and it is part of the American economy that
there be freedom of speech and exchange of ideas for the
common good and that producers and distributors in any
business sit and discuss the problems of their customers
when they arc in trouble. Should it be different in our in-
dustry? What harm can come from an intelligent, sincere
and free discussion of exhibitor and distributor relations?
Reque;>t you reconsider your negative decision and please
telegraph answer to Rube Shor so that conference if held
may take place not later than proposed date of May 24.
Regards."

The assurances given by Messrs. Shor and Martin gave
rise to the hope that the company presidents would recon-
sider their negative decisions, but this hope was shattered
by midweek when it was made clear by Nicholas M. Schcnck,
of Loew's, and Spyros P. Skouras, of 20th Century-Fox,
that the only way by which they would be willing to con-
fer with the joint committee is on an individual basis, with-
out representatives of other film companies being present.
It can be anticipated that the other company chiefs will
decline along similar lines.

The next move is now up to the joint Allied-TOA com-
mittee, which is scheduled to meet in New York on May 23,
one day prior to the proposed roundtable conference.

Allied, as it is well known, is prepared to go to the Gov-
ernment for relief. The TOA has stated officially that it
"will seek relief through any other means necessary," but
an official hint that the organization may be inclined to
join up with Allied in the bid for Government intervention
was drupped this week by Alfred Starr, chairman of TOA's
executive committee, who told trade pres> reporters that,
though he was still firm in his opposition to Government

regulation of the industry, he and other TOA leaders now
had an "open mind" on the matter. He added that the
"swelling chorus of complaints" from TOA members,
coupled with their "mounting feeling of economic disaster,"
led him to believe that "desperate men will do desperate
things."

The strife that now divides the exhibitors and the film
companies cannot do the industry any good. It is an un-
healthy situation, no matter from which angle one looks
at it.

Exhibition needs relief from onerous film terms and needs
it in a hurry. Thousands of exhibitors are faced with a
struggle for survival and the only thing that can save them
is for the distributors to bring rentals and terms down to
reasonable levels so that they, the exhibitors, will at least
be given an opportunity to earn a fair profit.

The great majority of exhibitors want to accomplish this
without governmental action, and their efforts to set up
a roundtable conference with the film company heads is
indicative of their desire to solve their problems within
the industry. But instead of giving the exhibitors a chance
to discuss their problems and to suggest ways and means
of alleviating the conditions that are forcing them to the
wall, the distributors quibble about what may be discussed
and resort to expert fencing and fine diplomacy. Is it any
wonder, then, that more and more exhibitors, out of sheer
desperation, are beginning to feel that it is better to be
regulated by the Government than by the distributors?

HELP FOR THE LITTLE FELLOW

A definite step forward toward improving distributor-
exhibitor relations is the proposal made last week by Al
Lichtman, 20th Century-Fox's director of distribution, to
submit to arbitration film rentals of $50 or less per picture.

Making it clear that he was speaking as an individual and
not as a representative of his company, Lichtman had this
to say:

"Exhibitor leaders have been upbraiding the distributors
because of onerous terms, particularly for the little exhibi-
tor, and it is commendable that these big, affluent exhibitors
should be fighting for the little fellows. I, too, want to take
up the cudgels for the little fellow. In fact, this is not new
to me. I have always tried to differentiate in all my deal-
ings with exhibitors between the big, rich exhibitor in the
big cities who enjoy first runs, and the little fellow in the
sub runs or in little towns where business is limited.

"But today the differential between the so-called big ex-
hibitor and the little exhibitor is more marked than ever
before. To give you an example, it is now possible in ap-
proximately 4,500 theatres and big drive-ins to earn from
85 to 90% of the total film rental on a first class motion
picture: the balance conies Irom more than double that
number of theatres, so that it behooves all distributors to
have a most flexible policy in order to take care of the little
fellow and keep him in business to the utmost of our ability.
Those of them who will not progress and improve their
facilities will fall by the wayside in any case because not
only do they have to compete with television but also the
drive-in theatres.

(Continued on bac1{ page)

HARRISON'S REPORTS

May 14, 1955

"The Shrike" with Jose Ferrer and
June Allyson

(Univ.-Int'l, September; time, 88 min.)

This screen version of the highly successful, Pulitzer
Prize-winning stage play of the same name does not come
up to expectations, but the fame of the play affords the
exhibitor good exploitation values. That it does not attain
the gripping and chilling power of the play is due mainly
to the fact that the character of the wife has been softened
considerably. In the play she is a vicious and malicious
woman, who compels her husband to undergo a frightening
experience in a mental hospital, to which he is committed
for observation after attempting suicide. She is called a
shrike, which is described in the story as "a little, soft downy
bird with a long beak, on which she impales her victim."
The character in the picture hardly fits that description as
played by June Allyson; she appears to be too wholesome,
and what malice she does display is not too convincing. A
sensitive performance is turned in by Jose Ferrer as the
distraught husband; he makes one feel keenly the helpless-
ness of a man who, though perfectly normal, is compelled
to remain in a psychiatric ward. Those who have seen the
play will no doubt find the film version disappointing by
comparison, for the changes made in the script have weak-
ened its dramatic power. Those who have not seen the play
should find it to be an unusual drama that will grip their
interest throughout but leave them with a feeling that it
promised more than it delivered.

The story opens with Ferrer confined to a psychiatric
ward in a New York hospital after a suicide attempt, and
with June, his estranged wife, showing considerable con-
cern over his condition as well as a desire to become recon<
ciled. In a series of examinations by the hospital's psychia-
trists, Ferrer reconstructs his life with June during their
nine years of marriage. By flashbacks, it is revealed that
June had a role in Ferrer's first play and that they had been
married on the night that the critics had hailed him as a
new directorial discovery. His career suffered when she
began to take an aggressive interest in his stage activities,
and she became so possessive that he grew more and more
resentful of her intrusion in his professional life and sepa-
rated from her. Shortly thereafter, he struck up a romantic
relationship with Joy Page, an understanding young actress.
His inability to obtain a divorce from June or to resume his
career had made him despondent and had led to the at-
tempted suicide. Feeling perfectly normal and anxious to
be released, Ferrer finds that he cannot win his discharge
under the law unless he agrees to return to his wife's custody.
He rebels against this, and June, fearing that he will return
to Joy, refuses to cooperate. Desperate, he finally pretends
that he is willing to give up Joy and to start life anew with
June. Skeptical about Ferrer's sudden aboutface, the doctors
confer with June, and from her attitude they soon learn
that she herself is in need of psychiatric treatment — a fact
that is bluntly made clear to her. She now realizes the
suffering she has caused Ferrer and, upon his release, tells
him that he is free to go his own way. Touched by her
genuine remorse, he becomes reconciled with her.

It was produced by Aaron Rosenberg, and directed by
Mr. Ferrer, from a screenplay by Ketti Frings, based on the
play by Joseph Kramm.

Best suited for mature audiences.

"Moonfleet" with Stewart Granger,
George Sanders and Viveca Lindfors

(MGM, June; time, 89 min.)
An odd mixture of skullduggery, smuggling, cemeteries,
loose women, derring-do and a little boy's idolatry of a
dapper rogue is offered in this period costume melodrama,
which has been photographed in Eastman color and Cinema-
Scope. It is a spotty entertainment, however, even though
it does have some outstanding melodramatic sequences. The
^tory, which takes place in England during the year 1757,
wanders all over the lot and has so many twists and turns
that much of what happens leaves the spectator in a daze.
Moreover, some of the principal characterizations are not
clearly defined. There are moments when the action is fast,
adventurous and exciting, but there are other moments when
the movement is bogged down by too much talk. The picture
has been given an elaborate production, with magnificent
settings and colorful costumes, but these are not enough to
make up lor its many deficiencies. While it is not essen-
tially an adults' picture, several suggestive sequences having

to do with the hero's relationship with loose women make
it questionable for children.

Briefly, the story has Jon Whitley, a 10-year-old boy,
arriving in the village of Moonfleet to seek the protection of
Stewart Granger, a dapper rogue who headed a gang of
cut-throat smugglers and who was once the sweetheart of the
boy's dead mother. Granger, obviously displeased at being
saddled with the youngster, decides to send him to a far
away school, but the boy escapes from a carriage taking him
there and returns to Granger. Impressed with the lad's
spunk, Granger permits him to remain. In subsequent events
the boy stumbles upon the tomb of an ancestor and dis-
covers a clue to the whereabouts of a fabulous diamond
hidden years previously. Meanwhile Granger's relations with
a gypsy girl and with Joan Greenwood, wife of George
Sanders, another dapper thief, infuriates Viveca Lindfors,
Granger's mistress. In retaliation, she notifies the authorities
of a piracy venture planned by Granger in partnership with
Sanders. Grander barely escapes with his life as a result of
Viveca's perfidy, and he goes into hiding, tailed by little
Jon. He tries to chase the lad away, but changes his mind
when the youngster shows him the clue to the whereabouts
of the diamond. He embarks with the boy on a series of
daring adventures that eventually result in their finding the
diamond, after which he decides to abandon the lad. At the
last moment, however, he becomes conscience-stricken and
decides to return the gem to the boy. This move results in
a vicious fight with Sanders, whom he kills. Though mortally
wounded, he makes his way back to the boy and hands him
the diamond before he dies.

It was produced by John Houseman, and directed by
Fritz Lang, from a screenplay by Jan Lustig and Margaret
Fitts, based on the novel by J. Meade Falkner.

Adults.

"Robbers' Roost" with George Montgomery,
Richard Boone and Bruce Bennett

(United Artists, May; time, 82 min.)

A passable western melodrama, photographed in Eastman
color. While it should get by with the diehard western fans,
its appeal for others will be limited, for its story about a
crippled rancher who hires two gangs of rustlers as ranch
hands in the hope that they will be too busy watching each
other to steal his cattle offers little that is novel either in
situation or in dialogue. Except for a few draggy moments,
there is much physical action, but its emotional appeal is
not forceful. In the picture's favor is the gorgeous outdoor
scenery, which is enhanced by the beautiful color pho<
tography: —

George Montgomery, wanted by the law, rrives in the
rough town of Junta Junction, where he detects Peter
Graves, gang leader, cheating Richard Boone, a rival leader,
at poker. Impressed by Montgomery's fearlessness, Boone
offers him a job and informs him that his gang planned to
rustle all the cattle on the ranch of Bruce Bennett, an in-
valid, who had hired them as ranch hands. On the follow-
ing morning, when they ride out to the ranch, they are
surprised to learn that Bennett had hired also Graves and
his gang, cleverly figuring that both gangs will be so busy
watching one another that neither would rustle the cattle.
Sylvia Findley, Bennett's sister, arrives at the ranch and
pleads with him to return East with her for proper medical
care, but he declines. When several of the rustlers make
passes at Sylvia, Montgomery beats them up. Bennett, im-
pressed, assigns him to stay with her at all times. Meanwhile
Boone and Graves try to outwit each other in an effort to
rustle the cattle and finally decide to join forces to carry
out the scheme. Montgomery, having fallen in love with
Sylvia, strings along with the rustlers but secretly advises
Sylvia of their intentions. She loses faith in Montgomery,
however, when she learns that he is wanted for two murders
— a crime he refuses to explain. Actually, Boone had been
responsible, and Montgomery was waiting for an opportune
moment to make him confess. In the complicated events
that follow, Montgomery cagily plays along with Boone in
a doublecross on Graves and in the kidnapping of Sylvia.
In the final analysis he not only saves her from harm, but
in a showdown he kills Graves and mortally wounds
Boone, who establishes his (Montgomery's) innocence be-
fore he dies.

It was produced by Robert Goldstein, and directed by
Sidney Salkow, from a screenplay by John O'Dea, Maurice
(Jeraghty and Mr. Salkow, horn the novel by Zane Grey.

Adults.

May 14, 1955 HARRISON'S REPORTS 79

"Sante Fe Passage" with John Payne,
Faith Domergue and Rod Cameron

(Republic, April 4; time, 90 min.)
Although it is not an epic, "Sante Fe Passage" is an
above-average outdoor melodrama. The picture, which is
photographed in Trucolor, should easily please the dyed-in-
the-wool western fans in action houses, and should provide
suitable entertainment elsewhere as part of a double bill.
There are n>> new wrinkles in the pat story, which mixes an
Indians-versus-whites conflict with a romantic triangle, but
it is presented in interesting fashion and hits a series of
exciting climaxes in the swift and continuous action. John
Payne is forthright and fearless as a frontier scout, and
Rod Cameron is a somewhat sympathetic villain as head of
a wagon caravan. Faith Domergue is effective as a beautiful
New Orleans girl whose part-Indian blood temporarily affects
her romance with Payne, an avowed Indian hater. The
outdoor scenery backgrounding the action is appropriately
rugged, and the Trucolor photography is exceptionally
good: —

Payne hates all Indians, particularly George Keymas,
chief of the Kiowas, whose massacre of a wagon-train of
settlers, for whose safety Payne had been responsible, had
led to his ostracism; neither he nor Slim Pickens, his pal, can
get jobs. Faith Domergue, who owns half of a shipment of
ammunition being transported to Mexican insurrectionaries
in Sante Fe protests when Rod Cameron, her partner, hires
Payne and Pickens to guide their wagon train through the
treacherous Indian country, but she changes her opinion
when Payne's heroism saves them from a wild horse stampede
instigted by the Kiowa chief. Payne, unaware that Faith is
half-Indian, falls in love with her, despite a warning from
Cameron to stay away from her. In time, Cameron's jealousy
inspires him to plot a way to eliminate Payne. He sends word
to the Kiowa chief offering to deliver Payne in return for
safe passage for the wagon train. The chief agrees, but
plans to capture all concerned, including the ammunition.
Payne, after being made a captive, learns of the plan. He
overpowers his Indian guards and races to warn the wagon
train of the impending danger. In the battle that follows,
Cameron loses his life but Payne succeeds in saving Faith.
They make their way to Sante Fe, where they marry, first
in Indian fashion and then in a wedding ceremony conducted
by the local padre.

It was produced by Sidney Picker, and directed by Wil-
liam Witney, from a screenplay by Lillie Hayward, based
on the Esquire magazine story by Clay Fisher. Family.

"5 Against the House" with Guy Madison,
Kim Novak and Brian Keith

(Columbia, June; time, 84 min.)

Despite a highly theatrical but exciting ending, "5
Against the House" is an intriguing, well-produced melo-
drama that should go over well with all types of adult
audiences. The main story line, which provides the suspense,
has four young college men carrying through a fantastic plan
to rob a Rsno gambling establishment that is so well guarded
that it is considered burglar-proof. The young men look
upon the robbery as a challenge and do not intend to keep
the money, but the lark turns into a serious business when
one of them, subject to temporary fits of insanity, crosses his
chums and turns the holdup into the real thing at gunpoint.
The story is not only well conceived, but it has good touches
of comedy, humorous dialogue and intimate but inoffensive
love-making. The direction is expert and the acting highly
competent. The actual Reno backgrounds are fascinating and
they lend a realistic touch to the proceedings. Favorable
word-of -mouth should benefit this picture at the box-office: —

Returning to college together after a summer vacation,
Guy Madison, Brian Keith, Kerwin Mathews and Alvy
Moore stop in Reno for a short fling in Harold's Club, a
huge gaming establishment. They witness an unsuccessful
attempt by a holdup man to rob one of the cashiers and
are impressed by a police boast that the place is holdup-
proof. Back at school, Madison resumes his romance with
Kim Novak, a safe singer, and he has his trouble with
Keith, a wartime pal, who occasionally becomes psycho-
neurotic as a result of combat experiences. Meanwhile
Mathews, a brilliant and wealthy young man, thinks about
Harold's Club being holdup-proof and considers it a chal-
lenge to 1ns ingenuity. He dreams up a fantastic plan to
rob the club and induces Keith and Moore to join him after
convincing them that conspiracy and robbery with threat to
kill, using no weapons, are nut crimes it done with the
intent to return the money. Madison, occupied with Kim,

is not told about the plan, but on the day the boys set out for
Reno in a house trailer, he and Kim decide to go along to
get married. Shortly before they reach Reno, Madison learns
of the scheme when he notices in the trailer a duplicate of
a money cart used in the club. He insists that his chums
abandon their wild scheme only to find himself threatened
by Keith, gun in hand, who not only insists that the plan
go through but compels Madison and Kim to join it. The
robbery is executed without a flaw, but, as Keith tries to
break away with the money, Mathew attempts to stop him.
Pandemonium breaks loose as the police converge on the
scene, and Keith escapes to a garage, where he is cornered
on a lofty catwalk. Madison persuades the police not to
shoot him down and, risking his life, goes up on the cat-
walk, talks Keith out of his neurotic state, and induces him
to surrender without a struggle for return to a Veterans'
hospital.

It was co-produced by Sterling Silliphant and John Barn-
well, from their own screenplay, written in collaboration
with William Bowers and based upon the story by Jack
Finney. Phil Karlson directed it. Adults.

"The Sea Chase" with John Wayne and
Lana Turner

(Warner Bros., ]une 4; time, 117 min.)

Bolstered by the names of John Wayne and Lana Turner,
and photographed in CinemaScope and WarnerColor, "The
Sea Chase" should give a good account of itself at the
box-office. As an entertainment, it shapes up as a peculiar
but pretty good adventure melodrama, with enough sus-
pense, excitement and romance to satisfy the general run
of audiences. The story, which centers around the long
pursuit of a German freighter by a British warship at the
outbreak of World War II, casts Wayne as an idealistic
German sea captain who is not in sympathy with the aims
of the Nazi government, and Miss Turner as a Nazi spy
and adventuress. What is peculiar about the picture is that
there is nothing Teutonic about the looks, speech and
mannerisms of either Wayne, Miss Turner or the members
of his crew. It is difficult to accept them as Germans, and
this naturally lessens any feeling of realism. The direction
and acting are competent, but the running time is too long.
The photography is tops: —

On the eve of World War II, Wayne finds that he and
the crew of his freighter are faced with internment in
Sydney, Australia. Determined to make his way back to
Germany, he secretly slips out of the harbor under cover
of a heavy fog and heads for Valparaiso, 7,000 miles away.
Just before sailing, the ship is boarded by Lana, Wayne's
former mistress, who was now engaged to David Farrar,
commander of the British warship Rockhampton and
Wayne's friend but also his pursuer in the line of duty.
Wayne learns that the Rockhampton had set out in pursuit
of his ship, and he sets a devious course to outwit Farrar.
He stops at a shipwreck station near Auckland to replenish
his low supplies, and orders Lyle Bettger, his first mate, to
take a detail ashore for the provisions. Bettger, an aggressive
Nazi, cold-bloodedly murders six shipwrecked and unarmed
fishermen, but does not report the incident to Wayne. Later,
when Farrar learns of the atrocity, his friendship for Wayne
turns to vengeful hatred. Running short of fuel, Wayne
orders his crew to burn all available wood on board, in-
cluding the lifeboats, until they reach an uninhabited South
Sea island. There, the crew goes ashore and, despite many
grim mishaps, they cut 500 cords of wood so that the ship
will have enough fuel to reach Valparaiso. Meanwhile the
coldness between Wayne and Lana disappears and they fall
in love. When the ship reaches the neutral port of Val-
paraiso, Wayne is hailed as a hero by the German colony.
Shortly thereafter the Rockhampton arrives. Farrer meets up
with Wayne in a crowded hotel lobby and calls him a coward
and murderer for the Auckland massacre. Wayne is ap-
palled by the news but cannot defend himself under orders
of the high command. With his ship refitted and refueled,
and with the Rockhampton assigned to another mission,
Wayne puts to sea again and heads for Germany. In the
events that follow, Farrar, in command of a sea patrol,
catches up with Wayne in the North Sea and shells his
freighter. Before going down with his ship and with Lana
at his side, Wayne orders his crew to abandon the vessel
and to deliver to Farrar the ship's log, which contained a
handwritten confession by Bettger that he (Wayne) was
innocent ot the Auckland atrocity.

It was produced and directed by John Farrow, from a
screenplay by James Warner liellah and John Twist, based
on the novel by Andrew Geei. Unobjectionable morally.

HARRISON'S REPORTS

May 14, 1955

"My next statement may startle some of my distributing
colleagues but I urge them to think it over and come to
my way of thinking.

"One of the simplest and most constructive means of
ending all this controversy and to prove to the exhibitor
leaders that men in distribution have the welfare of our
business just as much at heart as any one of them, I pro-
pose that for the small accounts, say those paying a film
rental of $50.00 per picture or less, that we agree to arbi-
trate those film rentals, or any other subject that may be
controversial between the distributor and the exhibitor with
such accounts.

"Fortunately, and I thank God for this ,the big exhibitor
is doing all right. In fact, it is possible for him as well as
distributors, to gross more money with top pictures in big
situations today than ever before, and therefore he does
not need the same treatment that I am advocating here for
the little fellow, and while I said at the very outset that I
am only speaking for myself, and I have not consulted my
associates, I do know from my 29 years experience with
Spyros Skouras, that his heart and soul is for the preserva-
tion of all theatres. Ever since I have been directly associa-
ted with him in 20th Century-Fox, we have striven together
to save the theatres in every conceivable way. The struggle
that we had to put over CinemaScope which was one of the
biggest factors in the revival of the industry amply attests
to our concern over the future of our business, without going
into any further details.

"I do not wish to go into the whys and wherefores of who
said this or that concerning the round table meeting that
I, in good faith, suggested to be called. All I can say in this
respect is that before I close my career in this business I
would like to see harmony, good will and constructive
measures introduced into this business, thus enabling ex-
hibitors, distributors and producers to work together with
one goal — to perpetuate and elevate this business to greater
heights than ever before."

There are, no doubt, many exhibitors, both large and
small, who will feel that Al Lichtman's proposal does not
go far enough to relieve the present strain on exhibition, but
most of them will agree that he is to be congratulated for
his constructive thinking and for his apparent willingness
to do something to alleviate a serious situation. If the other
distributor chiefs would emulate his thinking, a fine start
toward betterment of distributor-exhibitor relations could
be made.

"A Prize of Gold" with Richard Widmark
and Mai Zetterling

(Columbia, June; time, 98 min.)

Set against authentic post-war Berlin backgrounds, and
photographed in Technicolor, "A Prize of Gold" is an
interesting, if not believable, adventure melodrama, with
enough thrills, excitement and romance to satisfy those
who are not too discerning. The first half of the story,
which centers around the development of a romance between
Richard Widmark, as a U.S. Military Police sergeant, and
Mai Zetterling, as a wistful German schoolteacher, moves
along at a liesurely pace, but the action perks up consider-
ably in the second half, which deals with an attempt by
Widmark and several Britishers to hijack in mid-air a mili-
tary plane headed for England with a shipment of gold
bars. The manner in which they accomplish this feat only
to have the scheme misfire unfolds with considerable sus-
pense and excitement. Although Widmark's involvement in
the robbery is not to be condoned, he wins a measure of
sympathy because of his repentance in the end and because
his actions were motivated by a worthy desire — that of
freeing Miss Zetterling from the unwelcome advances of a
coarse benefactor, on whom she depended for funds to take
care of a group of displaced children. The direction is
good, and so is the acting. The color photography, however,
is below part-
When a fabulous store of Nazi gold is discovered in
the British sector of Berlin, Widmark and George Cole, his
British counterpart, are instructed to report the find to their
respective superiors. Widmark's jeep is stolen by a 12-year-

old boy, and he pursues the lad into a bomb-wrecked build-
ing, where he finds him living with a brood of displaced
children, who were cared for by Mai. A romance develops
between Widmark and Mai but she tries to dissuade him
from seeing her lest it offend Eric Pohlmann, a wealthy con-
tractor, from whom Mai hoped to obtain enough money to
take the children to Brazil. One day Widmark finds Pohl-
mann making unwelcome advances on Mai. He gives him
a beating and, realizing that he had ruined Mai's chances
of taking her charges to Brazil, promises to raise the needed
funds. To accomplish this, he joins Cole in a plan to hijack
a military plane, to which they had been assigned to guard
a shipment of the gold en route to London. They bring into
the scheme Nigel Patrick, a discredited ex-RAF flyer, who
is to masquerade as an American major and take over the
plane, and Joseph Tomelty and Donald Wolfit, two shady
Britishers, who were to dispose of the loot. The plan works
without a hitch to the point where they take control of
the plane and land it at an abandoned English airfield. While
Widmark and the others transfer the gold to a truck, the
captive crew gain an advantage and attempts to escape. The
ensuing fight results in the plane bursting into flames. Wid-
mark, after making his way to hideout, is filled with re-
morse in the mistaken belief that the crew had perished
in the flames. Conscience-stricken, he decides to confess and
return the gold. This leads to a fight in which all but
Widmark lose their lives in an attempt to keep the loot.
Widmark surrenders to the authorities, makes a full con-
fession and, as he prepares to stand trial, Mai promises to
wait for his release.

It is a Warwick production, co-produced by Irving Allen
and Albert N. Broccoli, and directed by Mark Robson,
from a screenplay by Robert Buchner and John Paxton,
based on the novel by Max Catto.

Adults.

"Angela" with Dennis O'Keefe and Mara Lane

(20t/i Century-Fox, March, lime, 81 mm.)

A moderately interesting program melodrama, produced
in Italy against actual Rome backgrounds. At best, it be-
longs on the lower half of a double bill. Its story about a
glib American who becomes involved in two murders as a
result of his infatuation lor a beautiful but designing young
woman not only follows a tried-and-true formula but is also
contrived, illogical and incredible. Moreover, the pace is
somewhat slow and monotonous. The acting on the whole is
competent, if not distinguished, and Mara Lane, as the
heavy of the piece, oozes sex in the variety of clothes she
wears. The photography is good but mostly in a low key: —

Dennis O'Keefe, an American car salesman in Rome,
falls in love with Mara, an attractive and sophisticated secre-
tary to an important business man. One night at her apart-
ment, O'Keefe finds Mara's boss dead, the victim of a heart
attack, according to her. In order to avoid a scandal, she
pleads with O'Keete to dispose of the body without calling
the police. He takes the body to his car with the intention
of staging an automobile accident, but just before he carries
out the plan he discovers that the dead man had been
Mara's lover. At this point Rossano Brazzi, a brutal ex-
convict who identifies himself as Mara's husband, shows up
at the scene. He overpowers O'Keefe and uses his
(O'Keefe's) gun to pump several bullets into the corpse,
thus implicating O'Keete in the death of the man. O'Keefe
gains the upper hand and, in the fight that follows, kills
Brazzi, puts him in the car and hurls him over a cliff to-
gether with the corpse. Despite O'Keefe's suspicions, Mara
convinces him that she is on the level. In due time the
police discover the two bodies and different clues lead them
to O'Keefe, who is charged with the murders. To clear
himself, O'Keefe calls on Mara to testify in his behalf, but
she shocks him by keeping silent. He escapes from the police
and goes to Mara's apartment to force a confession out of
her. She attacks him with a gun and wounds him seriously,
but the police arrive in time to save him and capture her.

It was produced by Steven Pallos, and directed by Dennis
O'Keefe, from a screenplay by Edoardo Anton and Jona-
than Rix, based on a story by Steve Carruthers.

Adults.

IN TWO SECTIONS— SECTION ONE

Entered as second-olass matter January 4, 1921, at the post offlo* mt New York, New York, under the act of March 3, 1S79.

Harrison's Reports

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35c a Copy Columns, if It is to Benefit the Exhibitor. <~ircie

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXXVII SATURDAY, MAY 21, 1955 No. 21

THE DISTRIBUTORS MUFF
THEIR CHANCE

As anticipated, the presidents of the different film
companies have refused to reconsider their decisions
rejecting the invitation sent to them by the joint
Allied-TOA committee for a roundtable conference.

From a statement issued this week by the joint
exhibitor committee, it appears that only Steve
Broidy, president of Allied Artists, and Herbert J.
Yates, president of Republic, had accepted the invi-
tation.

The statement, which was signed by Rube Shor,
president of National Allied, and E. D. Martin, presi-
dent of the Theatre Owners of America, had this
to say :

"We are greatly disappointed that the Presidents of
distribution have rejected the Allied-TOA invitation
to join in an All-Industry Conference to discuss exhi-
bitor problems, the declining audience, and the low
ebb of exhibitor-distributor relations.

"Our invitations cited that we had no intention of
discussing individual company sales and trade prac-
tices, the veil under which the invitations were
declined.

"We regret the short-sightedness of the film com-
panies and that they fail to see that exhibition was
acting in good faith in seeking to discuss with their
Presidents forms of relief to the sad and chatotic
plight facing the majority of exhibitors in this country
and poor exhibitor- distributor relations. We have
earnestly sought the joint cooperation, assistance and
counsel of the film companies and their Presidents on
these pressing industry problems. Therefore, we can-
not be criticized for the avenues we must take alone
to obtain relief.

"The Joint Committee of Allied and TO A will
meet on May 23 rd and 24th in New York City to
determine what action will be taken. Our thanks to
Mr. Herbert Yates and Mr. Steve Broidy for their
speedy acceptance of our invitation and their kindness
and understanding."

While it is problematical whether a roundtable con-
ference with the heads of the film companies would
have been productive of relief, there can be no ques-
tion that both Allied and TOA sought to set up the
conference in good faith and in a sincere effort to
compose distributor-exhibitor disputes by means of
self-regulation.

That the film company chiefs saw fit to reject this
bid for an amicable settlement of disputes is indeed

unfortunate, for they must or should know that the
intolerable film rentals and conditions of licensing im-
posed on the exhibitors cannot be continued indefi-
nitely, and that the exhibitors, as a matter of self-
preservation, must seek whatever avenues of relief
are open to them.

History proves that the producer-distributor leaders
of this industry have never done anything volun-
tarily, with the constructive purpose of weeding out
injustices or erroneous industry policies. When they
rejected the proposed roundtable conference, they
muffed their chance to show sincerity and a willing-
ness to listen to the other fellow's point of view. If
organized exhibition now decides that its salvation
lies in going to the Government for relief, any hue
and cry that might be raised by the distributors against
such a move will be just so many empty words.

EVEN THE BIG FELLOWS ARE FEELING
THE "SQUEEZE"

That the complaints against distribution's extor-
tionate film rental terms are not confined to the small
exhibitors is evidenced by the statements made this
week to trade press reporters by Robert J. O'Donnell,
vice-president and general manager of Texas Inter-
state Theatres, a circuit of over one hundred theatres,
which is one of the largest American Broadcasting-
United Paramount affiliates.

O Donnell pointed out that the terms demanded
for top pictures are so steep that, of five such pictures
his circuit has presented since last September, not one
made a profit.

O'Donnell, who deplored the refusal of the film
company heads to meet at a roundtable conference
with the exhibitors, stated that there is no question
in his mind that "distribution has been milking the
theatres by asking exorbitant rentals." He declared
that "theatres are entitled to more than 90-10 or
70-30 terms on top pictures."

He added also that successful pictures, at the terms
demanded by the distributors today, rarely leave the
theatres with more than a six or seven per cent profit,
which is by far an insufficient "cushion" when one
considers the fact that the average films are usually
no profit-makers.

If a wise film-buyer like Bob O Donnell, who is
backed by the important buying power of his huge
circuit, cannot get equitable terms from the distribu
tors, what chance has the little fellow got?

HARRISON'S REPORTS

May 21, 1955

"The Magnificent Matador" with
Anthony Quinn and Maureen O'Hara

(20th Century-Fox, ]une; time, 95 min.)

Shot on location in Mexico, and photographed in Cinema-
Scope and Eastman color, "The Magnificent Matador" offers,
not only impressive views of that south-of-the-border coun-
try and its people, but also a strong human interest story of
a famed Mexican matador whose deep concern for the safety
of a younger matador, his unacknowledged son born out of
wedlock, is misinterpreted by his followers as a sign of
cowardice. Additionally, it offers some of the most spec-
tacular and exciting bullfight sequences ever shown on the
screen, as well as a strong romantic interest, on which there
is considerable emphasis. Anthony Quinn does outstanding
work as the forceful but troubled matador, making the
character believable. Maureen O'Hara, too, is good as the
rich American girl who wins his heart and helps him to
resolve his personal problem. The picturesque Mexican
backgrounds, particularly the bullfight arena sequences, are
enhanced considerably by the sweep of the CinemaScope
process. The color photography is tops: —

When he is selected to induct 18-year-old Manuel Rojas
as a full-flledged matador, Quinn shows concern for the
young man's safety, particularly when a vicious bull is drawn
for Rojas to fight. On Sunday afternoon, just prior to the
event, Quinn interprets a religious sign as indicating that
the lad will be killed in the bull ring. He rushes away from
the arena, and the vast crowd that had come to witness
the event condemns him as a coward. Maureen, who had
met Quinn briefly and had found herself attracted to him,
follows his speeding car, overtakes him and invites him to
use her palatial hacienda as a hideout. The moody Quinn
finds considerable consolation in her sympathetic attentions
and in due time reciprocates her love. He then reveals to
her that Rojas is his son, born out of wedlock to a young
woman who had died in childbirth before he could marry
her, and that he had never revealed to anyone, except
Thomas Gomez, his life-long friend, that he was the boy's
father. Maureen persuades Quinn to reveal his identity to
the lad, and when he does so he is surprised to learn that
Rojas, through Gomez, had known the secret for a long
time. He soon realizes that it is futile to try to keep his son
from following in his footsteps. On the following Sunday,
he enters the arena with his son, proudly announces their
relationship to the spectators and, with cheers ringing in
their ears, both father and son put on one of the greatest
demonstrations ever staged in a bull ring.

It is an Edward L. Alperson presentation, directed by
Budd Boetticher, from a screenplay by Charles Lang, based
on a story by the director.

Adults.

"Crashout" with William Bendix,
Arthur Kennedy and Beverly Michaels

(Filma\ers, March 15; time, 90 min.)

A sordid prison-break melodrama, directed and acted well.
Because of good handling, the characters are believable in
whatever they do. Unfortunately, the action is unpleasant
and in some spots sickeningly brutal. The killing of the
doctor, supposedly hit on the skull with a rock (not shown
but implied) may turn one's stomach. The same may be
said for the situation where one of the convicts runs over
a state trooper with a stolen car. There is naturally no
comedy relief. The photography is good: —

Of the nearly forty men participating in a break at the
Colorado State Penitentiary, only six manage to escape and
hide out in a mountain cave. These include William Bendix,
Arthur Kennedy, Luther Adler, William Talman, Gene
Evans and Marshall Thompson. With Bendix the only one
wounded, the others decide to abandon him to his fate,
but they change their minds when he promises to split a
cache of $180,000 with them. When Bendix's condition
becomes critical, the others manage to get a doctor to treat
his wounds. Bendix, fearing betrayal, sees to it that the
others murder the doctor, after which they hold up a road-
house for civilian clothing and food. When they are appre-

hended by a st;<te trooper, Talman runs a stolen car over
him, but the officer manages to wing Adler, who slumps
to the ground as the others speed away. The convicts aban-
don the car at a roadblock and hop on a train. Thompson
becomes friendly with Gloria Talbot, a passenger, and de-
cides to get off at her stop, but on a signal from Bendix,
Talman stabs Thompson to death. The remaining convicts
head for the woods and take over a farmhouse, where
Beverly Michaels sees something nice in Kennedy, though
she knew that he is an escaped prisoner. A farm truck
serves as a getaway vehicle, but as the convicts depart an
oil lamp hurled by a member of the family makes a human
torch of Evans. Bendix, Kennedy and Talman head the
truck into the mountains until they are stalled by a snow-
storm. They start climbing to reach Bendix's cache. En
route, Bendix kills Talman and is in turn killed by Kennedy,
who gains possession of the box containing the money, but
before he can get very far he runs into the arms of the
waiting police.

Hal E. Chester produced it, and Lewis R. Foster directed
it, with both collaborating on the screenplay.

Adults.

"Tall Man Riding" with Randolph Scott,
Dorothy Malone and Peggie Castle

(Warner Bros., ]une 18; time, 83 min.)
Photographed in WarnerColor, "Tall Man Riding"
should please those who follow western melodramas even
though it is only a fair picture of its kind. It is the usual
type of Randolph Scott picture, in which he is given ample
opportunity to display heroics, but this time the story is
somewhat complicated by the fact that he is determined to
wreak vengeance on the heroine's father, who had lashed
him with a bullwhip years previously. A further complica-
tion is the fact that the heroine had married another man.
There is fast action all the way through, but the trouble
with the story is the fact that it is complicated by too many
twists and turns. There is no comedy relief. The outdoor
backgrounds are pleasing, and the color photography
sharp: —

Randolph Scott returns to Little River to avenge a wrong
done to him years previously by Robert Barrat, a wealthy
ranch owner, who disapproved of his courtship with Dorothy
Malone, his daughter. En route, Scott saves William Ching
from an attack by gunmen, only to discover that he is
Dorothy's husband. In town, Scott is approached by John
Baragrey, a slimy character who coveted Barrat's lands, and
who asks him to join his outfit, but Scott declines and hurls
a glass of whiskey in his face when he speaks disrespectfully
of Dorothy. Meanwhile Scott learns from John Dehner, his
lawyer, that Barrat, through some legal quirk, did not own
his ranch, that it is actually in public domain, and that it
will soon be opened to settlers. In the complicated events
that follow, Dorothy's husband is falsely accused of murder-
ing one of Baragrey's gunslingers, and is killed by Paul
Richards, Baragrey's chief aide, while being transported to
jail. Scott is stunned when he finds himself suspected of
killing Ching. He beats up the crooked sheriff who was in
league with Baragrey and forces him to admit that Richards
had committed the killing. Scott and Barrat finally meet and
agree to a gun duel. Afer wounding Barrat in the shoulder,
Scott learns for the first time that he is nearly blind and
is bitter with himself for having fought a man so handi-
capped. In subsequent events, Peggie Castle, Baragrey's
mistreated mistress, warns Scott of a plot between Dehner
and Baragrey to grab Barrat's lands when it is opened by
the Federal Marshal to all comers. Scott foils the plot by
staking out the claim himself after a wild race, and at the
same time disposing of Baragrey and his gang in a gun
battle. It ends with Scott returning the ranch to Barrat, who
in turn gives his blessing to a marriage between Scott and
Dorothy.

David Weisbart produced it, and Lesley Sclander directed
it, from a screenplay by Joseph Hoffman, based on the
novel by Norman A. Fox.

Unobjectionable morally.

May 21, 1955

"Las Vegas Shakedown" with Dennis O'Keefe,
Coleen Gray and Charles Winninger

(Allied Artists, May 15; rime, 79 min.)

Credit is due producer Bill Broidy and director Sidney
Salkow for a fine melodrama, photographed in the fabulous
gambling town of Las Vegas, Nevada. The action holds
one's interest tense all the way through, because the charac
ters are believable. There is also a fine romance which, at
times, becomes a bit sexy, but that is what the average
picture-goer seems to be looking for. The gambling scenes
are intriguing. The sequence where Charles Winninger is
shown trying to lose $10,000, his winnings, so that the
shortage in his bank back in Iowa may not be attributed
to him, is considerably comical, for the more he wants to
lose the more he wins, until he is finally persuaded to do-
nate his winnings to charity. Since most of the action has
been shot in and around El Rancho Vegas, the spectator
will be treated to a sort of trip to Las Vegas without actually
going there. The photography is excellent: —

All sorts of persons from all over the world come to Rain-
bow's End, a fabulous Las Vegas hotel-casino owned by
Dennis O'Keefe. One of them is Coleen Gray, a serious
researchist, who comes there to gather material for a psycho-
logical study of gambling. She and O'Keefe become engaged
after a whirlwind courtship. Charles Fredericks, the sheriff,
informs O'Keefe that Thomas Gomez, an ex-convict against
whom he had once testified, was arriving in town with
Joseph Downing and Robert Armstrong, two triggermen,
determined to take over Rainbow's End either by persuasion
or by violence. O'Keefe refuses to sell and is given an un-
merciful beating by the thugs. Coleen, suspecting foul play,
had called the police, but Gomes and his henchmen escape
before they arrive. A roadblock is set up to trap the gang-
sters and, in the gun battle that follows, Downing is slain
while Gomez kills two deputy sheriffs. When Armstrong
tries to escape alone, Gomez downs him with a thrown
knife. O'Keefe decides to go after Gomez alone and, after
a desperate stalking battle, kills him, but not before Gomez
slashes him severely. With his troubles at an end, O'Keefe
prepares to wed Coleen.

William F. Broidy produced it, and Sidney Salkow
directed it, from a story by Steve Fisher.

Adults.

"The Adventures of Sadie" with
an all-British cast

(20th Century-Fox, May; time, 88 min.)
There is much hilarity in this British-made farce, which
revolves around three men who are shipwrecked on a desert
island with a beautiful and curvaceous girl. The one draw-
back, insofar as American movie-goers are concerned, is
that the dialogue is at times unintelligible because of the
thick accents of several of the players. The comedy is more
or less on the nonsensical side, with most of it stemming
from the fact that the three men make a pact to act as
perfect gentlemen toward the sultry female with whom they
are marooned, but, when she starts strutting around in a
home-made Bikini, they find her irresistible and weaken.
The conflicts and jealousies that arise provoke many laughs.
Joan Collins is an eyeful as the provocative beauty, and
highly amusing characterizations arc turned in by Kenneth
More, as an Irish stoker with a fondness for liquor: George
Cole, as a cynical journalist; and Robertson Hare, as a prim,
middle-aged professor. Photographed in Eastman color and
filmed off the coast of Spain on the island of Majorca, the
picture offers scenic backgrounds that are a treat to the
eye: —

The "whacky" story has Joan and the three men marooned
on an uninhabited Pacific island after the small cargo-
passenger ship on which they were traveling is rammed and
sunk by another vessel. Faced with the prospect of spending
a long time in each other's company, the three men agree
to a pact to be perfect gentlemen where Joan is concerned
But when Joan reveals her shapely figure in a home-made
Bikini, the three men, particularly Cole and Hare, become
involved in a breach of the pact and feuds break out among
them to a degree where neither trusts the other. Joan does

not discourage their attentions but treats them with aloof-
ness. More, however, pays scant attention to her. After a
year on the island and after many amusing incidents that
have Cole and Hare at each other's throats because of Joan,
all arc rescued by a passing schooner. Once on board, Joan
confesses to More that she had fallen in love with him and
asks him to marry her. More declines, but Joan, determined,
slyly convinces the schooner's captain that More "done her
wrong" and that he owed it to her honor to marry her. The
gullible captain threatens to put More in irons unless he
agrees to marry her, and as he performs the marriage cere-
mony the schooner is rammed by another boat. The closing
scenes show all concerned shipwrecked once again on the
same desert island.

It was produced by George Minter, from a screenplay
written and directed by Noel Langley.

Adult fare.

"The Far Horizons" with Fred MacMurray,
Charlton Heston and Donna Reed

(Paramount, June; time, 108 min.)

A fairly good historical outdoor melodrama, photographed
in Technicolor by the Vista Vision process. It is a romanti-
cized version of the Lewis and Clark expedition, which in
1804 explored the newly-acquired Louisiana territory and
pushed on over the Rockies to the Pacific coast, and of an
Indian girl who guided the expedition and supposedly fell
in love with Clark. The picture has been given good pro-
duction qualities and, though the story and some of the
dialogue is on the stilted side, it moves along at a satisfactory
pace and offers tried-and-true ingredients demanded by
those who like action regardless of story values. Among
the exciting highlights are a vicious knife duel and several
battles with Indians. The romantic interest is touching and
sensitive, but the fact that it is not resolved happily at the
end may prove disappointing to many picture-goers. The
direction is workmanlike, and the acting competent if not
distinguished. The color photography is very good in the
outdoor scenes but below par in some of the interior shots:- —

Shortly after the purchase of the Louisiana territory, Fred
MacMurray (as Capt. Merriweather Lewis) is assigned by
President Thomas Jefferson to explore the area and, if
possible, push on to the Pacific coast. MacMurray selects
Charlton Heston (as Lieut. William Clark), his long-time
friend, to share leadership of the expedition. Prior to their
departure, MacMurray learns that Heston had won the
heart of Barbara Hale, a Congressman's daughter, with
whom he was in love himself, but this does not affect their
relations since Heston had been unaware of MacMurray's
feelings. The two assume command of a detachment of
soldiers headed by William Demarest, a sergeant, and set
off along the Missouri River in a specially-built keelboat.
They eventually reach the land of the Minataree Indians,
whose Chief is displeased to learn that he must now accept
allegiance to the United States, despite MacMurray's diplo-
matic overtures. To stop the expedition, the Chief urges
Alan Reed, a ruthless French-Canadian trader, to accept a
job as the expedition's guide and to lead it into an ambush.
In payment for this treachery, the Chief offers to give the
trader Donna Reed, an enslaved Shoshone Indian girl.
Donna, learning of the scheme, escapes from the Minatrees
and reaches the expedition in time to warn them of the
impending attack. The Minatrees are routed and Donna is
taken along to help guide the expedition. In the events that
follow, a strong love develops between Donna and Heston,
much to the chagrin of MacMurray, who felt that Heston
was being disloyal to Barbara. The situation becomes intoler-
able to MacMurray and he orders Heston to make Donna
return to her people. Heston refuses, claiming that he in-
tends to marry Donna, and MacMurray threatens to prefer
charges against him. After many hardships and battles with
different Indian tribes, the expedition reaches the Pacific
coast and MacMurray claims the lands explored for the
United States. MacMurray and Heston, with Donna, return
to Washington and are honored. Donna, feeling out of
place in the white man's society, returns westward before
the heartbroken Heston can stop her. Heston finds solace
in Barbara's love, and MacMurray, pleased by this turn of
events, does not prefer charges against him.

It was produced by William H. Pine and William C.
Thomas, and directed by Rudolph Mate, from a screenplay
by Winston Miller and Edmund H. North, from the novel
"Sacajawea of the Shoshones" by Delia Gould Emmons.

Family.

HARRISON'S REPORTS

May 21, 1955

A JUSTIFIED HONOR

A triumph for the American film industry was
scored last week when United Artists' "Marty" was
awarded the Grand Prize of the International Film
Festival in Cannes, France. It is the first American
motion picture ever selected as the top prize winner
at the Cannes competition.

A further honor was won by the picture at the
close of the Festival when it was awarded the Prize
of the International Catholic Cinema Office.

The picture, currently in the sixth week of its
world premiere engagement at the Sutton Theatre in
New York, is doing a record-smashing business.

That "Marty" won the Grand Prize at Cannes
does not come as a surprise to this paper, because, as
stated in the review, it is an excellent, down-to-earth
human-interest drama that is sure to have wide appeal,
for it is a portrayal of life as it really is and as it is
understood by the great mass of people.

United Artists has announced that it will show the
picture to the trade during the next two weeks in
theatre previews set in all exchange areas. Go to see
it, not only to determine its box-office value, but also
for your own pleasure.

THE READERS HAVE THEIR SAY

Dear Mr. Harrison :

I read with interest Mr. Sargent's letter relative to
CinemaScope and can appreciate the inconvenience
he speaks of especially when his theatre is not equip-
ped with an automatic curtain control as we find
that even with this it is a rather difficult procedure
changing from 2D to CinemaScope.

I was also very interested in the letter from W. C.
Gehring and wholeheartedly agree with him on the
impact of the trailer being presented in CinemaScope
especially in the midst of a 2D program as I notice
the Ohs and Ahs that this brings out in an audience
that has been looking at CinemaScope for quite a
while now, so it is proof that it is not a novelty and
is not going to wear off.

My suggested solution is that the distributors give
us trailers with a little more running time and in this
way the punching power will be a bit stronger and
a lot of projectionists will be happier. — Walter R.
Pyle, Dreamland Theatre, Roc\glen, sas\., Canada.

* * *

Dear Mr. Harrison :

Regarding CinemaScope trailers versus 2D trailers,
regardless of your preference, you sometimes take
what you can get, or at least what the exchange makes
available.

For example, we are now showing a trailer of "East
of Eden" (Ed. 7s[ote: This is a CinemaScope produc-
tion) in 2D on a program that has "The Long Gray
Line" and another trailer in CinemaScope. - — 'William
B. Way, Mid-State Theatres, Clearfield, Pa.

* * *

Dear Pete:

. . . We have been subscribing to Harrison's Re-
ports for many years and find them invaluable in
assessing the value of American product. — O. Fowler,
Star Theatres Pty. Ltd., Toowoomba, i^., Australia.

Dear Mr. Harrison :

I find your Reports most enlightening and helpful.
You are doing a grand job — keep it up! — C. R.
Kempnich, Gympie, Australia.

"Davy Crockett, King of the Wild Frontier"
with Fess Parker and Buddy Ebsen

(Buena Vista, June; time, 94 min.)

This Technicolor outdoor melodrama is a unifica-
tion of Walt Disney's three-installment television
presentation, featured on his Disneyland TV shew.
From the critical point of view, its adventurous story
about the fabulous exploits of Davy Crockett is only
fair, but it offers heroics, comedy, thrills and excite-
ment of a type that has a strong appeal for young-
sters, as evidenced by the tremendous kick they got
out of each television installment. Ordinarily, there
would be a question as to whether or not it is good
business for an exhibitor to show, via paid admissions,
a picture that has been seen by a vast television
audience free of charge. But in the case of this picture
there is every indication that theatrical showing will
draw big at the box-office, for in recent months the
impact of the Davy Crockett character on the public
has been nothing short of phenomenal. For example,
"The Ballad of Davy Crockett," which is featured
in the picture, is one of the top hit songs in the coun-
try. Moreover, all sorts of merchandise bearing a
Davy Crockett label is selling as fast as it can be
manufactured. Most youngsters who have seen the
TV presentation will no doubt want to see it again,
particularly since they will now be able to see all
three installments at one time on a wide screen and
in color. And in all probability many adults who may
have missed the TV showings will be drawn to the
box-omce out of curiosity to see what started the
Davy Crockett craze.

Starring Fess Parker, as Davy Crockett, and Buddy
Ebsen, as George Russel, his pal, the story opens in
1813 with General Andrew Jackson (Basil Ruysdael)
summoning Crockett, a famed Tennessee backwoods-
man and Indian scout, to help suppress Indian up-
risings against white settlers in the hostile Creek
territory. Aided by Russel, Davy tracks down a
bloodthirsty Creek chief who was causing all the
trouble, beats him in a vicious tomahawk duel, but
wins his friendship by sparing his life, thus bringing
peace to the area. He and Russel then head west to
stake out a new homesite and become involved with
a gang of bullies who were using force to dispossess
Indian settlers from their farms. To enforce the law
and to see that the Indians are given equal rights,
Davy agrees to become the local magistrate. His fists,
coupled with his legal power, soon puts an end to the
activities of the bullies. This triumph earns Davy
election to the state legislature, and when Jackson
becomes President of the United States, Davy goes
on to Washington as a Congressman. There, he dis-
tinguishes himself by leading a fight that prevents
crooked politicians from depriving Indians of certain
governmental rights. With his tenure in Washington
over, Davy, accompanied by Russel, heads for Texas,
where he becomes involved in the defense of the
Alamo only to lose his life in the face of the enemy's
overwhelming odds.

It was produced by Bill Walsh, and directed by
Norman Foster, from a screenplay by Tom Blackburn.

Family.

IN TWO SECTIONS— SECTION TWO

HARRISON S REPORTS

Vol. XXXVII NEW YORK, N. Y., SATURDAY, MAY 21, 1955 No. 21

(Partial Index No. 3 — Pages 54 to 80 Inclusive)

Titles of Pictures Reviewed on Pu^c-

Abbott 6? Costcllo Meet the Mummy —

Univ.-Int'l (79 min.) 74

Angela — 20th Century-Fox (81 min.) 80

Bedevilled — MGM (8? tain.) »

Big Tip Off, The— Allied Art'sts (78 min.) 70

Bullet for Joey, A — United Artists (85 min.) 59

Cell 2455, Death Row — Columbia (77 min.) 63

Conquest of Space — Paramount (80 min.) 58

Daddy Long Legs— 20th Century-Fox (126 min.) ... 75

Dial Red O — Allied Artists (63 min.) 62

End of the Affair, The — Columbia (106 min.) 62

Escape to Burma — RKO (86 min.) 58

Eternal Sea, The — Republic (103 min.) 58

5 Against the House — United Artists (84 min.) 79

Five Guns West— Amer. Rel. Corp. (78 min.) 70

Hell's Island — Paramount (84 min.) 75

High Society — Allied Artists (62 min.) 75

I Cover the Underworld — Republic (70 min.) 71

Jump Into Hell — Warner Bros. (93 min.) 56

Jungle Moon Men — Columbia (69 min.) 55

Kiss Me Deadly — United Artists (105 min.) 66

Lady and the Tramp — Buena Vista (75 min.) 67

Looters, The — Univ.-Int'l (87 min.) 63

Mambo — Paramount (94 min.) 54

Man from Bitter Ridge, The — Univ.-Int'l (80 min.). . 66

Marauders, The— MGM (80 min.) 67

Moonfleet— MGM (89 min.) 78

Murder is My Beat — Allied Artists (77 min.) 74

Prize of Gold, A— Columbia (98 min.) 80

Prodigal, The— MGM (114 min.) 54

Robbers' Roost — United Artists (82 min.) 78

Run for Cover — Paramount (92 min.) 74

Sante Fe Passage — Republic (90 min.) 79

Sea Chase, The— Warner Bros. (117 min.) 79

Seminole Uprising — Columbia (74 min.) 66

Shotgun — Allied Artists (81 min.) 54

Shrike, The— Univ.-Int'l (88 min.) 78

Strange Lady in Town — Warner Bros. (112 min.) ... 63

Strategic Air Command — Paramount (114 min.) .... 55

This Island Earth— Univ.-Int'l (87 min.) 55

Top of the World — United Artists (90 min.) 70

Violent Saturday — 20th Century-Fox (90 min.) 62

RELEASE SCHEDULE FOR FEATURES
Allied Artists Features

(1560 Broadway, Hew Yor\ 19, H T.)

5507 Treasure of Ruby Hills— Scott-Matthews Jan. 23

5508 The Big Combo — Wilde-Conte Feb. 13

5510 Murder Is My Beat — Payton Roberts Feb. 27

5509 Dial Red O— Bill Elliott Mar. 13

5512 The Big Tip Off — Conte-Smith Mar. 20

5511 Seven Angry Men — Massey-Paget-Hunter . .Mar. 27

5513 Annapolis Story — Derek-Lynn Apr. 10

5514 High Society — Bowery Boys Apr. 17

5515 Shot Gun— Hayden-De Carlo Apr. 24

5516 Las Vegas Shakedown — O'Keefe-Grcy May 15

5517 Skabenga — Documentary

(formerly "African Fury") May 29

5 518 Lord of the Jungle — Johnny Sheffield June 12

5519 Dark Venture — Lovejoy-Tucker-Castle ....June 19

5520 Wichita— McCrea-Milcs-Ford (C'Scope) July 3

5521 Case of the Red Monkey — Conte-Anderson .July 10

5522 Spy Chasers — Bowery Boys July 24

5523 The Warriors— Flynn-Dru (C'Scope) Aug. 7

5524 Women's Reformatory — Matthews-Michaels. Aug. 2 1

Columbia Features

(729 Seventh Ave., Hew Tor\ 19, H T.)

725 Ten Wanted Men — Randolph Scott Feb.

726 Women's Prison — Lupino-Sterling-Moore Feb.

706 Pirates of Tripoli — Henreid-Medina Feb.

730 New Orleans Uncensored — Franz-Garland Mar.

727 Wyoming Renegades — Carey-Evans-Hyer Mar.

734 The Detective — Alec Guinness Mar.

737 Three for the Show —

Grable-Champions (C'Scope) Apr.

744 Jungle Moon Men — Weissmuller Apr.

733 The Return of October — reissue Apr.

724 End of the Affair — Johnson-Kerr May

728 Tight Spot — Rogers-Robinson May

743 Seminole Uprising — Montgomery-Booth May

739 Cell 2445, Death Row— Campbell-Grant May

738 A Prize of Gold — Widmark-Zetterling June

742 5 Against the House — Madison-Novak June

The Petty Girl — reissue June

They All Kissed the Bride — reissue June

736 The Long Gray Line — Power-O'Hara Special

Lippert-Pictures Features

(145 Ho. Robertson Blvd., Beverly Hills, Calif.)

5406 They Were So Young — Brady-Burr Jan. 7

5411 The Silver Star — Buchanan-Windsor Mar. 25

5415 Thunder Over Sangoland — Hall-Lord ....Apr. 8
5409 The Glass Tomb— John Ireland Apr. 15

5413 Air Strike — Denning-Jean May 6

5414 Phantom of the Jungle — Hall-Gwynne May 13

5418 King Dinosaur — Bryant-Curtis June 3

5416 The Lonesome Trail — Morris-Agar July 1

Metro-Goldwyn-Mayer Features

(1540 Broadway, Hew Yor\ 19, H- T.)

515 Bad Day at Black Rock— Tracy-Ryan (C'Scope) Jan.

516 Green Fire — Granger-Kelly-Douglas (C'Scope) ..Jan.

517 Many Rivers to Cross —

Taylor-Parker (C'Scope) Feb.

518 Jupiter's Darling— Williams-Keel (C'Scope) Feb.

519 Hit the Deck — All-star cast (C'Scope) Mar.

520 Anchors Aweigh — reissue Mar.

521 Blackboard Jungle — Ford-Francis Mar.

523 Bedeviled — Baxter-Forrest Apr.

522 Glass Slipper — Wilding- Caron Apr.

525 The Prodigal — Turner-Purdom (C'Scope) May

526 The Marauders — Duryea-Richards May

524 Camille — reissue May

527 Love Me or Leave Me — Day-Cagney (C'Scope) .June

528 Moonfleet — Granger-Lindfors (C'Scope) June

Interrupted Melody — Ford-Parker (C'Scope) . . . .July
The Cobweb — Bacall-Widmark-Boyer (C'Scope) . July

Wizard of Oz — reissue July

The King's Thief —

Purdom-Blythe-Niven (C'Scope) Aug.

The Scarlet Coat —

Wilde-Wilding-Francis (C'Scope) Aug.

Paramount Features

(1501 Broadway, Hew Tor\ 18, H T.)

5404 Three Ring Circus — Martin & Lewis Jan.

5405 The Bridges at Toko-Ri— Holden-Kelly Feb.

5407 Conquest of Space — Brooke-Fleming Feb.

5409 The Country Girl — Crosby-Holden-Kelly Mar.

5406 Mambo — Wintcrs-Mangano-Gassman Apr.

5410 Run for Cover — CagneyzDerek-Lindfors Apr.

5411 Hell's Island — Payne-Murphy June

5412 The Far Horizons — MacMurray-Heston-Reed .June
5425 Strategic Air Command — Stewart- Allyson . . . .July

5413 The Seven Little Foys — Bob Hope July

We're No Angels — Bogart-Bcnnett Aug.

You're Never Too Young — Martin & Lewis ..Aug.

5408 Ulysses — Douglas-Mangano Sept.

The Girl Rush — Russell-Lamas Sept

To Catch a Thief- -Giant-Kelly Sept.

RKO Features

(1270 Sixth Ave., Hew Tor\ 20, H- T.)

505 Cattle Queen of Montana — Stanwyck-Reagan . .Nov.

508 Hansel Gretel— Puppets Dec.

509 The Americano — Ford-Theiss-Romero Jan.

507 Tarzan's Hidden Jungle — Gordon Scott Feb.

506 Underwater! — Russell'Roland Feb.

511 Rage at Dawn — Scott-Powers-Tucker Apr.

512 Escape to Burma — Stanwyck-Ryan Apr.

573 The Informer — reissue Apr.

574 Berlin Express — reissue Apr.

575 Bringing Up Baby — reissue May

510 Quest for the Lost City — Documentary May

576 I Remember Mama — reissue May

513 Son of Sinbad — Robertson-Forrest June

577 The Big Street — reissue June

514 Wakamba — Documentary June

Pearl of the South Pacific — Mayo-Morgan July

The Boy and the Bull — Ray-Rivera (C'Scope) . .Aug.
Jet Pilot — Wayne-Leigh not set

5430
5431
5326
5432

5402
5403
5433
5405
5404
5434

Republic Features

(1740 Broadway. Hew Tor\ 19, H T.)

African Manhunt — HealeyBooth Jan. 5

Trouble in Store — English-made Jan. 12

Carolina Cannonball — Judy Canova Jan. 28

The Square Ring — English-made Jan. 28

Timberjack — Hayden-Ralston-Brian Feb. 28

Yellowneck — McCarthy-Courtleigh Mar. 22

A Day to Remember — British-made Mar. 29

The Eternal Sea — Hayden-Smith May 5

Sante Fe Passage — Payne-Cameron-Domergue May 12
I Cover the Underworld — McClory-Jordan . .May 15
Don Juan's Night of Love — Foreign cast . . . .May 26

City of Shadows — McLaglen-Crawley June 2

The Green Bhudda — Morris-Germaine June 9

The Road to Denver — Payne-Freeman June 16

Double Jeopardy — Rod Cameron June 23

Flame of the Island — DeCarlo-Scott-Duff . . .June 30

Lay That Rifle Down — Canova-Lowery July 7

Mystery of the Black Jungle — Barker-Maxwell July 14

Magic Fire — DeCarlo-Thompson-Gam July 21

Deadline Alley— Cameron-Bishop July 28

540- 5

502- 5

505-8

503- 3

541- 3

542- 1
507*4

511- 6

509- 0

510- 8
508-2

512- 4
515-7

504-1

513- 2

514- 0

516-5

506-6

Twentieth Century-Fox Features

(444 W. 56th St., Hew York 19, H T.)

Twelve O'Clock High — reissue Jan.

Prince of Players —

Burton-McNamara (C'Scope) Jan.

The Racers — Douglas-Darvi (C'Scope) Feb.

White Feather — Wagner-Moore (C'Scope) ...Feb.

Belle Starr's Daughter — reissue . . . . , Feb.

Dakota Lil — reissue Feb.

Untamed — Hayward-Power (C'Scope) Mar.

Angela — O'Keefe-Lane Apr.

A Man Called Peter— Peters-Todd (C'Scope) .Apr.
Violent Saturday — Mature-Sydney (C'Scope) .Apr.
The Adventures of Sadie — Collins-Moore . . . .May
The Living Swamp — Documentary (C'Scope) .May
Daddy Long Legs — Astaire-Caron (C'Scope) .May

Call Northside 777 — reissue May

Where the Sidewalk Ends — reissue May

That Lady — DeHaviland-Roland (C'Scope) . . .May
Magnificent Matador —

O'Hara-Quinn (C'Scope) June

Soldier of Fortune —

Gable-Hayward (C'Scope) June

The Seven Year Itch —

Monroe-Ewall (C'Scope) June

House of Bamboo — Stack-Ryan (C'Scope) . . . .July
A Life in the Balance — Montalban-Bancroft . .July
How to Be Very, Very Popular —

Grable-North (C'Scope) July

The Left Hand of God —

Bogart-Tierney (C'Scope) Aug.

The Virgin Queen — Davis-Todd (C'Scope)

(formerly "Sir Walter Raleigh") Aug.

A Many Splendored Thing —

Holden-Jones (C'Scope) Sept.

Seven Cities of Gold — Egan-Rennie (C'Scope) .Sept.

The Tall Men -Gable-Russell (C'Scope) Sept.

Pink Tights— Dailey-North (C'Scope) Oct.

United Artists Features

(729 Seventh Ave., Mew Tork 19, Hi T.)

Black Tuesday — Robinson-Parker Jan.

Battle Taxi — Hayden-Franz Jan.

The Beachcomber — Newton-Johns Jan.

Sabaka — Karloff-Denny-Jory Feb.

The Good Die Young — Britishmade Feb.

Canyon Crossroads — Basehart-Kirk Feb.

Big House, U.S.A. — Crawford-Meeker Mar.

Stranger on Horseback — McCrea-Miroslava Mar.

Marty — Blair-Borgnine Mar.

The Purple Plain — Gregory Peck Apr.

A Bullet for Joey — Robinson'Raft-Totter Apr.

Lilacs in the Spring — Flynn-Neagle Apr.

The Tiger and the Flame — All-Indian cast May

Kiss Me Deadly — Meeker-Stewart-Dckker May

Robbers' Roost — Montgomery-Findley May

Top of the World — Robertson -Lovejoy-Keyes May

The Big Bluff — Bromfield-Vickers June

The Sea Shall Not Have Them — British cast June

Albert, R. N. — British cast June

Summertime — Hepburn-Brazzi June

Othello — Orson Welles June

Universal-International Features

(445 Par\ Ave., Hew Tor\ 22, H- T.)

511 The Far Country — Stewart-Roman-Calvet Feb.

512 Six Bridges to Cross — Curtis-Adams Feb.

513 Abbott & Costello Meet the Keystone Cops Feb.

514 Captain Lightfoot — Hudson-Rush (C'Scope) ...Mar.

515 Captain Lightfoot — (standard) Mar.

516 Smoke Signal — Andrews-Laurie Mar.

509 Land of Fury — Hawkins-Johns Mar.

520 Man Without a Star — Douglas-Crain Apr.

519 Ma 6? Pa Kettle at Waikiki— Main-Kilbride Apr.

517 Chief Crazy Horse — Mature^Ball (C'Scope) Apr.

518 Chief Crazy Horse — (standard) Apr.

521 Revenge of the Creature — Agar-Nelson (3D) . .May

522 Revenge of the Creature (2D) May

523 Cult of the Cobra — Domergue-Long May

524 The Looters — Calhoun-Adams May

525 The Man from Bitter Ridge — Barker-Cordey . . . .June

526 Abbott & Costello Meet the Mummy June

527 This Island Earth- — Reason-Domergue June

528 FoxFire- — Chandler-Russell-Duryea July

529 Ain't Misbehavin' — Calhoun-Laurie-Carson July

530 The Purple Mask— Curtis-Miller (C'Scope) July

531 The Purple Mask— (2D) July

One Desire — Baxter-Hudson-Adams Aug.

Private War of Major Benson — Heston-Adams . .Aug.
Francis in the Navy — O'Connor-Hyer Aug.

Warner Bros. Features

(321 W. 44th St., Hew for\ 18, H- T.)

409 Young At Heart — Day-Sinatra Jan. 1

403 A Star is Born — Garland-Mason (C'Scope) . .Jan. 22
408 The Silver Chalice— Mayo-Palance (C'Scope) .Feb. 5

412 Unchained — Hirsch-Hale Feb. 26

411 Battle Cry— Heflin-Ray-Hunter (C'Scope) ..Mar. 12

413 New York Confidential — Crawford-Conte . . .Mar. 12

414 East of Eden — Harris-Dean-Massey (C'Scope) Apr. 9

415 Strange Lady in Town —

Garson-Andrews (C'Scope) Apr. 30

410 Jump Into Hell — Sernas-Kasznar May 14

416 The Sea Chase — Wayne-Turner (C'Scope) . .June 4

417 Tall Man Riding — Scott-Malone-Castle June 18

419 Land of the Pharaohs —

Hawkins-Collins (C'Scope) July 2

420 The Dam Busters — Todd-Redgrave July 16

418 Mister Roberts —

Fonda-Cagney-Powell (C'Scope) July 30

Pete Kelly's Blues —

Webb-Lee-O'Brien (C'Scope) Aug. 27

Blood Alley — Wayne-Bacall (C'Scope) Sept. 3

SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel

7607 Catnipped — Favorite (reissue) (iy2 m.) ...Feb. 3
7954 Tony Pastor & Orch —

Thrills of Music (reissue) (10 m.) Feb. 10

7806 Aquatic Stars — Sports (9m.) Feb. 17

7608 Unsure Hunts — Favorite (reissue) (l]/2 m.) .Feb. 17
7856 Hollywood Shower of Stars —

Screen Snapshots (10 m.) Feb. 24

7702 Magoo's Check Up — Mr. Magoo (6^ m.) . .Feb. 24

7554 Candid Microphone No. 1 (9 m.) (9 m.) . .Mar. 3

7609 River Ribber — Favorite (reissue) (6m.) . .Mar. 10

7807 Fishing Paradise — Sports (9 m.) Mar. 17

7857 Hollywood Fathers —

Screen Snapshots (10 m.) Mar. 24

7503 Four Wheel No Brakes—

UPA Cartoon (6'/2 m.) Mar. 24

7610 Treasure Jest — Favorite (reissue) (6'/2 m.) .Apr. 7

7955 Elliot Lawrence & Orch. —

Thrills of Music (reissue) (10'/2 m.) . . . .Apr. 14

7611 Picnic Panic — Favorite (reissue) (6 m.) . . . .Apr. 21

7858 Hollywood Plays Golf-

Screen Snapshots (9 m.) May 5

7612 Mother Hubba-Hubba Hubbard—

Favorite (reissue) (6 m.) May 12

7808 Barking Champs — Sports (9 m.) May 12

7504 Baby Boogie — UPA Cartoon (6 m.) May 19

7703 Magoo Express — Mr. Magoo (6|/2 m.) ... .May 19

7613 Kukunuts — Favorite (reissue) (6I/2 m.) ...June 2

7555 Candid Microphone No. 2(11 m.) June 2

7809 Sun Sports — Sports June 2

7956 Ray Eberle & His Orchestra-

Thrills of Music (reissue) (10'/2 m.) . . . .June 9

7859 Hollywood Beauty — Screen Snapshots June 16

7704 Madcap Magoo — Mr. Magoo June 23

7614 Scary Crows — Favorite (reissue) (8m.) ... .June 23

Columbia — Two Reels

7404 Fling in the Ring — Stooges ( 16 m.) Jan. 6

7413 His Pest Friend — Quillan-Vernon (161/2 m.) .Jan. 20

7405 Of Cash and Hash — Stooges (16 m.) Feb. 3

7424 Half-Way to Hollywood-

Favorite (reissue) (lV/2 m.) Feb. 10

7414 G.I. Dood It— Joe Besser (16 m.) Feb. 17

7140 Black Arrow— Serial (15 ep.) Feb. 24

7425 A Knight and a Blonde —

Favorite (reissue) (14 m.) Mar. 3

7406 Gypped in the Penthouse — Stooges (16 m.) .Mar. 10

7434 You're Next — Favorite (reissue) (17 m.) ..Mar. 17

7407 Bedlam in Paradise — Stooges (16 m.) Apr. 14

7435 Ready, Willing but Unable-

Favorite (reissue) ( 16J/2 m.) Apr. 21

7415 One Spooky Night— Andy Clyde Apr. 28

7415 Scratch-Scratch-Scratch —

Andy Clyde (16|/2 m.) Apr. 28

7426 Hiss and Yell — Favorite (reissue) (18 m.). .May 5

7408 Stone Age Romeos — Stooges June 2

7160 Adventures of Captain Africa —

serial (15 ep.) June 9

7416 Nobody's Home — Quillan-Vernon June 9

7436 Training for Trouble —

Favorite (reissue) (15'/2) June 16

Metro-Goldwyn-Mayer — One Reel

S-653 Man Around the House — Pete Smith (9 m.) Jan. 1
W-662 Part Time Pal — Cartoon (reissue) (8m.) Jan. 8
W-663 Cat Concerto — Cartoon (reissue) (7m.) . .Jan. 22

S-654 Keep Young— Pete Smith (9 m.) Feb. 1

T615 Mexican Police on Parade —

Traveltalk (reissue) (9 m.) Feb. 12

W-664 Dr. Jeykll and Mr. Mouse —

Cartoon (reissue) (8 m.) Feb. 26

S-655 Sports Trix— Pete Smith (9 m.) Mar. 5

C-635 Southbound Duckling —

C'Scope Cartoon (7 m.) Mar. 12

W-665 Salt Water Tabby-
Cartoon (reissue) (7 m.) Mar. 26

T-616 Mighty Niagara —

Traveltalk (reissue) (10 m.) Apr. 9

S/656 Just What I Needed— Pete Smith (9 m.) .Apr. 16

W-631 Pet Peeve— Cartoon (7 m.) (2D) Apr. 23

C-637 Pup on a Picnic — C'Scope Cartoon (7m.) .Apr. 30

S-657 Global Quiz— Pete Smith (10 m.) May 14

W-633 Touche Pussy Cat— Cartoon (2D) (7 m.) .May 21
W-635 Southbound Duckling —

Cartoon (2D) (7 m.) June 25

W-637 Pup On a Picnic— Cartoon (2D) (7 m ). July 22

R14-6
H14-2

B14-4
E14-5
P14-4
R14-7

H14-3

M14-5
M14-6
R14-8
E14-6
K14-4

B14-5

E14-7

K14-5

P14-5

R14-9

K14-6

R14-10

P14.-6

B14-6

Swim and Survive — Sportlight (9 m.) . . .Feb. 11
Robin Rodenthood —

Herman 6f Katnip (7 m.) Feb. 25

Keep Your Grin Up — Casper (6 m.) ... .Mar. 4

Penny Antics — Popeye (8 m.) Mar. 11

Git Along Li'l Duckie — Noveltoon (7 m.) Mar. 25
Baseball's Acrobatic Ace —

Sportlight (9 m.) Apr. 8

A Bicep Built for Two —

Herman & Katnip (7 m.) Apr. 8

Let's Look At the Birds — Topper (9m.). .Apr. 15

Pick a Pet — Topper (8 m.) Apr. 22

Tumbling Jamboree — Sportlight (9m.) . .May 13
Beaus Will Be Beaus — Popeye (6 m.) . . . .May 20
Five Hundred Horses —

Pacemaker (10 m.) May 20

Spooking With a Brogue — Casper (7m.) .May 27

Gift of Gag — Popeye (6 m.) May 27

Florida Aflame — Pacemaker (9 m.) June 3

News Hound — Noveltoon (6 m.) June 10

High Score Bowling — Sportlight June 10

Walk in the Deep — Pacemaker (10 m.) June 17
San Fernando Saddle Champs — Sportlight . July 1

Poop Goes the Weasel — Noveltoon July 8

Bull Fright — Casper July 15

E14-3
M14-3

K14-3
B14-3
M14-4
P14.3

E14-4

Paramount — One Reel

Cookin' With Gags — Popeye (7 m.) Jan. 14

Just the Bear Facts, Ma'am —

Topper (9m.) Jan. 14

You're a Trooper — Pacemaker (10 m.) . .Jan. 21

Hide and Shriek — Casper (7 m ) Jan. 28

All Chimps Ashore — Topper (10 m.) ...Feb. 4

Dizzy Dishes — Noveltoon (6 m.) Feb. 4

Nurse to Meet Ya — Popeye (6 in.) Feb. 11

Paramount — Two Reek

T14-4 Assignment Children —

UNICEF Special (19 m.) Mar.

VI 4-2 Vista Vision Visits Mexico —

Special (17 m.) Apr 29

VI 4-3 VistaVision Visits the Sun Trails-
Special (16 m.) May 27

RKO — One Reel

54205 Water, Water, Everywhere—

Screenliner (8J/2 m.) Jan. 7

54103 No Hunting — Disney (6 m.) Jan. 14

54306 Ski Saga — Sportscope (8 m.) Jan. 21

54104 The Pelican and the Snipe —

Disney (reissue) (9 m.) Jan. 28

54206 Camera Crazy — Screenliner (8 m.) Feb. 4

54307 Chamois Hunt — Sportscope (8 m.) Feb. 18

54105 Lake Titicaca — Disney (reissue) (7m.) . . .Feb. 18

54207 Nature's Showcase — Screenliner (8 m.) ..Mar. 4

54106 Contrasts in Rhythm —

Disney (reissue) (8m.) Mar. 11

54308 Here's Hockey — Sportscope ( 10 m.) Mar. 18

54208 Bush Doctor — Screenliner (11m.) Apr 1

54107 Blame It on the Samba-

Disney (reissue) (6m.) Apr. 1

54309 Jai-Alai — Sportscope (8 m.) Apr. 15

54108 Chip an' Dale — Disney (reissue) (7 m.) ..Apr. 22

54209 Inland Seas — Screenliner (8 m.) Apr. 29

54310 Everglades Posse — Sportscope (8m.) ... .May 13

54109 Pedro — Disney (reissue) (8 m.) May 13

54210 Staff of Life — Screenliner (8 m.) May 27

54110 El Gaucho Goofy — Disney (reissue) (8 m.) June 10

54211 Rest Assured — Screenliner (8 m.) June 24

54212 Safety Is Their Business — Screenliner (8) .July 22

RKO — Two Reels

53901 Football Highlights— Special (15l/2) m.) ..Dec. 10
53706 Follow the Blonde — Errol (reissue) ( 18 m.) . Dec. 10
5 3506 Home Canning —

Kennedy (reissue) (16 m.) Dec 17

53103 Fast Freight — Special (15 m.) Dec. 17

53104 River to the Past— Special (15 m.) Jan. 21

5 3105 Big Top Caravan — Special (16 m.) Feb. 25

53106 Finders Keepers — Special (15'/2 ™.) Apr. 1

53801 Basketball Highlights— Special (15 m.) ...Apr. 15

53107 Operation Icecap — Special (19 m.) May 6

Republic — One Reel

5388 Venezuela — This World of Ours (9 m.) ..Mar. 1
Republic — Two Reels

5483 Panther Girl of the Kongo — Serial (12 ep.) . .Jan. 3

5484 Jesse James Rides Again — Serial (12 ep.) . .Mar. 28

5485 King of the Carnival— Serial (13 ep.) June 27

Twentieth Century-Fox — One Reel

5501-2 Barnyard Actor (Gandy Goose) —

Terrytoon (7 m.) Jan.

5503-8 A Yokohama Yankee — Terrytoon (7 m.) ...Jan

5 502-0 Dear Old Switzerland-
Ten ytoon (reissue) (7m.) Jan.

5 504-6 Swooning the Swoonera —

Terrytoon (reissue) (7 m.) Feb.

5505- 3 Duck Fever (Terry Bears)—

Terrytoon (7ra.) Feb.

5506- 1 It's All in the Stars —

Terrytoon (reissue) (7 m.) Mar.

5507- 9 The First Flying Fish (Aesops Fable)—

Terrytoon (7m.) Mar.

5508- 7 The Two Headed Giant—

Terrytoon (reissue) (7m.) Apr.

5509- 5 No Sleep for Percy (Little Roquefort) —

Terrytoon (7m.) Apr.

Twentieth Century-Fox — C'Scope Reels

7502- 8 Stampede City — C'Scope (7 m.) Jan.

7505- 1 Supersonic Age — C'Scope (14 m.) Jan.

7503- 6 Birthday Parade— C'Scope (10 m.) Feb.

7504- 4 5th Ave. to Fyjiyama — C'Scope (10 m.) ....Feb.

7501-0 Tuna Clipper Ship — C'Scope (18 m.) Mar.

5510-1 Pageants and Pastimes — C'Scope (13 m.) ...Mar.

7511- 9 Colorado Holiday— C'Scope (9 m.) Apr.

7506- 9 Land of the Nile— C'Scope (9 m.) Apr.

7508- 5 Isles of Lore— C'Scope (10 m.) Apr.

7507- 7 Tears of the Moon— C'Scope (10 m.) May

7509- 3 Punts and Stunts — C'Scope (9 m.) May

7512- 7 Children of the Sun— C'Scope (7 m.) May

7513- 5 Clear the Bridge— C'Scope May

Universal — One Reel

1322 Helter Shelter — Cattune (6 m.) Jan. 7

1342 Little Lost Scent — Variety View (9 m.) . . . .Jan. 31

1323 Crazy Mixed Up Pup— Cartune (6 m.) Feb. 14

1351 The Band Master—

Cartune (reissue) (6J/2 m.) Feb. 21

1381 Dust Eaters— Color Parade (9m.) Feb. 28

1324 Witch Crafty— Cartune (6 m.) Mar. 14

1382 Moose Country — Color Parade (9]/2 m.) . . .Mar. 21

1352 The Mad Hatter — Cartune (reissue) (7m.) Mar. 28

1326 Private Eye Pooch — Cartune (6m.) Apr. 9

1325 The Legend of Rock-a-Bye Point—

Cartune (6m.) Apr. 11

1343 Whatever Goes Up — Variety View (9 m.) . .Apr. 11

1353 Banquet Busters —

Cartune (reissue) (6J4 m.) Apr. 25

1383 White Magic— Color Parade (9 m.) Apr. 25

1354 Kitty Koncert — Cartune (reissue) (7 m.) . .May 30

1327 Sh-h-h-h — Cartune (6 m.) June 6

1328 Bedtime Bedlam — Cartune (6 m.) July 4

Universal — Two Reels

1303 The Robins Sing— Musical (15 m.) Jan. 7

1304 Keep It Cool— Musical (16 m.) Feb. 14

1305 Les Brown Goes to Town — Musical (15 m.) .Mar. 14

1300 A World of Beauty— Special (17 m.) Mar. 15

1203 Fortress of Freedom — Vistarama (10 m.) . .Mar. 28

1306 Strictly Informal — Musical ( 16 m.) Apr. 11

1308 Webb Pierce and His Wandenn' Boys —

Musical June 20

Vitaphone — One Reel

2306 Back Alley Uproar —

Hit Parade (reissue) (7 m.) Feb. 5

2725 Beanstalk Bunny — Bugs Bunny (7 m.) Feb. 12

2505 Caribbean Playgrounds —

Sport* Parade (10 m.) Feb. 19

2711 All Fowled Up— Merrie Melody (7 m.) Feb. 19

2804 Stan Kenton S1 Orch.—

Melody Master (reissue) (10 m.) Feb. 26

2712 Stork Naked— Merrie Melody (7 m.) Feb. 26

2307 You Were Never Duckier —

Hit Parade (reissue) (7 m.) Feb. 26

2404 So You Want To Be a Gladiator —

Joe McDoakes (10m.) Mar. 12

2713 Lighthouse Mouse — Merrie Melody (7 m.) .Mar. 12

2506 Football Royal— Sports Parade (10 m.) Mar. 19

2604 Those Exciting Days — Variety (10 m.) Mar. 19

2726 Sahara Hare — Bugs Bunny (7 m.) Mar. 26

2714 Sandy Claws — Looney Tune (7 m.) Apr. 2

2308 House Hunting Mice —

Hit Parade (reissue) (7m.) Apr. 2

2715 The Hole Idea — Looney Tune (7 m.) Apr. 16

2806 The Playgirls—

Melody Master (reissue) (10 m.) Apr. 16

2309 Crowing Pains — Hit Parade (reissue) (7 m.) Apr. 23
2508 Rocky Mountain Big Game —

Sports Parade (10 m.) Apr. 23

2716 Ready, Set, Zoom! — Looney Tune (7 m.) . .Apr. 30

2605 Fire, Wind, Flood— Variety (10 m.) Apr. 30

2727 Hare Brush — Bugs Bunny (7 m.) May 7

2405 So You Want To Be On a Jury —

Joe McDoakes (10 m.) May 7

2717 Past Performance — Merrie Melody (7m.) . .May 21
2507 Riviera Revelries — Sports Parade (10 m.) .May. 21

2310 Hop, Look and Listen —

Hit Parade (reissue) (7 m.) June 4

2718 Tweety's Circus — Merrie Melody (7m.) . . .June 4
2805 U.S. Service Bands-
Melody Master (reissue) (10 m.) June 11

2728 Rabbit Rampage — Bugs Bunny (7 m.) ....June 11

2606 Some of the Greatest — Variety (10 m.) . . .June 18

2311 Tweety Pie — Hit Parade (reissue) (7 m.) . .June 25

2719 Lumber Jerks — Merrie Melody (7 m.) June 25

2509 Italian Holiday — Sports Parade (10 m.) . . . .July 9

2729 This Is a Life?— Bugs Bunny (7 m.) July 9

2312 Goofy Gophers — Hit Parade (reissue) (7 m.) July 23

2720 Double or Mutton — Merrie Melody (7 m.) . .July 23

2607 Gadgets Galore — Variety (10 m.) July 30

2510 Aqua Queens — Sports Parade ( 10 m.) Aug. 6

2721 Jumpin Jupiter — Merrie Melody (7 m.) ...Aug. 6

2313 What's Brewin' Bruin —

Hit Parade (reissue) (7m.) Aug. 20

2722 A Kiddie's Kitty — Merrie Melody (7m.) . .Aug. 20

2406 So You Want a Model Railroad-

Joe McDoakes (10 m.) Aug. 27

2730 Hyde and Hare — Bugs Bunny (7 m.) Aug. 27

Vitaphone — Two Reels

2004 Where Winter is King — Special (17 m.) ...Jan. 8

2103 Three Cheers for the Girls — Featurette Jan. 22

2006 Beauty and the Bull — Special (17 m.) Feb. 5

2007 Mississippi Traveler — Special ( 17 m.) Mar. 5

2104 When the Talkies Were Young —

Featurette (17 m.) Mar 26

2008 Old Hickory — Special Apr. 9

2105 At the Stroke of Twelve — Featurette May 14

2010 Wave of the Flag — Special May 28

2011 The Adv. of Alexander Selkirk — Special . . .June 10

2106 The Glory Around Us — Featurette July 2

2010 Uranium Fever — Special July 16

2009 Festival Days — Special Aug. 13

NEWSWEEKLY NEW YORK
RELEASE DATES

News of the Day

276 Wed. (E) May 18

277 Mon. (O) May 23

278 Wed. (E) May 25

279 Mon. (O) ... .May 30

280 Wed. (E) . . .June 1

281 Mon. (O) . . .June 6

282 Wed. (E) . . .June 8

283 Mon. (O) . . .June 13

284 Wed. (E) . . .June 15

285 Mon. (O) . . .June 20

286 Wed. (E) . . .June 22

287 Mon. (O) . . .June 27

288 Wed. (E) . . .June 29

Paramount News

79 Wed. (O) May 18

80 Sat. (E) May 21

81 Wed. (O) May 25

82 Sat. (E) May 28

83 Wed. (O) June 1

84 Sat. (E) June 4

85 Wed. (O) June 8

86 Sat. (E) June 11

87 Wed. (O) June 15

88 Sat. (E) June 18

89 Wed. (O) June 22

90 Sat. (E) June 25

91 Wed. (O) ... .June 29

Warner Pathe News

81 Wed. (O) May 18

82 Mon. (E) May 23

83 Wed. (O) May 25

84 Mon. (E) May 30

85 Wed. (O) June 1

86 Mon. (E) June 6

87 Wed. (O) June 8

88 Mon. (E) June 13

89 Wed. (O) ... .June 15

90 Mon. (E) June 20

91 Wed. (O) ....June 22

92 Mon. (EJ June 27

93 Wed. (O) ....June 29

Fox Movietone

42 Tues. (E) May 17

43 Friday (O) May 20

44 Tues. (E) May 24

45 Friday (0) ... .May 27

46 Tues. (E) May 31

47 Friday (O) ...June 3

48 Tues. (E) ....June 7

49 Friday (O) . . .June 10

50 Tues. (E) June 14

51 Friday (O) . . .June 17

52 Tues. (E) June 21

53 Friday (O) . . June 24

54 Tues. (E) ....June 28

55 Friday (O) ... .July 1

Universal News

673 Tues. (O) . . .May 17

674 Thurs. (E) . .May 19

675 Tues. (O) . . .May 24

676 Thurs. (E) . .May 26

677 Tues. (O) . . .May 31

678 Thurs. (E) . .June 2

679 Tues. (O) . . .June 7

680 Thurs. (E) . June 9

681 Tues. (O) . .June 14

682 Thurs. (E) . June 16

683 Tues. (O) . . June 21

684 Thurs. (E) . .June 23

685 Tues. (O) . . June 28

686 Thurs. (E) . June 30

Ebttec>*4 as aocomd-class aaattw January 4. at the po«t office at New York, New York, under the act of March 3, 1919.

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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXXVII SATURDAY, MAY 28, 1955 No. 22

20th-FOX LISTENS AND CONSIDERS

The one thing that may be said for the leaders of both
National Allied and the Theatre Owners of America is that
they are showing extreme patience with the distributors, in
view of the refusal by the heads of the companies to attend
the roundtable conference proposed by the joint Allied'TOA
committee. This is evidenced by the fact that the joint com-
mittee, after meeting in New York on Monday and Tuesday
of this week, has apparently decided, for the present, to seek
a solution to the exhibitor-distributor differences by a series
of conferences with the individual companies.

The first of these conferences was held on Tuesday after-
noon with top officials of 20th Century-Fox, headed by
president Spyros P. Skouras, and meetings will be sought
next week with the presidents of Paramount and Warner
Brothers.

The joint committee's decision to seek conferences with
Paramount and Warner Brothers was disclosed to the trade
press on Wednesday by Rube Shor, National Allied's presi-
dent, and Abram F. Myers, board chairman and general
counsel, following a two-day meeting of Allied's board of
directors, also in New York. Myers, however, took pains to
point out that, if the projected meetings with Paramount
and Warner Brothers take place, and if the two companies
agree to modify their sales policies so as to grant exhibitors
needed relief, efforts will no doubt be made by the joint com-
mittee to meet with the top officials of other companies. But
if the meetings fail to materialize, or if they do take place
and are not productive of satisfactory results, there would
be no point in setting up conferences with the other com-
panies. In other words, said Myers, whether Allied will hold
back or proceed with its plan to seek Government regula-
tion of the industry will depend on the outcome of the
meetings with Paramount and Warner Brothers.

Questioned as to why Paramount and Warner Brothers
had been singled out, Myers explained that they head the
list of companies that are most difficult to deal with.

In connection with the meeting held with 20th Century-
Fox, the joint exhibitor committee has not issued any state-
ment and has not indicated whether or not the talks were
satisfactory, but the absence of any statement to the con-
trary can be considered a healthy sign.

An official statement issued by the film company, how-
ever, declared that the four-hour meeting "brought the mo-
tion picture industry closer to understanding in their com-
mon goal towards prospertiy and harmony between exhibi*
tion, distribution and production."

"The discussions," added the statement, "centered about
a number of problems confronting the industry. The exhibi-
tor group pointed out the great difficulties of the small ex-
hibitor in subsequent runs in large cities, and in very small
towns, and the dire need to review film rentals in order that
these theatres may keep their doors open.

"The exhibitor group pointed out the need for more pic-
tures, and of a better quality, to prevent many first-run
houses from closing their doors.

"The exhibitor group also recognized the need for greater
concentration upon showmanship.

"The exhibitors also presented their case in favor of arbi-
tration of film rentals. They asked that every theatre in
America have the opportunity to buy all of 20th Century-
Fox pictures on a fair and equitable basis, in order to retain
the greatest possible audience for motion pictures.

"Because of the absence of Al Lichtman, Director of
Distribution, Mr. Skouras said that a statement of policy
would be issued at a later date following consultation with
Mr. Lichtman, Gehring and himself, at which time serious
consideration would be given to all of the requests made by
the exhibitor representatives.

"At the conclusion of the meeting, Mr. Skouras said:

" 'We were elated that we met with a united group repre-
senting the two important exhibitor organizations in the
United States. We were greatly impressed with the manner
in which they presented their problems and in the utmost
sincerity demonstrated. They seek a better industry — a
prosperous industry — not only for one group, but for all of
its integral parts — exhibition, production and distribution."

The TOA group was represented by E. D. Martin, Alfred
Starr, Walter Reade, Jr. and Myron Blank. The Allied
group was represented by Rube Shor, Ben Marcus, Benja-:
min Berger and Jack Kirsch. In addition to Mr Skouras,
20th-Fox was represented by W. C. Michael, W. C. Geh-
ring, Arthur Silverstone, Alex Harrison, Glenn Norris and
Rodney Bush.

The attitude reflected by Mr. Skouras in bis statement is
indeed an encouraging one, for he not only shows a sympa-
thetic regard for the problems faced by exhibition but also
indicates a willingness to do something about them.

Whether or not Mr. Skouras' company will make policy
changes that will satisfy the hard-pressed exhibitors remains
to be seen. Meanwhile, he is to be congratulated for sitting
down with the exhibitor leaders to hear at first hand the na'
ture of their grievances.

If the other film company presidents, some of whom have
been riding roughshod over their small customers for years,
will follow Mr. Skouras' example of lending a sympathetic
ear, much of the misunderstanding and resentment that is
constantly keeping exhibitor-distributor relations at a boil-
ing point will be removed.

TOA REVERSES ANOTHER POLICY

An interesting development this week is the statement
made by E. D. Martin, TOA's president, that his organiza-
tion now wants film rentals included in any industry system
of arbitration.

This reversal of policy lines up the TOA solidly with
National Allied on the subject, for that organization with-
drew from the arbitration talks because of the distributors'
refusal to consider the arbitration of film rentals.

It the TOA sticks to this new policy, it may very well put
an end to the arbitration negotiations, unless, of course, the
distributors concede the point.

HARRISON'S REPORTS

May 28, 1955

"That Lady" with Olivia de Havilland,
Gilbert Roland and Paul Scofield

(20th Century-Fox, June; time, 100 min.)
Photographed in CinemaScope and Eastman color, with
prints by Technicolor, this costume drama of intrigue and
romance in 16th Century Spain, during the reign of Philip
II, was filmed against authentic historical backgrounds and,
despite the below-par color, is a treat to the eye because of
the splendorous interiors and exteriors of medieval castles
and churches. As an entertainment, however, the picture
leaves much to be desired, for the story is theatrical and
lacks conviction and dramatic force. Moreover, the pace is
extremely slow, for it is given more to talk than to action.
And the fact that much of the dialogue is banal and inept
does not help matters. The acting is good, but it is not
enough to overcome the lifeless and confusing manner in
which the story material has been handled.

Set in the year 1570, the story has the King of Spain
(Paul Scofield) requesting Olivia de Havilland, a widowed
Princess, to return to his court in Madrid and to use her
influence to induce the nobility to accept Gilbert Roland,
a commoner, as his secretary of state. Olivia first meets
Roland when he saves the life of her cousin in a bullring.
She falls passionately in love with him and he reciprocates
her feelings. Pepe Nieto, an enemy of the King, learns of
the clandestine meetings between Olivia and Roland and
threatens to inform the King unless Roland turns traitor.
Roland refuses to bow to the threat. In subsequent events,
the King learns of Nieto's plot to dethrone him and orders
his execution, but Nieto is assassinated mysteriously before
the order is carried out. Circumstantial evidence points to
Roland as the murderer, and the King, now aware of his
affair with Olivia, jails him. Olivia charges that Roland is
innocent and pleads his case, but the King refuses her
request that Roland stand trial. He then confesses that he
himself is in love with her, but when she stands by Roland
he places her in protective custody. After much intrigue
involving the disappearance of the warrant signed by the
King for Nieto's execution, and after pressure from the
church that Roland be released because another man had
confessed to the crime, the King softens in his attitude
toward Olivia and releases her. Meanwhile Roland escapes
and makes his way to her palace, where he finds her fatally
ill. It ends with his promising to fulfill her deathbed request
to take her 7-year-old son out of the country with him.

It is an Atalantia production, produced Sy Bartlett, and
directed by Terrence Young, from a screenplay by Anthony
Veiller and Mr. Bartlett, based on the novel by Kate O'Brien.

Adults.

"Mr. Roberts" with Henry Fonda,
James Cagney, William Powell and
Jack Lemmon

(Warner Bros., July 30; time, 123 min.)
An excellent film version of the highly successful Broad-
way stage comedy of the same name, photographed in
CinemaScope and WarnerColor. The picture hits a high
note of hialrity from start to finish and, unless something
better comes along, it is sure to be one of the biggest laugh'
getters of the year. Revolving around the bored crew of a
Navy cargo ship, which is peacefully anchored in a non-
combat Pacific area while the rest of the fleet is engaged
in warfare, the action is packed with situations that are so
hilariously funny that audience laughter drowns out much
of the humorous dialogue. Much of the comedy is of the
rowdy sort, and a good part of it stems from the intense
animosity the men and officers feel toward their captain, a
completely incompetent and unreasonable man who makes
life miserable for them in an effort to better his own status.
The conspiracies the men enter into to combat him will
have the spectators howling with glee. Repeating the role
he played on the stage, Henry Fonda does fine work as
"Mr. Roberts," the cargo officer, who carries on a continu-
ous feud with the captain to secure better treatment for the
men. While the accent is on comedy, there are a number of
emotionally impressive dramatic situations centering around
the men's temporary lots of confidence in Fonda when they
misunderstand his reasons for cooperating with the captain.

A heart-tugging sequence, mixed with nice touches of
comedy, is the one in which the men express their gratitude
to Fonda before he is transferred to a destroyer for combat
duty. James Cagney is excellent as the heartless captain,
and William Powell is just right as the understanding ship's
doctor whose sympathies lie with the crew. A highly amus-
ing characterization is delivered by Jack Lemmon as a junior
officer who devises all sort of schemes to harrass the captain
but who lacks the courage to carry them out. The profane
and suggestive dialogue that was contained in the stage play
has been eliminated for the screen version, but the inference
of what the men say and think is very plain. The fine color
photography and the breadth of the CinemaScope process
give the production assets that make it superior to the stage
play.

Briefly, the story has Fonda seeking to escape the boredom
of being assigned to a non-combat ship, but Cagney keeps
disapproving his many requests for a transfer. With the
crew disgusted over the fact that they had not had any shore
leave in more than a year, Fonda, through a well placed
bribe, succeeds in having the ship ordered to Elysium Island
for cargo assignment and liberty for the men. Cagney, real-
izing that Fonda had outwitted him, retaliates by refusing
to allow the men to go ashore when they arrive at Elysium.
Fonda pleads with Cagney to reconsider, and he agrees to
allow the shore leave after exacting from Fonda a promise
that he will discontinue his applications for combat duty
and make the crew toe the line. After a rip-roaring time
ashore, the men head out to sea and soon turn against Fonda
because of a belief that he was now siding with the hated
captain. But when they learn the real reason for his coop-
eration, they show their gratitude by forging a transfer
request from Fonda to the Navy Department, complete with
Cagney's forged signature of approval. The forgery works
and Fonda wins his transfer, but several months later the
crew learns that he had died in action.

A brief synopsis cannot do justice to the many hilarious
incidents that occur, such as the visit of a group of pretty
nurses to the ship; the concoction of a bottle of "scotch"
to entertain them; the rage exhibited by Cagney and the
glee experienced by the crew when a potted palm he prized
is thrown overboard by Fonda; an explosion caused by
Lemmon in the ship's laundry, filling the hold with suds;
and the completely whacky behavior of the crew when they
get their first shore leave in more than a year. Much of this
is excruciatingly funny.

It was produced by Leland Hayward, and directed by
John Ford and Mervyn LeRoy, from a screenplay by Frank
Nugent and Joshua Logan, based on the play by Thomas
Heggen and Mr. Logan.

Suitable for all, since most of the racy dialogue will be
over the heads of children.

"The Private War of Major Benson" with
Charlton Heston, Julie Adams and
William Demarest

(Univ.-Int'l, August; time, 105 min.)

An excellent entertainment, photographed in Eastman
color with prints by Technicolor. It will undoubtedly prove
to be a "sleeper." Centering around a tough and unfeeling
army Major whose superior officer disciplines him by assign-
ing him to train children at a military academy, the story is
packed with fine comedy throughout, keeping the audience
guffawing all the time. Mixed in with the comedy, how-
ever, are many human interest situations that tug at the
heartstrings, as a result of the tenderness, understanding and
humility acquired by the hero in his relationship with the
youngsters. Charlton Heston does fine work as the Major,
and so does Julie Adams, as a woman doctor who looks after
the students' health. There is a pleasing and at times pretty
passionate romance between the two. Little Tim Hovey, a
six-year-old cadet, however, steals the picture. He seems to
be a born actor and endears himself to the audience. The
photography is sharp and clear, and the color beautiful: —

Heston, a soldier of the old school, dislikes the new army
policy of giving rookies kid-glove treatment. His toughness
with rookies makes him hated, and Ins indiscreet opinions,
published in the press, create a furor and brings about a

May 28, 1955

HARRISON'S REPORTS

demand that he be relieved of his command. Milburn Stone,
Heston's superior officer, is ordered to either persuade
Heston to resign or place him on inactive duty. Being a
friend of Heston's he asks for and receives permission to
"rehabilitate " him. After bawling Heston out, Stone bluntly
informs him that his only chance to remain in the army is to
accept an assignment as commandant of cadets at a military
school. Heston accepts, but when he arrives at the academy
he is appalled to learn that the cadets ranged in age from
6 to 15, and that it was a religious institution conducted by
nuns, headed by Nana Bryant, the Mother Superior. Heston
is intrigued, however, when he meets Julie, the school's
pretty medical director. Just as the boys had expected, Heston
proves to be a "holly terror" as a drill master, as well as a
strict disciplinarian, handing out demerits for the slightest
infraction of the rules. His tough attitude angers Julie, who
charges that he is incapable of tender feelings, but Heston
tries to make her like him. In the course of events, the
students sign a petition requesting Heston's removal. Mean'
while Heston himself tries to be relieved of the assignment,
but Stone coldly orders him to remain on the job lest his
military career come to an end. That night Heston thumbs
a ride to town for a few drinks. He comes across little Tim
and learns that the youngster was running away from school
because his fear of him. He talks to the child tenderly and
persuades him to return to the school with him. When the
students learn that Heston was not going to report Tim,
their feelings toward him change and they recall their
petition. Heston, having learned of the petition, prepares
to leave, but Julie tricks him into contracting measels and,
in the three weeks that he is confined, the boys keep up
their drill and help the school to retain its R.O.T.C rating.
It all ends with Julie in Heston's arms.

Howard Pine produced it, and Jerry Hopper directed it,
from a screenplay by William Roberts and Richard Alan
Simmons. Family.

"Ain't Misbehavin' " with Rory Calhoun,
Piper Laurie and Jack Carson

(Univ.-Int'l, July; time, 82 min.)

An indifferent romantic comedy with musical production
numbers, photographed in Technicolor. It does not rise
above the level of program fare. The story is rather trite;
it revolves around the usual trials and tribulations that
result when a chorus girl marries a wealthy young man, and
his snobbish friends, believing that he married beneath his
station in life, proceed to make his bride unhappy. There
are the usual misunderstandings, with true love conquering
all in the end. The comedy, at best, is mild, and the musical
numbers just ordinary. The direction and acting are so-so: —

Rory Calhoun, an eligible bachelor and head of a finan'
cial empire, falls in love with Piper Laurie, a chorus girl,
and marries her, despite the protests of Jack Carson, his
close personal friend and advisor. Calhoun introduces Piper
to his social set, and among those she meets are Barbara
Britton, whose cap had been set for Calhoun, and Reginald
Gardiner, one of Calhoun's distant relatives. Piper invites
Mamie Van Doren and Dani Crayne, her nightclub pals,
to a party, and they scandalize the haughty guests with one
of their dance routines. Piper becomes self-conscious and
feels that she is not right for Calhoun, but he assures her
that he loves her just as she is. Barbara, scheming to re-
capture Calhoun, cunningly involves Piper with two flirta-
tious sailors, whom she crowns with a plate of food for
making a pass at her. The story hits the newspapers, and
Carson informs Piper that she is creating bad public rela-
tions for Calhoun. She sets out on a program of self-im-
provement under the guidance of Gardiner, but she pursues
her goal so assiduously that she neglects Calhoun. One day
Barbara trails Calhoun to a ball game and joins him in a
box. Both are seen by Piper while she watches the game
on television and a heated argument results when he returns
home. This leads to a separation, with Piper deciding to
resume her nightclub career. Carson attempts to adjust the
affair by offering Piper a handsome settlement but both he
and Calhoun realize that she is not a gold-digger when she
refuses to accept any money. Fipei heads tor Reno, accom-
panied by Gardiner, to get a divorce, and Calhoun chases

after her. He misunderstands when he finds Gardiner with
her, but Gardiner soon sets him straight and it all ends
with a reconciliation.

Samuel Marx produced it, and Edward Buzzell directed
it, from a screenplay he wrote in collaboration with Philip
Rapp and Devery Freeman, based on the story "Third Girl
from the Right" by Robert Carson. Family.

"Love Me or Leave Me" with Doris Day,
James Cagney and Cameron Mitchell

(MGM, June; time, 122 min.)

"Love Me or Leave Me" is destined to garner record-
breaking grosses, for it is an excellent blend of songs and
dances that were popular in the "roaring twenties," and of
an adult dramatic story with an emotional wallop that will
keep audiences tense with interest and suspense. Photon
graphed in CinemaScope and Eastman color, and expertly
directed and acted, the story is biographical of the career
of Ruth Etting, whose sensational rise as a singer of popular
songs was guided by an aggressive, limping Chicago gangster,
whom she married and divorced after a turbulent life to-
gether. Doris Day turns in a top performance and Miss
Etting; her beauty is easy on the eyes, her singing pleas-
urable to the ear, and her acting sympathetic and convincing.
It is James Cagney, however, who dominates the screen in
every scene in which he appears. As the crippled gangster
who takes her under his wing, Cagney, in a role that is
reminiscent of the hoodlum parts he used to play in the
early 1930's, comes through with one of the best acting
jobs he has ever delivered. He is cruel, sadistic, bullying and
uncouth in his tactics, but one feels some measure of sym-
pathy for him because of his genuine love for the singer
and his determination to make her a top star. It is a back-
stage story that is off the beaten path, with good touches of
comedy and many powerful dramatic situations. The pro-
duction values are lavish, and the atmosphere of the 1920's
and the early 1930's has been caught realistically. All in all,
it offers top entertainment values and, aided by the favora-
ble word-of-mouth advertising it is sure to receive, should
prove to be a box-office winner: —

When Doris is fired from her job as a "dime-a-dance"
hostess, Cagney, a small-time Chicago racketeer, makes a
play for her. He learns of her desire for a singing career
and offers to use his influence to get her started, but she
distrusts his motives and refuses. He convinces her that he
will demand nothing in return and hires Cameron Mitchell,
a pianist, to coach her. Her success as a singer in a Chicago
night club surprises even Cagney, and he begins to plan
bigger and better things for her. Meanwhile Doris and
Mitchell are attracted to each other, but she does not give
in to her feelings lest it anger Cagney, who wanted her for
himself. Cagney's dictatorial attitude and obnoxious treat-
ment of every one makes him thoroughly disliked, but his
methods keep Doris' star rising and he eventually gets her
a spot in the Ziegfeld Follies. By this time Mitchell gives
up hope of winning Doris and breaks away on his own.
When Ziegfeld's stage managers refuse to stand for Cagney's
pugnacious intereference, he pulls her out of the show and
succeeds in breaking her contract. He carries his fury to
the point where he forces her to become his wife after
assaulting her. Doris' popularity continues to grow, despite
the unhappiness of the marriage, and he eventually secures
a Hollywood contract for her. There, she meets up again
with Mitchell, who turns out to be the musical director on
the picture. She does nothing wrong, but Cagney suspects
the worst. She decides to divorce him after a violent argu-
ment and, to prove that he does not need her to be a
success in show business, he goes into a nightclub venture.
But the thought of losing Doris gripes him, and one even-
ing, when he sees Mitchell bidding her a fond goodnight,
he shoots but only wounds him. Ruth visits Cagney in jail,
informs him that she intends to marry Mitchell and, as a
final gesture of her gratitude, provides him with hail and
arranges to open his nightclub with herself as the star
attraction .

It was produced by Joe Pasternak, and directed by
Charles Vidor, from a screenplay by Damcl Pucha and
Isobel Lennart, b.ibcd on a story by Mr. Fuchs. Adults.

HARRISON'S REPORTS

May 28, 1955

"The Sea Shall Not Have Them"
with an all-British cast

(United Artists, June; time, 91 min.)

This British-made war melodrama pays tribute to the
air-sea rescue service of that country's armed forces in
World War II. It is a well made picture of its kind, and
it graphically depicts the suffering of four downed airmen
who drift aimlessly in the open sea, hoping to be rescued,
and the heroic efforts that are made by the rescue service to
locate and save them. Its appeal to American audiences,
however, probably will be limited, for the subject matter is
grim and, though well done, lacks the suspense and move
ment necessary to make an unusual picture. Another draw'
back, of course, is that several of the players speak with
thick accents, as well as the fact that most every one in the
cast is generally unknown to American movie-goers. There
is exciting action in the closing sequences, where the downed
air crew is rescued within range of the enemy's shore guns,
but all this is hardly believable: —

The story opens in the autumn of 1944 and centers around
a crew of four airmen, including Dirk Bogarde, Jack Wat<
ling, Michael Redrave and Bonar Colleano, who crash into
the North Sea when their plane is downed by an enemy
fighter. When their plane is reported overdue, the rescue
service is alerted and a wide search is begun both by planes
and sea launches. While the four men drift in a rubber boat
for more than two days and suffer untold hardships, the
action alternately switches to the rescue planes and launches,
as well as a shore station, depicting the anxiety of fellow-
officers and families, and the bad weather and engine trouble
that hampers the rescue work. The climax has one of the
launches discovering the airmen as they drift within sight
of the Belgian coast and within range of the enemy's shore
guns. Despite shells that burst all around them, the crew
of the launch pick up the airmen and make a safe getaway
back to England.

It was produced by Daniel M. Angel, and directed by
Lewis Gilbert, who wrote the screenplay in collaboration
with Vernon Harris, based on the novel by John Harris.

Family.

"Mad at the World" with Keefe Brasselle,
Frank Lovejoy and Cathy CDonnell

(Filma\ers, May; time, 71 min.)

Centering around the viciousness of senseless juvenile
delinquency, "Mad at the World" is a fairly effective melo-
drama that should get by as a supporting feature in double*
billing situations. The story offers little that is new on the
subject, nor does it present any solution to the problem, for
the main action revolves around an angry father whose baby
had been killed by a quartet of drunken hoodlums and who
seeks to track them down on his own when police methods
move too slow for him. How he nearly loses his life, except
for the timely arrival of the police, makes for a fairly excit-
ing climax. Keefe Brasselle is competent as the father who
seeks vengeance, and so is Frank Lovejoy as the firm but
understanding detective. Cathy O'Donnell is sympathetic
as Brasselle's wife, and Karen Sharpe is highly sexy as an
unwitting waitress who puts Brasselle in contact with the
gang. The authentic slum backgrounds lend a realistic touch
to the proceedings: —

Using a stolen car, Stanley Clements, Paul Dubov, James
Delagado and Joseph Turkel go for a joy ride, get drunk
and deliberately hurl a bottle at Keefe Brasselle, striking
his baby and mortally injuring the child. Lovejoy starts an
investigation of the crime, but his inability to find the crimi-
nals quickly gripes Brasselle, who decides to track down the
hoodlums on his own. He goes to the slum neighborhood
from which the car had been stolen, assumes another iden-
tity and becomes friendly with Karen, a "fast" but lonely
waitress, who takes him to a social club patronized by the
neighborhood's hoodlums. There, he poses as a crook who
is interested in "big-time" hauls, wins the attention of the

boys responsible for the death of his child, and goads them
into agreeing to accompany him on a round of crimes. Mean-
while, Lovejoy picks up one of the hoodlums on suspicion
and, with the aid of Cathy, gets him to confess the crime and
implicate his pals. Just as Brasselle sets out with the young
toughs to lead them into a trap, he is recognized by one of
them as the father of the murdered child. A terrific chase
and fight ensues in a lumber yard, in which Brasselle is
cornered and threatened with death by fire, but he is res-
cued by the timely arrival of Lovejoy and the police, who
round up the hoodlums in the process.

It was produced by Collier Young, and directed by
Harry Essex from his own screenplay.

Adult fare.

"Soldier of Fortune" with Ciark Gable,
Susan Hay ward and Michael Rennie

(20th Century-Fox, June; time, 96 min.)

Very good mass entertainment is provided in this romantic
adventure melodrama, which is based on Ernest K. Gann's
best-selling novel, and which has been photographed su-
perbly in CinemaScope and De Luxe color against authentic
Hong Kong backgrounds. The magnificent views of modern-
day Hong Kong, with its teeming masses and its crowded
harbor filled with ships and junks, are alone worth the price
of admission. Fortunately, the picture offers, in addition to
the fascinating backgrounds, an intriguing and exciting story,
centering around a beautiful and fiery American woman who
comes to Hong Kong to find her missing husband, a task
that is accomplished for her by a daring and wealthy soldier
of fortune, an Amencan-in-exile, who wins her heart in the
process. The tale is packed with colorful characterizations,
the most dominent being that of the adventurous hero,
played by Clark Gable with a charm and virility that movie
audiences go for in a big way. The beautiful Miss Hayward
is very good as the desperate heroine, and her relationship
with Gable is warm and appealing. The action moves along
at a snappy pace, has good dialogue, a thrilling climax and
highly amusing touches of comedy to relieve the tension: —

The story opens with Susan arriving in Hong Kong to
search for Gene Barry, her husband, a magazine photc
grapher who had disappeared after venturing out of Hong
Kong into Red China. Unsuccessful in her efforts to get
help from either the American or British authorities, Susan
makes inquiries of people who had met her husband and is
subsequently put in contact with Gable, whose smuggling
activities involved him with all shorts of shady characters
who might know of Barry's whereabouts. Gable, attracted
to Susan, expresses a willingness to help her, but he loses
no time in kissing her to make her understand that he will
expect favors in return. The kiss infuriates her, and she tells
him that she can do without his help after giving him a
piece of her mind. She comes back to him, however, when
her efforts to find Barry on her own prove futile. Gable
again agrees to help, but this time surprises her with assur-
ances that he will not take advantage of her. A strong love
grows up between them as he goes about the task of learn-
ing her husband's whereabouts. Eventually, he discovers
through underworld sources that Barry was held prisoner by
the Chinese Reds at a Catholic Mission in Canton. He organ-
izes a daring plan of rescue, in which he enlists the unwilling
help of Michael Rennie, a local British police inspector. The
plan goes off without a hitch as they free Barry, after over-
powering his guards. All return safely to Hong Kong on
Gable's armed junk, but not before they are almost sunk in
a running gun battle with a Communist patrol boat. Gable
watches dejectedly as Susan departs with her husband to
sail for the United States, but his joy knows no bounds
when she returns to him within a few hours and explains
that Barry, realizing that her heart belonged to him (Gable),
had decided to give her up.

It was produced by Buddy Adler, and directed by Edwaid
Dmytryk, from a screenplay by Ernest K. Gann.

Suitable for the family.

Entered as second-olass matter January 4, 1921, at the post ofnoe at New York, Now York, under the act of March 3, 18T0.

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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXXVII SATURDAY, JUNE 4, 1955 No. 23

ALLIED-TOA TALKS WITH
DISTRIBUTORS DELAYED

The projected meetings between the joint commit'
tee of National Allied and the Theatre Owners of
America and the heads of Paramount and Warner
Brothers, in an effort to seek a solution to the differ'
ences between those companies and the exhibitors,
did not take place this week due to the reported illness
of E. D. Martin, president of TOA, who has been
confined to his home in Georgia by his doctor.

The proposed meetings probably will be delayed
until Martin has recovered, but, since his illness is
reported as not being serious, it is anticipated that an
effort will be made to arrange the sessions for next
week.

Meanwhile, neither Paramount nor Warner Bro-
thers has indicated whether it will meet with the joint
exhibitor committee, nor is it known if either company
has been formally requested to do so.

A WISE DECISION

Among the actions taken at the two-day board
meeting of National Allied, held in New York last
week, was the unanimous adoption by the directors
of a resolution to the effect that no consideration will
be given, "at this time," to a merger between National
Allied and TOA.

It was pointed out by both Abram F. Myers, Al'
bed's board chairman and general counsel, and Rube
Shor, president, that the board action opposing a
merger was motivated by a desire to allay the "anxiety
and confusion" stirred within the Allied ranks by
trade paper stories dealing with the possibility of a
merger. Several of the TOA officials have made state-
ments indicating that they favored a merger, but
Shor denied a published report that he, too, favored
such a move and took specific pains to point out that
he personally has always been opposed to the idea.

In the opinion of this paper, the Allied board has
acted wisely in making it clear to its members that no
consideration will be given to a merger with TOA at
this time.

That the talk of merger was in the air is under-
standable in view of the fact that in recent months
both organizations have been working closely together
in the effort to combat distributor abuses, and that
their viewpoints on a number of trade practice issues
appear to be identical. The fact remains, however, that
Allied represents mainly the small exhibitors, while
TOA is dominated by the large circuits, and there has
been no definite indication that the two organisations
will follow a common approach if it comes to a show-
down with distribution in the current hassle.

Allied, for example, is committed to a policy of
seeking Federal regulation of the industry in the event
sufficient relief is not forthcoming from distribution.
The TOA, during the past six months, has taken a
forceful stand against harsh distribution policies, but
to back up its stand it has resorted to no more than
veiled, indecisive threats that, unless relief is obtained
by peaceful means, it will seek such relief "through
any other means necessary."

It is known that several of the TOA leaders favor
joining Allied in the move for Federal regulation if
such a step becomes necessary, but other powerful
TOA leaders, such as Leonard Goldenson, president
of American Broadcasting- Paramount Theatres; Sam
Rosen, executive vice-president of Stanley Warner
Theatres; and Sam Pinanski, head of American
Theatres Corporation, have made it clear in recent
statements that they are strongly opposed to the idea
of going to the Government for relief.

This difference of opinion within the TOA leader-
ship leaves open the question of whether the organi-
zation will give meaning to its threats of drastic action
in the event of a showdown with distribution, or
whether it will revert to its weak-kneed policy of
former years — a policy that has gained it nothing
if we are to judge from the wails now being heard
from the big circuits.

Until the TOA makes its position unmistakably
clear, Allied, as said, is acting wisely in discouraging
any idea of a merger.

OTHER ACTIONS TAKEN BY
ALLIED'S BOARD

Two other important actions taken by Allied's
board of directors last week included a protest against
the stiff rentals demanded for feature films produced
with Government cooperation, and a request that the
Department of Justice set up machinery that will give
affected exhibitors the right to be heard in all cases
involving applications for theatre acquisitions by the
divorced circuits.

The resolution regarding feature films produced
with Government cooperation protested the use of the
armed forces and other Government personnel and
equipment when such films are offered to the theatres
by the distributors "at such excessive terms as to
materially reduce the number of theatres that can
show them."

The resolution added that "the purpose of the
armed forces in affording this cooperation is to secure
favorable publicity, and in order to achieve that pur-
pose the films must have the widest possible circu-
lation."

(Continued on bac\ page)

HARRISON'S REPORTS

June 4, 1955

"Othello" with Orson Welles

(United Artists, June; time, 92 min.)

Filmed on location in England, this Shakespearean drama
has been produced skillfully; the direction is masterful, the
acting artistic, and the black-and-white photography unusually
good. But like most of Shakespeare's other classics that
have been brought to the screen, this one will find its best
reception in art houses that cater to selected audiences. It is
not a picture for mass consumption, for the rank-and-file
movie-goers will find it difficult to follow and understand
the Shakespearean dialogue spoken by the players. In addi-
tion to his chores as producer and director, Orson Welles
gives an outstanding performance as Othello, the Moorish
general who woos and wins Desdemona, daughter of a
Venetian Senator, only to murder her and kill himself when
he falls victim to the devilish machinations of a disgruntled
aide who arouses suspicions in him about the fidelity of his
wife. The ancient settings are highly impressive, and the
sombre photography is in keeping with the tragic mood of the
story.

The action unfolds in Italy, in the days of old, and cen-
ters around the unhappiness brought to Othello by Iago
(Michael MacLiammoir), his adjutant, who is angered when
the general appoints Cassio (Michael Lawrence) as his lieu-
tenant. He sets out to avenge himself against Othello by
arousing his suspicions about the fidelity of Desdemona
(Suzanne Cloutier), and by providing him with false ciu
cumstantial evidence that indicates that she had been having
an affair with Cassio. This results in Othello becoming in-
sanely jealous to the point where he murders Desdemona, a
deed he commits shortly before he learns that Iago had
lied to him and that she had actually been faithful and
innocent. Heartbroken, Othello commits suicide. Mean-
while Iago is arrested and imprisoned in a cage that is
suspended high in the air, sentenced to be slowly picked
to death by vultures that hover hungrily around the cage.

It is a Mercury production, produced and directed by
Mr. Welles.

"Son of Sinbad" with Dale Robertson,
Sally Forrest, Lili St. Cyr and Vincent Price

(RKO, June; time, 88 min.)

Photographed in Technicolor and SuperScope, "Son of
Sinbad" is one of those oriental fantasies of the Arabian
Nights type and, as such, is only moderately entertaining
and offers little that is unusual. It may, however, prove to
be a strong box-office attraction in view of the extensive ex-
ploitation campaign that RKO is putting behind the picture,
playing up the bevy of beautiful girls who appear throughout
in revealing harem costumes and who execute some daring
dance routines. The picture, though it has a Production
Code seal, has incurred the wrath of the Legion of Decency,
which has given it a "C" or condemned rating, but if we
are to judge from past hostility, it may serve to arouse inte-
rest and draw people to the box-office. The story itself is
weak, but the mood is light and the action melodramatic.
The color photography is fine: —

The story has Dale Robertson, as the son of "Sinbad,"
and Vincent Price, as Omar, the poet, captured and senz
fenced to die when they visit the harem of the Khalif (Leon
Askim) once too often. Their capture is a source of dismay
to Lili St. Cyr, the harem queen, and Sally Forrest, her
servant. Meanwhile the Khalif is panic-stricken because of
an impending attack by Tammerlane, the barbarian leader.
Raymond Greenleaf, an old Greek scholar imprisoned by
the Khalif makes a deal with the ruler to give him the secret
of Greek Fire, a secret weapon with which he can conquer
Tammerlane, in exchange for the freedom of himself, Mari
Blanchard, his daughter, Robertson, who had been her child-
hood sweetheart, and Price. The Khalif agrees, and Green-
leaf hypnotizes his daughter, who held the formula of the
Fire in her subconscious mind. Mari names the chemical
ingredients and Greenleaf mixes them in the proportion
named. Disbelieving that the liquid is destructive, the Khalif

hurls it out of a window and is astounded when one-half of
his garden is blown to smithereens. Jay Novello, the court
jester, who was really a spy for Tammerlane, reports the
incident to Ian MacDonald, Tammerlane's aide. MacDonald
captures Mari with the chest containing the chemicals
and flees into the desert after killing her father. Robertson
pleads with the Khalif for an opportunity to rescue Mari and
recover the chemicals before she can be brought to Tam-
merlane. The Khalif agrees, promising to name him second
in command of Bagdad if he succeeds. Before departing,
Robertson reveals to Sally that she is his true love, and she
in turn discloses that she is a member of the daughters of
the original Forty Thieves. She sends word to Joanne Jordan,
the leader of the female thieves, to aid Robertson in his
mission. After many complications, during which the female
thieves recover the chemicals and rout MacDonald and his
forces, Robertson rescues Mari. It all ends with Robertson
becoming the co-ruler of Bagdad, after which he grants
amnesty to the female thieves, who become palace guards.

Robert Sparks produced it, and Ted Tetzlaff directed it,
from a screenplay by Aubrey Wisberg and Jack Pollexfen.

Adult entertainment.

"A Day to Remember"
with an all-British cast

(Republic, March 29; time, 72 min.)

Comedy, romance and some drama are blended to fair
effect in this British-made production, which centers around
the adventures of a group of middle-class Englishmen
who go to France for a one-day holiday. It is doubtful, how«
ever, if American audiences will find it more than moderately
entertaining, for the pace is slow, the comedy mild and the
romantic interest conventional. The trouble with the story
is that it has too many by-plots,- not one of which is par-
ticularly impressive. As is the case with most other British
pictures, the players in this one are relatively unknown in
this country. The photography is ordinary: —

Included among the members of a British dart team who
cross the Channel for a one-day outing in Boulougne, France,
are Donald Sinden, a quiet young man, whose parting from
Joan Rice, his vivacious sweetheart, had been strained; EcU
ward Chapman, a widower, who had spent his honeymoon in
France; Bill Owen, who was touchy about his short stature;
Stanley Holloway, a gay blade with an eye for the ladies;
and James Hayter, a genial, middle-aged man, who was de-
termined to see that none of his pals got into trouble.
Shortly after their arrival, Sinden comes upon Odile Ver-
sois and is amazed to discover that she is the little girl who
had taught him French when he was billeted in her family's
farm during the war. Both are attracted to each other, in
spite of the fact that she is now engaged to a lawyer with a
promising future. While Sinden spends the day with Odile,
Hayter forgets his status as the team's chaperon and becomes
involved in a saloon with a vivacious blonde. At the same
time Owen gets drunk and defiantly fulfills a secret ambi-
tion to join the French Foreign Legion, despite the frantic
efforts of the others to stop him. Meanwhile Joan, back in
England, goes on a blind date with Vernon Gray, an Ameri-
can soldier, and finds in him everything that she had been
looking for in a companionable husband. She makes up her
mind to break away from Sinden upon his return. Back in
France, Odile and Sinden realize that they were meant for
each other. She breaks her engagement to the lawyer, and he
in turn promises to clear himself from his arrangement with
Joan. Thus the outing becomes a day to remember, for, in
addition to the enjoyment had by all concerned, Owen had
proved himself big enough to be accepted by the Legion,
while both Joan and Sinden find happiness in their new
engagements.

The picture was produced under the J. Arthur Rank ban-
ner by Betty E. Box, and directed by Ralph Thomas from
a screenplay by Robin Estridge, based on Jerrard Tickell's
novel "The Hand and Flower."

Family.

June 4, 1955

HARRISON'S REPORTS

"The Purple Mask" with Tony Curtis
and Colleen Miller

(Univ.-Int'l, ]uly; time, 82 min.)
Although this swashbuckling romantic adventure melo-
drama offers little that is unusual, it should give ample
satisfaction to those who like plenty of movement and
heroics in their screen fare, regardless of story values.
Photographed in CinemaScope and Technicolor, the story,
which deals with the daring deeds of a masked young
nobleman in behalf of persecuted French Royalists during
the early reign of Napoleon, is not impressive, but it has
more than an adequate share of chase sequences, swordplay
and nick-of-time rescues. As the masked hero who fears no
man or sword, Tony Curtis gives the role the proper dash
and daring and should please his many fans. The direction
is competent and so is the acting of the other players in the
cast. The fine color photography and the panoramic sweep
of the CinemaScope process are decided assets: —

Disguised as the mysterious Purple Mask, Curtis baffles
Napoleon (Robert Cornwaithe) by daringly rescuing noble
men from the guillotine, and by abducting John Hoyt, minis-
ter of police, for whose freedom Napoleon is compelled to
pay a handsome ransom. Napoleon calls upon Dan O'Her-
lihy, a brilliant swordsman, to capture Curtis. O'Herlihy plans
to bring Paul Cavanagh, a Duke, to Paris for execution and
to seize Curtis if he should attempt to rescue him. Colleen
Miller, Cavanagh's daughter, hears of the plan, and she
counterplots with Royalist friends to save her father's life.
Their plan is to have one of their group pose as the Purple
Mask and be captured by the police so that the real Purple
Mask will remain free to continue his anti'government ac-
tivities. Since the Royalists themselves were unaware of
who the Purple Mask is, Curtis is chosen to "impersonate"
him and to attempt to abduct an important state official.
Curtis not only succeeds in capturing him but also in exs
posing him as O'Herlihy in disguise. Before Curtis can
bargain with Napoleon for the release of Cavanagh in
exchange for O'Herlihy, Colleen and her Royalist friends
are arrested and scheduled for execution. Curtis, in love
with Colleen, works out a daring plan of rescue with George
Dolenz, a Royalist leader of fify expert swordsmen, who were
the sons of executed noblemen. He then allows himself to
be taken prisoner and marked for execution with the others.
On the morning of the execution, Dolenz and his men infil-
trate the military barracks, silently overpower the soldiers,
and replace them at the execution site. They take command
of the situation at a given signal from Curtis, who then
identifies himself as the Purple Mask and wins from Napol-
eon a promise of safe conduct to England for himself and
the other condemned Royalists if he bests O'Herlihy in a
duel. Curtis emerges the victor after a thrilling fight and wins
the freedom he had been promised.

It was produced by Howard Christie, and directed by
Bruce Humberstone, from a screenplay by Oscar Brodney,
based on "Le Chevalier Au Masques," a play by Paul
Armont and Jean Manoussi.

Family.

"The Seven Little Foys" with Bob Hope
and Molly Vitale

(Paramount, ]uly; time, 95 min.)
Good mass entertainment is provided in this comedy-
drama with musical numbers, which has been photographed
in Technicolor and Vista Vision. Biographical of Eddie Foy,
the famed song-and--dance vaudevillian, the story, though
episodic, is at once comical, tender and appealing, for it
centers around a man who not only became a reluctant bride-
groom but in due time found himself with a brood of seven
unruly and motherless children, with whom he set up an act.
Bob Hope does a fine job as Eddie Foy; he clowns and gags
throughout the picture in his usual style, but at the same
time gives the somewhat eccentric characterization a warm
appeal because of the manner in which he tries to atone
for neglecting his off -spring while pursuing his career. There
are times when the rudeness of the children and Hope's
neglect of his family, as well as his lack of affection for his
well-meaning sister-in-law, give the proceedings a jarring

note, but this flaw is not too serious since the action is
mainly in a light vein. Molly Vitale is sweet and sympathetic
as Hope's wife, and the tragedy of her passing, though
touching, does not put a pall of gloom over the story. Most
of the musical numbers are entertaining, but a real show-
stopper is the sequence in which Hope, as Foy, appears at
a Friars' Club dinner with James Cagney, as George M.
Cohan; their exchange of quips and the song-and-dance
routines they do together are alone worth the price of ad-
mission. The color photography is excellent: —

The story opens at the turn of the century and depicts
Hope as a promising song-and-dance man who is determined
to remain single. When he learns that George Tobias, a
prominent booking agent, had come to the theatre to see
him perform, he breaks into the prolonged act of Molly
Vitale, an Italian ballerina, and turns it into a comic bal-
let. Delighted, Tobias offers Hope a contract with the
Shuberts, providing Molly joins his act. Hope pursues her
for the sole purpose of getting her to sign the contract, but
he soon finds himself really in love and makes her his wife,
despite the misgivings of Angela Clarke, her elder sister.
Molly is blessed with motherhood within the first year of
their marriage. From then on the family increases with
regularity for a total of five boys and two girls, but Hope
is home so seldom that he sees little of Molly and the
children. Molly becomes deathly ill but does not notify
Hope, who is shocked no end when he returns from an
extended tour and learns that she had passed away earlier
in the day. Filled with remorse, he quits the stage and
devotes himself to the children, and he tries to make up
for his neglect by permitting them to do as they please,
despite the protests of Angela, who had become a mother
to them. Tobias urges Hope to return to the stage and
suggests that he form an act with the kids. The children
are antagonistic to the idea, but they learn their routines
and make a hit, in spite of the fact that the act is "hammy."
Angela accuses Hope of exploiting the children and hauls
him into court to gain their custody. Instead of fighting,
Hope pleads guilty and explains that he was simply trying
to raise the children in the only business he knows. The
kids, displaying their first sign of affection, rally to his
defense, and the judge throws the case out of court. The
incident, however, results in a happier relationship between
Hope and the children, as well as Angela.

It was produced by Jack Rose and directed by Melville
Shavelson from their own screenplay.

Family.

SOUND ADVICE

In view of the "C" rating given to RKO's "Son of Sin-
bad" by the Legion of Decency, Bob Wile, executive secre-
tary of the Independent Theatre Owners of Ohio, had this
to say to his members in a current organizational bulletin:

"Several exhibitors have asked us about 'Son of Sinbad'
and whether they should exhibit it. This picture has a seal
of the Production Code Authority but has been given a
"C rating by the Legion of Decency. There must be a point
beyond which any theatre owner must decide that he will
not bow to pressure groups of any kind. If a picture has a
PCA seal and you refuse to show it because it is condemned,
you are saying, in effect, 'Let's forget about the Production
Code and use the Legion of Decency ratings.' Martin Quig-
ley, one of the founders of the Legion of Decency, has ac*
cepted in his Motion Picture Herald and Motion Picture
Daily advertisements for 'Son of Sinbad.'

"Moreover, the Supreme Court of the state of Ohio by
a vote of 5-2 last Dec. 4, specifically ruled this picture could
be exhibited.

"Personally, not having seen it, I know nothing about its
content. If anyone protests to you, ask him if he has seen
it. He cannot in justice talk about it, unless he has. A rating
by a group of people, who may have valid reasons in their
own minds for condemning a picture, should apply to that
group alone.

"We recommend to those who play this picture that they
carry a line in their ads reading, 'This picture has the seal
of approval ol the Motion Picture Production Authority.' "

HARRISON'S REPORTS

June 4, 1955

The board directed that copies of the resolution be
sent to "all industry and Government officials who
are concerned with or may have an official interest in
the practice complained of."

The Allied resolution follows a similar complaint
filed about six weeks ago with the Secretary of the
Air Force by the organization's Gulf States unit in
connection with the terms demanded by Paramount
for "Strategic Air Command."

As to the resolution regarding the acquisition of
theatres by divorced circuits, Abram F. Myers, Al'
lied's general counsel, explained that there is con'
siderable anxiety in certain areas because these cir'
cuits have been acquiring theatres and drive-ins with
the approval of the Department of Justice and the
District Court. Myers pointed out that, under the
consent decrees, the divorced circuits may buy
theatres or an interest in them only upon application
to and a finding by the court that such acquisitions
will not unduly restrict or restrain competition.

"We feel," added Myers, "that the only way by
which the Department of Justice can fulfill its duty
and the court exercise its jurisdiction is for the affected
exhibitors to be notified and afforded the opportunity
to furnish information as to competitive conditions
in such areas. These matters are now handled in
secrecy by the Department of Justice and evidently
presented to the court in chambers so that exhibitors
know nothing about the proposed acquisition until it
is an accomplished fact."

Myers said that a copy of the resolution will be
submitted to the U.S. Attorney General without
delay.

Aside from the fact that this alert action by Allied's
board is good for the protection of the small exhibi'
tors, it points up one area in which the interests of
Allied and TOA would be diametrically opposed,
insofar as a merger is concerned, for since the TOA
is controlled by the divorced circuits it would in all
probability do nothing that might serve to stymie
theatre acquisitions.

THE "BEST" AND THE "WORST"

According to a poll conducted among the members
of the Independent Theatre Owners of Ohio to judge
the "best" and "worst" film companies in their treat'
ment of exhibitors, Metro-Goldwyn'Mayer has
emerged the victor as the "best" company, while
Warner Brothers has won the dubious honor as the
"worst."

The current service bulletin of the organization
discloses that fifty'two exhibitors, representing ap'
proximately twice that number of theatres, voted in
the poll. Three points were scored for first place, two
for second and one for third.

In the "best" company category, MGM led with
128 points, UniversaMnternational took second with
53 and 20th Century-Fox was third with 38. Of the
other companies, Columbia scored 34; RKO, 12;
Paramount, 10; United Artists, 9; Allied Artists, 5;
Republic, 3; and Warner Brothers, 3.

In the "worst" company category, Warner Bro-
thers scored 104, followed by Paramount with 76 and
by 20th Century-Fox with 45. Of the others, Uni-
versal scored 27; United Artists, 17; Columbia, 12;
RKO, 10; MGM, 6; Allied Artists, 4; Buena Vista,
3 ; and Republic, 0.

SUPPORT THE AUDIENCE POLL

In the short time since his appointment as national
chairman of the Audience Awards Poll sponsored by
COMPO, Elmer C. Rhoden, president of National
theatres, has done a magnificent job of organizing the
poll and winning the enthusiastic support of all the
principal exhibitor organizations, leading circuits and
distributing companies. He has been tireless in his
efforts to put the plan into effect, and the least that
every exhibitor can do is to give him unstinting co-
operation.

Within a few days, every theatre in the country
will receive a brochure, which is being distributed by
National Screen Service. Enclosed with the brochure
is the first of three ballots for exhibitor nominations.
This initial ballot lists seventy-two pictures that were
released between October I, 1954 and March 31,
1955. Listed also are 184 stars. Subsequent ballots
will be sent to exhibitors later for nominations of
pictures released in the April-May- June and the July-
August- September periods.

Each exhibitor is urged by Mr. Rhoden to fill in
the initial ballot immediately and to mail it to Price
Waterhouse ii Co. in the postage-paid envelope that
is enclosed with the brochure for the purpose.

All pictures listed on the ballot were submitted by
the sales managers of the distributing companies. No
pictures were submitted for nomination by indepen-
dent or foreign distributors on the first ballot, al-
though foreign and independently produced films,
bearing the Production Code seal, and released within
the stipulated period, were eligible. It is hoped that
some pictures in this category will be made available
for nominations in the last two releasing periods.

Each exhibitor is entitled to nominate not more
than 10 pictures, and not more than 10 personalities
in each of the other four categories on the first
nominating ballot. Blank spaces are provided for
write-in nominations. Ballots received after July 11,
1955 for the first set of nominations will not be con-
sidered.

Inasmuch as individual stars are to be chosen on
the basis of their best performance, exhibitors are
cautioned not to nominate any individual star for
more than one performance. Nomination of a picture
does not necessarily mean that an exhibitor must
nominate stars or promising players in that picture.
Personalities may be named for their performances
in other qualified pictures besides the one chosen by
the exhibitor as the best. No ballot will be considered
if more than 10 pictures and more than 10 players
in each category are nominated, or if a player is
nominated more than once.

The five pictures receiving the most exhibitor
nominating votes, as well as the five male and five
female performances, and the five male and five female
promising personalities, will make up the slate of
candidates to be presented for the public's voting
during the period from November 17 to November
27, 1955.

This poll will not only give the movie-goers of the
country an opportunity to express themselves on their
favorite stars and pictures, but it is bound to create
intense public interest that is sure to benefit the
industry as a whole.

Entered as second-ciaaa matter January i, 1981, at the post office at New York, New York, under the act of March 3, 1878.

Harrison's Reports

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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXXVII SATURDAY, JUNE 11, 1955 No. 24

THE TOLL-TV ISSUE

In a 167-page brief filed on Monday with the
Federal Communications Commission, the Joint Com'
mittee on Toll-TV, which is headed by co-chairmen
Alfred Starr, of TOA, and Trueman T. Rembusch,
of National Allied, and which represents at least
75 % of the country's motion picture theatres, main-
tained that the Federal Communications Act does not
give the FCC authority to license pay-as-you-see tele-
vision and urged that full public hearings be held in
the public interest before any consideration is given
to authorization of toll-TV.

The principal arguments cited by the Committee
against Toll-TV were based on the following ob-
jections :

1. It represents a definite threat to present tele-
vision programs.

2. Public investment of 10 billion dollars in ap'
proximately 37,000,000 television sets was made on
the definite understanding that no charge would be
made for programs.

3. Pay-as-you-see TV would impose an economic
burden on those least able to afford it.

4. It amounts to seizure of an established industry.

5. Pay-as-you-see TV eventually would destroy
free-TV.

Other major objections raised by the Committee in
its brief were :

Toll-TV sells entertainment only to those who can
afford to pay.

The essence of broadcasting is to transmit pro-
grams to all those willing to watch and listen, and not
to a particular group.

At certain hours, pay-TV would render useless
millions of sets owned by persons who didn't want to

pay-
Pay-TV is not a supplement to, but a substitute
for, free-TV.

Since only so much talent is available — and it can-
not be created in a hurry — pay-TV would be com-
pelled to use the same talent now used by free-TV.

Among other things, the brief emphasized that
toll-TV proposes to use the facilities of a gigantic
communications outlet established by the American
public, national advertisers, TV networks and inde-
pendent stations — a factual billion dollar industry.
Those who are advocating pay-TV, declared the Com-
mittee, have not contributed one penny to the build-
ing of this outlet, yet they expect the FCC to grant
them the right to use this system for their own per-
sonal profit and to the detriment of the "public in-
terest" the Commission is duty-bound to protect.

The Committee pointed out also that promises of
"programs to come" with pay-TV always have been,
and still are, in the haziest of speculative categories.

In a reference to Paramount, which controls 80
per cent of the Telemeter toll-TV system, and which
has announced that it will file a brief favoring authori-
zation of pay-TV, the Committee declared that the
film company should be required to divest itself of
its production activities in the event that the Tele-
meter system is authorized.

"If the Telemeter coin-box system is approved by
the Commission,'" stated the joint Committee, "the
Commission will have recreated the very situation
disapproved of in the Paramount case — the unity of
producer and exhibitor and its attendant evils.

"This would not appear to be in the public interest.
If Paramount pictures is to be considered as a chal-
lenger in the coin-box fight, it should be forced to
divest itself of its film production function. In the
light of the Paramount case, the Commission should
not permit the producer of a film to be its purveyor
over the airways, i.e., an exhibitor."

Hitting back at the claim that the motion picture
theatre operators are motivated by selfish interests in
opposing toll-TV, the Committee conceded its desire
to safeguard its own interests and added this com-
ment:

"The fact that the Joint Committee is an interested
party, however, does not reflect on the pertinency of
its Comments. The Joint Committee believes that it
has demonstrated in these Comments that its selfish
interests coincides with the public interest.

"In any event, it is no answer to the merits of any
comments to observe that the commentator has a
stake in this proceeding. Clearly, if this were a perti-
nent factor the proponents of subscription television
would also be disqualified for they are the ones with
the largest economic stake in the proposal. The Com-
mission's determination must be made in the light of
the over-all public interest. This determination can
only be made by evaluating the merits of all the argu-
ments made on behalf of those who propose and
those who oppose. "

After expressing the opinion that the FCC does not
have the authority, under the Communications Act of
1934, as amended, to authorize and regulate sub-
scription TV operations, the Joint Committee stated
that, whether or not the FCC does have the author-
ity, "Pay-as-you-see TV should not be authorized
without further enabling legislation from Congress.
The Communications Act was enacted and amended
in the light of the existing pattern of an advertiser-
continued on bac\ page)

HARRISON'S REPORTS

June 11, 1955

"The Seven Year Itch" with Marilyn Monroe,
Tom Ewell, Evelyn Keyes and Sonny Tufts

(20th Century-Fox, June; time, 105 min.)

A top-notch sophisticated comedy, based on the
highly successful stage play of the same name, and
photographed in Cinema Scope and DeLuxe color.
Revolving around the real and fancied misadven-
tures of a "Walter Mittyish" type of married man
who becomes involved with a luscious blonde imme-
diately after his wife and child leave the city for a
summer vacation, the episodic but vastly amusing
story keeps one laughing continuously throughout.
Some of the situations are hilariously funny, par-
ticularly those in which the restless hero's imagina-
tions run wild and he fancies himself as a great lover
in several romantic escapades. Tom Ewell, repeating
the role he had played on the stage for more than two
and one-half years, turns in a masterful performance
as the "straying" husband with a guilt complex —
a role that may very well establish him as a top
screen comedian. Marilyn Monroe, aside from her
obvious physical attributes, is exceptionally good as
the curvacious blonde, a naive yet knowing character
who is sociable without being designing but whose
natural sexiness plays havoc with Ewell's vow to re-
main a faithful husband during his wife's absence.
It is the best role Miss Monroe has had to date, and
her deft handling of the characterization proves her
ability as a comedienne.

Briefly, the story has Ewell, as associate editor with
a 25c pocket-book publishing firm, returning to his
mid-town apartment in New York after seeing Evelyn
Keyes, his wife, and Butch Bernard, their little son,
off to the country. Although he had vowed to remain
on good behavior while leading the life of a bachelor,
Ewell imagines himself as being irresistible to women
and day-dreams about fancied romantic escapades
with several female acquaintances. Complications
enter his life when he meets Marilyn, a minor but
sexy TV actress who had subleased the apartment
above him for the summer. He invites her into his
apartment for a drink, and she gladly accepts, even
to the point of bringing her own bottle of champagne.
This leads to Ewell making several awkward but un-
successful attempts at love-making, which are passed
off lightly by Marilyn. Meanwhile he becomes wor-
ried when Robert Strauss, the janitor, sees Marilyn in
the apartment and suspects the worst. This worry
causes Ewell to imagine that word of his "infidelity"
will be spread far and wide, and he goes into a series
of day-dreams that culminate with his being shot by
his wife before he comes back to reality. The situa-
tion becomes further complicated when Marilyn talks
him into permitting her to sleep overnight in his
apartment because it was air-conditioned. The experi-
ence turns out to be a perfectly innocent one, but his
guilt complex, coupled with his imagining that his
wife is carrying on in the country with Sonny Tufts,
a family friend, results in his rushing off to Maine to
join her with Marilyn's blessings.

A brief synopsis cannot do justice to the many
laugh-provoking situations, such as Ewells bumbling
efforts to make love to Marilyn ; his getting his finger
caught in the champagne bottle; the punch in the
nose he gives to the innocent Tufts when he makes a
friendly call; his zany session with Oscar Homolka, a
psychiatrist; and his efforts to keep the nosey janitor
out of his apartment. A short but side-splitting situa-
tion is the one in which Victor Moore, as a plumber,

attempts to free Marilyns big toe, which got stuck in
the bathtub faucet. The big laugh comes when he
drops his wrench and starts searching for it in the
depths of her bubble bath. It is a highly sophisticated
farce, and it is loaded with sex, yet at no time does
it become offensive. Adult audiences everywhere
should find it thoroughly enjoyable, and it will no
doubt prove to be one of the years big money-makers.
The color photography is excellent.

It is a Charles K. Feldman Group production, di-
rected by Billy Wilder from a screenplay written by
himself and George Axelrod, author of the original
play.

Adults.

"The Cobweb" with Richard Widmark,
Lauren Bacall, Charles Boyer, Gloria Grahame
and Lillian Gish

(MGM, July; time, 124 mm.)

Photographed in GinemaScope and Eastman color,
this film version of William Gibson 's novei emerges
as an odd but fascinating adult drama centering
around the problems, conflicts and emotional disturb-
ances of both the patients and the medical staff of a
private mental mstitution. The imposing marquee
value of the players' names should be of considerable
help in drawing people to the box-omce, but whether
or not the picture will prove to be a popular enter-
tainment is questionable, for the story, in addition
to bemg cheerless, is episodic, excessively talky and
short on emotional appeal. Moreover, the "Grand
Hotel" type of treatment given to the plot does not
permit one to either get a deep understanding of the
numerous characters involved or develop a proper
measure of sympathy or disdain for them. This, of
course, serves to lessen the impact of the dramatic
situations. The direction is good and the acting highly
impressive, with Richard Widmark turning in the
outstanding performance as the head doctor who
finds himself faced with numerous obstacles in his
efforts to introduce modern ideas concerning the re-
habilitation of the patients. The production values
and the color photography are first-rate.

In the development of the story, the conflicts and
emotional disturbances that arise among the patients
and staff stem from the selection of drapes for the
institution's library. Widmark, recently appointed to
head the institution, agrees with Lauren Bacall, the
activities director, that it would be a good idea to have
the patients handle the project, and that John Kerr,
the clinic's most disturbed inmate, should design them.
Complications arise, however, when Gloria Grahame,
Widmark's neglected and somewhat neurotic wife,
decides to supply the drapes herself as part of her
campaign to make herself more useful to Widmark.
She gets a willing assist from Charles Boyer, the
clinic's woman-chasing director, whose executive du-
ties had been taken over by Widmark. To add to the
complications, Lillian Gish, a frustrated and strong-
willed spinser who had handled the clinic's business
affairs for many years, decides to buy the drapes
herself. Widmark's close association with Lauren, a
young widow, increases his fondness for her, and
Gloria finds herself more neglected than ever. Mean-
while Boyer uses the drapes to press his attentions on
Gloria. Widmark gently but firmly persuades Miss
Gish to leave the drapes to the patients, but Boyer 's
resentment of Widmark's authority leads him to
rescind, without authority, Widmark's order that the

June 11, 1955

HARRISON'S REPORTS

patients are to make the drapes themselves. Kerr,
whose condition had improved considerably since his
mixed-up emotions had found an outlet in planning
for the drapes, becomes so upset over Boyer's action
that he runs away and heads for the river to commit
suicide. This sets off an intense but futile police
search, during which all concerned, including the pa'
tients, become emotionally disturbed. At a hastily
called meeting of the hospital s board of directors,
Widmark eloquently defends his methods of opera'
tion, and Boyer ends the crises by tendering his resig-
nation. Widmark and Lauren end their relationship
in the realization that it can come to no good, and he
decides to repair his marital relations with Gloria.
Both are drawn closer together when they discover
Kerr alive but unconscious and go to his aid.

It was produced by John Houseman, and directed
by Vincent Minnelli, from a screenplay by John
Paxton. Paul Stewart, Adele Jergens and Oscar
Levant are among the others in the cast.

Adult fare.

"Don Juan's Night of Love" with an
all-Italian cast

(Republic, May 26; time, 71 mm.)

A mediocre, Italian-made period adventure melo-
drama, with dubbed English dialogue. It is a story of
romance and adventure during the reign of Louis
XV, King of France, and the action is packed with
swashbuckling deeds of derring-do, but, despite all
the fast movement, the proceedings are unimpressive,
for the staging, direction and acting have an ama-
tuerish quality. The most disconcerting thing about
the picture is the fact that the dubbed dialogue has not
been synchronized with the lip movements of the
players. The photography is poor: —

Raf Vallone, a French soldier arrested for insulting
Madame Pompadour (Michelle Philippe) , escapes to
Italy with the aid of the Prince of Albon, an enemy
of the King. At an inn operated by Silvana Pampinini,
Vallone comes in contact with a group of smugglers
and before long organizes them into a swashbuckling
army bent on adventure and danger, and wins the
support of the people for his exploits against a crooked
Superintendent of Customs. The Prince of Albon
permits Vallone to use his castle for his operations,
but the old man dies after an argument with the
Superintendent, who sought to evict him from the
castle in order to make it available for Madame Pom-
padour, who was on her way to visit the region.
Vallone not only prevents the Superintendent from
taking possession of the castle but he also captures the
official and then impersonates him to receive Pompa-
dour. Vallone flees before she learns his true identity.
Pompadour, furious at being made a fool of, orders
her guards to attack the castle and capture him. Val-
lone goes into hiding at Silvana's inn but is captured
after being betrayed by one of his men. He is con-
demned to death, but at the last moment his followers
attack and rescue him. After numerous other com-
plications, during which Silvana pleads with Pompa-
dour for her lover's life, the noblewoman has a change
of heart and permits him to return to Italy with
Silvana.

It was produced by Nicolo Theodoli, and directed
by Mario Soldati, from a screenplay written by Mr.
Soldati, Vittorio Nino Novarese, Giorgio Bassani
and Augusto Frassineti.

Family.

"Summertime" with Katharine Hepburn
and Rossano Brazzi

(United Artists, June; time, 99 min.)

Filmed entirely on location in Venice, Italy, and
photographed in Eastman color (print by Techni-
color), "Summertime" is a poignant adult romantic
drama, based on Arthur Laurents1 stage play, "The
Time of the Cuckoo." The story, which centers
around an American spinster-secretary who visits
Venice and falls in love with a handsome but married
Italian, will have a particular appeal for female pic-
ture-goers who enjoy finding expression of a lonely
woman's problems and emotions on the screen. It is
doubtful, however, if the love story will have much
appeal for male audiences, although they should get
considerable visual satisfaction from the scenic beau-
ties of the authentic Venice backgrounds. Action
fans, of course, will find it less than satisfying, for
there are too many long stretches in which the two
principals sit and talk and nothing much happens.
In spite of the fact that the tale is spun out at a
leisurely tempo, however, the picture has effective
mood and atmosphere, good touches of comedy, and
sensitive performances by both Katharine Hepburn,
as the lonely spinster, and Rossano Brazzi, as the
charming and sympathetic Italian who fills a void in
her life. The color photography is tops: —

Making her first trip to Europe, Katharine arrives
in Venice and looks forward enthusiastically to hav-
ing a good time. She stops at an attractive rooming
house operated by Isa Miranda, a worldly woman,
and experiences her first twinge of loneliness when the
other guests all have dinner out. Isa, sensing that
Katharine is not quite as independent as she professes
to be, suggests that there are times when a girl seek-
ing companionship must give the matter a little push.
While sightseeing the following day with the aid of
Gaitano Audiero, a street urchin, Katharine visits an
antique shop operated by Brazzi and recognizes him
as the man who had been eyeing her the previous
evening while sitting at a cafe in the Piazza St. Marco.
The meeting leads to a dinner date and a glorious
evening, during which time they fall in love. On the
following evening, while Katharine waits for him at
the cafe, a young boy comes to tell her that Brazzi
will be a little late. She invites the youngster to sit
down and discovers that he is Brazzi's son. This dis-
covery leaves her furious, particularly when she learns
that he is the father of several children. She berates
Brazzi for his deception, even though he explains
that he is separated from his wife, and during their
quarrel he accuses her of behaving like a naive school-
girl instead of a woman who is hungry for love. He
persuades her to dine with him and the reconciliation
culminates with their spending the next few days to-
gether in a carefree and idyllic existence until Kath-
arine realizes the futility of their relationship. She
decides to leave Venice immediately, despite Brazzfs
entreaties that she remain. Their parting is tearful,
but she returns home with the feeling that, through
Brazzi, she had found herself as a woman.

It was produced by Ilya Lopert, and directed by
David Lean from a screenplay he wrote in collabora-
tion with H. E. Bates.

Adult fare.

(Ed. T^lote: At the time this review was written, a
Production Code seal had not been granted to the
picture.)

HARRISON'S REPORTS

June 11, 1955

supported broadcast industry, and it does not afford
an adequate basis for authorizing subscription TV."

It added that 'The present proposals for subscrip-
tion TV on broadcast frequencies are not in the public
interest, and, therefore, pending requests should be
denied. In any event the commission cannot conclude
that the present proposal is in the public interest with'
out ordering a full evidentiary hearing where testi-
mony will be given under oath and will be subject to
cross-examination . 1 '

Limited space does not permit a fuller account of
the exceptionally fine brief filed by the Joint Com-
mittee. Suffice it to say that it punches gaping holes
in the repeated arguments presented by the pro-
ponents of toll-TV and should put a crimp in their
efforts to get FCC approval of pay-TV without full-
scale public hearings on the facts and issues involved.

* * *

Pertinent to this report on the toll-TV hassle is the
news from Washington that the Federal Communica-
tions Commission has received more than 15,000 let'
ters and postcards from the public expressing pro and
con opinions.

That the proponents on subscription television got
the jump on the opposition and carried on a most
successful campaign to influence public opinion is
evidenced by the fact that the first 7,000 letters re-
ceived by the FCC ran six to one in favor of pay-TV.

That the Joint Committee has done a most effective
job in combating the powerful propaganda campaign
waged by the toll-TV proponents is indicated by the
fact that the current flow of letters reaching the FCC
is now overwhelmingly opposed to pay-TV, with last
week's mail running twenty to one against it.

A FINE CHOICE

Herman Robbins, chairman of the board of Na-
tional Screen Service, has been named the "Pioneer
of the Year" by the Motion Picture Pioneers, an or'
ganization composed of men who have served in the
motion picture industry for more than twenty-five
years.

In making the announcement, Jack Cohn, presi-
dent of the organization, stated that ceremonies hon'
oring Mr. Robbins will be held in conjunction with
the Pioneers' 17th annual dinner, which will be held
on November 4, 1955, at the Waldorf-Astoria in
New York City.

Herman Robbins certainly is deserving of this high
honor, for he has always proved himself to be one of
the distinguished leaders of the industry and is truly
one of its pioneers.

Starting his career on the old 7<[ew Yor\ Evening
World, he left that publication to join the Fox Film
Corporation and rose to General Sales Manager un'
der Winfield Sheehan. He served with Fox until 1923,
at which time he left to acquire an interest in National
Screen Service.

During the past 32 years, his company, under his
alert guidance, has kept abreast of the industry's need
for promotional material, and its facilities and per'
sonnel have been made available unfailingly to serve
national, civic and industry causes.

Throughout the years he has performed many un'
publicized services on behalf of philanthropic and

charitable enterprises in and out of the industry. His
work for the Motion Picture Pioneers ranks among
his outstanding contributions in behalf of those un'
fortunate enough to require aid from fellow-industry-
ites, and, as a director of the Will Rogers Memorial
Hospital, his efforts in behalf of that worthy cause
have been nothing short of fabulous. The United
Cerebral Palsy Foundation has given him its Dis-
tinguished Service Award Plaque for five years of
invaluable support, and in 1949 he was cited for his
service to the Disabled American Veterans.

During the war, he was an active member of the
Industry Advisory Committee of the War Produc-
tion Board, and was cited for his contribution to the
War Finance Program of the Treasury Department.

Right now he is serving the industry as treasurer
of COMPO.

The glowing record that Herman Robbins has
carved for himself is indeed an enviable one and it
indicates fully his outstanding qualities as a great
humanitarian and industry leader. Harrison's Re-
ports heartily joins the Motion Picture Pioneers in
their salute to him.

AN ATTRACTIVE BONUS

Joseph Tushinsky, president of SuperScope, has
announced that from now on any theatre in the
United States and Canada that purchases a pair of
the SuperScope variable anamorphic lenses at the
regular price of $395 per pair will receive a $100
bonus to be paid by his company and to be applied
to the booking of a SuperScope picture.

The offer, said Tushinsky, will be valid if the pic-
ture is booked several months after the purchase of
the lenses.

SuperScope will handle all details of the operation,
which calls for the exhibitor, following the placing
of his order for a pair of the lenses, to receive from
the company by return mail a validated certificate
into which he inserts the name of the SuperScope
picture and the date of the booking. Upon receipt of
the information, the company will send its check to
the exhibitor in the amount of $ 1 00 towards payment
of the booking.

Current SuperScope films include "Vera Cruz,"
"Underwater!," "Son of Sinbad" and "Escape to
Burma." Approximately fifteen other SuperScope
films are slated for release in the coming months.

The SuperScope variable anamorphic lenses, as
most of you probably know by this time, is compati-
ble with all anamorphic processes, particularly
CinemaScope, the principal one.

Aside from the fact that the offer appears to be a
good one for those who have not yet installed anamor-
phic equipment, it is apparent that it has been moti-
vated by the fact that the supply of anamorphic
projection lenses now exceeds the demand. This is
understandable in view of the fact that more than
14,000 theatres in the United States and Canada are
now equipped to show anamorphic films. World-wide,
the number exceeds 24,000.

These installations are, of course, mainly for
CinemaScope pictures, and the figures are indicative
of the strong public demand for screen entertainment
offered in that process.

Bntered as second-class matter January 4, 1921, at the post office at New York, New York, under the aot of March 3, 1879.

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35c a Copy Columns, if It is to Benefit the Exhibitor. circle /-4b^

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXXVII SATURDAY, JUNE 18, 1955 No. 25

ALLIED-TOA TALKS
WITH DISTRIBUTORS RESUMED

Considerable progress toward seeking a solution to the
strained exhibitor-distributor relations was made this week
as a result of a series of separate conferences held by the
Joint Allied-TOA Committee with Paramount, Columbia,
RKO and MGM. The committee met with 20th Century
Fox several weeks ago, and it has announced that meetings
with Universal-International and Warner Brothers have
been postponed for a week or two because the top executives
of these two companies were not available.

At the conclusion of this week's round of conferences,
Rube Shor, president of National Allied, and E. D. Martin,
president of the Theatre Owners of America, issued a short
joint statement in which they expressed the hope that "this
all-out effort by exhibition to seek solutions will ultimately
bring about peace and harmony to our industry."

The meeting with Paramount was held on Monday, and
a statement issued jointly by the Allied-TOA committee
and Paramount stated that George Weltner, head of world-
wide sales for the picture company, assured the representa-
tives of the exhibitor committee that Paramount would
take under "extremely friendly advisement" their presenta-
tion of problems affecting exhibition, particularly theatres
grossing $1,000 or less per week.

The statement added that the exhibitor representatives
had outlined "the serious problems facing exhibitors today,
primarily the small theatre owner," and the necessity for
"an honest and sincere effort to arrive at a means of easing
these problems and to achieve greater understanding be-
tween the fields of distribution and exhibition."

Weltner pointed out that he was not yet completely
familiar with the domestic sales situation, having so recently
added the domestic field to his world-wide sales duties, and
that he is currently in the process of visiting all domestic
exhanges to familiarize himself with industry as well as
company matters on the domestic level.

When pressed by the exhibitor representatives for
specific and immediate changes in sales policy, Weltner
replied that he is in no position to comment specifically at this
time. He added that, upon his return from a business trip
to Europe early in July, he will devote his efforts to explor-
ing possible solutions in the same earnest and sincere man-
ner in which they were presented and sufficient time must
be allowed him to accomplish this.

Abe Montague, vice-president of Columbia, issued the
following statement after his meeting with the committee
on Tuesday:

'I was delighted to sit in constructive session today with
the representatives of Allied and TOA. The forthright
approach and sincerity which each one of the men brought
to our meeting was most gratifying. Any such meeting with
outstanding leaders of exhibition always can represent a
forward step.

"Many topics of industry controversy were discussed
between us. On certain topics, such as national sales policies;
continuity of product; the selling to small theatres on an

equitable flat rental basis, and the development of new
personalities, I was in complete agreement with the com-
mittee. I was able to assure them that Columbia Pictures
would lend every possible effort to further these policies
in complete cooperation with their respective groups.

"I did not agree that I would participate in arbitration
of film rentals. I urged a reconsideration of Allied's posi«
tion on both conciliation and arbitration.

"As to prints, I explained most thoroughly the economic
problem involved. I respectfully asked for the group's think-
ing and advice so that a sounder, more economical basis of
print purchase — especially on CinemaScope pictures —
could be arrived at.

"I am hopeful that meetings of this nature between repre-
sentatives of the various branches of our industry will pro-
duce a working arrangement under which we can all live
in harmonious relations. It is far better that these problems
be discussed in the confines of an intra-industry session
than in the public press or in the legislative halls."

No statements were issued by either MGM or RKO
after their meetings with the joint exhibitor committee.

Neither satisfaction no dissatisfaction with the confe-
ferences held thus far has been expresseod by either Allied
or TOA.

According to statements made this week by E. D. Martin
to trade paper reporters, the position taken by TOA is that
it will not commit itself to any policy in regard to current
trade practices until after the conclusion of meetings with
all the companies.

Meanwhile, AUied's Emergency Defense Committee met
in Chicago last week and requested that the Allied board
grant it an extension of time until July 1 for the drafting
of a final report that "shall contain specific findings as to
the attitude of each company toward meeting with exhibitor
representatives and its position in regard to each problem
discussed where interviews were had."

A statement issued by the Committee added that "con-
sistently with the policy set by the board of directors at the
St. Louis meeting in February, the E.D.C. recommended
that the general counsel (Abram F. Myers) begin active
preparations for Congressional hearings which are tenta-
tively scheduled for the middle of July in order that the
desperate condition of the exhibitors and the reasons there-
for may be brought to public attention in case the Com-
mittee's final report is negative and it appears that necessary
relief cannot be secured by the orderly processes of negotia-
tion and agreement."

The encouraging thing about the conferences held this
week is the friendly tone of the statements made by George
Weltner, of Paramount, and Abe Montague, of Columbia,
inculding Montague's admission that he is in "complete
agreement" with exhibition on a number oi controversial
issues. Let us hope that these sales executives are not merely
paying lip service to the need for harmony within the busu
ness, and that they will soon give a practical demonstration
of their sincerity by taking every feasible step possible to
correct existing inequities.

HARRISON'S REPORTS

June 18, 1955

"Foxfire" with Jane Russell,
Jeff Chandler and Dan Duryea

(Univ.'Int'l, July; time, 92 min.)

A fairly good modern.'day outdoor Technicolor melo'
drama, revolving around gold-mining activities and around
the fate of a hasty marriage between a gay but sincere
Eastern socialite and a half-breed mining engineer whose ties
to the Indian way of life make him over-sensitive. There is
not much novelty to the story, which has a "soap opera"
quality, and the quarrels between husband wife tend to
leave one in a somewhat unhappy frame of mind. It has
some comedy relief, however, and should give ample satis-
faction to movie-goers at large, because of the popularity of
the stars, the fine color photography and fairly exciting
action : —

Jane Russell, an Eastern socialite vacationing in Ari-
zona, meets Jeff Chandler, a local mining engineer, and
marries him after a whirlwind courtship, despite the objec
tion of Frieda Inescort, her mother, who had learned that
Chandler is a half-breed Apache. Jane loves Chandler so
much that she does mind his Indian blood, but their first
quarrel results when she visits him at the mine and is told
that women are not welcome there. She impulsively turns
for consolation to Dan Duryea, the mining company's doc-
tor and Chandler's pal, who finds himself falling in love
with her. Chandler's time is taken up almost wholly with
efforts to re-open the deserted Foxfire mine, which he be*
lieves to be rich in gold, and he wins financial support from
Robert F. Simon, the owner, despite the opposition of Bar-
torn MacLane, the foreman. Meanwhile Jane and Chandler
grow further apart, and she does not tell him that she is
pregnant. After a quarrel with Chandler over his misunder-
standing of her innocent association with Duryea, Jane has
a miscarriage. She separates from Candler at the instigation
of her mother, and Chandler, though deeply in love with
her, is too proud to ask her to return to him. One night an
explosion at the mine injures Chandler severely, but he
manages to save the lives of his men. News of the accident
makes Jane realise that she is still in love with him. She
rushes to his bedside and, as they vow to begin life anew,
word arrives that the explosion at the mine had uncovered
a rich gold vein, thus making Chandler's dream of a bon-
anza come true.

Aaron Rosenberg produced it, and Joseph Pevney directed
it, from a screenplay by Ketti Frings, based on the story by
Any a Seton.

Family.

"Creature With the Atom Brain"
with Richard Denning

(Columbia, ]uly; time, 69 min.)

There is little to recommend in this fantasic program
melodrama from the entertainment point of view, but it is
the type of picture that can be exploited to advantage in
situations that cater to undiscriminating audiences. Others
probably will find it boresome. The story revolves around a
gangster who seeks revenge against those who had sent
him to jail, and to murder them, he, aided by a mad scientist,
brings corpses back to a "mechanical life" by means of
atomic rays and makes them do his bidding. The action is
neither pleasurable nor believable, and there is no comedy
relief. The photography is not bad: —

Secretly returning to the United States after being de-
ported to Italy, Michael Granger, a gangster, determines to
murder all those responsible for his deportation. With the
aid of Gregory Gay, a German scientist, he steals eight bodies
from the city morgue and, by means of electrodes and atomic
rays, brings them back to "mechanical life" and makes
them obey his will by remote control. These creatures, im
fused with superhuman strength and controlled by an intri-
cate switchboard, are sent out on murderous missions that
baffle the police. Detective Richard Denning and Sol Lerner,
his sidekick, start an extensive investigation and numerous
clues, including the discovery of radioactive dust at the
scene of the crimes, convince them that they had been com-
mitted by Granger in some weird fashion. Further investiga-

tion discloses fingerprints of men who were known to be
dead. Denning, at his wits end, enlists the aid of the military
to help solve the case. In the events that follow, Lerner is
kidnapped by one of the creatures, brought back to Granger's
headquarters and turned into a "creature" himself. He is
then sent out to kill Denning, guided by Granger through re-
mote control. Denning recognizes what had happened to his
pal when he sees him, and manages to escape death. He
then orders the police not to apprehend Lerner but to fol-
low him back to Granger's hideaway. When Granger sees
his hideaway surrounded by a cordon of police, he decides
to let the "creatures" loose on them, despite the objections
of the scientist, whom he kills. Bullets do not stop the
"creatures" as they plow into the police and subdue them
one by one. Denning, however, manages to make his way
into the control room and comes to grips with Granger,
whom he strangles to death. He quickly smashes the con-
trol panel, and this causes the "creatures" to topple to the
ground without life. With the atom creatures destroyed,
Denning goes back to solving normal police cases.

It is a Clover production, directed by Edward L. Cahn
from a story and screenplay by Curt Siodmak.

Adults.

"It Came from Beneath the Sea"
with Kenneth Tobey and Faith Domergue

(Columbia, July; time, 79 min.)
Undiscriminating picture-goers, particularly children,
should get some thrills out of this horror-type, science fic-
tion melodrama, but those who are the least bit fussy about
their screen fare undoubtedly will scoff at it. The story re-
volves around a giant sea monster — a radioactive octupus,
which terrorizes shipping lanes and invades the San Fran<
cisco area before it is destroyed. The action depicts the
monster seizing human beings from boats in which they had
taken refuge, and crumbling buildings in the San Francisco
area and even tearing down the Golden Gate bridge as if it
were no more than a box of matchsticks. Added to the in-
congruity of the action is the fact that, while the monster
carries on its destruction, many people are shown fleeing in
panic while othere are seen walking under its tentacles in a
seemingly unconcerned manner. The one favorable thing
that may be said for the picture is that the special effects
and miniature work are done well. The photography is
very good: —

When a giant octupus stops a new atomic-powered subma-
rine cold on its maiden voyage, Kenneth Tobey, the young
commander, reports the incident to Naval Intelligence. Don-
ald Curtis, an analytical biologist, and Faith Domergue, an
expert on marine life, are drafted to study a mysterious sub-
stance that had stuck to the submarine and, after days of
experimentation, they come to conclusion that it came from
a sea monster that lived in the Great Mindano deep and
that had been made radioactive by H-Bomb experimental
explosions. Its radioactivity warned off its natural prey, and
it now roamed far and wide in a search for food. In the
days that follow, ships disappear at sea and it becomes
apparent that the monster was keeping alive on a diet of
human beings. An exhaustive sea search is ordered, with
Tobey in command, and the association between him and
Faith develops into a romance. The beast eventually reaches
the San Francisco area and electric nets are stretched to kill
it. Infuriated by the electric charge, the monster destroys the
Golden Gate bridge and then invades the city. It smashes
everything in sight and the inhabitants flee in all directions.
Flame throwers compel the monster to withdraw into the
bay, and depth charges herd it toward the submarine in
deep waters. Tobey, risking his life, fastens an explosive
charge to one of its tentacles and hurls a dynamite-laden
harpoon that strikes it between the eyes. The resulting ex-
plosions put an end to the monster. It ends with Tobey re-
suming his romance with Faith, who happily accepts his
proposal of marriage.

It is a Clover production, produced by Charles H. Schneer,
and directed by Robert Gordon, from a story by George
Worthington Yates, who collaborated on the screenplay
with Hal Smith.

Harmless for the family.

June 18, 1955 HARRISON'S REPORTS "99

"Finger Man" with Frank Lovejoy,
Forrest Tucker and Peggie Castle

(Allied Artists, June 19; time, 82 min.)
A fair program melodrama of the cops-and-robbers
variety, well enough acted to hold one's attention to the
end. As indicated by the title, the action revolves around a
hijacker, a three-time-loser, who, to escape conviction, is
compelled to "play ball" with Internal Revenue agents to
break up a vast, illicit whiskey syndicate. The story offers
few surprises, but it manages to hold the spectator in fairly
tense suspense. There is no comedy relief. The photography
is good: —

When Internal Revenue agents find concrete evidence of
his guilt in a crime, Frank Lovejoy, a professional hijacker,
is given the choice of spending a lifetime in prison for a
third offense or turning informer on Forrest Tucker a gang-
ster they had long sought to arrest but could not do so
because of lack of evidence. Lovejoy agrees to cooperate
with the Internal Revenue Bureau and is assigned to work
closely with Hugh Sanders, the I.R.B. chief, and several of
his top agents. Through Lewis Charles, a pal, Lovejoy meets
Peggie Castle, who in turn introduces him to Tucker, head
of the whiskey syndicate. Timothy Carey, Glen Gordon and
John Close, Tucker's triggermen, suspect Lovejoy of being
a stool piegon and scheme to remove him from Tucker's
favor. Carey murders Peggie, and Lovejoy gives him a
severe beating. He then sets a trap that enables the Revenue
agents to move in on the syndicate in time to rescue him
and to arrest Tucker, after killing Gordon and Close.

Liindsley Parson produced it, and Harold Schuster di-
rected it, from a screenplay by Warren Douglas, based on a
story by Morris Lipsius and John Lardner.

Adult fare.

"Chicago Syndicate" with Dennis O'Keefe,
Paul Stewart and Abbe Lane

(Columbia, July; time, 83 min.)

A routine program gangster melodrama, with less violence
than is usually found in pictures of this type, but with
enough suspense and spurts of excitement to satisfy undis*
criminating audiences. Revolving around a bookkeeper who
turns amateur sleuth to help the police wipe out a crime
syndicate in the city of Chicago, the story follows a familiar
pattern in that it has the hero worming his way into the
confidence of the gang overlord to gain the evidence that
busts up the syndicate. The characterizations are more or
less stereotyped but the acting of the principal players is
competent if not outstanding. Worked into the proceedings
are musical routines featuring Abbe Lane and Xavier Cugat,
both of whom are given parts in the story. Miss Lane does
an acceptable acting job, but Cugat should stick to his
bandleading activities: —

Paul Stewart, suave head of a Chicago crime syndicate,
learns that his accountant had become conscience stricken
and had arranged to expose his activities to Richard Cutting,
a local newspaper editor. Stewart sees to it that the account-
ant is murdered before he can talk. Cutting calls a secret
conference of some of Chicago's leading citizens, including
the police, and they agree to offer a reward of sixty thousand
dollars to anyone who could take the murdered man's place
and obtain evidence that would enable the Department of
Internal Revenue to clamp down on Stewart with a tax
evasion charge. Dennis O'Keefe, a young accountant with
a brilliant war record, is hired to do the job. Through
cleverness and courage, O'Keefe works his way into the
syndicate and in a matter of months gains Stewart's con-
fidence to the extent where he becomes his chief aide. In
the course of his operations, O'Keefe meets up with Allison
Hayes, an attractive girl, and discovers that she is the
daughter of the murdered accountant and that she was
determined to avenge his death. O'Keefe tells her the truth
about himself and, at his suggestion, she makes a play for
Stewart to arouse the jealousy of Abe Lane, Stewart's girl-
friend. When Stewart discards Abbe, O'Keefe goads her
into revealing that she had obtained and hidden a micro-
film record of Stewart's incriminating accounts. O'Keefe

manages to obtain possession of the microfilm only to be-
come involved in a running gunfight with Stewart and his
henchmen, who chase him through warehouses and the city
streets. He is saved by the timely arrival of the police, who
kill Stewart and round up his thugs. His mission accom-
plished, O'Keefe collects his reward and looks forward to a
happy future with Allison.

It is a Clover production, directed by Fred F. Sears from
a screenplay by Joseph Hoffman, based on a story by Wil-
liam Sackheim.

Adults.

"You're Never Too Young" with Dean Martin,
Jerry Lewis and Diana Lynn

(Paramount, August; time, 102 min.)

This latest Martin and Lewis effort is a highly comical
romp that should go over very well with the general run of
audiences. Photographed in Technicolor and VistaVision,
and centering around the riotous adventures of Lewis, who
is compelled to masquerade as an 11 -year-old boy, the action
keeps one laughing heartily throughout because of his zany
mixups with a jewel thief, a pretty school teacher and 'teen-
aged students at a fashionable girls' school. Much of the
comedy is in a slapstick vein, but it is extremely funny. This
is particularly true of the chase sequence toward the finish,
where Lewis, on water skiis, is dragged all over a mountain
lake by the villain, who was trying to escape in a speed
motorboat. Dean Martin is effective enough as the athletic
director of the school and as straight man for Lewis' mad
capers, but it is Lewis who walks off with the picture from
start to finish. Several pleasing songs are worked into the
proceedings, but a spectacular and highly entertaining musi-
cal sequence is the one in which Martin and Lewis do a
march and drill routine with the schoolgirls, who follow
Lewis' whacky dance steps. The photography is first-rate: —
Dean Martin and Diana Lynn, teachers at a fashionable
school for young girls, prepare to return to Oregon after a
brief holiday in Los Angeles. Martin visits the hotel barber-
shop, where he is given a difficult time by Jerry Lewis, an
apprentice barber. Raymond Burr, suspected by the police
of having killed a man to steal a valuable diamond, slips the
gem into Lewis' pocket and then sends him to his apartment
to give Veda Ann Borg, his sexy wife, a scalp treatment.
Veda makes love to Lewis and mistakenly removes a wad of
bubble gum from his pocket in the belief that it is the dia-
mond. Burr enters the apartment at this point, accuses Lewis
of making love to his wife, and threatens to kill him unless
he leaves town immediately. Short of funds to return to his
home in Washington, Lewis masquerades as an 11 -year-old
boy to ride on the train at half-fare. He soon discovers that
Burr had boarded the same train in pursuit of him, and he
eludes him by taking refuge in Diana's compartment. Her
heart goes out to the frightened "boy" and she permits him
to spend the night with her. Nina Foch, the principal's
daughter, who was vying with Diana for Martin's love,
discovers that Lewis had spent the night in her compartment
and tries to capitalize on it by notifying the school board.
To protect Diana's good name, Martin compels Lewis to
accompany him to the school so that all may see that he is a
child. Lewis continues the masquerade and is compelled to
room with Nina's 12-year-old brother, who sees through his
disguise, but Lewis buys his silence by giving him the seem-
ingly worthless gem for his geology collection. After many
complications, during which Nina's brother discovers that
the diamond is genuine and suspects Lewis of being the
killer-thief, Burr, by posing as Lewis' father, gets hold of
him and retrieves the diamond. Martin notifies the police
and, after a wild motorboat chase, Burr is captured. It all
ends on a happy note, with Martin winning Diana after
being concerned that she had lost her heart to Lewis, who
returns to Los Angeles to resume his career as a barber.

It was produced by Paul Jones, and directed by Norman
Taurog, from a screenplay by Sidney Sheldon, suggested by
a play by Edward Childs Carpenter, and based on a story
by Fanny Kilbourne.
Family.

100

HARRISON'S REPORTS

June 18, 1955

"Not As a Stranger" with Robert Mitchum,
Olivia de Havilland, Frank Sinatra,
Gloria Grahame, Broderick Crawford
and Charies Bickford

(United Artists, July; time, 135 min.)
Because of the powerful dramatic material offered in
Morton Thompson's best-selling novel about a young doctor,
this picture no doubt will be subjected to more-than-normal
critical inspection, particularly by the millions who read the
book. Many may feel that the novel's dramatic force has been
diluted by the liberties taken in the screenplay, that several
of the characterization are not too clearly defined, and that
the choice of Robert Mitchum to play the central character
was not a wise one. But when one weighs the pictures faults
against its virtues, it still emerges as a powerful and engross-
ing drama that should do exceptionally well at the box-office,
not only because of the vast popularity of the novel, but
also because it is a picture that is well worth seeing. The
story's depiction of the good and bad in the medical profes-
sion is thought-provoking, and it packs a good deal of emo-
tional excitement in the operating room sequences. One such
powerfully dramatic sequence takes place at the finish,
where the hero performs an emergency operation on a col-
league who had been stricken with a heart attack, only to
make a fatal surgical mistake that ends his life. As the ideal-
istic medical student with a strong desire to become a
doctor, Mitchum is no more than adequate; he goes through
the proceedings with one expression on his face and fails
to appreciably convey to the audience the drive and in-
tensity that is an important part of the characterization.
Olivia de Havilland is impressive as the sympathetic Swedish-
American nurse who is tricked into marriage by Mitchum
in order to have her finance his education; one feels keenly
the frustration she suffers when she realizes that he did not
marry her for love. Outstanding performances are turned
in by Broderick Crawford, as a dedicated pathologist in the
medical school; Charles Bickford, as a humane, small-town
doctor; and Frank Sinatra, as a light-hearted student who
does not take the practice of medicine too seriously. Gloria
Grahame does well enough as a wealthy, sexy widow who
makes a play for Mtchum, but her characterization is not
motivated too clearly. Stanley Kramer's direction is brilliant
in some spots and quite ordinary in others. The black-and-
white photography is superb: —

Mitchum, a young medical student, idealizes the ambi-
tion he had set for himself, almost to the exclusion of every-
thing else. Sinatra, his roommate, Olivia, the head operating
room nurse at the hospital, and Crawford, his professor,
appreciate and understand his total absorption. Mitchum
finds himself in trouble when Lon Chaney, his alcoholic
father, squanders money that had been put aside for his
education. Faced with dismissal for non-payment of tuition
fees, Mitchum starts to court Olivia after learning that she
had saved a substantial sum of money. She falls madly in
love with him, marries him and pays the remainder of his
tuition. He keeps studying intensely, becomes an interne,
and while serving in that capacity shows extereme intole-
rance with any one who makes even the slightest mistake.
To him, a doctor, dealing with human life, must be a para-
gon. When ready to go out in the world as a general practi-
tioner, Mitchum ignores the lure of fancy fees in the big
cities and accepts a post in a small town as assistant to
Bickford, a gruff but loveable country doctor who was pre-
paring to go into retirement. He becomes completely
wrapped up in the job of serving the townspeople, to the
extent where he discourages Olivia's desire to have children.
Complications arise when Mitchum falls for the wiles of
Gloria Grahame, a flirtatious widow, and starts an affair
with her. Olivia becomes aware of his indiscretions and
keeps secret the fact that she had become pregnant. Mitchum
learns of her condition through Sinatara and seeks her for-
giveness, but she refuses to have anything more to do with
him. Shortly thereafter, Bickford collapses from a heart
malady and, to save him, Mitchum performs an emergency
operation, but he makes a tragic miscalculation and Bick-

ford dies. Heartsick over this happening, he finds con6ola<
tion in the arms of the understanding Olivia and realizes
how much he needs her.

It was produced and directed by Stanley Kramer from
a screenplay by Edna and Edward Anhalt.

Adult fare.

"We're No Angels" with Humphrey Bogart,
Aldo Ray, Peter Ustinov, Joan Bennett
and Basil Rathbone

(Paramount, August; time, 103 min.)

A diverting, if not hilarious, off-beat comedy is offered
in "We're No Angels," which has been photographed in
Technicolor and VistaVision. Centering around the amus-
ing machinations of three convicts who escape from Devil's
Island and use their "talents" to aid a kindly family they
had planned to rob, the story, though farcical, has a some-
what macabre quality in that the convicts permit two ruth-
less relatives of the family to die from a poisonous snake
bite merely by not warning them against the danger. Murder,
as a general rule, is not a pleasant subject, but the light
manner in which it has been treated is so humorous that
one cannot help being amused. Besides, the murder victims
are malicious persons and the spectator does not feel sym-
pathy for them. Although one is kept chuckling throughout,
there are moments when the farcical humor wears thin and
the action slows down considerably. As a matter of fact,
the action is confined to a few sets, giving one the impres-
sion of a photographed stage play. The acting is very good,
and so is the photography: —

Humphrey Bogart, Peter Ustinov and Aldo Ray escape
from Devil's Island on Christmas Eve and hide out in a
community adjoining the prison. Needing funds to finance
their return to France, they enter a general store operated
by Leo G. Carroll, pose as parolees from Devil's Island,
and talk him into permitting them to perform some odd jobs
for him around the store. The trio hoped to use the store as
a place of refuge until Bogart, a forger, managed to make
three passports to get them off the island. While working
around the shop, the men meet Joan Bennett, Carroll's
wife, and Gloria Talbott, their pretty daughter, and from
snatches of conversation they learn that the family was up-
set over the pending arrival of Basil Rathbone, Carroll's
cousin, who was the ruthless and penny-pinching owner of
the store. They feared that Rathbone would fire Carroll,
whose books were in a hopeless state as a result of extend-
ing too much credit. Additionally, Rathbone objected to the
love between Gloria and John Baer, his nephew and heir,
whom he hoped to marry off to the daughter of a wealthy
ship builder. Touched by the family's kindness when they
are asked to remain overnight for Christmas dinner, the
three convicts waver in their plan to rob and murder them.
Rathbone arrives unexpectedly at midnight, accompanied
by his nephew, and he proves to be so disagreeable that the
three convicts decide that they would be doing the family a
favor to dispose of him. As they figure out ways and means
of killing him, Rathbone seals his own doom by unwittingly
taking possession of a cage containing a small but venomous
snake kept as a pet by the convicts. While the convicts
slowly debate the advisability of warning Rathbone of his
danger, the snake does its work well. Bogart immediately
forges a will dividing Rathbone's estate between Baer and
Carroll. In the morning, Baer is the first to find his uncle's
body, and he destroys the will to make sure that he will
inherit the entire estate. Convinced that Baer will be as ruth-
less as his uncle, the convicts see to it that he, too, is taken
care of by the snake. After making sure that the family will
inherit Rathbone's wealth, the three "angels" take their
leave, but instead of heading for freedom they return to
the prison, confident that life there will be much safer for
them.

It was produced by Pat Duggan, and directed by Michael
Curtiz, from a screenplay by Ronald MacDougall, based
on a play by Albert Husson.

Adult fare.

Entered as second-class matter January 4, 1321, at the poet uflioe at New York, New York, under the aot of March 3, 1879.

Harrison's Reports

Yearly Subscription Rates: 1270 SIXTH AVENUE PubUshed Weekly by

™? States ,16.00 New York 20, N. Y. ^^LnZT' ^

U. S. Insular Possessions. 16.50 J^uoiisner

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Mexico, Cuba, Spain 16.60 Devoted Chiefly to the Interests of the Exhibitors

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India, Europe, Asia 17.50 its Editorial Policy: No Problem Too Big for Its Editorial . 7

35c a Copy Columns, if It is to Benefit the Exhibitor. circle l-*6Z£

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXXVII SATURDAY, JUNE 25, 1955 No. 26

A CONSTRUCTIVE RECOMMENDATION

In a letter sent last week to the general sales managers
of the distributing companies, Jack Kirsch, president of
Allied Theatres of Illinois, recommended that they grant
broad and complete local autonomy to branch managers in
their dealings with exhibitors on all film matters to help
alleviate some of the tensions between exhibition and dis-
tribution.

"When I speak of local autonomy," said Kirsch in his
letter, "I mean very broad and complete authority — and all
that this implies — being given to the branch sales head in
permitting him to formulate a local sales policy on all film
deals, designate allocations, handle adjustments and disputes,
etc. The branch manager, being more familiar with the ac-
counts he deals with than the home office sales departments
is in better position to determine the kind of film terms to
be asked of his local customers. At present the home offices
fix the terms under which a picture is to be sold without
due regard to economic conditions and other circumstances
surrounding a particular exchange area so that in the final
analysis there is no room left for any degree of bargaining
at all between buyer and seller. When such hard and fast
terms are set by the home office, without consideration to
the exhibitors ability to pay, the natural tendency of the
exhibitor is to resist these terms and results in a very strained
relationship between buyer and seller."

"It is my opinion," continued Kirsch, "that each film
company has a great monetary investment in its branch
managers but do not back up this investment commensurate
with the kind of authority which they should have if they
are to meet up to their actual and real responsibilities.
Granting local autonomy would place the branch manager
in a position of greater trust and responsibility. If he isn't
worthy of this authority then he isn't worthy of the position
he holds.

"I sincerely recommend to the general sales managers
that they give this matter careful consileration as a change
of policy such as suggested would not only lessen the pre-
vailing tension between organized exhibition and distribu-
tion, but would eliminate many of the serious trade prob-
lems now confronting our industry, both on a local and
national level."

Kirsch concluded his letter with the statement that his
recommendation "is far from a panacea for solving all of
the problems of our industry, but if given a reasonable oppor-
tunity to succeed it could bring about a new and constructive
era in the field of exhibitor-distributor relations."

The logic behind Jack Kirsch's recommendation is sound
and constructive. Much of the tension that exists between
exhibition and distribution today stems from the fact that
the sales policies set by the home offices of the distributors
take no recognition of ever-changing business conditions
within different areas, nor do they take into consileration
the fact that a top-bracket picture may be a huge success
in one situation but only mediocre in another.

There is also the matter of pictures that are patronized
heavily in the large cities but have little appeal in small-
town ond rural areas. Even subsequent-run theatres in the
large cities are often affected by the abnormal extended
playing time given to a picture in the first-run theatres — a
condition that not only milks the subsequent-run of the

extra attendance it might have enjoyed, but also of its
limited patronage.

Because of these and other conditions that are peculiar
to a local area, the branch manager, as pointed out by
Kirsch, is in a better position than the home office sales
executives to determine the kind of film terms that should
be asked of his local customers. Under the present system,
the general sales manager in New York decides that a certain
film is a 50% picture and no regard is given to the fact that
such terms, set according to a national formula, allows some
exhibitors to make a handsome profit while others suffer
losses.

The general sales managers should give serious considera-
tion to Kirsch's recommendation that they make proper use
of their branch managers' intimate knowledge of local con-
ditions. Their refusal to do so will indicate a lack of con-
fidence in their sales personnel.

PRODUCER SILENCE ON TOLL TV
LASHED BY EXHIBITOR GROUP

In a joint statement issued last weekend by Trueman T.
Rembusch and Alfred Starr, co-chairmen of the Committee
Against Pay-As-You-See TV, the major producing com-
panies, and their association, the MPAA, were assailed in
no uncertain terms for their failure to file comments with
the Federal Communications Commission stating their posi-
tion on the subject of Pay-To-See TV.

The statement follows:

"In its Notice of Proposed Rule Making dated February
11, 195?, the FCC asked for comments from all interested
parties on various questions of law, fact and public interest
in connection with its examination of the entire question of
Pay-To-See television.

"One of the specific points on which it requested informa-
tion was 'information disclosing the role to be played by
the motion picture industry in subscription television.'

"Since that time thousands of communications have been
received from people and organizations from every state in
the Union. During the last six weeks there has been a
heavy preponderance of mail against Pay-To-See TV. All
have been eager to express their feelings on the question of
'no-fee, no-see TV.'

"It is with shocked surprise that we learn that one very
important segment of the motion picture industry, namely,
the producers of motion pictures and their association (Mo?
tion Picture Association of America) have chosen to remain
silent and to file no comments whatever in connection with
this most important matter. This silence on the part of pro-
duction is in our opinion utterly fantastic, and all of the
motion picture exhibitors of this country are entitled to
have an explanation of the reasons why production has
chosen to remain silent.

"One inescapable conclusion which exihibtors may draw
is that Paramount Pictures dominates the Motion Picture
Association. If this is true, exhibition is entitled to a clear
statement of that fact. If it is not true, exhibition is equally
entitled to an explanation.

"Motion picture film produced today for exhibition in a
motion picture theatre is an entirely different product from

(Continued on bac\ page)

102

HARRISON'S REPORTS

June 25, 1955

"Wichita" with Joel McCrea and Vera Miles

(Allied Artists, July 3; time, 81 min.)
Filmed in color and photographed in the CinemaScope
process, with prints by Technicolor, "Wichita" should find
good audience reception among those who enjoy action
westerns. There is considerable human interest in many of
the situations, as well as an adequate share of excitement
and suspense. As the hero who is persuaded to become the
sheriff of Wichita in 1874 and who refuses to bow to the
demands of the town's businessmen that he go easy on the
rowdy cowboy element lest they refuse to spend any money
in town, Joel McCrea turns in his usual good acting job
complete with believable heroics. In the end, of course, he
has his way, and he also wins the heroine's heart. There is
no comedy relief. The color is pleasant and the photography
good: —

While passing through Wichita, McCrea sees the town
being shot up by a rowdy cowboy element. The mayor, rec-
ognizing a sterling character in McCrea, offers him the job
of sheriff. McCrea declines the offer, but he quickly accepts
the badge when a stray bullet fired by one of the ruffians
kills a little boy. He immediately posts signs declaring that
the carrying of guns within the town limits is illegal and he
proceeds to enforce the law. The town's leading business
men soon object to his rigid law enforcement tactics on the
ground that they depend on the money spent by the cows
boys and that enforcing the law strictly would drive them
away from town. McCrea refuses to relax his strict rules
as long as he remains the sheriff. Keith Larsen, who works
on the town's only newspaper, and Vera Miles, daughter of
Walter McCoy, the town's banker, support McCrea to the
hilt. McCoy is bitterly opposed to McCrea, but when Mae
Clarke, his wife, is killed by a stray bullet, he, too, backs
up McCrea's stand to the point where he shoots Edgar
Buchanan, a vicious gunman, not only to protect McCrea's
life, but also to avenge the death of his wife. With law and
order restored, Larsen writes up the wedding of McCrea
and Vera.

Walter Mirisch produced it, and Jacques Tourneur di'
rected it from a story and screenplay by Daniel B. Ullman.
The cast includes Lloyd Bridges, Wallace Ford, Peter Graves,
Walter Sande and others.

Family.

"Land of the Pharaohs" with Jack Hawkins,
Joan Collins and Alexis Minotis

(Warner Bros., July 2; time, 106 min.)
Egyptian history of five thousand years ago is brought to
life in a truly spectacular way in this multi-million dollar pro-
duction, which has been photographed in CinemaScope and
WarnerColor. The important thing about the picture is
that it grips one's attention throughout, not only because of
its overwhelming grandeur and vast production values, but
also because of its fascinating story about a Pharaoh who
conceives and carries through the idea of building a huge
pyramid in which his body might be entombed after death,
along with a fabulous treasure he had gathered from the
conquests of many neighboring nations. What is fascinating
about the development of the plot is the extreme care taken
by the Pharaoh to see that the tomb becomes impregnable
to grave robbers once he is entombed, making sure that it
will be sealed off forever by giant granite blocks that will
settle into place throughout the pyramid by means of in-
tricate devices controlled by flowing sand and set off within
the tomb by priests who know the secret and who remain
to die in the tomb so that none will ever learn its secret.
The magnitude of the sets hardly has been equalled in other
period films, and there are sequences, actually filmed in Egypt,
where thousands of extras take part in the action. The one
commercial fault that may be found with the picture is the
fact that the players are not box-office attractions, but favor-
able word-of -mouth may overcome this deficiency. The
acting is excellent, with outstanding performances con-
tributed by Jack Hawkins, as the Pharaoh; Alexis Minotis,
as the high priest; James Robertson Justice, as a captive
architect who agrees to design and supervise the erection of
the pyramid in exchange for the Pharaoh's promise to free
his people. Good work is turned in also by Joan Collins, as
the sexy but wicked Queen who plots against the Pharaoh
and brings about his death so that she might gain control
of his fabulous treasure. The manner in which her schem-
ing comes to naught is a strong dramatic highlight, for the
Pharaoh's tomb becomes her own tomb. There is no comedy
relief, but the subject does not demand it. All in all, it is
the type if picture that no theatre should, if possible, pass
up:—

The great Pharaoh, both king and god to his people,
defeats the Kushite tribes and greatly expands the limits
of his domain. Pharaoh orders Vashtar (James Robertson
Justice), a famed architect and leader of the captive Kushites,
to design and build a great pyramid that would make his
tomb impregnable. Vashtar agrees to carry out the assign-
ment after compelling the Pharaoh to agree to give his
people their freedom upon completion of the pyramid.
Thousands of captives are assigned to help build the giant
structure and, after fifteen years, even Hamar (Alexis
Minotis), the hight priest and Pharaoh's trusted friend,
feels that his ruler has created a living hell so that he might
be secure in his second life. Scarcity of material and labor
slows up the work, and Pharaoh makes demands of the
nations nearby. Nellifar (Joan Collins), the beautiful ruler
of Cyprus, opposes his demands. Her stubborn will in-
trigues him and he makes her his wife, second to Queen
Nailla (Kerima). Nellifar now plots to have Nailla murdered
so that she might become the rightful Queen, and to accom-
plish this she seduces Treneh (Sydney Chaplin), captain of
the Pharaoh's guards, who sees to it that Nailla dies from
the bite of a poisonous snake. Nellifar then asks Treneh
to murder the Pharaoh. He accomplishes this but loses his
own life in the struggle with the Pharaoh, who dies before
he can denounce Nellifar for her perfidy. Hamar, aware that
Nellifar was responsible for the Pharaoh's murder, invites
her to lead the burial procession to the ruler's last resting
place. As she pulls a rod that lowers the sarcophagus into
place, huge granite blocks begin to crash into assigned spaces,
hermetically sealing all exits from the tomb. She tries fran-
tically to escape, but Hamar quietly tells her that the tomb
is also her own last burial place — the reward for her murder-
ous machinations.

Howard Hawks produced and directed it from a story by
William Faulkner, Harry Kurnitz and Harold Jack Bloom.

Family.

"Bring Your Smile Along" with Frankie Laine,
Keefe Brasselle and Constance Towers

(Columbia, August; time, 81 min.)

An acceptable mixture of comedy, romance and music,
photographed in Technicolor. It should make a good sup-
porting feature where something light is needed to round
out a double bill, and in some situations may be used as a
top feature. The story itself presents little that is either
novel or surprising, but the romantic interest is pleasant,
the comedy amusing, and the musical numbers consistently
entertaining. The acting of the entire cast is engaging, with
Constance Towers and Lucy Marlow, both newcomers to
the screen, making favorable impressions. The popularity
of Frankie Laine, who plays one of the principal roles,
should help attract the younger crowd to the box-office: —

Connie Towers, a young New England high school
teacher, has ambitions to be a lyric teacher and quits her
job to try her luck in New York, despite the efforts of Wil-
liam Leslie, another teacher, to persuade her to remain and
marry him. In New York, Connie settles down in a cheap
rooming house, where she becomes friendly with Frankie
Laine and Keefe Brasselle, two unemployed entertainers.
Brasselle, a pianist and composer, gets together with Connie
and through a series of good breaks they soon become a
successful team with five hit songs to their credit. Meanwhile,
Laine finds himself on the way to fame by singing and
recording their songs. Complications arise when Leslie comes
to New York to visit Connie. He soon realizes that she was
too full of her career to consider marriage, and that she
had apparently fallen in love with Brasselle. Leslie's visit,
however, arouses Brasselle's jealousy and he has a bitter row
with Connie. She splits with him and returns to New Eng-
land. Without Connie, Brasselle cannot click and his for-
tunes begin to go downhill. In the meantime, Laine becomes
a singing sensation and succumbs to the charms of Lucy
Marlow, pert secretary to a music publisher. When Connie
asks Laine to entertain at her school's senior prom, he
quickly accepts in order to find an opportunity to bring her
together with Brasselle again. He persuades Brasselle to
accompany him on the engagement as his pianist. Once
Connie and Brasselle see each other, they realize their love
and embrace. Leslie, now convinced that he does not stand
a chance, makes a graceful exit out of their lives.

It was produced by Jonie Taps, and directed by Blake
Edwards from his own screenplay, based on a story by him-
self and Richard Quine.

Family.

June 25, 1955

HARRISON'S REPORTS

103

"The Road to Denver" with John Payne,
Mona Freeman and Skip Homeier

(Republic, June 16; time, 90 min.)

It seems as if "The Road to Denver," photographed in
Trucolor, is one of the best westerns Republic has ever
produced. The theme is off the beaten path, there is fast
action and the spectator is held in tense suspense all the way
through. The story centers around a conflict between two
brothers, with the elder brother trying to prevent the younger
one from falling into bad ways, but with the younger brother
resenting what he feels is his patronising attitude. The bad
blood that arises between the two does not make the elder
one forget their relationship, and he continues to strive to
save the younger boy from serious consequences. There is
also a conflict in the romance, with Skip Homeier, the
younger brother, attempting to woo Mona Freeman, the girl
with whom John Payne, the elder brother, was in love. The
action is realistic, thanks to the expert direction and good
acting. The Trucolor photography is fine: —

Homeier resents Payne's efforts to keep him out of trouble
because he thinks that Payne is trying to boss him. Their
conflicting opinions come to a head when they have to leave
Texas in a hurry after Homeier slugs a rodeo judge for a
decision rendered against him and Payne helps him to break
out of jail. To escape capture the two change their names
when they reach Golden, Colorado. Payne lines up jobs for
both of them, but Homeier again spoils everything by getting
into a fight with the rancher who had hired them. Payne
again helps Homeier to escape from jail, but this time sug-
gests that they go their separate ways. They part in anger.
Payne secures a job in Central City with Ray Middleton, a
livery stable owner. Later, when Homeier stops in the town
on his way West, he gets into a gambling fracas and his
ability with a gun brings him an offer of a job with Lee J.
Cobb, a hardened saloonkeeper. Payne and Homeier give
no sign of recognition when they meet at a community
dance, but Payne learns from Middleton that Cobb was
head of a gang of cattle rustlers. Payne warns Homeier
against working for a crook as a hired gunman but to no
avail. The conflict between the two brothers reaches a climax
when Cobb plans to steal a gold shipment from a stage
coach operated by Payne in partnership with Middleton.
Payne, to save his brother from being killed, pretends to
play along with Cobb in allowing him to rob the stage-
coach, but in the ensuing gun battle Payne kills Cobb and
disarms his brother, proving to the young man that there
is some one who can outdraw him. This experience brings
about Homeier' s reformation and an end to his feud with
Payne.

Joe Kane directed it from a screenplay by Horace McCoy
and Allen Rivkin, based on a Saturday Evening Post story
by Bill Gulick.

Family.

"The Dam Busters" with Richard Todd and
Michael Redgrave

(Warner Bros., July 16; time, 90 min.)

An impressive and absorbing British-made war melo-
drama, which recreates the war-time exploits of a highly-
trained RAF squadron that used a revolutionary five-ton
"skip" bomb to smash the important Ruhr water dams of
industrial Germany, thus crippling seriously the output of
the Nazi war machine. The story, which has been given a
semi-documentary treatment, grips one's attention through-
out, even though one is aware of the ultimate success of this
historic raid. The development of the bomb and the intense
secret low-flying training undergone by the selected mem-
bers of the squadron make fqr situations that generate
considerable suspense, with the activities reaching a thrilling
climax in the closing reels, where the squadron carries out
the dangerous raid in the face of murderous enemy anti-
aircraft fire. The attack on the dams has been staged most
realistically, and the aerial photography is superb. The acting
of the all-British cast is excellent, with outstanding perform-
ances turned in by Richard Todd, as the Wing Commander
who trains the squadron and leads it on to the mission, and
by Michael Redgrave, as the scientist who conceives the
plan and develops it after overcoming much bureaucratic
red tape. To the credit of the producer, the picture is void
of romantic hokum and far-fetched heroics.

The story opens in 1943 and introduces Dr. Barnes Wallis
(Michael Redgrave) as a scientist who believes that the
war could be shortened by destruction of Germany's great
Ruhr dams, the source of power and water for the Nazis'
all-important steel production. He invents a special "skip"

bomb that bounces over the water's surface when dropped
from a low altitude and comes to rest against the dam wall
before exploding. After much red tape, he succeeds in con-
vincing the Air Ministry that his idea is feasible, and a
special RAF squadron, headed by Wing Commander Guy
Gibson (Richard Todd) is formed and trained for the ex-
acting job. Gibson and Wallis work closely together and,
after many weeks of practicing low flying and learning how
to release the bomb with precise accuracy, the squadron
sets off on its daring mission. The bombers succeed in demol-
ishing two of the vital dams, flooding the Ruhr and seriously
impeding war production, but all this is accomplished with
the loss of eight bombers and 56 men. Walls' jubilance is
offset by the knowledge that his plan, though successful,
had sent many men to their deaths. Gibson, realizing Wallis'
torment, assures him that, if the squadron had known in
advance that none of the planes would return, every man
would still have volunteered for the mission.

It was directed by Michael Anderson from a screenplay
by R. C. Sherriff, based on Paul Brickhill's novel "Enemy
Coast Ahead."

Family.

"The Scarlet Coat" with Cornel Wilde,
Michael Wilding and Anne Francis

(MGM, August; time, 103 min.)

Photographed in CinemaScope and Eastman color, "The
Scarlet Coat" is an interesting and well-made historical
melodrama, revolving around espionage and counter-espion-
age activities in connection with the treason of General
Benedict Arnold during the Revolutionary War. The story
contains little about the reasons for the war and is con-
cerned mainly with the intrigue behind Arnold's treason,
and with the mutual respect and admiration that develops
between Cornel Wilde, as a spy for the colonists, and
Michael Wilding, as a spy for the Redcoats, despite their
opposing loyalties. There is not much exciting melodramatic
action, but it does have its spurts of excitement and sus-
pense and moves along at a steady pace from start to finish.
Both Wilde and Wilding are very good in their respective
roles, and each wins audience sympathy. The noble and
courageous manner in which Wilding faces execution after
being caught behind the American lines is a dramatic high-
light. There is some romantic interest in the relationship
between Anne Francis and the two spies, but it is of little
importance to the plot. The production values, the costumes
of the period and the color photography are first-rate: —

Major John Bolton (Cornel Wilde), a Colonial spy, in-
tercepts a secret message intended for the British and signed
by a person calling himself "Gustaves," hinting at plans to
defeat the American forces conclusively. Bolton makes his
report direct to General Robert Howe (John Mclntyre),
his superior, after irritating General Benedict Arnold (Rob-
ert Douglas) by refusing to name his informant. While
dining at a tavern near West Point, Bolton meets Sally
Cameron (Anne Francis), a Bostonian traveling under a
truce flag to New York to join her Tory father. While
questioning her, he gets into a fight with a British spy posing
as an American colonel and kills him. He is arrested for
murdering a "fellow officer," but General Howe arranges
his "escape." He then makes his way to the New York office
of Dr. Jonathan Odell (George Sanders), in whose care
the "Gustaves" message had been sent to a British contact.
Odell is suspicious of Bolton's claim that he had deserted
to the British, and he takes him to Major John Andre
(Michael Wilding), adjutant-general of the British forces
in New York. Andre believes Bolton when Sally, with whom
he was friendly, confirms Bolton's killing of a 'fellow officer"
at the tavern. Andre hires him as a spy for the British and
he manages to carry out assignments in a way that hurts the
Redcoats while keeping himself free from suspicion insofar
as Andre is concerned. Moreover, the two become warm
personal friends, even though Sally favors Bolton over
Andre. In the events that transpire, Bolton discovers that
"Gustaves" is none other than Benedict Arnold but is unable
to trap him before he flees to the British. Meanwhile Andre
is captured behind the American lines and sentenced to the
gallows. Bolton makes a desperate effort to save Andre by
inducing General Washington to agree to exchange him for
Arnold, but Andre, who did not consider Arnold to be a
traitor, refuses to go along with the deal and gallantly goes
to his death like an officer and a gentleman.

It who produced by Nicholas Nayfack, and directed by
John Sturges, from a screenplay by Karl Tunberg.

Family.

104

HARRISON'S REPORTS

June 25, 1955

the film that is being produced for the television audience.
No company is more aware of this fact than Paramount
Pictures, which is producing a new process involving a very
large and extra wide screen and which offers improved clarity
of projection and improved color definition. The distinguish-
ing feature of Paramount's process called VistaVision is its
new vast dimension, an innovation that cannot be dupli'
cated on the television tube.

"There are many other limitations, such as aspect ratio
and lack of clarity due to the scanning process involved in
television projection, that are inherent in television projec-
tion, some of them built-in limitations that can never be
overcome no matter what technical improvements might be
made in the future.

"With all these facts in mind, it becomes immediately
obvious that the only possibility of financial success for pro-
duction in the proposal to show first-run motion pictures in
the home will lie in a conspiracy among the producers of
motion pictures to design a particular kind of product that
is not suitable for the motion picture theatres.

"The question arises as to whether or not the producers
of motion pictures, and particularly those producers who
are now members of the Motion Picture Association, will
be willing at any time in the future to enter into such a
conspiracy.

"If Pay-TcSee television should ever be authorized by
the FCC and if these producers are considering entering
into that market, we would like to remind them that the
patent is controlled by only one of their number. They
might seek access to that untried market only to discover
that the patent holder can name its own terms.

"It is not at all inconceivable that Paramount Pictures
would agree to open that market to other producers, but
only on terms that are set by Paramount, and that the 10%
of the 90-10 formula would apply to them as it now applies
to exhibitors.

"We would like to remind distribution also of the cur-
rent rash of litigation now pending in Federal Courts over
matters principally involving run and clearance. A recent
estimate shows that there are approximately 400 cases now
pending in the federal courts in which are involved claims
for damages totaling approximately $600,000,000. It is obi-
ous that any distribution system that contemplates licensing
first-run motion pictures to Pay-To-See TV will find itself
the target of increasing and endless litigation involving
these same matters.

"This is no idle speculation on our part, particularly
since Paramount Pictures has been involved in an historic
decree, now the law of the land with the approval of the
Supreme Court of the United States, which once and for
all prohibited Paramount from simultaneously engaging in
the production of motion pictures and exhibiting these
motion pictures to the public. Through Telemeter, Para-
mount again would become both producer and exhibitor.

"The motion picture industry is unique in many respects.
The commodity itself differs from other commodities in that
many special laws have been promulgated that make this
industry stand apart from other industries. It is certainly
unique in that it is probably the only industry in which the
suppliers of a product have consistently shown such blatant
disregard for the welfare of its customers.

"We are now witnessing the paradoxical spectable of
Paramount Pictures, through its president, Barney Balaban,
saying openly to the only customers it has, that it is now
preparing to jeopardize that market and seek a non-existent
market which promises richer returns. We cannot bring
ourselves to believe that the other producers, those who have
no control whatever over these patents, having been wooed
by these fallacious promises, will be seduced by them.

"If Paramount is going to sell the output of its studio
through its Telemeter exhibition outlet in preference to its
long-time theatre customers, exhibitors should now prepare
to strengthen and increase in every possible way those
sources of supply which can be counted on to deliver its
films to the present market."

"Ulysses" with Kirk Douglas, Anthony Quinn
and Silvano Mangano

(Paramount, July; time, 104 min.)

Produced in Italy with an international cast, and phos
tographed in Technicolor, this is an extravagantly mounted
adventure story, based on Homer's "Odyssey" and depicting
the fabulous exploits of Ulysses, the fearless, mythical Greek
warrior. The pageant-like presentation of Ulysses' adven-
tures makes for a visual treat, and there are several sequences
that are thrilling and exciting, but as an overall entertain-
ment its appeal to the general run of movie-goers probably
will be limited, for its mixture of reality and the super-
natural, of gods, magic, monsters and mythical heroes, is
episodic and at no time keeps an emotional grip on the
spectator. Moreover, the dialogue spoken by the foreign
players is dubbed in English, and the fact that their lip
movements are not synchronized with the dubbed-in dialogue
is most disconcerting. Ordinarily, a film based on Homer's
epic poem would have a special appeal for class audiences,
but its attraction for this group is also doubtful, for the
dialogue spoken by the players is of modern vintage and
not in keeping with the Mycenean period depicted, and
the acting, particularly that of Kirk Douglas as Ulysses, is
more flamboyant than subtle.

The story, which unfolds in a series of flashbacks, opens
in the royal palace at Ithaca, where Penelope (Silvano
Mangano) remains loyal to her missing husband, Ulysses,
King of Ithaca, who had not returned from the Trojan wars.
A group of vicious noblemen who had taken control of the
palace try to persuade her that Ulysses is dead and that she
should marry one of them, but she remians firm in her
belief that Ulysses will one day return. The scene then
shifts to the Isle of Phaeacia, where Ulysses is found half-
drowned on the beach by Nausicaa (Rossana Podesta),
daughter of the island's king. He regains his health and
vigor under her tender care, but cannot remember his past.
Nausicaa falls in love with him and their marriage is arranged,
but just before the wedding takes place his memory returns
and he recalls his adventures. He had successfully invaded
Troy through the strategem of the wooden horse and, while
sacking the city, he had desecrated the Temple of Neptune
and had been cursed to travel the seas for many years before
returning home. After sailing from Troy, he and his crew
had encountered the giant, cannibalistic Polyphemus (Um-
berto Silvestri), one-eyed son of Neptune, but had man-
aged to escape from him after blinding his single eye. He
sailed on and encountered Circe (also played by Miss Man-,
gano), the beautiful witch, who had held him captive as a
love slave for many months and who had turned his crew
into a herd of swine because of their protests. She had re-
stored the men to human shape after he had agreed to remain
with her, but had caused them to die in a furious storm
shortly after they had sailed for home. The death of his
men had broken her spell on him, and he put out to sea on a
raft, only to be cast ashore half-drowned, at the feet of
Nausicca. With his memory recovered and his identity es-
tablished, Ulysses is given a ship to return to Ithaca. He
arrives at his palace disguised as a beggar and, in a heroic
and bloody battle, single-handedly massacres Antinous (An-
thony Quinn), the chief contender for his wife's hand, as
well as the others who coveted her and his throne.

The most thrilling highlight is the encounter with the
one-eyed giant who, through very fine trick photography, is
made to appear like a 50-foot human monster who holds an
average-sized man in the palm of his hand. Highly exciting,
too, is the bloody fight in which Ulysses wipes out his wife's
suitors.

It is a Ponti De Laurentiis production, produced by Dino
de Laurentiis and Carlo Ponti, and directed by Mario
Camerini, who collaborated on the screenplay with Franco
Brusati, Ennio de Concini, Hugh Gray, Ben Hecht, Ivo
Perilli and Irwin Shaw.

Best suited for mature audineces.

IN TWO SECTIONS— SECTION ONE

Entered as second-class matter January 4, 1921, at the post office at N«w York, New York, under the act of March S, 1879.

Harrison's Reports

Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by

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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXXVII SATURDAY, JULY 2, 1955 No. 27

ALLIED-TOA COMMITTEE SEES
IMMEDIATE RELIEF FORTHCOMING

With the exception of United Artists, with whom
a tentative meeting date is being arranged, the Joint
Allied-TOA Committee has completed its confer-
ences with the heads of the individual film companies.
This week the Committee met with the heads of
Universal-International, Warner Brothers, Allied
Artists and Republic. Earlier, the Committee met
with 20th Century-Fox, Paramount, MGM, RKO
and Columbia.

As to the individual meetings held this week, the
only statement issued by the Committee was in con-
nection with the conference held with Warner Broth-
ers. This statement pointed out that various problems
of exhibition and distribution were discussed, "par-
ticularly those of the small grossing theatres," and
that Ben Kalmenson, the company's sales chief,
"showed keen interest and advised that Warner
Brothers is now conducting a national survey by ex-
change areas, analyzing each theatre, in order to set a
sales policy under which every theatre can buy
Warner Brothers pictures on a fair and equitable
basis."

The statement quoted Kalmenson as saying that
"every assistance will be given the small grossing
theatres and flat rental terms will be offered these
small grossing theatres."

In a press release issued by the Committee on the
overall discussions, it was stated that, of the various
exhibitor problems presented to the film companies,
principally the following were discussed :

"1. Eliminate all static national sales policies and
sell pictures based upon individual merits to all thea-
tres on their ability to pay.

"2. A fair and equitable sliding scale to avoid re-
buying and renegotiating a picture time and time
again.

"3. Sell pictures to theatres grossing $1,000 or
less per week on a fair and equitable flat rental basis.
Arbitration on film rentals of $100 or less.

"4. Make more and better pictures with new and
fresh personalities.

"5. Print shortage either by number or classifica-
tion."

"As a result of these meetings," stated the Com-
mittee, "distribution now recognizes and appreciates
the serious economic position of exhibitors and par-
ticularly of the smaller grossing theatres in the coun-
try. We believe that sales policies will be formulated
that will bring immediate and remedial relief. There
was clarification as to sales policies of the various
companies and problems of production and distribu-
tion were discussed.

"Distribution was advised by the Committee of
the failure of their lines of communication as to poli-
cies which have caused misunderstandings and fric-
tion. We believe that there should be a more stringent
policing not only by distribution of their sales per-
sonnel but also by exhibitors in various territories to
insure equitable dealings.

"The Committee now is in the process of evaluat-
ing the results of the individual conferences for the
purpose of making a full and detailed report to their
respective organizations. It is sincerely hoped that
this all-out effort by exhibition will improve distribu-
tor-exhibitor relations and that production and dis-
tribution will demonstrate their desire to prevent the
closing of many theatres throughout the country."

While it is still too early to form any judgment on
the outcome of the Committee's conferences with the
heads of the film companies, its statement that dis-
tribution "now recognizes and appreciates the serious
economic position of exhibition," and its belief that
"sales policies will be formulated that will bring
immediate and remedial relief," are most encouraging
and do give rise to the hope that the distributors will
see the wisdom of initiating "live and let live" sales
policies, for unless such policies are established there
can be no hope for a happier, more prosperous movie
business.

From the tone of the statements that have thus far
been issued in connection with these meetings, there
is every indication that both the members of the joint
Allied-TOA committee and the different company
executives approached the various problems with a
forthright attitude of mutual respect for the other
fellow's point of view. This free exchange of opin-
ions, coupled with understanding of each other's
problems, is a good start toward elimination of the
internal dissension that has plagued the industry for
too many years, and toward the day when the time
and energy now used up in haggling will be devoted
to more constructive pursuits.

CINE-MIRACLE

A new and seemingly important development in
wide screen photography and projection is the Cine-
Miracle process, which was unveiled to the press in
Hollywood last weekend by Elmer C. Rhoden, presi-
dent of National Theatres.

This new process, which is similar to Cinerama but
seems to have decided advantages over that system,
utilizes a new electronic lens system of photography,
which will permit the simultaneous photography of
three strips of film and their meshing or binding as if
it were one continuous film with no joining lines.
(Continued on bac\ page)

106

HARRISON'S REPORTS

July 2, 1955

"House of Bamboo" with Robert Ryan,
Robert Stack, Shirley Yamaguchi
and Cameron Mitchell

(20th Century-Fox, July; time, 102 mm.)

Set against actual Tokyo backgrounds, and photo-
graphed in CinemaScope and DeLuxe color, "House
of Bamboo" offers not only an exciting gangster
thriller but also a highly fascinating view of the
present-day Japanese metropolis, its people and their
customs. The shots of the teeming Tokyo streets, the
Pachinko (pin-ball) parlors, arcades, shopping marts,
slum districts and the Buddha Temple at Kamakura,
make for backgrounds that are indeed novel and in-
triguing and, as caught by the panoramic sweep of
the CinemaScope camera, are alone worth the price
of admission. The story itself offers a tense account of
the muderous operations of a group of American
gangsters in Tokyo, and of the risks taken by an agent
of the U.S. Military Police Criminal Investigation
Detachment who poses as a hoodlum, wins the con-
fidence of the gang leader and ultimately brings an
end to his activities. Robert Stack does good work as
the agent, and Robert Ryan is properly vicious as the
sadistic gang leader who rules his organisation with
an iron fist. Shirley Yamaguchi is warm and sympa-
thetic as a young and pretty Japenese widow who
helps Stack to foil the gang so that she might avenge
the murder of her husband, an American soldier.
The romance that springs up between them is tender.
Samuel Fuller, the director, has done an expert job
of blending the fascinating backgrounds with the ex-
citing action in the story. The color photography is
superb.

The story opens with the Tokyo police, headed by
Sessue Hayakawa, and authorities of the U.S. Mili-
tary police baffled by a series of well-executed holdups
by a mysterious gang, whose loot consisted mainly of
U.S. Army machine guns and other weapons. They
get a slight clue when one gang member is mortally
wounded by his own mates during another holdup,
and he proves to be an American soldier who was
secretly married to Shirley, a Japanese girl. Among
his effects they find a letter from a pal in the United
States who had promised to come to Tokyo to join
him in his criminal activities. The authorities select
Stack to pose as the dead man's pal in the hope that
he will get a line on the mysterious gang. Seedily
dressed, Stack arrives in Tokyo and immediately con-
tacts the frightened Shirley, who accepts him as her
dead husband's pal and convinces him that she knew
nothing about the identity of his criminal associates.
Stack then sets out on a campaign to terrorize the
owners of Pachinko parlors into paying him for "pro-
tection," and before long he finds himself trapped by
an American gang headed by Robert Ryan, who con'
trolled the city's Pachinko establishments. Ryan,
though amused by Stack's nerve, gives him a severe
beating and sends him on his way. But he sees to it
that Stack is picked up by the police on the false
charge of being a pickpocket so that a secret contact
within the Japanese police organization could furnish
him with a copy of Stack's "criminal" record. The
"criminal" record thus obtained impresses Ryan, and
he offers to take Stack into his organization. Stack
agrees to join the gang and is put through a number
of tests by the suspicious Ryan, but he survives the
different hazards and wins Ryan's complete confi-
dence, even to the point of being invited to live in

his mansion along with Shirley, whom Ryan looked
upon as Stack's "kimona." By this time Stack had
revealed his true identity to Shirley, and to avenge
her husband's murder she had agreed to pose as his
"kimona" so that she might convey messages to his
superiors. In the complicated events that follow,
Stack joins the gang in a payroll robbery but is unable
to tip off the authorities. He does manage through
Shirley to get word to the police of a contemplated
bank robbery in the heart of Tokyo, but Ryan's in-
former within the police organization advises him of
the tip and the holdup is called off at the last minute.
Ryan wrongly suspects Cameron Mitchell, a dis-
gruntled gang member, of being the traitor and he
murders him, only to learn later that Stack was re-
sponsible. He then devises an elaborate scheme to have
Stack killed by the police during the holdup of a pearl
dealer, but the plan misfires and in the resulting gun
battle Stack kills Ryan. It ends with Shirley and Stack
coming together under more pleasant circumstances,
united by their love for each other.

It was produced by Buddy Adler and directed by
Samuel Fuller from a screenplay by Harry Kleiner.

Adults.

"The Man from Laramie" with James Stewart,
Arthur Kennedy and Donald Crisp

(Columbia, July; time, 104 mm.)

An apt evaluation of "The Man from Laramie"
is that it skillfully re-tells a familiar western tale and
is much better than most westerns that have been
based on a similar plot. Most important to the box-
office, of course, is the fact that it stars James Stewart,
and that it has been photographed in CinemaScope
and Technicolor against highly impressive outdoor
backgrounds. As an entertainment, its story of venge-
ance is packed with brutal and violent action, but
those who do not object to such elements should find
the story gripping from start to finish, for the char-
acterizations are interesting and the dramatic situa-
tions effective. As an Army Captain who doffs his
uniform to seek out those responsible for selling rifles
to an Apache tribe — an act that had resulted in his
younger brother's death, Stewart handles his role with
conviction and gets plenty of opportunity to square
his jaw and use his fists and guns. One of the most
vicious characters ever seen on the screen is that por-
trayed by Alex Nicol as the sadistic son of Donald
Crisp, a powerful ranch owner. Shooting Stewart
through the palm of his hand at close range while he
is held captive, lassoing him and dragging him
through a campfire and shooting down his mules in
cold blood are among the vicious acts committed by
Nicol. Crisp is effective as the strong-willed ranch
baron, as is Arthur Kennedy as his disgruntled fore-
man. Sympathetic portrayals are turned in by Aline
MacMahon as an elderly rancher who opposes the
powerful Crisp, and by Cathy O'Donnell as a wistful
young woman who falls in love with Stewart after
realizing that Kennedy, her fiance, is a rotter. The
direction is expert, and the color photography ex-
quisite : —

Keeping his military identity a secret, Stewart
leads three wagons loaded with merchandise into the
town of Coronado, New Mexico, near where his
brother had died in a massacre committed by the
Apaches. He delivers the merchandise to Cathy,

July 2, 1955

HARRISON'S REPORTS

107

owner of the town's general store, and rather than
return to Laramie with empty wagons, he decides to
fill them with salt which, according to Cathy, was
free for the taking from lagoons nearby. Shortly after
Stewart and his men begin to load the salt, they are
set upon by Nicol and a gang of ranch hands, who
charge that they are stealing the salt of Crisp's land
and, at gunpoint, give Stewart a merciless beating,
burn his wagons and kill his mules. Ignoring threats
to leave the area at once, Stewart returns to town.
When he sees Nicol in town on the following day,
he jerks him off his horse and gives him a thrashing.
Kennedy, the ranch foreman, comes to Nicole aid,
but his fight with Stewart is stopped by the sudden
arrival of Crisp. The elderly ranch owner compen-
sates Stewart for the loss of his wagons and mules and
advises him to leave the territory immediately, but
Stewart tells him of the death of his brother and of
his determination to remain and find the man respon'
sible for selling repeating rifles to the Apaches. In
the development of the plot, it comes out that Ken-
nedy hated both Crisp and Nicol because the old man
held him responsible for the actions of his errant son
and threatened to exclude him from his will if he
failed to keep the young man in line. Meanwhile
Stewart goes to work for Miss MacMahon, and when
he trespasses on Crisp's land to retrieve some wander-
ing cattle, he is against accosted by Nicol, who de-
liberately shoots him through the palm of his hand
while he is held by his ranch hands. Nicol then leaves
his men to make arrangements with the Apaches to
receive a wagon-load of arms. Kennedy follows in an
attempt to stop him, and it comes out that both were
involved in the deal. Their resulting quarrel ends with
Kenndy killing Nicol. Crisp believes that Stewart had
committed the killing and vows to get even. Weeks
later, Crisp comes across evidence linking his son and
Kennedy to the sale of arms to the Apaches. He com-
pels Kennedy to accompany him in a search for the
hidden arms and, to save his own neck, Kennedy
pushes the half -blind Crisp off a precipice and leaves
him there for dead. Stewart finds Crisp unconscious
but alive and brings him to Miss MacMahon's ranch.
There, he regains consciousness and reveals that Ken-
nedy killed Nicol and was responsible also for the
sale of arms to the Apaches. Stewart goes after Ken-
nedy and catches up with him at the site of the hidden
arms. He forces him to destroy the hidden ammuni-
tion and the loud explosion attracts the Apaches,
who kill Kennedy for his falure to deliver the goods.
His mission accomplished, Stewart heads back for
Laramie, after telling Cathy that he would be happy
to see her if she decides to travel his way.

It is a William Goetz production, directed by An-
thony Mann from a screenplay by Philip Yordan and
Frank Burt, based on a story by Thomas T. Flynn.

Adults.

"Francis in the Navy" with Donald O'Connor
and Martha Hyer

(Univ.-Int'l, August; time, 80 min.)
This latest of the "Francis" pictures will depend
heavily on the popularity of the series and of Donald
O'Connor, for it is only mild fun at best and is gen-
erally below the comic standards set by the previous
pictures. The story, which is based on the mistaken
identity theme, has O'Connor cast in a dual role —
as an Army Lieutenant and as a Bosun' Mate, with

complications arising when he goes to a naval base to
rescue Francis, his talking mule, who had somehow
been acquired by the Navy and was about to be sold
as surplus. While there are a few genuinely funny
moments caused by the mixups that occur when
O'Connor is mistaken for the sailor, the story on the
whole is pretty weak and much of the comedy falls
flat. Aside from the fact that the mistaken identity
idea in the story is only mildly amusing, the humor in
the idea of a talking mule seems to be wearing thin : —
Learning that Francis, his talking mule, was about
to be auctioned off by the Navy, O'Connor an Army
Lieutenant, takes a leave from his post and heads for
a naval base to rescue his four-legged pal. Martha
Hyer, a pretty navy nurse, mistakes O'Connor for a
sailor named Slicker (also played by O'Connor)
when he arrives at the base. Slicker swipes O'Connor's
wallet while he bids for Francis at the auction sale.
O'Connor goes to a pawn shop to raise money to pay
for Francis, but he is apprehended by Shore Police
who believe that he is Slicker out on one of his usual
bats. O'Connor demands his release from Jim Backus,
commander of the base, but Backus, who understood
Slicker's battle-fatigue behavior, commits him to the
psycho ward in the belief that he is Slicker. In order
to gain his release, O'Connor admits that he is Slicker,
and as a result becomes involved in Navy matters that
were foreign to him and makes a mess of things. To
add to his troubles, he finds himself compelled to box
the base champion in a scheduled fight. On the eve
of a big joint operation with the Army, Slicker re-
turns and apologizes to O'Connor for his behavior.
O'Connor prepares to return to his Army post, but
Shore Police prevent him from leaving the base and
he is again compelled to masquerade as Slicker. He
goes to sea with the fleet as coxswain of a radio-
equipped Duck and lands the craft ten miles off course
on the beach. He and his crew race back on land to
their designated area and, after many misadventures
on the crowded highways, reach the landing area on
schedule. It all ends with Slicker returning once again
and with O'Connor heading back to his post, but his
jaw drops when he sees two Shore Policemen coming
his way.

It was produced by Stanley Rubin, and directed by
Arthur Lubin, from a story and screenplay by Devery
Freeman.

Family.

A FINE SHORT SUBJECT

With the vacation season hitting full stride with
the coming of July, the highways throughout the
country will be jammed with happy motorists and
their families. But before the summer is over, thou-
sands of them will be maimed or killed either through
their own fault or the fault of other careless drivers.

On June 17, RKO put into release "Devil Take
Us," an exceptionally fine 21 -minute short subject
that is at once a vivid and enlightening highway
traffic safety film that puts over an important mes-
sage without sacrificing entertainment values.

The picture has won scores of endorsements and
awards from leading citizens and organizations, as
well as police departments throughout the nation.
It is a picture that should be played by every theatre
in the country, for it performs a most valuable public
service.

108

HARRISON'S REPORTS

July 2, 1955

This new triple camera unit has been developed by
National Theatres from basic patents in cooperation
with the Smith-Dieterich Corporation, of New York
City. Manufacture of the cameras for use in motion
picture production has already begun under the guid-
ance of engineers and optics consultants of Smith-
Dieterich. It is expected that they will be available for
filming entertanment features within six months.

According to Rhoden, Cine-Miracle will make
possible two great advances in three panel motion
picture photography. "It suppresses the distracting
joining line that has characterised the first picture of
this kind," he said, "and it also overcomes the dis-
turbing parallax which has frequently seemed to make
rivers run uphill in pictures."

Another very important development in connection
with this system of three panel motion picture pres-
entation is the fact that, through a mirror-lens ar-
rangement, the three projection machines required
are housed in a single projection booth installed at the
center of the rear of the theatre auditorium, and can
be handled by only four operators. This overcomes
the big disadvantage of the Cinerama system, which
requires three separate projection booths in the audi-
torium and six operators.

The single-booth projection system was developed
by R. H. McCullough, National Theatres' technical
director, after two and one-half years of experimenta-
tion. In addition, he has created a portable booth and
giant screen that can be efficiently and economically
transported from theatre to theatre and installed at
an estimated cost of from $2,000 to $3,000, depending
on the physical problems presented by the individual
theatre. Rhoden said that the portable equipment
developed by McCullough will enable three strip
motion pictures to be shown practically in almost any
theatre.

Rhoden also announced the intention of National
Theatres to produce a high-budget feature in the new
process, provided that necessary approval is granted
by the Department of Justice. He said that the film
should be ready for release in about eighteen months.

A demonstration of the process was held at the
Melrose Theatre in Los Angeles on a curved screen
measuring 63 feet wide and 25 feet high. The test
footage projected from the single-booth arrangement
was not only as affective as the image attained through
the Cinerama process, but the dividing lines between
the panels were not as discernible and certainly not
distracting.

Up to now, three panel motion picture presenta-
tions, as exemplified by Cinerama, have been confined
to single theatres in large metropolitan centers. The
mobility of the Cine-Miracle equipment, the single-
booth projection and the considerably lower cost of
installation and operation should enable many theatre
owners throughout the country to bring this type of
wide screen entertainment to their audiences.

LET THE PUBLIC DECIDE

"The quickest way to kill Pay-To-See-TV for once
and for all is to submit the question directly to the
people, as proposed by Rep. Chelf (D. Ky.), in the
bill he has introduced in Congress," the Committee
Against Pay- As- You- See TV declared in a policy
statement issued this week.

Trueman T. Rembusch and Alfred Starr, co-chair-
men of the Committee, issued the statement in re-
sponse to inquiries from industry sources on recent
developments, including proposed legislation by Con-
gress to govern FCC action on petitions seeking
authorisation to make direct charges to the public for
television programs received in the home.

"Congressman Chelf asks whether opponents of
cash-box TV 'are afraid of a verdict at the hands of
the people.' Speaking for our nationwide group, we
would like to inform the Congressman, the FCC and
any other interested parties that we enthusiastically
welcome any practical method that can be devised for
a direct referendum on the subject.

"We also strongly urge that as many people as
possible participate in some sort of responsible refer-
endum for the FCCs guidance. As a matter of fact,
our Committee is exploring ways and means to have
the Pay-TV issue included on the ballot in regular
elections as soon as possible. If petitions are necessary
to gain a position on ballots, it may be that we will
take steps to have petitions circulated on the munici-
pal, county or state level, if such a step is deemed
feasible.

Pointing to results of recent polls and the current
trend of letters being received by the FCC, the Com-
mittee stated that "there can be no doubt that, as the
public becomes more informed about Pay-TV, the
opposition to this unwarranted air-grab becomes
stronger and stronger."

"Typical of this growing opposition," continued the
Committee, "is the poll recently conducted by the
daily newspaper, 1-^ewsday, published on Long Island,
N. Y., and read by nearly a quarter-of-a-million
suburbanite home-owners. Many of these home-own-
ers, it goes without saying, are paying for their TV
sets on time payment plans, as are the vast majority
of television viewers all over the U.S.

"More than 5,000 J^ewsday readers returned bal-
lots by mail, an irrefutable demonstration of their
interest in this matter, and their verdict registered 25
to 1 against Pay-To-See TV. Other newspaper polls
indicate similar trends in all parts of the country.

"It is interesting to note that Congresssman Chelf
thinks some sort of Pay-TV is inevitable. This has a
most familiar ring and has become sort of a 'battle
cry of phone vision.' Obviously, their theory must be
that if this phrase is repeated often enough, it will
become some sort of dogma.

"Our own theory is that the only 'inevitable' of
Pay-TV is a system using closed circuits which will
not interfere with TV broadcasting as conducted
today and not 'black out' channels in the free spec-
trum. Unfortunately, closed circuits require monetary
investments on the part of those who would institute
such a system."

The statement concluded with the declaration that
"Pay-TV proponents make no secret of the fact that
they wish to establish networks to be financed by the
public and which will blatantly usurp the free air-
waves which belong to the public. They want no part
of closed circuit Pay-To-See TV even though it is the
only system which provides clear and absolute pro-
tection of the 'public interest'."

IN TWO SECTIONS— SECTION TWO

HARRISON'S REPORTS

Vol. XXXVII NEW YORK, N. Y., SATURDAY, JULY 2, 1955 No. 27

(Semi-Annual Index — First Half of 1955)

Titles of Pictures Reviewed on Page

Abbott y Costcllo Meet the Keystone Cops —

Univ.-Int'l (79 min.) 18

Abbott 6? Costello Meet the Mummy —

Univ.-Int'l (79 min.) 74

A Day to Remember — Republic (72 min.) 90

Adventures of Sadie, The— 20th Century-Fox (88 min.) 83

Ain't Misbehavin' — Univ.-Int'l (82 min.) 87

Americano, The — RKO (8? min.) 3

Angela — 20th Century-Fox (81 min.) 80

An Annapolis Story — Allied Artists (81 min.) 51

Battle Cry — Warner Bros. (149 min.) 22

Battle Taxi — United Artists (82 min.) 7

Bedevilled— MGM (85 min.) 59

Big Combo, The — Allied Artists (89 min.) 32

Big House, U.S.A. — United Artists (82 min.) 38

Big Tip Off, The— Allied Artists (78 min.) 70

Blackboard Jungle— MGM (101 min.) 38

Bowery to Bagdad — Allied Artists (64 min.) 46

Bridges at Toki-Ri, The — Paramount (103 min.) .... 2

Bring Your Smile Along — Columbia (81 min.) 102

Bullet for Joey, A — United Artists (85 min.) 59

Canyon Crossroads — United Artists (83 min.) 47

Captain Lightfoot — Univ.-Int'l (91 min.) 30

Carolina Cannonball — Republic (74 min.) 15

Cell 2455, Death Row — Columbia (77 min.) 63

Chicago Syndicate — Columbia (83 min.) 99

Chief Crazy Horse — Univ.-Int'l (86 min.) 35

Cinerama Holiday — Cinerama Corp. ( 1 19 min.) 27

Cobweb, The— MGM (124 mm.) 94

Conquest of Space — Paramount (80 min.) 58

Crashout — Filmakers (90 min.) 82

Creature With the Atom Brain — Columbia (69 min.) . . 98

Cult of the Cobra— Univ.-Int'l (82 min.) 50

Daddy Long Legs — 20th Century-Fox (126 min.) ... 75

Dam Busters, The — Warner Bros. (90 min.) 103

Davy Crockett, King of the Wild Frontier —

Buena Vista (94 min.) 84

Dial Red O — Allied Artists (63 min.) 62

Doctor in the House — Republic (92 min.) 30

Don Juan's Night of Love — Republic (71 min.) 95

East of Eden — Warner Bros. (115 min.) 30

End of the Affair, The— Columbia (106 min.) 62

Escape to Burma— RKO (86 min.) 58

Eternal Sea, The— Republic (103 min.) 58

Far Country, The — Univ.-Int'l (97 min.) 14

Far Horizons, The- — Paramount (108 min.) 83

Finger Man — Allied Artists (82 min.) 99

5 Against the House — United Artists (84 min.) 79

Five Guns West — Amer. Rel. Corp. (78 min.) 70

Foxfire— Univ.-Int'l (92 min.) 98

Glass Slipper, The— MGM (94 min.) 31

Good Die Young, The — United Artists (100 min.) ... 19

Green Scarf, The — Associated Artists (96 min.) .... 6

Hell's Island — Paramount (84 min.) 75

High Society — Allied Artists (62 min.) 75

Hit the Deck— MGM (112 min.) 39

I Cover the Underworld — Republic (70 min.) 71

Interrupted Melody — MGM (106 min.) 52

It Came from Beneath the Sea — Columbia (79 min.) . . 98

Jump Into Hell — Warner Bros. (93 min.) 56

Jungle Gents — Allied Artists (64 min.) 35

Jungle Moon Men — Columbia (69 min.) 55

Jupiter's Darling — MGM (96 min.) 18

Kiss Me Deadly — United Artists (105 min.) 66

Lady and the Tramp — Buena Vista (75 min.) 67

Land of Fury — Univ.-Int'l (82 min.) 40

Land of the Pharaohs — Warner Bros. (106 min.) 102

Las Vegas Shakedown — Allied Artists (79 min.).... 83

Life in the Balance, A — 20th Century-Fox (75 min.) . . 14

Long Gray Line, The — Columbia (138 min.) 26

Long John Silver— DCA (106 min.) 20

Looters, The — Univ.-Int'l (87 min.) 63

Love Me or Leave Me — MGM (122 min.) 87

Ma and Pa Kettle at Waikiki — Univ.-Int'l (79 min.) . . 42

Mad At the World — Filmakers (71 min.) 88

Magnificent Matador, The — 20th Century-Fox

(95 min.) 82

Mambo — Paramount (94 min.) 54

Man Called Peter, A — 20th Century.-Fox (119 min.) . . 50

Man from Bitter Ridge, The — Univ.-Int'l (80 min.).. 66

Man Without a Star — Univ.-Int'l (89 min.) 40

Many Rivers to Cross — MGM (92 min.) 20

Marauders, The— MGM (80 min.) 67

Marty — United Artists (91 min.) 51

Moonfleet — MGM (89 min.) 78

Mr. Roberts — Warner Bros. (123 min.) 86

Murder is My Beat — Allied Artists (77 min.) 74

New Orleans Uncensored — Columbia (76 min.) 31

New York Confidential — Warner Bros. (87 min.) 32

Not As a Stranger — United Artists (135 min.) 100

Othello — United Artists (92 min.) 90

Pirates of Tripoli — Columbia (72 min.) 23

Port of Hell — Allied Artists (80 min.) 10

Prince of Players — 20th Century-Fox (102 min.) 6

Private War of Major Benson, The —

Univ.-Int'l (105 min.) 86

Prize of Gold, A — Columbia (98 min.) 80

Prodigal, The— MGM (114 min.) 54

Purple Mask, The — Univ.-Int'l (82 min.) 91

Purple Plain, The — United Artists (100 min.) 52

Racers, The — 20th Century-Fox (112 min.) 23

Rage at Dawn — RKO (87 min.) 42

Revenge of the Creature — Univ.-Int'l (82 min.) 47

Road to Denver, The — Republic (90 min.) 103

Robbers' Roost — United Artists (82 min.) 78

Run for Cover — Paramount (92 min.) 74

Sabaka — United Artists (81 min.) 19

Sante Fe Passage — Republic (90 min.) 79

Scarlet Coat, The— MGM (103 min.) 103

Sea Chase, The — Warner Bros. (117 min.) 79

Sea Shall Not Have Them, The —

United Artists (91 min.) 88

Seminole Uprising — Columbia (74 min.) 66

Seven Angry Men — Allied Artists (90 min.) 42

Seven Little Foys, The — Paramount (95 min.) 91

Seven Year Itch, The — 20th Century-Fox (105 min.) 94

Shotgun — Allied Artists (81 min.) 54

Shrike, The — Univ.-Int'l (88 min.) 78

Six Bridges to Cross — Univ.-Int'l (96 min.) 11

Smoke Signal — Univ.-Int'l (87 min.) 24

Soldier of Fortune — 20th Century-Fox (96 min.) 88

Son of Sinbad — RKO (88 min.) 90

Square Ring, The — Republic (73 min.) 22

Strange Lady in Town — Warner Bros. (112 min.) ... 63

Stranger on Horseback — United Artists (66 min.) .... 38

Stranger's Hand, The — DCA (86 min.) 34

Strategic Air Command — Paramount (114 min.) .... 55

Summertime — United Artists (99 min.) 95

Tall Man Riding — Warner Bros. (83 min.) 82

Target Earth — Allied Artists (75 min.) 3

Tarzan's Hidden Jungle — RKO (72 min.) 32

Ten Wanted Men — Columbia (80 min.) 22

That Lady — 20th Century-Fox — (100 min.) 86

They Were So Young — Lippert (80 min.) 15

This Island Earth — -Univ.-Int'l (87 min.) 55

Three for the Show — Columbia (92 min.) 34

Tight Spot — Columbia (97 min.) 46

Timberjack— Republic (94 min.) 27

Top of the World — United Artists (90 min.) 70

Treasure of Ruby Hills — Allied Artists (71 min.) .... 46

Trouble in Store — Republic (85 min.) 14

Ulysses — Paramount ( 104 min.) 104

Unchained — Warner Bros. (75 min.) 18

Underwater ! — RKO (98 min.) 10

Untamed — 20th CenturyFox (111 min.) 39

Vera Cruz — United Artists (94 min.) 2

Violent Saturday — 20th Century-Fox (90 min.) 62

We're No Angels — Paramount (103 min.) 100

White Feather — 20th Century-Fox (102 min.) 26

Wichita — Allied Artists (81 min.) 102

Women's Prison — Columbia (80 min.) 19

Wyoming Renegades — Columbia (72 min.) 34

Yellowneck — Republic (83 min.) 43

You're Never Too Young — Paramount (102 min.). . . 99

RELEASE SCHEDULE FOR FEATURES
Allied Artists Features

(1560 Broadway, Hew Tor\ 19, H- T.)

5509 Dial Red O— Bill Elliott Mar. 13

5512 The Big Tip Off— Conte-Smith Mar. 20

5511 Seven Angry Men — Massey-Paget-Hunter . . Mar. 27

5513 Annapolis Story — DerekLynn Apr. 10

5514 High Society — Bowery Boys Apr. 17

5515 Shot Gun— Hayden-De Carlo Apr. 24

5516 Las Vegas Shakedown — O'Keefe-Grey May 15

5 517 Skabenga — Documentary May 29

5518 Lord of the Jungle — Johnny Sheffield June 12

5519 Finger Man — Lovejoy-Tucker-Castle

(formerly "Dar\ Venture") June 19

5520 Wichita— McCrea-Miles-Ford (C'Scope) July 3

5521 Case of the Red Monkey — ContfcAnderson .July 10

5522 Spy Chasers — Bowery Boys July 24

5523 The Warriors— Flynn-Dru (C'Scope) Aug. 7

5524 Women's Reformatory — Matthews-Michaels. Aug. 21
5524 Betrayed Women — Matthews-Michaels

(formerly '"Women's Reformatory) Aug. 21

Columbia Features

(729 Seventh Ave., Hew ror\ 19, H- Y.)
730 New Orleans Uncensored — Franz-Garland Mar.

727 Wyoming Renegades — Carey-Evans-Hyer Mar.

734 The Detective — Alec Guinness Mar.

737 Three for the Show —

Grable-Champions (C'Scope) Apr.

744 Jungle Moon Men — Weissmuller Apr.

733 The Return of October — reissue Apr.

724 End of the Affair — Johnson-Kerr May

728 Tight Spot — Rogers-Robinson May

743 Seminole Uprising — Montgomery-Booth May

739 Cell 2445, Death Row— Campbell-Grant May

738 A Prize of Gold — Widmark-Zetterling June

742 5 Against the House — Madison-Novak June

745 The Petty Girl — reissue June

741 They All Kissed the Bride — reissue June

732 It Came from Beneath the Sea — Tobey-Domergue. July

Chicago Syndicate — O'Keefe-Lane July

746 Creature with the Atom Brain — Denning-Stevens. July
The Man from Laramie — Stewart-O'Donnell. . . .Aug.
Bring Your Smile Along — Laine-Brasselle Aug.

736 The Long Gray Line — Power-O'Hara Special

Lippert-Pictures Features

(145 Ho. Robertson Blvd., Beverly Hills, Calif.)
5411 The Silver Star — Buchanan-Windsor Mar. 25

5415 Thunder Over Sangoland — Hall-Lord Apr. 8

5409 The Glass Tomb — John Ireland Apr. 15

5413 Air Strike — Denning-Jean May 6

5414 Phantom of the Jungle — Hall-Gwynne May 20

5418 King Dinosaur — Bryant-Curtis June 17

5416 The Lonesome Trail — MorrissAgar July 1

Metro-Gold wyn- Mayer Features

(1540 Broadway. Hew Yor\ 19, H- T.)

519 Hit the Deck — All-star cast (C'Scope) Mar.

520 Anchors Aweigh — reissue Mar.

521 Blackboard Jungle — Ford-Francis Mar.

523 Bedeviled — Baxter-Forrest Apr.

522 Glass Slipper — Wilding- Caron Apr.

525 The Prodigal — Turner-Purdom (C'Scope) May

526 The Marauders— Duryea-Richards May

524 Camille — reissue May

527 Love Me or Leave Me — Day-Cagney (C'Scope) .June

528 Moonfleet — Granger-Lindfors (C'Scope) June

529 Interrupted Melody — Ford-Parker (C'Scope) July

531 The Cobweb — Bacall-Widmark-Boyer (C'Scope) .July

530 Wizard of Oz — reissue July

The King's Thief —

Purdom-Blythe-Niven (C'Scope) Aug.

The Scarlet Coat —

Wilde- Wilding-Francis (C'Scope) Aug.

5409
5406
5410
5411
5412
5425
5413
5414
5415

5501
5502
5503

Paramount Features

(1501 Broadway, Hew Tor\ 18, H- T.)

The Country Girl — Crosby-Holden -Kelly Mar.

Mambo — Winters-Mangano-Gassman Apr.

Run for Cover — Cagney*Derek-Lindfors Apr.

Hell's Island — Payne-Murphy June

The Far Horizons — MacMurray-Heston-Reed .June
Strategic Air Command — Stewart- Allyson . . . .July

The Seven Little Foys — Bob Hope July

We're No Angels — Bogart-Bennett Aug.

You're Never Too Young — Martin & Lewis. . .Aug.
(End of 1954-55 Season)
Beginning of 1955-56 Season

The Girl Rush — Russell-Lamas Sept.

To Catch a Thief — Grant-Kelly Sept.

Ulysses — Douglas-Mangano Sept.

RKO Features

(1270 Sixth Ave., Hew Tor^ 20, K T.)

511 Rage at Dawn — Scott- Powers-Tucker Apr.

512 Escape to Burma — Stanwyck-Ryan Apr.

573 The Informer — reissue Apr.

574 Berlin Express — reissue Apr.

575 Bringing Up Baby — reissue May

510 Quest for the Lost City — Documentary May

576 I Remember Mama — reissue May

513 Son of Sinbad — Robertson-Forrest (SuperScope) . June

577 The Big Street — reissue June

514 Wakamba — Documentary June

Pearl of the South Pacific —

Mayo-Morgan (SuperScope) June

515 The Boy and the Bull— Ray-Rivera (C'Scope) . . .Aug.
Treasure of Pancho Villa —

Winter-Calhoun (SuperScope) Sept.

Bengazi — Conte-McLaglen (SuperScope) Sept.

Jet Pilot — Wayne-Leigh not set

5403
5433
5405
5404
5434
5435
5436
5406
5437

Republic Features

(1740 Broadway, Hew Tor\ 19, H- T.)

Yellowneck — McCarthy<-Courtleigh Mar. 22

A Day to Remember — British-made Mar. 29

The Eternal Sea — Hayden-Smith May 5

Sante Fe Passage — Payne-Cameron-Domergue May 12
I Cover the Underworld — McClory-Jordan . . May 1 5
Don Juan's Night of Love — Foreign cast. . . .May 26

City of Shadows — McLaglen-Crawley June 2

The Road to Denver — Payne-Freeman June 16

Double Jeopardy — Rod Cameron June 23

Lay That Rifle Down — Canova-Lowery July 7

The Green Bhudda — Morris-Germaine July 9

Mystery of the Black Jungle — Barker-Maxwell July 14

Magic Fire — DeCarlo-Thompson-Gam July 21

Cross Channel — Morris-Furneaux July 22

Headline Hunters — Cameron-Bishop

(formerly "Deadline Alley") July 29

Flame of the Island — DeCarlo-Scott-Duff . .Aug. 19

Twentieth Century-Fox Features

(444 W. 56th St., Hew Tor\ 19, H- T.)

507*4 Untamed — Hayward-Power (C'Scope) Mar.

511- 6 Angela — O'Keefe-Lane Apr.

509- 0 A Man Called Peter — Peters-Todd (C'Scope) .Apr.

510- 8 Violent Saturday — Mature-Sydney (C'Scope) .Apr.
508'2 The Adventures of Sadie — Collins^Moore .... May

512- 4 The Living Swamp — Documentary (C'Scope) .May
515-7 Daddy Long Legs — Astaire-Caron (C'Scope) .May

Call Northside 777 — reissue May

Where the Sidewalk Ends — reissue May

504-1 That Lady — DeHaviland -Roland (C'Scope) .. .May

J 13-2 Magnificent Matador —

O'Hara-Quinn (C'Scope) June

514-0 Soldier of Fortune —

Gable-Hayward (C'Scope) June

517- 3 The Seven Year Itch—

Monroe-Ewall (C'Scope) June

516-5 House of Bamboo — Stack-Ryan (C'Scope) . . . .July

512-4 The Living Swamp — Featurette (C'Scope) July

506-6 A Life in the Balance — Montalban-Bancroft . - July

518- 1 How to Be Very, Very Popular —

Grable-North (C'Scope) July

520-7 The Left Hand of God—

Bogart-Tierney (C'Scope) Aug.

The Virgin Queen — Davis-Todd (C'Scope) . Aug.

519- 9 Love Is a Many Splendored Thing —

Holden-Jones (C'Scope) Sept.

Seven Cities of Gold — Egan-Rennie (C'Scope) .Sept.

The Tall Men— Gable-Russell (C'Scope) Sept.

(Ed. N.ote: "Pin\ Tights," listed in the previous index as
an October release, has been withdrawn from the schedule.)

United Artists Features

(729 Seventh Ave.. Hew Tor\ 19, H-l T.)

Big House, U.S.A. — Crawford-Meeker Mar.

Stranger on Horseback — McCrea-Miroslava Mar.

Marty — Blair-Borgnine Mar.

The Purple Plain — Gregory Peck Apr.

A Bullet for Joey — Robinson-Raft-Totter Apr.

Lilacs in the Spring — Flynn-Neagle Apr.

The Tiger and the Flame — All-Indian cast May

Kiss Me Deadly — Meeker-Stewart-Dekker May

Robbers' Roost — Montgomery-Findley May

Top of the World — Robertson-Lovejoy-Keyes May

The Big Bluff — Bromfield-Vickers June

The Sea Shall Not Have Them — British cast June

Albert, R. N. — British cast June

Summertime — Hepburn-Brazzi June

Othello — Orson Welles June

Not As a Stranger — Mitchum-DeHavilland July

The Man Who Loved Redheads — British cast July

Shadow of the Eagle — Greene-Cortesa July

Universal-International Features

(445 Par\ Ave., Hew Tor\ 22, K T.)

516 Smoke Signal — Andrews-Laurie Mar.

509 Land of Fury — Hawkins-Johns Mar.

520 Man Without a Star — Douglas-Crain Apr.

519 Ma d Pa Kettle at Waikiki— Main-Kilbride Apr.

517 Chief Crazy Horse— Mature>Ball (C'Scope) Apr.

518 Chief Crazy Horse — (standard) Apr.

521 Revenge of the Creature — Agar-Nelson (3D) ..May

522 Revenge of the Creature (2D) May

523 Cult of the Cobra — Domergue-Long May

524 The Looters — Calhoun-Adams May

525 The Man from Bitter Ridge — Barker-Cordey . . . .June

526 Abbott & Costello Meet the Mummy June

527 This Island Earth — Reason-Domergue June

528 FoxFire — Chandler-Russell-Duryea July

529 Ain't Misbehavin' — Calhoun-Laurie'Carson July

530 The Purple Mask— Curtis-Miller (C'Scope) July

531 The Purple Mask— (2D) July

532 One Desire — Baxter-Hudson-Adams Aug.

533 Private War of Major Benson — Heston- Adams. .Aug.

534 Francis in the Navy — O'Connor-Hyer Aug.

535 The Shrike — Ferrer-Allyson Sept.

536 Female on the Beach — Crawford-Chandler Sept.

537 The Naked Dawn — Kennedy-St. John Sept.

Warner Bros. Features

(321 W. 44th St.. Hew Yor\ 18, H- T.)

411 Battle Cry— Heflin-Ray^Hunter (C'Scope) ..Mar. 12

413 New York Confidential — Crawford-Conte . . .Mar. 12

414 East of Eden — Harris-Dean -Massey (C'Scope) Apr. 9

415 Strange Lady in Town —

Garson-Andrews (C'Scope) Apr. 30

410 Jump Into Hell — Sernas*Kasznar May 14

416 The Sea Chase — Wayne-Turner (C'Scope) . .June 4

417 Tall Man Riding — Scott-Malone- Castle June 18

419 Land of the Pharaohs —

Hawkins-Collins (C'Scope) July 2

420 The Dam Busters — Todd-Redgrave July 16

418 Mister Roberts —

Fonda-Cagney-Powell (C'Scope) July 30

421 Pete Kelly's Blues —

Webb-Lee-O'Brien (C'Scope) Aug. 27

Blood Alley — Wayne-Bacall (C'Scope) Not Set

SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel

7610 Treasure Jest — Favorite (reissue) (6J/2 m.) .Apr. 7

7955 Elliot Lawrence 6? Orch.—

Thrills of Music (reissue) (10J/^ m.) . . . .Apr. 14

7611 Picnic Panic — Favorite (reissue) (6 m.) . . . .Apr. 21

7858 Hollywood Plays Golf-

Screen Snapshots (9 m.) May 5

7612 Mother Hubba-Hubba Hubbard—

Favorite (reissue) (6m.) May 12

7808 Barking Champs — Sports (9 m.) May 12

7504 Baby Boogie— UPA Cartoon (6m.) May 19

7703 Magoo Express — Mr. Magoo (6J/2 m.) ... .May 19

7613 Kukunuts — Favorite (reissue) (6J/2 m.) ...June 2
7555 Candid Microphone No. 2 (11 m.) June 2

7809 Sun Play— Sports (9m.) June 2

7956 Ray Eberle 6? His Orchestra-

Thrills of Music (reissue) (1014 m.) June 9

7859 Hollywood Beauty-

Screen Snapshots (11 m.) June 16

7704 Madcap Magoo — Mr. Magoo (6 m.) June 23

7614 Scary Crows — Favorite (reissue) (8 m.) June 23

7615 Little Rover — Favorite (reissue) (9 m.) . . . .July 14

7860 Hollywood Mothers — Screen Snapshots . . . July 14

Columbia — Two Reels

7407 Bedlam in Paradise — Stooges (16 m.) Apr 14

7435 Ready, Willing but Unable-

Favorite (reissue) (16J/2 m.) Apr. 21

7415 One Spooky Night — Andy Clyde Apr. 28

7415 Scratch-Scratch-Scratch —

Andy Clyde (W/2 m.) Apr. 28

7426 Hiss and Yell — Favorite (reissue) (18 m.) . .May 5

7408 Stone Age Romeos — Stooges (16 m.) June 2

7160 Adventures of Captain Africa —

serial (15 ep.) June 9

7416 Nobody's Home — Quillan-Vernon (16]/'2 m.). June 9

7436 Training for Trouble —

Favorite (reissue) (15]/Z) June 16

Metro-Goldwyn-Mayer — One Reel

C-635 Southbound Duckling —

C'Scope Cartoon (7m.) Mar 12

W-665 Salt Water Tabby-
Cartoon (reissue) (7 m.) Mar. 26

T-616 Mighty Niagara —

Traveltalk (reissue) (10 m.) Apr. 9

S<656 Just What I Needed— Pete Smith (9 m.) .Apr. 16

W-631 Pet Peeve — Cartoon (7 m.) (2D) Apr. 23

C-637 Pup on a Picnic — C'Scope Cartoon (7 m.) .Apr. 30

S-657 Global Quiz— Pete Smith (10 m.) May 14

W-633 Touche Pussy Cat— Cartoon (2D) (7 m.) .May 21
W-635 Southbound Duckling —

Cartoon (2D) (7 m.) June 25

W-637 Pup On a Picnic— Cartoon (2D) (7 m.). July 22
(End of 1954-55 Season)

R14-7

H14-3

M14-5
M14-6
R14-8
El 4.6
K14-4

B14-5

El 4-7

K14-5

P14-5

R14-9

K14-6

R14-10

PI 4*6

B14-6

Paramount — One Reel

Baseball's Acrobatic Ace —

Sportlight (9m.) Apr. 8

A Bicep Built for Two —

Herman & Katnip (7 m.) Apr. 8

Let's Look At the Birds — Topper (9m.). .Apr. 15

Pick a Pet — Topper (8 m.) Apr. 22

Tumbling Jamboree — Sportlight (9 m.) . .May 13
Beaus Will Be Beaus — Popeye (6m.) ... .May 20
Five Hundred Horses —

Pacemaker (10 m.) May 20

Spooking With a Brogue — Casper (7m.) .May 27

Gift of Gag — Popeye (6 m.) May 27

Florida Aflame — Pacemaker (9 m.) June 3

News Hound — Noveltoon (6m.) June 10

High Score Bowling — Sportlight June 10

Walk in the Deep — Pacemaker (10 m.) .June 17
San Fernando Saddle Champs — Sportlight. July 1

Poop Goes the Weasel — Noveltoon July 8

Bull Fright — Casper July 15

T14-4

V14-2
V14-3

Paramount — Two Reels

Assignment Children —

UNICEF Special (19 m.) Mar.

Vista Vision Visits Mexico —

Special (17 m.) Apr. 29

Vista Vision Visits the Sun Trails —

Special (16 m.) May 27

RKO — One Reel

54308 Here's Hockey — Sportscope ( 10 m.) Mar. 18

54208 Bush Doctor — Screenliner (11 m.) Apr. 1

54107 Blame It on the Samba —

Disney (reissue) (6 m.) Apr. 1

54309 Jai-Alai — Sportscope (8 m.) Apr. 15

54108 Chip an' Dale — Disney (reissue) (7 m.) ..Apr. 22

54209 Inland Seas — Screenliner (8 m.) Apr. 29

54310 Everglades Posse — Sportscope (8 m.) . . . .May 13

54109 Pedro — Disney (reissue) (8 m.) May 13

54210 Staff of Life— Screenliner (8 m.) May 27

54110 El Gaucho Goofy — Disney (reissue) (8 m.) June 10
543 11 Downhill Yachts — Sportscope (8m.) June 10

54211 Rest Assured — Screenliner (8 m.) June 24

54111 Aquarela do Brasil- —

Disney (reissue) (8 m.) June 24

54212 Safety Is Their Business — Screenliner (8) .July 22

54213 Film Fun— Screenliner (9 m.) Aug. 19

RKO — Two Reels

53106 Finders Keepers — Special (15'/2 m.) Apr. 1

53801 Basketball Highlights— Special (15 m.) . . .Apr. 15

53107 Operation Icecap — Special (19 m.) May 6

Republic — One Reel

5388 Venesuela — This World of Ours (9 m.) ..Mar. 1
Republic — Two Reels

5484 Jesse James Rides Again — Serial (12 ep.) . .Mar. 28

5485 King of the Carnival — Serial (13 ep.) June 27

Zorro's Black Whipp — Serial (13 ep.) Sept. 19

Twentieth Century-Fox — One Reel

5506- 1 It's All in the Stars —

Terrytoon (reissue) (7m.) Mar.

5507- 9 The First Flying Fish (Aesops Fable) —

Terrytoon (7m.) Mar.

5508*7 The Two Headed Giant—

Terrytoon (reissue) (7m.) Apr.

5509-5 No Sleep for Percy (Little Roquefort) —

Terrytoon (7 m.) Apr.

Twentieth Century-Fox — C'Scope Reels

7501-0 Tuna Clipper Ship— C'Scope (18 m.) Mar.

5510*1 Pageants and Pastimes — C'Scope (13 m.) . . .Mar.

7511- 9 Colorado Holiday— C'Scope (9 m.) Apr.

7506- 9 Land of the Nile — C'Scope (9 m.) Apr.

7508- 5 Isles of Lore — C'Scope (10 m.) Apr.

7507- 7 Tears of the Moon — C'Scope (10 m.) May

7509- 3 Punts and Stunts — C'Scope (9 m.) May

7512- 7 Children of the Sun— C'Scope (7 m.) May

7513- 5 Clear the Bridge— C'Scope May

Universal — One Reel

1326 Private Eye Pooch — Cartune (6 m.) Apr. 9

1325 The Legend of Rock-a-Bye Point —

Cartune (6m.) Apr. 11

1343 Whatever Goes Up — Variety View (9m.) . .Apr. 11

1353 Banquet Busters —

Cartune (reissue) (6J/2 m.) Apr. 25

1383 White Magic— Color Parade (9 m.) Apr. 25

1354 Kitty Koncert — Cartune (reissue) (7 m.) . .May 30

1327 Sh-h-h-h— Cartune (6 m.) June 6

1355 Pixie Picnic — Cartune (reissue) (6 m.) . . . . June 27

1328 Bedtime Bedlam — Cartune (6m.) July 4

1356 Whacky Bye Baby — Cartune (reissue) (6 m.).July 25

1329 Paw's Night Out — Cartune (6 m.) Aug. 1

Universal — Two Reels

1305 Les Brown Goes to Town — Musical (15 m.) .Mar. 14

1300 A World of Beauty— Special (17 m.) Mar. 15

1203 Fortress of Freedom — Vistarama (10 m.) . .Mar. 28

1306 Strictly Informal — Musical ( 16 m.) Apr. 11

1307 Girl Time— Musical (16 m.) May 16

1302 The King's Secret — Special (16 m.) May 30

1308 Webb Pierce and His Wanderin' Boys —

Musical (16 m.) June 20

Vitaphone — One Reel

2714 Sandy Claws — Looney Tune (7m.) Apr. 2

2308 House Hunting Mice —

Hit Parade (reissue) (7m.) Apr. 2

2715 The Hole Idea— Looney Tune (7 m.) Apr. 16

2806 The Playgirls—

Melody Master (reissue) (10 m.) Apr. 16

2309 Crowing Pains — Hit Parade (reissue) (7 m.) Apr. 23
2508 Rocky Mountain Big Game —

Sport* Parade (10 m.) Apr. 23

Ready, Set, Zoom! — Looney Tune (7 ro.) . .Apr. 30

Fire, Wind, Flood — Variety (10 m.) Apr. 30

Hare Brush — Bugs Bunny (7m.) May 7

So You Want To Be On a Jury —

Joe McDoakes (10 m.) May 7

Past Performance — Merrie Melody (7 m.) . .May 21
Riviera Revelries — Sports Parade (10 m.) .May. 21
Hop, Look and Listen —

Hit Parade (reissue) (7m.) June 4

Tweety's Circus — Merrie Melody (7m.) . . .June 4
U.S. Service Bands —

Melody Master (reissue) (10 m.) June 11

Rabbit Rampage — Bugs Bunny (7m.) June 11

Some of the Greatest — Variety (10 m.) . . .June 18
Tweety Pie — Hit Parade (reissue) (7 m.) . .June 25

Lumber Jerks — Merrie Melody (7m.) June 25

Italian Holiday — Sports Parade ( 10 m.) July 9

This Is a Life? — Bugs Bunny (7m.) July 9

Goofy Gophers — Hit Parade (reissue) (7m.) July 23
Double or Mutton — Merrie Melody (7 m.) . .July 23

Gadgets Galore — Variety (10 m.) July 30

Aqua Queens — Sports Parade (10 m.) Aug. 6

Jumpin' Jupiter — Merrie Melody (7m.) . . .Aug. 6
What's Brewin' Bruin —

Hit Parade (reissue) (7 m.) Aug. 20

A Kiddie's Kitty — Merrie Melody (7m.) . .Aug. 20
So You Want a Model Railroad —

Joe McDoakes (10 m.) Aug. 27

Hyde and Hare — Bugs Bunny (7 m.) Aug. 27

Vitaphone — Two Reek

2008 Old Hickory— Special (17 m.) Apr 9

2105 At the Stroke of Twelve— ' '

Featurette (20 m.) May 14

2010 Wave of the Flag— Special (19 m.) .' ^May 28

o^i Xl* ofV- °{ Akxander Selkirk— Special . . June 10

2.10b Ihe Glory Around Us — Featurette July 2

2010 Uranium Fever — Special Tnlv 1*

2009 Festival Days— Special '.'.'.'.Aug 13

NEWSWEEKLY NEW YORK
RELEASE DATES

2716
2605
2727
2405

2717
2507
2310

2718
2805

2728
2606
2311
2719
2509
2729
2312
2720
2607
2510
2721
2313

2722
2406

2730

News of the Day

288 Wed. (E) June 29

289 Mon. (O) July 4

290 Wed. (E) July 6

291 Mon. (O) July 11

292 Wed. (E) July 13

293 Mon. (O) July 18

294 Wed. (E) July 20

295 Mon. (O) July 25

296 Wed. (E) July 27

297 Mon. (O) . ..Aug. 1

298 Wed. (E) . . .Aug. 3

299 Mon. (O) . . .Aug. 8

300 Wed. (E) . . .Aug. 10

301 Mon. (O) . . .Aug. 15

302 Wed. (E) . . .Aug. 17

303 Mon. (O) ...Aug. 22
(End of 1954-55 Season)

Paramount News

91 Wed. (O) .. .June 29

92 Sat. (E) July 2

93 Wed. (O) July 6

94 Sat. (E) July 9

95 Wed. (O) July 13

96 Sat. (E) July 16

97 Wed. (O) July 20

98 Sat. (E) July 23

99 Wed. (O) July 27

100 Sat. (E) July 30

101 Wed. (O) . . .Aug. 3

102 Sat. (E) Aug. 6

103 Wed. (O) . ..Aug. 10

104 Sat. (E) Aug. 13

(End of 1954-55 Season)

1955-56

1 Wed. (O) ...Aug. 17

2 Sat. (E) Aug. 20

Warner Pathe News

93 Wed. (O) ...June 29

94 Mon. (E) July 4

95 Wed. (O) ....July 6

96 Mon. (E) July 11

97 Wed. (O) ....July 13

98 Mon. (E) ....July 18

99 Wed. (O) . . . .July 10

100 Mon. (E) ...July 25

101 Wed. (O) ...July 27

102 Mon. (E) ...Aug. 1

103 Wed. (O) ...Aug. 3

104 Mon. (E) . . .Aug. 8
(End of 1954-55 Season)

1955-56

1 Wed. (O) ...Aug. 10

2 Mon. (E) . . .Aug. 15

3 Wed. (O) . . .Aug. 17

4 Mon. (E) ...Aug. 22
Fox Movietone

55 Friday (O) ...July 1

56 Tues. (E) July 5

57 Friday (O) ...July 8

58 Tues. (E) July 12

59 Friday (O) ...July 15

60 Tues. (E) July 19

61 Friday (O) July 22

62 Tues. (E) July 26

63 Friday (O) July 29

64 Tues. (E) . . . .Aug. 2

65 Friday (O) . . .Aug. 5

66 Tues. (E) ....Aug. 9

67 Friday (O) . . .Aug. 12

68 Tues. (E) ....Aug. 16

69 Friday (O) . . .Aug. 19
Universal News

686 Thurs. (E) . . June 30

687 Tues. (O) . . July 5

688 Thurs. (E) . . July 7

689 Tues. (O) . . July 12

690 Thurs. (E) . . July 14

691 Tues. (O) . . July 19

692 Thurs. (E) . . July 21

693 Tues. (O) .. July 26

694 Thurs. (E) . . July 28

695 Tues. (O) . . .Aug. 2

696 Thurs. (E) . .Aug. 4

697 Tues. (O) . . .Aug. 9

698 Thurs. (E) . .Aug. 11

699 Tues. (O) . . .Aug. 16

700 Thurs. (E) . .Aug. 18

Entered as second-class matter January i, 1921, at the post office at New York, New York, under the aot of March 3, 1879.

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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXXVII SATURDAY, JULY 9, 1955 No. 28

PERCENTAGE PICTURES AND THE EVIL
OF A MINIMUM GUARANTEE

In a special article published in the twenty-second
anniversary issue of the Independent Film Journal,
under the heading, "Never a Buyer's Market,"
Horace Adams, president of the Independent Theatre
Owners of Ohio, points out that, years ago, exhibition
was shocked when the first film company broached the
novel idea of charging the exhibitor a percentage of
his gross for a picture. He recalls that, during the first
year of this practice, the demand was for four pic-
tures out of about 48 at 25 per cent, but in subse-
quent years the demand rose to 30 per cent, then 35
per cent and higher.

"Today," declares Adams, "except in the very
small situations that play pictures very late, it is hard
to buy any picture at a flat rental. Furthermore, with
the price creeping up gradually, the exhibitor thinks
he is getting a bargain when he is only asked 50 per
cent instead of 70 per cent."

Stating that there is a lot more to a 70-30-10 deal
"than meets the eye," Adams cites the case of a thea-
tre with an overhead of $1,000 per week to make his
point. "Suppose," he states, "it grosses $2,000 on a
picture. Any exhibitor who thinks he is guaranteed
$200 profit or 10 per cent of the gross has another
think coming. All he gets is $100 or 10 per cent of
the profit after expenses. So the distributor is getting
45 per cent of the gross. Now if the theatre does
$1,500, a pretty good week, the distributor would
get $450 film rental and the exhibitor $50; a fine
profit for a week.

"Let's suppose this theatre really hits the jackpot
and does $4,000 in a week. In this case, the exhibitor
gets $300 profit — but the distributor gets 67 Yi per
cent.

"Now go back and let us see what would happen if
the 70 per cent were really fairly applied with 10 per
cent of the gross as profit to the exhibitor. In the case
of the $2,000 gross, the exhibitor would get $200
profit, which is fair enough. The distributor would
still get $800 for the picture which is 40 per cent. In
the case of the $1,500 gross, the exhibitor would get
$150 profit, still good, and the distributor would get
23 per cent for the picture. Well, we'll agree that 25
per cent is the minimum so the exhibitor would have
to cut his profit to $125. In the case of the $4,000
gross, the exhibitor would get $400 profit while the
distributor would get 60 per cent for the picture.

"But these formulas would never appeal to a dis-
tributor. They want guarantees that they will not re-
ceive less than 50 per cent of the gross as film rental,
regardless of the exhibitor's overhead, expenses and

what not. They point to the exhibitor's (candy) con-
cessions but scornfully reject any parallel pointing to
the grosses they might get from the first run houses."

Mr. Adams' breakdown of what happens on a 70-
30-10 deal as presently applied, and what would hap-
pen if it were really fairly applied, is indeed reveal-
ing. And his conclusion that a fair application of this
deal would never appeal to the distributors is under-
standable, for if one is to judge by the harsh rental
terms some of them are demanding these days, one
cannot help but get the impression that they evidently
think that the exhibitors subsist on air, pay rent with
peanut shells, and remunerate their employees at the
end of the week with a pat on the back.

As to Mr. Adams reference to the distributors' de-
mands for minimum guarantees, there can be no ques-
tion that it is one of the worst evils in connection with
pictures that are sold on a percentage basis. There is
no sound reason for such a guarantee. Playing a pic-
ture on percentage means playing it on a partnership
basis; and when the distributor asks for a minimum
guarantee, it is tantamount to an admission on his
part that he has no faith in the ability of his picture to
draw a sufficient number of patrons to the exhibitor's
theatre to enable him to realize a fair return on it,
and wants the exhibitor to guarantee him an amount
that frequently is greater than the picture is entitled
to on a flat rental basis.

The basic idea behind percentage playing is to give
the picture an opportunity to prove its worth as a
box-office attraction so that an equitable share of the
receipts will go to both the distributor and exhibitor.
It is, to an extent, a gamble on both sides. But when
the producer demands a minimum guarantee, the
gambling chance is taken only by the exhibitor, and
too often, unfortunately, he is left holding the skim-
milk while the distributor walks off with the cream.

A PIPE DREAM

Sir Alexander Korda, the veteran British film pro-
ducer, has concluded a deal with the National Broad-
casting Company for a single telecast this fall over its
TV network of his latest production, "The Constant
Husband," which stars Rex Harrison and Margaret
Leighton.

The picture will be presented as an NBC spectacu-
lar, and under the deal the network reportedly will
pay Korda $200,000. Of this amount, NBC will be
permitted to recoup up to $75,000 from theatrical re-
lease of the film, after its presentation on the air and
after a certain percentage of the receipts is retained
by Korda.

(Continued on bac\ page)

110

HARRISON'S REPORTS

July 9, 1955

"One Desire" with Anne Baxter,
Rock Hudson and Julie Adams

(Univ.-Int'l, August; time, 94 mm.)

Photographed in Technicolor, "One Desire" is a
"soap opera" type of tearjerker that should have a
particular appeal for women, despite the ' triteness
and obviousness of the plot. Their male escorts, how
ever, probably will look upon the yarn as just so much
sentimental slush and will remain restless throughout
the proceedings. The story, which is set in Oklahoma
and Colorado at the turn of the century, combines
a romantic triangle and mother love themes, but its
dramatic effectiveness is hampered by the fact that
the action is contrived and hardly true to life. More
over, the characterizations do not impress one as being
real. Anne Baxter turns in a sensitive performance
as a gambling palace queen who makes a sincere ef'
fort to settle down to a life of respectability, but Julie
Adams is mechanical as a spoiled and conniving rich
girl whose treachery causes Miss Baxter much an'
guish. Rock Hudson is somewhat wooden as the way-
ward hero of the piece. There is some excitement in
the closing sequences, where Miss Adams perishes
in a fire she had accidentally started, but the pace for
the most part is slow-moving. The production values
are good, and the color photography fine: —

Searching for Rock Hudson, his brother, 10-year-
old Barry Curtis, an orphaned lad, arrnves in an
Oklahoma boom town and finds him working as a
dealer in a notorious gambling palace, which is man-
aged by Anne Baxter, his girl-friend. Anne, who had
long hoped for a marriage and home with Hudson,
takes charge of Barry. When Hudson is discharged
for irresponsibility, the three move to Randsburg,
Colorado, where Anne settles down in a home with
Barry while Hudson moves into a hotel and searches
for another gambling job. One day Anne unofficially
adopts Natalie Wood, a motherless child, whose
father had just been killed in a mine cave-in. Mean-
while Hudson becomes acquainted with Julie Adams
and, through her, obtains a job in her father's bank.
Hudson makes good in this respectable occupation,
and Anne hopes that he will decide to marry her. But
when he goes out of town of a business trip, Julie, in
love with him herself, investigates Anne's past and
secretly instigates a hearing before a judge on the
grounds that Anne is not a fit "mother1' for the two
children living with her. This results in the judge
awarding custody of the children to Julie, who seem-
ingly offers to help Anne in her predicament. Crushed
and beaten, Anne returns to her old job of managing
the gambling palace. Meanwhile, Hudson is told dis-
torted stories about the reasons for Anne's sudden
departure from town, and within a year he marries
Julie and becomes the head of the bank when her
father dies. In due time, Julie's mistreatment causes
Natalie to run away and visit Anne, who brings her
back to Randsburg on the next train. Upon arriving
in town, Anne finds herself subjected to Julie's ani-
mosity and learns that she was responsible for her
losing custody of the children. Anne, intent on re-
venge, buys a property across the street from Julie's
fashionable mansion and turns it into a gambling
palace. Hudson visits Anne, declares his love for her
and admits that he had made a mistake in marrying
Julie. Anne's presence in town leads to a quarrel be-

tween Hudson and Julie on New Year's Eve and,
while in a drunken stupor, she tips over an oil lamp
that sets her bedroom on fire. Hudson makes an
heroic effort to save her, but fails. The fire not only
destroys their home, but also Anne's gambling palace
across the street. Having literally burned their bridges
behind them, Anne and Hudson face a new and hap-
pier life together, along with the children.

It was produced by Ross Hunter, and directed by
Jerry Hopper, from a screenplay by Lawrence Roman
and Robert Blees, based on the novel "Tacey Crom-
well," by Conrad Richter.

Adults.

"Pearl of the South Pacific" with Virginia Mayo,
Dennis Morgan and David Farrar

(RKO, July; time, 85 min.)

The exhibitor who will play this South Sea adven-
ture melodrama, which is being released in Super-
Scope form, will have to depend on the popularity of
the players, the shapely curves of the sarong-clad
Virginia Mayo, and the fine color photography to put
it over, for the story itself is unbelievable and lacking
in substance. It is doubtful if the average run of
movie-goers, particularly the younger crowd, will be-
come excited over a search for black pearls, which in
all probability they have never seen and know little
about. The action centers around the efforts of the
principals to steal a treasure of black pearls which,
according to their private intelligence, had been hid-
den by natives on an uncharted Pacific island governed
by a white man. As can be anticipated, tragedy befalls
their efforts, but in the end the hero and heroine be-
come regenerated, give up the sordid idea of stealing
the pearls, and decide to spend the remainder of their
days on the island in happiness. It is so-called "escap-
ist" entertainment, but there is hardly any comedy
relief. Despite the star names, the picture does not
rise above the level of program fare, but the exhibitor
might build it up for something more than it is by
exploiting the sex angle. Eastman color has been util-
ized in the photography, with prints by Techni-
color : —

Dennis Morgan regains consciousness and finds that
he had been shanghaied by Virginia Mayo, his former
girl-friend, and David Farrar, his partner, aboard the
"Kamboona," his own schooner, which was well on
its way to a remote Pacific island, where Virginia and
Farrar had learned about a fortune in black pearls,
hidden by the natives. They persuade Morgan to join
their plot to steal the pearls. Their arrival on the
island interrupts the marriage rites of Lance Fuller,
half-caste son of Basil Ruysdael, the island's white
ruler, and Lisa Montell, daughter of Murvyn Vye, a
warrior chief. Ruysdael orders the visitors to leave
lest their "civilization" corrupt his happy domain.
To gain time, they run their schooner ashore during
the night and then tell Ruysdael that they will need
an indefinite number of days to make repairs. Vir-
ginia wins the natives' confidence by being pleasant
and human, but the black pearls remain her objective.
She pretends to be interested in Fuller, and he, dazed
by her attentions, reveals to her where the chest filled
with black pearls is buried in a lagoon, guarded by a
giant octopus. Still under Virginia's spell, Fuller un-

July 9, 1955

HARRISON'S REPORTS

wittingly helps Morgan and Farrar to come ashore
with trinkets and rum, with which they get the na-
tives drunk while they go after the pearls. Frenzied
by the sight of the treasure, Farrar almost kills a
native who had refused to dive for the pearls. The
corruption of his people causes Ruysdael to suffer a
stroke, and while Virginia and Morgan help the old
man, Farrar persuades the half -intoxicated Fuller to
dive for the treasure. The octopus attacks the young
man, but Morgan dives in and kills the monster, thus
saving his life. In the events that follow, Virginia and
Morgan, impressed by Ruysdael's sincere desire to
keep the natives unspoiled, decide to give up their
dirty work and to remain on the island. Meanwhile
Farrar manages to get some of the pearls with the aid
of Fuller, and stabs the young man when he refuses
to go after more of them. This leads to a fight between
Morgan and Farrar, with Farrar dying after he is
downed by a native's arrow. Morgan returns to the
village and finds that Vye, the warrior chief, had de-
creed that Virginia must die to atone for the white
man's sins. He manages to stop the sacrifice, aided by
the partially recovered Ruysdael. After the natives
destroy their schooner by fire, Virginia and Morgan
decide to settle down on the island and preparations
immediately begin for a double wedding — their own
and that of Fuller and Lisa.

It was produced by Benedict Bogeaus, and directed
by Allan Dwan, from a screenplay by Jesse Lasky,
Jr., based on a story by Anna Hunger.

Unobjectionable for family audiences.

"Wakamba"

(RKO, ]une; time, 65 min.)

An ordinary African jungle documentary picture,
photographed in an unidentified color process, with
prints by Technicolor. The film, which is sponsored
by the American Museum of Natural History, and
which was shot in the southeastern part of the prov-
ince of Kenya, has the usual shots of wild animal life
and strange tribal customs, but it presents little that
is either novel or startling, and most of what is shown
has been seen to better advantage in many other
jungle documentaries. At best, it deserves no better
spot than the lower half of a mid-week double bill.

Worked into the proceedings is a fanciful, nar-
rated story that centers around a warrior of the Wa-
kamba tribe, a hunter who sets out to track down and
kill a huge bull elephant with bow and arrow in
order to secure ivory tusks of sufficient size to pay the
price for marriage to a native girl in a neighboring
village. The commentary is flowery and "corny," and
is spoken as if exciting events, loaded with suspense,
were taking place, but the action one sees on the
screen is for the most part pretty tame. As a matter
of fact, less narration might have been beneficial. Like
most jungle pictures, this one, too, has thrilling ani-
mal shots here and there, but none is important
enough to overcome the mediocrity of the whole. One
sequence, which shows a number of lions feasting on
an antelope, and another that shows a pack of wild
dogs attacking and killing a gazelle, are decidedly un-
pleasant to watch. The color photography is good in
some parts and below par in others.

It was produced by Edgar M. Queeny, who photo-
graphed it in collaboration with Fort B. Guerin, Jr.

Charles L. Tedford wrote the script, which is nar-
rated by Paul E. Prentiss.

The picture is best suited for adult audiences in
view of the fact that the opening scenes show native
women without clothing above the waist.

A VEXING PROBLEM SOLVED

Development of a technical advancement to over-
come "buckling" of film, which is considered to be
one of the exhibitors' greatest projection problems,
has been accomplished by MGM technical research,
according to an announcement by E. J. Mannix, the
studio's general manager.

"Buckling" of film, creating erratic focus changes
and sometimes breaking of film, can now be elimi-
nated, it was stated, through the inventiveness of
Merle Chamberlin, MGM's studio projection chief.

This problem, caused by the drying out of film
under the heat of projection lamps, has increased
because of the added amperage required for wide-
screen exhibition, especially in drive-in theatres.

Chamberlin 's development is an automatic vapor-
izer, added to the film rewind cabinet, maintaining
the uniform moisture required for trouble-free pro-
jection. It has been equipped experimentally in a
numbr of theatres with successful results.

The research and development was conducted un-
der the direction of Douglas Shearer, head of the
sound division at the studio, and will be detailed to
the industry through the Motion Picture Research
Council, International Projectionists' Union and
technical journals of the trade.

KIND WORDS FROM A READER

June 22, 195?

Dear Mr. Harrison :

Herewith enclosed please find our annual subscrip-
tion as per attached account, for which kindly ac-
knowledge receipt in due course.

Once again it is our great pleasure to be a sub-
scriber, and to thank you for the valuable informa-
tion contained in your Reports.

I am sorry I can't enter into the championship for
the oldest membership, as my file only goes back to
1935, but I claim being a subscriber since 1925.

Kindest regards. — W. R. Clemenger, General
Manager, Goldfields Pictures, Perth, Western Aus-
tralia.

CHECK YOUR FILES FOR
MISSING COPIES

Now and then your copy of Harrison's Reports
is either lost in the mails or mislaid in the office but
you are not aware that it is missing until you look for
some information you need immediately. In such a
case you are greatly inconvenienced.

Why not look over your files now to find out
whether a copy of an issue or two issues is missing?
A sufficient number of back issues is kept in stock
for such an emergency. All such copies are furnished
to subscribers on request, free of charge.

112

HARRISON'S REPORTS

July 9, 1955

In making this deal, Korda and NBC were appar-
ently influenced by the thousands of theatrical book-
ings received by Walt Disney's "Davy Crockett," in
spite of the fact that it was shown originally to a vast
audience over TV without charge. If such is the case,
both NBC and Korda had better prepare themselves
for a bitter disappointment, for, even if the "Con-
stant Husband" is a good show, it is a sophisticated
comedy and cannot possibly have the same attraction
for the American exhibitors as "Davy Crockett,"
which is a very special case due to its appeal for
children.

The best "The Constant Husband" can hope for
in the way of theatrical bookings after it is shown
nationwide as an NBC "spectacular" is some sporadic
bookings in the comparatively few theatres that spe-
cialize in foreign-made pictures. The vast majority of
the theatre owners in this country probably will ig-
nore it, for hardly any one of them would risk val-
uable playing time on a picture that has been seen by
millions free of charge, particularly a British-made
picture, few of which appeal to the American masses.

JOINT EXHIBITOR COMMITTEE
TO MEET WITH UNITED ARTISTS

A meeting between executives of United Artists
and representatives of the joint National Allied-
Theatre Owners of America committee has been
schduled for Tuesday, July 12.

This conference will be the last of the series of
meetings held between the joint committee and the
other film company executives in the current effort to
seek solutions to the pressing problems faced by the
exhibitors.

Following this meeting, Allied's Emergency De-
fense Committee, which is headed by Benjamin
Berger, will prepare a report for submission to Al-
lied's board of directors, which is scheduled to con-
vene in Washington, D. C. on July 20. It is expected
that the EDC's report on the joint conferences with
the different distribution companies, coupled with
whatever recommendations it will make, will guide
the course Allied's board will take in connection with
its mandate to seek relief through Government inter-
vention, if necessary.

A NEW PAY-TV CANDIDATE

A new pay-as-you-see TV system was disclosed
this week when a company named Dynamics- Elec-
tronics-New York notified the Federal Communica-
tions Commission that it has developed and patented
a system caled Ultravision, which utilizes neither a
punch card nor a coin box and can be employed by
any conventional television set. This is the fourth
subscription TV system, the other three being Phone-
vision, Skiatron and Telemeter.

According to the company, Ultravision utilizes the
UHF band and minimizes costs to operators and home
consumers. Moreover, it is claimed that no special
equipment is needed by owners of VHF receivers.
The set owner merely turns his dial to any unused
channel in his respective area and receives the pay-
TV program. The only item that will be required by
the set owner is an extra cable running from the set.
This cable will enable a master station to feed the pro-
grams to the set owner and to bill him for the pro-
grams seen.

The company urged that, if the FCC authorizes
pay-TV, it should also license all compatible systems.

This new development does not surprise Harri-
son's Reports, for in its December 5, 1953 issue, in
an article discussing pay-TV, it stated that among the
things to be considered is the future competition
among the different subscription -TV systems them-
selves. The article stated that there is no guarantee
that a particular area will be served by only one such
system, and if several of them do compete in one area
it may have the effect of reducing the potential re-
cipts of the different programs. Moreover, it was
stated that the fact that each competing system will
have a different method by which to clear up the dis-
torted image may very well create a problem in that
people desirous of subscribing will have to decide
which one to accept to the exclusion of the others.
Such exclusion would then mean inability to see cer-
tain motion pictures and other events that will be
carried by the systems excluded. The observations
made by this paper in 1953 are as true today as they
were then.

MAIL YOUR AUDIENCE AWARDS
NOMINATIONS

All exhibitors who have not yet submitted their
Audience Awards nominations for pictures released
between October 1, 1954 and March 31, 1955 were
urged to get them into the mail at once in a statement
issued early this week by Robert W. Coyne, special
counsel for COMPO. The deadline is July 1 1 .

Coyne pointed out that the July 1 1 deadline refers
to the date on which the nominating ballots must be
in the hands of Price Waterhouse 6? Company and
not the date on which they must be mailed. No ballots
received by Price Waterhouse after that date will be
counted.

"It is very important," said Coyne, "that we have
the considered opinion of the largest possible number
of the nation's exhibitors as to the pictures and per-
formers they liked the best, or regarded as the most
promising. I'd like to point out that every manager of
a circuit theatre has the privilege of making his indi-
vidual selections in each of the five categories regard-
less of whether his selections coincide with the choices
of other managers in the same circuit or those of his
top circuit executives. We are seeking a real cross-
section of the exhibitors' choices."

Last week Elmer C. Rhoden, president of National
Theatres and chairman of the Audience Awards
campaign, stated that he was somewhat discouraged
over the fact that, out of a mailing of 15,000 first
ballots, only 2,100 had been returned as of June 29.
Rhoden declared that at least 5,000 ballots should be
returned before the deadline "lest some folks think
we are not on the job."

Elmer Rhoden, together with his aides, has done a
tremendous job in organizing the campaign and get-
ting it off the ground. Consequently, it should not be
necessary to urge any exhibitor to give him whole-
hearted support. The Audience Awards Poll offers
every exhibitor an outstanding opportunity to arouse
renewed interest in the movies on the part of the
public, and proper cooperation may very well turn it
into the most fruitful showmanship project ever un-
dertaken by the industry. Don't delay! Mail those
ballots on time!

Entered as second-olass matter January 4, 1921, at the poet office at New York, New York, und«r the act of March 3, 1879.

Harrison's Reports

Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by

United States $15.00 New York 20, N. Y. ^^^T' ^

U. S. Insular Possessions. 16.60 ' i-UDiisner

Canada ......... 16.50 A Motlon picture Reviewing Service P- S. HARRISON. Editor

Mexico, Cuba, Spain 16.50 Devoted Chiefly to the Interests of the Exhibitors

Great Britain ....... .. 17.60 Established July 1, 1919

Australia, New Zealand,

India, Europe, Asia 17.50 its Editorial Policy: No Problem Too Big for Its Editorial . „ .R„„

35c a Copy Columns, if It is to Benefit the Exhibitor. circle

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXXVII SATURDAY, JULY 16, 1955 No. 29

THE DISTRIBUTOR DRIVES

Within the past two weeks, three distribution com'
panies, Paramount, United Artists and RKO, have
announced sales drives honoring one of their execu-
tives. In each case, it is the first time that the execu-
tive is being so honored.

Paramount is dedicating its annual drive to Barney
Balaban, its president, with the campaign slated to
run for a period of 17 weeks, from August 24 to
December 28.

United Artists is honoring Max E. Youngstein,
vice-president in charge of advertising, publicity and
exploitation, in a 2 5 -week sales drive that was
launched on July 10.

RKO will launch a 1 6-week sales drive on August
12, in honor of J. R. Grainger, president of the com-
pany.

In announcing the Paramount drive, George Welt-
ner, the company's world-wide distribution chief, had
this to say: "During the 25 years since he assumed
the presidency of our company, Mr. Balaban has led
us each year to greater and greater heights, until to-
day Paramount proudly stands at the summit of our
industry as the acknowledged leader. I know that
exhibitors and theatre owners in every part of the
country will join with every Paramount employee in
this opportunity to express to Mr. Balaban the re-
spect, admiration and affection which the entire
motion picture industry feels for him and for Para-
mount."

No one can argue with Weltner's statement that
Paramount has reached greater heights over the past
twenty years under Balaban 's leadership from the
financial point of view, but most industryites will
laugh at his declaration that the company has become
the industry's "acknowledged leader." That it has
become a financial success is understandable, for
throughout the years it is the one company that has
been consistently denounced by the exhibitors for its
harsh and grasping sales policies and for its disregard
of exhibitor problems.

As for Weltner's statement that the exhibitors
throughout the country "will join with every Para-
mount employee in this opportunity to express to Mr.
Balaban the respect, admiration and affection which
the entire motion picture industry feels for him and
for Paramount," an indication of the exhibitors' true
feelings may be gleaned from the following article
that was published in a recent bulletin of the Inde-
pendent Theatre Owners of Ohio, under the heading,
"Look Who's Screaming Now!":

"Barney Balaban, president of Paramount, one of
the 'favorite' companies, according to our recent poll

of Ohio exhibitors, is complaining loudly because
the television networks oppose Pay-as-you-see TV.
Specifically, Balaban was complaining about state-
ments made by David Sarnoff, chairman of the board
of the National Broadcasting Corp. Mr. Sarnoff,
Balaban said, in attacking the motion picture pro-
ducers and Paramount in particular, was attempting
to defend the vested interests of the big networks.

"Mr. Balaban can get plenty of material for his
crying campaign. He can lift it right out of the letters
of complaint addressed to his company by exhibitors.
Certainly, no exhibitor is going to feel sorry for Para-
mount. This attitude, indicating 'to hell with the
theatres,' is probably the reason for the overbearing
attitude of the company.

"Incidentally, Mr. Balaban, making this speech to
a stockholders meeting, announced profits for the first
quarter of 1955 of $1.31 per share against 63 cents
for the same period in 1954. How are you doing?"

With reference to United Artists, this paper feels
confident that exhibitors who believe in cooperating
with sales drives will agree that the company made
a fine choice in honoring Max Youngstein. He is one
of the industry's most alert top executives, and ever
since he entered the business in 1940 his rise has been
phenomenal. His ideas on the promotion of pictures
have always been sound and progressive, and he is
ever ready to adopt any plan that will help exhibitors
to take in more money at the box-office.

In announcing the sales drive honoring Young-
stein, William J. Heineman, United Artists' distri-
bution chief, stated his belief that "UA's exhibitor
friends will wholeheartedly join in this tribute to the
man whose unflagging energies and creative efforts
have been a vital factor in the box-office success of
UA product." To Bill Heineman's remarks, Harri-
son's Reports adds the belief that no top executive
in the industry ever has been more deserving of such
a tribute.

As to the RKO sales drive honoring J. R. Grainger,
it is indeed gratifying to learn that the company will
be offering sixteen pictures to the exhibitors between
August 12 and December 1. Nine of these sixteen
pictures are now in release, and seven more — all in
Technicolor and either in CinemaScope or Super-
Scope — will be added to the release schedule during
the period of the drive. This will launch the com-
pany's busiest period in recent years and should prove
of considerable help in licking the product shortage.

It is to be hoped that the exhibitors will support the
RKO sales drive to the fullest extent possible, for it
is of utmost importance to them that the company,
which has been having its difficulties, remain in busi
ness as a fully functioning distribution organization,
(Continued on bac\ page)

114

HARRISON'S REPORTS

July 16, 1955

"To Catch a Thief" with Cary Grant
and Grace Kelly

(Paramount, September; time, 106 min)
Filmed mostly on the beautiful Riviera in Techni-
color and Vista Vision, "To Catch a Thief" is a
thoroughly satisfying mystery-comedy-romance, one
that should go over in a big way with adult audiences.
Alfred Hitchcock has not endowed the action with
as much suspense as one might expect in a picture
produced and directed by him; nevertheless, its story
of a one'time jewel robber who sets out to establish
his innocence by catching a thief who was using his
technique is tight and swiftly-paced, and constantly
offers dramatic and comical developments. Cary
Grant, long absent from the screen, makes an auspi-
cious return as the former thief who becomes the chief
suspect as a result of a series of jewel thefts. Grace
Kelly is equally good as a head-strong American heir-
ess who falls in love with him but suspects him of
hoodwinking her after her mother's jewels are stolen.
Much of the urbane and sophisticated dialogue owes
its scintillating quality to the fine delivery and acting
of both Grant and Miss Kelly. The supporting players,
too, are outstanding; each delivers a believable and
well-rounded characterization. The photography is
excellent, and the beautiful Riviera backgrounds are
a treat to the eye: —

Grant, a former jewel theif known to the French
police as "The Cat," had been one of a group of con-
victs who had escaped from jail during the Nazi oc-
cupation and who had joined the French Resistance.
After the war, all were allowed to go their various
ways so long as they behaved. Grant's peaceful life
of retirement in a coastal villa is suddenly disrupted
when he finds that the police suspected him of com-
mitting a series of jewel thefts that had broken out
in and around Cannes. He manages to elude capture
and makes his way to Cannes, where Charles Vanel,
owner of a fashionable restaurant and a former leader
of the French underground, helps him to be spirited
away to a beach club in a motorboat driven by Bri-
gitte Auber, an attractive young girl, who had long
had a crush on him. Through Vanel, Grant makes
contact with John Williams, an insurance company
investigator, who furnishes him with a list of the top
jewel owners in the area, in order that he may catch
his imitator at work and thus clear himself of sus-
picion. Williams even introduces Grant as a wealthy
American lumber man to Jessie Royce Landis, a rich
American widow, and Grace Kelly, her daughter,
who were among his company's top jewel clients. A
romance develops between Grace and Grant, but his
movements arouse her suspicions and she soon guesses
his true identity. This knowledge does not affect her
love for him, but when her mother's jewels disappear,
she accuses him of the theft and turns cold toward
him. Her mother, however, believes in his innocence
and allows him to escape from the police. In the course
of events, Grant finds reason to believe that his friend,
Vanel, was behind the robberies, and that he would
next strike at a big costume ball, for which he had
been engaged as the caterer. He persuades Grace to
attend the ball with him in costume and, after making
sure that he had been spotted by the police guarding
the wealthy guests, sees to it that Williams, dressed
in a similar costume, changes places with him so that
he might be free to keep an eye on Vanel's move-
ments. He hides out on the roof and, shortly after the
guests retire, he traps Birgette as she stealthily makes

off with a bag of jewels. The police spot both of them
and, in the desperate struggle to escape, Brigette
makes a near-fatal leap and is about to drop to her
death below. Grant clutches her by hand in the nick
of time, but before he hauls her to safety he makes
her confess to the police below that she had committed
the different thefts and that she was in league with
Vanel. It all ends with Grace apologizing to Grant
for suspecting him and persuading him to marry her.

It was produced and directed by Alfred Hitchcock,
from a screenplay by John Michael Hayes, based on
the novel by David Dodge.

Adult fare.

"The Night Holds Terror" with Jack Kelly
and Hildy Parks

(Columbia, August; time, 86 min.)

Well produced, directed and acted, this program
melodrama is a spine-tingling thriller. Although
it is lacking in marquee names, it might very well
prove to be a "sleeper" because of favorable word-of-
mouth advertising. The story, which is based on a
true-life happening, centers around the frightening
experience undergone by a young couple and their
two children when a trio of sadistic gangesters take
over their household and, under threat of killing one
or more members of the family, force the husband to
sell his car for cash and later hold him for ransom
when they learn that his father is a wealthy business-
man. The story idea is somewhat similar to "Sud-
denly," which starred Frank Sinatra, and to the
legitimate Broadway play, "The Desperate Hours,"
which has been produced as a film by Paramount but
has not yet been scheduled for release. But though
the story is not novel, the action, thanks to Andrew
Stone's creditable direction and the smooth continu-
ity of his screenplay, is packed with suspense from
start to finish and holds the spectator taut through-
out. A highly interesting aspect is the intelligent use
made by the police of a telephone company's facilities
to track down the gangesters without endangering
the life of the kidnapped husband. The players are
not well known but all act so well that they are be-
lievable in whatever they do or say : —

While driving home, Jack Kelly, an aircraft
worker, picks up Vince Edwards, a hitch-hiker, who
forces him at gunpoint to drive to a desolate spot for
a meeting with John Cassavetes and David Cross, his
confederates. The three hoodlums are enraged when
they find only ten dollars in Kelly's wallet. They
threaten to kill him but reconsider when he offers to
get them more money by selling his car for cash. Be-
cause the auto dealer could not raise immediate cash
until his bank opened in the morning, the gangsters
force Kelly to drive them to his home, where they
hold him, his wife (Hildy Parks) and their two chil-
dren as hostages. The family spends a night of terror
at the hands of the sadistic gangsters. On the follow-
ing morning, one of them accompanies Kelly to ob-
tain the cash for his car. To ensure a safe getaway,
the gangsters decide to take Kelly along with them
and warn Hildy that they will kill him if she notifies
the police before they clear out of town. Hildy prom-
ises to keep her silence provided Kelly telephones her
one-half hour after they drive off. As they head out
of town, the thugs discover that Kelly is the son of
a wealthy businessman and decide to hold him for
$200,000 ransom. They telephone Hildy, notify her
of their intentions and inform her that they will call

July 16, 1955

115

later to make arrangements for the payoff. Frantic
over her husband's safety, Hildy notfies the police
but warns them that Kelly will be killed if the gang-
sters learn of her move. By means of secret codes, the
police spread a dragnet throughout the area and, with
the cooperation of telephone company technicians,
track down the thugs when they phone Hildy to give
her instructions for the payment of the ransom. All
three are cornered and captured while their leader
talks to Hildy, and Kelly is rescued unhurt.

It was written, produced and directed by Andrew
Stone. Adults.

"The Big Bluff" with Martha Vickers,
John Bromfield and Robert Hutton

(United Artists, June; time, 70 rain.)

A minor program melodrama, the kind most movie-
goers will forget immediately after leaving the
theatre, but it should serve its purpose as a support-
ing feature in situations where audiences are not too
fussy. Centering around a wealthy but sick young
woman who marries a murderous fortune-hunter,
despite the warnings of her closest friend, the story,
aside from being somewhat sordid, is synthetic, and
the situations are too patly contrived. Moreover, the
direction and acting are nothing to brag about; it
seems as if the director just let the camera grind away
while the performers went through their paces in
routine fashion. The action unfolds with a minimum
of suspense and with few surprises. The story ends
with an ironical twist that brings retribution to the
fortune-hunter for his diabolical cunning, but it is
not unexpected: —

When Martha Vickers, a wealthy young woman
suffers a heart attack, her doctor tells Eve Miller, her
secretary-companion, that she has only a short time to
live. He recommends that Martha give up her gay life
and go to California for a rest. There, Martha meets
John Bromfield, a debonair fortune-hunter, who
makes a play for her when he learns that she is a
woman of means. Meanwhile, he carries on an affair
with Rosemarie Bowe, a cafe dancer, who was un-
happily married to Eddie Bee. The gay whirl with
Bromfield causes Martha to suffer another heart at-
tack, and this time Robert Hutton, her local doctor,
tells her the truth about her condition. Reasoning
that she has little time to live, Martha decides to
marry Bromfield, despite Eve's warning that he was
merely after her money. Bromfield marries her,, and
soothes Rosemarie by telling her that Martha will not
last very long, and that both will benefit after he in-
herits her fortune. Marriage, however, agrees with
Martha, and her health improves to the point where
she is given a chance of full recovery. To overcome
this unexpected turn of events, Bromfield deliberately
quarrels with Martha and leaves the house in a huff.
He meets Rosemarie, establishes an iron-clad alibi that
he had been with her, and then returns to the house
and shoots Martha. Despite all indications that Mar-
tha had committed suicide, Eve insists that Bromfield
had murdered her. The coroner, however, establishes
that Martha had died from a heart attack before she
was shot. Bromfield smugly points out that, even if it
could be proved that he had shot Martha, he could
not be convicted of murder. Just then news arrives
that Rosemarie had been found murdered in her room,
and based on evidence of his presence with Rose-
marie, the police arrest Bromfield for the crime, des-
pite his protests that the evidence was manufactured

for the purpose of an alibi in connection with Mar-
tha's death.

It was produced and directed by W. Lee Wilder,
from a screenplay by Fred Freiberger, based on a
story by Mindred Lord. Adult fare.

"The Gun That Won the West"
with Dennis Morgan, Richard Denning
and Paula Raymond

(Columbia, September; time, 69Vz rain.)

Followers of Indians-versus-U.S. Cavalry melo-
dramas should find this Technicolor feature satisfac-
tory, even though the story is somewhat weak. The
action is fast all the way through, particularly in the
closing scenes, where the Indians attack the cavalry
and are beaten back, thus being compelled to sign a
treaty of peace. There are also several heroic situa-
tions in which Dennis Morgan and Richard Denning
distinguish themselves. The gun referred to in the
title is the Springfield rifle. Worked into proceed-
ings is a romantic triangle involving Morgan, Den-
ing and Paula Raymond, Denning's wife, who loved
her husband, in spite of the fact that he had taken to
drink, and whose prayers that he will reform are
answered. The acting is competent, and the color
photography superb. The action takes place in the
late 1880's:—

To protect crews working on a new railroad in
Indian-infested Wyoming, the Army decides to con-
struct a chain of forts. Colonel Roy Gordon is put in
charge of the project, and he recruits Morgan and
Denning, two of his former cavalry scouts, to help
him, for both were friendly with Chief Red Cloud
(Robert Bice) and he felt that they could persuade
him to sign a peace treaty, particularly since the
Army was now equipped with new and powerful
Springfield rifles. Paula, Denning's wife, is pleased
with the assignment, because Denning had taken to
drink and she felt that the job might straighten him
out. A strong affection exists between Paula and Mor-
gan but neither one lets the feeling fan into a ro-
mantic flame. A peace meeting is arranged with Red
Cloud at Fort Laramie, and during the conference
Denning staggers in drunk and threatens to extermin-
ate the Indians with the Springfield rifle unless a
treaty is signed. Offended, Red Cloud stomps out of
the conference room. Denning is put under arrest
by the furious Gordon and is left behind when the con-
struction workers set out to erect the forts. When
they are attacked by the Indians, Gordon arranges
for Springfield rifles to be dispatched to him from the
fort. Meanwhile the sobered-up Denning seeks to re-
deem himself and persuades the fort's commander
to let him call on Red Cloud with one of the new
rifles so that he may demonstrate its power and induce
the Chief to sign a treaty. But Red Cloud, influenced
by a war-eager aide, refuses to be frightened and or-
ders preparation for an attack. At the same time he
orders that Denning be put to death. Denning man-
ages to escape and, though seriously wounded, reaches
Gordon's camp in time to warn him of the impending
attack. The warning helps Gordon's troops to over
power the Indians and to compel Red Cloud to sign
a treaty. Paula welcomes back her reformed husband
with open arms and looks forward to a happier life
together.

Sam KaUman produced it, and William Castle di-
rected it, from a screenplay by James B. Gordon.
Family.

116

HARRISON'S REPORTS

July 16, 1955

one that will assure them of a continuous flow of
product.

It is unfortunate that the RKO drive is being
launched at a time when the air is full of rumors
that Howard Hughes is negotiating to sell the com'
pany to General Teleradio, Inc., which owns radio
and television stations nationally, and which is pre-
sumably interested in acquiring the company's vast
backlog of pictures for showing on TV. Unlike past
rumors about such a sale, the company has not issued
a denial concerning the negotiations. If the exhibitors
would be given definite assurances that no such sale
is contemplated, they will in all probability feel more
kindly toward full cooperation with the company in
the forthcoming campaign.

MYERS' STRONG PLEA FOR
TREBLE DAMAGES

Powerful opposition against a proposed bill that
would allow the courts to grant less than treble dam-
ages in private anti- trust suits was offered this week
by Abram F. Myers, board chairman and general
counsel of National Allied, who testified before a
House Judiciary subcommittee. Mr. Myers' attack on
the proposed bill centered on the following points:

1. It concerned motion picture exhibitors because
they have suffered more from monopolistic practices
than any other class of business men.

2. The major producers and distributors, who are
supporting the bill, will be its chief beneficiaries.

3. The vast majority of anti-trust actions are civil
proceedings, most of which are settled by consent
decrees, with judicial discretion neither invoked or
exercised.

4. Increased criminal penalties will have little effect
since they are rarely invoked.

5 . Congress should investigate the manner in which
present consent decrees are being enforced before
considering legislation that would handicap the vic-
tims of monopolistic practices.

6. The consent decrees in the motion picture cases
have not protected the independent exhibitors from
th film companies' monopolistic power.

7. The claim that the present anti-trust laws lead
to unwitting violations will not stand up under an
analysis.

8. If not for the prospect of obtaining treble dam-
ages, few private anti-trust actions would be filed
because of the difficulties and expense involved.

9. The Attorney General's Committee, which rec-
ommended discretionary damage awards, included
four lawyers who had represented defendants in the
Paramount Case and no one who had ever repre-
sented exhibitors.

10. Inserting the word "willful" in the Clayton
Act to make only willful and not technical violators
liable for treble damages will merely serve to becloud
Sec. 4 of the Act.

Expanding on the aforementioned points, Mr.
Myers tore down the arguments of the opposition,
not by exaggerted statements, but by facts, figures
and logic, proving that passage of the bill is unneces-
sary. Mr. Myers deserves the thanks of all independ-
ent exhibitors for his efforts in their behalf.

It is to be noted that the TOA, which is dominated
by the large circuits, did not appear in opposition to
the bill.

"Female on the Beach" with Joan Crawford,
Jeff Chandler and Jan Sterling

{Univ. Int'l, September; time, 97 mm.)

A fairly interesting though somewhat seamy mix-
ture of sex, murder and suspense is offered in this
melodrama, which centers around a lonely but
wealthy widow who falls in love with an adventurer,
despite her knowledge of his record as a parasite, and
who becomes terrified in the belief that he planned
to kill her as they prepare to go on a honeymoon. It
is not a pleasant entertainment, and the characters,
including Joan Crawford, as the wordly-wise widow,
and Jeff Chandler, as the unprincipled adventurer,
are not worthy types; no sympathy is felt for them or
for any of the other supporting characters. There is
some mystery involving the murder of a wealthy
spinster pursued by Chandler, and there is consider-
able tension and suspense in the closing reels, where
Miss Crawford finds circumstantial evidence indicat-
ing that Chandler planned to liquidate her. The di-
rection is competent and so is the acting. The photo-
graphy is good, but much of it is in a low key: —

Judith Evelyn, a wealthy spinster, crashes to her
death from the balcony of a lavish beach house after
a quarrel with Chandler, who lived next door with
Cecil Kellaway and Natalie Shafer, a middle-aged
couple. On the following morning, Joan Crawford, a
wealthy widow and owner of the house, takes over
the property for her own use, and Jan Sterling, her
real estate agent, gives her a sketchy account of the
tragedy. Charles Drake, a detective investigating the
accident, hints to Joan that he suspects foul play.
Shortly after Joan's arrival, Chandler makes a play
for her. She resents his forwardness at first, but soon
finds herself attracted to him and finally welcomes
his advances. In the meantime it comes out that Chan-
dler had been having an affair with Jan but that he
now ignored her. One day Joan finds a diary that had
been kept by Judith, and from it she learns that
Chandler was a "protege" of Kellaway and Natalie,
and that all three had been systematically cheating
her out of large sums of money. This knowledge re-
sults in Joan having a bitter quarrel awith Chandler
over his intentions toward her, but she melts when he
takes her into his arms and assures her of his good
faith. They get married and shortly after the cere-
mony an hysterical Jan warns Joan that she may meet
the same fate as Judith. Joan attributes Jan's remarks
to jealousy, but later, as she prepares to leave with
Chandler on a honeymoon cruise, she comes across
circumstantial evidence indicating that he planned to
murder her. She becomes panic-stricken and tele-
phones Drake for help. Chandler tries to quiet her,
but she runs from him wildly and he barely man-
ages to save her from falling to her death from the
balcony. At this moment Drake comes upon the
scene with Jan in tow, and reveals that she had con-
fessed responsibility for Judith's murder and for the
circumstantial evidence that had aroused Joan's fear
of Chandler.

It was produced by Albert Zugsmith, and directed
by Joseph Pevney, from a screenplay by Robert Hill
and Richard Alan Simmons, based on the play "The
Beseiged Heart," by Mr. Hill.

Adult fare.

Bntered aa second- okass matter January 4, 1981, at the post oOm at H«w York, New York, under the act of March 3, 18T9.

Harrison's Reports

Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by

United States 115.00 M Y , „ v Harrison's Reports, Inc.,

U. S. Insular Possessions. 16.50 new lont^u.n. I. Publisher

Canada .„ .. ••••••• 16 50 A Motion picture Reviewing Service P. S. HARRISON, Editor

™e™0',^ Spaln ]$i°n Devoted Chiefly to the Interests of the Exhibitors

dreat Britain 17.50 ,_ , . ,. . . _ ,

Australia, New Zealand, Established July 1, 1919

India, Europe, Asia 17.50 its Editorial Policy: No Problem Too Big for Its Editorial _ ~

S5c a Copy Columns, if It is to Benefit the Exhibitor. Circle 7-4622

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXXVII SATURDAY, JULY 23, 1955 N0T3O

THE RKO SALE TO GENERAL TIRE

The big news of the week is the announcement
that the General Tire and Rubber Co., which has
extensive interests in radio and television, has pur-
chased RKO Radio Pictures, Inc., from Howard
Hughes, its sole owner, for $25,000,000.

The sale according to a press release, comprises the
major motion picture producing company with ex-
tensive studio and production facilities in Hollywood
and Culver City, Calif.; control of studios in New
York City; access through part-ownership to pro-
ducing facilities in Mexico City; 101 domestic and
foreign motion picture exchanges, which RKO oper-
ates in a world-wide distributing system; the facilities
of RKO-Pathe, Inc., and RKO Television, Inc.

Included in the deal are all pictures in current
release and in production, as well as two unreleased
pictures, "The Conqueror" and "Jet Pilot," which
according to studio claims represent a production
investment of $10,000,000. One of the main factors
of the deal, of course, is the inclusion also of the
company's vast backlog of product, dating back to
1929, and estimated to number from 600 to 800
features, as well as several thousand shorts and docu-
mentaries.

This backlog will be made available to the tele-
vision facilities of General Teleradio, Inc., a subsidi-
ary of General Tire, which owns the Mutual Broad-
casting System, the Don Lee Broadcasting System
and the Yankee Network, as well as stations WNAC
and WN AC-TV in Boston; WOR and WOR-TV
in New York City; KHJ and KHJ-TV in Los
Angeles; WHBQ and WHBQ-TV in Memphis; and
KFRC in San Francisco.

Of concern to all exhibitors, of course, is whether
or not the sale of RKO might eliminate the company
as a source of product for the theatres. According to
the official announcement, it was not made clear
whether the company will continue to produce and
distribute for theatrical release, but that it will do so
is indicated by Thomas F. O'Neil, General Tele-
radio's president, who, after closing the deal with
Hughes, stated in the announcement that "with the
acquisition of RKO, General Tire becomes a major
factor in the production and distribution of motion
pictures." The belief that the company will continue
theatrical production is further strengthened by
O'NeiTs statement that RKO employees need have
no fear for their jobs, according to the terms of the
sale, and that he plans no changes in personnel "al-
though policy changes will be made to accomplish
more extensive use of facilities."

It was inevitable that Howard Hughes would one
day dispose of RKO's vast backlog of old pictures for
marketing to television interests, because unlike the
heads of the other major producing and distributing

companies, he kept production at his studio at a very
low ebb and was, therefore, not concerned about
exhibitor opposition. Since such a sale was inevitable,
perhaps it is for the best that the company, as well
as its backlog, has come under the control of General
Teleradio, for if that company is to continue RKOs
theatrical production and distribution activities, it
will in all probability market the old pictures to the
television field in a way that will least hurt the greater
investment and profit potential that lies in the theatri-
cal field.

At any rate, the fact remains that, so long as a
product shortage exists, — and there is no indication
that it will soon be alleviated — there is little the ex-
hibitors can do about their antipathy to film compa-
nies that sell their old films to TV. It is to be hoped,
therefore, that the new owners of RKO will revivify
the studio and bring to the organization a new stability
so that it might once again assume its rightful place
as a truly major company.

As to Howard Hughes, it is doubtful if his exit as
head of a major motion picture company will be
missed, for throughout his association with RKO, he
not only kept the company on the downgrade but he
himself has callously jeopardized the interests of the
industry as a whole by the consistent production of
pictures based on tawdry themes and an over-empha-
sis on sex, and by advertising and exploitation that
more often than not exceeded the bounds of good
taste. His was a regime of irresponsibility, a luxury
he could apparently afford. Now that he has removed
himself from the motion picture scene, his exit will
be looked upon by most industryites with a feeling
of good riddance.

THE SECOND NOMINATING BALLOT

The second exhibitor nominating ballot for the
Audience Awards election has been printed and is
being distributed to 19,000 theatres, Robert W.
Coyne, special counsed for COMPO, announced this
week. Distribution of the ballot, which covers pic-
tures released between April 1 and June 30, 1955,
is being made through the regional offices of National
Screen Service.

Coyne emphasized that it was urgent that all ex-
hibitors fill and in mail their ballots as quickly as
possible in the postage-paid envelope enclosed for
that purpose. All ballots for the second series of
nominations must be in the hands of Price Water-
house ii Co. not later than August 15.

The extended time for filing the first exhibitor
nominating ballot expired last Monday. Exhibitor
votes on the first ballot are now being tabulated. The
10 highest votes in each of the five categories on the
first ballot will be made public by Elmer C. Rhoden,
(Continued on bac\ page)

118

HARRISON'S REPORTS

July 23, 1955

"How To Be Very, Very Popular" with
Betty Grable, Sheree North, Robert Cummings,
Charles Coburn and Tommy Noonan

(20th Century-Fox, July; time, 89 min.)
Those who accept "How To Be Very, Very Popular" for
the whacky farce that it is should have a right good time
watching it, for much of it is highly amusing, in spite of the
fact that it is nonsensical and wears a bit thin at times.
Photographed in CinemaScope and DeLuxe color, and cen-
tering around two empty-headed blonde chorus girls who
witness a murder and who end up in a college fraternity
house, in scanty costumes, when they flee for their own
lives, the story, such as it is, is peopled with screwball char-,
acters and provides a full measure of laugh-provoking situa-
tions as a result of the zany complications that ensue. Betty
Grable and Sheree North are ideal as the dumb chorines.
Much of the comedy stems from the fact that Miss North
is accidentally hypnotized by a student who does not know
how to get her out of it. She remains in that mesmerized
condition throughout the proceedings, thus adding to the
complications. The sequence in which she turns the school's
commencement exercises into a wild "rock and roll" dance
session is hilarious. Considerable comedy stems also from
the fact that the killer is known to be bald-headed and that
several of the characters who fit that description are given
a rough time by the police. Charles Coburn, as the college
president; Robert Cummings, as a student who had been
attending the school for 17 years; and Fred Clark, as the
agitated, bald-headed father of one of the students, add
much to the hilarity with their amusing characterizations.
All in all, it is a merry movie, one that should give good
satisfaction, even if the output of laughter is sometimes
uneven.

Briefly, the action opens with Betty and Sheree, dancers
in a San Francisco honky-tonk, witnessing the murder of
Noel Toy, a Chinese stripper. The unknown assailant es-
capes through a window in the girls' dressing room, after
warning them that they will get the same treatment if they
are around to identify him. Putting on coats over the scanty
costumes, the girls flee out of town on the first bus and
before long find themselves outside the fraternity dormitory
of a small college, broke and hungry. Looking for some
food, Betty walks in on Robert Cummings, who had been
attending college for 17 years in order to keep living off a
legacy left to him for that purpose. While Betty relates her
troubles to Cummings, Sheree wanders in on students
Tommy Noonan and Orson Bean, who were conducting an
hypnosis experiment, and accidentally gets herself hyno-
tized, a condition from which Noonan is unable to rouse her.
From then on the whole college becomes involved in a
series of nutty complications while Cummings, Noonan and
Bean try to hide the girls from the school authorities, the
police and the killer. Worked into the wild proceedings is a
sub-plot concerning the expelling of Bean for a "panty raid"
and for failing to make passing grades, and Coburn's will-
ingness to graduate Bean with honors provided Bean's
father, Fred Clark, grants the college a big endowment.
Added to the confusion are the whacky romances between
Betty and Cummings, and between Bean and the hypno-
tized Sheree, who goes into a violent hip-swinging, dance
routine when anything resembling the word "Salome" is
mentioned. The story is resolved in the end by the capture
of the killer who starts to shoot at Sheree when she goes into
one of her wild dances at the commencement exercices, but
before he is caught a number of other baldheaded men who
roam about the campus are hauled in by the police. Alice
Pearce, as a pixilated house mother; Rhy Williams, as
Sheree's balding father; and Andrews Tombes, as a bald-
headed detective who wears a toupe backwards, are among
the others who add much amusement to the nuttiness of the
story as a whole.

The screenplay was written, produced and directed by
Nunnally Johnson, based upon a play by Howard Lindsay,
a novel by Edward Hope, and a play by Lyford Moore and
Harlan Thompson.

Unobjectionable for the family.

"To Hell and Back" with Audie Murphy,
Marshall Thompson and Charles Drake

(Univ.-Int'l, October; time, 106 min.)

The best way to evaluate "To Hell and Back," which
has been photographed in CinemaScope and Technicolor,
is to say that it is an interesting, well produced war picture
with unusual exploitation possibilities. The thing that dis-
tinguishes it from most other war films is the fact that it is
autobiographical of the war career of Audie Murphy, the
picture's star, who, as most every one knows, served with
such great distinction in World War II that he ended up
as the most decorated soldier in American history, earning
twenty-four decorations in all, including the Congressional
Medal of Honor. The picture offers a fascinating account
of his exploits on the battlefields of North Africa and
Europe, and its depiction of his individual feats of heroism
are so extraordinary that they would be scoffed at as the
usual type of Hollywood heroics if not for the fact that they
have been authenticated. But the mere fact that the story is
genuine does not lift it to any great heights as a dramatic
offering, even though it is well directed and acted and is
tinged with deep human interest touches because of the
close association between Murphy and his war buddies. It
still remains no more than a fairly good war picture enter-
tainment-wise, with its box-office chances depending on
strong exploitation of the fact that it stars Audie Murphy
in the movie version of his own autobiography.

The story opens with the depiction of Murphy as as a
12-year-old boy in Texas, working at odd jobs to help his
mother keep her poverty-stricken family together. Follow-
ing the death of his mother, charity officials take charge of
Murphy's younger sisters and brothers while he in turn joins
the Army after being rejected first by the Marine Corps and
then by the Navy. Before long he joins the battle-weary
Third Platoon of Company B in the 15th Regiment of the
3rd Division in North Africa as a replacement. He is first
looked upon with disdain by such hardened combat veterans
as Charles Drake, Marshall Thompson, Paul Picerni, Rich-
ard Castle and Jack Kelly, but they learn to respect and
admire him when he faces his baptism of fire with quiet
bravery. As his unit moves through the battlefields of
Tunisia, Italy, France, Germany and Austria, over a period
of 30 months, Murphy rises from a private to company com-
mander while distinguishing himself with single-handed
feats of heroism that bring death to 240 Germans. Mean-
while he is wounded three times himself, while his different
buddies die on the battlefield one by one. The story comes
to a close with Murphy being awarded the Medal of Honor
by his commanding general while the entire 3rd Division
stands in formal formation behind him.

It was produced by Aaron Rosenberg, and directed by
Jesse Hibbs, from a screenplay by Gil Doud, based on
Murphy's autobiography "To Hell and Back."

Family.

"The Phenix City Story" with John Mclntire,
Richard Kiley and Kathryn Grant

(Allied Artists, August 14; time, 100 min.)
Given a fine semi-documentary treatment, this is a force-
ful expose of Phenix City, the notorious Alabama town,
which was known in its vice heyday as "America's City of
Sin" because of its wide-open gambling joints, women, li-
quor and corrupt city officials, and which was cleaned up
by Alabama's Attorney General John Patterson, whose
father, Albert Patterson, had been murdered by thugs for
attempting to do the same thing. The facts about this crime-
ridden city were given wide publicity in the daily news-
papers and national magazines, thus the picture becomes a
natural exploitation-wise. The action, most of which was
shot on actual locations, unfolds at a fast pace, has a
number of strong dramatic punches, and holds one's atten-
tion nailed to the screen from start to finish. There is, of
course, no comedy relief, for the subject matter is grim.
The direction and acting are competent, and the photography
good: —

July 23, 1955

HARRISON'S REPORTS

119

Returning home from service overseas, John Patterson
(Richard Kiley) finds Phenix City living up to its notori-
ous reputation, with the town controlled by Rhett Tanner
(Edward Andrews), a suave but dangerous vice overlord.
On the day that John arrives home, Tanner visits Albert
Patterson (John Mclntire), John's father, to learn if he
intends to join the Russell Betterment Association, which
had been organized by the respectable element in town for
the purpose of cleaning up the city. The elder Patterson, a
prominent attorney, assures Tanner that he has no interest
in the matter. Later that night, John sees two old friends,
members of the Association, beaten unmercifully by two of
Tanner's hoodlums. He joins the melee and gives one of
the thugs a thrashing. This attack on peaceful citizens in-
duces John to join the association, and he pleads with his
father to do likewise. Because of the murder of several
children, the older Patterson heeds his son's plea, and as a
result becomes the Democratic nominee for Attorney Gen-
eral of Alabama, which was tantamount to election. A few
days later, however, he is murdered by three of Tanner's
thugs. Ellie (Kathryn Grant), a young dealer in Tanner's
Poppy Club, had overheard the plot to murder Patterson
and had tried to warn him, but could not reach him in
time. Tanner, learning that she had witnessed the crime,
has her killed to silence her. Aroused by his father's murder,
John vows to clean up the city and put an end to Tanner's
rule. He accepts the nomination for Attorney General, per-
suades the Governor to call out the militia, raids all the
gambling joints and smashes their equipment, and assures
the public that he will dedicate himself to carrying out the
work planned by his father.

Sam Bischoff and David Diamond produced it, and Phil
Karlson directed it, from a screenplay by Crane Wilbur and
Dan Mainwaring. Adult fare.

"Break to Freedom" with Anthony Steel,
Jack Warner and Robert Beatty

(United Artists, ]une; time, 88 min.)

An interesting British-made prisoner-of-war melodrama,
centering around an ingenious scheme cooked up by a
group of British prisoners to escape one by one from a
Nazi prison camp. The scheme involves the use of a life-
like dummy, which is carried between two prisoners as they
march to and from a bath house, thus permitting one of the
prisoners to remain behind and attempt to escape. There is
considerable excitement and suspense in many of the situa-
tions, as well as some good touches of comedy, provoked by
the bafflement caused to the Nazi guards. The picture's
chief handicap, insofar as American exhibitors are concerned,
is the lack of well known British players in the cast; never-
theless, the acting is competent, and most movie-goers should
find it a satisfactory picture of its kind once they are in the
theatre. The direction is good, and so is the photography: —

Anthony Steel, one of a group of British war prisoners,
utilizes his skill as an artist and sculptor to conceive the idea
of constructing a life-like dummy to cover the absence of
escaping prisoners at roll-calls. The suggestion receives the
approval of Jack Warner, the Senior British Officer at the
prison camp, and the dummy is nicknamed "Albert." Steel,
who had been corresponding with a girl he had never met,
is given the privilege, as "Albert's" creator, to be the first
to escape, but he declines because of an unwillingness to face
reality at home. The other prisoners draw for the chance
and the lucky one makes a successful getaway by means of
"Albert," but he is recaptured at the frontier and shot.
Before another "Albert" escape can be arranged, another
prisoner, too impatient to wait for his chance, bribes Anton
Diffring, the Nazi's overbearing security officer, to permit
him to escape during an air raid. Diffring, however, double-
crosses the hapless prisoner and shoots him dead during the
escape attempt. In the course of events, Steel, for the good
of the prisoners' morale, finds himself compelled to risk an
escape, but he is stymied by the guards when he delays too
long and as a result is labelled a coward by his fellow
prisoners. He gets back into their good graces, however, by
risking his life to prevent the guards from discovering the

existence of "Albert." In due time Steel receives from his
girl-friend a letter that makes him eager to escape. He not
only succeeds in making a getaway, but at the same time
meets up with Diffring on the outskirts of the camp and
kills him after a violent fight in retaliation for his lack of
humanity in his treatment of the prisoners.

It is an Eros Films presentation, produced by Daniel M.
Angel, and directed by Lewis Gilbert, from a screenplay by
Vernon Harris and Guy Morgan, based on a play by Ed-
ward Sammis and Mr. Morgan. Family.

"The Kentuckian" with Burt Lancaster,
Diana Lynn and Dianne Foster

(United Artists, August; time, 104 min.)
Photographed in CinemaScope and color, this frontier
drama is a good entertainment of its kind, but, since it con-
centrates more on characterization than on action, it prob-
ably will be received with mixed reaction by the general
run of movie-goers, most of whom will expect to find plenty
of rousing excitement in any picture starring Burt Lancaster.
There are several exciting sequences, the most thrilling being
a hair-raising fight between Lancaster and a vicious bully,
who utilizes a bull whip to press his attack while Lancaster
defends himself with his bare fists, but these are far and
few between and do not compensate for the generally slow
pace. Although short on excitement, its story about the ad-
ventures of a Kentuckian frontiersman and his young son
generates considerable human interest. Lancaster is effective
as the mild-mannered but fearless hero, and appealing char-
acterizations are turned in by Diana Lynn, as a school-
teacher, and Dianne Foster, as an identured servant, whom
Lancaster befriends. Both love Lancaster, but he does not
make his choice until the finish, thus adding interest to the
romantic angle. The scenic backgrounds and the color pho-
tography (prints by Technicolor) are superb: —

Together with Donald MacDonald, his young son, Lan-
caster leaves the wild backwoods of Kentucky in 1820 to
seek a new life in Texas and to avoid a feud with another
family. En route, he is arrested by Rhy Williams, a crooked
constable, who planned to turn him over to the opposing
family for a fee. He escapes from jail with the help of Dianne
Foster, an identured servant at a local tavern, who had
long sought to be free from her abusive employer. She steals
out of town with Lancaster and his boy, but all three are
soon tracked down by the avaricious constable. Lancaster
buys off the constable and squares Dianne's identures by
using all the money he had saved for passage to Texas.
Continuing their trek, the three stop at a small settlement,
where John Mclntire, Lancaster's brother, is in the tobacco
business. Lancaster and his boy are warmly received by
Mclntire and by Una Merkel, his wife, but Dianne is re-
jected by them. Rather than cause embarrassment for Lan-
caster, with whom she had fallen in love, Dianne binds
herself over once again — this time to Walter Matthau, the
local inkeeper and town bully. She offers to repay Lancaster,
but he refuses to accept the money. To earn enough for
passage to Texas, Lancaster goes to work for his brother,
while his son is mothered and educated by Diana Lynn, a
kindhearted schoolteacher, who becomes romantically inter<
ested in Lancaster. Being an illiterate man, Lancaster suffers
a number of humiliations before he is accepted by the com-
munity, and he incurs the ill will of Matthau, who had an
eye on Diana himself. Lancaster's plans to settle down and
marry Diana are disrupted by the sudden arrival of two
members of the feuding family who, in league with Matthau,
kidnap his boy as part of a plan to ambush and kill him.
This showdown comes to a bloody end when Matthau is
killed by one of his co-conspirators, who in turn is disposed
of by Dianna, while Lancaster succeeds in killing the re-
maining conspirator. Now realizing his love for Dianne,
Lancaster takes her along as he and his boy once again
head for Texas.

It was produced by Harold Hecht, and directed by Mr.
Lancaster, from a screenplay by A. B. Guthrie, Jr., based
on the novel "The Gabriel Horn," by Felix Holt.
Family.

120

HARRISON'S REPORTS

July 23, 1955

national Audience Awards chairman, next Wednes-
day in Hollywood. These names, together with the
five top names on the second and third nominating
ballots will appear on the official ballot to be voted
on by the public Audience Awards election to be
held in the nation's theatres from November 17 to
27, inclusive.

If you fail to receive your ballot before July 23,
communicate immediately with your regional office
of National Screen or with COMPO headquarters
and request a duplicate ballot.

"The King's Thief" with Ann Blyth,
Edmund Purdom and David Niven

(MGM, August; time, 78 min.)

Set in the days of England's Charles II, and pho-
tographed in CinemaScope and Eastman color, this
is an action-filled program costume melodrama whose
elements of swashbuckling adventure and romance
should please the undiscriminating devotees of this
type of film. The story itself is familiar in theme
and treatment, and is more melodramatic than credi-
ble in its depiction of holdups, chases, sword duels
and prison breaks, but it is played fairly well against
the colorful and lavish period backgrounds and moves
along with sufficient zip and pace. Edmund Purdom,
as a gentleman turned highwayman, is appropriately
dashing as the hero of the piece, and David Niven
makes a double-dyed villain as a wicked Duke who
disposes of the King's loyal followers in a grandiose
but unsuccessful scheme to usurp the throne. Ann
Blyth, however, is colorless as the heroine. The color
photography is first-rate: —

Having turned highwayman after serving as an
officer in the army of Charles II (George Sanders),
Purdom waylays Niven, who had considerable influ-
ence with the king, and among other valuables steals
from him a little black book containing the names of
a number of English noblemen. A close examination
of the book reveals to Purdom that the noblemen
listed were loyal followers of the king, and that some
of them had been hanged after being falsely charged
with treason by Niven, who sought to eliminate all
possible rivals for the king's favor as part of a scheme
to usurp the throne. Purdom and Niven meet aagin
when Purdom escorts Ann Blyth, a noblewoman,
home from a fashionable gaming house. Ann, whose
father had been hung, suspected that Niven was re-
sponsible but lacked proof. Niven and his soldiers
ambush Purdom and recover the book, after which
he and Roger Moore, his aide, are thrown into prison.
Both manage to escape and rejoin Ann, who by this
time had uncovered the full facts concerning Niven 's
plot against the king. Since no one could reach the
royal ear without Niven's permission, Purdom and
Ann decide to steal the crown jewels from the Tower
of London and hold them as bargaining power for an
audience with the king. The plan misfires, but its
boldness attracts the king's attention and he has
Purdom brought before him. Purdom immediately ac-
cuses Niven of treason and in a furious duel forces
him to confess his perfidy. The king pardons both
Purdom and Ann on condition that they marry, and
that Purdom, in the future, confine his thieving activi-
ties solely for the king himself!

It was produced by Edwin H. Knopf, and directed
by Robert k. Leonard, from a screenplay by Chris-
topher Knopf, based on a story by Robert Hardy
Andrews. Harmless for the family.

"The Night of the Hunter" with
Robert Mitchum, Shelley Winters
Lillian Gish

(United Artists, September; time, 93 min.)

Based on the David Grubb novel of the same title,
"The Night of the Hunter" probably will prove to
be decidedly limited in appeal, for, as produced by
Paul Gregory and directed by Charles Laughton; it
emerges as a suspense melodrama that is so heavily
artistic in tone and presentation that the story twists
and turns ambiguously throughout its 9 3 -minute
running time. Basically, the plot centers around the
machinations of a self-styled, maniacal preacher whose
lust for a $10,000 hoard of stolen money leads him
to marry and murder the widow of the hanged robber,
and to terrorise her two children, who had been sworn
to secrecy by their father never to reveal the where-
abouts of the loot. If it had been presentd in a con-
ventional manner, the story could have been a gripping
and exciting suspense thriller, but the strong dra-
matic values inherent in the plot have been dissipated
by the director's striving for symbolic touches and for
unusual camera effects, as well as by the fact that the
characterizations are not clearly defined and lack
conviction. The picture might have some appeal for
those who patronize art houses in search of the un-
usual in movie fare, but the great majority of those
who see it will look upon it as a choppily-edited, foggy
melodrama peopled with foggy characters.

The story opens with Mitchum, an itinerant
preacher who used religion as an excuse for his crimes,
being jailed for a car theft. In prison he meets Peter
Graves, sentenced to die for killing a man after steal-
ing $10,000. Before his capture, Graves had given
the money to Billy Chapin, his 10-year-old son, and
had hidden it in a rag doll owned by Sally Jane Bruce,
his 5 -year-old daughter. He then made them swear
never to reveal the whereabouts of the money, not
even to Shelley Winters, their mother. Upon his re-
lease from jail, Mitchum seeks out Shelley, now a
widow, and marries her after convincing her that she
needs a husband and the children need a father. Little
Billy eyes Mitchum with suspicion and complains to
his mother when the "preacher" questions him about
the stolen money. Shelley refuses to believe the
youngster until she herself overhears Mitchum ques-
tioning her daughter. Mitchum, aware that Shelley
might now interfere with his plans, murders her and
weights her body down in a river. He then claims that
Shelley had deserted him and plays the grieving hus-
band. Sensing that something had gone wrong and
that his and his sister's life were in danger because
the little girl had indicated that she knew where the
money was hidden, Billy takes Sally in tow and flees
down river in a skiff, with Mitchum in hot pursuit.
After eluding Mitchum for several days, the children
are found by Lillian Gish, a kindly farm woman, who
made a practice of befriending homeless youngsters.
Mitchum traces the youngsters to the farmhouse and
tries to regain their custody by force, but Miss Gish
holds him off with a shotgun until the arrival of police.
As the authorities grab Mitchum and charge him with
Shelley's murder, little Billy becomes hysterical and
starts to beat him with the rag doll, causing the stolen
money to scatter around. With both Mitchum and
the money out of the way, the youngsters look for-
ward to a new life under Miss Gish's loving care.

The screenplay was written by James Agee.

Adult fare.

Entered as second-class matter January i, 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. XXXVII SATURDAY, JULY 30, 1955 No. 31

ALLIED DECIDES TO PRESS FOR
GOVERNMENT AID

Meeting in Washington on Wednesday and Thursday
of last week, National Allied's board of directors expressed
its dissatisfaction with the results attained thus far in the
effort to obtain relief from current distributor policies and
decided to press for Government intervention in accordance
with the organization's Emergency Defense Resolution.

In a formal statement issued after the meeting, the board
announced that the subcommittee of the Emergency De-
fense Committee, which, in collaboration with a like group
from TOA, visited the various film company executives in
an effort to secure lower film rentals and equitable terms
and conditions of license for the members of both organi'
zations, had completed its assignment and was discharged.

After expressing appreciation for the work done by the
subcommittee, the board had this to say:

"While accomplishments of the subcommittee fell far
short of the hopes and expectations of the board, consisting
only of oral promises made by certain film executives in
general terms and relating only to the very smallest ex-
hibitors, and, in the case of some companies, being confined
to distress situations, nevertheless, the board was of the
opinion that the need of virtually all exhibitors for relief,
and especially the very small ones, is so great that any step
in that direction, however meager, should be welcomed.
Consequently the board accepts at face value the assur-
ances given by the various film executives that the promises
made will soon be publicly proclaimed and put into effect."

The board added that copies of the subcommittee's re*
port, containing the substance of the discussions had and
the commitments made, will not be made public "until the
film companies have had a reasonable time in which to an-
nounce and put into effect the promised changes in their
selling policies."

Tieing in its action with the Emergency Defense Resolu-
tion, the board made these comments:

"In the opinion of the board the commitments obtained
by the subcommittee from the film companies do not ap-
proximate either in the nature of the reform or in coverage
the concept of a fair and equitable division of the box-
office dollar as between distributors and the exhibitors em-
bodied in the Emergency Defense Resolution. That resolu-
tion was adopted and proclaimed by the board of directors
at the While Sulphur Springs meeting August 14, 1954,
and reaffirmed by the board of directors at the St. Louis
meeting on February 7, 1955.

"With attention fastened upon the efforts of the sub-
committee in association with the TOA to secure the neces-
sary relief by orderly process of negotiation and agreement,
some observers appear to have overlooked the fact that the
Emergency Defense Resolution, ever since it was adopted,
has stood and still stands as the basic policy of Allied in
regard to conditions in the film market and its attitude to-
ward other elements in the motion picture industry which
are responsible for those conditions.

"The resolution provided, in substance, (a) for the dis-
semination by E.D.C. among the members of accurate in-

formation and bona fide opinions relating to market con-,
ditions for their individual enlightenment and guidance;
(b) for petitioning Congress for the enactment of a bill
regulating film prices, if that course should be approved by
the Milwaukee Convention (as it was); (c) for encouraging
the independent production of motion pictures in order to
relieve the starved market in every feasible way and as
opportunity affords; and (d) for keeping the door open at
all times for the reception and consideration of any pro-
posals the film companies may offer, or any reforms they
may voluntarily adopt, for relieving the intolerable condi-
tions which have been foisted upon the exhibitors.

"The board of directors wishes to make it clear to all con-
cerned that while action under the resolution has been de-
layed in order to allow the subcommittee ample time in which
to explore the possibilities of a peaceful settlement of the
matters under discussion, and in order that Allied might
perfect its case for presentation to Congress, it is now pre-
pared and determined to go forward with the entire E.D.C.
program and will do so as rapidly as circumstances will
permit."

That Allied will endeavor to show Congress that the film
companies can and do prosper under Government regula-
tion is contained in the following closing remarks of the
board statement:

"Information acquired by Mr. Julius M. Gordon, Secre-
tary of Allied States Association, during his recent sojurn
in Europe, and information acquired by the general counsel
(Abram F. Myers) from various embassies and by corre-
spondence with exhibitor leaders abroad, is expected to influ-
ence the thinking and attitudes not only of members of
Congress toward regulation of film rentals but also to re-
assure the few exhibitors who have been made uneasy by
the propaganda emanating from the film companies concerns
ing the dire consequences to the exhibitors if such regulation
comes to pass.

"What the film companies have withheld from the Ameri-
can exhibitors is the fact that in virtually all European
countries there is some form of government-imposed ceiling
on film rentals and in some there is what amounts to com-
pulsory arbitration of film rentals; and that, under these
regulations, and apparently because of them, the foreign
exhibitors are prosperous and happy.

"Legislators and other government officials, it is believed,
will be interested in and their thinking influenced by the
apparent effect of European quota laws in starving the
American film market. The relation between the number of
pictures that may be exported by American film companies
under the quota laws and the number being produced
and made available in the American market appears too
marked for mere happenstance. Allied is determined to find
out whether the quota restrictions of foreign countries
which grant subsidies to their own producers are having the
extra-territorial effect to regulate production in this country
and, if so, what our government proposes to do about it."

Among the other actions taken by the board was the
adoption of a resolution condemning "the growing practice
of the film companies in demanding as film rental for virtu-
(Continued on bac\ page)

122

HARRISON'S REPORTS

July 30, 1955

"Special Delivery" with Joseph Cotten
and Eva Bartok

(Columbia, September; time. 86 min.)
A fair topical comedy-drama, best suited for a double bill.
Set in a Soviet satellite country, the story centers around an
amusing battle of diplomatic wits between an American
charge d' affairs and a Russian official over possession of a
baby, who had been abandoned in the garden of the U.S.
Embassy. From the way fun is poked at the Soviets, it
seems as if the producers made an effort to reproduce some-
thing like "Ninotchka," but they have not succeeded in
matching the sparkling humor in that travesty. At best, the
comedy in this picture provokes no more than mild laughter.
The acting, however, is good, with Joseph Cotten turning in
a polished performance as the suave and witty American
diplomat. Rene Deltgen, as his wily Communist adversary,
is equally good. The romance between Cotten and Eva
Bartok, the baby's Russian nurse, is pleasing. It is doubtful
if the action fans will go for it, for it is mostly talk and
little movement: —

Cotten is accustomed to finding letters behind the Em-
bassy's walls, furtively deposited there by local citizens for
transmission to Western nations, but he is surprised no end
when a baby is found together with a pathetic note pleading
that the child be made an American citizen. The legation's
counsellor advises Cotten to hand the baby over to Deltgen,
the local Communist big-wig, but Cotten refuses and suc-
ceeds in obtaining Washington's permission to grant the
child asylum. Thus the Embassy is literally turned into a
nursery, and its affairs are subordinated to the care and
feeding of the child. Deltgen, a cunning fellow, demands
the release of the baby on the ground that it is one of his
nationals, and uses the matter to spread anti-American
propaganda. Meanwhile he offers Cotten the services of Eva
Bartok, a trained nurse, and Cotten gladly accepts the offer
in the full realization that she might be a spy. Eva, at first
in league with Deltgen, learns to love the baby as well as
Cotten, and when Deltgen comes to the Embassy with a
fake mother to claim the child through a birthmark identifi-
cation, she foils the scheme by hiding the birthmark with
cosmetics. This incident wins Cotten's complete faith and
love. In another attempt to claim the child, Deltgen arrives
with the real mother, a former Embassy maid, who proves
her right to the infant and reveals that the Embassy's Swed-
ish cook is the father. When Deltgen claims that children
born out of wedlock are the property of the State, Cotten
stalls him while his aides prepare official papers to prove
that the child's parents are married. With the issue settled,
Eva despondently prepares to leave, much to Cotten's dis-
may, but both cheer up when the gardener walks in with a
bundle and announces that this time twin boys had been
left on the grounds.

Stuart Schulberg and Gilbert de Goldschmidt produced
it for N. Peter Rathvon, and John Brahm directed it from a
screenplay by Phil Reisman, Jr.

Family.

"The Naked Dawn" with Arthur Kennedy
and Betta St. John

(Univ.-lnt'l, September; time, 82 min.)
Photographed in Eastman color with prints by Techni-
color, "The Naked Dawn" should get by as a supporting
feature on a double bill. The story, which is more or less a
study of peon life in Mexico, is grim, tawdry and unpleas-
ant, for it deals with robbery and with the murderous in-
stincts that arise in men out of greed and out of dissatisfac-
tion with their lot in life. The acting, however, is good, with
Arthur Kennedy most effective as a somewhat sympathetic
Mexican bandit. Good, too, are Eugene Iglesias, as a poor
young farmer who helps Kennedy to commit a robbery and
then plots to kill him for the loot, and Betta St. John, as
Iglesias' unhappy wife, who seeks to run away with Kennedy.
It is a moody story and there is, of course, no comedy relief.
The photography is fine: —

After robbing a freight car, Kennedy hires Iglesias to
drive him to a border town to deliver the loot to Roy Engel,
who had engineered the holdup. Engel refuses to pay the
fee agreed upon and Kennedy takes the loot away by force.
Before returning to Iglesias' farm, the two go on a bender.
Three thugs attempt to rob Kennedy, but he beats them
up with Iglesias' help. Once back on the farm, Iglesias' mind
is turned by greed; he plots to murder Kennedy and keep
the loot for himself. Meanwhile Betta, his wife, is both
intrigued by Kennedy and horrified at what he had done to
her husband. Iglesias sets up an ambush for Kennedy only
to be attacked by a rattlesnake. Kennedy kills the snake
before it can harm Iglesias. Moved by the act, Iglesias con-i
fesses his intentions and begs Kennedy's forgiveness. Ken-
nedy, disgusted, tries to kill the young farmer, but Betta
intervenes. He spares Iglesias' life and agrees to take Betta
away with him after she declares that she detests her hus-
band. Shortly after their departure, the police arrive. When
Iglesias refuses to tell where Kennedy had gone, they set
the farm on fire and attempt to hang him. Kennedy, having
seen them on the road, returns to the farm, rescues Iglesias
and disposes of the authorities, but not before they wound
him mortally. Concealing his wound, Kennedy gives the
young couple his money and sends them on their way to
start a new life together.

James O. Radford produced it, and Edgar G. Ulmer di-
rected it, from a screenplay by Nina and Herman Schneider.

Adults.

"The Man Who Loved Redheads" with
Moira Shearer, John Justin and Roland Culver

(United Artists, July; time, 89 min.)
An enjoyable British-made comedy, photographed in East-
man color with prints by Technicolor. Revolving around the
romantic indiscretions of a married British diplomat, who
has a penchant for redheads, the lightweight story is subtly
humorous and has been endowed with deft comical touches
that should go over well with sophisticated audiences. As
the diplomat whose double life is depicted over a period of
fifty years, John Justin is pompously amusing, Roland
Culver, as his life-long friend, is genuinely comical as a
charming reprobate. Acting honors, however, go to Moira
Shearer, who gained fame in "The Red Shoes"; she plays
four separate roles as the redheads in Justin's life, including
a starry-eyed 16-year-old miss; a cockney working girl; a
Russian ballerina; and a smart dress model. The expertness
with which she portrays each characterization attests to her
versatility as an actress. The direction and photography are
first-rate.

The story opens in 1917 and depicts Justin as a young
peer and member of the British Foreign Office, who, though
happy with his wife and son, had never forgotten Sylvia
(Moira Shearer), his childhood sweetheart. One morning
he meets Daphne (Moira Shearer), a working girl, and is so
struck by her likeness to Sylvia that he asks her to dine
with him that evening. To keep the date, he assumes another
identity and borrows the house of Culver, a philandering
friend. He has so much fun that evening that he buys
Culver's home and decides to lead a double life. In the
years that follow he goes out with many redheads, and in
1929 he becomes so infatuated with Olga (Moira Shearer),
a ballerina, that he is ready to sacrifice his family and diplo-
matic career to travel with her. But this infatuation comes
to a quick end when his son, now an adult, accidentally
discovers the romance and is persuaded by his father to
remain silent. Many years later, Justin, now Ambassador to
France, makes a play for Colette (Miss Shearer), a stylish
mannequin, whom he invites to the theatre. He is surprised
no end to bump into Gladys Cooper, his wife, and tries to
pass off Colette as Culver's niece. But his wife sees through
the deception and reveals to him for the first time that she
had long known about his double life. Overwhelmed by her
loyalty, Justin realizes her true worth.

It was produced by Josef Somlo, and directed by Harold
French, from a screenplay by Terrence Rattigan.

Adults.

July 30, 1955

HARRISON'S REPORTS

123

"The Virgin Queen" with Bette Davis,
Richard Todd, Herbert Marshall,
Joan Collins and Dan O'Herlihy

(20th Century-Fox, August; time, 92 min.)
Set against the pageantry and colorful atmosphere of 16th
Century England, and photographed in CinemaScope and
DeLuxe color, "The Virgin Queen" is an absorbing his-
torical costume drama, lavishly produced, expertly directed
and finely acted. The story, which centers around the close
association and temperamental conflict between Queen Eliza-
beth and Sir Walter Raleigh, offers a blend of romance,
swashbuckling adventure and intrigue that grips one's atten-
tion throughout and is sure to please all types of audiences.
Bette Davis, who has been absent from the screen for more
than three years, dominates the picture with her outstanding
characterization as the crusty and tyrannical Queen Eliza*
beth, a lonely and bitter woman who rules her subjects with
an iron hand. Miss Davis' make-up, which includes having
her head shaved back to about the middle of her scalp, is
not complimentary, but it adds much to the effectiveness of
the characterization. Richard Todd, too, turns in a strong
performance as Raleigh, a dashing soldier who wins the
Queen's favor because of his blunt honesty but who feels
her wrath when he falls in love with one of her ladies-in-
waiting. In addition to the good acting, the picture is note-
worthy for its clever dialogue and for several action-packed
sequences in which Todd extricates himself from difficulties
in a swashbuckling style that is credible: —

By coming to the aid of Herbert Marshall, a nobleman,
whose coach had bogged down in the mire of a muddy road,
Todd, an adventurous soldier, wins as his reward an audi-
ence with the Queen so that he can request three ships to
sail to the New World and gather great treasures for Eng-
land. Through cleverness, bluntness and good luck, he
obtains his audience and wins the Queen's fancy, but she
puts off his requests for ships and makes him Captain of the
Palace Guards so that he will be close at hand whenever she
wants him. While gaining the Queen's favor, however, he
gains also the enmity of Jay Robinson and Robert Douglas,
both influential figures at court, but bests them when they
attack him in the dead of night. Todd humors the Queen
in the hope that he will eventually get his ships, but while
at the court he falls in love with Joan Collins, one of the
Queen's ladies-in-waiting, and marries her secretly. In due
time the Queen knights Todd and grants him funds for one
ship, but while he busies himself with construction of the
vessel she learns that he had married Joan. Bitter because
she herself was bald and unable to bear children, the Queen
orders that Todd be seized and beheaded. But on the eve
of the execution, the Queen relents and permits Todd to
sail to the New World in his new ship together with his wife.

It was produced by Charles Brackett, and directed by
Henry Koster, from a screenplay by Harry Brown and
Mindret Lord.

Family.

"The Last Command" with Sterling Hayden,
J. Carroll Naish and Richard Carlson

(Republic, August; time, 110 min.)

Republic has fashioned an exciting historical drama in
"The Last Command," which centers around the rebellion
staged by Texans in the early 1930's against the tyrannical
rule of Santa Anna, the Mexican dictator, and around their
courageous but tragically hopeless stand at the Alamo. Pho-
tographed in Trucolor, it shapes up as a better-than-average
picture of its kind and should satisfy the general run of
audiences, particularly those who enjoy action that is colorful
and thrilling. Sterling Hayden, as the famed Jim Bowie,
does fine work in the principal role, and effective characteri-
zations are turned in also by J. Carrol Naish, as Santa Anna,
and Arthur Hunnicut, as Davy Crockett, who, together with
Bowie, was among those who sacrificed their lives at the

Alamo to slow up Santa Anna's march across the territory.
Hunnicut's characterization, however, might stun some of
the youngsters, for he looks and acts entirely different from
the Davy Crockett portrayed and popularized by Fess Parker.
There are numerous action highlights throughout, the most
thrilling being the defense of the Alamo, which has been
staged superbly. The color photography is very good: —

En route to his home in Mexico, Bowie stops in a Texas
border town and finds the place in a state of threatened
rebellion because the local military commander had arrested
William Travis (Richard Carlson) a fiery lawyer, on charges
of sedition. Bowie, a personal friend of Santa Anna's, obtains
Travis' release and promises to talk to the dictator about a
peaceful solution of the Texan's legitimate grievances. Sev-
eral hotheads attempt to kill Bowie in the belief that he was
not sympathetic to their cause, but he is warned by Con-
suela (Anna Maria Alberghetti) , daughter of a friendly
Mexican aristocrat (Eduard Franz), whose concern reveals
her love for him. Arriving in Mexico, Bowie learns the
tragic news that his wife and children had died of the
plague. He is further disillusioned when he meets Santa
Anna and learns that the power-hungry dictator had no
intention of relaxing his tyrannical rule. He heads for San
Antonio to fight for Texas and freedom, and upon his ar-
rival with 21 followers learns that the rebellion, led by
Travis, had already begun, and that Travis' forces had taken
over the Alamo. Knowing that Santa Anna would lose no
time in retaliation, Bowie, after being selected to command
the fighting, sets up his defenses at the Alamo and awaits
the arrival of reinforcements. Of these, only Davy Crockett
and a handful of men arrive. Bowie, aware that the Alamo
must fall, gives his followers an opportunity to retreat, but
all prefer to sacrifice their lives in order to slow down Santa
Anna and give other Texas forces a chance to organize.
After bidding farewell to the tearful Consuelo, who is es-
corted from the fort with other women and children, Bowie
and his men die gloriously in a valiant but hopeless fight
against the ovehwhelming odds of Santa Anna's forces.

It was produced and directed by Frank Lloyd, from a
screenplay by Warren Duff, based on a story by Sy Bartlett.

Family.

THE READERS HAVE THEIR SAY

Dear Pete:

Your paper, July 23, 1955, urging the filing of nominating
ballots, received same day as the ballots and thought you
might be interested in these facts.

700 seat house in a 2400 person community only house
within 18 miles first-run or other, 22 miles from a drive-in,
has only had the opportunity to play 7 of the pictures listed
and only another 7 of the pictures listed booked for next
60 days. All others have not been offered.

If we were to vote on these we would have only seen 7
in our house, 5 of which we should vote for. Of the 7
played, we could only recommend 2. Are they crowding
the voting or are we being held back extra long in playing?

Your paper is our guide to what the industry is doing
and thinking. We would hate to be without it. With TV
making terrible inroads into our volume, we are cutting
every dollar of expense EXCEPT HARRISON'S RE-
PORTS.— Emerson H. Wood, Mgr., Community Theatre,
Harbor Beach. Mich.

* * *

Dear Mr. Harrison:

... I find your reviews more objective, and thus more
valuable than any others I have read. — Edward Gordon,
Booker, Carver Theatre, Orlando, Fla.

* * *

Dear Mr. Harrison:

... It certainly is a pleasure to read your editions which
are so informative. — Ray h[olan. Branch Mgr., RKO Radio
Pictures, Chicago, III.

124

HARRISON'S REPORTS

July 30, 1955

ally all boxoffice attractions fifty per cent regardless of the
gross earnings of the theatres." It cited "Mister Roberts"
and "Not As a Stranger" as current examples "concerning
which inflexible demands for 50% terms are reported in all
sections of the country."

The board stated that it is convinced "as the result of
personal experiences of the directors and by reports of
members of all classes that rarely, and under only the most
exceptional circumstances, can any theatre realize its oper-
ating cost and overhead, plus a commensurate profit, by
playing 50 per cent pictures."

The board added that it was offering this information and
experience to Allied members for their individual informa-
tion and guidance, and that it had directed the Emergency
Defense Committee "to study the growing evil of 50 per
cent pictures and to aid in warning the members of the
losses entailed in playing pictures on such terms."

On the day following the action taken by Allied's board,
E. D. Martin, president of the TOA, issued a statement
expressing "surprise and disappointment" over the fact that
it had discharged the subcommittee, which had been working
jointly with a similar group from TOA in visits with dif-
ferent film company executives.

"Our disappointment stems from the fact that the work
of this committee is not nearly completed," stated Martin.
"We feel that the committee made distributors cognizant,
for the first time, of the harsh economic plight of exhibition
and that the committee had obtained valid promises which
we have every reason to believe will be implemented and
honored."

"For ourselves," he added, "we intend to continue this
plan of getting relief and we are sorry that Allied has
chosen to withdraw from the field of friendly negotiations,
long before they have been satisfactorily concluded."

Martin concluded his remarks with the statement that
"TOA has historically taken a dim view of the value to
exhibition of Governmental intervention, and the results
attained in the past certainly justify our pessimism. How-
ever that may be, we are irrevocably committed to going
forward with the discussions which have been initiated, and
which we are confident will be productive of relief from
the harsh terms and conditions now imposed on exhibition."

Martin stated also that the TOA committee that met with
the film companies will make its report to the joint meeting
of TOA's board and executive committee on October 5, at
which time final TOA action will be taken.

It is unfortunate that a rift has developed between Allied
and TOA after months of close cooperation in the effort
to gain concessions from the distributors. But with all due
respect to TOA's desire to continue its efforts to gain relief
throughly friendly negotiations, it does appear as if such a
stand is too idealistic in view of the fact that, since the
friendly negotiations got under way, the economic plight
of thousands of exhibitors has become worse and the closing
of theatres still continues at an alarming rate.

Allied does not have to apologize for the efforts it has
made, throughout the many years it has been in existence,
to settle disputes within the industry. Its leaders have always
been, and still are, ready and willing to negotiate with the
producer-distributors when there appeared to be even the
slightest chance of beneficial results for the exhibitors. This
is evidenced by the fact that, though many months have
passed since the Allied membership authorized them to seek
legislative relief, they have patiently delayed such action to
explore the possibilities of a peaceful settlement. But the
Allied leaders are also realistic men and there is a limit to
their patience, particularly when the conditions under which
their members are operating go from bad to worse and there
is no apparent desire on the part of the film companies to
come forth with immediate and substantial relief measures
to keep them in business. In such a case it becomes their

duty to resort to drastic measures in order to protect their
members, even though the idea of Government intervention
is distasteful to all concerned. But what alternative do they
have when the issues in question cannot be settled through
friendly and peaceful negotiations?

In spite of the fact that it has decided to proceed with its
plan to obtain Government relief, Allied is still keeping its
doors open to any conciliatory moves the distributors may
decide to take. It will be several months, possibly January,
when Congress reconvenes, before the organization can get
rolling on its drive for legislative relief. The film company
executives with whom the joint Allied-TOA committee had
discussions still have time to demonstrate how sincere they
are in the effort to come to an understanding with exhibition.
But, knowing the present temper of the Allied leaders, this
paper would suggest to these company executives that, unless
they come forward with a real conciliatory spirit and through
positive action express their readiness to deal with the ex-
hibitors on a live-and-let-live basis, the Allied legislative
program not only will not be dropped but will be intensified.

RKO TO CONTINUE THEATRICAL
PRODUCTION AND DISTRIBUTION

The new management of RKO, headed by Thomas J.
O'Neil, president of General Teleradio, will have as its
main objective the restoration of the company as a major
producer and distributor of theatrical films, according to a
statement made this week by O'Neil, who has become the
new RKO board chairman.

Speaking at a press conference held in New York on
Tuesday, O'Neil admitted that, originally, General Tele-
radio's main interest in purchasing RKO was the acquisition
of the company's vast backlog of features for showing on
television, but after a "year-long investigation," he added,
"we became convinced that there is a large and growing
market for fine films for theatrical distribution. We look
upon this acquisition at this time as a great opportunity to
continue and increase RKO's role in the important theatrical
release field."

Regarding the RKO backlog of approximately 800 films,
O'Neil made it clear that, though many of these films will
ultimately appear on television, they will be made available
only in small quantities after due consideration of their
theatrical reissue value. He emphasized that there was no
danger of RKO flooding the TV market with its old films,
and rejected the concept that other film companies might
flood the market because of General Teleradio's acquistion
of the RKO backlog.

"No major film company is likely to make its entire
library available at one time," he said. "Rather, we should
envision a judicious apportion that would recognize that
there are older films which should probably precede the
release of the newer product and that would take account
of the physical realities in selling any given number of films.
If these probabilities prove to be fact, it is not likely that
there will be any real upset of the television feature market,
least of all any 'loosening of the flood gates' to pour thou-
sands of films on a suddenly disinterested market."

The assurances given by Mr. O'Neil that RKO will not
only continue but also expand its theatrical production
activities is indeed gratifying news for exhibition, as is his
assurance that RKO has no intention of dumping its backlog
on the TV market.

RKO has long been in need of strengthened management,
and O'Neil's background and business experience indicate
that he will bring to the company a level-headed leadership
that will once again enable it to resume the significant role
it has played in both production and distribution. When
Mr. O'Neil starts delivering the goods, he will not find
exhibitor support wanting.

Entered as second-class matter January *. 19B1. a* t*» port office at New York, New York, under the aot of March 1, 1879.

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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXXVII SATURDAY, AUGUST 6, 1955 No. 32

WILL COMPO WEATHER THE STORM?

As most of you probably know by this time, the
Council of Motion Picture Organizations has
launched a dues collection campaign during the month
of August and is asking the exhibitors to contribute
dues in an amount equal to what they paid to
COMPO in the last dues campaign of two years ago.

This request for dues has met with strong opposi-
tion from a number of Allied regional units, sparked
by the Independent Theatre Owners of Ohio, whose
president, Horace Adams, had this to say in a state-
ment to the membership:

"I recommend that no exhibitor in Ohio give any
money whatsoever to COMPO. At the time the
collection was made for the toll-TV campaign, I as-
sured the membership that unless COMPO entered
this fight for our interests that I would not recom-
mend their paying any more dues to COMPO. Fur-
thermore, A. F. Myers, board chairman and general
counsel of Allied, says that, contrary to the statement
made by COMPO, Allied did not agree to a dues
collection."

Adding his own comment on the matter, Bob Wile,
executive secretary of the Ohio exhibitor group, had
this to say in a service bulletin :

"There is some interest in the Audience Awards
Poll but COMPO should be able to run this with the
money it has in its treasury. There has even been a
hint that the cost to the exhibitor of $25.00, for
which it gets two trailers, two 40 x 60,s, a mat and
a couple of stickers is too high for the smaller
theatres. But if COMPO cannot run this poll with
the money it has, it should quietly fold its tent and
steal away.

"These bulletins urged exhibitors to pay COMPO
dues when the collections were for the tax campaign.
We won the tax campaign and the distributors have
taken most of the dough. We now recommend that
you refuse to pay COMPO any money at all."

Some technical questions have been raised about
the correctness of the procedure followed by COMPO
in launching the dues drive, but whether the pro-
cedure was technically right or wrong does not seem
to be particularly significant, for, insofar as National
Allied is concerned, it has adopted no official policy
concerning the COMPO dues campaign, and it is
left to the individual regional units to decide whether
or not they want to participate in the campaign.

In addition to the ITO of Ohio, the other influ-
ential Allied units that have thus far gone on record
as being strongly opposed to the dues campaign are
the Allied Theatre Owners of Indiana, Eastern Penn-

sylvania Allied and Independent Exhibitors, Inc., the
New England Allied unit. There is every indication
that they will soon be joined by other units.

It is quite apparent that the opposition of these
regional units stems mainly from COMPO's failure
to support and help finance the exhibitor fight against
subscription television. But in all fairness to the
COMPO leadership it should be pointed out that
the organization was without authority to enter the
pay-TV fight because of a by-law that requires the
unanimous approval of its membership in order to
undertake such an activity.

The member organization that withheld approval
was, of course the Motion Picture Association of
America, the producer-distributor group, and it is
generally assumed that its decision to withhold ap-
proval was dictated by Paramount Pictures, which
is a member of the association, and which is seeking
authorization of pay-TV because of its controlling
stock interest in the Telemeter coin-box television
system.

The MPAA's failure to file comment with the
Federal Communications Commission stating its posi-
tion on the subject of toll-TV, and its apparent
domination by Paramount in this respect, was the
subject of a scathing denunciation in a joint state-
ment issued about seven weeks ago by Trueman T.
Rembusch (Allied) and Alfred Starr (TOA), co-
chairmen of the Committee Against Pay-As- You-See
TV. (This statement was published in full in our
June 25 issue.)

One of the principal reasons for exhibition's sup-
port of COMPO up to this time is that it provided
an ideal agency through which the industry could
put up a unified front in all matters that affected the
business as a whole, other than trade practices. Inso-
far as the exhibitors are concerned, they regard sub-
scription television as the greatest menace that
threatens the motion picture business today, and they
feel that, through COMPO, as was the case in the
successful tax campaign, the industry could have pro-
vided a unified front, which would be of inestimable
value in combatting the proponents of pay-TV.

The purpose of the by-law requiring unanimous
approval of all the member organizations before any
step can be taken is to prevent any action that would
give one group an advantage at the expense of an-
other. Curiously enough, that by-law can now be
utilized by Paramount to its own advantage through
its ability, by virtue of its MPAA membership, to
block COMPO action that might be detrimental to
its pay-TV interests, even though such action might
be beneficial for the common good.

(Continued on bac\ page)

126

HARRISON'S REPORTS

August 6, 1955

"Trial" with Glenn Ford, Dorothy McGuire,
Arthur Kennedy and John Hodiak

(MGM, October; time, 105 min.)

Powerful and deeply engrossing dramatic enter'
tainment is offered in "Trial," a superior courtroom
drama that undoubtedly will create much pro and
con comment because of its highly effective treat'
ment of racial prejudice, and of its devastating ex'
pose of the hardened tactics employed by Commu'
nists who exploit a young victim of bigotry for their
own selfish purposes. Tautly directed and superbly
acted, the picture seizes the audience's attention from
the opening scene and never relinquishes its grip.
The favorable word-of-mouth advertising it is sure
to receive should make it one of the top-grossing pic-
tures of the year. Centering around a young and
idealistic law professor who becomes the unwitting
dupe of the Communists after he is hired to defend
a young Mexican boy charged with the murder of
a "white girl," the story has its grim and unpleasant
moments, particularly in the sequences where the
town's bigoted citizens attempt to storm the jail and
lynch the young man. But aside from its grim depic
tion of the ugliness in human nature, the story is
strong in human interest because of the determined
fight put up by the young lawyer to save the Mexi'
can lad, despite the obstacles placed in his way by
the Communist attorney who had hired him, and
whose only interest in the boy was to use his case for
fund-raising activities and to have him convicted so
that he might be exploited as a "martyr." The cold
cynicism with which the Communists organize and
carry through a mammoth fund-raising rally is most
revealing and enlightening, and is one of the film's
outstanding highlights. Much of the picture's excel'
lence is due to the superlative performance given by
Glenn Ford as the zealous defense lawyer. He gets
deep inside the characterization, making it real and
sympathetic, and the portrayal no doubt will be given
serious consideration when they hand out the Aca-
demy Awards. Another memorable performance is
that contributed by Juan Hernandez as the Negro
judge who presides at the trial; he gives the charac-
terization a warmth, dignity and impartiality that
wins him the spectator's admiration and at the same
time reflects great credit on the Negro race. A parti'
cularly provocative performance, perhaps the best
of his career, is turned in by Arthur Kennedy as the
wily and arrogant Communist- front lawyer. Dorothy
McGuire, as Ford's assistant; Rafael Campos, as the
sympathetic Mexican boy; Katy Jurado, as his over-
wrought mother who is misguided by Kennedy; and
John Hodiak, as the aggressive but fair prosecuting
attorney, are among the others in the fine cast who
make this a picture that crackles with realism and
tugs at the emotions for every moment of its screen
time. The black-and-white photography is excellent.

The story opens in the town of San Juno, where
the community's bigots and rabble-rousers make no
secret of their resentment against Campos, who is
accused of murdering a young blonde girl. Ford, a
law professor in need of courtroom experience to con-
tinue his work as an instructor, arrives in the town
in the midst of this tense atmosphere and secures a
summer vacation job with Kennedy, a criminal law-
yer. Ford is hired without a client to represent, but
he soon has one when Kennedy bribes his way past
Ray Middleton, the jailer, and convinces Campos and
his mother that he should represent the boy. Kennedy
assigns Ford to the case and, after helping the jailer

to disperse a mob bent on lynching Campos, heads
for New York with Katy, the lad's mother, to raise
funds for his defense. Ford works hard for the selec-
tion of an unbiased jury, aided by Dorothy, Ken-
nedy's assistant, with whom he falls in love. Ken-
nedy's cold and calculating methods disturb Ford, but
the reasons are soon revealed to him when he is
ordered to fly to New York to speak at a fund-raising
rally in Campos' behalf and discovers that the trial
was being exploited by the Communists for their own
purposes. He then learns from Dorothy of Kennedy's
Communist affiliation and of the fact that he planned
to lose the case so as to make a "martyr" of the young
man. Despite Kennedy's tactics, Ford determines to
win the trial and scores heavily against the State's
witnesses, but Kennedy, aided by Campos' unwitting
mother, removes Ford as the trial lawyer and em-
ploys strategy that brings about a verdict of guilty
on technical grounds. As the judge prepares to sen-
tence Campos to death, Ford shows up in the court-
room as "a friend of the court" and, despite Ken-
nedy's violent objections, is given permission to make
an impassioned plea in which he confesses that he
had been duped by the Communists to the detriment
of his client, and provides the judge with points of
law that enable him to give the boy a light sentence.
With the trial over, the judge castigates Kennedy for
his unruly behavior and sentences him to 30 days
for contempt of court.

It was produced by Charles Schnee, and directed
by Mark Robson, from a screenplay by Don M.
Mankiewicz, based on his Harper's prize novel.

Suitable for all.

"Pete Kelly's Blues" with Jack Webb,
Janet Leigh, Edmund O'Brien
and Peggy Lee

(Warner Bros., Aug. 27; time, 95 min.)
Gangsterism of the "roaring twenties" variety is
blended with Dixieland jazz music to pretty good
effect in this melodrama, which is enhanced by
CinemaScope and WarnerColor, with prints by
Technicolor. The story, which pits a bandleader
against a racketeer who demands 25 per cent of his
band's earnings, cannot stand up under a close analy-
sis, for it has a number of loose ends that are never
explained and suffers from choppy editing. But those
who are not too concerned about story values should
find it entertaining, for the prohibition era depicted
has a realistic flavor, and the music, most of which is
made up of songs that were popular in the twenties,
is of a rhythmic sort that keeps one tapping his feet
in time with the beat. Being a gangster-type film, it
offers more than a modicum of suspense in the action,
as well as a number of exciting sequences, particularly
the closing one, where the hero shoots it out with the
racketeer and his gunmen in a vacant ballroom. Jack
Webb does good work as the bandleader, playing it
in a style that is not unlike his Sergeant Friday role
on TV's "Dragnet." Edmund O'Brien, too, is good
as the vicious racketeer. Surprisingly good work is
done by Peggy Lee, as O'Brien's girl-friend, a faded
singer addicted to drink and driven to insanity by
O'Brien's merciless treatment. Janet Leigh, as a so-
ciety girl who lives recklessly and falls in love with
Webb, is not given much of a chance in a compara-
tively minor role that is reminiscent of a F. Scott
Fitzgerald characterization. Ella Fitzgerald, who sings
several of the songs, is another name that could be
exploited to help draw the lovers of jazz music. The

August 6, 1955

HARRISON'S REPORTS

127

production values and color photography are first-
rate : —

O'Brien, a Kansas City booze racketeer, decides to
go into the band agency business, and he puts the
pressure on Webb, leader of a jazz band in a dingy
speakeasy, for a 25 per cent commission. Webb's
musicians, particularly Martin Milner and Lee Mar-
vin, insist that O'Briens' demands be resisted, but
when Milner is murdered by goons, Webb and other
bandleaders decide to give in to O'Brien. Marvin,
disgusted, quits the band. Andy Devine, a detective,
tries to get information from Webb concerning Mil-
ner's murder, but Webb refuses to talk. Meanwhile
Webb meets and falls in love with Janet. In the
course of events, O'Brien forces Webb to take on
Peggy Lee, a singer addicted to the bottle. Peggy,
aware of O'Brien's ambition to develop her into a
star entertainer, reluctantly goes along with the idea
and wins Webb's sympathetic understanding. When
Janet and Webb announce their engagement, Peggy
celebrates by getting drunker than usual and falters
badly in her singing. O'Brien, furious, beats her so
savagely that she ends up in an insane asylum. Peggy's
fate angers Webb and he decides to take a stand
against O'Brien. His efforts to gain proof of O'Brien's
implication in Milner's murder are seemingly re-
warded when one of O'Brien's hoodlums offers to tell,
for a price, where Webb can obtain documentary
evidence proving O'Brien's guilt. Unaware that he
is being tricked, Webb goes to O'Brien's office in a
vacant ballroom for the papers. Janet, drunk and
contrite, follows him there. O'Brien and two of his
goons surprise Webb and start a gun battle. Webb
matches their gunfire and wipes them out.

It was produced and directed by Jack Webb, from
a screenplay by Richard L. Breen.

Adult fare.

"I Am a Camera" with Julie Harris,
Laurence Harvey and Shelley Winters

(Dist. Corp. of America, August; time, 90 win.)
"I Am a Camera" is one of the most unusual films
to come along in quite awhile, but whether it should
be booked is a matter that must be determined by
the individual exhibitor after careful consideration of
his patrons' tastes. At the moment, the picture has
been denied a Production Code Seal and, though it
has not yet been classified by the Legion of Decency,
it is doubtful if it can avoid receiving a "C" or
"condemned" classification from that powerful group,
judging by past performances. In spite of the fact
that it has not been approved by the Code office,
however, this screen version of the award-winning
hit play by John Van Druten presents nothing of-
fensive or vulgar, even though it is one of the most
sophisticated entertainments, with the most realistic
dialogue, ever offered as screen fare. The words "vir-
gin," "chaste" and "lousy," and an oblique discussion
of abortion, are handled without strain or self-con-
sciousness and stem naturally from the adult humor
or the dramatic conflicts. In a number of instances,
the sophisticated humor is likely to go over the heads
of those viewers who might resent such dialogue.

On other counts, however, the average movie-goer
may find difficulty in enjoying this comedy-drama
about a fast-living but immature English girl in the
early days of Nazism in Berlin. While much of the
humor is offered in broad strokes — a good deal of it
is down-to-earth slapstick (one sequence in particu-
lar, a roaring bacchanalian party, is reminiscent of

the Marx Bros, brand of comedy) — the story's switch
to the implications of growing Hitlerism steps on the
heels of the comic scenes, making for a sudden change
of mood that can only tend to confuse the viewer.

But for those audiences who accept good adult
entertainment in the spirit in which it is created, "I
Am a Camera" will provide almost continuous en-
joyment, even though a few spots in the middle of
the picture tend to become repititious and slow down
the otherwise rapid pace. In spite of the fact that it
directs attention to the sociological and political
changes going on in Germany during the year de-
picted, the script never makes much of this aspect nor
ties it in coherently with the plot.

Produced abroad, the picture's cast contains names
that are familiar to certain segments of the American
public, although none have top marquee value. Julie
Harris, in the central role of the amoral heroine who
never has time to take life seriously, is excellent in
the part. She was sensational in the role on Broad-
way, and has recently appeared on the screen in
"East of Eden." Laurence Harvey, who portrays the
original author of the book from which the play was
made and who narrates the film via flashback, was
last seen in this country as Romeo in the UA release
of the Shakespeare classic. The best known name to
the domestic picture-goers is Shelley Winters, whose
portrayal of a serious- minded Jewess caught up in
the Nazi campaign is impressive but of minor length.

Because of the film's honesty and unsensational
realistic approach to its story and characters, each
person must judge its morality according to his own
standards within the context of the society in which
he lives.

Set in Berlin in 193 1, the story opens with Harvey,
an impoverished English writer, becoming attracted
to Julie, a gay and charmingly impractical young
woman, who had just been abandoned by her surly
boy-friend, who had also absconded with her money.
Harvey takes Julie home to share his room, and she
soon makes it apparent that she is no innocent flower
where men are concerned. Both lead a life of poverty
for many months until Julie strikes up an acquaint-
ance with Ron Randell, a wealthy playboy, who takes
them in hand and foots the bills for a dizzy round
of high living. In due time Randell invites both Julie
and Harvey to accompany him on a round-the-world
tour and gives them money to buy expensive clothes.
At the last moment, however, he abandons the pro-
posed jaunt and takes his leave. With Randell's de-
parture, Julie informs Harvey that she is expecting
a child — Randell's. Harvey generously offers to marry
her and assume paternal status. He works hard to
accumulate enough money to meet the anticipated
expenses and is somewhat despondent over the ap-
proaching marriage. But his obligation vanishes
when Julie discovers that she had miscalculated her
"time" and that she is not pregnant after all. She
thanks Harvey for his generosity and rushes off to
Paris to take up with a friend of Randell's. Years
later, at a smart literary cocktail party in Mayfair,
Harvey, now a successful author, greets a new female
literary sensation, who is none other than Julie. She
reveals to him that she is penniless, despite her sudden
rise to fame, and it all ends with his taking her home
with him once again.

It is a Remus production, produced by Jack Clay-
ton, and directed by Henry Cornelius, from a screen
play by John Collier.
Strictly adult tare.

128

HARRISON'S REPORTS

August 6, 1955

So long as Paramount retains the power to block
COMPO action in the toll-TV fight, and so long as
the MPAA cannot or will not do anything to enable
COMPO to join this all-important fight, the exhibi-
tors who withhold financial support cannot be blamed.

Right now it appears as if the survival of COMPO
as an effective all-industry organisation is at stake.
Its future does not look too bright.

FARSIGHTEDNESS

The one film company chief who has never been
reluctant to speak out against toll-TV in no uncertain
terms is Spyros P. Skouras, president of 20th Cen-
tury-Fox.

Upon his return last week from his latest trip
abroad, during which he concluded a deal for the
purchase of African Theatres, Ltd., a circuit of ap-
proximately 140 theatres in South Africa, Skouras,
during a press conference, emphatically stressed his
opposition to pay-as-you-see TV, pointing out that it
is detrimental to both free television and the film
business.

When asked if he contemplated the sale of his
company's backlog of old films to television, Skouras
stated that such a step was highly unlikely, for he
places a valuation of no less than $150,000,000 on
the company's old pictures and that such a price
would have to be met if he should ever be induced
to sell to TV. He pointed out, of course, that the
current prices being offered by television interests for
old films are far, far below the price he would
demand.

Elaborating on his opposition to pay-TV, Skouras
cited grosses on 'The Seven Year Itch,1'1 which stars
Marilyn Monroe, and estimated that it will gross
approximately seven million dollars domestically and
about four million dollars in the foreign markets. He
scoffed at the contention that toll-TV could offer
similar grosses.

Spyros Skouras is to be commended for the un-
equivical stand he has taken in confining his com-
pany's product to exhibition in motion picture
theatres only. Such a stand recognizes that the sale
of old pictures to a competitive medium like televi-
sion is at best a profit in pennies insofar as a major
producing company is concerned, and that it serves
to undermine the business of the exhibitors who, in
the final analysis, make it possible for the producers
to remain in business and prosper.

Those major company heads who think that they
are earning a "fast buck" for their firms with
sporadic sales of their old films to TV could use some
of Spyros Skouras' farsightedness.

HOW TO FIGURE YOUR OVERHEAD

The current service bulletin of the Independent
Theatre Owners of Ohio includes a form that shows
a breakdown of operating and overhead expenses, and
it is suggested that members fill out the form and
file copies with each distributor to aid them in ob-
taining adjustments.

Because the form is broken down into 23 expense
items with adequate explanations of what should be
included in the different items, Harrison's Reports
is reproducing it in the adjoining column in the be-
lief that it will be of benefit to its subscribers, espe-
cially those who operate small theatres.

BREAKDOWN OF OPERATING AND
OVERHEAD EXPENSES

Theatre Year

1. ADVERTISING: Newspapers, window cards,
program, mailing list, lobby displays, an-
nouncement trailers, etc $.

2. AUTOMOBILE: If used for business pur-
poses of any nature $.

3. CAPITAL INVESTMENT: Proper return on
any money you have invested as payment for
goodwill, furniture and fixtures, building and
real estate. You are entitled to an interest re-
turn on any money you have invested. (This
item is similar to interest that you would re-
ceive if you invested your money in bonds or
other securities instead of in the motion pic-

ture business.) $.

4. CONTRIBUTIONS: To local charities, funds,
etc., and also film industry charities $.

5. DEPRECIATION: On equipment, furniture
and fixtures; and, if you own the real estate,
on the theatre building. Be sure to include
depreciation on every single item of equipment.
Remember that carpets, seats, projectors, mo-
tors, and air conditioners wear out and must
be included in overhead, which provides the
money for this replacement $.

6. DUES: Your local exhibitor organization,
Chamber of Commerce, Rotary or any other
civic club, etc $.

7. ENTERTAINMENT: Special industry affairs;
and taking the salesmen to lunch, etc., if you
do that (and liquor) $.

8. EXPENSE (miscellaneous) : For small items
which do not warrant a special heading $.

9. EXPRESS: Film delivery, parcel post, postage
stamps, etc $.

10. FUEL: Coal, oil, gas, air-conditioning $.

11. INSURANCE $.

12. INTEREST: Paid on money you borrow $.

13. LEGAL and PROFESSIONAL: Such as
auditing, etc $.

14. LIGHT AND POWER $.

15. RENT: If you are a tenant, enter the actual
rent paid plus such additional charges as might
be required by the lease. If you own the prop-
erty, charge an adequate return on your invest-
ment in the property $.

16. REPAIRS and MAINTENANCE: All charges
for repairs to either the equipment or building. $.

17. SALARIES and WAGES: First, list all em-
ployees and total the wages you paid them.
Then, if either you or any member of your
family work in the theatre, charge a salary for
each, the same that you would have to pay to
any competent outsider for similar work. Re-
member that you are entitled to a salary for the
work you do plus a return on your investment,
whether it be in the real estate and the equip-
ment or in the equipment only, plus an adequate

profit from the operation of the business $.

18. SOUND SERVICE $.

19. SUPPLIES: Carbons, other booth supplies,
office supplies, tickets, etc $.

20. TAXES: Be sure to include all types of pay-
roll and Social Security taxes, as well as all
special assessments, and any taxes which might
be levied on your gross business and which
cannot be passed on to the patron. Do not
include admission taxes added to the basic
price $.

21. TELEPHONE and TELEGRAPH $.

22. TRAVELING EXPENSES: For the benefit of
the business, such as trips to the film exchanges,
attending meetings, etc $.

23. WATER $.

TOTAL ANNUAL EXPENSES . . . $.
Divide total annual expenses by 5*2 for
AVERAGE WEEKLY EXPENSE. . . $.
FILM: Short subjects, News and 2nd
feature only. $.

TOTAL $.

Entered as second-elass matter January 4, 1921, at the post office at New York, New York, under the a«t of Maroh 3, 1818.

Harrison's Reports

Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by

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35c a Copy Columns, if It is to Benefit the Exhibitor. Circle 7-4bJZ

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXXVII SATURDAY, AUGUST 13, 1955 No. 33

EXHIBITION LOSES GROUND WHILE
PRODUCTION-DISTRIBUTION
SURGES FORWARD

According to a new theatre tabulation made public
by COMPO this week, the number of active theatres
in the United States totaled 19,108 on July 1, for a
net gain of 7 since the end of 1954. This, says
COMPO, was the largest number of theatres in
operation since 1946 and represents a net gain of
1,644 from the low point reached in March, 1954,
just prior to the granting of Federal tax relief.

COMPO, which obtained its figures from a state'
by-state tabulation of active theatres, prepared by
Sindlinger 6? Co., research analysts, points out that,
under the impact of the twenty per cent Federal ad'
mission tax, more than six thousand theatres had
closed between January 1, 1946 and March 31, 1954.
It then pointed out that this rapidly declining trend
in active theatre operations came to an abrupt halt
immediately following COMPO's victory in the fight
for tax relief, and that there has been a slow but
steady increase in the number of active theatres since
the tax cuts.

At the low point in March 1954, there were 13,553
four-wall theatres and 3,911 drive-ins, or a total of
17,464. On July 1, 1955, there were 14,734 active
four-wall theatres and 4,384 drive-ins, or a total of
19,108.

The statistics for the first six months of 1955 show
that there were 900 closings of four-wall theatres,
while 585 new and re-opened theatres went into
operation. Thus the net loss in four- wall theatres was
315. This, however, was offset by an increase of 322
drive-in theatres.

With regard to the four-wall theatres, the figures
given by COMPO do not indicate how many of the
585 new and re-opened theatres could be considered
as replacements for the 900 that closed their doors.
Obviously, a large percentage of the 585 were not
replacements, and for that reason it may be assumed
that the picture is much worse than the net loss of
315 four-wall theatres cited.

This is indeed a sad commentary on the state of
motion picture exhibition business, particularly at a
time when the nation's prosperity is booming and
reaching levels never touched before in its history.
If anything, it points up forcefully that there is some'
thing drastically wrong with the division of the box-
office dollar as between the film companies and the
exhibitors.

In spite of the fact that they are releasing fewer
pictures, that movie attendance has declined, and that
the public today is spending about half as much out
of each dollar of income for movies as it was spending
in 1946, the earnings of the film companies continue
to rise by leaps and bounds, with most of them reach-
ing all-time highs. There is only one explanation for

this: excessive terms and film rentals that are slowly
but surely strangling the exhibitors, particularly those
who own small-town and neighborhood theatres.

The closing of 900 theatres during the first half of
1955 offers irrefutable evidence of the squeeze being
put on the exhibitors by the producer- distributors. Is
is any wonder, then, that National Allied has tired
of "friendly negotiations" and has decided to go to
the Government for relief?

THE NEED FOR AN ADJUSTMENT OF
ADMISSION PRICES

'Are we killing that beautiful goose that's been
laying all those golden eggs for so many wonderful
years?" asks W. R. Wilkerson, publisher of the
Hollywood Reporter, in the August 5 issue of that
trade paper.

Pointing out that domestic attendance at the box-
office is now down to 27,000,000 a week as compared
to the days when 100,000,000 and even 110,000,000
lined up at the ticket windows, Wilkerson stated that,
though TV and poor pictures are responsible to some
extent for the decline in theatre attendance, the prin-
cipal reason why customers are staying away is the
high price of admission. "We've about priced our-
selves out of business," declares Wilkerson.

"We know," he continued, "that more people have
more money now than any like number in the history
of this nation ever had. Too, we know the cost of
making pictures has run ahead of any imaginings of
years ago. Also that many of our production and re-
leasing companies are hanging up top earnings. BUT,
brother, it's not a healthy business. When you can
trim your customers down from a top of 1 10,000,000
a week to a bare 27,000,000, there's trouble ahead,
and unless the producers and distributors, the ex-
hibitors and the men and women making pictures,
start some move in getting the family back into our
movie auditoriums, it's going to be the TV takeover
instead of the reverse, which many of us had an-
ticipated.

"We've lost the whole point in the health and
growth of this business — mass entertainment for the
masses, priced at a cost that's not too much of a
burden, or at a figure where the ticket buyer won't
become mad and stay away longer."

Harrison's Reports does not know where Billy
Wilkerson got his attendance figures of today and
yesteryear, but, regardless of their accuracy, there
can be no question that there is a serious decline in
attendance and that a good percentage of it can be
traced to the higher admission prices that exist today,
particularly in the larger cities.

Basically, high admission prices are forced on the
exhibitors by the excessive rental terms demanded of
them by the distributors. Today's harsh percentage
(Continued on bac\ page)

130

HARRISON'S REPORTS

August 13, 1955

"The African Lion"

(Buena Vista, Oct. 10; time, 75 min.)

Photographed in Technicolor, this third of Walt Disney's
True-Life adventures certainly ranks with the best of the
documentary films that have dealt with wildlife on the
African continent, but it is doubtful if it will have more
than moderate appeal to the picture-goers, for most of the
animal scenes shown, though well done, have been seen in
many other pictures of this type. There are, of course, a
number of unusual and thrilling highlights, such as a leopard
dropping from a tree to alight on his prey; a cheetah, the
speediest runner in the animal kingdom, running his quarry
to earth; and remarkable underwater shots of a water-
hole showing how hippos live in strange relationship with
the fish and crocodiles who inhabit the pool, but these are
not enough to overcome the spectator's feeling that the
picture as a whole is made up of familiar stuff.

The action has been shot in the high plateau country of
Africa. Many different species of wild animals and birds
are shown, such as the wildebeest, the hartebeest, zebra,
waterbuck, gazelle, buffalo, wild dogs, jackals, vultures,
hyenas, elephants and, of course, the lion. The creatures
range from the bizarre and beautiful to the gentle and
ferocious, and the action shows how many of them live in
precarious co-existence, with the weak ones constantly in
danger of sudden and violent attacks by the strong in their
constant search for food. Several of the attacks depicted are
quite horrible. For example, the scenes that show lions grab-
bing different animals by the neck, killing them and feasting
on their bodies, with jackals and vultures finishing the lefu
overs, are of a type that will make the squeamish sick to
their stomachs.

The photography, which is the result of a 30-month
camera safari by Alfred and Elam Milotte, is excellent.

"Love Is a Many Splendored Thing" with
Jennifer Jones and William Holden

(20th Century-Fox, August; time, 102 min.)

Set against authentic and fascinating Hong Kong back'
grounds, which have been photographed superbly in Cinema-
Scope and DeLuxe color, this is an exceptionally fine love
drama, one that will carry a special appeal to women. The
story, based on the best-selling novel by Han Suyin, holds
one engrossed throughout, for it deals with the plausible
emotional problem of two decent people who love each
other dearly but who find marriage impossible because the
hero's wife, from whom he had been separated for six years,
refuses to agree to a divorce. The story is presented in ab-
sorbing and tender fashion and, thanks to the understanding
direction of Henry King and the sensitive and believable
portrayals by Jennifer Jones and William Holden, there
are situations that have deep emotional appeal and are cer-
tain to bring out the handkerchiefs. Being a straight love
story, the pace is somewhat slow-moving. Consequently, its
appeal in situations that specialize in action pictures prob-
ably will be limited. Otherwise, the combination of the two
stars, the fame of the novel and the excellence of the story
both as a production and an entertainment should insure
outstanding grosses in most situations. The theme music
deserves special mention: —

Jennifer, a young and beautiful Eurasion woman surgeon,
whose husband, a Nationalist general, had been killed by
the Communists, devotes herself to the care of the sick in
a Hong Kong hospital. While attending a reception given
by Isabel Elsom, the wife of a hospital director, Jennifer
meets Holden, an American correspondent, who loses no
time in inviting her to have dinner with him. She does not
accept the invitation, but later, when a colleague warns her
that Holden is married though separated, she resents the
implied pressure and decides to dine with him. Despite
her insistence that she is dedicated to her work and can
have no interest in a man, Holden continues to pursue her
and she falls deeply in love with him. When she flies to
Chungking for a visit with her family, he follows her there
and asks her to marry him, stating that he will go to Singa-
pore to arrange a divorce from his wife. In keeping with

Chinese custom, Jennifer asks and receives permission from
her family to wed Holden. She returns to Hong Kong and
is blissfully happy when a cable from Holden indicates that
he had been promised the divorce, but when Holden returns
he reveals that his wife, after promising to divorce him, had
changed her mind. Though disappointed, Jennifer assures
Holden that nothing has changed between them, and she
joins him on a wonderful weekend together in Macao.
Holden leaves Hong Kong hurriedly when he is assigned
to cover the Korean War. Shortly thereafter, Jennifer is
dismissed from the hospital because of her affair with him.
She moves in with friends, and a steady stream of letters
from Holden serves a source of comfort. Jennifer is heart-
broken when word arrives that Holden had been killed in
an air raid. She rushes to a hill where she and Holden had
often talked, and in her memory hears his voice promising
eternal love.

It was produced by Buddy Adler, and directed by Henry
King, from a screenplay by John Patrick.
Best for mature audiences.

"The McConnell Story" with Alan Ladd
and June Allyson

(Warner Bros., Sept. 3; time, 107 win.)

Based on the military career and personal life of Captain
Joseph McConnell, Jr., the famed American flier who be^
came the first triple-jet ace in history, and who sacrificed
his life testing the new Sabre-Jet, this autobiographical
melodrama offers a good mixture of human interest, hu-
morous and dramatic situations, and some fine aerial shots
of jet planes in action. All this is enhanced by CinemaScope
and WarnerColor. This reviewer does not know how close
the story follows McConnell's life, but even if it does follow
it closely it still comes out as a formula tale of a young
soldier's romance and marriage, of his rise as a flying ace,
and of the conflict between his sense of duty and the
obligations to his wife and children because of the risks
his work entails. Despite the screenplay's familiarity, how-
ever, it directs considerable appeal to one's emotions by
virtue of the sensitive direction and competent acting. Alan
Ladd turns in an effective portrayal as McConnell, and
June Allyson is warm and sympathetic as his concerned
wife. The ending, where Ladd loses his life as a test pilot,
is tragic, but it is true to life. The photography is excellent.

The story opens in 1941 and depicts Ladd as an Army
private with a strong desire to be transferred to the Air
Corps so that he might learn how to fly. While eluding
Military Police who had caught him off-limits at a private
flying field, Ladd manages to gain refuge in June's home,
after hitching a ride with her younger brother. Attracted to
June, Ladd pursues her romantically and marries her after
a whirlwind courtship. Within a few months after the mar-
riage, Ladd's dream of becoming a flier is partly realized
when he is assigned to Washington State College as an air
cadet. This leads to his first separation from June, who
returns to her home in Massachusetts, where she becomes a
mother. Ladd suffers a bitter disappointment at graduation
time when he finds himself scheduled for naviation school
instead of pilot training. As a navigator in a B-17 over
Europe, Ladd tries to get in 25 missions to make him eligible
for pilot training, but he fails to reach this goal by V-E
Day and settles for a lieutenant's desk job and family life
with June back in Nebraska. With the advent of jet avia-
tion, Ladd applies for jet training and, with the aid of
James Whitmore, an Air Force Captain and close friend,
becomes a jet pilot. Ladd and June are blessed with two
more children by the time the Korean war breaks out. As-
signed there, he distinguishes himself in combat, is promoted
to Captain and becomes the first triple-jet ace in history.
His homecoming to Apple Valley, Calif., proves to be a
memorable one when the proud and affectionate towns-;
people present him with a handsome new house. Now a
Colonel, Ladd lives a comparatively serene life until called
upon to test a new Sabre-Jet. June objects to his risking his
life again but relents when she understands his desire to
serve his country. He loses his life when the plane's con-
trols jam during the test. His death leaves June heartbroken
but proud that he had sacrificed his life so that others might
live.

It was produced by Henry Blanke, and directed by
Cordon Douglas, from a screenplay by Ted Sherdeman and
Sam Rolfe. Family.

August 13, 1955

HARRISON'S REPORTS

131

"The Naked Street" with Anthony Quinn,
Farley Granger and Anne Bancroft

(United Artists, August; time, 84 min.)

A fairly good, though somewhat overlong, gangster melo-
drama, best suited for double-billing purposes. Centering
around a powerful New York gang boss who wrecks his
vengeance on a hoodlum who had seduced his sister, only
to meet a violent end himself, the story is hardly a pleasant
entertainment, even though it mixes sentiment and human
interest with the strong-arm stuff. Moreover, it is some-
what demoralizing in that it attempts to build up sympathy
for the ruthless and vicious central character by depicting
him as a man who shows genuine concern for the welfare
of his mother and sister. Despite its unpleasantness, how-
ever, the story holds one's interest well throughout, thanks
to the good direction and competent acting: —

Learning that Anne Bancroft, his sister, is expecting a
child fathered by Farley Granger, a hoodlum condemned to
die in the electric chair for murdering a shopkeeper, An-
thony Quinn, a kingpin racketeer, resorts to bribery, in'
timidation of witnesses and slick legal tactics to win
Granger's freedom. He then sees to it that Granger marries
Anne and warns him to stay out of trouble. Quinn looks
forward to becoming an uncle, but when Anne's baby dies
at birth he rages at Granger in his frustration. Angered,
Granger returns to his dishonest ways, starts to make
money and cheats on Anne by turning to other women.
When Quinn discovers Granger's faithlessness and his mis«
treatment of Anne, he "frames" the hoodlum for the murder
of a jewelry salesman. Though completely innocent,
Granger is condemed to die in the electric chair for the
second time. On the eve of his execution, Granger arranges
a meeting with Quinn and threatens to inform Peter Graves,
a crusading crime reporter, about the strong-arm methods
Quinn employed to intimidate prosecution witness to
change their testimony in connection with his (Granger's)
murder of the shopkeeper. Quinn scoffs at the threat and
dares Graves to print the story. After Granger is electro-
cuted, Graves writes the story and continues to attack
Quinn, despite a beating by his hired thugs. Graves, who
had been Anne's childhood sweetheart, eventually induces
one of Quinn's thugs to confess to the District Attorney
that his boss had framed Granger. The police close in on
Quinn and, in an attempt to flee across tenement roof-tops,
he misses his footing and plunges to his death. It ends with
the indication that Anne will seek a new life with Graves.

It was produced by Edward Small, and directed by Max-
well Shane, who collaborated on the screenplay with Leo
Katcher, author of the story.

Adult fare.

"Apache Ambush" with Bill Williams,
Richard Jaeckel and Alex Montoya

(Columbia, September; time, 67 min.)

In spite of the fact that the story is somewhat confusing,
this program western should prove acceptable wherever
melodramas of this type are popular. The action, which is
set in the days immediately following the Civil War, moves
along at a fast and exciting pace and centers around a
struggle among loyal soldiers, hostile Southerners and
Mexican outlaws aided by Apache Indians to gain control
of a shipment of repeating rifles. Worked into the proceed-
ings is a cattle drive concerning a critical meat shortage in
the North. The several conflicts between the good and evil
forces are of a kind that hold the spectator in pretty tense
suspense. The direction is good and the acting competent.
The black-and-white photography is satisfactory: —

To solve a meat shortage in the North and at the same
time help Southern cattlemen, President Lincoln (James
Griffith) summons Bill Williams, an expert scout, Sgt. Ray
Teal, a cattle-driver, and Don Harvey, a retired Confederate
officer, and asks them to undertake to drive 3,000,000 head
of Texas cattle through hostile Indian country. The three
men accept the assignment and are given a letter by the
President instructing the military to aid them in every way

possible. While Harvey goes on ahead to Texas, Williams
and Teal join a wagon train. Among the travelers are Ray
Corrigan, a war profiteer, who had concealed a load of new
repeating rifles in his wagon, hoping to sell them to South-
ern renegades; Movita, a Mexican girl picked up by Cor-
rigan; and Richard Jaeckel, an embittered former Confed-
erate soldier who had lost an arm in the war and hated
"Yankees." Discovering the hidden rifles, Movita steals
away from the wagon train and rides to the retreat of Alex
Montoya, her lover, a Mexican fanatically devoted to win-
ning back Texas, New Mexico and California for his coun-
try. When Montoya's forces, aided by Apaches, attack the
wagon train, Corrigan gives in to Jaeckel's demand that he
let the defenders use the rifles. The attack is beaten off, but
Corrigan is killed and Jaeckel takes possession of the rifles.
In the events that ensue, Jaeckel conceals the rifles when
the wagon train reaches San Arturo, and refuses to reveal
the hiding place even though they were needed to beat
back an impending attack on the town by Montoya's forces.
After many complications, during which Jaekel is killed,
Williams not only finds the guns and uses them to defeat
Montoya, but at the same time outwits an Indian attempt
to block the cattle drive.

It was produced by Wallace MacDonald, and directed
by Fred F. Sears, from a screenplay by David Lang.

Family.

"Desert Sands" with Ralph Meeker,
Maria English and J. Carroll Naish

(United Artists, September; time, 87 min.)

"Desert Sands" offers enough excitement and suspense
to satisfy the undiscriminating action devotees, even though
the story is run-of-the-mill and has been given an unimag-
inative treatment. Photographed in Technicolor and Super<
Scope, it is one of those French Foreign Legion melodramas,
centering around the capture by Arab marauders of an
isolated fort in the Sahara, and around the successful efforts
of the Legionnaires to recapture the fort under the dynamic
leadership of an heroic commandant. Mixed in with the
intrigue and bloodshed is a romance between the brave
commander and the headstrong sister of the Arab leader.
It is all far-fetched, to be sure, but those action fans who
are not too concerned about story values should find it to
their liking: —

Shortly after Captain Ralph Meeker arrives to assume
command of Fort Valaeu, the fort is attacked and captured
by the Arab forces of Keith Larsen, who ruled the Dylak
tribes together with Maria English, his sister. Both had
grown up with hatred in their hearts for Legionnaires, whom
they believed to be responsible for the assassination of their
father. Actually, the deed had been committed by John Car-
radine, their power-hungry uncle. Having learned that a
relief battalion was on its way to the fort and that it was
without knowledge that the fort had been captured, Larsen
cunningly decides to restore order to the fort and post some
Legionnaires on the ramparts to trap the unsuspecting
troops. Meeker, held prisoner with his surviving men, plans
ways and means to foil Larsen's scheme, aided by J. Carrol
Naish, his sergeant. Maria, attracted to Meeker, sends for
him and begs him to join the Dylaks so that his life might
be spared. Meeker refuses, but uses her love to further his
own plans. Meanwhile Maria's hostile feeling toward the
Legion changes when she discovers that Carradine had killed
her father. As the unwitting relief column approaches the
fort, Maria kills Carradine as he stands watch over Meeker.
She then unties Meeker, who in turn frees his men for an
assault on the Arabs. The resultant turmoil alerts the ap-
proaching relief column and they rush into the fort and
help subdue the Arabs and kill their leaders. It all ends with
Maria leaving the fort as a prisoner but with the indication
that Meeker will secure a pardon for her because of her
aid.

It was produced by Howard W. Koch, and directed by
Lesley Selander, from a screenplay by George W. George,
George F. Slavin and Danny Arnold.

Family.

132

HARRISON'S REPORTS

August 13, 1955

terms, coupled with minimum guarantees, makes it
virtually impossible for the exhibitors to lower their
prices, yet an adjustment must be made in order to
keep them within the reach of the average family.

As pointed out numerous times in these columns,
to a married couple with two children, going to a
picture-show has, in many situations, become a lux-
ury. And if one of the children is a baby and the
parents have to hire a baby-sitter, you can figure out
for yourself that the cost of hiring a baby-sitter, cou-
pled with the high admission prices, adds up to a
spending splurge that many families can ill afford in
the face of the present high cost of living.

An adjustment of admission prices might very well
increase patronage to a point where the added busi-
ness will more than offset the lowering of the rates.
But before the exhibitors can bring about a down-
ward revision in the price of tickets, they will have
to have the cooperation of the distributors in the form
of more equitable rentals.

Until we can convince the public that movies are
their best and most economical form of entertainment,
the going will be rough.

NEW COMPO TAX FIGHT URGED

Samuel Pinanski, president of the American Thea-
tres Corporation and TOA's representative as a
member of COMPO's governing triumvirate, issued
the following statement on Wednesday :

"Having seen some figures that show how much
many theatres are still paying to the Federal Govern-
ment in admission taxes, I strongly urge this industry
to lose no time in organizing a campaign that will
have for its objective the complete elimination of the
Federal admission tax at the next session of Congress.

"I wish to emphasize that I am making this state-
ment as an exhibitor responsible for the welfare of a
number of theatres, and not as a member of the
COMPO Governing Committee or in any other ca-
pacity. It has been my understanding that the
COMPO Executive Committee last fall approved a
renewal of the tax campaign, with the matter of
timing to be determined later. I cannot conceive of
any better time than now. Since the completion of
the last tax drive I have made many public utterances
that I expected COMPO and the industry to work
as soon as possible for complete elimination of the tax.
This, in my opinion, is merely completing the original
job we set for ouselves.

"More than 9,000 theatres are still paying Federal
admission taxes. In the year following the reduction
of the admission tax on April 1, 1954, these 9,000
theatres paid more than $81,000,000 into the Federal
Treasury. I know of individual theatres that are pay-
ing upwards of $100,000 annually in admission taxes.

"The Administration has made it known that there
will be further excise tax relief next year to some
industries. In view of the fact that next year will be
an election year, we should start now to organize our
forces for an all-out fight for complete tax repeal so
that we will be included among the industries getting
relief.

"To show what happened since April 1, 1954,
when the tax was reduced, I have had gathered for
me some statistics which I believe will be a shocking
revelation to most of the people in our business. I ask
other theatre owners to consider the following:

"There were 18,866 theatres operating during the
12 months after April 1, 1954, when the tax revision

went into effect. Of these 18,866 theatres, 9,065
were completely freed from paying any Federal ad-
mission tax whatsoever. The remaining 9,801 had to
continue paying a tax, and this resulted in their pay-
ing all the admission taxes received by the Govern-
ment from theatres, a total of $81.2 million.

"The difference for the individual theatre between
tax exemption and tax reduction is shown by the
following:

"Of the 9,065 theatres that were completely exempt
from the tax, 3,194 that charged admission of 25
cents or under showed an average increase in gross
per theatre of $2,786.47, while the 5,871 theatres
that charged admissions between 26 and 50 cents
showed an average increase in gross per theatre of
$5,688.97. I repeat that none of these theatres, of
course, had to pay the Government a penny in ad-
mission taxes.

"While the reduction of the admission tax from
20 to 10 per cent for admissions over 50 cents in-
creased the gross of theatres involved, these theatres
nevertheless continued to pay large sums into the
U.S. Treasury. Their combined payment, as I noted
above, was $81.2 million.

"Individually, these theatres had to pay taxes as
follows :

"Each of the 4,276 theatres charging admissions
between 51 and 60 cents had to pay an average tax
of $6,255.84. Each of the 2,851 theatres charging an
admission price between 61 and 75 cents paid an aver-
age of $6,015.43 to the Government. Each of the 2,567
theatres charging admissions between 76 cents and
$1.00 paid an average of $10,031. And each of the
107 theatres charging admission of $1.00 or more paid
average Federal admission taxes of $102,803.73.

"Concerning our relationships with Washington, a
the study of the first 12 months following tax repeal
shows that all of the industry's predictions as to the
recovery of taxes by the Treasury from corporate
sources have been borne out. I think our good faith
with the Government has been vindicated at every
point.

"I hope COMPO will be able to lead this fight,
as it so gloriously led the last tax campaign. In fact,
I consider it COMPOs duty to this industry to lead
the fight, and that anybody should think otherwise
is inconceivable.

"My attitude is not unknown to high circles in
Washington, for I made it plain to Government offi-
cials at the conclusion of the last tax campaign that
many of my colleagues in the industry, as well as
myself, could not be satisfied that this partial relief
would bring economic soundness to all theatres. We
of course were very happy to win complete tax relief
for half of the theatres, but we never said we were
contented with partial relief for the other half. This
the Treasury Department well knows from me per-
sonally, and it was my understanding that the door
was left open for us to come back with a plea for
complete relief after we had had experience with the
reduction. I want the industry to go back for this
complete relief now. I feel that if I didn't urge this
action at this time I would be derelict in my duty to
my stockholders and certainly to those other theatre
owners who are suffering through the present situa-
tion only because they have expected all along that
an effort would be made to obtain complete tax relief
as we originally set out to do."

IN TWO SECTIONS— SECTION ONE

Wintered as second -elass matter January 4, lS&i, at the post ofiim at Mew York, New York, under the act of March 3, 18T9.

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35c a Copy Columns, if It is to Benefit the Exhibitor. circle

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXXVII SATURDAY, AUGUST 20, 1955 No. 34

A LOT OF NOTHING

George Weltner, head of world-wide sales for Paramount
Pictures, announced this week that his company has es-
tablished machinery for the purpose of alleviating "prob-
lems affecting exhibition particularly theatres on the border-
line of continued operation."

This was disclosed in a statement issued by Mr. Weltner
as a result of the meeting held last June between Paramount
and the joint Allicd-TOA committee, at which time he
pledged that Paramount would take under "friendly advise-
ment" the points made by the exhibitor representatives.

"It is perfectly clear," said Weltner, "that the problems
of possible borderline situations involving individual thea-
tres cannot be lumped together and solved by any arbitrary
or formula method. Each case is, by the nature of our
business, separate and unique and can only be fairly eval-
uated on an individual basis."

To accomplish this, Weltner said, Paramount is bringing
into its organization Charles Boasberg, the former RKO
sales chief who recently gave up his affiliation with the new
Distributors Corporation of America. Weltner stated that
Boasberg will join Paramount immediately after Labor Day
in an important sales capacity, and primary among his duties
will be the field of "exhibitor borderline problems."

"Since the joint meeting held with the TOA-Allied Com-
mittee on June 13, 1955," added Weltner, "the matters
discussed at that time have been very much on my mind.
I have since had the opportunity to visit numerous of our
branches. I have talked to our own people in the field and
to exhibitors on the subject of theatre operators with acute
economic problems which place their theatres on the border-
line of continued operation.

"As a result, it has been possible to get a preliminary
understanding of this problem sooner than I hoped. Because
of the stress which has been placed upon this subject, I
feel I should now indicate — without further passage of
time — the course of action to be taken by Paramount Film
Distributing Corporation.

"In each case where the exhibitor believes the facts of
his particular situation warrant consideration as a distress
problem, they should be brought to our attention at the
branch level. This will afford the Home Office detailed infor-
mation from the field as well as the opinion of the Branch
Manager concerning its merits. This information and opinion
will then be channeled to Mr. Boasberg who will thereafter
handle the matter with honesty, friendliness and expedition."

From the way some of the trade papers have played up
Mr. Weltner's statement, one might get the idea that Para-
mount has set up an extensive program for exhibitor relief,
but when one analyzes Mr. Weltner's carefully chosen words
it becomes obvious that whatever relief Paramount might
decide to grant is decidedly limited and even then will be
confined solely to those theatres which, in its opinion, qualify
as "distress" situations. Just what would constitute a "dis-
tress" situation has not been made clear by Mr. Weltner.

When the Allied-TOA committee met with Mr. Weltner,
a statement issued jointly by Paramount and the committee
stated that Weltner assured the representatives of the com-
mittee that his company would take under "extremely
friendly advisement" their presentation of problems affect-

ing exhibition, particularly theatres grossing $1,000 or less
per week. The statement added that the committee had
outlined "the serious problems facing exhibitors today,
primarily the small theatre owner," and the necessity for
"an honest and sincere effort to arrive at a means of easing
these problems and to achieve greater understanding between
the fields of distribution and exhibition."

Later, in a press release issued by the joint Allied-TOA
committee upon the conclusion of its conferences with the
individual film companies, it was stated that, of the various
exhibitor problems presented, principally the following were
discussed:

1. Eliminate all static national sales policies and sell pic
tures based upon individual merits to all theatres on their
ability to pay.

2. A fair and equitable sliding scale to avoid rebuying
and renegotiating a picture time and time again.

3. Sell pictures to theatres grossing $1,000 or less per
week on a fair and equitable flat rental basis. Arbitration
of film rentals of $100 or less.

It was made clear to all the film companies, including
Paramount, that a revision of sales policies in accordance
with the above was needed to bring immediate and remedial
relief from the serious economic stress under which the
exhibitors, particularly the smaller grossing situations, are
struggling today. But nowhere in Mr. Weltner's statement
is there any hint that Paramount will grant the overall relief
sought. It states only that the company will consider the
granting of relief to exhibitors who "warrant consideration
as a distress problem." While this may be a new policy
for Paramount, it is one that has been followed by the other
film companies for many years.

To those exhibitors who are in distress, the possibility of
obtaining some relief from Paramount is, of course wel-
come, but most exhibitors will look upon this promise of
limited aid as being totally inadequate, and many of them
probably will resent the fact that Paramount expects them
to be "hanging on the ropes" before it will even consider
granting them relief.

In other words, before you can expect relief from Para-
mount, it will be necessary for you to first "attain" the
status of a pauper.

MORE ON THE OPPOSITION TO COMPO

Five more National Allied regional units, namely, Allied
Theatre Owners of Texas, Kansas-Missouri Allied, North
Central Allied, Rocky Mountain Allied and Allied of West-
ern Pennsylvania, have gone on record as being opposed
to the current COMPO dues drive and have advised their
members against payment. Previously, Allied units in Ohio,
Indiana, Eastern Pennsylvania and New England declared
their opposition to the dues campaign.

In practically each case, the opposition is based on
COMPO's inability to join exhibition in the campaign
against toll-TV, and on the allegation that COMPO has
enough money in its treasury to finance the Audience
Awards poll.

A surprisingly strong blast against COMPO was taken
by Colonel H. A. Cole, board chairman of Allied Theatre
(Continued on Bac^ Page)

134

HARRISON'S REPORTS

August 20, 1955

"The Girl Rush" with Rosalind Russell,
Fernando Lamas, Eddie Albert
and Gloria De Haven

(Paramount, September; time, 85 min.)

Considerable money has been spent on the produc
tion of this comedy with music, which has been photo'
graphed in Vista Vision and Technicolor, but it
emerges as an expensive "lemon" that has little to
recommend it from the entertainment point of view.
The plot is so silly and confusing that one loses inter-
est in the proceedings, and the comedy is so forced
that most of it falls flat. The biggest disappointment
in the picture is Rosalind Russell, whose performance
borders on the amateurish as she "muggs" her way
through an inept characterisation that requires her
to sing, dance and clown in a way that would be more
becoming to a youthful star. In fact, one of the pic-
ture's chief faults is that Miss Russell is given too
much to do, while the good talents of the other players
are wasted in comparatively minor roles. The pro-
duction numbers have been well staged, with Gloria
De Haven showing up to good advantage in two of
them. Her violent hip gyrations, however, are not in
the best of taste. The songs are only fair and are not
the kind that cling to one's memory. The picture has
been shot against actual Las Vegas backgrounds,
which should be of interest to many picture-goers, but
it is not enough to overcome the overall lack of enter-
tainment ingredients. Actually, the picture serves as
a huge advertisement for the Flamingo Hotel in Las
Vegas, for a good part of the action has been shot in
and around that gambling establishment. And while
on the subject of advertisements, it should be noted
that American Airlines is not only mentioned in the
dialogue but its name is also displayed prominently
in one or more of the scenes. Not much can be said
for the direction.

What there is to the story depicts Rosalind as a
young woman who had inherited a keen appreciation
of gambling from her deceased father. Living in the
East with Marion Lore, her aunt, Rosalind finds life
dull until she learns from James Gleason, her dad's
former partner, that title to a Las Vegas hotel both
men had bought years previously had been cleared.
Rosalind, accompanied by her aunt, rushes to Las
Vegas to claim her inheritance, but by the time she
arrives Gleason loses heavily at the Flamingo Hotel
gambling tables and mortgages the old hotel to Fer-
nando Lamas, owner of the Flamingo, for $10,000,
with only seventy-two hours to recover it. Gleason
keeps this news from Rosalind and sees to it that she
is put up at the Flamingo. Rosalind takes it for
granted that the Flamingo is her inheritance and pro-
ceeds to take over its management until Lamas sets her
straight. She then learns that her legacy is a battered
hotel nearby, and that she might lose it unless the
$10,000 is paid off in time. Things look black until
Rosalind meets Eddie Albert, a wealthy young man,
who becomes interested in her and decides to put up
the needed funds to pay off the mortgage and reno-
vate the hotel. Lamas, to prevent competition, seeks
to prevent payment of the mortgage until the option
time has lapsed and as a result involves Rosalind in a
hectic series of double-crosses but falls in love with
her at the same time. After many complications, the
confusion finally comes to an end with the successful
opening of Rosalind's hotel, and with the Flamingo

wedding chapel preparing for three marriages —
Rosalind to Lamas, her aunt to Gleason, and Albert
to Gloria, star of the Flamingo floor show.

It was produced by Frederick Brisson, and directed
by Robert Pirosh, who collaborated with Jerome
Davis on the screenplay, which is based on a story by
Phoebe and Henry Ephron.

Family.

"The Divided Heart" with Cornell Borchers,
Yvonne Mitchell and Alexander Knox

(Republic, August 11; time, 89 min.)

An eloquent and deeply moving British-made
drama, expertly directed and finely acted. The story,
which is set in post-war Germany, grips one's emo-
tions from start to finish in its presentation of the
heart-rending problems faced by a displaced 10-year-
old boy and his two mothers — one real and the other
foster. These problems revolve around a decision as
to whether the boy should be returned to his real
mother, from whom he had been taken away as an
infant by the enemy during the war, or remain with
his foster mother, who adopted him legally at the age
of three and had lavished her love and affection on
him. Taken from real life, the story is all the more
poignant because the two women involved are decent
and sympathetic persons. The ending, which has the
youngster returned to his real mother by virtue of
a decision handed down by a court of the Allied High
Commission, may prove disappointing to many movie-
goers, but it has been handled with such deep under-
standing that it cannot help but make a profound
impression on the viewer. Cornell Borchers, as the
foster mother, and Yvonne Mitchell, as the real
mother, are excellent, as is Michael Ray, as the deeply
troubled boy, who is torn between his love for Miss
Borchers and his sympathetic understanding of his
real mother's feelings. The picture is a natural for
the art houses, but its subject matter, if properly
exploited, should appeal to the general run of audi-
ences, particularly women.

The story opens in the Bavarian Alps where Cor-
nell and Armin Dahlen, her husband, celebrate the
10th birthday of Michael, their adopted son. The
celebration is interrupted by the arrival of agents from
the International Refugee Organisation, who dis-
close that Yvonne, the youngster's real Yugoslavic
mother, is alive and wants him back. Both mothers
are given an opportunity to plead their case before
a court of the Allied High Commission, and as each
testifies it is revealed by flashbacks that Michael had
been born to Yvonne several months before the inva-
sion of her country by the Nazis. The baby had been
taken from her by the enemy after her husband had
been executed for aiding the Partisans, and she her-
self had been flung into a concentration camp until
the liberation. Cornell and her husband had legally
adopted the boy from an orphanage when he was
only three, and while Armin had been held prisoner
by the Russians for nearly five years, Cornell had
single-handedly looked after the boy, making great
sacrifices to give him proper love and care. After
hearing the testimony, the three-judge court, headed
by Alexander Knox, adjourns the case so that Yvonne
and her boy can meet and get to know one another
prior to a final decision. The lad is at first resentful
toward Yvonne, but as he gets to know her his feel-

August 20, 1955

HARRISON'S REPORTS

ings change to concern and friendliness. After ques-
tioning the boy, the court, in a split decision, returns
him to his real mother. This verdict leaves Cornell
heartbroken, but her pain is somewhat relieved by
the knowledge that Yvonne would give him the same
loving care that she had given to him.

It is a Michael Balcon production, produced by
Michael Truman, and directed by Charles Chrichton,
from a screenplay by Jack Whittingham.

Family.

"Case of the Red Monkey" with Richard Conte
and an all-English cast

(Alhed Artists, June 19; time, llYi min.)

A routine Britislvmade program melodrama, no
better and no worse than American pictures based on
similar melodramatic themes, with the disadvantage
that, other than Richard Conte, the star, the mem-
bers of the supporting cast are English players and
are not known to audiences in the United States. The
story, which revolves around Soviet agents who en-
deavor to kill a Russian scientist friendly to the West,
is burdened by too much talk, which slows down the
action considerably. But the acting is good, and one
follows the fate of the sympathetic characters with
interest. The title stems from the fact that a little
red monkey is observed at the scene of the crime every
time a murder is committed. There is some romantic
interest, but it is mild and unimportant. The photo-
graphy is in a low key: —

Richard Conte, a special officer in the U. S. State
Department, arrives in London to escort to Washing-
ton a brilliant Russian scientist (Arnold Marie) who
had abandoned Communism. Conte soon learns that
a series of mysterious murders had been taking place,
baffling Scotland Yard. In charge of the investigation
and responsible for the scientist's safety while in Eng-
land is Supt. Russell Napier. When an attempt is
made on the scientist's life, and the print of a mon-
key's paw is found on the window sill in his hotel
suite, Conte, though hampered by Colin Gordon, a
persistent newspaper reporter, investigates the matter.
While the Russian is removed to a suburban rest home
for additional protection, Conte discovers the head-
quarters of the murder gang, consisting chiefly of
Sylva Langova, John King-Kelly, a brutal man, and
a third person whom Conte does not recognize. Conte
is captured and tortured by the gang but, by killing
Sylva and King-Kelly, he manages to escape and
rushes to the nursing home in time to save the scien-
tist's life by killing the gang's mysterious member, a
midget, who wore a little boy's space suit. With the
murders solved, Conte departs for Washington with
the Russian scientist, but Rona Anderson, with whom
he had falen in love, knows that he will return.

It is a Todon production, produced by Alec G.
Snowden, and directed by Ken Hughes, from a screen-
play by James Eastwood and Mr. Hughes, based on
a story by Eric Maschwitz.

Family.

"Night Freight" with Forrest Tucker,
Barbara Britton and Thomas Gomez

(Allied Artists, Aug. 29; time, 79 mm.)
A passable program melodrama, best suited for the
lower half of a double bill. Though given a formula
treatment, the story is somewhat different in that it

deals with truck lines and a small railroad, and re-
volves around the efforts of the villain to stop com-
petition by preventing the hero from making a suc-
cess of his "piggyback operations, by which he loaded
trucks on flat cars for faster and more economical
deliveries. There is fast action and several killings,
with the hero, of course, winning out in the end.
Worked into the action is a feud between the hero
and his younger brother over the affections of a girl.
The acting is competent and the photography good.
Excessive use, however, has been made of stock rail-
road shots: —

With Lewis Martin, his partner, Forrest Tucker,
once a truck-line operator, is now the owner of a short
line railroad. The two decide to convert part of their
line to "piggyback" operations, that is, to carrying
loaded trucks on flat-cars so that they may deliver the
produce from the rich Modesto valley to the Los
Angeles market cheaper and more speedily. But
Thomas Gomez, who by hook and crook had built up
his truck line to immense proportions, does not want
a formidable competitor and so he takes steps to drive
the two partners out of business, aided by Mike Ross,
his chief lieutenant. Barbara Britton, a waitress in a
cocktail lounge, thinks that she is in love with Keith
Larsen, Tucker's younger brother, an embittered
young man. She soon switches her affections to Tuc-
ker, and Larsen, to get even, accepts employment with
Gomez, whose idea was to use Larsen s knowledge
of railroading to sabotage his brother's railroad out
of business. Gomez orders one of his henchmen to
plant a bomb on a loaded train to destroy it, but he
puts the bomb on the wrong train. Larsen, realizing
that the bomb was powerful enough to blow up the
city and countryside for miles around, telephones his
brother and warns him of the potential destruction.
Risking his life, Tucker walks up and down the top of
the freight cars until he discovers where the bomb
is planted. He then enters the car and removes the
time clock, thus preventing an explosion. Both
brothers emerge as heroes, and Larsen, realizing that
Barbara is really in love with Tucker, gives way to
him and assures him that he is in love with another
girl.

Ace Herman produced it for William F. Broidy,
and Jean Yarbrough directed it from a screenplay by
Steve Fisher.

Family.

AUDIENCE AWARDS OPEN TO ALL
THEATRES

All theatres, regardless of whether they pay dues
to the Council of Motion Picture Organizations, are
eligible to participate in the Audience Awards cam-
paign, it was emphasized this week by Robert W.
Coyne, COMPO's special counsel.

Coyne explained that he had learned that some
exhibitors who wanted to take part in the Audience
Awards promotion had been hesitant because they
had not paid dues to COMPO.

"We want every theatre in the country," said
Coyne, "to take part in the Audience Awards cam-
paign. It is open to all. As a matter of fact, everything
COMPO does is aimed at benefitting all branches of
the industry, and not just those who have given
COMPO their financial support."

136

HARRISON'S REPORTS

August 20, 1955

Owners of Texas, who had this to say in a statement re-
leased for publication early this week:

"Under date of August 3rd this office directed a bulletin
to our members advising them that Texas Allied was with'
drawing its membership in National COMPO and that I,
personally, was resigning as COMPO director from our
organization. I also advised them that we were withdrawing
our support from the dues drive which National COMPO
was initiating the following week.

"In view of all that has happened the past year or two
my action was understandable. As I wrote the National
COMPO office in New York just before issuing my bulletin,
in my opinion, that organization, although rather well fi-
nanced, has accomplished little for the exhibitors and espe-
cially the smaller exhibitors since the successful termination
of the national tax campaign. I give them credit for two
minor jobs, each important but not measuring up to the
possibilities of the organization. One of these was the im-
portant and creditable campaign carried on through Editor
and Publisher: the other is the one of collecting necessary
facts, figures and statistics for the industry.

"National COMPO organization recently has undertaken
the job that is known as the Audience Poll. I do not intend
to minimize the effect and the value of that poll but I do
not believe that the organization National COMPO has set
up can possibly be successful in getting the large number
of theatres interested and working to make it successful; in
other words, my criticism is not of the audience poll itself
but of the methods employed to get it working properly.

"My mind reverts to a matter of very funny publicity
gotten up here in Dallas by what is known as the Bonehead
Club. This club is always undertaking fantastic jobs and it
creates a lot of fun among our people. One undertaking they
started was to build an office building in downtown Dallas.
They announced very solemnly that they had no ground
with which to start and no money but they had plans all ar-
ranged for a 54-story building, starting at the top floor and
working down. That, to me, is a pretty good example of
the undertaking that is now going on.

"Of course, our exhibitor group is very dissatisfied; first,
because the exhibitors for the most part have gotten little if
any financial benefit out of the big job that COMPO did in
the tax fight. Added to that there is the fact that COMPO
had a substantial balance in the bank, half of which was
subscribed by the exhibitors, and the veto power of certain
members of COMPO prevented that money or part of it
from being used in the desperate fight for exhibition against
TolKTV.

"Statements have been made in the trade papers and we
hear of many such statements from the film salesmen who
have just conducted the collection of dues for National
COMPO that National COMPO is contemplating an-,
other campaign to remove the balance of the ad-
mission tax. In my belief that hasn't a chance of
success. The industry had some measure of success
in the first tax fight because it was directed at relief for the
thousands of small theatres which were closing almost daily.
The final issue removed the tax from that group of small
theatres and cut in half the tax of those in the upper echelon.
These smaller exhibitors, charging 50c or less, represented
in my belief well over half of the gross number of theatres
in the United States. Certainly that large group is not in-
terested in going all out for relief among the larger theatres.
One might say that this is selfish and I grant that, but it's
nevertheless inevitable; especially, in view of the fact that
even this large group of smaller theatres profited little or
none in the resulting battle over a division of the 'spoils.'

"In view of all these matters, the exhibitors in our group
(and we feel this includes thousands of others not directly
connected) have come to the belief reluctantly that Na-
tional COMPO either can not or will not accomplish the
financial salvation that is necessary for their continued
existence."

Although Col. Cole is doubtful about the success of the
Audience Awards poll, it should be pointed out that most

of the other Allied units, despite their opposition to the
collection of dues, have endorsed the poll and are urging
their members to support it and fill out the necessary
ballots.

As to Cole's statement that a new tax campaign "hasn't
a chance of success," his opinion should carry weight in view
of the fact that he was co-chairman of COMPO's tax repeal
committee and is therefore qualified to know whether or
not a tax repeal campaign at this time might be fruitful.

The big question is whether or not COMPO can survive
as an effective all-industry organization in the face of the
opposition that has sprung up. The idealistic view, of course,
is that COMPO is needed for use in those areas where uni-
fied action is possible. But the successful continuation of such
an all-industry organization is strongly dependent on the
existence of a spirit of mutual understanding and coopera-
tion among the constituent organizations. Unfortunately,
there exists today between the film companies and exhibition,
as well as between TOA and Allied, an ever-increasing
feeling of hostility and mistrust. Regardless of who is right
and who is wrong, it makes for an atmosphere that is not
conducive to working together for the common good with
sincerity and enthusiasm. And the lack of such harmony
makes it appear as if COMPO's days are numbered.

REMBUSCH OPPOSES TAX FIGHT

In a statement issued to the trade press last weekend,
Trueman T. Rembusch, former National Allied president
and National Director of Allied Theatre Owners of Indiana,
takes strong exception to the proposal made by Samuel
Pinanski that exhibition, through COMPO, wage a new
campaign for the complete elimination of the Federal ad-
mission tax at the next session of Congress. This is what
Rembusch had to say:

"Why plow the field, plant the seed, cultivate the crop
and have someone appropriate the harvest? That is exactly
what exhibition experienced in winning the 1954 tax repeal
fight, for distribution appropriated all the benefits through
increased film rentals. I disagree with my good friend Sam
Pinanski's suggestion that exhibition should prepare now
to fight for total repeal of the admissions tax in the 1956
Congress. I disagree with Sam's suggestion for I know
exhibition would not enjoy any benefits accruing from such
a fight any more than they enjoy the benefits coming out
of the 1954 fight.

"There is a legislative program, however, offering divi-
dends for exhibitors far greater than any coming out of re-
peal of the admission tax — that is the bringing about of legis-
lation which would impose a maximum ceiling on film rentals
of 30%, such ceilings as now exist in many European
countries. Under these ceilings European exhibitors not only
are prosperous but are free of the economic pressures im-
posed by distribution on exhibition in the United States.

"Obviously exhibition cannot enter into two legislative
endeavors in the next session of Congress. It would be un<
wise to attempt repeal of the admission tax and enactment
of a law placing ceilings on film rentals, for by division
of the efforts neither program might succeed. Therefore, a
choice must be made between the two courses of legislative
action open to exhibition in the 1956 Congress, on the basis
of which course promises the most for exhibition. Since
distribution would again grab the benefits of any exhibition
success in repeal of the admission tax the second course of
seeking ceilings of 30% on film rentals is much more attrac-
tive and would be much more lucrative for exhibition.

"At the last Allied Board meeting, Julius Gordon, prom-
inent head of the Jefferson Amusement Corporation's circuit
of theatres reported on European exhibition under maximum
film rental ceilings. Exhibition in Europe is not only happy
but enjoying the greatest prosperity in their history. I, there-
fore, am definitely committed to the seeking of ceilings on
film rentals in the 1956 Congress and unalterably opposed
to exhibition initiating a new tax fight which, if won,
would benefit distribution alone."

IN TWO SECTIONS— SECTION TWO

HARRISON'S REPORTS

Vol. XXXVII

NEW YORK, N.

Y., SATURDAY, AUGUST 20, 1955

No. 34

(Partial Index

No. A — Pages 106 to 132 Inclusive)

Titles of Pictures Reviewed on Page

African Lion, The — Bucna Vista (75 min.) 130

Apache Ambush — Columbia (67 min.) 131

Big Bluff, The — United Artists (70 min.) 115

Break to Freedom — United Artists (88 min.) 119

Desert Sands — United Artists (87 min.) 131

Female on the Beach — Univ.-Int'l (97 min.) 116

Francis in the Navy— Univ.-Int'l (80 min.) 107

Gun That Won the West, The— Columbia (69]/2 min.) 115

House of Bamboo — 20th Century-Fox (102 min.) 106

How To Be Very, Very Popular —

20th Century-Fox (89 min.) 118

I Am a Camera— DCA (90 min.) 127

Kentuckian, The — United Artists (104 min.) 119

King's Thief, The — MGM (78 min.) 120

Last Command, The— Republic (110 min.) 123

Love Is a Many Splendored Thing —

20th Century-Fox (102 min.) 130

Man from Laramie, The — Columbia (104 min.) 106

Man Who Loved Redheads, The —

United Artists (89 min.) 122

McConnell Story, The — Warner Bros. (107 min.) 130

Naked Dawn, The— Univ.-Int'l (82 min.) 122

Naked Street, The — United Artists (84 min.) 131

Night Holds Terror, The — Columbia (86 min.).... 114
Night of the Hunter — United Artists (93 min.) 120

One Desire — Univ.-Int'l (94 min.) 110

Pearl of the South Pacific— RKO (85 min.) 110

Pete Kelly's Blues- — Warner Bros. (95 min.) 126

Phenix City Story, The — Allied Artists ( 100 min.) . . . 118

Special Delivery — Columbia (86 min.) 122

To Catch a Thief — Paramount (106 min.) 114

To Hell and Back— Univ.-Int'l (106 min.) 118

Trial— MGM (105 min.) 126

Virgin Queen, The— 20th Century-Fox (92 min.)... 123

Wakamba— RKO (65 min.) Ill

RELEASE SCHEDULE FOR FEATURES
Allied Artists Features

(1560 Broadway, New York 19, H T.)

5513 Annapolis Story — Derek/Lynn Apr. 10

5514 High Society — Bowery Boys Apr. 17

5515 Shot Gun— Hayden-De Carlo Apr. 24

5516 Las Vegas Shakedown — O'Keefe-Grey May 15

5517 Skabenga — Documentary May 29

5518 Lord of the Jungle — Johnny Sheffield June 12

5519 Finger Man — Lovejoy-Tucker-Castle June 19

5520 Wichita— McCrea-Miles-Ford (C'Scope) July 3

5521 Case of the Red Monkey — Conte-Anderson .July 10

5524 Betrayed Women — Matthews-Michaels July 17

5522 Spy Chasers — Bowery Boys July 31

5525 The Phenix City Story — Kiley-Mclntyre . . .Aug. 14

5526 Night Freight — Tucker-Britton Aug. 29

5523 The Warriors — Flynn-Dru (C'Scope) Sept. 11

5527 The Body Snatchers — McCarthy- Wynter ..Sept. 18

5528 Son of Slade — Ericson-Blanchard Sept. 25

5529 Jail Busters — Bowery Boys Oct. 2

5530 Time Slip — Nelson-Domergue Oct. 9

5531 Gun Point — MacMurray.-Malone (C'Scope) . Oct. 23

724 End of the Affair — Johnson-Kerr May

728 Tight Spot — Rogers-Robinson May

743 Seminole Uprising — Montgomery-Booth May

739 Cell 2445, Death Row— Campbell-Grant May

738 A Prize of Gold — Widmark-Zetterling June

742 5 Against the House — Madison-Novak June

745 The Petty Girl — reissue June

741 They All Kissed the Bride — reissue June

732 It Came from Beneath the Sea — Tobey-Domergue. July
747 Chicago Syndicate — O'Keefe-Lane July

746 Creature with the Atom Brain — Denning-Stevens. July
736 The Long Gray Line — Power-O'Hara Special

(End of 1954-55 Season)
Beginning of 1955-56 Season
801 The Man from Laramie —

Stewart-O'Donnell (C'Scope) Aug.

Bring Your Smile Along — Laine-Brasselle Aug.

Footsteps in the Fog — Granger-Simmons Sept.

807 The Night Holds Terror— Kelly-Parks Sept.

806 Special Delivery — Cotten-Bartok Sept

809 The Gun That Won the West—

Morgan-Raymond Sept.

Apache Ambush — Williams-Jaeckel Sept.

Lippert-Pictures Features

(145 Ho. Robertson Blvd., Beverly Hills. Calif.)

5415 Thunder Over Sangoland — Hall-Lord . . . .Apr. 8
5409 The Glass Tomb— John Ireland Apr. 15

5413 Air Strike — Denning-Jean May 6

5414 Phantom of the Jungle — Hall-Gwynne May 20

5418 King Dinosaur — Bryant-Curtis June 17

5416 The Lonesome Trail — MorriszAgar July 1

5421 Simba — Dick Bogarde Sept. 9

Metro-Goldwyn-Mayer Features

(1540 Broadway, Hew Tor\ 19, H- T.)

523 Bedeviled — Baxter-Forrest Apr.

522 Glass Slipper — Wilding- Caron Apr.

525 The Prodigal — Turner-Purdom (C'Scope) May

526 The Marauders — Duryea -Richards May

524 Camille — reissue May

527 Love Me or Leave Me — Day-Cagney (C'Scope) .June

528 Moonfleet — Granger-Lindfors (C'Scope) June

529 Interrupted Melody — Ford-Parker (C'Scope) ... .July

531 The Cobweb — Bacall-Widmark-Boyer (C'Scope) .July

530 Wizard of Oz — reissue July

532 The King's Thief —

Purdom-Blythe-Niven (C'Scope) Aug.

The Scarlet Coat —

Wilde- Wilding-Francis (C'Scope) Aug.

It's Always Fair Weather —

Kelly-Dailey (C'Scope) Sept.

Svengali — Hildegarde Neff Sept.

The Bar Sinister —

Richards-Gwenn-Jagger (C'Scope) Sept.

Columbia Features

(729 Seventh Ave.. Hew ror\ 19, H T.)

1954-55

737 Three for the Show —

Grable-Champions (C'Scope) Apr.

744 Jungle Moon Men — Weissmuller Apr.

733 The Return of October — reissue Apr.

Paramount Features

(1501 Broadway, Heu> Tor\ 18, H T.)

5406 Mambo — Winters-Mangano-Gassman Apr.

5410 Run for Cover — Cagney«Derek-Lindfors Apr.

5411 Hell's Island — Payne-Murphy June

5412 The Far Horizons — MacMurray-Heston-Reed .June
5425 Strategic Air Command — Stewart- Allyson . . . .July

5413 The Seven Little Foys — Bob Hope July

5414 We're No Angels — Bogart-Bennett Aug.

5415 You're Never Too Young — Martin (f Lewis. . .Aug.

(End of 1954-55 Season)
Beginning of 1955-56 Season

5501 The Girl Rush — Russell-Lamas Sept.

5502 To Catch a Thief— Grant-Kelly Sept.

5503 Ulysses— Douglas-Mangano Sept.

RKO Features

(1270 Sixth Ave.. Hew York 20. H- T.)
1954-55

511 Rage at Dawn — Scott'Powers-Tucker Apr.

512 Escape to Burma — Stanwyck-Ryan Apr.

573 The Informer — reissue Apr.

574 Berlin Express — reissue Apr.

575 Bringing Up Baby — reissue May

510 Quest for the Lost City — Documentary May

576 I Remember Mama — reissue May

513 Son of Sinbad — Robertson-Forrest (SuperScope) . June

577 The Big Street — reissue June

514 Wakamba — Documentary June

515 Pearl of the South Pacific —

Mayo-Morgan (SuperScope) June

516 Bengazi — Conte-McLaglen (SuperScope) Sept.

(End of 1954-55 Season)

Beginning of 1955-56 Season

602 Tennessee's Partner —

Payne-Reagan-Fleming (SuperScope) Sept.

601 The Treasure of Pancho Villa —

Winter-Calhoun (SuperScope) Oct.

The Brave One — Pvay-Rivera (C Scope)

(formerly "The Roy and the Bull") not set

Jet Pilot — Wayne-Leigh not set

Republic Features

(1740 Broadway, Hew Tor\ 19, H- T.)

5405 The Eternal Sea — Hayden-Smith May 5

5404 Sante Fe Passage — Payne-Cameron-Domergue May 12

5434 I Cover the Underworld — McClory-Jordan . .May 15

5435 Don Juan's Night of Love — Foreign cast. . . .May 26

5436 City of Shadows — McLaglen-Crawley June 2

5406 The Road to Denver — Payne-Freeman June 16

5437 Double Jeopardy — Rod Cameron June 23

Lay That Rifle Down — Canova-Lowery July 7

The Green Bhudda — Morris-Germaine July 9

Mystery of the Black Jungle — Barker-Maxwell July 14

Cross Channel — Morris-Furneaux July 22

Headline Hunters — Cameron-Bishop July 29

5407 The Last Command — Hayden-Carlson Aug. 3

Twinkle in God's Eye — Rooney-Grey Aug. 10

5408 The Divided Heart — Borchers-Mitchell Aug. 11

Flame of the Island — DeCarlo-Scott-Duff ..Aug. 19

Secret Venture — Taylor-Hylton Aug. 26

A Man Alone — Milland-Murphy Sept.

Fighting Chance — Cameron-Cooper Sept.

Jaguar — Sabu-Chiquita-MacLane Sept.

Magic Fire — DeCarlo-Thompson-Gam not set

511- 6

509- 0

510- 8
508-2

512- 4

515- 7

543- 9

544- 7
504-1

513- 2

514- 0

517- 3

516- 5

512-4
506-6

518- 1

520-7

519- 9

Twentieth Century-Fox Features

(444 W. 56th St., Hew Yor\ 19, H- T.)

Angela — O'Keefe-Lane Apr.

A Man Called Peter— Peters-Todd (C'Scope) .Apr.
Violent Saturday — Mature-Sydney (C'Scope) .Apr.
The Adventures of Sadie— Collins?Moore . . . .May
The Living Swamp — Documentary (C'Scope) .May
Daddy Long Legs — Astaire-Caron (C'Scope) .May

Call Northside 777 — reissue May

Where the Sidewalk Ends — reissue May

That Lady — DeHaviland -Roland (C'Scope) . . .May
Magnificent Matador —

O'Hara-Quinn (C'Scope) June

Soldier of Fortune —

Gable-Hayward (C'Scope) June

The Seven Year Itch —

Monroe-Ewall (C'Scope) June

House of Bamboo — Stack-Ryan (C'Scope) . — July

The Living Swamp — Featurette (C'Scope) July

A Life in the Balance — Montalban-Bancroft . - July
How to Be Very, Very Popular —

Grable-North (C'Scope) July

The Left Hand of God —

Bogart-Tierney (C'Scope) Sept.

The Virgin Queen — Davis-Todd (C'Scope) .. Aug.
Love Is a Many Splendored Thing —

Haolden-Jones (C'Scope) Aug.

Seven Cities of Gold — Egan-Rennie (C'Scope) .Sept.
The Girl in the Red Velvet Swing —

Milland-Collins-Granger (C'Scope) Oct.

The View frmn Pompey's Head —

Egan-Wynter-Mitchell (C'Scope) Nov.

The Tall Men- Gable-Russell (C'Scope) . . .Special

United Artists Features

(729 Seventh Ave., Hew York 19, H-i T.)

The Purple Plain — Gregory Peck Apr.

A Bullet for Joey — Robinson*Raft-Totter Apr.

Lilacs in the Spring — Flynn-Neagle Apr.

The Tiger and the Flame — Alhlndian cast May

Kiss Me Deadly — Meeker- Stewart-Dekker May

Robbers' Roost — Montgomery-Findley May

Top of the World — Robertson-Lovejoy-Keyes May

The Big Bluff — Bromfield-Vickers June

The Sea Shall Not Have Them — British cast June

Break to Freedom — British cast

(formerly "Albert, R. H") June

Summertime — Hepburn-Brazzi June

Othello — Orson Welles June

Not As a Stranger — Mitchum-DeHavilland July

The Man Who Loved Redheads — British cast July

Shadow of the Eagle — Greene-Cortesa July

The Kentuckian — Lancaster-Lynn (C'Scope) Aug.

The Night of the Hunter — Mitchum-Winters Aug.

The Naked Street — Granger-Quinn-Bancroft Sept.

Desert Sands — Meeker-English (SuperScope) Sept.

Universal-International Features

(445 Par\ Ave., Hew Yor\ 22, H- Y.)

517 Chief Crazy Horse — Mature»Ball (C'Scope) Apr.

518 Chief Craz.y Horse — (standard) Apr.

521 Revenge of the Creature — Agar-Nelson (3D) . .May

522 Revenge of the Creature (2D) May

523 Cult of the Cobra — Domergue-Long May

524 The Looters — Calhoun- Adams May

525 The Man from Bitter Ridge — Barker-Cordey . . . .June

526 Abbott ii Costello Meet the Mummy June

527 This Island Earth — Reason-Domergue June

528 FoxFire — Chandler-Russell-Duryea July

529 Ain't Misbehavin' — Calhoun-LauridCarson July

530 The Purple Mask— Curtis-Miller (C'Scope) July

531 The Purple Mask— (2D) July

532 One Desire — Baxter-Hudson-Adams Aug.

533 Private War of Major Benson — Heston-Adams. .Aug.

534 Francis in the Navy — O'Connor-Hyer Aug.

535 The Shrike- — Ferrer-Allyson Sept.

536 Female on the Beach — Crawford-Chandler Sept.

538 Kiss of Fire- — Palance-Rush Oct.

539 To Hell and Back— Murphy (C'Scope) Oct.

540 To Hell and Back— (2D) Oct.

537 The Naked Dawn — Kennedy-St. John Nov.

Warner Bros. Features

(321 W. 44th St.. Hew York 18, H- Y.)

414 East of Eden — Harris-Dean-Massey (C'Scope) Apr. 9

415 Strange Lady in Town —

Garson-Andrews (C'Scope) Apr. 30

410 Jump Into Hell — Sernas»Kasznar May 14

416 The Sea Chase — Wayne-Turner (C'Scope) . .June 4

417 Tall Man Riding — Scott-Malone-Castle June 18

419 Land of the Pharaohs —

Hawkins-Collins (C'Scope) July 2

420 The Dam Busters — Todd-Redgrave July 16

418 Mister Roberts —

Fonda-Cagney-Powell (C'Scope) July 30

421 Pete Kelly's Blues—

Webb-Lee-O'Brien (C'Scope) Aug. 27

501 The McConnell Story—

Ladd-Allyson (C'Scope) Sept. 3

Blood Alley— Wayne-Bacall (C'Scope) Oct. 1

Illegal — Robinson-Foch Oct. 15

Rebel Without a Cause —

Dean-Wood (C'Scope) Oct. 29

SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel
1954-55

7858 Hollywood Plays Golf-
Screen Snapshots (9m.) May 5

7612 Mother Hubba-Hubba Hubbard—

Favorite (reissue) (6m.) May 12

7808 Barking Champs — Sports (9 m.) May 12

7504 Baby Boogie — UPA Cartoon (6 m.) May 19

7703 Magoo Express — Mr. Magoo (6J/2 m.) . . . .May 19

7613 Kukunuts — Favorite (reissue) (6J/2 m.) ...June 2
7555 Candid Microphone No. 2 (11 m.) June 2

7809 Sun Play — Sports (9 m.) June 2

7956 Ray Eberle « His Orchestra-
Thrills of Music (reissue) (IOJ/2 ™ ) • • • - June 9

7859 Hollywood Beauty —

Screen Snapshots (11m.) June 16

7704 Madcap Magoo — Mr. Magoo (6 m.) June 23

7614 Scary Crows — Favorite (reissue) (8 m.) June 23

7615 Little Rover — Favorite (reissue) (9 m.)....July 14

7860 Hollywood Mothers-

Screen Snapshots (10 m.) July 14

7810 Danish Gym-Dandies — Sports (9 m.) July 14

7951 Louis Prima & Orch.—

Thrills of Music (Reissue) (10 m.) Sept. 22

(End of 1954-55 Season)

Beginning of 1955-56 Season

8601 Tooth or Consequence —

Favorite (reissue) (6^2 m ) Sept. 1

8501 Christopher Crumpet' s Playmate —

UPA Cartoon (6^/2 ™.) SePt- 8

8551 Candid Microphone No. 3 (11m.) Sept. 15

8851 The Great Al Jolson — Screen Snapshots . . .Sept. 22

Columbia — Two Reek

1954-55

7415 One Spooky Night— Andy Clyde Apr. 28

7415 Scratch-ScratcheScratch —

Andy Clyde (I6I/2 m.) Apr. 28

7426 Hiss and Yell — Favorite (reissue) (18 m.)..May 5

7408 Stone Age Romeos — Stooges (16 m.) June 2

7160 Adventures of Captain Africa —

serial (15 ep.) June 9

7416 Nobody's Home — Quillan-Vernon ( 16</2 m.) .June 9
7436 Training for Trouble —

Favorite (reissue) (15'/2) June 16

(End of 1954-55 Season)

Beginning of 1955-56 Season

8401 Wham-Bam-Slam! — Stooges ( 16 m.) Sept. 1

8421 Honeymoon Blues —

Favorite (reissue) (17 m.) Sept. 8

8411 One Spooky Night — Andy Clyde (16 m.) .Sept. 15
8120 The Sea Hound— Serial (15 ep.) Sept. 22

Metro-Goldwyn-Mayer — One Reel
1954-55

S-657 Global Quiz— Pete Smith (10 m.) May 14

W-633 Touche Pussy Cat— Cartoon (2D) (7 m.) .May 21
W-635 Southbound Duckling-
Cartoon (2D) (7 m.) June 25

W-637 Pup On a Picnic— Cartoon (2D) (7 m.) . July 22

(End of 1954-55 Season)

Beginning of 1955-56 Season

W-741 Designs on Jerry — Cartoon (7m.) Sept. 2

C-731 Tom and Cherie — C'Scope Cartoon (7m.) Sept. 9
W-761 The Invisible Mouse —

Cartoon (reissue) (7 m.) Sept. 16

B-721 How To Sleep—

Rob't Benchley (reissue) (11 m.) . . . .Sept. 23

W-742 The First Bad Man— Cartoon (7 m.) Sept. 30

P-771 That Mothers Might Live —

Passing Parade (10 m.) Oct. 7

W-743 Smarty Cat — Cartoon (7 m.) Oct. 14

W-762 King-Size Canary-
Cartoon (reissue) (7 m.) Oct. 21

W-744 Deputy Droopy — Cartoon (7 m.) Oct. 28

B-722 A Night At the Movies —

Benchley (reissue) (7 m.) Nov. 4

W-745 Pecos Pest — Cartoon (7 m.) Nov. 11

W-763 Kitty Foiled — Cartoon (reissue) (7 m.) .Nov. 18

W-746 Cellbound— Cartoon (7 m.) Nov. 25

W-764 What Price Fleadom—

Cartoon (reissue) (7 m.) Dec. 2

P-772 The Story of Dr. Jenner—

Passing Parade ( 10 m.) Dec. 9

W-765 The Truce Hurts-
Cartoon (reissue) (8m.) Dec. 16

C-732 Good Will to Men—

C'Scope Cartoon (8 m.) Dec. 23

W-766 Old Rockin' Chair Tom-
Cartoon (reissue) (7 m.) Dec. 30

Paramount — One Reel

R14-8 Tumbling Jamboree — Sportlight (9 m.) . .May 13

E14*6 Beaus Will Be Beaus— Popeye (6 m.) May 20

K14-4 Five Hundred Horses —

Pacemaker (10 m.) May 20

B14-5 Spooking With a Brogue — Casper (7 m.) .May 27

E14-7 Gift of Gag— Popeye (6 m.) May 27

K14-5 Florida Aflame — Pacemaker (9 m.) June 3

P14-5 News Hound — Noveltoon (6 m.) June 10

R14-9 High Score Bowling — Sportlight June 10

K14-6 Walk in the Deep — Pacemaker (10 m.) June 17

R14-10 San Fernando Saddle Champs — Sportlight . July 1

P14<6 Poop Goes the Weasel — Noveltoon July 8

B14-6 Bull Fright— Casper July 15

Paramount — Two Reels

VI 4-2 Vista Vision Visits Mexico —

Special (17 m.) Apr. 29

V14-3 VistaVision Visits the Sun Trails —

Special (16 m.) May 27

RKO — One Reel
1954-55

54310 Everglades Posse — Sportscope (8 m.) ....May 13

54109 Pedro — Disney (reissue) (8m.) May 13

54210 Staff of Life — Screenliner (8 m.) May 27

54110 El Gaucho Goofy — Disney (reissue) (8 m.) June 10

54311 Downhill Yachts — Sportscope (8 m.) June 10

54211 Rest Assured — Screenliner (8 m.) June 24

54111 Aquarela do Brasil —

Disney (reissue) (8 m.) June 24

54312 Bowling Boom — Sportscope (8 m.) July 8

54212 Safety Is Their Business — Screenliner (8) .July 22

54313 Tanbark and Turf — Sportscope (8 m.) ..Aug. 5

54213 Film Fun — Screenliner (9 m.) Aug. 19

54113 Bearly Asleep — Disney (C'Scope) (7 m.).Aug. 19

54114 Beezy Bear — Disney (C'Scope) (7 m.) ..Sept. 2

54115 Up a Tree — Disney (7m.) Sept. 23

(More to come)
Beginning of 1955-56 Season

64301 Game Warden — Sportscope Sept. 2

64302 Gym College — Sportscope Sept. 30

64201 Gold — Screenliner (10% m.) Sept. 16

64202 Black Cats and Broomsticks— Screenliner. .Oct. 14

RKO — Two Reek
1954-55

53106 Finders Keepers — Special (15J^ m.) Apr. 1

53801 Basketball Highlights— Special (15 m.) . . .Apr. 15

52901 Operation Icecap — Special (19 m.) May 6

(End of 1954-55 Season)
Beginning of 1955-56 Season

63101 The Future is Now — Special (15 m.) . . . .Sept. 9

Republic — One Reel

5388 Venezuela— This World of Ours (9 m.) . .Mar. 1

Republic — Two Reek

5485 King of the Carnival — Serial (13 ep.) June 27

5486 Dick Tracy's G-Men—

Serial (15 ep.) (reissue) Sept. 19

Zorro's Black Whip —

Serial (13 ep.) (reissue) not set

Twentieth Century-Fox — One Reel

5508*7 The Two Headed Giant—

Terrytoon (reissue) (7m.) Apr.

5509- 5 No Sleep for Percy (Little Roquefort) —

Terrytoon (7m.) Apr.

5531- 9 Igloo for Two (Willie the Walrus) —

Terrytoon (C'Scope) (7 m.) May

3501-4 Topsy Turvy Thrills — Sport (8 m.) June

6501-1 Man vs. Nature — See It Happen (9 m.) . . . June

5532- 7 Good Deed Daly—

Terrytoon (C'Scope) (7 m.) July

5533- 5 Bird Symphony — Terrytoon (C'Scope) ....Aug.

5534- 3 The Little Red Hen — Terrytoon (C'Scope) . .Aug.

5510- 3 Phony News Flashes — Terrytoon (7 m.) ...Aug.

5511- 1 Foxed by a Fox — Terrytoon (7 m.) Aug.

5512- 9 The Last Mouse of Hamelin — Terrytoon ...Aug.

Twentieth Century-Fox — C'Scope Reels

7506- 9 Land of the Nile— C'Scope (9 m.) Apr.

7508- 5 Isles of Lore— C'Scope (10 m.) Apr.

7509- 3 Punts and Stunts — C'Scope (9 m.) May

7512- 7 Children of the Sun— C'Scope (7 m.) May

7511-9 Colorado Holiday— C'Scope (9 m.) May

7514- 3 Sorcerer's Apprentice — C'Scope (13 m.) ...May

7517- 6 Volcanic Violence — C'Scope (9 m.) June

7507- 7 Tears of the Moon — C'Scope (10 m.) June

7515- 0 Naughty Mermaids — C'Scope (7 m.) July

7516- 8 Winter Jamboree — C'Scope (10 m.) July

7519- 2 Survival City— C'Scope (10 m.) Aug.

7518- 4 That Others May Live — C'Scope (10 m.) ..Aug.

7520- 0 Gods of the Road — C'Scope Aug.

7521- 8 Desert Fantasy — C'Scope Aug.

7513- 5 Clear the Bridge— C'Scope Aug.

Universal — One Reel

1383 White Magic— Color Parade (9 m.) Apr. 25

1354 Kitty Koncert — Cartune (reissue) (7 m.) . .May 30

1327 Sh-h-h-h — Cartune (6m.) June 6

1344 Modern Minute Men — Variety View (9m.) .June 13

1355 Pixie Picnic — Cartune (reissue) (6 m.) . . . . June 27

1328 Bedtime Bedlam — Cartune (6 m.) July 4

1385 King Salmon— Color Parade (9 m.) July 11

1356 Whacky Bye Baby — Cartune (reissue) (6m.).July25

1329 Paw's Night Out— Cartune (6 m.) Aug. 1

1386 Swing High-Swing Low —

Color Parade (9 m.) Aug. 1

1330 Flea for Two — Cartune (6m.) Aug. 29

1331 Square Shooting Square — Cartune (6 m.) . .Sept. 26

Universal — Two Reels

1306 Strictly Informal — Musical (16 m.) Apr. 11

1307 Girl Time— Musical (16 m.) May 16

1302 The King's Secret— Special (16 m.) May 30

1308 Webb Pierce and His Wanderin' Boys —

Musical (16 m.) June 20

1309 Roundup of Rhythm — Musical (16 m.) July 18

1310 Eddie Howard & Orch.— Musical (14 m.) . .Aug. 22

Vitaphone — One Reel
1954-55

2727 Hare Brush — Bugs Bunny (7 m.) May 7

2405 So You Want To Be On a Jury-

Joe McDoakes (10 m.) May 7

2717 Past Performance — Merrie Melody (7m.) . .May 21
2507 Riviera Revelries — Sports Parade (10 m.) .May. 21

2310 Hop, Look and Listen —

Hit Parade (reissue) (7 m.) June 4

2718 Tweety's Circus — Merrie Melody (7 m.) . . .June 4
2805 U.S. Service Bands-
Melody Master (reissue) (10 m.) June 11

2728 Rabbit Rampage — Bugs Bunny (7 m.) June 11

2606 Some of the Greatest — Variety (10 m.) . . June 18

2311 Tweety Pie — Hit Parade (reissue) (7 m.) . .June 25

2719 Lumber Jerks — Merrie Melody (7 m.) June 25

2509 Italian Holiday — Sports Parade (10 m.) July 9

2729 This Is a Life?— Bugs Bunny (7 m.) July 9

2312 Goofy Gophers — Hit Parade (reissue) (7 m.) July 23

2720 Double or Mutton — Merrie Melody (7 m.) . .July 23

2607 Gadgets Galore — Variety (10 m.) July 30

2510 Aqua Queens — Sports Parade ( 10 m.) Aug. 6

2721 Jumpin' Jupiter — Merrie Melody (7 m.) . . .Aug. 6

2313 What's Brewin* Bruin —

Hit Parade (reissue) (7m.) Aug. 20

2722 A Kiddie's Kitty — Merrie Melody (7 m.) . .Aug. 20

2406 So You Want a Model Railroad-

Joe McDoakes (10 m.) Aug. 27

2730 Hyde and Hare — Bugs Bunny (7 m.) Aug. 27

(End of 1954-55 Season)
Beginning of 1955-56 Season

3220 Journey To Sea — C'Scope Special Sept. 1

3222 Ski Valley— C'Scope Special Sept. 1

3701 Dime to Retire — Looney Tune (7 m.) . . . .Sept. 3
3801 Jan Savitt and His Band —

Melody Master (reissue) Sept. 3

3 301 Doggone Cats —

Blue Ribbon (reissue) (7m.) Sept. 10

3702 Speedy Gonzales — Merrie Melody (7m.) . .Sept. 17
3601 An Adventure to Remember — Special (9 m.). Oct. 1
3723 Knight-Mare Hare— Bugs Bunny (7 m.) Oct. 1

3703 Two Scents Worth — Merrie Melody (7 m.) .Oct. 15
3 501 Picturesque Portugal —

Sports Parade (100 m.) Oct. 15

3 302 The Rattled Rooster-
Blue Ribbon (reissue) (7 m.) Oct. 22

3802

3704

3401

3303

3724
3602
3705
3304

3706
3502

3707
3402

3305

3603
3708
3803

2008
2105

2010
2011

2106
2010
2009

3211
3101
3001
3002
3102
3003

Artie Sh aw His Orch. —

Melody Master (reissue) (10 m.) Oct. 22

Red Riding Hoodwinked —

Looney Tune (7 m.) Oct 29

So You Want To Be a Vice-President —

Joe McDoakes (10 m.) Oct. 29

Fair and Wormer —

Blue Ribbon (reissue) (7 m.) Nov. 5

Roam Legion-Hare — Bugs Bunny (7 m.) . .Nov. 12

Shark Hunting — Special (9 m.) Nov. 12

Heir Conditioned — Elmer (7m.) Nov. 26

Mousemerized Cat —

Blue Ribbon (reissue) (7 m.) Nov. 26

Guided Muscle — Looney Tune (7 m.) Dec. 10

Fish Is Where You Find Them —

Sports Parade (10 m.) Dec. 10

Pappy's Puppy — Looney Tune (7 m.) Dec. 17

So You Want To Be a Policeman —

Joe McDoakes (10 m.) Dec. 17

The Foghorn Leghorn —

Blue Ribbon (reissue) (7 m.) Dec. 24

Faster and Faster — Special (9 m.) Dec. 24

One Froggy Night — Cartoon (7 m.) Dec. 31

Ozzie Nelson ii His Orch. —

Melody Master (reissue) (10 0m.) Dec. 31

Vitaphone — Two Reels
1954-55

Old Hickory — Special (17 m.) (reissue) ...Apr. 9
At the Stroke of Twelve —

Featurette (20 m.) (reissue) May 14

Wave of the Flag — Special (19 m.) May 28

The Adv. of Alexander Selkirk —

Special (17 m.) June ig

The Glory Around Us — Featurette (20 m.).July 2

Uranium Fever — Special July 16

Festival Days — Special Aug 13

(End of 1954-55 Season)

Beginning of 1955-56 Season

Journey To Sea — C'Scope Special Sept. 1

Small Town Idol — Featurette (reissue) . . . .Sept. 24

Movieland Magic — Special (reissue) Oct. 8

The Golden Tomorrow — Special Nov. 5

It Happened to You — Featurette Nov. 19

Behind the Big Top — Special (reissue) . . . .Dec. 3

NEWSWEEKLY NEW YORK
RELEASE DATES

News of the Day 9 Wed. (O) ...Sept 7

302 Wed. (E) ..Aug. 17 10 Mon. (E) ....Sept 12

303 Mon. (O) . . .Aug. 22 H Wed. (O) ...Sept. 14
(End of 1954-55 Season) 12 Mon. (E) Sept 19

1955-56 13 Wed. (O) ...Sept. 21

200 Wed. (E) ...Aug. 24 \j M°n (E) ....Sept. 26

201 Mon. (O) ...Aug. 29 " Wed- (°) ...Sept. 28

202 Wed. (E) ...Aug. 31 16 Mon- (E) ••••Oct. 3

203 Mon. (O) ...Sept. 5 Fox Movietone

204 Wed. (E) ...Sept. 7 69 Friday (O) ...Aug 19

205 Mon. (O) ...Sept. 12 70 Tues. (E) Aug 23

206 Wed. (E) ...Sept. 14 71 Friday (O) ...Aug 26

207 Mon. (O) ...Sept. 19 72 Tues. (E) Aug 30

208 Wed. (E) ...Sept. 21 73 Friday (O) ...Sept 2

209 Mon. (O) ...Sept. 26 74 Tues. (E) Sept 6

210 Wed. (E) ...Sept. 28 75 Friday (O) ...Sept 9

211 Mon. (O) ...Oct. 3 76 Tues. (E) Sept. 13

Paramount News 77 Friday (O) . . .Sept. 16

2 Sat. (E) Aug. 20 78 Tues- (E) Sept. 20

3 Wed. (O) Aug.24 79 Friday (O) ...Sept. 23

4 Sat. (E) Aug. 27 80 Tues. (E) Sept. 27

5 Wed. (O) ... .Aug. 31 81 ^iday (O) . . .Sept. 30

6 Sat. (E) Sept. 3 82 Tues. (E) ....Oct. 4

7 Wed. (O) . . . .Sept. 7 Universal News

8 Sat. (E) Sept. 10 700 Thurs. (E) ..Aug 18

9 Wed. (O) Sept. 14 70i Tues. (O) ..Aug 23

10 Sat. (E) Sept. 17 702 Thurs. (E) ..Aug 25

11 Wed. (O) Sept. 21 703 Tues. (O) ..Aug 30

12 Sat. (E) Sept. 24 704 Thurs. (E) ..Sept 1

13 Wed. (O) ....Sept. 28 705 Tues. (O) ..Sept. 6

14 Sat. (E) Sept. 31 706 Thurs. (E) ..Sept. 8

Warner Pathe News 707 Tues. (O) ..Sept. 13

3 Wed. (O) Aug. 17 708 Thurs. (E) ..Sept. 15

4 Mon. (E) Aug. 22 709 Tues. (O) .. Sept. 20

5 Wed. (O) Aug.24 710 Thurs. (E) ..Sept. 22

6 Mon. (E) Aug. 29 711 Tues. (O) ..Sept. 27

7 Wed. (O) Aug. 31 712 Thurs. (E) ..Sept. 29

8 Mon. (E) Sept. 5 713 Tues. (O) ...Oct. 4

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

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Canada ........ 16.50 A Motlon PictUre Reviewing Service P. S. HARRISON, Editor

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India, Europe, Asia 17.50 its Editorial Policy: No Problem Too Big for Its Editorial ^ . 7

35c a Copy Columns, if It is to Benefit the Exhibitor. utrcie /-4bJZ

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXXVII SATURDAY, AUGUST 27, 1955 No. 35

SHOR DEFENDS ALLIED STAND
AND QUESTIONS TOA SINCERITY

Rube Shor, president of National Allied, has released for
publication the following letter, dated August 18, sent to
E. D. Martin, president of the Theatre Owners of America:

"I am glad to inform my friends that I am again at work,
although I am restricted to two hours activity a day for the
time being. My associates in the Allied-TOA Joint Com'
mittee may have sensed that I was in poor physical con-
dition while negotiating with the film companies and oc-
casionally in severe pain. However, I was at all times
mentally alert and I have a clear recollection of all that
occurred in those meetings, as well as in the conferences of
the Joint Committee. Having all the details in mind, I was
astounded, to say the least, by statements recently attributed
to you and your associates in TOA by the trade papers,
concerning the action taken by Allied's Board of Directors.

"You and your associates were, of course, familiar with
Allied's policies and program as set forth in the Emergency
Defense Resolution before its Joint Committee held its first
meeting in Chicago. The purpose of that meeting, as re*
fleeted by the communications between our respective pre-
decessors in office, was to consider to what extent TOA could
contribute to the success of that program. You, all of you,
knew that that program included an appeal to Congress in
the event that the film companies did not grant the neces-
sary relief. An Allied Commitee, during the preceding sum-
mer, had visited the film companies and secured promises
of relief which the Board deemed to be inadequate.

"Nevertheless, the Allied representatives agreed to go
along with Alfred Starr's proposal that the Joint Committee
visit the film companies in hopes that this display of ex-
hibitor unity would impress the film executives. Meantime,
legislative activities of the kind contemplated by the Emer-
gency Defense Resolution was suspended as Allied could
not at the same time seek by peaceful negotiation and by
congressional action. But as you well know, the Allied repre-
sentatives did not abandon the legislative program, nor could
they have done so, since it was part of the larger program
adopted by the Board. And certainly nothing was said that
would justify you or your associates in thinking that this
program would remain indefinitely in suspension in case the
New York negotiations proved fruitless or unsubstantial.

"As you probably know, I was prevented by illness from
attending the Board Meeting in Washington, but I did
send the Board a message in which I recommended dismissal
of the EDC sub-committee (consisting of our represenatives
in the Joint Committee), on the ground that, having called
upon all the companies, its mission was fullfilled. I also called
the Board's attention to such improvements in market con-
ditions as I had experienced following the negotiations,
which, however, were very slight. The Board's action in
dismissing the sub-committee was unanimous, and, since
that action was taken on my recommendation, I naturally
think the Board acted wisely.

"To be brutally frank, I do not think the Joint Committee
accomplished any more (if as much) than was gained by
the Allied Commitee a year ago. It all adds up to temporary
relief for only smallest exhibitors, by some of the companies,
without formal commitments, so that the vague promises

can be easily broken. As TOA had not heretofore been
active in regard to film rentals, we informed you of our
previous experiences. My associates and I gained the clear
impression that the TOA representatives as individuals, if
not in their representative capacity, were in agreement that
government regulation should be tried as a last resort. We
also discussed other measures in case the negotiations failed.
And as you know, the ink was scarcely dry on the Joint
Committee's report when Warner Brothers and United
Artists put a 'must' 50% tag on 'Mister Roberts' and 'Not
As a Stranger.'

"Twentieth Century-Fox, in my opinion, is the company
most to blame for the breakdown of the negotiations. You
no doubt recall the conference with Spyros Skouras as well
as I do. He promised us virtually everything we asked for
and he gave Al Lichtman credit for his company's willing-
ness to arbitrate film rentals up to $100.00. He criticized us
for not being prepared and expressed surprise that we did
not ask for more. This criticism he repeated in a public
statement saying that our 'cause was stronger than our
case.' And he assured us that in a very short time he would
announce 20th Century's new policies in the trade press.
Meantime, he asked us to keep secret his oral commitments
until he could clear the details with Lichtman.

"As you know, we kept our word, but did Skouras? I
contacted Gehring twice before Allied's Board meeting and
pleaded with him to see to it that the promised statement
was issued prior to that meeting. It was desirable that that
be done, not merely to reassure the Directors, but especially
for its effect on the other companies. I am informed that
Wilbur Snaper also contaced Gehring on the same subject.
While I am disappointed that Skouras did not keep his
word, I realize now that history was merely repeating itself.
If you followed up the proceedings before the U. S. Senate
Small Business Committee, you will recall Mr. Myers' well
documented testimony that Allied was lured into the arbi-
tration negotiations in 1952 by Skouras' assurance that
he favored and would support arbitration of film rentals.

"This brings to mind the statements in regard to arbitra-
tion recently attributed to your association. They seem to
imply that TOA is going ahead with an arbitration system
that does not provide for arbitration of film rentals or sell-
ing policies. This is entirely out of line with statements
which you made to us and to the trade papers at the time
of our joint meetings.

"Alfred Starr fathered the statement that 'desperate men
sometimes do desperate things' and this was generally inter-
preted to mean that, if substantial relief was not forthcoming,
TOA would join Allied in seeking legislative action. In
view of statements recently attributed to Mr. Starr, I am
beginning to wonder what he did mean. Allied, of course,
adheres to the program set forth in its Emergency Defense
Resolution. So far as we are concerned, that program can
no longer be shelved in favor of a hat-in-hand procedure.
However, we do not agree that, in Mr. Starr's lurid phrase,
we are 'desperate men.' Rather we are 'determined men' —
determined not to be again diverted from our course by
hollow promises which signify nothing.

"Before closing I feel that I must comment on your de-
rogatory remarks concerning Allied's prospective appeal for
(Continued on bacl{ page)

138 HARRISON'S REPORTS

"Kiss of Fire" with Jack Palance,
Barbara Rush and Rex Reason

(Univ.-lnt'l, October; time, 87 min.)

A routine Technicolor costume melodrama that does not
rise above the level of ordinary program fare. Set in the
17th Century, and centering around the adventures of a
heiress to the Spanish throne as she and her party head
homeward through Indian-infested New Mexico, guided by
a rugged ex-soldier of Spain, its story of romance and in-
trigue is not only made up of familiar ingredients but as
presented is difficult to follow. Moreover, it is given more
to talk than to action. The slow pace, the excessive dialogue,
the lack of appreciable excitement and the fact that the
stereotyped characterizations seldom come to life, make for a
picture that is more tedious than entertaining. Neither Jack
Palance, as the rugged ex-soldier, nor Barbara Rush, as the
granddaughter of the dying King of Spain, seem suitably
cast; their acting is so-so, and the same may be said of the
other players. The color photography is good, but most of
it is in a low key: —

Barbara, granddaughter of Phillip III of Spain, lives in
Santa Fe, New Mexico. When word comes that Phillip is
dying, Barbara, as heiress to the throne, makes arrange-
ments to go to Monterey to board a ship for Spain. Rex
Reason, her protector and would-be suitor, engages Palance
to guide them across the Indian-infested territory. Among
the others in the party are Martha Hyer, Barbara's cousin,
and Leslie Bradley and Henry Roland, who were secretly
in league with the treacherous Viceroy of Spain, who sought
to prevent Barbara from ascending the throne. Along the
trail, Reason proposes marriage to Barbara but to no avail.
Meanwhile Roland breaks away from the party to meet up
with a party of soldiers loyal to the Viceroy. In the course
of events, Bradley offends the friendly Piute Indians and
causes them to go on the warpath. While Palance scouts
the danger area ahead, Bradley tries to force Reason and
the ladies back to Roland's camp miles behind. Reason kills
Bradley in a duel, but his reward is a bitter one when he
learns that Barbara had fallen in love with Palance. With
the hostile Piutes ahead and Roland's treacherous forces in
the rear, Palance hits upon a scheme to set both enemy forces
against each other under cover of darkness in order to get
Barbara out of the way of danger. Reason, given a key
position in the plan, double-crosses Palance and fools Bar-
bara into accompanying him to Monterey, where he secures
passage on a French ship and locks Barbara in a stateroom.
Infuriated by the deception, Palance pursues Reason and
catches up with him on the ship before it sails. He gives
him a thorough beating, releases Barbara, and she willingly
agrees to remain with him in the New World rather than
become the Queen of Spain.

It was produced by Samuel Marx, and directed by Joseph
M. Newman, from a screenplay by Franklin Coen and
Richard Collins, based on the novel "The Rose and the
Flame," by Jonreed Lauritzen.

Unobjectionable morally,

"Footsteps in the Fog" with Jean Simmons
and Stewart Granger

(Columbia, September; time, ?>9Yl min.)
Although it has been produced with skill, photographed
in Technicolor, and stars two players who are well known to
American movie-goers, this British-made crime melodrama
is unexciting and only moderately interesting. The action
is slow, for it consists mainly of talk. Moreover, the story
is gruesome and unpleasant, for it revolves around arsenic
poisoning and blackmail. No sympathy is felt for either of
the principal characters, for both are unscrupulous; Stewart
Granger, as master of the household, murders his wife as
well as another innocent woman, and Jean Simmons, as a
servant girl, learns of the crime and blackmails him into
appointing her his housekeeper over the heads of older and
more deserving servants. The ending, which has one of
those "poetic justice" angles, is also unpleasant, for it
shows Granger taking a dose of poison to irjcriminate Jean
for murdering his wife and attempting to kill him, but he
dies from an overdose of the arsenic and Jean is imprisoned

August 27, 1955

for a crime she did not commit. The story takes place in
London during the gaslight era. The color photography is
fine: —

Although Granger appears heartbroken over the death of
his wealthy wife, Jean, his servant girl, discovers that he
had killed her with slow doses of arsenic and uses the infor-
mation to blackmail him into making her his housekeeper
and possibly his mistress. Granger accepts a business partner-
ship with Roland Squire and sees a happy future, especially
when Belinda Lee, Squire's daughter, makes it clear that
she is in love with him. Jean, jealous, threatens to expose
him, and Granger decides to kill her to get her out of the
way. Realizing her danger, Jean puts all the facts in a letter
and mails it to her sister with instructions to open it only in
the case of her death. Granger trails Jean in a fog one night
but clubs an innocent woman to death by mistake. In his
haste to leave the scene of the crime, Granger drops the
stick. He is horrified later when Jean returns home un-
harmed. Jean, noticing blood on his sleeve, realizes that he
had murdered the innocent woman. When the stick is
found, Granger is arrested. He is put on trial, but false
testimony given by Jean wins him an acquittal. Now realiz-
ing that Jean has added power over him, Granger determines
to frame her for his wife's murder and for an attempt on
his own life. He pretends to be ill and sends Jean to fetch
a doctor. Just before the doctor arrives, he drinks what he
believes to be a harmless quantity of poison and accuses
Jean of having given it to him. The doctor is unable to
save him and, when he dies, Jean is led to prison for a
crime she had not committed.

It was produced by M, J. Frankovitch and Maxwell Set-
ton, and directed by Arthur Lubin, from a screenplay by
Dorothy Reid and Lenore Coffee.

Strictly adult fare.

"The Bar Sinister" with Jeff Richards,
Edmund Gwenn, Dean Jagger and Wildfire

(MGM, September; time, 88 mm.)

Photographed in CinemaScope and Eastman color, and
centering around the rise of a homeless bull terrier from
a pit-fighter on the Bowery to national champion of his
breed at a swank dog show, "The Bar Sinister" is not only
entertaining but also decidedly different from most canine
tales that have heretofore been brought to the screen. What
makes the picture unusual is that it utilizes an off-screen
narration, supposedly spoken by the hero dog, and that the
depiction of his varied career ranges from his association
with slovenly and brutish Bowery characters of the 1890's
to his finding a home with a kindly old groom who works
on a millionaire's luxurious estate. Unlike most dog pictures,
the suitability of this one for children is questionable in
view of the rough scenes on the Bowery and the behavior
of the tawdry characters who inhabit the area. Aside from
this drawback, the picture offers an entertaining mixture of
whimsey, comedy and drama, all of which is enhanced by
settings that give an authentic touch to the turn-of-the-
century era depicted.

The story opens with Wildfire, a bull terrier of doubtful
parentage, "adopted" by Jeff Richards, a work-shy Bowery
hoodlum who matches him against all comers in pit-dogfights
staged in J. M. Kerrigan's saloon. Richards wins handsome
bets on Wildfire's victories, and uses the money to keep
Jarma Lewis, his flashy mistress, happy. Richards abandons
Wildfire when he loses a fight to a much larger dog, but
the dog is taken into custody by Edmund Gwenn, a kindly
old groom, who worked for Dean Jagger, a crochety mil-
lionaire. Jagger feels antagonistic toward Wildfire, but Sally
Fraser, his daughter, takes a liking to him and, against her
father's wishes, enters him in a local dog show, where he
wins a blue ribbon. Jagger then becomes interested in Wild-
fire and they become friends. One day, a disgruntled stable-
hand kidnaps Wildfire and delivers him to Richards for
ransom. Jagger, informed of Wildfire's whereabouts, goes
down to the saloon, but instead of paying off Richards he
gives him u sound thrashing and repossesses the dog. He
then enters Wildfire in the national dog show at Madison
Square Garden. There, Wildfire learns that the national

August 27, 1955

HARRISON'S REPORTS

139

champion is none other than his father, whom he had vowed
to kill for deserting his mother. But when Wildfire wins
the championship his feelings toward his father soften. As
the former champ trots out of the show, he gets into a
hassle with some Boxers and Wildfire comes to his defense.
This results in a dog free-for-all that wrecks the show. It all
ends with Wildfire's parents back together again, and with
Wildfire raising his own family after finding a girl-friend on
Jagger's estate.

It was produced by Henry Berman, and directed by Her-
man Hoffman, from a screenplay by John Michael Hayes,
based on a story by Richard Harding Davis.

Adult fare.

"It's Always Fair Weather" with Gene Kelly,
Dan Dailey and Cyd Charisse

(MGM, September; time, 102 min.)

MGM has come through with an entertainment bonanza
in "It's Always Fair Weather," a sparkling, topflight comedy
with exceptionally good song-and-dance interludes. Photo-
graphed in CinemaScope and Eastman color, it is first-rate
"escapist" fare, with Gene Kelly, Dan Dailey, Michael Kidd,
Cyd Charisse and Dolores Gray going through their comic,
singing and dancing chores in a style that keeps one thor-
oughly entertained from the opening to the closing scenes.
Each of the group and individual production numbers is a
highlight. These include the novel song-and-dance routines
executed by Kelly, Dailey and Kidd in the opening reels,
as three G.I. buddies just returned from the war; an unusual
dance routine by Kelly on roller skates; an hilarious "drunk"
bit by Dailey, in which he satirizes in song all the cliches
used by advertising agencies; and the "Thanks A Lot, But
No Thanks" production number with Dolores Gray and a
male chorus line. Outstanding among the musical highlights
is the highly comical song-and-dance routine staged in the
famed Stillman's gym, in which Cyd Charisse cavorts all
over the place with a chorus line of clumsy "pugs." The story
itself is lightweight, but it serves as a good framework for
the musical numbers, has clever dialogue, funny comedy
situations and puts over with fine laugh results farcical
humor on TV commercials as well as on a TV show of the
"This Is Your Life" variety. The production values are
lavish, and the photography excellent: —

After celebrating their return to New York in their
favorite bar, Kelly, Dailey and Kidd, three World War II
buddies, vow that they will always remain friends and make
a pact to meet there again in exactly ten years (1955). The
intervening years, however, change the trio into strangers.
Kelly, who had hoped to become a lawyer, is now a Broad-
way "sharpie," managing a second-rate boxer. Dailey, who
hopes to paint masterpieces, had become a stuffy advertising
agency executive in Chicago, where his wife was on the
verge of divorcing him. Kidd, who dreamt of becoming the
world's finest chef, was now saddled with a family of six
and operated a hamburger joint. All three keep their pact at
the appointed time, but they feel strange to each other and
there is no warmth to their reunion. They lunch at a fashion-
able restaurant, where each begins to feel resentment against
the other two. Their friendship is about to fall apart when
they meet up with Paul Moxie, Dailey's boss, and Cyd Char-
isse, co-ordinator of a successful TV show starring Dolores
Gray, who was frantic because a candidate for a "This Is
Your Life" type of feature on her show was unavailable. In
desperation, Cyd conceives the idea of substituting the three
former friends — without their advance knowledge. To make
sure that they are brought to the broadcast in time, she
attaches herself to Kelly, Moxie takes charge of Dailey, and
Dolores assigns herself to Kidd. By the time the broadcast
time arrives, Dailey gets drunk and ruins a swank dinner
party given by his boss, and Kelly manages to doublecross
a group of gangsters who had bribed his fighter to "throw"
a match. When the three are finally put on the show, they
give Dolores a bad time by frankly admitting that then
reunion had been a bust and that they now disliked each
other. Meanwhile the gangsters invade the station to even
matters with Kelly. This danger to Kelly reawakens the

friendship of Dailey and Kidd, and all three pitch in to
subdue the gangsters in full view of the vast television audi-
ence. It all ends up with Cyd in Kelly's arms, with Dailey
elfecting a reconciliation with his wife, and with Kidd happy
to return to his family and hamburgers.

It was produced by Arthur Freed, and directed by Gene
Kelly and Stanley Donen, from a story and screenplay by
Betty Comden and Adolph Green.

Family.

"The Left Hand of God"
with Humphrey Bogart, Gene Tierney
and Lee J. Cobb

(20th Century-Fox, Sept.; time, 87 min.)

Absorbing and compelling dramatic fare is offered in this
film version of William E. Barrett's best-selling novel, which
deals with an American adventurer who masquerades as a
priest to escape from the service of a Chinese warlord, and
who finds it necessary to continue the deception when he
becomes a powerful influence for good among the people
of a remote and neglected Chinese village. Skillfully pro-
duced, directed and acted, and photographed in Cinema-
Scope and DeLuxe color, the story is charged with deep
emotional appeal because of the manner m which the bogus
priest endears himself to the villagers and of the self -loathing
he feels in the realization of the seriousness of his sacrilege
in posing as a man of the cloth. Humphrey Bogart does an
outstanding job as the psuedo priest who is compelled by
circumstances to perform priestly functions, and Gene Tier-
ney is sympathetic as a mission nurse who involuntarily falls
in love with him but is ashamed of her feelings because of
his clerical garb. An exciting characterization is turned in
by Lee J. Cobb as the powerful and arrogant Chinese war-
lord who seeks to force Bogart back into his service, by
threatening to destroy the mission and the village. The
manner in which Bogart saves his freedom and the village
by besting Cobb in a game of dice is rather fanciful, but it
is effective. The closing scenes; where Bogart is replaced
by a bonafide priest, who in turn asks him to maintain his
masquerade until he is gone so as not disillusion the people
to whom he had brought spiritual guidance, are touching. The
production values and the color photography are first-rate: —

Captured by Cobb in 1947 after crashing his plane in
a remote province in China, Bogart had become Cobb's
chief lieutenant. But he had tired of Cobb's brutality in
subjugating the people in the area and looting their villages,
and had decided to escape when Cobb's men had killed a
Catholic priest en route to a mission. Disguising himself as
the priest, he makes his way to the mission, where he meets
E. G. Marshall, the doctor; Agnes Moorehead, the doctor's
wife; and Gene Tierney, his nurse. Trapped by his masque-
rade into performing priestly functions, Bogart plans ways
of continuing his escape without jeopardizing his new-found
friends. Meanwhile he falls in love with Gene, and she in
turn finds herself strongly attracted to him. He finally writes
to the Bishop and reveals the fact that he is an impostor.
Shortly thereafter, Cobb traces Bogart to the mission and
invades the village with his men. Bogart pacifies the
frightened people and sits down to a parley with Cobb,
who threatens to destroy both the village and the mission
unless Bogart agrees to return as his aide. Bogart offers to
gamble five years of loyal service to Cobb against his free-
dom and the safety of the village and its people. Cobb
agrees and loses to Bogart in a roll of the dice. Cobb with-
draws from the village and thus makes Bogart more be-
loved than ever. When the Bishop's representatives arrive,
Bogart places himself at their mercy for his sacrilege, but
when they learn of the good he had done and of his
bravery against the warlord, they promise to intercede with
the Bishop in his behalf, and suggest that he continue his
impersonation until he leaves the village so as not to dis-
illusion the villagers. Bogart is acclaimed by the people as
he departs with a caravan, and Gene, now aware of his
true identity, prepares to follow him in the next caravan.

It was produced by Buddy Adler, and directed by Ed-
ward Dmytryk, from a screenplay by Alfred Hayes.

Family.

140

HARRISON'S REPORTS

August 27, 1955

government intervention and the results of such efforts in
the past. In our conversations I understood you to be
against further acquisitions of theatres by the divorced cir'
cuits. If you were sincere in that declaration, then you
must favor the decrees that place a curb on such acquisitions.
I cannot believe that you favor a return to compulsory block'
booking because less than a year ago TOA's general counsel
was reported by the trade papers to be seeking evidence of
forcing in order to stop the practice. If you seriously
oppose those reforms, which we feel have contributed much
toward keeping us independent exhibitors in business, I
think you should frankly so state, naming each such reform
that you would repeal.

"On these issues, everyone knows where Allied stands.
Our position is exemplified by the fact that our general
counsel, in pursuance of established policy, has protested
the enlargement of the divorced circuits and has secured
assurances that independent exhibitors menaced by future
proposed acquisitions will receive advance warning and be
allowed to submit facts and arguments in opposition there
to. Also, he has appeared in opposition to an attempt by the
film companies to weaken the treble damage provision of the
Clayton Act upon which exhibitors in direct need must rely
for the protection of their business and property. Finally,
let me assure you that Allied firmly believes in divorcement
and cannot be sold on the propaganda that the troubles of
the independent exhibitors stem from the divorcement
decrees.

"In conclusion, permit me to say that I throughly enjoyed
my brief association with you and the other members of
the Joint Committee. Our differences in policy on industry
affairs, to the extent that they exist, should not (and I hope
will not) stand in the way of our continued friendship. If
the film companies should relent and voluntarily yield the
measures of relief which the exhibitors must have, no one
will be more pleased than I, but the outlook does not seem
bright to me or to my Board and so I must proceed along
my appointed path."

Rube Shor's letter to Mr. Martin brings out in the open
alleged impressions and understandings between the Allied
and TOA representatives on the Joint Committee and, if
accurate, they certainly cast doubt on the sincerity of the
TOA leaders in working together with Allied to obtain
the relief sought by exhibition.

Mr. Martin no doubt will reply to Mr. Shor and in all
probability will make his letter public. Until Mr. Martin
has his say, Harrison's Reports deems it proper to with-
hold editorial comment.

STEREOPHONIC PRINTS

Mr. George J. McFadden, manager of the Rialto Theatre,
Renovo, Pa., has sent the following communication to this
paper under date of August 19:

"Our theatre is located in a town of approximately 4,000
people. We seat approximately 600 people. It has always
been our idea that we should give our patrons the best enter-
tainment possible. Therefore, in April, 1954, we installed
CinemaScope with full stereophonic sound. We spent an
additional $4,000 to widen our proscenium to install a 42'
screen. We felt with stereophonic sound the larger screen
would give us a much better effect. Up until this time we
were glad we did. We have one of the best installations in
the Pittsburgh territory and our patrons constantly remind
us of this fact after visiting theatres on vacation etc.

"However, today I received a rude awakening. Our print
on 'Land of the Pharoahs' for exhibition August 21 arrived
t< 'day in one track optical sound. I immediately called War-
ner Bros, office in Pittsburgh and was informed that, in
the future, this would probably be the only sound avail-
able. Their new policy would give them one or two mag-
netic prints only, for the large first-run houses and then
they would be shipped out to another exchange for their
key runs. In some instances they felt they would receive
no magnetic prints at all.

"I also hear that Metro intends to pursue the same policy.
If this is true, then we and hundreds of other exhibitors who

only tried to give their patrons the best in entertainment
have spent $8,000 or $10,000 for nothing and are really
'suckers.'

"I, for one, informed Warner Bros, that if they could
not make a magnetic print available to me that I would
pass the picture. Fortunately, we have the only theatre in
the community and can get along without one or two com-
panies if we have to do so. But what about those theatres
that cannot do so?

"It is time again to stand up on our hind legs and fight.
I feel that the distributors have a moral obligation to those
of us who invested in order to help this business out of the
doldrums. Granted the exchanges need a greater number
of optical prints than they now carry. But they should still
carry a sufficient number of magnetic prints to service those
accounts equipped to use them.

"I am wondering if other exhibitors are having the same
trouble!"

By telephone, this paper asked Mr. McFadden where
he got his information that MGM intends to limit its
magnetic prints and he stated that he was so informed by
a Warner salesman. A spokesman at the MGM home office
in New York, however, informs us that the company will
continue to supply magnetic prints to all who desire them.

As to 20th Century-Fox, Mr. McFadden stated that he
has no trouble at all in obtaining stereophonic prints. This
paper asked W. C. Gehring, 20th-Fox's executive assistant
sales manager, what the future policy of the company will
be and he had this to say: "I would like to assure you that
20th Century-Fox has no intention of abandoning magnetic
stereophonic release prints. In fact, we are doing everything
possible to encourage more and more theatres to make
magnetic installations and thus benefit by the superior qual-
ity of magnetic sound recording."

This paper communicated also with Warner Bros, rela-
tive to Mr. McFadden's complaint and a spokesman for the
company confirmed the fact that it is limiting the number
of magnetic prints it will supply to exhibitors and admitted
that the policy was put in force as an economy measure. He
asserted that, though the magnetic prints will be limited in
number, it will still be possible lor any e"xhibitor to secure
one, but he admitted that, aside from the key-run theatres,
most others requesting magnetic prints will have to pass
up a picture's availability until such time as a magnetic
print could be supplied. He declined to estimate how long
the delay might take.

In defense of his company's policy, this spokesman vigor-
ously pointed out that Warner Bros, has no obligation to
supply exhibitors with magnetic prints, claiming that it did
not at any time either urge or insist that exhibitors install
stereophonic equipment.

That statement is, of course, so much bosh, for the record
shows that Warner Bros., which prides itself as a pioneer
in the development of motion picture innovations, had al-
ways urged exhibition to keep up with progress. As proof
of it. Harrison's Reports can quote from several articles
that have been written by Jack L. Warner, the company's
studio chief, since the introduction of stereophonic sound.
Typical of the statements made by Mr. Warner is the fol-
lowing, which is quoted from his concluding remarks in an
article titled "1927, Sound — 1953, 3D", published in "New
Screen Techniques" by the Quigley Publishing Company:

"It is not enough to make a picture as near perfect as
possible at the studio, if it is not to be shown under the most
ideal circumstances. Whatever progress is made in Holly-
wood must be matched by like progress in the art of exhibit-
ing motion pictures."

The gist of several articles written by Jack Warner during
the past two or three years is that the industry must "never
fear progress" and that, insofar as his company is concerned,
it "will continue to provide for exhibitors and the public
the very latest in improved technical innovations." These
statements were made in connection with his company's
efforts in the development of stereophonic sound.

If Jack Warner meant what he said, he has a moral obli-
gation to see to it that every exhibitor who spent thousands
of dollars for stereophonic sound equipment is iurnished
by his company with magnetic prints. Failing that, he will
indeed be guilty of breaking faith with the exhibitors, and
his luture pronouncements of his company's leadership and
intentions will be looked upon rightfully as so many empty
words.

Entered as second-class matter January t, 1921, at the post office at New York, New York, under the aot of March 3, 1879.

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Vol. XXXVII SATURDAY, SEPTEMBER 3, 1955 No. 36

THE QUESTION OF A NEW
TAX CAMPAIGN

The proposal by Sam Pinanski that COMPO or-
ganise a new campaign for the complete elimination
of the Federal admissions tax on movie tickets has
naturally won many proponents, most of whom, of
course, are exhibitors who operate theatres that
charge admission prices above the 50-cent-tax ex-
emption.

As most of you undoubtedly know, strong opposi-
tion to a tax campaign at this time has been voiced
by Trueman T. Rembusch, the Allied leader from
Indiana, and by Col. H. A. Cole, the Texas Allied
leader, who was co-chairman of the COMPO tax
repeal committee that conducted the successful cam-
paign in 1954.

This opposition by Messrs. Cole and Rembusch
has been criticised highly by a number of other ex-
hibitor leaders who favor a tax campaign, and in a
few isolated instances those who disagree with Cole
and Rembusch have heaped abuse on National Allied
as a whole, even though the opinions expressed by
these two Allied leaders are their own and do not
reflect the position of the national organisation.

National Allied's policy in regard to a new tax
campaign will not be determined until its board
meeting and convention, which will be held in Chi-
cago in November. For that matter, even TOA has
not taken an official stand on a new tax campaign
and in all probability will not do so until it holds its
convention in Los Angeles next month.

In the opinion of this paper, the only quesc;on
that has to be resolved with regard to a new tax re-
peal campaign it whether or not it will have a reason-
able chance of success. It is, in other words, a ques-
tion of timing.

In urging that a new campaign be organised, Pin-
anski stated that "the Administration has made it
known that there will be further excise tax relief
next year to some industries," and he pointed out
that, "in view of the fact that next year will be an
election year, we should start now to organise our
forces for an all-out fight for complete tax repeal
so that we will be included among the industries
getting relief."

While it is true that the Administration has
promised further excise tax relief to some industries,
there is considerable doubt as to whether or not Con-
gress will look favorably on a new motion picture
industry campaign for complete elimination of the
admissions tax, first, because the theatres have already
received substantial relief last year, and, secondly,
because there are other important industries that
have not yet received any excise tax relief. Moreover,
at the time of the last campaign, the industry made
out a strong case for itself because, as Col. Cole has

stated "its was directed at relief for the thousands of
small theatres which were closing almost daily." It is
doubtful if as strong a case can be made out for the
great majority of theatres charging admissions over
fifty cents, particularly since the tax has already
been cut in half for them.

Another formidable obstacle in the way of a new
tax campaign is the certain opposition that will come
from the Treasury Department, which feels that more
and not less revenue should be raised from excise
taxes.

What will probably be the most formidable ob-
stacle, however, is the announced intention of both
Democrats and Republicans to make every effort to
reduce personal income taxes to the greatest extent
possible. This move it being made because 1956 is a
Presidential election year, and it is generally con-
ceded that an income tax cut will be put in effect
above all else. It becomes obvious, therefore, that the
greater the tax reduction on individual incomes the
less room there will be for reductions in other forms
of taxes, particularly the excise taxes.

No one can deny that every effort must be made to
eliminate the tax on movie tickets, but before a tax
repeal campaign is organised the obstacles to be faced
should be given careful study to ascertain whether or
not the campaign will have a reasonable chance of
success.

From past experience we know that such a cam-
paign will require considerable money and much ef-
fort, and if it does have a reasonable chance of success
you may be sure that it will be given full support of
the vast majority of exhibitors, both large and small.

As matters now stand, however, there seems to be
an honest difference of opinion among exhibitor
leaders as to the advisability of a tax repeal campaign
at this time. To resolve this situation, the executive
board of COMPO, which is the logical organisation
through which such a campaign should be conducted,
should call a meeting for an exchange of opinions and
a frank discussion of the facts. In that way the issue
will be given a thorough airing so that a sensible de-
cision might be reached.

At the same time, the calling of such a meeting
should serve to stop those who are popping off with
irresponsible statements that tend to incite antago-
nism between the different classes of exhibitors. We
refer particularly to those industryites who are ma-
ligning the small, tax-exempt exhibitors as being "un-
grateful" because they have not embraced quickly
the proposal for a new tax campaign. These are the
exhibitors who can least afford to contribute to a
new campaign, and if their support, financially and
otherwise, is to be obtained, they are at least entitled
to be convinced that a fresh campaign will have a
reasonable chance of attaining the desired results.

142

HARRISON'S REPORTS

September 3, 1955

"Illegal" with Edward G. Robinson,
Nina Foch and Hugh Marlowe

(Warner Bros., October 15; time, 88 min.)

A fairly interesting though somewhat dated and uncon'
vincing courtroom melodrama. It is a remake of a story
that has been produced twice before by Warner Bros. —
as "The Mouthpiece" in 1932, and as "The Man Who
Talked Too Much" in 1940. Though several changes have
been made, the plot remains substantially the same in that
it deals with a district attorney who turns to private law
practice and engages in legal chicanery in defense of crimi'
nals known to be guilty. The subject matter lacks freshness
and the same may be said of the stereotyped characteriza-
tions. Edward G. Robinson, as the lawyer, Albert Dekker, as
a big-time racketeer, and Nina Foch, as an aide in the district
attorney's office, work hard to make something meaningful
of their roles, but they, as well as the others in the cast,
never quite succeed in making their characterizations seem
real. The direction is routine and the photography good: —

Robinson, a district attorney, sends a young man to the
electric chair for murder only to learn later that he is
innocent. He tries to stop the execution but is too late.
Crushed by remorse, Robinson resigns his public office and
goes on a drinking spree before settling down to the private
practice of criminal law. His first client is an embezzler,
whom he saves from prosecution by unethical, if legal,
methods, while at the same time pocketing $10,000 of the
loot as his fee. This maneuver brings him to the attention
of Dekker, head of a crime syndicate, who engages him.
Robinson takes on the defense of one of Dekker' s hood'
lums, accused of murdering another man by poison, and
wins the case by drinking the poison in court to prove that
it was harmless. He then rushes to a doctor, who pumps out
his stomach before the poison can take effect. From then
on Robinson's practice advances by leaps and bounds and
he becomes wealthy. Meanwhile Edward Piatt, the new
district attorney, seeks to obtain incriminating evidence
against Dekker's operations but is hampered by an un-
known tipster in his own office. This tipster proves to be
Hugh Marlowe, who was married to Nina Foch, a dear
friend and former secretary of Robinson's. Marlowe attacks
Nina when she inadvertently discovers his connection with
Dekker, and she kills him in self-defense. Robinson takes on
her defense and, to save her, is compelled to turn against
Dekker. The racketeer orders one of his henchmen to kill
Robinson during a court recess before he can present the
damaging testimony. Though mortally wounded, Robinson
staggers into court, proves Nina's innocence, and wins an
acquittal before succumbing to his wounds.

It was produced by Frank P. Rosenberg, and directed by
Lewis Allen, from a screenplay by W. R. Burnett and
James R. Webb, based on a story by Frank J. Collins.

Adult fare.

"Shadow of the Eagle" with Richard Greene,
Valentina Cortesa and Binnie Barnes

(United Artists, July; time, 93 min.)
"Shadow of the Eagle" shapes up as a routine swash-
buckling period melodrama that should get by with those
who enjoy fanciful heroics without regard for logic. Pro-
duced in Great Britain about five years ago, the story is
set in the days of Russia's Catherine the Great and centers
around intrigues involving a beautiful princess who claims
to be the rightful heiress to the Russian throne. Richard
Greene does well enough as a dashing Russian nobleman
who is assigned to kidnap the pretty pretender only to fall
in love with her, thus incurring the Empress' wrath. Valen-
tina Cortesa is sympathetic as the demure princess, and
Binnie Barnes is satuesque and hateful as the domineering
Empress. The story itself is fairly interesting, but audiences
will question its credibility in more than one instance, par-

ticularly in the action sequences, where Greene leaps, climbs
and bounds about in typical Fairbanks style, overcoming
overwhelming odds with the greatest of ease. The editing
is somewhat choppy and the quality of the sound is inferior.
In some instances, the dialogue spoken by Miss Cortesa is
unintelligible. The black-and-white photography is fair: —

Greene, one of the Empress' favorite officers is sent to Ven-
ice to kidnap Valentina. The Empress wanted her brought
to St. Petersburg and forced to confess that her claim to the
throne is false, but realizing that Greene has an impetuous
and romantic nature — she was in love with him herself —
the Empress details Charles Goldner, her cruel and ambi-
tious police chief, to go to Venice and keep an eye on
Greene's movements. Meanwhile Walter Rilla, Valentina's
champion, plots to invade Russia as the first step to domina-
tion of all Europe. Soon after his arrival in Venice, an un-
successful attempt is made on Greene's life by Rilla and his
henchmen. Guessing why Greene had come to Venice, Rilla
doubles the guard around Valentina and as a further pre-
caution forbids her to leave the palace. She steals out of the
palace, however, to participate in a carnival and is rescued
from a group of drunken sailors by Greene, who happened
to be passing by. Neither is aware of the other's identity and
they fall in love before the evening is over. They first be-
come aware of each other's identity when they meet at the
opera on the following night. Despite her knowledge of
Greene's mission, Valentina saves Greene from an ambush
set by Rilla. Greene arranges a secret meeting with Valentina
and tells her that he cannot carry out the Empress' instruc-
tions to kidnap her, but both are betrayed by Greta Gynt,
Valentina's lady-in-waiting, who sees to it that they are
overpowered and brought to St. Petersburg by Goldner
and his hirelings. Furious over Valentina's refusal to re-
nounce her claim to the throne, and over Greene's love for
her, the Empress commands that they both be executed on
the following morning. Greene, aided by friends, escapes
from his guards, smashes his way into prison, kills Goldner
in a duel and, after a bloody battle, rescues Valentina and
escapes with her to the safety of the Swedish frontier.

It was produced by Anthony Havelock-Allen, and directed
by Sidney Salkow, from a screenplay by Doreen Montgom-
ery and Hagar Wilde, based on a story by Jacques
Companeez.

Unobjectionable morally.

"Lay That Rifle Down" with Judy Canova,
Robert Lowery and Jil Jarmyn

(Republic, July 7; time, 71 min.)
If Judy Canova's brand of humor is popular with your
patrons, this minor program comedy may give them fair
satisfaction. In most situations, however, it will barely get
by as a supporting feature, for its tissue-thin story has been
indifferently written, directed and acted. The action, which
centers around Judy being victimized by an avaricious aunt
and a pair of confidence men, is filled with dated and ob-
vious situations, and the comedy, which frequently descends
to slapstick, is forced and silly. All in all, the picture is
very much in the familiar Judy Canova vein, and Republic
will do well to vary the formula, for it is beginning to
wear thin: —

Judy, slavey in a small-town hotel owned by Jacqueline
de Wit, her greedy aunt, receives letters from a correspon-
dence school in charm. Lest she be held up to ridicule, she
tells her spiteful cousins (Jil Jarmyn and Tweedy Canova)
that the letters come from a handsome and wealthy suitor.
Trapped when she tells them that he is coming to visit her,
Judy grabs Robert Lowery as he steps off a bus and begs
him to go along with the gag. Lowery, amused, plays the
role of suitor to the hilt. Actually, Lowery and Robert Bur-
ton, his partner, were confidence men, who had come to
town looking for a likely prospect. When they learn that
Judy owns a farm on the outskirts of town, and that Robert

September 3, 1955 HARRISON'S REPORTS 143

Deacon, the local banker, holds a mortgage on it, they
contrive a swindle in which Burton, posing as a U.S.
Army general, calls on Deacon and confidentially pretends
that the Government wanted to buy Judy's property as the
site for a vital war-industry plant. He indicates also that
the Government is willing to pay $50,000. Eager to make
a "fast buck" but unable to force a foreclosure, the banker
gets together with Judy's aunt and offers to cut her in for
one-half the profits if she will compel Judy to sell the farm
to them at a low price for re-sale to the Government. Judy
is reluctant to sell because she allowed a swarm of orphans
to live on the farm rent free. She appeals to Lowery when
her aunt threatens to fire her from the hotel job and, being
basically kind, Lowery sees to it that she outsmarts the
aunt and the banker by demanding and getting $25,000 for
the property. In the complicated events that follow, Burton
attempts to make off with the money, despite Lowery's
attempt to stop him, but Judy gives chase and helps cap-
ture the crook. In the mix-up that follows, the aunt and
the banker, realizing that they had been fleeced, compel
Judy to return the money while they sign the farm back to
her. A moment after this exchange is completed, an oil
company representative offers Judy $100,000 for a lease
to drill for oil on her farm.

It was produced by Sidney Picker, and directed by
Charles Lamont, from a screenplay by Barry Shipman.

Harmless for the family.

"Simba" with Dick Bogarde, Donald Sinden
and Virginia McKenna

(Lippert, September 9; time, 99 min.)
Photographed in Eastman color and given an expert
semi-documentary treatment this British-made production
is a highly impressive melodrama that catches with great
realism the widely publicized Mau-Mau terrorism in the
Kenya colony of British East Africa, where hundreds have
been slaughtered and where suspicion between whites and
natives is so intense that no one can trust any one else.
What adds to the realism is the fine acting of the entire cast,
particularly those who portray the Mau-Maus and who have
had no previous acting experience. Worthy of special men-
tion is Earl Cameron, who takes the part of an educated
native doctor; he acts with great restraint and puts over
most effectively the torment he suffers when his white friends
suspect him of being the terrorist leader. Dick Bogarde,
Virginia McKenna and Donald Sinden are equally good in
their respective roles. These players, however, are generally
unknown to American audiences and for that reason the
exhibitor will have to depend on effective exploitation
methods to draw the movie-goers to the box-office. But he
may be sure that those who will be attracted to the theatre
will leave satisfied that they had seen a worthwhile enter-
tainment:—

Arriving in Kenya to start a new life, Bogarde is met by
Virginia and driven to his brother's farm. There they find
that his brother had been murdered by the Mau-Maus, and
written on the door in blood is the word "Simba" — sign
of the Mau-Mau terrorist leader. His love for Virginia and
his reluctance to submit to Mau-Mau fear keep Bogarde in
Kenya, but Virginia's belief that whites and natives can
live peacefully together causes a strain in their relations
because Bogarde could not forget the murder of his brother.
Their differences become more pronounced when Bogarde
suspects that Earl Cameron, the local African doctor and
Virginia's employer, is secretly the terrorist leader. To allay
suspicion, Cameron reveals that "Simba," the terrorist
leader, is his father, and he makes it clear that he did not
agree with his methods. Simba escapes arrest and marks
Bogarde as the next Mau-Mau victim. Bogarde ignores
Cameron's pleas to leave the region, and later he, Virginia
and Cameron are trapped at the farm by the Mau-Maus.
With escape impossible, Cameron faces the terrorists alone

and wins them over with his eloquent plea that violence
cannot settle the region's problems. Simba, however, fatally
wounds his son and is in turn shot dead by Bogarde. The
police, headed by Donald Sinden, arrive in time to quell
a riot. Cameron dies in the arms of Bogarde and Virginia,
secure in the knowledge that they will devote themselves
to the cause of peace in the area.

The picture was produced by Peter de Sarigny for the
J. Arthur Rank Organisation. Brian Desmond Hurst di-
rected it from a screenplay by Joan Baines, based on a story
by Anthony Perry.

Family entertainment, provided they can stand the Mau-
Mau terrorism.

''Devil Goddess" with Johnny Weissmuller

(Columbia, October; time, 70 min.)
This is a carbon copy of the previous jungle adventure
melodramas starring Johnny Weissmuller and, as such, will
appeal principally to the juvenile crowd and to their undis-
criminating elders. Others will, no doublt, find it quite tire-
some, for it is amateurish in all departments — writing,
direction and acting. Moreover, the footage is padded out
considerably with stock animal shots. About the only thing
that may be said in its favor is that it has plentiful action
of a type that should keep the youngsters happy at Satur-
day matinees.

What there is in the way of a story has Weissmuller,
a jungle guide, agreeing to help Selmar Jackson and Angela
Stevens, his daughter, locate William Griffity, an expert on
the ancient rites of fire worshippers, who had disappeared
during an African trip to the land of the Kirundis. At the
same time, a gang of villains, headed by Ed Hinton, make
their way toward the Kirundi village to steal a hidden
treasure of precious jewels. As Weissmuller and his party
approach the village, Abel Fernandez, a native, runs up
and begs him to rescue Viejah, his bride-to-be, who was
about to be sacrificed to the fire demon by the witch doctors
of his tribe. Weissmuller rescues the girl, and during the
excitement Hinton and his gang make off with the valuable
treasure. The natives pursue and kill Hinton and his gang,
and in the process capture Angela, Viejah and Fernandez.
Meanwhile Weissmuller and Jackson slip into the cave of
the "fire demon," who turns out to be the lost Griffity; by
use of inflammable chemicals, he had passed himself off
as a "fire god" in order to save the sacrifice victims, all
of whom were hidden safely in the cave. Weissmuller, Jack-
son and Griffity make their way to the village and find
Angela, Viejah and Fernandez about to be tortured and
killed. Just then a volcano erupts, and Griffity informs the
natives that they had incurred the wrath of the gods. The
captives are released, and all flee the village to escape the
onrushing molten lava. It ends with the whites returning
to civilization and with Weissmuller remaining in his be-
loved jungle.

It was produced by Sam Katzman, and directed by Spen-
cer G. Bennet, from a screenplay by George Plympton, based
on a story by Dwight Babcock.

Family.

"SON OF SINBAD" WITHDRAWN

Daniel T. O'Shea, president of RKO Radio Pictures, has
announced that his company has suspended the selling of
"Son of Sinbad" pending examination of the picture.
Theatres that have already contracted for the feature will
not be affected by this withdrawal and their bookings will
be played off.

Although no mention was made by Mr. O'Shea of the
fact that the picture has been given a "C" or condemned
classification by the Legion of Decency, it is presumed that
steps will be taken to eliminate whatever scenes the Legion
has taken exception to.

144

HARRISON'S REPORTS

September 3, 1955

SHOR'S CHARGES AGAINST
TOA REMAIN UNANSWERED

No reply has been made as yet by E. D. Martin,
president of the Theatre Owners of America, to the
letter sent to him by Rube Shor, president of National
Allied, in which he criticized TOA for spurning
government regulation of the industry after allegedly
creating the impression that it would go along with
Allied's desire for Congressional legislation in the
event that the film companies failed to come through
with the necessary relief as a result of their meeting
with the joint Allied-TOA committee.

Shor's letter to Martin, which was published in
last week's issue of this paper, was dated August 18,
but it is reported that Martin did not see the letter
until last Friday (26), when he returned to his office
in Columbus, Ga., after a combined business and va-
cation trip. Even so, it appears as if Martin has had
sufficient time to make a reply.

It is to be noted that Martin lost no time when he
saw fit to criticize Allied last month for its decision to
press for government aid. He issued his statement on
the day following the action taken by Allied's board
at its Washington meeting.

As pointed out in these columns last week, Rube
Shor's letter to Martin casts doubt on the sincerity of
the TOA leaders in working together with Allied to
obtain the relief sought by exhibition. The fact that
Martin has not answered Shor's charges with the
same dispatch he used to criticize Allied indicates
that the TOA position in general, and the actions of
its leaders in particular, are not readily defensible.

SAVE YOURSELF EMBARRASSMENT

According to a report by Lester Dinoff, staff repor-
ter for the Motion Picture Daily, simultaneous book-
ings of a picture on television and in theatres have
materialized with the release of Associated Artists
Productions1 "Front Page Story" to the "Million
Dollar Mavie" program on WOR-TV, in New York,
while still playing theatres in the area reached by
that television station. Dinoff reports that the picture,
which is being offered to TV outlets in other markets,
is the latest of a group of 24 British pictures that are
being distributed in this country by Associated Art-
ists to theatres and have been appearing on television.

This news does not come as surprise to Harrison's
Reports, for in its issues of November 29, 1954 and
December 18, 1954, it cautioned the exhibitors against
the methods pursued by Eliot Hyman, president of
Associated Artists, in marketing his company's pic-
tures to both television and the theatres.

These articles pointed out that, at a press confer-
ence announcing the formation of his company, Mr.
Hyman disclosed that he had acquired an extensive
program of pictures, twenty-four of which were Brit-
ish films that had not yet been shown in this country.
He stated that these pictures were ready for theatrical
distribution only and, in reply to a direct question,
assured the trade paper reporters present that these
pictures would not be made available for television
showings until approximately two years after com-
pletion of their theatrical run so that the exhibitors
will have a substantial clearance.

Within one week after Hyman gave this assurance,
which was duly reported by the different trade papers,

it was disclosed that station KTLA in Los Angeles had
acquired a group of 34 pictures from his company,
among which were three that were named by him as
being available for theatrical release only. Several
weeks after disclosure of this deal, Associated Artists
itself announced that it was concluding deals for its
pictures with television stations throughout the coun-
try, specifically mentioning that deals had already
been concluded with stations in Minneapolis, Los
Angeles, Greenville, S. G, Honolulu, Detroit, Den-
ver, Memphis, Salt Lake City and Wasau, Wisconsin.

Realizing that many theatres may be tempted to
book this company's pictures because of the product
shortage, this paper warned the exhibitors that AAP
was selling its films indiscriminately to both TV sta-
tions and theatres, and advised them to demand and
obtain written guarantees from the company to the
effect that the pictures they book have not and will
not be televised in their immediate areas until after
the lapse of a specific period of time.

If you follow such a policy in dealing with this
company, you will save yourself the embarrassment
of booking a picture for which you will charge an
admission price but which may be seen on television
free of charge, either while you are playing it or with-
in several days or weeks after you have played it.

SELZNICK TO PRODUCE FOR RKO

What appears to be a ten-strike for the new RKO
management and a boon for exhibition's product
needs is the announcement this week that David O.
Selznick has reactivated his producing company and
will start production early this winter on a series of
films of a size and type of quality consistent with his
past famous productions for world-wide distribution
by RKO

In making the announcement, Daniel T. O'Shea,
RKO's president, pointed out that under the terms of
a long-term deal between RKO and The Selznick
Company, RKO will finance the productions and
Selznick will act as either the personal producer or
the executive producer. He added that the agreement
calls for Selznick to produce films exclusively for
RKO distribution.

O'Shea disclosed also that, under the terms of the
agreement, RKO will reissue a number of previous
Selznick pictures domestically and in certain coun-
tries abroad. Those to be immediately released in this
country include "Rebecca," "The Adventures of Tom
Sawyer," "The Third Man" and, as a double bill, a
pair of Gregory Peck pictures, "Spellbound" and
"The Paradine Case." The former co-stars Ingrid
Bergman, and the later co-stars Ann Todd, Charles
Laughton, Ethel Barry more, Louis Jourdan and Valli.

With the consummation of this long-term agree-
ment between RKO and Selznick, the new RKO
management has made a giant step forward toward
its declared main objective of restoring the company
as a major producer and distributor of important
theatrical films, and it strengthens the management's
assurances that RKO will not only continue but also
expand its theatrical activities.

As for Selznick, his return to active production
after a lay-off of seven years is indeed welcome news,
for he has always been a producer of quality pictures
that not only had artistic merit but also were box-office
successes.

Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1S79.

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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXXVII SATURDAY, SEPTEMBER 10, 1955 No. 37

MARTIN REPLY FAILS TO ANSWER
SHOR CHARGES

More doubt has been cast on the sincerity of the
TOA leaders in collaborating with National Allied
for exhibitor relief from harsh distribution policies in
view of the inept reply made this week by E. D. Mar-
tin, TOA's president, to charges by Rube Shor, Na-
tional Allied's president, that the TOA leadership is
spurning Government regulation of the industry after
allegedly creating the impression that they would join
Allied in a fight for Congressional legislation in the
event the film companies failed to come through with
the necessary relief as a result of their meetings with
the joint Allied-TOA committee.

Shor's charges, which were made in a letter to
Martin and which were published in the August 27
issue of this paper , included also the claim that TOA
plans to go ahead with an arbitration system that does
not provide for the arbitration of film rentals, in spite
of the fact that Martin has stated to him as well as the
trade papers that TOA will not support an arbitra-
tion system that excludes film rentals. Shor also ques-
tioned TOA's sincerity in implying opposition to such
matters as compulsory block- booking and further ac-
quisitions of theatres by the divorced circuits.

In replying to Shor, Martin has confined himself
to the following terse statement, which was sent to
the trade papers:

"TOA stands on its statement of July 22nd, made
by E. D. Martin, president. TOA's policy has not
changed regarding governmental intervention or con-
trol. We will continue to seek solutions to exhibitor
problems through negotiations, due to the progress
made to date with the film companies and the encour-
aging reports received from the field of an easement
of film selling policies."

The July 22 statement referred to by Martin is the
one in which he expressed "surprise and disappoint-
ment" over the fact that Allied had dispensed with
the services of its sub-committee that had been work-
ing jointly with a similar group from TOA to secure
relief from the film companies. He added that TOA's
disappointment stemmed from the fact that the work
of the joint Allied-TOA committee "is not nearly
completed," and stated that the committee had ob-
tained from the distributors "valid promises which
we have every reason to believe will be implemented
and honored."

Martin concluded his remarks by stating that
"TOA has historically taken a dim view of the value
to exhibition of governmental intervention, and the
results in the past certainly justify our pessimism.
However that may be, we are irrevocably committed
to going forward with the discussions which have

been activated, and which we are confident will be
productive of relief from the harsh terms and condi-
tions now imposed on exhibition."

There is nothing in either the current statement or
the July 22 statement by Martin that answers the
charges brought by Shor against the TOA leaders
and, in the absence of a direct and specific reply, it
does appear as if their actions are not readily defen-
sible.

What is happening to TOA now is regard to ob-
taining exhibitor relief is merely a repeat performance
of the all-talk-and-no-action policy that has been pur-
sued consistently by the TOA leadership ever since
the organisation's inception, despite the continuing
demands from the rank-and-file TOA members for
more positive action.

When TOA issued its blistering statement last
April in which it sharply attacked distribution for its
imposition of unbearable film rentals and inequitable
conditions of licensing pictures, and in which it de-
manded an immediate roundtable conference with the
distributors without waiting for an agreement on an
arbitration system, exhibition hailed the organization's
realization that the time had come to take a more
militant stand in dealing with oppressive distributor
practices. Its strong blast against current policies, and
its threat to seek relief "through any other means
necessary" in the event such relief could not be ob-
tained by peaceful negotiations indicated that the
TOA leadership had finally been provoked into a
fighting mood and would brook no further dilly-
dallying on the part of distribution. This firm stand,
coupled with the fact that it joined up with Allied to
combat distribution with a unified exhibition front,
gave rise to the hope that TOA really meant business
this time. But now that matters have reached the
showdown stage, we find that TOA has once again
resorted to lip service and has reverted to its weak-
kneed policy of former years — a policy it chooses to
refer to as "peaceful negotiations."

The record shows that, since the formulation of
TOA, its leaders, in speeches at conventions and in
statements to the press, have invariably condemned
the distributors for their harsh sales policies and other
unfair practices, but their remarks have always proved
to be nothing more than academic, for, despite their
seemingly vociferous opposition to such policies and
practices, they have consistently failed to formulate
a positive plan of action designed to bring about an
acceptable solution.

It all adds up to talk rather than acts and deeds,
and it appears as if the TOA leaders plan to act in
the same manner in the present instance. But whether

(Continued on bac\ page)

146

HARRISON'S REPORTS

September 10, 1955

REMBUSCH BLASTS McGEE

In a statement that was given wide publicity by the
trade papers last week, Pat McGee, a vice'president
of the Theatre Owners of America, contended among
other things that, in his role as co-chairman of the
COMPO tax repeal committee, it was through his
personal efforts that the total tax on admission tickets
of fifty cents and under was eliminated.

McGee made this claim as a challenge to National
Allied's contention that it is the principal exhibitor
organization that is representative of the small theatre
owners. At the same time, McGee took issue with the
opposition voiced by Allied leaders Trueman T. Rem-
busch and Col. H. A. Cole against payment of dues
to COMPO and against a new tax campaign, and
rejected their contention that distribution has taken
over the benefits of the first tax campaign and would
do likewise if a new campaign is successful. Not un'
expected, of course, was McGee's blast against Allied
for its plan to go to the Government for relief.

A sharp and effective reply to McGee was made
quickly by Rembusch, who is a former member of
the COMPO governing triumvirate and past presi-
dent of National Allied. This is what he had to say
in a statement issued at the weekend:

"Trade paper stories reporting that Pat McGee,
one of the committee of two directing the recent
successful tax fight, had laid claim to winning that
fight single-handed are amazing. For the record, and
as an active member of the group directing the fight,
I want to state unequivocably that the fight was won
by the American motion picture exhibitors; American
exhibitors who carried their plight to Congressmen
and Senators in their home districts. It is true that
there was a team at the top setting up the plays. On
that team were Allied men and TOA men. Neither
Allied nor TOA or any single member of the team
can claim credit for winning the tax fight. I reiterate,
the fight was won by the fine team work of the
American exhibitors.

"But McGee's attack, in the recent trade paper
stories, on his co-committeeman Colonel Cole, is one
of the most ungrateful happenings in my memory.
When Pat McGee entered the tax fight he was the
complete neophyte as to proper organization proce-
dures. It was Colonel Cole, dean of exhibitor organ-
ization work, who took Pat by the hand and led him
through the many organization pitfalls always present
and ready to trip the uninitiated and new leader. I
know personally, that Colonel Cole spent more of his
personal time in Washington and on the road pushing
the tax fight than any other volunteer worker. The
physical burden Colonel Cole endured in pursuing the
fight was a sacrifice that many younger men would
not or could not endure.

"McGee's claim that Senator Kerr of Oklahoma
was responsible in the main, for the success of the fight
is surprising, for many key political leaders in Con-
gress aided exhibitors in the fight as much as did
Senator Kerr. Outstanding among these was Con-
gressman Charles Halleck of Indiana, Majority
Leader in the House.

"McGee, who is in the category of the large circuit
operators claims that it was he and his TOA circuit
cohorts who protected the small exhibitor in the tax
fight. I know and Pat McGee knows as well as other
members of the team, that an attempt was made on

no less than two occasions by the large circuit oper-
ators to effect a compromise at a 10% reduction.
Colonel Cole resisted this move successfully with all
the vigor and determination at his command so that
the small desperate exhibitors enjoyed complete elim-
ination of the tax.

"McGee has reflected the ideas and policies popular
to the large circuit operators. His statement that he
has retained 60% of the tax saving testifies to the
fact that he is in the big circuit league for unless he
had circuit buying power he could not, in the present
film market, retain 60% of the tax saving. In my
small operation I can testify to the fact that distri-
butor policies have gobbled up all of the tax savings
and more. If I am bad off in my small operation how
much more pressed must the single-town theatre oper-
ators be? As we small operators go out of business
distributors will turn to the larger circuits to make
up the loss of revenue so that unequitable and de-
structive distributor profits can be maintained. Then
McGee, out of desperation, will be in favor of the
maximum ceiling film rental provided by legislation.
Right now, due to McGee's size, he is not feeling
the pinch of the distribution iron shoe and if he
doesn't awaken to the trend of the times it will be too
late for him to save his operation from distributor
greed.

"Today the film problem cannot be viewed on a
national level. It is international in scope. The short-
age of pictures in this country is due, in the main,
to American production being geared to European
countries1 quotas. In those countries exhibitors are
happy and prosperous for they have maximum film
rental ceilings protecting them from the distributors'
unequitable demands. The greed of distribution in
this country can be likened to the greed of landlords
during and after the last war. In the latter case
legislation imposed rental ceilings on greedy landlords.
There is no valid reason why maximum film rental
ceilings cannot be imposed in this country similar to
the aforementioned dwelling rental ceilings.

"My present position as to COMPO has been dis-
torted by some persons seeking selfish ends. So that
the industry may know exactly what my position is
I must re-state my understanding of the purpose for
which COMPO was created. It was created to protect
and promote the entire motion picture industry's
public relations. In the last year it has failed that
task. It has become the tool of and dominated by
distribution; as such, it is worthless to exhibition and
the industry. COMPO by-laws and fine purposes have
been ignored by its administrative staff. Decisions
have been made by that staff and programs launched
without securing proper clearances from all national
and state organizations. In other words, COMPO
has over-ridden both TOA and Allied and their re-
spective units and unit leaders; this is in direct vio-
lation of the by-laws and precedents founders of
COMPO surrounded it with to prevent such a
consuming and destructive operation to national and
local exhibitor organizations.

"I am unalterably opposed to COMPO launching
a drive for complete elimination of the admission tax
for immediately it launches such a drive it will run
head-on into Treasury resistance to loss of revenue
from other high admission entertainment groups.
Then too, the effort involved in such a fight would
again be futile for the gains would be consumed by

September 10, 1955

HARRISON'S REPORTS

distribution increasing film rentals. Far better and
more lucrative to exhibition would be to limit exhi-
bition s legislative efforts to the creation of a 30%
maximum ceiling on rentals. Even friend McGee's
theatres would be much better off with such a ceiling
imposed."

"My Sister Eileen" with Janet Leigh,
Betty Garrett and Jack Lemmon

(Columbia, October; time, 108 min.)

Embellished by CinemaScopc, Technicolor pho-
tography and musical routines, this is a highly amus-
ing remake of "My Sister Eileen,''' which was first
produced by Columbia in 1942. If the fine public
reaction at a sneak preview in a New York neigh-
borhood theatre is any criterion, the picture should
go over very well with the general run of audiences,
although it is best suited for adults because of its
sophisticated dialogue and situations. The story,
which is substantially the same, is a light-hearted saga
of the adventures, romantic and otherwise, of two
small-town sisters who come to New York to seek
fame and fortune. Like the original, the action is
filled with many laugh-provoking situations, with
much of the comedy stemming from the fact that life
in the Greenwich Village apartment they rent is one
of utter confusion, what with the numerous men "on
the make" for the younger sister, a policeman on the
beat suspecting that the place is occupied by ladies
of easy virtue, and dynamite from a subway construc-
tion job nearby causing the apartment to sway and
tremble from time to time. Janet Leigh and Betty
Garrett play the sisters with zest and put over their
musical chores in fine style. Jack Lemmon, whose
popularity is on the rise as a result of his work in
"Mr. Roberts," comes through with another good
comedy performance as a suave magazine editor who
makes a play for Miss Garrett. Two outstanding song-
and-dance production numbers are "Give Me a Band
and My Baby" and "What Happened to the Congo,"
in which the girls become involved with a shipload
of Brazilian naval cadets in a Conga dance that is so
tumultuous that all concerned land in jail tempo-
rarily. The production values are first-rate and so is
the color photography: —

Betty Garrett, an aspiring authoress, and Janet
Leigh, her younger sister who seeks a stage career,
arrive in New York to try their luck and rent an
apartment in Greenwich Village from Kurt Kasznar.
After an eventful night in the apartment, during
which they are eyed suspiciously by the policeman on
the beat, Betty sets out with a letter of introduction
to Jack Lemmon, editor of a slick magazine, who re-
jects her stories but recognizes her talent and sug-
gests that she try again, this time on a subject other
than romance, of which he believed she knew little
about. Meanwhile, Janet attracts Bob Fosse, a "soda-
jerk," and Tommy Rail, a fast-talking, wolfish news-
paperman, and both vie to obtain a stage opportunity
for her. Betty takes Lemmon's advice and starts to
write a series of stories about Janet and her devastat-
ing effect on the male population. Lemmon like the
yarns, and Betty, piqued because he thought she is
unromantic, leads him to believe that the stories are
autobiographical. But when Lemmon invites her to
his apartment and makes several passes, she flees in
panic, in spite of the fact that she had fallen for him.
In the meantime, the home life of the two sisters is

complicated by Richard York, a professional football
player, who sleeps in their kitchen; he shared an
apartment with his girl-friend in the same building
but had to move out temporarily because her mother
was visiting her. In order to get a chance to be alone
with Janet, Rail sees to it that Betty is given a phoney
newspaper assignment to cover the arrival of a ship-
load of Brazilian cadets. The sailors, unable to under-
stand Betty's questions, get the wrong idea and follow
her home. When they see Janet, they force her and
Betty into a wild Conga dance that ends with every-
one thrown in jail for disturbing the peace. The Bra-
zilian consul gains the release of all concerned, and
the girls, having reached the end of their limited
funds, prepare to return to Ohio. They change their
minds, however, when Lemmon proposes to Betty
and when Fosse convinces Janet that she should be-
come his wife.

It was produced by Fred Kohlmar, and directed by
Richard Quine, from a screenplay by himself and
Blake Edwards, based on the play by Joseph Fields
and Jerome Chodorov.

Adults.

"The Warriors" with Errol Flynn
and Joanne Dru

(Allied Artists, Sept. 11; time, 8? min.)

An indifferent entertainment, despite the Cinema-
Scope production and the beautiful Eastman color
photography, with prints by Technicolor. Set in four-
teenth century France, it is one of those medieval
costume melodramas, in which the actors fight in "tin
cans," the dialogue is artificial and unconvincing, and
the movement slow and ponderous. Another draw
back is the fact that one finds it difficult to distinguish
between the French and the English; they all look
alike. There are several spots where there is plentiful
melodramatic action, but these bursts of activity are
not enough to overcome the picture's dullness as a
whole. There is hardly any comedy relief : —

In 1358, after some 100 years of sporadic warfare,
the English, under King Edward I (Michael Hor-
dern), vanquish the French in the provinces, and
Prince Edward (Errol Flynn), the King's son, is left
in command of Aquitaine. But the French, guided by
Count de Ville (Peter Finch), persist in their de-
termination to drive the English out of their country.
To force further fighting, de Ville and his men kid-
nap from her late husband's estate in Aquitaine, Lady
Joan Holland (Joanne Dru) and her two children.
Edward, disguised as The Black Knight and aided by
Sir John (Rupert Davies), his faithful friend, at-
tempts to rescue Lady Joan. This results in a pitched
battle, during which Edward is recognized when the
visor of his helmet is slashed open, but he and Sir
John escape and later manage to rescue Lady Joan
and her children. Count de Ville and his men pursue
them to Edward's castle, where another tense battle
is fought, but de Ville is killed and his forces are
compelled to surrender. With England and France
at peace once again, Lady Joan rushes to embrace
Edward.

It is a Walter Mirisch production, made in Eng-
land and directed by Henry Levin from a story and
screenplay by Daniel B. Ullman.

Family.

148

HARRISON'S REPORTS

September 10, 1955

they will get by with such tactics this time remains to
be seen, for their unproductive activities undoubtedly
will be the subject of a hot debate at the organisa-
tion's forthcoming convention in Los Angeles on
October 6-9.

With each passing year the organization's small-
town members have raised their voices louder and
louder in the demand for aggressive action against
harsh distributor policies but the TOA leaders have
done nothing positive to secure the relief they seek.
At last year's convention in Chicago, the only real
"fireworks" that developed was at a special meeting
of these smaller members, most of whom advocated
a "get tough" policy by any and all means, particu-
larly after Alfred Starr, who presided at the meeting,
castigated the distributors and stated that he could
understand the circumstances that led the Allied
leaders to urge Federal regulation of the business.
At that time Starr told the small operators that "we
might run to the Government ourselves," pointing out
that the organization's strength gave it a "whip hand"
and that "we must be smart enough to know when
to crack the whip."

Some of the exhibitors demanded militant action
such as undertaken by Allied, and went so far as to
suggest a boycott of some of the distributors. The
TOA leaders said that they would study the sugges-
tions put forth by these small exhibitors, including a
boycott, to see what could be done within legal
bounds. Meanwhile another year has gone by, nothing
has been accomplished, and the majority of these
small-town operators, by the TOA leaders own ad-
mission, are worse off than ever. If the TOA leaders
keep insisting that the best way to secure relief from
oppresive sales policies is through "peaceful negotia-
tions," they had better get ready to explain to their
members why nothing has come of an arbitration plan
after four years of such peaceful negotiations, and
why the "immediate and substantial" relief sought
from the film companies in the harmonious meetings
held with their executives this year has not been forth-
coming.

This paper has long contended that an exhibitor
organization like TOA, which consists of large cir-
cuits and small operators, cannot properly serve the
needs of the smaller exhibitors, first, because the in-
terests of the two are in many respects diametrically
opposed, particularly insofar as trade practices are
concerned, and secondly, because the large circuits,
by sheer weight of the number of theatres they repre-
sent and by virtue of their greater financial support,
would dominate the organization and would attempt
to force their will on the minority — the smaller opera-
tors. That this contention is sound is proved by the
vacillating actions taken by the TOA leaders in
dealing with the problems that are seriously affecting
the operations of the smaller fellows.

KIRSCH, TOO, CASTIGATES
ALLIED'S CRITICS

Among the other Allied leaders to hit out at the
national organization's detractors is Jack Kirsch,
president of Allied Theatres of Illinois, a past pres-
ident of National Allied, and general chairman of
the forthcoming National Allied Convention. This
is what he had to say in a statement issued last
week-end :

"Many individuals and organizations outside the
ranks of National Allied, have lately been bombarding
the trade press with statements of condemnation and
criticisms of certain actions taken by Allied and some
of its regional units. The obvious purpose of these
attacks is to make it appear that Allied is completely
out of step with the rest of the industry on many
current issues. Independent exhibitors do not take
these barbs seriously, because whenever the National
Allied organization has taken a stand on an important
industry problem in the past, these critics have always
cried out loud and hard, desperately trying to convey
the impression among independent exhibitors that
they, and not Allied, are the ones the exhibitors
should heed and listen to.

"If there is any doubting independent exhibitor in
these United States who might even partially believe
the statements attributed to some of these critics, all
he has to do to clear these doubts from his mind is
to attend the forthcoming National Allied Conven-
tion and combined ALLIED-TESMA-TEDA-IPA
Trade Show at the Morrison Hotel, Chicago,
November 7, 8 and 9. Here he will see and learn for
himself how National Allied functions and how very
democratically the issues of the day affecting his daily
operations are debated and decisions reached. Here,
too, he will have an opportunity to express his
opinions, no matter how small or large an operation
he represents, and at the National Allied Convention
he will have a voice in any program of action that is
formulated.

"And there will be no lack of issues confronting
the exhibitor delegates — both indoor and outdoor
theatres — attending this convention, because they are
many and varied and all touch on the future of ex-
hibition.

"As General Chairman of the 1955 National
Allied Convention, I am most encouraged and heart-
ened by the great upsurge of interest in this year's
gathering. With the Convention still more than two
months away, and even before the official invitation
and announcement has gone forward to exhibitors
all over the country, requests for rooms are being
received in great numbers at Allied Theatres of
Illinois convention headquarters. Some units are
asking for complete floors at the Morrison Hotel to
house their delegates and to meet this growing
demand for rooms, the local convention committee has
provided for space at another conveniently located
hotel to accommodate the anticipated overflow.

"One of the most important features of the con-
vention attracting lively interest among exhibitors is
the combined ALLIED-TESMA-TEDA and IPA
Trade Show which will occupy two complete floors
of the Morrison Hotel. This Trade Show is geared to
the specific needs of both indoor and outdoor theatres
and many equipment and concessions products and
services on display will be of principal interest to
drive-in operators. Special equipment and concessions
forums, led by experts in both fields will occupy
prominent spots on the Allied convention agenda.

"As usual, many interesting and social activities
are planned for the delegates and their wives, with
special emphasis being placed on the entertainment
of the ladies while their husbands are occupied with
the important business sessions and film forums."

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

Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by

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35c a Copy Columns, if It is to Benefit the Exhibitor. Circle 7-4622

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXXVII SATURDAY, SEPTEMBER 17, 1955 No. 38

CINEMASCOPE'S SECOND ANNIVERSARY

A publicity release from 20th CenturyFox reminds us
that CinemaScope is celebrating its second anniversary to-
day, September 16, and that 25,283 theatres throughout the
world are now equipped and showing films in this new
entertainment medium, with a grand total of 32,500 ex-
pected by the end of 1955.

Since the release of "The Robe" twenty-four months ago,
the number of CinemaScope productions to be placed in
release by all companies up to the end of this year will be
approximately 150. Among the other impressive statistics
compiled by 20th-Fox are these:

Latest reports indicate that CinemaScope films will con-
stitute approximately 50% of the production schedules of
the major Hollywood studios this year and the percentage
is expected to be raised in 1956. In only two years, 62%
of the bookable theatres throughout the world have in-
stalled CinemaScope. In the United States and Canada,
15,487 theatres have been equipped for CinemaScope, rep-
resenting more than 77% of the sales possibilities, and by the
end of 1955 it is anticipated that every sales possibility in
both countries will be equipped. More than 60% of the
4,453 drive-in theatres currently operating in the U.S. and
Canada are CinemaScope equipped.

Installations abroad are also gaining every week, and
current figures show that over 12,000 of the foreign sales
possibilities of 17,338 have been equipped or have ordered
installations. CinemaScope installations globally have been
zooming with such consistency that all but one of the major
studios — Paramount — have gone over to the anamorphic
process in production.

These statistics are indeed impressive and they serve as
irrefutable proof of the overwhelming acceptance of Cinema-
Scope, not only by the exhibitors and by virtually every
major film studio, but also by the public. It is without
question the biggest success story in the history of the
entertainment business, and it will always stand as a shining
tribute to the vision, courage and progressiveness of Spyros
P. Skouras, 20th-Fox's dynamic president.

PRICE OF AWARDS ACCESSORIES CUT

Because of the large number of theatres that have signi-
fied their intention of participating in the Audience Awards
campaign, National Screen Service has made a sharp down-
ward revision in its price for campaign accessories, accord-
ing to an announcement made by Elmer C. Rhoden, national
campaign chairman.

For first-run theatres and key subsequent-run houses the
price of the accessory package will be $25. This package
consists of two trailers, two 40 x 60 posters, one large com-
posite mat and stickers for ballot boxes.

For all other theatres the price of the package will be $15.

"In my opinion these prices are eminently fair," Rhoden
said, "and I think National Screen is to be commended for
its action. It should be remembered that National Screen is
going to a great deal of expense and is freely using its
organization for the numerous nation-wide mailings that
have been necessary in the conduct of this campaign.

"I want to emphasize that it would have been impossible
to scale the prices down to these levels had there not been
such an encouraging response from theatres. The enthu-
siasm which exhibitors are showing for the Audience Awards
and the plans reported to us from all over the country
for the promotion of this project confirm my original belief
that the Audience Awards will be the greatest thing that
has happened to our business in many years."

BE CAUTIOUS ABOUT THESE BOOKINGS

Paramount's "The Desperate Hours," which is reviewed
elsewhere in this issue, and Columbia's "The Night Holds
Terror," which is currently in release, are so alike in theme
and treatment that exhibitors should be most careful not
to play them too close together lest their patrons object to
being shown pictures that are almost similar within a short
period of time.

In both cases the stories deal with three murderous
hoodlums who invade the home of a married couple with
two children and, under threat of killing one or more mem-
bers of the family, hold them as hostages and force them
to do their bidding. There are, of course, several different
twists to the stories, but on the whole there is a great deal
of similarity between them and many of the situations are
almost the same.

It is true that "The Desperate Hours" is a more polished
production job and is headed by several important stars, but
"The Night Holds Terror," despite its modest budget and
lack of marquee names, is proving to be a "sleeper" and
is receiving fine audience reaction, thus indicating that it
is making quite an impression and will remain in the pub-
lic's mind. It is for that reason that exhibitors should be
careful not to play them too close together.

OUR HOSPITAL

Having once again been privileged to accompany the
board of directors on its annual inspection tour of the Will
Rogers Memorial Hospital at Saranac Lake, N. Y., this
writer wishes that it were possible for every person in the
motion picture industry to make a similar inspection tour
so that he or she may see first-hand the wonderful work
that is being done at that institution for those in the enter-
tainment field who have been unfortunate enough to be
stricken with tuberculosis.

No words, no matter how well written, can adequately
describe the pride and satisfaction one feels after a visit to
this model institution. It leaves you imbued with a strong
and sincere desire to go out and spread word of the great
humane and skillful medical treatment that is available to
the patients, and of the ceaseless and dedicated work that
is being carried on in the hospital's research laboratories for
better and faster ways to heal and prevent tuberculosis,
so that every person in the amusement industry will have a
greater understanding and appreciation of what this hos-
pital means to the employees of the entertainment business
in particular, and mankind in general.

Limited space does not permit an elaborate account of
the hospital's record of achievement in the healing of tuber-
culosis cases, nor does it permit a detailed analysis of its
administrative efficiency as to costs. Suffice it to say that
the Will Rogers is sustaining an average of 94% in cures of
TB, a figure that is high as compared with other similar
hospitals, and that it is still curing and discharging pa-
tients in half the time and at half the cost of the average
of all the nation's tuberculosis hospitals.

The one thing that should be borne in mind about the
Will R ogers Hospital is that any employee in the amuse-
ment industry, no matter what kind of a job he or she
holds, is eligible for tuberculosis care and treatment without
charge for anything. Members of their immediate families
are also eligible. There are no restrictions or barriers to
admission, geographical or otherwise, and no obstacles due
to race, color or creed.

It is, in other words, "our hospital," and if it is to
continue the protection and benefits it affords to ourselves,
our families and our tellow-employees, it must have the un-
stinting financial support of each one of us.

150 HARRISON'S REPORTS September 17, 1955

"The Big Knife" with Jack Palance,
Ida Lupino and Wendell Corey

(United Artists, no rel. date set; time, 111 min.)

A powerful dramatic offering, with a behind-the-scenes
Hollywood background. Based on Clifford Odets' play of the
same name, which evoked considerable furore in the movie
capitol when it was first produced on Broadway six years
ago, this screen version undoubtedly will be the subject of
much controversy in that many who see it, particularly
industryites, will consider it to be strongly anti-Hollywood
because of its uncomplimentary depiction of the behavior
of characters who make up the Hollywood scene. It is a
gripping drama from start to finish, but it seems best suited
for class audiences, for much of the story, which deals with
the troubled private life of a big star, unfolds by means of
dialogue, a great deal of which is so abstract that average
movie-goers might have difficulty in grasping the meaning
of what is said. Aside from the fact that most of the char-
acters are unsympathetic and unwholesome, the acting is
superb. Jack Palance is excellent as the tormented star whose
indiscretions have kept him under the thumb of a ruthless
studio chief, and one feels some measure of sympathy for
him because of his sincere desire to break away from a life
that had become distasteful so that he might patch up his
broken marriage. Ida Lupino is first-rate as Palance's loyal
wife and is completely sympathetic. Among the others who
turn in highly effective characterizations are Rod Steiger,
the violent, weeping studio chief who is willing to go to
any lengths to gain his ends; Wendell Corey, as his smooth
but thoroughly hardened "hatchet man"; Shelley Winters,
as a drink-sodden, blackmailing starlet; Jean Hagen, as the
unfaithful wife of a studio press agent; Ilka Chase, as a
prominent but unprincipled nationally syndicated columnist;
and Everett Sloane, as Palance's agent, who grovels before
the studio chief but revolts against him when his low tactics
go beyond the bounds of human decency. Many of the
situations are strongly dramatic, but a number of them may
very well serve to give impressionistic movie-goers the idea
that life in Hollywood is one big orgy of sin and that those
in high places are abusive and virtually hold the power of
life and death over those who are lower down on the ladder
of success. One such powerful sequence, for example, con-
cerns Miss Winters, a key witness in a scandal involving
Palance. She had been "bought" by the studio with a con-
tract to keep her silence but becomes resentful because the
studio bosses, instead of giving her acting parts, used her
for their personal pleasure and for the purpose of entertain-
ing visiting exhibitors. All this is made unmistakenly clear
in the dialogue and is but one instance in which this film
paints life in Hollywood as being completely sordid. Nearly
all the action takes place on one set — the living room of
the movie star's home — but the camera moves about with
such fluidity that one takes little notice of this fact.

Briefly, the story centrs around Palance's efforts to live
at peace with himself and regain his own self-respect after
years of compromising with his integrity to achieve material
security and comfort. To avoid a separation from Ida, he
finds that he must accede to her demand that he refuse to
sign a new 14-year contract that would bind him irrevocably
to Steiger, whom Ida disliked intensely. Steiger, however,
forces Palance to sign by threatening to expose the detaijls
of a hit-and-run accident involving Palance but for which
Paul Langton, a studio publicist, accepted the blame and
served a jail term. Ida, unaware of Palance's true reasons
for signing, determines to leave him. Palance tries to drink
away his problems, and while in a drunken condition suc-
cumbs to the wiles of Jean Hagen, Langton's promiscuous
wife. In the development of the plot, Corey, Steiger's aide,
informs Palance that Shelley Winters, a key witness in
the hit-and-run accident, was talking too freely and suggests
that her "removal" is their only solution. Palance scoffs at
this idea and summons Shelley for a talk. Ida returns home
unexpectedly and misunderstands when she sees Shelley and
Palance together. Their resulting quarrel ends in a recon-
ciliation and hope for a second honeymoon. But this new-
found bliss is jarred when Steiger beats up Shelley for
threatening to talk and, through Corey, demands that Pal-
ance invite her to a drinking party and feed her poisoned
gin. Palance revolts and, as an alternative, Steiger suggests
that he divorce Ida so that he can marry Shelley and thus
keep her quiet. To force Palance to do his bidding, Steiger
even accuses Ida of having an affair with Wesley Addy, a
writer and mutual friend. Palance, disgusted, throws Steiger

out of his house. This rediscovered integrity cements Ida's
love for him, but another obstacle arises when Langton
arrives and denounces Palance for having an affair with
his wife. Weary, Palance goes to his room and commits
suicide. Corey immediately sets in motion a plan to cover
up the details leading to his death, but Ida, aided by Addy,
determines that Palance's final act of faith will not be
spoiled and that the true story will be given to the press.

It was produced and directed by Robert Aldrich, from
a screenplay by James Poe.

Adult fare.

"The Desperate Hours" with Humphrey Bogart,
Fredric March, Arthur Kennedy
and Martha Scott

(Paramount, no rel. date set; time, 112 min.)

A powerful and exciting suspense melodrama, based on
the best-selling novel and play by Joseph Hayes. Expertly pro-
duced, directed and acted, it offers a tension-laden story of
the violence and terror suffered by a family of four when
their home is invaded by three escaped convicts. The man-
ner in which the vicious and dangerous criminals keep the
family subjugated for a period of 48 hours results in
spine-tingling situations that keep one on the edge of
his seat, for each member of the family dares not make a
wrong move lest it bring death to the others. The story
is more than a thriller; it is also a touching character study
of an average but brave family man who rise to great heights
of courage when the lives of those he loves are threatened.
Fredric March is excellent as the head of the family, as is
Martha Scott as his frightened wife. Humphrey Bogart
comes through with his usual effective performance as the
leader of the murderous convicts. It should be pointed out
that there is great similarity between this picture and Co-
lumbia's "The Night Holds Terror," which is currently in
release. "The Desperate Hours" is, of course, a more
polished job; nevertheless, those who have seen the Colum-
bia picture probably will find that it has taken the edge off
this one because of the similarity in stories and situations.
This is the first VistaVision picture in black-and-white
photography and the result is sharp and clear, but no more
so than other black-and-white pictures that are on the mar-
ket nowadays: —

Bogart, Dewey Martin and Robert Middleton, three
escaped convicts, invade the Indianapolis home of Fredric
March and, at gunpoint, force him to do their bidding.
Martha Scott, his wife, Mary Murphy, their grown daughter,
and Richard Eyer, their little son, are warned by the con-
victs against trying to get help lest they cause other members
of the family to die. Bogart, leader of the criminals, planned
to use March's home as a hideout until an outside con-
federate arrived with a bundle of cash. The situation be-
comes even more tense when Gig Young, Mary's boy-friend,
calls to take her out on a date. Bogart tells her to meet Young
outside the house and keep the date, but warns her that the
family wil be shot immediately if she utters a word about
their predicament. Frightened, Mary keep her silence. Mean-
while the police, headed by Arthur Kennedy, learn that the
convicts had reached Indianapolis. They block all exits
from the city and start an intensive search for them. At
midnight, Bogart's confederate phones him and tells him
that the money had been mailed to March's office. On the
following morning, Bogart forces March and Mary to go
to work as they normally do and cautions them against
seeking help lest Martha and little Richard be killed. Dur-
ing the day, Walter Baldwin, a garbage collector, notices
the convicts' escape car hidden in the garage and is killed
by Middleton before he can notify the police. The discovery
of Baldwin's body, coupled with Young's apprehension over
Mary's odd behavior, eventually help the police to track
the convicts to March's house. But Kennedy, warned by
Mary, makes no move on the house lest he endanger the
hostages. March, stopped by the police when he arrives home
with the money, pleads to be given ten minutes in which to
get rid of the convicts in his own way. Kennedy grants the
request. Using an empty gun, which he permits Bogart to
take away from him while he obtains another gun that is
loaded, March ingeniously gets the upper hand on the
convicts, who are shot down by the police as they make
a futile attempt to escape.

It was produced and directed by William Wyler, from
a screenplay by Joseph Hayes.

Adult fare.

September 17, 1955

HARRISON'S REPORTS

151

"Gentlemen Marry Brunettes" with
Jane Russell, Jeanne Crain, Alan Young,
Scott Brady and Rudy Vallee

(United Artists, no rel. date set; time, 97 min.)

Photographed in CinemaScope and Technicolor, "Gentle
men Marry Brunettes" shapes up as a fairly entertaining, if
not outstanding, mixture of music, comedy and romance.
Its box'office chances, however, will depend heavily on the
popularity of the players. Its story about the Parisian adven-
tures of two sisters, both American showgirls, is uneven,
but it is light and frothy and the comedy, which ranges
from the "whacky" to the sophisticated, keeps one chuckling
throughout even if it does not reach hilarious heights. On
the debit side, however, are a number of draggy moments
that tend to slow down the otherwise snappy pace. The
musical numbers are entertaining, and the songs include a
number of old favorites that were popular in the 1920's.
Most of the action, which takes place in Paris, was shot
against actual backgrounds, and the authentic locales, en'
hanced by CinemaScope and the fine color photography, are
a treat to the eye: —

Jane Russell and Jeanne Crain, a sister act, go to Paris,
where Scott Brady, a brash and penniless agent, had prom-
ised them a job in the Folies Bergere. Brady managed to
exist by virtue of his friendship with Alan Young, who
worked at any odd job he could get in Paris. Secretly,
however, Young was a multi-millionaire who had promised
his father that he would not touch a penny of his own
money until he made an honest career for himself. The
boys, in turn, have a reluctant friend in Rudy Vallee, once
a great French singing star. When the girls arrive in Paris,
they learn from Vallee that, back in 1926, their mother
and aunt were the toast of Paris. The girls resolve to emulate
their aunt and mother, and vow to concentrate on their
careers. But when Jeanne notices that Jane had fallen for
Brady, she breaks up the relationship by telling Brady that
Jane falls for every male she meets. Angry at being re'
jected by Brady, Jane resolves to have a wild time in Paris.
Young, noticing that Brady is heartsick, secretly showers
the girls with fabulous gifts so that all the "wolves" in
Paris will get the impression that they have a protector and
thus keep away from them. The idea backfires, however,
when Brady suspects that Jane is having an affair with
someone, and when Jane and Jeanne suspect each other.
After many complications, during which the girls score a
huge success when they appear at the Casino in Monte
Carlo, everyone concerned learns that Young is the bene-
factor. The denouement has the girls' mother (also played
by Miss Russell) arriving in Paris to take them home, but
it all ends well with Brady marrying Jane, Young marrying
Jeanne, and Vallee winning their mother's heart.

It was produced by Richard Sale and Robert Waterfield,
and directed by Mr. Sale from a screenplay he wrote in
collaboration with Mary Loos, based on the story by Anita
Loos.

Family.

"Seven Cities of Gold" with Michael Rennie,
Richard Egan and Anthony Quinn

(20th Century-Fox, Sept.; time, 103 min.)

An absorbing and frequently exciting account of the
struggles endured by Father Serra, the historical Catholic
priest, in founding a string of missions in the early days of
Southern California, and of the conversion of the Indians
to Christianity. Expertly photographed in CinemaScope and
DeLuxe color, the picture should, barring rival religious pre-
judices, give satisfaction to the general run of audiences, for
it has been produced with care and the historical facts
revealed are of great interest. The fights between the arrow-
shooting Indians and the Spanish soldiers provide a number
of thrilling situations, and there is also considerable though
delicately handled sex in the relationship between Richard
Egan, as a Spanish captain, and Rita Moreno, as an Indian
maiden. The acting is very good, with particularly believable
characterizations contributed by Michael Rennie, as Father
Serra, and by Anthony Quinn, as Don Gaspar de Portola,
a hardened Spanish military explorer, who is cynical of the
pacific methods employed by Father Serra in dealing with
the Indians but who cooperates with him in the hope that

it will spell the difference between success and failure of the
expedition. The outdoor scenery is breathtakingly beauti-
ful:—

Commanded by Quinn, an expedition leaves Mexico City
and heads for Southern California to secure that region for
Spain. The party is joined by Father Serra, who planned
to establish a string of missions in the territory. After many
difficulties, the expedition reaches the present site of San
Diego and, while Quinn and his party head North in search
of the fabled Seven Cities of Gold, Serra remains behind
with a handful of men under the command of Egan. Hostile
Indians, led by Jeffrey Hunter, harass the San Diego party,
but when Hunter is wounded and saved by Father Serra, the
Indians become friendly. While waiting for Quinn's return,
Egan finds himself attracted to Rita Moreno, Hunter's sister,
and makes love to her. Quinn returns empty-handed and,
because of a shortage in supplies, decides to return the
expedition to Mexico City. Certain that the San Antonio,
a supply ship, will come to their aid, Father Serra pleads
with Quinn to wait nine more days. Quinn agrees reluc-
tantly. Complications arise when Rita, rebuffed by Egan
when she asks him to marry her, jumps off a cliff to her death.
Hunter, furious, demands that Egan be turned over to him
for punishment. Quinn rejects the request, thus provoking
a declaration of war. The attacks by the Indians, coupled
with the shortage of supplies, cause much suffering to the
members of the expedition. Egan, aware of his responsi-
bility, voluntarily surrenders to the Indians, and the war
drums stop beating after they put him to death. When the
supply ship does not show up on the ninth day, Quinn
orders the expedition to head back to Mexico City, but just
as they set out the ship sails into the bay, thus making
possible the permanent establishment of San Diego and the
founding of a string of missions by Father Serra.

It was produced by Robert D. Webb and Barbara McLean,
and directed by Mr. Webb, from a screenplay by Richard
L. Breen and John C. Higgins, based on a novel by Isabelle
Gibson Ziegler.

Family.

MYERS ANSWERS ALLIED'S CRITICS

(Continued from bac\ page)

1950 and was greatly enhanced by the campaigns of 1953
and 1954. But if the effort is renewed next year, the ques-
tion inevitably will be asked, 'What happened to the relief
granted you in 1954?' Then the fat will be in the fire.

"Of course, it is easy for circuit executives and some edi-
tors to say that Allied should sidetrack its legislative pro-
gram and clear the way for such a tax campaign. But when
they do they abandon to their fate the exhibitors who reaped
little or no benefit from last year's tax bill because of the
distributors' greediness in pricing pictures.

"Allied by its emergency Defense Resolution, which has
been several times reaffirmed, is committed to government
regulation oi film rentals. Unless the film companies undergo
a change of heart and walk through the door that the reso-
lution leaves open, Allied will, of course, proceed with its
program. Now one does not need to be a logician to figure
out that with the independent exhibitors telling Congress
what heppened to the relief it voted them a short time ago,
and asking for the regulation of film prices in order to stay
in business, it is extremely unlikely that Congress will grant
further tax benefits to be gobbled up by the film companies.

"Pat McGee in attempting to belittle Allied has adopted
the unbecoming course of praising himself, even to the
point of implying that he was solely responsible for the
success of the 1954 tax campaign. Pat's antics are not only
shameless in their lack of modesty but show that in feeding
his own vanity he is willing to risk alienating from the
exhibitors a staunch and influential friend.

"Senator Robert S. Kerr, of Oklahoma, was a friend of
the independent exhibitors and of all small business men
who came before him with a just cause, long before Pat
McGee appeared on the Washington scene. He will doubt-
less be shocked in reading Pat's impolitic statement by the
intimation that he aided the hard pressed exhibitors last
year, not because of the justice of their cause, not because
thousands of them, many located in Oklahoma, had written
him letters, but merely because he was persuaded to do so
by Pat McGee, former Schine Circuit manager, employee
of the Cooper Foundation and resident of Denver, Colo-
rado."

152

HARRISON'S REPORTS

September 17, 1955

MYERS ANSWERS ALLIED'S CRITICS

Abram F. Myers, board chairman and general counsel of
National Allied, had this to say in a general bulletin
issued to members this week:

"NOW THAT THE DUST HAS SETTLED

"During vacation time a number of Allied's perennial
critics, including Al Lichtman, Harry Brandt and Pat
McGee, taking advantage of the dearth of real news were
able to obtain considerable trade paper notoriety by windy
eructations reflecting on the independent exhibitors' favorite
trade association.

"So far as Lichtman and Brandt are concerned they have
left a tortuous trail on the sands of time with which the
exhibitors are quite familiar. There is no need to explain
the motives behind their attacks as the exhibitors have long
since formed their own opinions of this precious pair.

"McGee is not so well known and presents a tempting
target, the only question being whether he is of enough
importance to engage our attention. He first came to indus'
try-wide notice a few years ago as TOA's second choice
for the honor of Co-chairman of the COMPO Tax Com-
mittee, Bob O'Donnell having been compelled by reasons
of health to decline. Ever since then he has been trying to
again rise to prominence by the futile process of tugging
at his own bootstraps. His friends should tell him that if
he remains too long in that posture he will emerge per-
manently warped, not to say stooped.

"E. D. Martin, president of TOA, also took a swipe at
Allied but we do not put him in the same category with
the three common scolds. Martin is new in the big time
but from all accounts he is a decent sort and probably was
influenced in his improvident outburst by his more vitupera-
tive associates.

"However that may be, the charges and complaints in
Martin's statement were fully and effectively answered by
President Shor, of Allied, in an able letter dated August 18.
That letter received good trade paper coverage but it should
be read in its entirety by all Allied exhibitors. (Ed. Note:
The complete text of Mr. Shor's letter was published in the
August 27 issue of this paper.)

"ALLIED AND COMPO

"When certain Allied units announced opposition to
COMPO's current dues campaign, Allied's inveterate critics
wailed like banshees. One might gather from their outcries
that COMPO was their baby, bred and reared by them.
Yet if we were to take all the man-hours that they have
devoted to COMPO and multiply them by 100, they would
not equal the time devoted to that organization by such
Allied men as Col. Cole, Trueman T. Rembusch and Abram
F. Myers. These critics pretend to be better friends of
COMPO than the Allied men; but in their protestations of
friendship for the COMPO of today, they turn their backs
on the ideals of the COMPO of yesterday.

"The Council of Motion Picture Organizations, as its
name implies, is composed of industry organisations, not
individuals. Leaders in the movement made it plain that the
purpose was merely to create an all-industry body, under the
control of the existing industry organizations, to function
with respect to matters in which all have a common interest,
especially in the field of public relations. They assured their
associates and members that there was no purpose to create
an overriding body to go over the heads of and compete
with or supplant established exhibitor organizations. It was
necessary to stress these points in order to overcome the
misgivings of men in both national organizations. Observers
with sound memories, including our trade paper friends, will
recall who it was that stood at COMPO's threshold with
reluctant feet.

"The campaign against subscription television is a public
relations job if there ever was one. But it was not merely the
refusal of the film companies to allow COMPO to lend a
hand in that struggle that turned many Allied men against
that body. They also were enraged by the covert and
wholly unauthorized activity of at least one member of the
staff in opposing COMPO's participation. But the main
cause for the disaffection among Allied leaders was their
belief that COMPO had become a self-perpetuating bureau-
cracy separate and apart from the organizations composing
it. During the past year there were numerous indications that
COMPO's staff was disposed to ignore the constituent or-
ganizations — at least the exhibitor groups — and rely on
direct contacts with exhibitors, except for a perfunctory
annual meeting.

"Moreover, Allied leaders for many months have been
alarmed by the way in which COMPO's finances were being
frittered away. At the close of the tax campaign COMPO
had a handsome sum on hand. By last February, when
Allied's board met in St. Louis, this had shrunk to about
$140,000. COMPO then was spending at the rate of about
$12,000 a month and concern was expressed lest the treasury
be depleted before the audience poll could be completed.
Allied's representative on the Triumvirate was instructed
'to work for rigid economy in that organization's
(COMPO's) operations and, if possible, see that the cost
of all operations up to and including the audience poll are
defrayed from monies now on hand.'

"At the board meeting on May 24 the subject was again
discussed and at that meeting Allied's representative on
the Triumvirate expressed his belief that COMPO 'can do
the job (audience poll) without added funds.' Thereafter,
in reliance upon a minute entry of the COMPO Executive
Committee last November, COMPO launched the present
dues campaign without further notice to or consultation
with the constituent exhibitor bodies.

"This is in flagrant contrast to the procedure followed by
the staff in dealing with the film companies, which are rep-
resented in COMPO by MPAA. The film companies are
permitted to consider the nature and extent of their partici-
pation in dues drives among themselves. They not only do
this but they impose limitations on their contributions by
unilateral action.

"In the midst of the tax campaign, when money was
desperately needed, the film companies decided that they
would match the contributions of the exhibitors only up to
$150,000. An emergency meeting was called in Chicago
which was attended by the Tax Committee, Sam Pinanski,
Al Lichtman and Trueman Rembusch, Wilbur Snaper and
Abram F. Myers, from Allied. The exhibitors' dues were
scaled down so as not to go far over that figure and Licht-
man gave assurances that he would persuade the film com-
panies to match whatever amount the exhibitors actually
raised.

"It is our understanding that the limitation on the dis-
tributors' participation still is in force but we are not in-
formed whether Lichtman this time has given the same as-
surances he gave in 1953.

"Allied leaders feel strongly that a matter of such im-
portance should be discussed within the charter members of
COMPO, the exhibitor bodies as well as MPAA. Had the
plan been submitted in advance to the charter members, it
might possibly have been approved, with the proper safe-
guards. They might have asked that the audience poll and
other authorized projects be budgeted and that the sums
to be collected bear some reasonable relation to COMPO's
legitimate requirements. It is unlikely that they would have
approved a campaign aimed at a figure calculated to sup-
port COMPO indefinitely in the manner to which it has
become accustomed. And that is probably the reason why
the staff did not want the exhibitor groups to have an oppor-
tunity to consider the proposal.

"ALLIED AND A NEW TAX CAMPAIGN

"Simultaneously with the launching of the COMPO dues
campaign, and as a part of the prospectus therefor, agitation
sprang up for a new campaign to rid the theatres of the
federal tax on admissions above 50c. This, like the dues
campaign, was thrust forward so suddenly and (intention-
ally or otherwise) was so timed that it could not be con-
sidered at Allied's July 20 board meeting.

"Certain Allied leaders with skill and experience in this
field, notably Col. Cole and Trueman T. Rembusch, ex-
pressed the view that such a campaign would be futile and
for this they, and Allied to boot, have received a going over.

"This is not a matter to get excited over. It should be
considered calmly in the light of recent experiences and
present day facts. It is extremely doubtful if any of those
who are yelling for another tax campaign have consulted
responsible leaders in either the executive branch or in Con-
gress. The voice of experience tells us that that is an excel-
lent thing to do before raising money for such a venture.

"We will not waste time speculating on what the chances
of success would be in such an effort had the benefits of
the tax reduction last year been fairly divided among indus-
try members. The exhibitors enjoy considerable good will
in Congress which had its beginning in the campaign of

(Continued on inside page)

Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1873.

Harrison's Reports

Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by

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35c a Copy Columns, if It is to Benefit the Exhibitor. circle <-4t>^

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXXVII SATURDAY, SEPTEMBER 24, 1955 No. 39

MAN TALKING THROUGH BOTH SIDES
OF HIS MOUTH

In his recent statement in which he issued a strong blast
against Col. H. A. Cole and Trueman T. Rembusch, two of
National Allied's most prominent leaders, for opposing a new
campaign for elimination of the admissions tax, Pat McGee,
a vice-president of the Theatre Owners of America, had this
to say, in part:

"Cole, Rembusch and Allied make a great point of the
9,000 small exhibitors who have benefitted by tax relief and
do not want to go further, stating, as has been presented,
that the distributors would get all the relief which we might
secure. Of course, this just isn't so. It is true that film
rentals went up, but they would have gone up anyway. I
still retain at least 60% of the tax saving. Anyone who wants
to consult his auditors will find himself in that same posi'
tion. We did gain. We didn't keep it all. We weren't sup-
posed to keep all of our tax saving. The distributor is en-
titled to his fair share." ■

In contrast to his above remarks, here is what McGee had
to say about the distributors in his keynote address to the
TO A convention in Chicago last November:

"Their policy of fewer but better pictures, coupled with
unreasonable terms, has deprived the American theatre of
its rightful share of the box-office returns and of the tax
saving which we provided."

This is but one example of the vacillating statements that
are consistently made by the TOA leaders in dealing with
important exhibitor problems.

REPUBLIC DECREE A PHONY

Under the above heading, Abram F. Myers, board chair-
man and general counsel of National Allied, has sent to
his membership the following bulletin, in which he analyzes
the consent decree signed by Republic Pictures on Septem-
ber 12 in connection with the Government's 16 mm. suit
against most of the film companies, now being tried before
Federal Judge Leon R. Yankwich in the U.S. District Court
in Los Angeles:

"Republic Pictures Corporation is being criticised in
some exhibitor circles for having lowered its colors and run
up the white flag by signing a consent decree in the Gov-
ernment's 16 mm. suit.

"But Republic's defection occurred a long time ago and
the consent decree accomplishes nothing so far as that
company is concerned and serves merely as an occasion for
the Department of Justice to pin a shoddy feather on its
cap.

"To exhibitors the decree is significant only as indicating
what the Government is seeking in this strange litigation.
The fact that one defendant has surrendered may influence
the Court in its consideration of the evidence relating to
the others, but this is highly speculative.

"Here is the substance of the main provisions of the
decree:

"1. Within 90 days Republic will offer for licensing 'in
good faith,' for television, at least 80% of all its films pro-
duced prior to August 1, 1948, including films already
licensed to television.

"2. After necessary negotiations with the guilds have
been successfully concluded, Republic will offer for license
to television at least 50%j of its feature films three years
aiter their release for national theatre exhibition.

"Since nearly every time we have been exposed to tele-
vision we were confronted with a Republic horse opera,
we were curious to know to what extent, if at all, the decree
would affect that company's policy. In particular, we won-
dered how Republic could 'in good faith' offer 80% of its
ante- 1948 pictures to the broadcasters in the short span of
90>(Jays.

"So we wired Herbert J. Yates a few questions and here-
with 16 his forthright reply:

" 'Answering your telegram datelined Sept. 14 from
Washington reletyped to me from New York office, Re-
public has taken the position that it would be willing to
sign a consent decree provided it did not require a change
of policies and methods of operation pursued by Republic
over the past years.

" 'From the inception of the suit Republic maintained
that it should never have been named as a defendant and
Counsel immediately undertook to persuade the Dept. of
Justice to dismiss Republic. When we realized the Gov-
ernment would not give a voluntary dismissal but would
consider a consent decree which would not require any
change in the policies pursued by Republic over the past
years, but would relieve Republic of the substantial burden
of expense and inconvenience of protracted litigation, there
was no alternative but to accept a consent decree.

" 'Actually Republic has already released to TV eighty
per cent of its old product produced prior to 1938. Conse-
quently Republic is not required to release any additional
pictures to TV at this time or in the immediate future.
Furthermore, the consent decree contains a "favored na-
tions" clause to the effect that if the Court should decide
the case in favor of the other defendants the consent decree
Republic has signed will thereupon be cancelled.'

"And so the mountain labored . . . Now we are curious
to know whether, when the decree was presented to Judge
Yankwich for approval, he was told that the decree was
academic and the case moot.

OTHER PROVISIONS

"By Sec. VI (b) Republic is required to negotiate in
good faith to make available for television a majority of
its films produced since 1948. So immune are labor unions
from the antitrust laws and so timid are politicians in dealing
with them, that the decree does not even mention whom
Republic is to negotiate with — the guilds. Paragraph (c)
says that within two years after any post- 1948 film released
for 35 mm. national theatrical exhibition becomes a feature
available for television pursuant to such negotiations, Re-
public shall offer for licensing at least 25% of all such films
for television, provided they were released three or more
years prior to the date upon which the two year period
commenced.

"This gives Republic two years in which to get its accu-
mulated post- 1948 pictures cleared by the guilds and to
offer 25% of them to television provided they are at least
three years old. If Republic is as far ahead of the decree
schedule in releasing films to television as we suspect, and
if the decre works no change in the company's policy as
Yates asserts, then this provision is important only as
indicating what the Department of Justice hopes to accom-
plish in regard to the other defendants.

"The permanent provision is in Par. (d) which says that,
thereafter, during each calendar year following the said
two year period, Republic shall offer for licensing for tele-
vision a number of feature films which shall be at least 50%
of the number of feature films which the company shall
have the right to license to television and which are released
for 35 mm. national theatrical exhibition in the third pre-
ceding year. It is expressly provided that no feature need be
so licensed or offered for license to television 'prior to the
expiration of 3 years following the 35 mm. national theatri-
cal release date in the U.S.'

HOW WILL RENTALS BE FIXED?

"Republic is required to offer its pictures to television in
good faith, but suppose the company honestly thinks a pic-
ture is worth, say, $10,000 for exhibition by a certain broad-
caster and the latter thinks it is worth only $5,000? Sec.
VII (b) says that nothing in Par. VI or VII shall prevent
Republic from 'failing or refusing to license for television
any feature ... to any particular licensee . . . because of
the inability in good faith to agree with said licensee . . .
(Continued from bac\ page)

154

HARRISON'S REPORTS

September 24, 1955

"A Man Alone" with Ray Milland,
Mary Murphy and Ward Bond

(Republic, September; time 96 mm.)
Those who like western melodramas ought to accept "A
Man Alone" as an above-average picture of its kind, for it
has plentiful fast action and considerable human interest.
The picture represents Ray Milland's first directorial effort
and he can take a bow for a job well done, for the story holds
one's interest tight from start to finish. The pace in the first
half is somewhat slow, but it is more than offset by the fast
action in the second half, and by the exciting climactic gun
battle between Milland and the villains in the closing reel.
Fine acting jobs are turned in by Ward Bond as a crooked
sheriff who becomes regenerated, and by Mary Murphy as
his spirited daughter. Despite his occupation with the direc-
torial work, Milland, too, comes through with an excellent
performance as a notorious gunman who is wrongly accused
of mass murder. The exterior backgrounds, enhanced by the
fine Trucolor photography, are a delight to the eye: —

While stumbling across the Arizona desert after shooting
his injured horse, Ray Milland, a notorious gunman, comes
upon six dead victims of a stage holdup. He takes one of the
stagecoach horses and rides to the town of Mesa, where he
is suspected of the mass murder and forced to shoot a deputy
sheriff in order to avoid arrest. He escapes into the open
alley entrance of the local bank, where he overhears Ray
mond Burr, the town's banker, discussing the division of the
holdup loot with several henchmen. A false step betrays Mil'
land's presence and shooting follows. He again escapes and
this time finds refuge in the basement of a house nearby,
which proves to be the home of Ward Bond, the sheriff, who
was ill with yellow fever. The contagious disease makes the
house a sanctuary for Milland. He is discovered by Mary
Murphy, Bond's daughter, who is frightened of him at first
but agrees to keep him hidden when he convinces her of his
innocence. In due time Bond recovers from his illness and
both he and the townfolk learn of Milland's presence in his
home. Bond prevents a lynching and prepares to bring Mil'
lnad to trial, despite Mary's objections. Mary, learning that
Bond was in the pay of Burr, threatens to expose him. Bond,
now convinced that Milland is innocent, permits him to
escape. As a result, the townfolk, aroused by Burr, decide to
lynch Bond. Milland, who had feared such a happening, re
turns to town and, at gunpoint, stops the lynching and ex-
poses Burr as the man responsible for the mass murder, a fact
that is confirmed by one of Burr's disgruntled henchmen.
Burr starts shooting and is killed in a fast exchange of bul-
lets. It all ends with Milland deciding to settle down to a
peaceful life in town with Mary as his wife.

The screenplay was written by John Tucker Battle from a
story by Mort Briskin. No producer credit is given.

Family.

"Killer's Kiss" with Frank Silvera, Jamie Smith
and Irene Kane

(United Aritists, no rel. date set; time. 67 min.)
This low-budget suspense melodrama is virtually a one-
man production job in that it was written, directed, photo-
graphed and edited by Stanley Kubrick, who also co-pro-
duced the film with Morris Bousel. Although it has some
good touches here and there, the overall result is not a happy
one, and the best that may be said for it is that it deserves no
better spot than the lower half of a midweek double bill in
secondary situations. Its story about a small-time prize-
fighter who saves a taxi dancer from the unwelcome advances
of her bestial employer is familiar in theme, amateurish in
treatment and definitely lurid in a number of situations. The
players are generally unknown to movie audiences, but their
acting is fairly competent. Most of the photography is in a
low key and ranges from good to poor. There are, however,
some outstanding shots of New York's lower East Side at
dawn.

Jamie Smith, an unsuccessful boxer, is awakened by the
hysterical cries of Irene Kane, his neighbor in a New York
apartment building, and sees her struggling with Frank Sil-
vera, her boss. He dashes to her apartment, only to find her

dazed on the floor and Silvera gone. She explains that Silvera
is a rejected suitor, and that she had become involved with
him as a taxi dancer in his cheap dance hall after an unhappy
family experience. Their heart-to-heart talk about each
other's troubles leads to love, and they decide to get married
and return to Smith's home in Seattle. Smith arranges to meet
his manager that night in front of the dance hall to cash the
check from his last fight, while Irene visits Silvera to pick
up the salary due her. Silvera, furious when he is unable to
induce Irene to remain with him, orders two of his thugs to
go downstairs and give Smith a beating. The thugs grab
Smith's manager by mistake, force him into an alley and
beat him to death. When the manager fails to show up,
Smith and Irene return to their respective apartments to
pack their belongings. In a swift series of events, Smith finds
that Irene had disappeared from her apartment, and that the
police suspected him of his manager's murder. He rushes to
the dance hall and, at gunpoint, forces Silvera to take him to
a warehouse where he and his thugs were holding Irene cap-
tive. Smith is overpowered by a trick but escapes by leaping
through a window. A wild chase ends up in a mannequin
factory where Smith emerges victorious after a furious battle
with the thugs, who are apprehended by the police. It ends
with Smith and Irene heading for Seattle and a new life
together. Strictly adult fare.

"Duel on the Mississippi" with Lex Barker
and Patricia Medina

(Columbia, October; time, 72 min.)

This melodrama, which has been photographed in Techni-
color, offers plentiful physical action, but its is short on situa-
tions with emotional appeal. As a result, the picture remains
an indifferent entertainment. The story is based mainly on
intrigue and unfolds in the 1820's, when imprisonment for
debt was prevalent, but it is doubtful if the subject matter
will appeal to present-day audiences. The romance is between
a low-born Creole girl and the son of a Southern aristocrat.
The principal players and the supporting cast act well, but
the director was handicapped by weak story material. Al-
though the color photography is good, it adds little to the
entertainment values: —

Faced with bankruptcy when raiders make off with the en-
tire crop of his Louisiana sugar plantation, John Dehner
hopes to save himself by obtaining an extension of time for
payment of a $30,000 note. But Patricia Medina, a low-born
Creole girl who had bought the note, resents Dehner's su-
perior manner and refuses to extend the note in revenge
against class-conscious aristocrats who would not accept her
as an equal. Dehner is sentenced to debtor's prison and, to
save him, Lex Barker, his son, offers to accept any terms.
Patricia, seeing another opportunity to humble the proud,
consents to have Dehner freed when his son agrees to be
her servant for a period of three years. Suspecting that War-
ren Stevens, Patricia's suitor, led the plantation raid, Barker
slaps him and is promptly challenged to a duel. The duel is
stopped by Patricia when both men draw blood, but her ob-
vious concern over Barker's safety convinces Stevens that she
had fallen in love with him. Determined to avenge himself,
Stevens, by shrewd financial manipulations, gains a half in-
terest in a gambling ship operated by Ian Keith, Patricia's
father, and proceeds to staff it with his underlings. His
crooked policies provoke a fight that involves both Barker
and Patricia and lands them both in jail, where the two
pledge their undying love. On the following morning,
Stevens bails out Patricia only and makes her his captive, but
she manages to escape and join Barker, who by this time
had gained his freedom. In the events that follow, Stevens
and his henchmen set out on another plantation raid, and
Barker and Patricia join forces to stop him. This leads to a
series of intrigues and fights that end with Barker killing
Stevens in a batttle to the death while his henchmen are
routed. The happy ending has the low-born Creole girl and
the aristocrat planning to wed.

It is a Clover production, directed by William Castle from
a story and screenplay by Gerald Drayson Adams.

Family.

September 24, 1955

HARRISON'S REPORTS

155

"Blood Alley" with John Wayne
and Lauren Bacall

(Warner Bros., Oct. 1; time, 115 mm.)

CinemaScope, WarnerColor and the marquee value of
the stars' names should help this adventure melodrama con-
siderably at the box-office. As an entertainment, however,
its story about an American sea captain who helps the
entire population of a Chinese village to escape from the
Chinese Reds probably will be limited in appeal to undis-
criminating movie-goers who like plentiful action and who
are not too concerned about a far-fetched plot. Although
much excitement is whipped up by the adventures of the
hero and the Chinese natives as they make their way through
"Blood Alley"— the Formosa Straits — on an ancient ferry
boat, the situations are generally unbelievable and illogical,
particularly in regard to the ease with which they escape
the deadly fire of Red Chinese gunboats and planes. The
characterizations are stereotyped and the acting is compe-
tent enough if one takes into consideration the handicaps
of the story material. The action is slow in a number of
spots and its running time is much too long for what the story
has to offer. The production values and photography are
first-rate: —

Languishing in a Red Chinese jail, where he had been
thrown by the Communists after the defeat of the Nation-
alist government, John Wayne, an American merchant ma-
rine captain, finds himself liberated by unknown friends
who arrange his escape. Before long he learns that his
benefactors are the people of a small Chinese village, 180
strong, who had tired of Communist treatment and sought
to escape to Hong Kong and freedom. To accomplish this,
they planned to seize an antiquated ferry boat and wanted
Wayne to pilot the ship through "Blood Alley." Wayne
looks upon the idea as pure folly, but the daring of the
villagers stirs his adventurous spirit, and the blow it would
be to Communist prestige intrigues him. He agrees to go
along with the scheme and, after he and the villagers suc-
ceed in seizing the ship, all board it with personal belong-
ings and food and set off for Hong Kong. Among the pas-
sengers is Lauren Bacall, daughter of a missing American
doctor, who believed that her father had not been molested
because the Reds needed doctors, but who joined the escape
plan after learning the bitter truth about his death. Guided
by Wayne, the flat bottom ferry boat narrowly escapes
detection by running by night and hiding by day in un-
charted inlets along the coast. At one point they are trapped
by a Red destroyer and bombarded, but Wayne escapes the
attack by guiding the ship through shallow water and a
heavy fog. Despite further attacks and a shortage of food
and fuel, Wayne ultimately succeeds in bringing the ship
to Hong Kong, thus earning the undying gratitude of those
who were rescued from Communist domination. He wins
also Lauren's love and admiration.

It is a Batjac production, directed by William A. Well-
man from a screenplay by A. S. Fleischman, based on his
own novel.

Best suited for adults because of an attempted rape
sequence.

"Count Three and Pray" with Van Heflin,
Joanne Woodward and Raymond Burr

(Columbia, October; time, 102 mm.)

A neat balance of drama, suspense, action and light com-
edy is offered in "Count Three and Pray," which should
make a favorable impression on the general run of audiences.
Photographed in CinemaScope and Technicolor, it is an off-
beat story of post-Civil War days, centering around a rugged
Southerner who returns to his home town after fighting for
the North and meets stiff opposition from his neighbors, who
considered him to be traitorous, when he tries to restore a
demolished parsonage and become the town's preacher. Van
Heflin does outstanding work as the Southerner who deter-
mines to bring religion to the town, despite everyone's
knowledge of his bawdy past, but the surprise of the picture
is Joanne Woodward, a newcomer, as a rugged and spirited
'teen-aged orphan who gets into his hair and eventually wins
his heart. The story is warmly human in many of the situa-
tions, and it offers a fair share of physical thrills in the se-
quences where Heflin is goaded into using his fists by the
town's hooligans. Raymond Burr, as a hateful man of means;
Allison Hayes, as a spiteful and once-wealthy young woman
who cannot win Heflin's love; and Jean Willes, as a good-
hearted "madam" who enlists the aid of her girls to back up

Heflin's church-building project, figure importantly in the
proceedings. The direction is fine, and so is the color
photography: —

Returning to his village after the Civil War, Heflin finds
himself despised as a traitor because he fought for the North.
He makes his way to the village church, now a war ruin,
and finds the abandoned parish house occupied by Joanne,
a ragged, barefoot orphan, who had survived like a wild ani-
mal in the wake of the war, and who threatens to shoot him
if he doesn't get off "her property." A stern threat from
Heflin quiets her down, and he makes it clear that he
planned to share the parish house with her while he rebuilds
the church. Heflin's disclosure that he had become a parson
and would rebuild the church does not please some of the
townfolk, particularly Raymond Burr, the village's mean-
minded storekeeper, who was symbolic of the social revolu-
tion that had hit the South; he was now the town's only man
of substance, courted even by the land-owning class who had
once considered him as "trash." Despite the obstacles thrown
in his way by Burr, who was determined to drive him out of
town, and despite wagging tongues regarding his innocent
relationship with Joanne, Heflin, aided by Phil Carey, an ir-
reverant but friendly lumber dealer, obtains the necessary
materials to build his church and wins over the decent ele-
ment in town. In a final effort to get rid of Heflin, Burr en-
lists the aid of Allison Hayes, his mistress, whom Heflin had
spurned, to frame Heflin in a situation where she is found in
his bed. Official charges are made, and Robert Burton, the
regional bishop, conducts a hearing. Things look bad for
Heflin until the bishop questions Joanne. Her naive answers
make it clear that Heflin was not only the victinm of a
frame-up but that he had dedicated himself to the task of
filling the community's spiritual needs. The bishop is shocked
when he learns that Heflin is not an ordained preacher and
that he was unaware of the requirement, but he arranges to
take care of that detail and informs the townfolk that he fully
approves of Heflin. The hullabaloo brings Heflin to the reali-
zation that he had fallen in love with Joanne, and she, aware
of his feelings, quickly sees to it that the bishop joins them
in marriage.

It was produced by Ted Richmond, and directed by
George Sherman, from a story and screenplay by Herb
Meadow.

Family.

"Hold Back Tomorrow" with John Agar
and Cleo Moore

(Univ.-Int'l, J^ovember; time, 75 min.)
The consciences of those in the Johnston office who have
charge of approving stories and granting production code
seals must have taken innumerable tumbles and somersaults to
induce them to pass this story. It deals with a convicted man
who, on the eve of his execution, is granted a last request —
a woman to comfort and amuse him in his final hours. Al-
though the warden conveniently supplies him with a woman,
nothing, of course, happens physically, but the very thought
of the request should prove repulsive to most of those who
will see it. To say that the acting is good cannot excuse the
theme, which is best suited for those theatres that specialize
in sensational exploitation methods. Most of the action cen-
ters on the dialogue between the convict and the girl. The
photography is just as somber as the theme: —

Awaiting execution in a death cell, John Agar, a convicted
killer, is so bitter that he even refuses to see Steffi Sidney,
his sister. Dallas Boyd, the prison warden, informs Agar that
he will be supplied with anything he wants, as is customary
on the last night on earth for those who are to be executed.
At first, Agar refuses anything and everything, but he re-
lents at the last minute and requests that he be supplied with
a woman. The warden is shocked by the request, but de-
cides to fulfill it in the belief that he has no way out. He
sends two of his representatives out to find a woman who
would be willing to spend the night with Agar, and they
come across Cleo Moore, a despondent girl, who had just
been dragged out of the sea after an attempt to drown her-
self. She accepts the proposition that is made to her and is
taken to Agar's cell. The two talk all through the night and,
as dawn approaches, they find that they had fallen in love
with each other. Before he is led to the gallows, Agar asks
that he and Cleo be married. Frank de Kova, the priest,
complies with the request after much hesitation. The closing
scene finds Agar heading lor the gallows while Cleo prays.
It was produced, directed and written by Hugo Haas.
Not for family audiences.

156

HARRISON'S REPORTS

September 24, 1955

on the license fee or other terms and conditions of license . . .

"The proposed licensees' only redress, in case the parties
are unable to get together, would be to complain to the
Department of Justice in hopes it would institute contempt
proceedings. In the event of such proceedings, the issue
would be Republic's good faith. It would add up to com-
pulsory arbitration of film rentals by public authority which,
I should think, would be infinitely more objectionable than
the voluntary arbitration which the film companies spurn.
GOVERNMENT AND OTHER ELEEMOSYNARY
INSTITUTIONS

"The decree is not limited to furnishing pictures for
television. Under the term 'Government outlets' it relates
to the Armed Forces, Veterans' Hospitals, Red Cross and
USO. Under 'other outlets' it relates to all places at which
16 mm. pictures are shown, such as roadshowmen, hotels,
clubs, merchant free shows, schools, churches, charitable
organizations, etc. The provision relating to these outlets,
Sec. 14, provides as follows:

" 'Said defendants are ordered and directed to license or
offer for licensing in good faith during each calendar year
... to Government and other outlets 80% of the number of
feature films available for 16 mm. exhibition which were
released for 35 mm. national theatrical exhibition . . .
during the second preceding calendar year.'

"Comments on this and other features of the decree
would consume many pages and it is thought advisable to
wait for the questions which will undoubtedly arise in
members' minds and answer such of them as are of interest
and importance.

WHAT WILL THE OTHER DEFENDANTS DO?

"While the decree may not be too important in its appli-
cation to Republic, it would lead to serious consequences
if applied to other companies — not only to exhibitors, but
the companies also.

"As of this time, I believe it is the purpose of the remain'
ing defendants to remain in and oppose the case. The basis
of this belief will be communicated to Allied leaders in a
separate note."

"The Tall Men" with Clark Gable,
Jane Russell and Robert Ryan

(20th Century-Fox, Oct. pre-release; time, 122 win.)
A sure-fire combination of entertainment as well as mar-
ketable elements is offered in this super-Western, which
should go over very well with the rank-and-file movie-goers.
From the marketable point of view, there are such impor-
tant elements as magnificent outdoor scenery, enhanced by
CinemaScope and beautiful DeLuxe color photography, and
the undeniable drawing power of Clark Gable, Jane Rus-
sell and Robert Ryan. From the entertainment point of view,
it has an interesting and exciting story, tense suspense, thrill-
ing action sequences, above-average romantic interest, good
touches of comedy and attention-holding characterizations.
Gable, handsome as ever, is ideally cast as the virile and
quietly courageous hero of the piece, as is Miss Russell as
a rugged and vivacious young woman who has her roman-
tic ups and downs with Gable but finally snares him in the
end. Robert Ryan, too, is fine as the shrewd and cool villain,
and Cameron Mitchell offers an interesting characterization
as Gable's younger and uncontrollable brother. The dialogue
is very good and frequently humorous. A number of the
situations are spectacularly thrilling, such as the scenes of
a vast cattle herd; a vicious battle with hostile Indians, who
are defeated by a stampede of the herd through their ranks;
and a short but deadly fight with a band of outlaws who
attempt to place a tax on the herd for passing through
Kansas. All in all, it is an impressive piece of screen enter-
tainment and will undoubtedly prove to be a top box-office
attraction.

Set in 1867, the story has Gable and Mitchell, Texans
and veterans of Quantrell's raiders, riding into the frontier
town of Mineral City, Montana, with robbery on their minds.
They go to a local saloon and select as their victim Robert
Ryan when they see him put a large sum of greenbacks in
a money belt. The brothers corner Ryan in a dark stable,
relieve him of the money belt and force him to accompany
them out of town to prevent him from setting the vigilantes
on their trail. Ryan informs Gable that he had drawn the
$40,000 stolen from him to buy cattle in Texas and to drive
them 1500 miles to Montana, where the cattle was in great
demand and would bring a high price. He offers to make
Gable and Mitchell his partners if they would undertake to
manage the cattle drive, and they accept the proposition.

The three then head for Texas and, en route, get a preview
of the hazards to be faced in driving the cattle back North.
During the trek, Gable rescues Jane Russell, lone survivor
of a small party of emigrants who had been wiped out by
Indians. A romance buds between them, but it hits a rocky
road when he loses patience with her because of her ambi-
tions of wealth and a life of ease as opposed to his dream
of settling down on a ranch. When they reach San Antonio,
Gable concentrates on buying cattle and organizing cow-
hands for the drive, while Jane finds a willing suitor in Ryan,
who obliquely offers to fulfill her dream of wealth and power
if she sticks with him. Ryan takes her along on the drive,
despite Gable's objections. The trek North is marked by
many problems, the most formidable being an encounter
with Union guerrillas who are routed when they attempt
to tax the vast herd, and a fierce battle with Sioux Indians,
who had murdered Mitchell. The trip is also marked by
good-natured friction between Gable and Jane , but it could
not cover up the fact that both were more in love than ever.
The cattle herd eventually reaches Montana alter overcom-
ing the many obstacles, but when it comes to the payoff
Ryan tries to doublecross Gable by attempting to have him
arrested for robbing him months previously. Gable, having
anticipated such a move, gains control of the situation with
the aid of his loyal cowhands. He then sees to it that the
cowhands receive the bonus he had promised them, and col-
lects his own rightful share of the profits. He heads back to
his camp resigned to the belief that Jane will marry Ryan,
but he is delighted no end when he finds her waiting for him.

It was produced by William A. Bacher and William B.
Hawks, and directed by Raoul Walsh, Irom a screenplay by
Sydney Boehm and frank Nugent, based on the novel by
Clay Fisher. Suitable for the family.

"Bengazi" with Richard Conte,
Victor McLaglen and Mala Powers

(RKO, September; time, 79 mm.)

An ordinary adventure melodrama of program grade. Set
in post-war North Africa, and centering around under-
world characters who attempt to steal a fortune in gold
buried in the desert by Arab tribes during the war, the
story is synthetic and the characterizations stereotyped and
unbelievable. Moreover, the pace is slow and moody and,
though there is considerable firing of guns, there is hardly
any physical action. The players are competent, but the
inadequacies of the script do not permit them to impart any
realism to their respective roles. At best, it will serve as a
mild supporting feature in small-town and neighborhood
situations. The black-and-white photography, in Super-
Scope, is good: —

Briefly, the rambling story has Victor McLaglen and Rich-
ard Conte, owners of an underworld bistro in Bengazi,
stealing a lorry from a British supply depot so that they
could use it to transport them to an old desert mosque,
where a gold treasure had been buried by desert tribes
during the war. Set to accompany them is Richard Erdman,
a paroled convict, who knew the location of the mosque.
Pochard Carlson, a British inspector, suspects that McLaglen
and Conte had stolen the lorry but he is unable to get any
evidence against them. On the eve of the trip into the desert,
Mala Powers, McLaglen's daughter, whom he had not seen
in 15 years, arrives unexpectedly from Ireland. McLaglen
drools sentimentally over the girl and tells her that Conte
had forced him into a life of crime. She openly despises
Conte, who does not defend himself against McLaglen's
false accusation. Carefully eluding the police, McLaglen,
Conte and Erdman dash out of Bengazi in the stolen lorry
and make their way across the desert to the mosque. Shortly
after they arrive, Erdman is murdered by desert tribesman
who also make off with the lorry, leaving McLaglen and
Conte beseiged. Meanwhile Carlson learns from Mala of
the treasure-hunting trip and sets out with her in a police
plane to search the desert. They find the mosque and land
nearby. The tribesmen immediately set the plane on fire
and they, too, find themselves trapped in the mosque. In
the events that follow, McLaglen is killed and Carlson is
wounded. To save Mala and Carlson, Conte, who had found
the gold, risks his life to return it to the tribesmen in ex-
change for his companions' safety. This brave act makes
Mala realize her love for Conte, while the appreciative Carl-
son promises not to prosecute him if he will leave North
Africa.

It was produced by Sam Wiesenthal and Eugene Tevlin,
and directed by John Brahm, from a screenplay by Endre
Boehm and Louis Vittes, based on a story by Jeff Bailey.

Unobjectionable for the family.

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.

Harrison's Reports

Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by

United States $15.00 xt Vm|, on M Y Harrison's Reports, Inc.,

U. S. Insular Possessions. 16.50 Wew 1 orK X" Publisher

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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXXVII SATURDAY, OCTOBER 1, 1955 No. 40

THE ARBITRATION PLAN

Agreement on a final draft of an all-industry arbi-
tration and conciliation plan was finally announced
this week by the joint exhibitor-distributor committee
that was set up more than sixteen months ago to
develop such a program.

The committee has submitted copies of the 65'
page draft to each of the distributing companies and
exhibitor organizations that participated in the arbi-
tration conference, which was held in New York in
May, 1954. If the plan is approved by them, it will
then be submitted for approval to the U.S. Depart-
ment of Justice and to the Federal Court, following
which it would be put into operation as soon as possi-
ble.

Besides the distributor members of the Motion Pic-
ture Association of America, the exhibitor organiza-
tions represented in the negotiations include the
Theatre Owners of America, Southern California
Theatre Owners Association, Independent Theatre
Owners Association, Metropolitan Motion Picture
Theatres Association and the International Drive-In
Theatres Association.

As it is well known, National Allied has declined
to participate in the present eifort to establish an arbi-
tration system because of the distributors' unwilling-
ness to arbitrate film rentals.

An examination of the final draft discloses that it is
essentially the same as the arbitration draft dated
October 17, 1952, which was prepared by the dis-
tributors after the 1952 arbitration negotiations and
which was a modification of the August 21, 1952
draft prepared by a joint exhibitor-distributor draft-
ing committee. It will be recalled that the October,
1952, draft which reflected changes proposed by the
distributors, was rejected by National Allied, not only
because it contained no provision for the arbitration
of film rentals, but also because it did not promise
"direct, immediate and substantial benefit to the
exhibitors."

In a comprehensive analysis of that draft, Abram
F. Myers, Allied's board chairman and general coun-
sel, criticized virtually all its provisions, mainly be-
cause they were either too inadequate to afford proper
remedies, or were written in language so obscure as
to make them subject to different interpretations.

The present draft contains further modifications of
the 1952 draft and, in some instances, these modifica-
tions eliminate provisions that were considered by
Allied to be on the "plus side" in that they could be
of substantial benefit to exhibitors if put in effect.

For example, under the clearance provisions of the
1952 draft, the scope of arbitration covered contro-

versies arising upon the complaint of an exhibitor
that —

"A. a distributor or distributors have agreed with
each other or wth any exhibitor or exhibitors to main-
tain and as a result are maintaining a system of clear-
ances to the detriment of the complainant's theatre."

Under this provision, the arbitrators, if they found
in favor of the complainant, could make an award
directing the distributor to "cease and desist" from
maintaining such system of clearances. This particu-
lar provision, however, has been eliminated from the
present draft.

Modified also in the present draft is the definition
of clearance, which is defined as meaning "the period
of time stipulated in license contracts between runs
of the same feature within a particular area or in a
specified theatre." The 1952 draft defined clearance
in the same way, but included also the waiting time
"which regularly occurs between the prior and sub-
sequent runs in competing theatres in the absence of
any express contract provision describing the same."
This additional wording is eliminated from the clear-
ance definition in the present draft.

Another "plus side" provision that has been elim-
inated concerns the code of fair practices governing
competitive bidding, violation of which would be
subject to arbitration upon the complaint of an ex-
hibitor. The 1952 draft provided, among other things,
that any exhibitor submitting an offer may request in
writing that all offers competitive with his own shall
be revealed to the participating exhibitors (or such as
may care to avail themselves of the privilege) when
and where the same are opened, but before an award
of the picture has been made and at no other time.
This provision is modified in the present draft to the
extent that only the successful offer shall be revealed
within 14 days after there has been an award of the
picture.

A general provision contained in the present draft,
but not included in prior drafts, provides for the
following:

"Two pictures designated during each twelve
months following the effective date of this agreement
by each distributor party hereto as of unusual char-
actre shall be excluded from the provisions of this
agreement. Such pictures in nowise shall be subject
to arbitration until such time as the same are an-
nounced by such distributor for general distribution.
Thereafter the provisions of this agreement shall be
applicable in respect of matters occurring in the
course of such general distribution of the said pic-
tures."

(Continued on pac\ page)

158

HARRISON'S REPORTS

October 1, 1955

"The Deep Blue Sea" with Vivian Leigh,
Kenneth More and Eric Portman

(20th Century-Fox, November; time, 99 min.)
Photographed in CinemaScope and color by DeLuxe,
there is much about this British-made romantic triangle
drama that is effective and intriguing, but since the motiva-
tions of the characters are curiously foggy the overall result
is a dramatic entertainment that is not wholly satisfying,
despite the artistry of the direction and acting. It is the type
of picture that will find its best reception in class situations,
for it is all talk and no action, with the dialogue requiring
constant analyzing in order for one to understand what
makes the characters do what they do. The story is neither
pretty nor stirring, for it centers around the mixed emo-
tions of a cultured woman who leaves her distinguished
husband and sacrifices her dignity and self respect to live
with a younger but irresponsible man, purely out of physical
desire. Vivian Leigh and Kenneth More turn in sensitive
acting jobs as the illicit lovers, and Emlyn Williams is
equally good as the understanding husband, but at no time
do they impress one as being real people. Worked into the
proceedings are some fascinating shots of Soho's colorful
night life: —

The story opens with Vivian found unconscious in a drab
London boarding house after an unsuccessful attempt at
suicide while More, believed to be her husband, is away for
the week-end playing golf. She is revived by Eric Portman,
another roomer and former doctor, who for reasons best
known to himself was not permitted to practice medicine.
Moira Lister, another lodger, discovers that More and Vivian
are not married and that she is really the wife of Emlyn
Williams, a distinguished judge. Moira telephones Williams,
who hurries over to see Vivian, but she refuses to accept his
aid. By flashback, it is then revealed that, one year previ-
ously, she had fallen deeply and illogically in love with
More, a gay but irresponsible ex-R.A.F. flyer, who had per-
suaded her to leave Williams in spite of the fact that he
made to effort to find gainful employment to support her
in comparative comfort, Vivian's love for More remained
overwhelming, but More's ardour had cooled within a few
months and their life together had become unhappy. Neither,
however, had the strength to end the unsatisfactory rela-
tionship. When More returns home and learns of her at-
tempted suicide, he decides that it would be best to leave
her. Vivian, aware of his intentions, searches for him fran-
tically in London's night-club district but to no avail. Wil-
liams, fearing that Vivian will again attempt suicide, begs
her to return to him but without success. Portman finally
takes a hand in the matter and explains to Vivian that her
only hope for a happy life is to break away from More, and
that she, being the stronger of the two, must make the break,
because More was too weak to leave her for good. Portman's
analysis proves to be accurate when More returns and ex-
pects Vivian to beg him not to leave her. Heeding Portman's
advice, she finds the strength to send More away for good.

It is a London Film Production, presented by Alexander
Korda and produced and directed by Anatole Litvak, from
a screenplay by Terence Rattigan, based on his own play.

Adult fare.

"The Treasure of Pancho Villa"
with Rory Calhoun, Shelley Winters
and Gilbert Roland

(RKO, October; time, 95 min.)
Movie-goers who enjoy virile outdoor fare should get
fairly good satisfaction out of "The Treasure of Pancho
Villa," for it has an above-average cast, Technicolor pho-
tography in the SuperScope process, and plenty of action
and suspense. Set in 1914 and centering around a gold
shipment that is stolen for Pancho Villa, the Mexican
revolutionist, but never delivered to him, the story is fanciful
and for the most part weak and unconvincing, but this prob-
ably will make little difference to those who are concerned
more with movement than with story values. The characteri-

zations are colorful, if not believable, and the acting com-
petent enough. There is a romance between Shelley Winters
and Rory Calhoun, but it is unimportant and seems to have
been dragged in by the ear. The closing scenes, where a
dynamite blast causes an avalanche of rock and dirt to bury
the gold and the Federalists, are impressive. Filmed entirely
in Mexico, the picture offers good outdoor scenery and sharp
color photography: —

While Pancho Villa and his forces hide in the wilds of
Northern Mexico to await further financing of the revolu-
tion, Gilbert Roland, one of his officers, ambushes a Fed-
eralist train with a band of guerrillas and makes off with a
shipment of gold to aid their cause. Roland accomplishes
this feat with the aid of Rory Calhoun, an American soldier-
of-fortune, who was especially adept with a machine gun.
Returning to Roland's camp, Calhoun meets Shelley Win-
ters, an American girl, who had joined the cause after her
father's murder by the Federalists. Shelley persuades Roland
and Calhoun to let her go along on a hazardous trip with
the gold to a secret rendezvous with Villa. Shelley falls in
love with Calhoun but resents his cynical assertion that all
he wants from the revolution is the pay for his services.
When Roland finds the party threatened by pursuing Fed-
eralists, he orders Calhoun and Joseph Calleia to take a
number of men and push on with the gold while he and the
main party hold back the Federalists. Things go badly for
Roland when the Federalists attack, but Calhoun returns
with his machine gun in time to stem the tide. They then
head for the rendezvous, where they are taken prisoners by
the traitorous Calleia, who reveals that Villa did not show
up and that he intended to keep the gold for himself and
his henchmen. Calhoun manages to gain control of the situa-
tion with his machine gun and announces that he had de-
cided to keep the gold for himself. He gives Calleia and
his men food and water and orders them to take Shelley to
the coast and safety. He then disarms Roland and a few
faithful followers and compels them to help him escape with
the gold. In the complicated events that follow, Calleia turns
against his own men by delivering them to the Federalists
in return for amnesty. Shelley, however, is released. Calleia
then guides the Federalists to Calhoun, who by this time
had been deserted by all the men except Roland. Both put
up a furious fight, killing Calleia and many of the Federalists
before they run out of ammunition. When Roland is killed,
Calhoun sets off a dynamite charge, which causes an ava-
lanche of earth and rock to engulf the Federalists and the
gold while he makes his way to safety.

It was produced by Edmund Grainger, and directed by
George Sherman, from a screenplay by Niven Busch, based
on a story by J. Robert Bren and Gladys Atwater.

Ethically unsuited for children.

"Lucy Gallant" with Jane Wyman,
Charlton Heston and Claire Trevor

(Paramount, November; time, 104 min.)

A fairly good romantic melodrama, photographed in Vista<
Vision and Technicolor. The story is made up of familiar
pulp fiction ingredients, rarely strikes a realistic note and
offers few surprises, but it holds one's interest throughout
because of the competent direction and acting, as well as the
colorful setting of a modern-day Texas boom-town. While
the picture should prove acceptable to the general run of
audiences, it undoubtedly will have a particular appeal for
women, not only because of the career-versus-marriage theme,
but also because it offers a fabulous fashion show of the
latest in up-to-date clothes. The one jarring note in the
picture is the blatant advertising plugs given to TWA
(Trans-World Airlines) in several of the scenes. Since
these plugs add nothing to the story and could be eliminated,
it is quite obvious that their insertion has been deliberate.
Exhibitors who object to their screens being appropriated
in this fashion should use their scissors: —

Traveling West in 1940, Jane Wyman looks forward to
an uncomfortable delay when her train is stalled in a wash-

October 1, 1955 HARRISON'S REPORTS 159

out near New City, a booming oil town in Texas. Charlton
Heston, a husky rancher, comes to her aid and finds a room
for her in a boarding house operated by Thelma Ritter and
Wallace Ford, her husband. On the following day, Jane
notices the dowdily-dressed women in town admiring her
smart clothes. Being short of funds, she quickly sets up shop
in an empty store and sells her wardrobe at a big profit to
the clothes-hungry wives of the newly rich. She then talks
William Demarest, the local banker, into lending her money
to establish a fashion house, which she builds into a flourish-
ing business with the aid of Claire Trevor, owner of a "house
of pleasure." Meanwhile a romance develops between Jane
and Heston, but nothing comes of it because of his insistence
that she give up her career to become his wife. With the
advent of World War II, Heston joins the Air Force. He
returns several years later and finds that the town had ex-
panded considerably, that his old friends are rolling in
wealth, and that Jane had become more prosperous than
ever. They renew their romance, but it remains a stalemate
because of her refusal to give up her career. Jane finds her-
self faced with disaster when her shop is destroyed by fire
and Demarest hesitates to finance the building of a larger
and finer store. Heston, who had just struck oil on his prop-
erty, secretly induces Demarest to grant her the loan, in
spite of the fact that her further success would serve only
to widen the rift between them. He then goes abroad for a
wild fling and, upon his return, learns that she is about to
lose the store because of inability to meet the bank note.
He again steps in secretly and saves the situation, but this
time she finds out that he is her benefactor. She then real-
izes her love for him and gladly gives up her career to be-
come his bride.

It was produced by William H. Pine and William C.
Thomas, and directed by Robert Parrish, from a screenplay
by John Lee Mahin and Winston Miller, based on a novel
by Margaret Cousins.

Family.

"Tennessee's Partner" with John Payne,
Ronald Reagan, Rhonda Fleming
and Coleen Gray

(RKO, September; time, 87 win.)

Tense, tightly written, swiftly paced and replete with
exciting action, "Tennessee's Partner" is an engrossing melo-
drama, based on Brete Harte's classic story of the same
name and photographed in SuperScope and Technicolor.
Set in the California gold-rush days and centering around
the close friendship that develops between a naive cowpoke
and a shrewd but well-meaning gambler, the story grips one's
interest throughout, thanks to the expert direction of Allan
Dwan, who got the utmost out of the story's many exciting
and suspenseful scenes. The acting is very good, with color-
ful characterizations delivered by John Payne, as the smooth
but tough gambler; Ronald Reagan, as the selfless but rugged
cowpoke; Rhonda Fleming, as owner of a plush establish-
ment where well-heeled customers can either gamble or enjoy
the company of pretty hostesses; and Coleen Gray, as a gold-
digger whose attempt to play Reagan for a "sap" is thwarted
by Payne. Although it is essentially a serious story, there
are good touches of comedy here and there to relieve the
tension. The production values capture the flavor of the
lusty period, and the color photography is fine: —

Payne, who gambled in Rhonda's place and shared his
winnings with her, wins heavily from John Mansfield, a
prospector, who accuses him of cheating. Mansfield waylays
Payne and is about to shoot him when Reagan, a stranger
who had just arrived in town, intervenes and kills him.
Both Payne and Reagan are jailed for murder but are re-
leased when Rhonda and her girls testify that the shooting
was in self-defense. The two men become firm friends, and
Payne looks forward to meeting Reagan's sweetheart, who
was coming to town to marry him. Payne conceals his shock
when she proves to be Coleen Gray, one of his former flames,
whom he knew to be no good. To save Reagan from an

unfortunate marriage and to recover the $5,000 bankroll
Reagan had placed in her trust, Payne makes a play for
Coleen and persuades her to run away with him, but he
leaves her stranded in Sacramento after relieving her of
Reagan's money. Payne's action is misunderstood by Rhonda,
who thinks that she had been jilted, and by Reagan, who
vows to shoot him on sight. Reagan turns to prospecting and,
while digging ore, helps Chubby Johnston, an old-timer
staked by Payne, to map out a gold strike he had discovered.
Payne returns to town just as the old-timer passes out from
too much celebrating. He puts him to bed in his room and
then sets out to see Reagan and square himself. Reagan gives
Payne a savage beating before he can explain, and is filled
with remorse when he learns the truth about Coleen. Mean-
while the old-timer is found beaten to death and Payne is
arrested for the murder. When the map of the old-timer's
gold claim is found stolen, Reagan realizes where the real
murderer could be located. He helps Payne to break out of
jail and guides him to the claim, where they trap Anthony
Caruso, a local gambler, as he tries to change the marker.
In the ensuing gunfight, Reagan sacrifices his life to save
Payne, who in turn kills Caruso. His innocence established,
Payne marries Rhonda and heads for San Francisco to start
a new life with her.

It was produced by Benedict Bogeaus, and directed by
Allan Dwan, from a screenplay by Milton Krims and D. D.
Beauchamp.

Unobjectionable morally.

"Fort Yuma"
with Peter Graves and Joan Vohs

(United Artists, October; time, 79 min.)
Routine program fare is served up in this Indian-versus-
U.S. Cavalry melodrama, which has been photographed in
Technicolor. The magnificent mountain and desert scenery,
as well as some scenes of stiff fighting between the Indians
and the Cavalry troopers, are the only worthwhile features
that it has to offer. The trouble with the story is that it
lacks unity. It is just a string of situations, some of them
dragged in by the ear, that have been put together in the
hope of causing thrills. No one in the cast means anything
at the box-office, but the acting adequately meets the de-
mands of the ordinary script. The color photography is
good: —

When an Apache chief is shot dead by a furious settler
as he comes to Fort Yuma to sign a peace treaty, Abel Fer-
nandez, his son, bitterly vows revenge and determines to
capture the fort. Meanwhile a military column, headed by
Apache-hating Peter Graves, sets out for the fort with
ammunition and reinforcements. Graves does not trust Sgt.
John Hudson, an Apache scout assigned to his column,
even though he was the brother of Joan Taylor, a beautiful
Apache maiden, with whom Graves was secretly in love.
Accompany Graves' column to Fort Yuma is Joan Vohs, an
attractive missionary, who planned to teach there. En route
the column is attacked by the Apaches and both sides suffer
heavy losses. Miss Taylor is killed during the battle, and
dies in Graves' arms. The Indians strip the dead troopers
of their uniforms, don them and head for Fort Yuma dis-
guised as a Cavalry troop. They planned to approach the
fort undetected and to blow up the entrance by setting fire
to a captured ammunition wagon. Aided by Hudson, who
had proved his loyalty, Graves races after the Apaches to
head them off before they reach the fort. He manages to
get a warning through in time and, while the troopers wipe
out the Indians in a fierce battle, he disposes of their young
chief in a hand-to-hand struggle. On the following day,
Graves puts a crude marker on Miss Taylor's grave and
rides away.

Howard W. Koch produced it for Aubrey Schcnck, and
Lesley Selander directed it from a story and screenplay by
Danny Arnold.

Adults.

160

HARRISON'S REPORTS

October 1, 1955

From the modifications cited, it appears as if the
present arbitration draft offers even less to the ex'
hibitors than the earlier drafts. Whether or not it
will be approved by the exhibitor organizations to
which it has been submitted for study remains to be
seen. If it is accepted by them, there is a question as
to whether or not it will be approved by the Depart'
ment of Justice in view of the fact that National
Allied, which represents nearly half the organized
exhibitors in the country, will not be a signatory to
the agreement.

Finally, even if the plan is approved by the Depart'
ment of Justice, it is doubtful if the arbitration system
will be meaningful and workable without Allied's
participation.

MORE ON INDISCRIMINATE SELLING TO
BOTH TV AND THEATRES

According to a report in the September 28 issue of
Motion Picture Daily, Budd Rogers, the producers'
representative, has acquired from the Bank of Amer'
ica theatrical distribution rights to a package of sixteen
feature pictures, which the bank possessed through
foreclosure and which have been shown on television.

The pictures were acquired in April, 1954, by
General Teleradio in a 30-feature film deal for TV
distribution and have appeared on WOR-TV's "Mil'
lion Dollar Movie" in New York City. They no
doubt have been or will be shown in other TV
markets.

Rogers who will distribute the pictures as reissues
through franchise holders, said that they include
"Arch of Triumph," "Caught," "One Touch of
Venus" and "Mr. Peabody and the Mermaid." The
twelve other pictures acquired by Rogers are not
identified, but they are the same as contained in the
banks 30-feature deal with General Teleradio.

The remaining 14 pictures of the 30 are being dis'
tributed theatrically by Favorite Films, according to
Peter Geiger, New York representative of the Bank
of America, which retains ownership of the pictures.

Thus, in addition to the ones already mentioned,
the films that will be or are being distributed thea-
trically by Budd Rogers and Favorite Films, and at
the same time have been or are being distributed to
television by General Teleradio, include the follow-
ing:

"Casbah," "The Countess of Monte Cristo,"
"Dark Mirror," "Double Life," "Letter from An
Unknown Woman," "Lost Moment," "Secret Beyond
the Door," "The Senator Was Indiscreet," "Body and
Soul," "The Other Love," "The Private Affairs of
Bel Ami," "Ramrod," "So This is New York," "The
Fabulous Dorseys," "Four Faces West," "Let's Live
a Little," "Northwest Stampede," "Ruthless," "The
Scar," "Force of Evil," "No Minor Vices," "Magic
Town," "The Miracle of the Bells," "Lulu Belle" and
"Macbeth." Most of the films are from six to seven
years old.

Since the pictures listed are being sold indiscrim-
inately to both television and the theatres, the ex'
hibitor who contemplates booking any of them would
be wise to investigate whether or not they have been
televised in his immediate area and, if not, when
they will be, if at all. Such precautions will save you

the embarrassment of booking a picture for which you
will charge an admission price but which may be seen
on television free of charge, either while you are
playing it or shortly after you have played it.

If the salesman assures you that a particular picture
has not been shown on TV and will not be shown
until long after you have played it, make him guar-
antee it by writing it into the contract.

HOW HIGH IS UP?

What may be considered an effective reply to the
TOA assertion that it is receiving encouraging reports
of an easement of film selling policies is contained in
the following remarks of Bob Wile, executive secre-
tary of the Independent Theatre Owners of Ohio,
who had this to say in a current bulletin under the
above heading:

"While grosses continue to slip and distributor
profits rise, there are some in our industry who think
all is right with the world and that this organization
and National Allied should just cuddle up to the dis-
tributors and say, Thanks for all the promises.

"Well, here's the box score as it stands now, com-
pany by company.

"MGM— Guys and Dolls' — 90% of the gross re'
ceipts and no advertising off the top.

"Fox — The Tall Men'— No definite figures on this
one but the noises being made by exchange managers
sound like high terms.

"Paramount — 'White Christmas' (2nd time
around) 40%. 'Strategic Air Command' 50% (there
have been lower deals on this one, though) . 'To Catch
a Thief 50%.

"United Artists — 'Not As a Stranger' 50%.
"Buena Vista — 'Lady and the Tramp' 50%.
"Universal — 'To Hell and Back' 50% with a dou-
ble weekend.

"So you wait a while saying you can't pay those
terms and when they have another 50% picture lined
up they'll come down to 35% on this list and you'll
pay it long after the initial publicity build-up has
worn off. You don't do business and you go back to
them and complain and they tell you they adjusted
it before they sold it to you.

"We don't think that makes sense. At the Chicago
convention, November 7-8-9, they are going to dis-
cuss this subject and mince no words either. Will you
be there? There may be honest differences of opinion
on how the situation should be handled but unless
each person who has an opinion voices it, it will be
impossible to ascertain how people feel.

"The distributors complain that every one wants
to move his run up. Of course, he does, because he
knows that pictures lose their impact fast these days.
But by the same token, they charge just as much for
the pictures second run as first run. It is only after 60
days or so that they come down.

"There is bidding going on in several situations in
this state. And the bidders are in some cases bidding
not for first run, but for second. So they are paying
as much for second run as they would for first. All
right, you say, that's because they're bidding. But
there are plenty of negotiated deals where the price
is just as much for second run as for first run. When
you pay 50% for a picture, do you think first runs
are paying more? In many cases it is less."

IN TWO SECTIONS— SECTION TWO

HARRISON'S REPORTS

Vol. XXXVII NEW YORK, N. Y., SATURDAY, OCTOBER 1, 1955 No. 40

(Partial Index No. 5 — Pages 134 to 156 Inclusive)

Titles of Pictures Reviewed on Page

Bar Sinister, The— MGM (88 min.) 138

Bengasi— RKO (79 min.) 156

Big Knife, The — United Artists (111 min.) 150

Blood Alley— Warner Bros. (115 min.) 155

Case of the Red Monkey— Allied Artists (73l/2 min.) . 135

Count Three and Pray — Columbia (102 min.) 155

Desperate Hours, The — Paramount (112 min.) 150

Devil Goddess — Columbia (70 min.) 143

Divided Heart, The— Republic (89 min.) 134

Duel on the Mississippi— Columbia (72 min.) 154

Footsteps in the Fog — Columbia (89J/2 min.) 138

Gentlemen Marry Brunettes —

United Artists (97 min.) 151

Girl Rush, The— Paramount (85 min.) 134

Hold Back Tomorrow — Univ.-Int'l (75 min.) 155

Illegal— Warner Bros. (88 min.) 142

It's Always Fair Weather— MGM (102 min.) 139

Killer's Kiss — United Artists (67 min.) 154

Kiss of Fire— Univ.-Int'l (87 min.) 138

Lay That Rifle Down — Republic (71 min.) 142

Left Hand of God, The— 20th Century-Fox (87 min.) .139

Man Alone, A — Republic (96 min.) 154

My Sister Eileen— Columbia (108 min.) 147

Night Freight — Allied Artists (79 min.) 135

Seven Cities of Gold — 20th Century-Fox (103 min.) . . 151

Shadow of the Eagle — United Artists (93 min.) 142

Simba — Lippert (99 min.) 143

Tall Men, The— 20th Century-Fox (122 min.) 156

Warriors, The— Allied Artists (75 min.) 148

RELEASE SCHEDULE FOR FEATURES
Allied Artists Features

(1560 Broadway. Hew Tor\ 19, H- T.)

5518 Lord of the Jungle — Johnny Sheffield June 12

5519 Finger Man — Lovejoy-Tucker-Castle June 19

5520 Wichita— McCrea-Miles-Ford (C'Scope) July 3

5521 Case of the Red Monkey — Conte-Anderson .July 10

5524 Betrayed Women — Matthews-Michaels July 17

5522 Spy Chasers — Bowery Boys July 31

5525 The Phenix City Story— Kiley-Mclntyre . . .Aug. 14

5526 Night Freight— Tucker-Britton Aug. 29

5523 The Warriors — Flynn-Dru (C'Scope) Sept. 11

5530 Wicked Wife— British cast Sept. 18

5529 Jail Busters — Bowery Boys Sept. 18

5528 The Return of Jack Slade — Ericson-Blanchard

(formerly "Son of Slade") Oct. 9

5531 Bobby Ware Is Missing— Brand-Franz Oct. 23

5531 Gun Point — MacMurray-Malone (C'Scope) .Oct. 30

Time Slip — Nelson-Domergue not set

5527 They Came from Another World —

McCarthy- Wynter not set

(formerly "The Body Snatchers")

Buena Vista Features

(477 Madison Ave., Hew Tor\ 22, H- T.)

Davy Crockett— Parker-Ebsen June

Lady and the Tramp — Cartoon feature July

The African Lion — True Life Adventure Oct.

Columbia Features

(729 Seventh Ave., Hew Tor\ 19, H- T.)
1954-55

724 End of the Affair — Johnson-Kerr May

728 Tight Spot — Rogers-Robinson May

743 Seminole Uprising — Montgomery-Booth May

739 Cell 2445, Death Row— Campbell-Grant May

738 A Prize of Gold — Widmark-Zetterling June

742 5 Against the House — Madison-Novak June

745 The Petty Girl — reissue June

741 They All Kissed the Bride — reissue June

732 It Came from Beneath the Sea — Tobey-Domergue . July

747 Chicago Syndicate — O'Keefe-Lane July

746 Creature with the Atom Brain — Denning-Stevens. July

736 The Long Gray Line — Power-O'Hara Special

(End of 1954-55 Season)
Beginning of 1955-56 Season

801 The Man from Laramie —

Stewart-O'Donnell (C'Scope) Aug.

803 Bring Your Smile Along — Laine-Brasselle Aug.

802 Footsteps in the Fog — Granger-Simmons Sept.

807 The Night Holds Terror— Kelly-Parks Sept.

806 Special Delivery — Cotten-Bartok Sept.

809 The Gun That Won the West—

Morgan-Raymond Sept.

804 Apache Ambush — Williams-Jaeckel Sept.

My Sister Eileen — Leigh-Lemmon-Garrett Oct.

Count Three and Pray — Heflin- Woodward Oct.

805 Devil Goddess — Johnny Weissmuller Oct.

Duel on the Mississippi — Barker-Medina Oct.

Lippert-Pictures Features

(145 Ho. Robertson Blvd.. Beverly Hills. Calif.)

5413 Air Strike — Denning- Jean May 6

5414 Phantom of the Jungle — Hall-Gwynne May 20

5418 King Dinosaur — Bryant-Curtis June 17

5416 The Lonesome Trail — MorrisiAgar July 1

5421 Simba — Dick Bogarde Sept. 9

Metro-Goldwyn-Mayer Features

(1540 Broadway, Hew Yor\ 19, H- Y.)
1954-55

525 The Prodigal — Turner-Purdom (C'Scope) May

526 The Marauders — Duryea-Richarda May

524 Camill e — reissue May

527 Love Me or Leave Me — Day-Cagney (C'Scope) .June

528 Moonfleet — Granger-Lindfors (C'Scope) June

529 Interrupted Melody — Ford-Parker (C'Scope) ... .July

531 The Cobweb— Bacall-Widmark-Boyer (C'Scope) .July

530 Wizard of Oz — reissue July

532 The King's Thief—

Purdom-Blythe-Niven (C'Scope) Aug.

533 The Scarlet Coat —

Wilde- Wilding-Francis (C'Scope) Aug.

(End of 1954-55 Season)
Beginning of 1955-56 Season

601 It's Always Fair Weather —

Kelly-Dailey (C'Scope) Sept.

602 Svengali — Hildegarde Neff Sept.

603 The Bar Sinister —

Richards^Gwenn-Jagger (C'Scope) Sept.

Paramount Features

(1501 Broadway, Hew Yor\ 18, H- T.)

5411 Hell's Island — Payne-Murphy June

5412 The Far Horizons — MacMurray-Heston-Reed .June
5425 Strategic Air Command — Stewart' Allyson . . . .July

5413 The Seven Little Foys — Bob Hope July

5414 We're No Angels — Bogart^Bennett Aug.

5415 You're Never Too Young — Martin S1 Lewis. . .Aug.

(End of 1954-55 Season)

Beginning of 1955-56 Season

5 501 The Girl Rush — Russell-Lamas Sept.

5502 To Catch a Thief— Grant-Kelly Sept.

5503 Ulysses — Douglas-Mangano Oct.

5429 White Christmas — reissue Oct.

R5505 Unconquered — reissue Oct.

R5506 Trail of the Lonesome Pine — reissue Oct.

R5507 Shepherd of the Hills — reissue Oct.

5508 The Trouble with Harry — Forsyth-McLean . . . .Nov.

5504 Lucy Gallant — Wyman-Heston Nov.

RKO Features

(1270 Sixth Ave.. Hew Tor\ 20, H- Y.)
1954-55

510 Quest for the Lost City — Documentary May

576 I Remember Mama — reissue May

513 Son of Sinbad — Robertson-Forrest (SuperScope) . June

577 The Big Street — reissue June

514 Wakamba — Documentary June

515 Pearl of the South Pacific —

Mayo-Morgan (SuperScope) June

516 Bengasi — Conte-McLaglen (SuperScope) Sept.

(End of 1954-55 Season)
Beginning of 1955-56 Season
602 Tennessee's Partner —

Payne-Reagan-Fleming (SuperScope) Sept.

601 The Treasure of Pancho Villa —

Winter-Calhoun (SuperScope) Oct.

The Brave One — Ray-Rivera (C'Scope)

(formerly "The Boy and the Bull") not set

Jet Pilot — Wayne-Leigh not set

Texas Lady — Colbert-Sullivan Nov.

Republic Features

(1740 Broadway, Hew Yor\ 19, H- Y.)

5405 The Eternal Sea — Hayden-Smith May 5

5404 Sante Fe Passage — Payne-Cameron-Domergue May 12

5434 I Cover the Underworld — McClory-Jordan . .May 15

5435 Don Juan's Night of Love— Foreign cast. . . .May 26

5436 City of Shadows — McLaglen-Crawley June 2

5406 The Road to Denver — Payne-Freeman June 16

5437 Double Jeopardy — Rod Cameron June 23

5438 Lay That Rifle Down — Canova-Lowery July 7

5439 The Green Bhudda — Morris-Germaine July 9

5407 The Last Command — Hayden-Carlson Aug. 3

5408 The Divided Heart — Borchers-Mitchell Aug. 11

5440 Headline Hunters — Cameron-Bishop Sept. 15

5441 Cross Channel — Morris-Furneaux Sept. 29

5409 A Man Alone — Milland-Murphy Oct.

Twinkle in God's Eye — Rooney-Grey Oct. 13

Mystery of the Black Jungle — Barker-Maxwell Oct. 20

Fighting Chance — Cameron-Cooper Oct. 27

Magic Fire — DeCarlo-Thompson-Gam Nov. 3

Secret Venture — Taylor-Hylton Nov. 10

The Vanishing American — Brady-Totter . . .Nov. 10

Jaguar- — Sabu-Chiquita-MacLane Nov. 24

Flame of the Island — DeCarlo-Scott-Duff . . .Dec. 1

No Man's Woman — Windsor- Archer Dec. 15

Track the Man Down — Taylor-Clarke Dec. 22

508-2

512- 4

515- 7

543- 9

544- 7
504-1

513- 2

514- 0

517- 3

516- 5
512-4
506-6

518- 1

519- 9
521-5

520- 7

522- 3

524- 9

526- 4

525- 6

527- 2

528- 0

529- 8

523- 1

Twentieth Century-Fox Features

(444 W. 56tfi St., Hew Tor\ 19, H- T.)
The Adventures of Sadie — Collins-Moore . . . .May
The Living Swamp — Documentary (C'Scope) .May
Daddy Long Legs — Astaire-Caron (C'Scope) .May

Call Northside 777 — reissue May

Where the Sidewalk Ends — reissue May

That Lady — DeHaviland-Roland (C'Scope) . . .May
Magnificent Matador —

O'Hara-Quinn (C'Scope) June

Soldier of Fortune —

Gable-Hayward (C'Scope) June

The Seven Year Itch —

Monroe-Ewall (C'Scope) June

House of Bamboo — Stack-Ryan (C'Scope) . . . .July

The Living Swamp — Featurette (C'Scope) July

A Life in the Balance — Montalban-Bancroft . .July
How to Be Very, Very Popular —

Grable-North (C'Scope) July

The Virgin Queen — Davis-Todd (C'Scope) . .Aug.
Love Is a Many Splendored Thing —

Holden-Jones (C'Scope) Aug.

The Left Hand of God—

Bogart-Tierney (C'Scope) Sept.

Thieves Highway — reissue Sept.

Nightmare Alley — reissue Sept.

Seven Cities of Gold — Egan-Rennie (C'Scope) .Sept.
The Girl in the Red Velvet Swing —

Mlland-Collins-Granger (C'Scope) Oct.

Lover Boy — British-made Oct.

The View from Pompey's Head —

Egan-Wynter-Mitchell (C'Scope) Nov.

The Deep Blue Sea —

Leigh-More (C'Scope) Nov.

Good Morning, Miss Dove —

Jones-Stack (C'Scope) Nov.

The Rains of Ranchipur —

Turner-Burton (C'Scope) Dec.

The Tall Men— Gable-Russell (C'Scope) ...Special

United Artists Features

(729 Seventh Ave., Hew Yor\ 19, H-l Y.)

The Tiger and the Flame — All-Indian cast May

Kiss Me Deadly — Meeker-Stewart-Dekker May

Robbers' Roost — Montgomery-Findley May

Top of the World — Robertson-Lovejoy-Keyes May

The Big Bluff — Bromfield-Vickers June

The Sea Shall Not Have Them — British cast June

Break to Freedom — British cast

(formerly "Albert, R. H") June

Summertime — Hepburn-Brazzi June

Othello — Orson Welles June

Not As a Stranger — Mitchum-DeHavilland July

The Man Who Loved Redheads — British cast July

Shadow of the Eagle — Greene-Cortesa July

The Kentuckian — Lancaster-Lynn (C'Scope) Aug.

The Night of the Hunter — Mitchum-Winters Aug.

The Naked Street — Granger-Quinn-Bancroft Sept.

Desert Sands — Meeker-English (SuperScope) Sept.

Gentlemen Marry Brunettes — Russell-Crain (C'Scope) .Oct.

Fort Yuma — Graves-Vohs Oct.

Savage Princess — Made in India Oct.

Universal-International Features

(445 Park Ave., Hew York 22, H- Y.)
1954-55

521 Revenge of the Creature — Agar-Nelson (3D) ..May

522 Revenge of the Creature (2D) May

523 Cult of the Cobra — Domergue-Long May

524 The Looters — Calhoun-Adams May

525 The Man from Bitter Ridge — Barker-Cordey . . . .June

526 Abbott ii Costello Meet the Mummy June

527 This Island Earth — Reason-Domergue June

528 FoxFire — Chandler-Russell-Duryea July

529 Ain't Msbehavin' — Calhoun-Laurie-Carson July

530 The Purple Mask— Curtis-Miller (C'Scope) July

531 The Purple Mask— (2D) July

532 One Desire — Baxter-Hudson-Adams Aug.

533 Private War of Major Benson — Heston-Adams. .Aug.

534 Francis in the Navy — O'Connor-Hyer Aug.

535 The Shrike — Ferrer- Allyson Sept.

536 Female on the Beach — Crawford-Chandler Sept.

538 Kiss of Fire — Palance-Rush Oct.

539 To Hell and Back— Murphy (C'Scope) Oct.

540 To Hell and Back— (2D) Oct.

m (End of 1954-55 Season)
Beginning of 1955-56 Season

5601 Lady Godiva — O'Hara-Nader Nov.

5602 The Naked Dawn — Kennedy-St. John Nov.

5603 Hold Back Tomorrow — Agar-Moore Nov.

5604 Running Wild — Campbell-Case Dec.

5605 Tarantula — Agar-Corday Dec.

5606 The Second Greatest Sex —

Crain-Nader (C'Scope) Dec.

Warner Bros. Features

(321 W. 44th St., Hew Yor\ 18, H- Y.)
410 Jump Into Hell — Sernas-Kasznar May 14

416 The Sea Chase — Wayne-Turner (C'Scope) . .June 4

417 Tall Man Riding — Scott-Malone-Castle June 18

419 Land of the Pharaohs —

Hawkins-Collins (C'Scope) July 2

420 The Dam Busters — Todd-Redgrave July 16

418 Mster Roberts —

Fonda-Cagney-Powell (C'Scope) July 30

421 Pete Kelly's Blues—

Webb-Lee-O'Brien (C'Scope) Aug. 27

501 The McConnell Story—

Ladd-Allyson (C'Scope) Sept. 3

502 Blood Alley— Wayne-Bacall (C'Scope) Oct. 1

503 Illegal — Robinson-Foch Oct. 15

504 Rebel Without a Cause —

Dean-Wood (C'Scope) Oct. 29

SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel
1954-55

7615 Little Rover — Favorite (reissue) (9 m.) . . . .July 14
7860 Hollywood Mothers —

Screen Snapshots (10 m.) July 14

7810 Danish Gym-Dandies — Sports (9 m.) July 14

7951 Louis Prima 6? Orch.—

Thrills of Music (Reissue) (10 m.) Sept. 22

(End of 1954-55 Season)

Beginning of 1955-56 Season

8601 Tooth or Consequence —

Favorite (reissue) (6J/2 m.) Sept. 1

8501 Christopher Crumpet's Playmate —

UPA Cartoon (6]/2 ni.) Sept. 8

8551 Candid Microphone No. 3 (11 m.) Sept. 15

8851 Hollywood Bronc Busters —

Screen Snapshots (9 m.) Sept. 22

8951 Louis Prima & Orch. —

Thrills of Music (reissue) (10 m.) Sept. 22

8801 Stable Stakes — Sports (10 m.) Sept. 29

8701 Stage Door Magoo — Mr. Magoo (7 m.) Oct. 6

8602 Up'n Atom — Favorite (reissue) (6 m.) ....Oct. 6

8852 The Great Al Jolson — Screen Snapshots . . . .Oct. 20

Columbia — Two Reels

8401 Wham-Bam-Slam! — Stooges (16 m.) Sept. 1

8421 Honeymoon Blues —

Favorite (reissue) (17 m.) Sept. 8

8411 One Spooky Night— Andy Clyde (16 m.) .Sept. 15
8120 The Sea Hound— Serial (15 ep.) Sept. 22

8402 Hot Ice— Three Stooges (16j/2 m.) Oct. 6

8431 Pardon My Lamb Chop —

Favorite (reissue) (17 m.) Oct. 13

8412 He Took a Powder— Quillan-Vernon Oct. 27

Metro-Goldwyn-Mayer — One Reel
1954-55

W-637 Pup On a Picnic— Cartoon (2D) (7 m.) . July 22

(End of 1954-55 Season)

Beginning of 1955-56 Season

W-741 Designs on Jerry— Cartoon (7 m.) Sept. 2

C-731 Tom and Cherie— C'Scope Cartoon (7 m.) Sept. 9
W-761 The Invisible Mouse — -

Cartoon (reissue) (7 m.) Sept. 16

B-721 How To Sleep —

Rob't Benchley (reissue) (11 m.) ....Sept. 23

W-742 The First Bad Man— Cartoon (7m.) Sept. 30

P-771 That Mothers Might Live —

Passing Parade (10 m.) Oct. 7

W-743 Smarty Cat— Cartoon (7 m.) Oct. 14

W'762 King-Size Canary —

Cartoon (reissue) (7 m.) Oct. 21

W-744 Deputy Droopy — Cartoon (7m.) Oct. 28

B-722 A Night At the Movies —

Benchley (reissue) (7m.) Nov. 4

W-745 Pecos Pest— Cartoon (7 m.) Nov. 11

W'763 Kitty Foiled— Cartoon (reissue) (7 m.) .Nov. 18

W-746 Cellbound— Cartoon (7 m.) Nov. 25

W'764 What Price Fleadom—

Cartoon (reissue) (7 m.) Dec. 2

P-772 The Story of Dr. Jenner—

Passing Parade (10 m.) Dec. 9

W-765 The Truce Hurts-
Cartoon (reissue) (8 m.) Dec. 16

C-732 Good Will to Men—

C'Scope Cartoon (8 m.) Dec. 23

W-766 Old Rockin Chair Tom-
Cartoon (reissue) (7 m.) Dec. 30

Paramount — One Reel

R14-9 High Score Bowling — Sportlight (9 m.) .June 10
K14-6 Walk in the Deep — Pacemaker (10 m.) .June 17
R14-10 San Fernando Saddle Champs —

Sportlight (9m.) July 1

P14-6 Poop Goes the Weasel —

Noveltoon (6m.) July 8

B14-6 Bull Fright— Casper (6 m.) July 15

R14-11 Pacific Salmon Parade —

Sportlight (9 m.) July 15

E14-8 Car-Azy Drivers — Popeye (6 m.) July 22

Hi 4-4 Mouse Trapeze —

Herman ii Katnip (7 m.) Aug. 5

R14-12 Champion Irish Thoroughbreds —

Sportlight (9m.) Sept. 23

(End of 1954-55 Season)
Beginning of 1955-56 Season
(Ed. Jsfate: Shorts having production numbers S15 and
A15 are reissues.)

S15-1 The Mite Makes Right — Cartoon (8 m.) .Sept. 30
Si 5-2 The Old Shell Game— Cartoon (7m.) . .Sept. 30
S15-3 The Little Cut Up— Cartoon (6 m.) . . .Sept. 30
S15-4 Hep Cat Symphony — Cartoon (6 m.) . . .Sept. 30
Si 5-5 Little Red School Mouse — Cartoon (7 m.) Sept. 30
S15-6 Leprechaun's Gold — Cartoon ( 10 m.) . . . .Sept. 30
SI 5-7 Quack-A-Doodle Doo— Cartoon (7 m.) . .Sept. 30

S15-8 Teacher's Pest — Cartoon (7 m.) Sept. 30

S15-9 Tarts and Flowers — Cartoon (7 m.) . . . .Sept. 30

S15-10
S 1 5-1 1
S15-12
A15-1
A15-2

A15-3

A15-4

E15-1
P15-1
R15-1
M15-1
P15-2

B15-1
H15-1

V14-3
V14-4
V14-5

Please to Eat You — Cartoon (6 m.) Sept. 30

Goofy Goofy Gander — Cartoon (7 m.) . .Sept. 30

Saved By the Bell — Cartoon (6 m.) Sept. 30

Tain't So — Speaking of Animals (10 m.) .Sept. 30
Monkey Shines —

Speaking of Animals (9 m.) Sept. 30

Be Kind to Animals —

Speaking of Animals (8 m.) Sept. 30

From A to Zoo —

Speaking of Animals (9 m.) Sept. 30

Mister and Mistletoe — Popeye (6 m.) . . .Sept. 30

Rabbit Punch — Noveltoon (6m.) Sept. 30

Sporting Dogs Afield — Sportlight (9 m.) . .Oct. 7

Three Kisses — Topper (10 m.) Oct. 7

Little Audrey Riding Hood —

Noveltoon (6m.) Oct. 14

Red White and Boo — Casper (6 m.) Oct. 25

Monsieur Herman —

Herman & Katnip (6 m.) Nov. 25

Paramount— Two Reels
1954-55

Vista Vision Visits the Sun Trails —

Special (16 m.) May 27

VistaVision Visits Hawaii —

Special (17 m.) July 1

VistaVision Visits Japan — Special (17 m.) Aug. 12
(End of 1954-55 Season)

RKO — One Reel
1954-55

54312 Bowling Boom — Sportscope (8 m.) July 8

54212 Safety Is Their Business — Screenliner (8) .July 22

54313 Tanbark and Turf — Sportscope (8m.) ..Aug. 5

54213 Film Fun — Screenliner (9 m.) Aug. 19

54113 Bearly Asleep — Disney (C'Scope) (7 m.) . Aug. 19

54114 Beezy Bear — Disney (C'Scope) (7 m.) ..Sept. 2

54115 Up a Tree— Disney (7 m.) Sept. 23

> (End of 1954-55 Season)
Beginning of 1955-56 Season

64301 Game Warden — Sportscope (8 m.) Sept. 2

64201 Gold— Screenliner (l0]/2 m.) Sept. 16

64302 Gym College — Sportscope (8 m.) Sept. 30

64202 Black Cats and Broomsticks —

Screenliner (8m.) Oct. 14

RKO— Two Reels

63101 The Future is Now — Special (15 m.) ....Sept. 9

63701 Wife Tames Wolf-

Leon Errol (reissue) (17 m.) Sept. 9

63501 No More Relatives —

Edgar Kennedy (reissue) (18 m.) ....Sept. 16

63301 Groan and Grunt —

Gil Lamb (reissue) (17 m.) Sept. 23

63601 Heart Troubles —

Wally Brown (reissue) (16 m.) Sept. 30

63201 Dog of the Wild— My Pal (reissue) (21 m.) Oct. 7

63102 Golden Glamour — Special (15 m.) Oct. 14

63702 Dad Always Pays-

Leon Errol (reissue) (18 m.) Oct. 14

63502 How To Clean House —

Edgar Kennedy (reissue) (18 m.) Oct. 21

63302 Bashful Romeo —

Gil Lamb (reissue) (16 m.) Oct. 28

63401 Musical Bandit —

Ray Whitley (reissue) (16 m.) Oct. 28

63602 Put Some Money In the Pot —

Wally Brown (reissue) (17 m.) Nov 4

63202 Pal, Canine Detective —

My Pal (reissue) (22 m.) Nov. 11

63703 The Spook Speaks —

Leon Errol (reissue) (19 m.) Nov. 18

63503 Dig That Gold-

Edgar Kennedy (reissue) (17 m.) Nov. 25

63402 Bar Buckaroos — Whitley (reissue) (16 m.). Dec 2

63704 In Room 303—

Leon Errol (reissue) (17 m.) Dec. 23

63504 Contest Crazy —

Edgar Kennedy (reissue) (17 m.) Dec. 30

Republic — One Reel

5388 Venezuela— This World of Ours (9 m.) ..Mar. 1
Republic — Two Reels

5485 King of the Carnival — Serial (13 ep.) June 27

5486 Dick Tracy's G-Men—

Serial (15 ep.) (reissue) Sept. 19

Zorro's Black Whip-
Serial (13 ep.) (reissue) not set

Twentieth Century-Fox— One Reel

3501-4 Topsy Turvy Thrills — Sport (8 m.) June

6501-1 Man vs. Nature — See It Happen (9 m.) . . .June

5532- 7 Good Deed Daly—

Terrytoon (C'Scope) (7 m.) July

5533- 5 Bird Symphony — Terrytoon (CScope) ....Aug.

5534- 3 The Little Red Hen— Terrytoon (C'Scope) . .Aug.

5510- 3 Phony News Flashes — Terrytoon (7 m.) ...Aug.

5511- 1 Foxed by a Fox — Terrytoon (7m.) Aug.

5 512-9 The Last Mouse of Hamelin — Terrytoon ...Aug.

Twentieth Century-Fox — C'Scope Reels

7517- 6 Volcanic Violence- — C'Scope (9 m.) June

7507-7 Tears of the Moon — C'Scope (10 m.) June

7515- 0 Naughty Mermaids — C'Scope (7 m.) July

7516- 8 Winter Jamboree— C'Scope (10 m.) July

7519- 2 Survival City— C'Scope (10 m.) Aug.

7518- 4 That Others May Live— C'Scope (10 m.) ..Aug.

7520- 0 Gods of the Road— C'Scope (9m.) Aug.

7521- 8 Desert Fantasy — C'Scope Aug.

7513-5 Clear the Bridge— C'Scope Aug.

Universal — One Reel

1327 Sh-h-h'h — Cartune (6 m.) June 6

1384 The Big Test— Color Parade (9m.) June 13

1344 Modern Minute Men — Variety View (9 m.) .June 13

1355 Pixie Picnic — Cartune (reissue) (6 m.) . . . . June 27

1328 Bedtime Bedlam — Cartune (6 m.) July 4

1345 Brooklyn Goes To Cleveland —

Variety View (9m.) July 4

1385 King Salmon— Color Parade (9m.) July 11

1356 Whacky Bye Baby — Cartune (reissue) (6m.).July25

1329 Paw's Night Out — Cartune (6 m.) Aug. 1

1386 Swing High-Swing Low —

Color Parade (9 m.) Aug. 1

1346 Monkey Shines — Variety Views (9 m.) . . . .Aug. 22

1330 Flea for Two — Cartune (6m.) Aug. 29

1387 Dream Island — Color Parade (9 m.) Sept. 5

1331 Square Shooting Square — Cartune (6 m.) . .Sept. 26

1332 Hot and Cold Penguin — Cartune (6m.) Oct. 24

1333 Bunco Busters — Cartune (6 m.) Nov. 25

Universal — Two Reels

1308 Webb Pierce and His Wanderin' Boys —

Musical (16 m.) June 20

1309 Roundup of Rhythm — Musical (16 m.) July 18

1310 Eddie Howard 6? Orch. — Musical (14 m.) . .Aug. 22

1311 The Ink Spots— Musical (15 m.) Sept. 19

2509
2729
2312
2720
2607
2510
2721
2313

2722
2406

2730

3220
3222
3701
3801

3301

3702
3601
3723
3703
3501

3302

3802

Vitaphone — One Reel
1954-55

Italian Holiday — Sports Parade (10 m.) . . . .July 9

This Is a Life? — Bugs Bunny (7 m.) July 9

Goofy Gophers — Hit Parade (reissue) (7 m.) July 23
Double or Mutton — Merrie Melody (7m.) . .July 23

Gadgets Galore — Variety (10 m.) July 30

Aqua Queens — Sports Parade (10 m.) Aug. 6

Jumpin' Jupiter — Merrie Melody (7m.) . . .Aug. 6
What's Brewin' Bruin —

Hit Parade (reissue) (7 m.) Aug. 20

A Kiddie's Kitty — Merrie Melody (7 m.) . .Aug. 20
So You Want a Model Railroad —

Joe McDoakes (10 m.) Aug. 27

Hyde and Hare — Bugs Bunny (7m.) Aug. 27

(End of 1954-55 Season)
Beginning of 1955-56 Season

Heart of an Empire — C'Scope Special Sept. 1

Ski Valley — C'Scope Special Sept. 1

Dime to Retire — Looney Tune (7m.) ... .Sept. 3
Jan Savitt and His Band —

Melody Master (reissue) Sept. 3

Doggone Cats —

Blue Ribbon (reissue) (7 m.) Sept. 10

Speedy Gonzales — Merrie Melody (7m.) . .Sept. 17
An Adventure to Remember — Special (9 m.). Oct. 1

Knight-Mare Hare — Bugs Bunny (7m.) Oct. 1

Two Scents Worth — Merrie Melody (7m.) .Oct. 15
Picturesque Portugal —

Sports Parade (100 m.) Oct. 15

The Rattled Rooster —

Blue Ribbon (reissue) (7m.) Oct. 22

Artie Shaw 6? His Orch. —

Melody Master (reissue) (10 m.) Oct. 22

3704

3401

3303

3724
3602
3705
3304

3706
3707
3402

3305

3603
3708
3803

3502

2106
2012
2009

3211
3101
3001
3002
3102
3003
3221

Red Riding Hoodwinked —

Looney Tune (7m.) Oct. 29

So You Want To Be a Vice-President —

Joe McDoakes (10 m.) Oct. 29

Fair and Wormer —

Blue Ribbon (reissue) (7m.) Nov. 5

Roam Legion-Hare — Bugs Bunny (7m.) . .Nov. 12

Shark Hunting — Special (9m.) Nov. 12

Heir Conditioned — Elmer (7 m.) Nov. 26

Mousemerized Cat —

Blue Ribbon (reissue) (7 m.) Nov. 26

Guided Muscle — Looney Tune (7m.) Dec. 10

Pappy's Puppy — Looney Tune (7 m.) Dec. 17

So You Want To Be a Policeman —

Joe McDoakes (10 m.) Dec. 17

The Foghorn Leghorn —

Blue Ribbon (reissue) (7 m.) Dec. 24

Faster and Faster — Special (9 m.) Dec 24

One Froggy Evening— Cartoon (7 m.) Dec. 31

Ozzie Nelson & His Orch. —

Melody Master (reissue) (10 0m.) Dec. 31

Fish Is Where You Find Them —

Sports Parade (10 m.) not set

Vitaphone — Two Reels
1954-55

The Glory Around Us — Featurette (20 m.).July 2

Uranium Fever — Special July 16

Festival Days — Special Aug. 13

(End of 1954-55 Season)
Beginning of 1955-56 Season

Journey To Sea — C'Scope Special

Small Town Idol — Featurette (reissue)
Movieland Magic — Special (reissue) . .

The Golden Tomorrow — Special

It Happened to You — Featurette

Behind the Big Top — Special (reissue)
Springtime in Holland —

C'Scope Special (9 m.)

Sept. 1
Sept. 24
.Oct. 8
Nov. 5
Nov. 19
Dec. 3

Dec. 10

NEWSWEEKLY NEW YORK
RELEASE DATES

News of the Day

210

Wed.

(E) .

. .Sept. 28

211

Mon.

(O) .

..Oct. 3

212

Wed.

(E)

...Oct. 5

213

Mon.

(O) .

, . .Oct. 10

214

Wed.

(E) .

. .Oct. 12

215

Mon.

(O) .

. .Oct. 17

216

Wed.

(E) .

. .Oct. 19

217

Mon.

(O) .

..Oct. 24

218

Wed.

(E) .

. .Oct. 26

219

Mon.

(O) .

. .Oct. 31

220

Wed.

(E) .

..Nov. 2

221

Mon.

(O) .

. . Nov. 7

222

Wed.

(E) .

. . Nov. 9

223

Mon. (O) .

. .Nov. 14

224

Wed.

(E) .

. .Nov. 16

225

Mon.

(O) .

. .Nov. 21

23 Wed. (O)

24 Mon. (E) .

25 Wed. (O)

26 Mon. (E)

27 Wed. (O)

28 Mon. (E)

29 Wed. (O)

30 Mon. (E)

. . .Oct. 26
. . .Ovt. 31
. . . Nov. 2
. . . Nov. 7
. . . Nov. 9
. . .Nov. 14
. . .Nov. 16
. . .Nov. 21

Paramount News

14 Sat. (E) Oct. 1

15 Wed. (O) Oct. 5

16 Sat. (E) Oct. 8

17 Wed. (O) ....Oct. 12

18 Sat. (E) Oct. 15

19 Wed. (O) Oct. 19

20 Sat. (E) Oct. 22

21 Wed. (O) Oct. 26

22 Sat. (E) Oct. 29

23 Wed. (O) Nov. 2

24 Sat. (E) Nov. 5

25 Wed. (O) Nov. 9

26 Sat. (E) Nov. 12

27 Wed. (O) Nov. 16

28 Sat. (E) Nov. 19

Warner Pathe News

15 Wed. (O) ... .Sept. 28

16 Mon. (E) Oct. 3

17 Wed. (O) ....Oct. 5

18 Mon. (E) Oct. 10

19 Wed. (O) ....Oct. 12

20 Mon. (E) Oct. 17

21 Wed. (O) Oct. 19

22 Mon. (E) Oct. 24

Fox Movietone

81 Friday (O) . . .Sept. 30

82 Tues. (E) Oct. 4

83 Friday (O) ...Oct. 7

84 Tues. (E) ....Oct. 11

85 Friday (O) . . .Oct. 14

86 Tues. (E) ....Oct. 18

87 Friday (O) ...Oct. 21

88 Tues. (E) Oct. 25

89 Friday (O) . . .Oct. 28

90 Tues. (E) Nov. 1

91 Friday (O) . . .Nov. 4

92 Tues. (E) Nov. 8

93 Friday (O) ...Nov. 11

94 Tues. (E) Nov. 15

95 Friday (O) ...Nov. 18

96 Tues. (E) Nov. 22

Universal News

712 Thurs. (E)

713 Tues. (O)

714 Thurs. (E)

715 Tues. (O)

716 Thurs. (E)

717 Tues. (O)

718 Thurs. (E)

719 Tues. (O)

720 Thurs. (E)

721 Tues. (O)

722 Thurs. (E)

723 Tues. (O)

724 Thurs. (E)

725 Tues. (O)

726 Thurs. (E)

727 Tues. (O)

. . Sept. 29
. ..Oct. 4
..Oct. 6
. . .Oct. 11
. .Oct. 13
. . .Oct. 18
. .Oct. 20
. .Oct. 25
. .Oct. 27
. . Nov. 1
. . Nov. 3
. . Nov. 8
. .Nov. 10
. .Nov. 15
. .Nov. 17
. .Nov. 22

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. XXXVII

SATURDAY, OCTOBER 8, 1955

No. 41

THE TOA BOARD MEETING

As anticipated by most every one who is concerned
about exhibitor-distributor relations, the board of
directors of the Theatre Owners of America has
adopted a resolution opposing intervention by the
Government in industry affairs.

The resolution, which was proposed by Alfred
Starr, chairman of the TOA executive committee,
and adopted at a board meeting held in advance of
the opening of TOA's annual convention on Thurs-
day, in Los Angeles, reads as follows:

"We in TOA are still of the belief that our inter-
industry problems can be solved by friendly discus-
sion as well as by arbitration and conciliation. In
addition, we will continue to follow up our meetings
with the presidents and sales managers of the film
companies looking toward relief from our difficulties.
If we are unable to solve our pressing problems in
such fashion then we will have to seek other forms
of relief."

At a press conference following the board meeting,
Starr was asked for a clarification of the "other forms
of relief" that may be sought, but he declined to
define them. This refusal to make a direct and specific
reply is, as it has frequently been pointed out in these
columns, typical of the vacillating statements made
and actions taken by the TOA leaders in dealing with
problems that are seriously affecting the operations
of exhibitors, particularly the smaller fellows.

This resolution has all the earmarks of a repeat
performance in that the TOA leadership is once again
giving recognition to the fact that the exhibitors are
suffering from oppressive distributor practices but has
failed to come forth with a positive plan of action
designed to bring about an acceptable solution.

The warning to distribution that the organization
will seek "other forms of relief" if it is unable to
solve current inequitable conditions by friendly dis-
cussions is merely another one of the veiled, indeci-
sive threats resorted to by TOA in the past but which
proved to be no more than lip service when matters
reached the showdown stage.

It is interesting to note that in his report to the
board, E. D. Martin, TOA's retiring president, stated
that his administration "has worked hard to bring
about better understanding and unity of action be-
tween TOA and Allied," and, in a reference to
achieving a single national exhibitor organization, he
added that "the very organizational makeup of the
two associations is such that a merger or newly formed

association is extremely difficult in the foreseeable
future, not to count the personalities involved." He
then went on to say that "until exhibitors think and
act for the betterment of the industry as a whole, and
not of themselves, only then will there be unity in
exhibition." By these remarks it is presumed, of
course, that Martin is blaming the lack of exhibitor
unity on Allied.

Harrison's Reports will say to Mr. Martin that
his anti- Allied remarks are just so much balderdash,
particularly in view of the fact that to this day he
has yet to reply to the letter he received last August
from Rube Shor, president of National Allied, charg-
ing him and the other TOA leaders with insincerity
in collaborating with Allied to obtain the relief sought
by exhibition.

Shor, it will be recalled, charged in his letter that
the TOA leaders in their meetings with Allied repre-
sentatives agreed with the Allied position in regard
to Government intervention, if necessary, refusal to
support an arbitration plan that excludes film rentals,
and opposition to such matters as compulsory block-
booking and further acquisitions of theatres by the
divorced circuits. Statements made by TOA leaders
to the trade press tend to support Shoris charges, and
the fact that Martin has failed to reply to these
charges indicates, not only that the TOA position
is indefensible, but also that it is the one responsible
for the rift that exists within exhibition today. In
stating otherwise, Martin is kidding no one but him-
self.

In addition to adoption of the resolution opposing
Government control, other actions taken by the TOA
board included renewal of the organization's member-
ship in COMPO for a period of one year, and adop-
tion of a resolution favoring a new campaign for total
repeal of the Federal admission tax.

The board also elected Myron Blank, head of Cen-
tral States Theatre Corporation, as the new TOA
president. E. D. Martin, the outgoing president, was
named chairman of the board to succeed Walter
Reade, Jr. Alfred Starr was renamed as chairman of
the TOA executive committee, and Sam Pinanski
retained his positions as honorary chairman of the
board as well as TOA representative on the COMPO
triumvirate. Re-elected also were Si Fabian, as trea-
surer, and Robert R. Livingston, as secretary. Herman
M. Levy was also retained as general counsel.

Actions taken by the TOA convention will be
reported in next week's issue.

162

HARRISON'S REPORTS

October 8, 1955

"The Second Greatest Sex" with Jeanne Crain,
George Nader and Bert Lahr

(Univ.-Intl, December; time, 87 min.)

A gay and charming musical comedy, set against a
western background and photographed in Cinema'
Scope and Technicolor. It should appeal to all types
of audiences, for its flavor is somewhat similar to
MGM's "Seven Brides for Seven Brothers,11 although
it doesn't quite match the quality of that film. The
story idea is based on "Lysistrata," the satirical play
of Aristophanes, the great Greek playwright of 24
centuries ago. In those days, just as is the case in the
present, most people abhored war, and the women
decided to do something about it. While their men
folk were warring, they got together and decided to
deny the husbands their conjugal duties until they
signed a pact to stop fighting. In this picture, the men
of several towns war over a small safe containing
official records, possession of which determines the
location of the new county seat, and to stop the fight'
ing their wives go on a love strike. The characteriza-
tions are amusing, and there are good comedy situa-
tions throughout. The eight songs presented are tune'
ful, and the rhythmical dancing is highly entertaining.
The color, photography and production values are
tops. The story takes place in 1880: —

While the men of Oswaki, Kansas, battle the men
of Jones City and Maradoon for the safe containing
the county records, the Oswaki women remain at
home and do the work that should be done by their
men. Led by George Nader and by Bert Lahr, the
sheriff, the Oswaki men capture the safe and return
home exhausted. Nader is too tired for the romantic
advances of Jeanne Crain, his fiancee, and the other
women get a similar reception from their men. Pres-
sured by friends and family, Nader and Jeanne finally
set their wedding date and the whole town attends
the wedding celebration. Their honeymoon, however,
never gets under way, because the Maradoon men
steal back the safe and the Oswaki men, including
Nader, give chase. Determined to put an end to this
foolish war, Jeanne borrows the idea from "Lysis-
trata11 and talks the other Oswaki women into barri-
cading themselves behind the walls of an old fort to
compel the men to sign a peace pact. The men soon
become lonesome for their women folk and agree to a
truce. As the wives and sweethearts come back to the
arms of their men, even 'teen-aged Jimmy Boyd and
his man-hating Cousin Emmy look for mates to cele-
brate the women's victory over the second greatest sex.

It was produced by Albert J. Cohen, and directed
by George Marshall, from a screenplay by Charles
Hoffman. Family.

"The Trouble With Harry" with
Shirley MacLaine, John Forsyth
and Edmund Gwenn

(Paramount, November; time, 99 min.)
As described by Alfred Hitchcock, who produced
and directed it, this picture is "a comedy about a
corpse." It is a whacky, off-beat type of film, well
directed and acted and quite amusing throughout,
but as an entertainment it may be received with mixed
audience reaction because many movie-goers may feel
sensitive about a story that draws its principal laughs
from the fact that the corpse is interred and disin-
terred several times by a group of gentle and innocent
people, a few of whom have motivations for murder-
ing the man, while two of them think that they

actually did murder him. Much of the comedy is
provoked by the imagined dilemmas of those who
become involved with the corpse and by their efforts
to help keep each other out of trouble with the law.
The cast is weak from the viewpoint of marquee
value, but all contribute amusing characterizations.
Worthy of special mention is Shirley MacLaine, a
newcomer, who has the feminine lead. Recruited from
the stage, she is a pretty girl with a decidedly different
personality. The picture, which is in Technicolor and
Vista Vision, was shot against actual Vermont back-
grounds and offers eye-filling scenes of foliage that
is ablaze with glorious autumnal coloring. Because of
its subject matter, the picture seems best suited for
class audiences that enjoy unusual screen fare. Its
reception by small-town audiences is questionable.

The story opens with 4-year-old Jerry Mathers
finding a dead man in the woods. He runs home and
informs Shirley MacLaine, his mother, who discovers,
happily, that the dead man, named Harry, is her
estranged second husband. Meanwhile the body is
discovered also by Edmund Gwenn, a retired sea cap-
tain, who believes that he had accidentally shot Harry
while hunting. Mildred Natwick, Gwenn's spinster
neighbor, finds him with the body and helps him to
hide it. A romance blossoms between the two and
she then confesses that she had killed Harry while
defending her honor. When John Forsyth, a local
artist, discovers the body, Gwenn comes out of a hid-
ing place and tells him everything. Forsyth is sympa-
thetic and helps Gwenn to bury the body before it
is found by the police. In the course of events, Forsyth
meets and falls in love with Shirley, who informs him
that, earlier in the day, she had resisted Harry's efforts
to resume their marriage and feared that she might
be suspected of killing him. At the same time Forsyth
realizes that his love for Shirley might be mistaken
as reason for him to get rid of an existing husband.
They discuss the matter with Gwenn and Miss Nat-
wick and in their efforts to help each other subject
the body to a series of burials and unburials. In the
bizarre happenings that follow, they finally take the
body back to Shirley's home to clean it up and then
put it back in the woods. This move is complicated by
the arrival of a deputy sheriff who had found reason
to suspect the existence of a missing corpse, but it all
turns out well when they manage to get rid of the
deputy and when a local doctor finds that Harry had
died of natural causes.

It was produced and directed by Alfred Hitchcock,
from a screenplay by John Michale Hayes, based on
the novel by Jack Trevor Story. Adults.

"Svengali" with Hildegarde Neff,
Donald Wolfit and Terence Morgan

(MGM, ~}<{pvember; time, 82 min.)
This British-made version of George du Maurier's
classic novel "Trilby" should appeal chiefly to better
class audiences in art houses. The theory that a
hypnotist can put a woman with a flat voice under
his spell and make a great operatic singer out of her
can hardly be believed even by the most gullible, but
Noel Langley's screenplay writing and direction are
so fine that the action seems realistic. The perform-
ances are excellent, and so is the photography in
Eastman color. Hildegarde Neff is very good in the
role of "Trilby," and the close-ups made of her are
so striking that they appear as if they are oil paintings.
Donald Wolfit is highly competent as the sinister

October 8, 1955

HARRISON'S REPORTS

163

"Svengali," and Terence Morgan is very likeable as
the hero. The romantic interest is pleasant. In view
of the fact that the players are not well known in
this country, the picture will require considerable sell-
ing to put it over at the box-office. The story has been
produced three times before — in 1913 and 1923 under
the title of "Trilby," and in 1931 as "Svengali": —

Trilby (Miss Neff), an artist's model in the Latin
Quarter of Paris, meets Svengali ( Wblfit) , a sinister-
looking pianist, in a studio shared by Morgan and
two other English art students. Trilby joins them in
an old English ballad, but her voice is flat, for she was
tone-deaf. Trilby and Morgan fall in love, and when
she next meets Svengali she complains of being ill.
Svengali hynotizes her and cures her. Morgan, dis-
pleased, pleads with Trilby never to let Svengali
hypnotise her again. Later, Svengali tells Trilby that
he has the power to transform her into a great singer.
Trilby is delighted when Morgan asks her to marry
him, but, when his parents plead with her not to be-
come his wife lest it ruin him socially, she promises
never to see him again. Jealousy between Svengali and
Morgan over Trilby leads to an altercation that in-
directly leaves Morgan injured. He is taken back to
London, where he refuses to get well. Meanwhile
Svengali, by use of his hynotic powers, makes Trilby
come to him and fashions her into a great operatic
singer, who becomes the rage of the Continent. Mor-
gan rushes back to Paris to see her, but she does not
recognize him. When she makes her debut in London,
Svengali, in an ugly mood, insults and humiliates her.
He goes completely beserk when he sees Morgan at
the theatre and is seized by convulsions. As he lies
dying, he loses his hypnotic control over Trilby, who
starts her performance in her old flat voice. When
Svengali dies, she goes into a deep coma, from which
she is brought back by the pleas of Morgan. With
Svengali's power over her broken, Trilby returns to
normal and looks forward to a new life with Morgan.

It is a George Minter production, written and
directed by Noel Langley. Best for mature audiences.

"Lady Godiva" with Maureen O'Hara,
George Nader and Eduard Franz

(Univ.-Int'l, T^ovember; time, 89 min.)

A fair costume melodrama, photographed in Tech-
nicolor. As indicated by the title, the story has been
inspired by the legendary naked ride taken by Lady
Godiva through the streets of Coventry. The events
leading up to this ride, however, make for a stock
and somewhat tedious tale about the Normans trying
to take over the rule of eleventh-century England
from the Saxons. Although there are several clashes
between the warring factions, the story as a whole
is given more to talk than to action, slowing down the
pace considerably. The direction and acting are no
more than adequate. The highlight of the picture is,
of course, the naked ride, but it is depicted in good
taste and will offend no one. The production values
are lavish, and the color photography very good: —

George Nader, a Saxon Earl, marries Maureen
O'Hara (as Godiva) , daughter of a commoner, there-
by thwarting the plans of Leslie Bradley, a nobleman
who wanted him to wed a member of Norman
nobility. Secretly plotting the Norman conquest of
England, Bradley deliberately fans the antagonism
between Nader and Torin Thatcher, another Saxon
Earl, in the hope of precipitating a civil war. Maureen
senses the intrigue and sees to it that Nader and

Thatcher settle their differences amicably. Dismayed
by this turn of events, Bradley lies his way into the
confidence of peace-loving King Edward (played by
Eduard Franz) and forces Thatcher's exile as a traitor.
Nader, to avoid the same fate, pretends accord with
Bradley but secretly prepares to lead a Saxon uprising
against the Normans. In this he is eventually joined
by Thatcher and by Victor McLaglen, a loyal fol-
lower. Just as victory seems within their grasp, Nader
and Thatcher are captured and condemned to death
by the King, who had been duped into believing that
they had betrayed him. Bradley suggests also that
Maureen be forced to ride naked through the streets
of Coventry as punishment for a love affair he falsely
maintains she had with Rex Reason, Thatchers son.
Maureen accepts the challenge implicit in this sen-
tence and proclaims that the loyalty and honor of
Saxon citizens are so strong that no one will look
upon her during her ride. The King, impressed with
her statement, agrees to a meeting with the Saxon
Earls if she is proved correct. When Maureen's pre-
diction is fulfilled and the Saxon Earls convince the
King of Bradley's treachery, Bradley and his Norman
henchmen launch an attack on the palace. But the
Saxons, led by Nader, defeat them decisively.

It was produced by Robert Arthur, and directed by
Arthur Lubin, from a screenplay by Oscar Brodney
and Harry Ruskin, based on a story by Mr. Brodney.

Family.

STATEMENT REQUIRED BY THE ACT OF AUGUST
24, 1912, AS AMENDED BY THE ACTS OF MARCH
3, 1933, AND JULY 2, 1946 (Title 39, United States
Code, Section 233) SHOWING THE OWNERSHIP,
MANAGEMENT, AND CIRCULATION OF
HARRISON'S REPORTS, published weekly at New

York, N. Y., for October L, 195?.

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aging editor, and business managers are:

Publisher Harrison's Reports, Inc., 1270 Sixth Avenue,
New York 20, N. Y.; Editor, Peter S. Harrison, 1270 Sixth
Avenue, New York 20, N. Y.; Managing Editor, Al Picoult,
1270 Sixth Avenue, New York 20, N. Y.; Business Man-
ager, none.

2. The owner is: (If owned by a corporation, its name
and address must be stated and also immediately thereunder
the names and addresses of stockholders owning or holding
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of each individual member, must be given.)

Harrison's Reports, Inc., 1270 Sixth Avenue, New York
20, N. Y.; Peter S. Harrison, 1270 Sixth Avenue, New York
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3. The known bondholders, mortgagees, and other secu-
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4. Paragraphs 2 and 3 include, in cases where the stock-
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2531. (signed) Al Picoult

Managing Editor
Sworn to and subscribed before me this 30th day of Sep-
tember, 1955. Frank O. Larson, Notary Public, State of
New York. (My commission expires March 30, 1956.)

164

HARRISON'S REPORTS

October 8, 1955

COMMENDABLE GENEROSITY

The entire receipts from the gala, reserved-seat
world premiere of Samuel Goldwyn's multi-million
dollar production of "Guys and Dolls" at the Capitol
Theatre, New York City, on the night of November
3, will be turned over to the Will Rogers Memorial
Hospital and Tuberculosis Research Laboratories, ac-
cording to an announcement by Howard Dietz, vice-
president of Loew's, Inc., distributors of the picture-
Joseph R. Vogel, president of Loew's Theatres, which
owns the Capitol Theatre, and Mr. Goldwyn, have
agreed that not one cent of expenses will be deducted.

Eugene Picker, vice-president of Loew's Theatres,
has made an unprecedented arrangement with the
Metropolitan Motion Picture Theatres Association
and the Independent Theatre Owners Association to
promote the sale of tickets in the leading Broadway
and neighborhood theatres throughout the metropoli-
tan area. Tickets will be priced at $5 and $10, with
a limited number of divans at $100. The event is
expected to gross approximately $35,000.

The entertainment industry as a whole owes a vote
of thanks to all those who will assume an active role
in the sale of tickets, and to Mr. Goldwyn, Loew's
Theatres and Loew's, Inc., for their commendable
generosity in behalf of the Will Rogers Memorial
Hospital, which for many years has provided, without
cost, much needed care and treatment for those in the
industry who have been afflicted with tuberculosis.

Mr. Goldwyn in particular is deserving of a special
word of commendation. In 1952, he generously con-
sented to have the world premiere of his "Hans
Christian Andersen" as a benefit performance for the
hospital, an event that raised in excess of $18,000.
In addition, he made a personal donation of $25,000.
By consenting to turn the total receipts of the eagerly-
awaited world premiere of "Guys and Dolls" over
to this fine charitable cause, he has once again proved
his status as a great humanitarian.

STILL MORE ON INDISCRIMINATE
SELLING TO BOTH TV AND THEATRES

In last week's issue, this paper pointed out that
Budd Rogers, the producer's representative, and a
firm known as Favorite Films, have acquired from the
Bank of America theatrical distribution rights to 30
feature pictures, which were acquired in April, 1954,
by General Teleradio for distribution to television
stations.

Further information received by this paper dis-
closes that these pictures have been telecast in every
major TV market in the United States, and in some
instances have been shown on individual stations as
many as 16 times. Right now, according to our in-
formant, General Teleradio is saturating the smaller
TV markets with these 30 films. In other words, with-
in a short time there will be relatively few, if any,
areas throughout the country in which these pictures
have not been shown on television. Bear this in mind
when the film salesman tries to induce you to book as
reissues any of these pictures, the titles of which were
listed in last week's article.

A NOTE TO SUBSCRIBERS

If you are a subscriber and you receive a circular
letter soliciting your subscription, please disregard it.
Such a letter is not meant to serve as notification that
your subscription is about to expire.

Every effort is made to exclude the names of sub-
scribers from the list of exhibitors to whom circulars
are sent, but the list is so large that, no matter how
carefully the work is done, the name of a subscriber
or one of his theatres is sometimes inadvertently in-
cluded.

"The Return of Jack Slade" with John Ericson,
Mari Blanchard and Neville Brand

(Allied Artists, October 9; time, 79 min.)

Followers of Western melodramas will undoubted-
ly accept this one and enjoy it immensely, for the
action is fast and exciting, and the characters, thanks
to the skillful direction, are believable in whatever
they do. John Ericson, who has a personality that is
somewhat similar to Marlon Brando's, does excellent
work. His going into the outlaw lair is believable
because of the logical way in which he makes his
approach, and his romance with Mari Blanchard,
which almost results in tragedy, is pleasing and pro-
vides a nice balance of sex appeal. The gentleness
with which Ericson handles Miss Blanchard is appeal-
ing. Neville Brand is properly vicious as the villain.
The casting is highy successful, for those who take
the part of outlaws really look the type. Featured in
the proceedings is the song hit "The Yellow Rose of
Texas." The photography, in SuperScope, is good: —

John Ericson, son of a notorious gunman of the
mid-80's, is hired by Howard Petri as a Pinkerton
detective for the purpose of destroying a vicious out-
law gang headed by Casey Adams. The gang, which
included 25 outlaws and several reckless young wo-
men, had been holding up stage coaches and robbing
them. Ericson is as good with a gun as was his father,
and to get the necessary information he decides to join
the outlaw gang and to get himself accepted as an
equal. During the gang's robbery of a train, on which
he was a passenger, Ericson is ordered to drop his gun
and Mari Blanchard takes it. Armed again by Petrie,
Ericson goes boldly into the outlaw's lair. When he is
asked what had prompted him to call on them, he
gives two reasons: One, to keep the promise he had
given to Neville Brand, one of their number, with
whom he had had an altercation in the village nearby,
and the other to recover his gun. Mari falls in love
with Ericson, and Brand backs down when he again
comes face to face with him. When Brand cold-
bloodedly murders John Shepodd, Ericson 's friend,
Ericson vows to kill him. With the help of Petrie,
Ericson sets a trap for the gang when they attempt a
second train robbery, and in the fight that ensues all
are either wiped out or captured. Mari, wounded
during the fight, attempts to ride through to Ericson
to aid him. Ericson kills Brand in a gun duel, after
which he lifts Mari into his saddle and rides to
Cheyenne with her for medical aid.

Lindsley Parsons produced it, and Harold Schuster
directed it, from a screenplay by Warren Douglas.

Family.

Entered as second-class matter January 4, 1321, at the post office at New York, New York, under the act of March 3, 1878.

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Vol. XXXVII SATURDAY, OCTOBER 15, 1955 No. 42

THE TOA CONVENTION

Many words and little concrete action adequately des<
cribes the national convention of the Theatre Owners of
America, which was held in Los Angeles on October 6,
7 and 8.

Among the important actions taken by the TOA board
during the convention were approval of the proposed in-
dustry arbitration plan, and the filing of a strong protest
with Warner Brothers against the practice of requesting
bids on pictures before the exhibitors have had an oppor-
tunity to see them. Two pictures mentioned are "Sincerely
Yours" and "Rebel Without a Cause."

The convention highlights included a seminar on the
problems of production, during which the delegates were
addressed by different company heads and studio chiefs,
and a session on advertising and promotion, which created
some ill feeling when Jerry Pickman, Paramount' s publicity
and advertising head, charged the exhibitors with being
lazy in the merchandising of the pictures they play. Other
highlights included a talk by Sam Pinanski on the impor-
tance of seeking elimination of the ticket tax, in spite of the
fact that relief in the near future sems unlikely, and a re-
port by Alfred Starr on the accomplishments of the Com-
mittee Against Pay-As-You-See TV, of which he is a co-
chairman.

No report can be given on two forums devoted to dis-.
cussion of the problems of drive-ins and small theatre
owners, for, in typical TOA fashion, both sessions were
closed to the trade press.

DEBUNKING THE BUNK

The following statement has been issued by Merlin Lewis,
executive secretary of the Theatre Equipment and Supply
Manufacturers Association, in reply to remarks made by
Loren L. Ryder, Paramount's head of Engineering and Re-
cording, at the semi-annual convention of the Society of
Motion Picture and Television Engineers, held on October
3 in Lake Placid, N.Y.:

"The worst kind of balderdash yet to come from a respon-
sible executive of a film company is that put forth by Para-
mount's Loren L. Ryder when he stated in his recent
SMPTE paper, 'The Economic Aspects of Utilizing New
Engineering Developments,' that '• . . equipment manufac-
turers are trying to find ways of getting all of our profit all
the time

"This is unexcusable balderdash.

"Mr. Ryder forgets, and conveniently, that equipment
manufacturers did not originate the demand for the new
equipment that he complains about, but that during the
time when Mr. Ryder claims that more than $30 millions
were spent for equipment, the theatre industry was hollering
its collective heads off for installations on the new equip-
ment in their theatres, and that the manufacturers of
lenses, sound and projection equipment, screens, etc., were
working around the clock to supply the demand created
not by the manufacturers but entirely by the producers.
(And where Mr. Ryder gets his figure of $30 millions in
equipment sales is a little beyond the writer. Our associa-.
tion comprising the manufacturers themselves has been un-
able to determine any such figure.)

"It is true that some of our manufacturers showed a good
book profit on the equipment sales that Mr. Ryder deplores,
but with present inventory written off at its actual value,
some of our manufacturers might show a real loss, rather
than a book profit.

"Mr. Ryder in making his comparison of color negative
costs, which seems to indicate that all of the wide screen
processes are more expensive than VistaVision, also con-
veniently forgets to mention that CinemaScope negative
costs and color positive prints are no higher than any
standard color negative costs — and that W color positive
prints in the horizontal projection method cost twice as
much as CinemaScope.

"Horizontal VistaVision was conceived to get more light
on the screen and there can be no doubt that the process
achieves a magnificent picture — almost breathtaking in the
beauty of some of its outdoor scenes. It was so conceived,
apparently, because normal VistaVision, i-e., the kind of
print that can be projected by any normal projector at a
speed of 90 feet per minute, could not do the job on the
very large screen such as is now in the Paramount Theatre
in New York. The horizontal projection method used by
VistaVision in this showcase can get about twice as much
light on the screen as the normal academy aperture would
permit — but regular VistaVision can get only 60 to 6?%
as tnuch light as the normal academy aperture — with all
light sources being equal.

"The newer, larger negatives in 65mm and 55mm that
Mr. Ryder complains about have been under experimenta-
tion by their proponents for a considerable length of time,
precisely for the same reason that Mr. Ryder's company
has gone to horizontal W for its show-case run of pictures.

"By using the larger negatives and contact positive prints
for projection, the newer films can get much more light on
the screen for show-case or road show runs. These will
require special projection equipment, to be sure, but so does
horizontal VistaVision require special projection equipment.

"When films are made in 65mm or 55mm either anamor-
phic or non-anamorphic, a simple laboratory printing process
can reduce them to 35mm prints for regular release — and
in CinemaScope the 35mm prints that will come from the
55mm negative will be even better than those photographed
in 3 5mm, for obvious reasons, and will get considerable more
light on the screen than the regular VistaVision projection
method can get.

"It is plain common sense for any film company to pre-
sent its product in show-case runs in its best possible aspect.
This Paramount has done and continues to do with hori<
zontal VistaVision projection — and there is no reason, in
economics or otherwise, why other film companies should
not use wider film and special projection for show-case or
road show runs, and for later release with contact prints
if any theatre decides to buy new projectors to use the
wider film.

"Mr. Ryder objects to the equipment manufacturers mak-
ing sales, apparently, but he should remember that the manu-
facturers make only what they can sell at a profit (most
of the time) and have no desire whatever to promote the
design, manufacture or sale of any piece of equipment that
(in the first place) is not a considerable improvement over
any equipment now in existence, and that, as Mr. Ryder
states, 'cannot pay its own way.'

"Mr. Ryder advises, '. . • if the device cannot pay its own
way it should be dropped.' And rightly so.

"No manufacturer will make any theatrical equipment that
he believes cannot pay its own way — and Mr. Ryder must
know that the equipment manufacturer makes only the kind
of equipment for which there is a market — and a profit. The
manufacturer does not create the market for new equip-
ment, and therefore cannot be unjustly accused, as Mr.
Ryder so lightly puts it, '. . . of trying to get all of our
profit all of the time."

(Continued on bac\ page)

166

HARRISON'S REPORTS

October 15, 1955

"Oklahoma!" with Gordon MacRae,
Shirley Jones, Gene Nelson
and Gloria Grahame

(Magna Theatre Corp., special; time, 145 min.)
Rodgers and Hammerstein's "Oklahoma!", which is witha
out question one of the best known and most captivating
musical shows to ever grace the stage, and which has won
nearly every major theatrical prize, is nothing short of
superb as a screen entertainment. Its triumphant blend of
songs, dances and an appealing story will once again thrill
the millions who have seen it as a stage play, as well as
many more millions who have not seen the stage version
but are thoroughly familiar with its irresistible songs.

The picture has been photographed in Eastman color
and the new Todd-AO wide-screen process which, in the
viewpoint of this reviewer, leaves much to be desired.
Utilizing a curved screen that is 50 feet wide and 25 feet
high, with the curve 13 feet deep in the center, this new
process has a shape that is a cross between CinemaScope
and Cinerama. The system appears to best advantage when
viewed from direct center, but even then it has distortions
in that level surfaces appear to arch upward when viewed
from the orchestera, and downward when viewed from the
balcony. When viewed from the sides of either the balcony
or the orchestra, the images on the side nearest the viewer
become elongated, with the degree of distortion increasing
as one goes further to the side and closer to the screen.
All this is quite distracting, particularly in the dance se-
quences, where the dancers appear to go uphill as they
move toward the sides of the vast screen. The quality of the
color is variable and the same may be said of the photog-
raphy, which is fuzzy in some spots and sharp and clear
in other spots. As to the claim that this system gives one an
illusion of depth and audience participation, this is not
noticeable and certainly does not match the effect of Ciner-
ama. But where Todd-AO does have an advantage over
Cinerama is that it is projected as a single film with no
joining lines on the screen, and utilizes only one projection
machine, which is located in the regular theatre booth.
Cinerama, as it is known, requires three special projection
booths that have to be built on a theatre's main floor- The
best feature offered in the Todd-AO process is the six -track
stereophonic sound system. Its superior tonal quality is a
delight to the ear and is alone worth the price of admission.

Despite the flaws in the process, however, "Oklahoma!"
is grand screen entertainment. It is endowed with infectious
gayety, imaginative and inspired dance ensembles, wonder-
ful songs and expert touches of comedy and melodrama, all
of which is set against impressive outdoor backgrounds and
charming rural settings. The entire cast is excellent, with
outstanding performances contributed by Gordon MacRae,
as Curley, the swaggering cowboy, and by Shirley Jones, as
Laurey, the coy heroine. Miss Jones, a blonde newcomer, is
a beautiful and charming young lady, and her soprano voice
is sweet and clear. MacRae and Miss Jones make a fine
romantic couple and, whether they sing together or indi-.
vidually, both do justice to the delightful songs. Gene Nel-
son, as Will Parker; Gloria Grahame, as Ado Annie;
Charlotte Greenwood, as Aunt Eller; Eddie Albert, as Ali
Hakim, the comic Persian peddler; and Rod Steiger, as the
brooding Jud Fry, are among the others in the fine cast who
contribute much to the entertainment values. The songs
include "Oklahoma!", "Many a New Day," "People Will
Say We're in Love," "The Farmer and the Cowman," "All
Er Nuthin," "I Cain't Say No," "Everything's Up to Date
in Kansas City," "Pore Jud is Daid," "The Surrey With the
Fringe on Top" and "Oh What a Beautiful Morning."
There is also an outstanding "Out of My Dreams" ballet
number, featuring Bambi Linn.

Briefly, the story takes place in a small Oklahoma farming
community at the turn of the century and revolves around
Laurey's efforts to tone down the cocksure Curley. To do
this, she invites Jud Fry, a sinister farmhand employed by
her Aunt Eller, to take her to a square dance. She runs away
from Jud when he tries to make love to her en route to the
dance, where she makes up with Curley after he outbids
Jud for her basket of food. The two decide to marry and,
on the night of their wedding, Jud, furious over being re-
jected, tries to burn them to death and is killed by Curley
in self-defense. Curley is exonerated at a quick trial, after
which he and his bride leave on their honeymoon.

Present plans call for the picture to be shown in specially-
equipped theatres throughout the country on a roadshow
basis. The picture has been photographed also in Cinema-
Scope, which version will eventually be released for regular

theater showings but not until the Todd-AO version has
completed its showings-
It was produced by Arthur Hornblow, Jr., and directed
by Fred Zinnemann, from a screenplay by Sonya Levien
and William Ludwig, as adapted from Rodgers and Ham-
merstein's musical play, which was based on a dramatic play
by Lynn Riggs.
Family.

"The Twinkle in God's Eye" with
Mickey Rooney and Coleen Gray

(Republic, Oct. 13; time, 74 min.)

This picture should go over in the small towns because
of its tender religious overtones, and it should also prove
acceptable as a supporting feature in neighborhood theatres,
for the story holds one's interest all the way through and
is endowed with some fine acting on the part of Mickey
Rooney. The idea of Rooney portraying a newly-ordained
minister undoubtedly will cause many movie-goers to be
taken by surprise, but his performance is sincere and sym-
pathetic, and never for a moment does he get out of char-
acter. The manner in which he succeeds in bringing religion
to a tough frontier town in the 1880's, after converting the
lawless element, is highly pleasing and is not shoved down
one's throat. Worked into the proceedings are nice touches
of light humor. The direction is good, and the black-and-
white photography clear: —

Rooney, a newly-ordained minister, comes to Loadstone,
a Western mining town, to rebuild a church that had been
destroyed 25 years previously by Indians, who had also
killed his parson-father. Though treated respectfully,
Rooney finds himself faced with the hostility of Hugh
O'Brian, owner of the town's gambling saloon, who felt
that any attempt to bring religion to the community would
hurt his business. He tries to block every move Rooney
makes to raise money to rebuild the church. Coleen Gray,
head of the girl entertainers at the saloon, sides with Rooney
and tries to make O'Brian realize that there are more im-
portant things in life than money, but his efforts are in
vain. Joey Foreman, who played an organ in the saloon,
hankers for the spiritual uplift offered by Rooney and, at
the risk of incurring O'Brian's enmity, accompanies Rooney
to an Indian settlement and helps him to make a deal for
the timber required to rebuild the church. Meanwhile a
group of outlaws headed by Don Barry rob the saloon and
hide the loot in a temporary altar of rocks built by Rooney-
Tragedy strikes when Coleen enters a rodeo contest to
raise money for the church and is crippled in a fall. Rooney,
who had unexpectedly won prize money in the bronco-bust«
ing contest, uses it to pay for the medical attention Coleen
needs. His goodness and liberality win him many friends
and even brings about the conversion of O'Brian. When a
mine disaster traps a number of men, Rooney insists that
the church timbers be used to rescue the victims. A falling
timber hits the altar and reveals the stolen loot, which
Rooney returns to O'Brian- With the men rescued from
the mine, and with Coleen well on the road to recovery,
Rooney wins over every one in the community, thus assuring
the building of the church as well as a congregation.

Mickey Rooney produced it, and George Blair directed
it, from a screenplay by P. J. Wolfson. Family.

"Quentin Durward" with Robert Taylor,
Kay Kendall and Robert Morley

(MGM, October; time, 101 min.)
Shot on location in England and France, and photo-
graphed in CinemaScope and Eastman color, this is an
entertaining romantic tale of the action-filled medieval ad-
ventures of a gallant Scot nobleman, who becomes involved
in the intrigues of two unscrupulous royal brothers, Louis
XI, King of France, and Charles, Duke of Burgundy, when
he visits their country to judge the qualifications of a beauti-
ful Countess, who had been selected to marry his elderly
uncle. What sets this picture apart from similar costume
melodramas produced during the past year is that it has
an amusing tongue-in-cheek quality and good touches of
comedy throughout. As can be expected, it has the usual
quota of heroics in which the brave Scot goes about the
business of overcoming all sorts of overwhelming odds to
protect the life of the beautiful heroine, who had become
a pawn in the struggle for power between the two royal
brothers. To no one's surprise, of course, the hero falls in
love with the heroine, and the convenient death of his uncle
enables him to make her his bride. Robert Taylor is hand-
some and dashing as the Scot hero, and his deeds of derring-
do are vastly entertaining even though they are for the most

October 15, 1955

HARRISON'S REPORTS

167

part incredulous. Kay Kendall, a British actress, is charm-
ing as the distressed heroine, and amusing characterizations
are contributed by Robert Morley, as King Louis, and by
George Cole, as a comical gypsy who attaches himself to
Taylor. The magnificent medieval settings are a treat to
the eye: —

At the request of his elderly uncle, Taylor goes to France
to judge the qualifications of Kay, whom the old man sought
to marry. Taylor quickly ascertains that she is qualified when
he meets her at the castle of Charles, Duke of Burgundy
(Alec Clunes). Kay, however, has no intention of submit-
ting to a political marriage dictated by Charles' desire for
a Scottish alliance. She escapes to Tours and places herself
under the protection of King Louis. This is a blow to
Charles, who did not want Louis to have a hold over Kay,
who owned land that flanked Burgundy- Taylor, determined
to gain Kay's confidence, follows her to Tours and, with the
aid of Cole, a gypsy who worshipped him, succeeds in enter-
ing the King's heavily guarded castle. Impressed by Taylor's
daring, Louis makes him his personal guard. To avoid a
war with Charles and at the same time curb his power,
Louis works up a scheme to have Kay captured by Duncan
Lamont, a renegade count, while on a trip to the Bishop
of Liege, with Taylor as her escort. Cole, learning of the
plot and realizing that Taylor might be killed, warns the
Scot. This warning enables Taylor to fight off the attackers
and to escape with Kay to the Bishop's castle. There, they
both fall in love, but being true to his uncle he decides to
bid her farewell. Just as he departs, Lamont and his men
attack the castle and murder the Bishop. Lamont is about
to make Kay his wife when Taylor, attracted by the cannon
fire, returns. He kills Lamon in a furious fight and rides
back with Kay to Charles' castle. There, he finds that Louis
had been made Charles' prisoner, and was being tried by
feudal nobles on the charge that he caused Lamont to kill
the Bishop. Taylor, however, proves that the charge is false.
While Charles and Louis meet to formulate a peace pact,
which will include Kay's marriage, word arrives that Taylor's
uncle had died. Their problem is solved when they permit
her to choose her own husband and she selects Taylor.

It was produced by Pandro Berman, and directed by
Richard Thorpe, from a screenplay by Robert Ardrey, based
on Sir Walter Scott's novel.

Family.

"Teen-Age Crime Wave" with Tommy Cook,
Mollie McCart and Sue England

(Columbia, November; time, 77 min.)

It is manifest that Columbia, having tasted success with
"The Night Holds Terror," has decided to utilize the same
story formula as a "follow-up." Except for the fact that
the ages of the principal characters give the story a touch
of juvenile delinquency, it is similar to "Night Holds
Terror" and "Desperate Hours" in that the young criminals
hold the helpless members of an innocent family as hostages
in order to manage their escape from the police. The young
players are generally unknown, but their acting is compe-
tent. Tommy Cook is most impressive as the impudent,
arrogant, offensive and despicable young hoodlum who is
quick to shoot when his safety is threatened, and Mollie
McCart is equally effective as the young "tart" who joins
him in crime. Sue England is sympathetic as a nice girl who
innocently becomes involved in their crimes. It is a fairly
good program picture of its type, but the idea of holding
an innocent family in terror has been used so often recently
that it is beginning to wear thin and has reached a point
where the spectator's tension is lessened considerably. The
production values are modest, but the direction is good
and so is the photography: —

In league with Cook and James Ogg, Mollie lures middle-
aged men to dark corners, where they are robbed by her
hoodlum pals. One night she arranges a date for Ogg with
Sue, who was unaware of the trio's criminal activities- Sue
is horrified when they execute one of their holdups, and
she and Mollie are caught by the police while the boys
escape. Despite her protests of innocence, Sue is sentenced
to jail along with Mollie. While a sheriff and a matron
drive them to prison, Cook intercepts the car on a lonely
highway, kills the sheriff and binds the matron. He and
Mollie then force Sue to accompany them to an isolated
spot, where they hide their car in the underbrush to get
the police off their trail. Cook then breaks into a farm-
house, where he forces an elderly couple (James Bell and
Kay Riehl) and their son (Frank Griffin) to do his bidding
until Ogg, with whom he had communicated, arrives with

money and another car. Aided by Mollie and his ever-
present gun, Cook keeps the family in a constant state of
terror by threatening to kill one if another makes a false
move. Meanwhile the police find Cook's car and concentrate
their search in the area. They visit the farmhouse and talk
to Bell, but he gives them no information lest Cook shoot
his wife and son. In the events that follow, the police
intercept Ogg as he approaches the farmhouse and kill him
when he attempts to escape. Cook, hearing the shots, guesses
the reason and decides to attempt a desperate escape himself.
He forces Bell to drive off with him and Mollie in the
farm station wagon. The police give chase and finally
corner them at a huge planetarium, where Bell's son cap-
tures Cook after a vicious fight. Mollie is mortally wounded
when she shoots it out with the police, but before dying
she establishes Sue's innocence, thus assuring her of a happy
life with Bell's son, with whom she had fallen in love.

It is a Clover production, directed by Fred F. Sears from
a screenplay by Harry Essex and Ray Buffum, based on
Mr. Buffum's story.

Adult fare-

"The Girl in the Red Velvet Swing" with
Ray Milland, Joan Collins and
Farley Granger

(20th Century-Fox, October; time, 109 min.)

"The Girl in the Red Velvet Swing" is no more than a
fair dramatic offering, but it may do better than average
business by reason of the fact that its subject matter, properly
exploited, can draw extra patrons to the box-office- Photo-
graphed in CinemaScope and DeLuxe color, it is the story
of Evelyn Nesbit, "The Gibson Girl" of the early 1900's,
who was the central figure in the sensational murder case
involving Harry K. Thaw, her husband, who shot and
killed Stanford White, the noted architect, on the roof
theatre of the old Madison Square Garden in New York.
Although some fifty years have gone by since this notorious
murder and trial took place, its details have been kept in
the public eye through sensational feature stories that have
been published from time to time in the newspapers, and
through the exploits of Miss Nesbit herself, who is the only
one of the three principals still alive. As an entertainment,
the picture's main fault is that no sympathy is felt for any
of the characters. Farley Granger, who portrays Thaw, is
hateful and irksome; Ray Milland, as the suave architect, is
basically a philanderer; and Joan Collins, as Miss Nesbit,
encourages an affair with the architect, despite her knowl-
edge of his married status, and she weds the vexatious Thaw,
not for love, but for an opportunity to get back at White
for refusing to divorce his wife. The acting is competent
enough, but none of the situations come through the screen
with an appreciable dramatic impact. The production values
and the photography are first-rate.

Briefly, the story's opening scenes establish that Thaw, a
spoiled, young Pittsburgh playboy, hates the middle-aged
White, because he had personally blackballed him at his
club. In the course of events, both Thaw and White find
themselves attracted to Evelyn, a member of the Floradora
girls, and it is White who succeeds in getting her to accept
a luncheon invitation, which causes her to pass up a party
given by Thaw. With his wife away in Europe, White starts
an affair with Evelyn, much to the displeasure of her mother
(Glenda Farrell), a hard-working seamstress. Meanwhile
Thaw pursues Evelyn at every opportunity but she shrugs
him off. In due time White makes it clear to Evelyn that
he will not divorce his wife. This leads to her suffering a
nervous breakdown when she is unable to communicate with
him and, in a fit of pique, she decides one day to marry
Thaw, who still pursued her. After their marriage, Thaw
constantly hounds her about her relationship with White
and makes life unbearable. Tortured by jealousy, he gives
vent to his resentment one night by shooting White dead
as he watches a show on the Madison Square Carden roof
theatre. At the trial, Evelyn reluctantly permits Thaw's
lawyer (Luther Adler) to defame her character so that he
might build his case on the "unwritten law," with the result
that Thaw is acquitted on the grounds of "insanity at the
time of the act." Thaw is transferred to an insane asylum,
and Evelyn, confused and hurt, prepares to rejoin his
family- When she finds that they arc no longer interested
in her, she refuses a "settlement" check and decides to
capitalize on her notoriety by going on the stage.

It was produced by Charles Brackett. and directed by
Richard Fleischer, from a screenplay by Walter Rcisch and
Mr. Brackett.

Adult fare.

168

HARRISON'S REPORTS

October 15, 1955

"Mr. Ryder should know, also, that this kind of pro-
nunciamento is bunk — pure bunk."

* * *

While on the subject of "bunk," as practiced by Para-
mount in connection with VistaVision, it is interesting to
note that today, October 15, marks the first anniversary of
the public introduction of VistaVision at the New York
Radio City Music Hall, which presented "White Christmas"
on October 15, 1954 — and in horizontal VistaVision, at that.

Paramount is not exactly a shy company when it comes
to blowing its own horn, and, as it will be remembered by
most every one, it filled the trade papers with glowing
advertisements hailing VistaVision, and daily handed out
reams of publicity that made all sorts of claims about how
the process will revolutionize motion picture techniques. For
example, its fancy brochure that introduced VistaVision to
the trade stated that "it is the only process that will guaran-
tee greatest public acceptance and the greatest patronage-"
Yet, on its first anniversary, when it would be perfectly
normal for the company to hail the accomplishments of its
"great" process, we hear nothing but dead silence.

Can it be that VistaVision has not lived up to the
grandiose claims that were made for it? That it hasn't is
evidenced by the fact that, though the company made much
of its magnanimity in making the process available to all
producers without compensation of any kind, not one pro-
ducing company in this country, other than Paramount itself,
has released any pictures in VistaVision. If VistaVision
meant anything at the box-office, you may be sure that the
producers would have jumped on the bandwagon, such as
they have done with CinemaScope.

THE READERS HAVE THEIR SAY

October 3, 1955

Dear Pete:

At a recent Board of Directors meeting of the Southern
California Theatre Owners Association, a resolution was
unanimously adopted commending you highly for your
many years of vigorous championship of the independent
exhibitor.

We are sincerely grateful to you for understanding the
multitude of problems constantly confronting us. — Harry
C. Arthur, jr., Chairman of the Board.

"I Died a Thousand Times" with
Jack Palance and Shelley Winters

(Warner Bros., 7\[ov- 12; time, 109 min.)

A fairly interesting remake of "High Sierra," the 1941
Warner gangster melodrama, which starred Humphrey Bo-
gart and Ida Lupino. Except for the fact that it has been
photographed in CinemaScope and WarnerColor, the story
remains substantially the same in that it deals with the
romantic and criminal adventures of a released convict who,
of course, pays for his crimes in the end. Like the original,
this remake has exciting gangster action and ends in a
thrilling manner, with the chief character, ably portrayed
by Jack Palance, trapped by the police on Mt. Whitney after
a wild automobile chase. Also like the original, this version
is somewhat demoralizing in that it tries to glorify the gang-
ster; on the one hand he is depicted as a killer and crook,
and, on the other, he is shown as a benefactor to an im-
poverished family. Shelley Winters is very good as a dance-
hall girl who takes up with Palance and remains loyal to
him. The CinemaScope photography is first-rate, and is
particularly effective in the depiction of the auto chase up
snow-capped Mt. Whitney: —

Released from prison after an eighteyear stretch, Palance
heads West to meet Lon Chaney, a gangster boss, who
wanted him to pull off a hotel safe robbery in the resort
town of Tropico. En route, Palance becomes acquainted with
Ralph Moody and Olive Carey, a penniless elderly couple,
who were heading for Los Angeles with Lori Nelson, their
crippled granddaughter, whose innocence and charm ap-
peals to him. Palance goes to a mountain cabin camp to
prepare for the holdup, and there meets Lee Marvin and
Earl Holliman, two inexperienced thugs who were to assist
him. He also finds that they had taken Shelley in with them
and orders them to get rid of her. Later, however, he permits
her to stay. After meeting Perry Lopez, the Tropico desk
clerk, and laying out plans for the robbery, Palance visits
Lori in Los Angeles and informs her that he had made
arrangements for an operation on her club-foot. Returning

to the cabin, he finds that Marvin had given Shelley a beat-
ing. He thrashes Marvin and permits Shelly to remain in
his cabin when she confesses her love for him. He makes
another visit to Lori and asks her to marry him, but she
makes it clear that she cannot love him- On the night of
the robbery, Palance carries out the plan without a hitch,
but his two aides are killed when their car goes over an
embankment during the getaway. Palance, driving in another
car with Shelley, heads for Los Angeles to deliver the
guests' jewels to Chaney, only to find him dead of a heart
attack. He turns the loot over to a fence, and then hides
out with Shelley in a motor court. Just as he receives word
that payment was awaiting him in Los Angeles, he learns
that the desk clerk had confessed and that the police were
searching for him. He sends Shelley away, promising to
meet her at a later date, and heads for Los Angeles. The
police pick up his trail and finally trap him on Mt. Whitney,
where he is shot dead while trying to evade capture. Shelley,
who rushed to the scene, is picked up by the police.

It was produced by Willis Goldbeck, and directed by
Stuart Heisler, from a story by W. R. Burnett.

Adults.

"Man With the Gun" with Robert Mitchum
and Jan Sterling

(United Artists, T^ovemher; time, 84 min.)
An exceptionally good Western melodrama has been
fashioned by Samuel Goldwyn, Jr. in his initial effort as a
producer. It holds one in tense suspense from start to finish,
and it will not only satisfy the action fans but also please
those who do not ordinarily go out of their way to patronize
pictures of this type. The story is not unusual, nor is it
pleasant, for their is much killing and the action is fre-
quently brutal and heartless, but it has been given a good
treatment and grips one's interest throughout. Robert Mit-
chum does fine work as a quiet but fearless man who calls
himself a "town tamer" and who sells his services to any
community that seeks to rid itself of lawlessness. The
lightning manner in which he outdraws and kills the different
gunmen who try to shoot him is quite thrilling. In spite of
the fact that he shoots to kill every time he pulls the trigger,
Mitchum wins audience sympathy, for he is not only on
the side of the law but also gives his lawless adversaries
ample opportunity and warning to behave themselves. Jan
Sterling is effective as Mitchum's estranged wife, who left
him because of the dangerous life he led and who returns
to his arms when he decides to pursue a more peaceful
existence. The low-key photography is in keeping with the
somber mood of the story: —

Mtchum rides into Sheridan City to seek a reconciliation
with Jan, head of a group of dancing girls at the Palace
Saloon, but she refuses to see him. Learning that the town is
terrorized by Joe Barry, a ruthless rancher, whose gunmen
enforce his rule, Mitchum offers his services to the towns-
people, who hire him to either stop the gang or exterminate
them. He has himself deputized by Henry Hull, the aged
town marshall, and he immediately orders a midnight curfew
and outlaws the carrying of guns within the town. Two of
Barry's men ride into town to defy Mitchum and he kills
them both in a gun duel. Ted De Corsia, who operated the
Palace for Barry, tries to persuade Mitchum to have a talk
with Barry at the ranch, but Mitchum refuses because he
wanted Barry to come to town for a showdown- John Lup-
ton, a young rancher who had been shot by Barry's hench-
men, rides out to combat them against Mitchum's advice.
Barry captures Lupton and sends word to Mitchum to come
and get him. Instead, Mitchum jails the two message bearers
and compels Barry to exchange Lupton for them. In the
course of events, Mitchum learns from Jan that their little
daughter had died several months previously. The news
upsets him and he determines to finish his job quickly in
order to leave the town. He burns down the Palace and
kills De Corsia, who tries to knife him. This move infuriates
Barry, who arranges for a henchman to trick Barbara
Lawence, one of Jan's girls, into distracting Mitchum so that
Barry might shoot him when he rides into town. Jan learns
of the trickery but is unable to warn Mitchum in time.
Lupton spots Barry as he draws a bead on Mitchum and
shoots him dead, but not before Barry succeeds in wounding
Mtchum. Jan is relieved to learn that Mitchum will live
and effects a reconciliation with him.

Samuel Goldwyn, Jr. produced it, and Richard Wilson
directed it, from a screenplay by himself and N. B. Stone, Jr.

Adult fare.

Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1S79.

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Vol. XXXVII

SATURDAY, OCTOBER 22, 1955

No. 43

TOA CONVENTION AN UNPRODUCTIVE
ONE THAT DODGED IMPORTANT ISSUES

In last week's issue, this paper reported that
"many words and little concrete action" adequately
described the national convention of the Theatre
Owners of America held in Los Angeles two weeks
ago. But accounts of the convention in several of the
other trade papers tend to give an opposite impres'
sion.

Motion Picture Herald, for example, under the
blaring headline of "A Fighting TOA Alters Its
Course," starts its convention report with this state'
ment: "TOA is in a fighting mood. That is the major
conclusion of this year's convention ..." The report
goes on to state that "in the past some TOA conven-
tions were comparatively dull because the organiza-
tion originally shied away from certain types of trade
relations problems," and adds that "now TOA seems
prepared to tackle any issue."

These remarks certainly indicate that the TOA
convention was charged with fireworks and that the
organization was taking a firm stand in dealing with
the varied problems affecting the exhibitors. But when
one reads the balance of the Herald's report, he can-
not find anything to justify the statement that "TOA
is in a fighting mood."

If anything, according to reports that have reached
this paper, the TOA convention was a bitter disap-
pointment to those exhibitors who attended with the
hope that the organization would take some positive
action against distribution practices that are threaten-
ing them with extinction.

This is substantiated by the convention report in
Showmen's Trade Review, which stated that the
1955 convention rang up "an undoubted record as
being TOA's biggest fun fest to date."

"In fact," continued the STR report, "the enter-
tainment offered by the convention's hosts and the
glamor offered by the film capital contributed to what
many regarded as slight attendance at business ses-
sions.

"Panel committees which met to discuss problems
openly spoke of 'disappointing audiences' and even
the highly publicized 'production forum' over which
Y. Frank Freeman presided and such industryites as
Dore Schary, Gene Kelly, Steve Broidy, Sam Engel
and Warner Bellah participated were attended by
what an observer declared to be a 'mere 75'."

The STR report further states that the TOA
executives said that they were "well satisfied" with
attendance at the meetings, "but if they were satisfied
with attendance, those who exhibited in the TOA
Trade Show were in no way satisfied with the num-
ber of visitors. The Trade Show, in their opinion, was
not a success."

That the TOA convention was an unproductive
one, in view of the problems faced by exhibition to-
day, can be gleaned from the fact that such top TOA
leaders as Herman Levy, Alfred Starr and Sam
Pinanski considered the following actions of the con-
vention as accomplishments:

1. Unanimous acceptance of the proposed industry
arbitration system. The TOA leaders feel that this
arbitration plan will help to solve many exhibitor
problems, even though it excludes film rentals, which
is the exhibitors' chief problem, but the fact remains
that it is yet to be approved by other exhibitor organi-
zations as well as the distributing companies, and,
assuming that it will be approved by them, it will then
require the sanction of the Department of Justice
and the Court, which may or may not accept it be-
cause of National Allied's refusal to participate in
the plan. Many months will go by before this arbitra-
tion plan becomes a reality, if at all. Meanwhile there
is nothing about the TOA program that gives hope
to the exhibitor for the immediate relief he sorely
needs.

2. A resolution to liquidate its Exhibitors Film
Finance Group within six months unless the Depart-
ment of Justice permits the divorced circuits to parti-
cipate in the plan to finance production, the purpose
for which the EFFG was set up by the 1954 TOA
convention. This is not an accomplishment; it is an
admission of failure, for even the TOA members who
have nothing to do with the divorced circuits failed
to support the idea.

3. Adopted a resolution urging another campaign
to eliminate the balance of the ticket tax. This action,
though desirable, does not have much meaning, for
Sam Pinanski, who led the movement for a new tax
campaign, admitted to the delegates that relief in the
near future seems unlikely.

4. Voted to continue the fight against toll TV.
This, too, is desirable and necessary, but it is a con-
tinuing matter in which National Allied, too, is par-
ticipating and can hardly be looked upon as an ac-
complishment of this convention.

5. Rejected Government regulation of the industry
as an undesirable way to solve intra-industry prob-
lems. This opposition to Federal control is historical
with the TOA, but it would be more meaningful if
the organization offered a concrete alternative to help
exhibitors stay in business. This, the convention failed
to do.

With the economic condition of thousands of exhi-
bitors becoming worse daily as a result of harsh distri-
bution practices, the TOA leaders had a golden op-
portunity to prove that their organization can truly

(Continued on bac\ page)

170

HARRISON'S REPORTS

October 22, 1955

"Rebel Without a Cause" with James Dean
and Natalie Wood

(Warner Bros., October 29; time, 111 min.)
An unpleasant but visually gripping juvenile aV
linquency melodrama, photographed in Cinema'
Scope and WarnerColor. Although it is frequently
brutal and shocking in its depiction of juvenile vio'
lence, it probably will prove to be an outstanding box
office attraction by reason of the fact that it stars
James Dean, the sensational young actor, who attained
stardom as a result of his work in "East of Eden,"
and who died tragically several weeks ago in an auto-
mobile accident. In this picture, Dean once again
proved his unusual dramatic talents by an outstanding
performance as a confused 'teen-ager who is emotion'
ally upset by a bickering mother and weakling father,
and who becomes caught in an undertow of youthful
violence when he tries to make friends with a gang
of neighborhood hoodlums. Even hardened movie-
goers will be startled by some of the vividly depicted
situations, such as the knife duel between Dean and
the gang's leader; a "chickie run," whereby Dean and
the gang leader drive respective hot rod cars at break-
neck speed toward the edge of a cliff and leap out
seconds before the cars go over the edge, with the
first to jump being labelled "chicken"; and the vicious
physical attack Dean makes on his own father when
he is unable to help him out of his difficulties. Highly
effective portrayals are turned in by Natalie Wood,
as Dean's girl-friend, and by Sal Mineo, as his
younger pal. The juvenile principals are shown as
children who come from comfortable middle class
families, and the story attempts to make the point
that the psychological motivations for their violent be-
havior stem from the fact that they are denied love,
affection and understanding at home. This point is
not valid, for, even though there appears to be a lack
of understanding on the part of the parents, the
youngsters themselves fail to display traits that de'
serve audience sympathy. All in all, it is a picture
that is tense and disturbing in its depiction of juvenile
violence, but does not present the problem with pow-
erful dramatic impact, nor does it effectively suggest
how the problem might be combatted. The production
values and the photography are first-rate.

The story opens in a police station and present,
among others, are Dean, Natalie and Mineo, who had
been picked up by the police for different reasons.
Dean, who had just moved into the neighborhood,
had been found drunk and unruly. He is released, but
not before he reveals complete disrespect for Ann
Doran, his domineering mother, and Jim Backus, his
weakling father, who call to take him home. Natalie,
picked up for wandering about the streets after 1
A.M., is taken home by her mother (Rochelle Hud-
son) after indicating that she does not get along with
her father (William Hopper). Mineo, 16-year-old
son of separated parents, is scolded for having shot
several puppies and is released in the custody of a
Negro maid who took care of him. In the develop-
ment of the plot, Dean becomes friendly with Mineo,
a classmate in high school, and makes a play for
Natalie, girl-friend of Corey Allen, leader of a tough
high school gang. Allen and Dean fight to a draw in
a duel with switchblade knifes and agree to meet later
for a "chickie run" to prove which one of them is
braver. Allen meets a violent death when his jacket
sleeve hooks over the car's door handle and he is unable
to jump before his hot rod hurtles over the edge of the
high cliff. In their mutual disturbance over Allen's

death, Natalie and Dean become friendly and go to
an abandoned mansion to make love. Meanwhile
Mineo learns that several of the gang mambers were
after Dean to prevent him from talking to the police.
He trails Dean and Natalie to the deserted mansion
to warn them and is in turn tracked there by the
vengeful gang members. When the youths attack him,
Mineo, armed with his father's gun, opens fire and
kills one of them. The shots attract the police, who
close in and order the hysterical Mineo to give him-
self up. Dean calms down his friend and induces him
to surrender, but a furtive move made by Mineo is
misunderstood by a policeman, who shoots him dead.
It ends with Dean and Natalie being comforted by
their parents, who had arrived on the scene, with the
indication that all concerned have come to under-
stand one another.

It was produced by David Weisbart, and directed
by Nicholas Ray, from a screenplay by Stewart Stern.

Adult fare.

"Apache Woman" with Lloyd Bridges
and Joan Taylor

(American Rel. Corp., October; time, 83 min.)

There is considerable merit to this Indian-versus-
whites melodrama, which should find a spot on the
lower half of a double bill, but it is handicapped by
an inadequate script and by the fact that the action
is very slow in the second half, where it unfolds
chiefly by dialogue instead of movement. The out-
door scenery, photographed by the Pathecolor process,
is beautiful and should compensate somewhat for the
slowness of the action. Lloyd Bridges is good as a
Federal agent, an expert on Indian affairs, who seeks
to prevent bloodshed between the whites and the
Apaches. His efforts to save lives by proving to the
whites that the Apaches on a reservation nearby were
not responsible for a series of vicious crimes in the
area are praiseworthy. Joan Taylor is creditable as
an Indian maiden who helps Bridges expose those re-
sponsible for the crimes, but their romance is dragged
in by the ear. There is no comedy relief: —

By signing a peace treaty with the Apaches at the
turn of the century, the bitter Indian wars in Arizona
come to an end. But it is an uneasy peace, for the
Apaches are herded into reservations, and the town-
folk feel hostile toward them in the belief that they
are responsible for several stagecoach holdups. Bridges
is dispatched to the region as a pacifier, and he arrives
just as Joan Taylor, a pretty halfbreed, is eyed sus-
piciously by an angiy crowd in connection with the
killing of a stagecoach driver and his passenger. Joan
pulls a knife, but Bridges stops the fight and dis-
perses the crowd. He then learns from the Sheriff
that Joan and Lance Fuller, her brother, are sus-
pected of committing the holdups. Bridges ques-
tions Joan and each feels attracted to the other. The
banditry continues, and Bridges shoots it out with a
small band of outlaws after they shoot and rob one
of the ranchers. The angry townfolk marshall their
forces for an attack on the reservation, and one man,
sent to obtain help from a neighboring town, is found
murdered on the following day. Confident that the
small band of outlaws, and not the Indians, are re-
sponsible for the crimes. Bridges forces the tpwnfolk
to listen to a plan through which the outlaws might be
trapped. They reluctantly agree to go along with his
plan and start by spreading information that a large
shipment of gold would be transferred to another
town. While the trap is being prepared, Joan discov-

October 22, 1955

HARRISON'S REPORTS

171

ers that her brother is the leader of the bandits and,
when she threatens to expose him unless he desists,
he has her bound. She frees herself and rushes to
Bridges to persuade him not to set the trap. Bridges
induces her to confess all she knows lest many lives
be lost. A bloody struggle takes place when Fuller and
his henchmen attempt to steal the gold, and it is
climaxed by a fight between Bridges and Fuller, with
Bridges emerging victorious. With peace restored to
the region, Joan and Bridges find that they shared a
deep love for one another.

It is a Golden State production, produced and di'
rected by Roger Corman, from a story and screen'
play by Lou Rusoff. Family.

"Queen Bee" with Joan Crawford,
Barry Sullivan, Betsy Palmer and John Ireland

(Columbia, November; time, 95 min.)

A cheerless and unpleasant dramatic offering, cen-
tering around a beautiful but hateful, dominating
woman, who causes much unhappiness to her hus-
band, family and friends in order to insure her se-
curity. It is a moody, "soap opera''1 type of story, the
kind that undoubtedly will find its best reception
among female movie-goers. Those who look for action
may find it tiresome, for it is all dialogue and little
movement. As the domineering woman of the piece,
Joan Crawford does well enough in a characteriza-
tion that is similar to numerous other roles she has
played throughout the years, and that is completely
devoid of audience sympathy. As a matter of fact,
not much sympathy is felt for any of the characters.
The one thing that should prove fascinating to wo-
men, however, is the array of fashionable clothes
worn by Miss Crawford. The direction is good and
so is the acting of the other players. The mood is
heavy throughout, with no comedy to relieve it: —

Arriving in Atlanta to visit her relatives, Lucy Mar-
low, a shy girl, is welcomed by Betsy Palmer, her
cousin; Barry Sullivan, Betsy's brother, who was ad-
dicted to drink and constantly brooded; John Ireland,
Betsy's sweetheart, who managed Sullivan's cotton
mills; Bill Leslie, a friend of the family; and Fay
Wray, his sister, who was jilted by Sullivan years
previously. All are warm and friendly until the ar-
rival of Joan Crawford, Sullivan's wife, toward whom
they display obvious enmity. An effusive, affectionate
and charmingly dominating woman, Joan captures the
loyalty of Lucy, who cannot fathom the bitter hatred
the others feel toward her. When Joan shows her
displeasure over the announced marriage of Betsy
and Ireland, Betsy, bitter at Joan's attitude, confides
to Lucy that Joan is like the Queen Bee of a hive —
jealous of her position, she stings ail other females of
the colony to death. Lucy refuses to believe this of
Joan until she inadvertently sees Joan attempting to
compel Ireland to resume a love affair they once had
but which he had long since forgotten. Lucy learns
also that Joan had tricked Sullivan into marriage and
had forced him to jilt Fay. She feels sympathy for
Sullivan and they find solace in the company of one
another. In the course of events, Joan, unsuccessful
in her attempts to discourage the marriage be-
tween Betsy and Ireland, reveals to Betsy that
Ireland had been her lover. Shocked, Betsy com-
mits suicide. This tragedy causes Lucy to lose all
regard for Joan, who combats her by threatening
to claim that she is carrying on an affair with
Sullivan. Fed up with Joan, Sullivan changes
his tactics. He stops drinking, showers her with

jewels and affection, and arranges to take her on a
second honeymoon, during which he planned to kill
both her and himself in an automobile accident.
Meanwhile Ireland discovers that Joan's disclosure of
their love affair had caused Betsy to commit suicide.
He tricks Joan into taking a ride with him and de-
liberately drives off a cliff, bringing instant death to
both of them. It all ends with Lucy and Sullivan
preparing to face a new life together.

It was produced by Jerry Wald, and directed by
Ronald MacDougall, who wrote the screenplay from
a novel by Edna Lee. Adult fare.

"Three Stripes in the Sun" with Aldo Ray,
Phil Carey and Mitsuko Kimura

(Columbia, November; time, 93 min.)

A fairly good human interest drama, the sort that
should appeal to the general run of audiences. Center-
ing around a Jap-hating G.I. who is assigned to the
Army of Occupation in Tokyo, the story is a warm
and interesting account of how his feelings undergo
a change when he takes a deep interest in the affairs
of a poverty-stricken Japanese orphanage, and falls in
love with a beautiful and sensitive Japanese girl. Aldo
Ray does good work as the soldier who eventually
gains a new perspective, and the same may be said
of Mitsuko Kimura, a petite and pretty Japanese
actress, as the girl who wins his heart and makes him
see the error of his ways. Their romance is charming
and pleasing. There is considerable human appeal in
many of the situations, particularly those that con-
cern the orphanage and its personnel. Worked into
the proceedings are nice touches of light comedy. The
picture was shot on location in Tokyo, offering the
spectator some interesting views of that teeming city
and its people: —

Arriving in Tokyo, Ray, a sergeant and veteran
of the Pacific War, retains a bitter hatred for the
Japanese. He starts a riot by pushing a persistent ped-
dler and is given a tongue-lashing by Phil Carey,
his commanding officer, who reminds him of his re-
sponsibility as a U.S. representative. Ray runs into
further trouble when he loses his wallet on the Army
post and charges an elderly Japanese, dressed as a
laborer, with stealing it. It turns out that the man
is a Catholic priest who was seeking to return the
lost wallet, and who worked as a laborer to help sup-
port a war orphanage. Embarrassed, Ray apologizes.
He is ordered to drive the priest back to the orphan-
age, and Mitsuko, employed on the base as a secre-
tary, is sent along as an interpreter. Moved to
compassion when he sees the undernourished children
at the orphanage, Ray forgets that they are Japanese
and enlists the aid of several buddies to raise funds
from his regiment for supplies and a new building.
Ray's efforts win Corey's approval and Mitsuko is
assigned to help him with the project. They fall in
love, but his inability to restrain his anti-Japanese feel-
ings leads to a break between them. Months later,
after seeing service in Korea, he attends the dedica-
tion of the new orphanage building, where he meets
Mitsuko once again. He realizes his deep love for her
and, despite the misgivings of her father, makes her
his bride, thus convincing her that his hatred for the
Japanese no longer existed.

It was produced by Fred Kohlmar, and directed by
Richard Murphy, who wrote the screenplay from a
New Yorker article, "The Gentle Wolfhound," by
E. J. Kahn, Jr. Family.

172

HARRISON'S REPORTS

October 22, 1955

serve all classes of exhibitors by coming up with a
program that would make it clear that they are in
a fighting mood and would brook no further dilly
dallying in an effort to secure immediate remedial
measures. In the opinion of this paper, the TOA
leaders did not muff this opportunity; they deliber-
ately avoided taking advantage of it, for, in the final
analysis, the TOA leaders are representative of the
big circuits and, as a general rule, their interests re
main diametrically opposed to the interests of the
smaller exhibitors.

PLAIN TALK

S. J. Goldberg, National Director of Wisconsin
Allied, issued the following press release this week:

"For the past couple of months I have been read-
ing in the trade papers, statements by many so-called
'brains1 of the industry. Most of these wheels have set
themselves up as experts as to how this industry can
survive and what it should or should not do. We've
had men like Pat McGee who sets himself up as the
guardian of the small exhibitor and has the bad taste
to claim credit for himself on the tax campaign. Now
any school boy knows that it's much more sensible to
let others praise you.

'Then there are men like Mitch Wolfson, a real
nice guy, and plenty smart too. He made a big speech
last week in Los Angeles to a few big shots who own
key theatres all over the country. He was against
government hearings or government control of any
kind. He said we can settle our own problems. Now
I know we small exhibitors aren't supposed to be very
smart but even we know that those fellows that own
the key theatres are doing pretty well. True, they're
getting hurt a little bit by film terms but it's not a
matter of life and death for them like it is for us.
These big fellows are the same jokers who have been
filling the trade papers for a couple of years with a
lot of junk about the good old days before the Para-
mount suit. Naturally, they don't like the new set-up.
Most of these fellows are former affiliates and they
don't like to have us little fellows horning in on what
was a real good thing for them.

"I was sure glad to hear that that guy Martin from
Atlanta said that TOA and Allied could never get
together. He was absolutely keerect. We just don't
think alike. We're just trying to stay in business.
We're fighting for our lives. They're fighting, too,
but to try to make more money than they're already
making.

"Then there's guys like Harry Brandt. My father
taught me to be perlite to my elders so I'll go easy
on this fellow. However, Pop also taught me that
just cause a guy have been around a long time, that
doesn't mean he knows all the answers. Here's a guy
that don't even know that we got civilized people
outside of New York City. He ought to come out and
meet some of us guys in Wisconsin, Iowa and Minne-
sota. Maybe then he'd be a little better qualified as an
expert.

"Now I ain't no attorney but I read that arbitra-
tion thing. The words is pretty big but my 8 year old
daughter explained it to me. If Uncle Sam allows the
film companies to push that thing on us little guys
then there's going to be a lot of new Democrats out

here. Those fellows would just love to walk into
Uncle Sam's office and say, 'See, we're good boys now.
Let us off the hook.' I don't go for this half a loaf
is better than none. Look closer boys, I think you'll
find the half loaf full of worms.

"There's something else I can't understand. How
cum all the little guys keep on reading that stuff you
trade papers put out? Course, I don't blame you guys.
You sure know which side your bread is buttered on.
It's just too bad that there's only one independent
writer in our racket. Peter Harrison is the only guy
that can say what he wants without worrying about
somebody taking an ad away from him. Maybe I'm
jumping at conclusions but it sure seems funny that
everything Allied does is wrong and everything TOA
or the film companies do is good. I wish you guys'd
be more careful or you'll give us Allied fellows an
inferiority complex.

"I hope some of our Allied guys don't get too big
for their britches and forget about us little fellows."

ALLIED PREPARES FOR GLOVES-OFF
CONVENTION

Jack Kirsch, general chairman of National Allieds
forthcoming 1955 convention, which will be held in
Chicago's Morrison Hotel on November 7, 8 and 9,
has announced that Rube Shor, Allied s president,
will deliver the keynote address.

In accepting the assignment, Shor had this to say :
"It s time to name names and tell all to the end that
the independent exhibitors may chart their course
with knowledge of the facts. Once the truth is sifted
from the current blasts of hot air, the exhibitors can
be relied on to reject counsels of inaction and despair
and to unite on a program of positive action." Shor
added that, while his speech will be broad in scope,
he will give special attention to film prices and selling
policies as well as exhibitor-distributor relations.

Shor's talk should be a humdinger, for as head of
the Allied subcommittee that teamed up with a similar
group from TOA in seeking better terms and condi-
tions from the distributors, he has made no effort to
disguise his disgust over the refusal of the film com-
panies to grant substantial relief or his resentment of
TOA's attitude since the meetings with the film com-
pany heads were completed.

In recognition of the fact that exhibitors are seek-
ing solution of their problems, the Allied Convention
Committee has made it clear that such issues as film
prices, Government regulation, the expansion move-
ment among the divorced circuits, especially in the
drive-in field, the worth of the proposed arbitration
system, the advisability of a new tax campaign and
the future of COMPO will be fully explored and
will not be soft-pedalled or ignored.

All this gives promise of a gloves-off convention
that will be packed with interest, excitement and
important decisions, for, as is always the case at Allied
gatherings, every exhibitor who wants to speak his
mind will be given ample opportunity to do so.

Those who will make it their business to attend
this convention will be doing themselves a favor, and
that many exhibitors are eager to participate in the
deliberations is attested by the fact that advance
reservations are extraordinarily high.

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. XXXVII SATURDAY, OCTOBER 29, 1955 No. 44

PRE-RELEASES, OLD STYLE AND NEW

In its discussion of the proposed arbitration draft in the
October 1 issue, this paper called attention to the fact that
the draft is essentially the same as the 1952 arbitration draft,
but that it contained modifications that appeared to offer
even less to the exhibitors than the earlier draft. Cited in
particular was the modification of the definition of clearance,
and the provision permitting each of the distributing com-
panies to pre-release two pictures per year, which pictures
"in nowise shall be subject to arbitration" until such time
as each distributing company announces that such pictures
are ready for general distribution.

That these portions of the draft are highly detrimental to
the interests of the exhibitors was expressed in no uncertain
terms this week by Abram F. Myers, National Allied's gen-
eral counsel and board chairman, in a talk before the con-
vention of the Independent Exhibitors of New England at
Winchenson, Mass. Declaring that he could not understand
why any exhibitor representatives, particularly the Theatre
Owners of America, should approve the plan, Mr. Myers
had this to say in the following excerpts from his talk:

"PRERELEASES, OLD STYLE

"The fast-growing practice of prereleasing pictures in its
essence is nothing more or less than a palpable attempt to
evade the provisions of the decrees entered in the Govern-
ment's big anti-trust case.

"Despite all the protestations of the film companies and
sophistries of the Department of Justice, the clear purpose
and effect of the practice is to raise and maintain admission
prices and to impose new and increased clearances on sub-
sequent run and small town theatres.

"At the hearing before the Senate Small Business Com-
mittee in 1953, we submitted evidence which in my opinion
proved unlawful admission price-fixing on 'Peter Pan' be-
yond a doubt.

"We not only adduced testimony showing attempts to
induce exhibitors to raise their admission prices, but proved
that theatres in many scattered locations not only increased
their prices but raised them to a uniform level.

"And since prereleasing involves the superimposing of a
new run ahead of the established runs it disrupts the estab-
lished clearances upon which, I insist, the subsequent run
and small town exhibitors have a right to rely.

"A new clearance is established, consisting of the waiting
time between the prerelease run and the established first
run. This is an indeterminate clearance which is not specified
in the contracts and rests in the whim of the distributor.
The word 'availability' has virtually supplanted 'clearance'
in many areas and often is measured in days after the terri-
torial release of a picture. The inevitable effect of prereleasing
is materially to increase and make uncertain the waiting time
of the subsequent runs.

"There is authority as well as reason for saying that un-
reasonable clearance by any other name smells just as bad.

"In the teeth of the showing made by the exhibitors Judge
Barnes, head of the Antitrust Division, reported to the
Small Business Committee that no violation of the decrees or
of the law had occurred- However, the printed record stands
and is available to all who can read and I am confident that
it will rise to haunt the members of the Department's staff
and Committee members who joined in the whitewash.

"Judge Barnes did intimate that if this prereleasing busi-
ness was carried too far there might be danger in the prac-
tice. This I interpreted, jocosely, to mean that a few cases
of murder should be overlooked but a massacre might be
questionable.

"Evidently the film companies have construed Barnes*
attitude as a license to commit wholesale murder because
prereleases are increasing in number and all companies seem
to want to get into the act. If Barnes' reservations concern-
ing the practice, if carried too far, mean anything, then he
should consider that he has been challenged and put the
practice to test under the decrees and under the law.

"PRERELEASES, NEW STYLE

"Since Judge Barnes and the Committee gave prereleases
what amounted to a clean bill of health (unless there were
too many of them), something new has been added. Barnes'
report was based on a record which indicated that the pre-
release runs were awarded on competitive bids or, at least,
were open to all theatres if they could afford such luxuries.
So far as the record disclosed the prereleased pictures were
offered 'theatre by theatre."

"In this part of my address I must confine myself to one
company — Paramount — and refer to only two pictures con-
cerning which I have authentic information, namely, 'Strate-
gic Air Command' and 'Desperate Hours.'

" 'Strategic Air Command' was given a preliminary run
in seven selected theatres which, according to Louis Phillips,
Paramount's General Counsel, were modified in certain res-
pects in order to show the picture to the best advantage. I
pass over this special run in seven hand-picked theatres in
order to deal with something vastly more important.

"Thereafter the picture was shown on another special run,
inserted ahead of the regular first runs, in 601 selected
theatres. These showings were called 'merchandising engage-
ments' and that was the first time that I ever encountered
that term. So this picture, made with the cooperation of the
United States Air Force, and using its personnel and equip-
ment, was given two prerelease runs, in hand-picked theatres
before it was put on regular release.

"Coming to 'Desperate Hours,' which is of current inter-
est, it is being given a special prerelease run in 128 theatres
in the United States, again under the name of 'merchandising
engagements.'

"Isn't it amazing that in the whole United States Para^
mount has chosen only 128 theatres as suitable for showing
this picture on prerelease? Assuming there are 18,000
theatres in the United States, this method deprives 17,872
of all opportunity to play on this preferred run.

"I do not know how many theatres there are in the
Boston exchange territory, but I am told that only eight
theatres therein were tapped by Paramount for the honor —
eight theatres scattered through five states-

"Now the question I pose and would like to have answered
is this: How does Paramount, and how can the Department
of Justice, reconcile this hand-picking of theatres for these
'merchandising engagements' with the provision common to
all the decrees which enjoins the defendants —

" 'From licensing any feature for exhibition upon any run
in any theatre in any other manner than that each license
shall be offered and taken theatre by theatre, solely upon
the merits, without discrimination in favor of affiliated
theatres, circuit theatres, or others.'

DELIBERATE ATTEMPT
TO LEGALIZE PRERELEASES

"The District Court resolutely denied all moves by the
defendants to write into the decree an exception in favor
of roadshows, which are, essentially the same thing as pre-
releases and 'merchandising engagements.' The judges who
heard the evidence and decided the case insisted that all

(Continued on bac\ page)

174

HARRISON'S REPORTS

October 29, 1955

"The Tender Trap" with Frank Sinatra,
Debbie Reynolds and David Wayne

(MGM, l^ovember; time, 111 min.)

An entertaining sophisticated comedy, based on the play
of the same name and photographed in GinemaScope and
Eastman color- Filled with bright dialogue, some "hot" love
secenes and many comic situations, it deals with the romantic
mixups of a highly successful actor's agent, an eligible and
philandering bachelor who is constantly pursued by beauti-
ful girls but who becomes the victim of true love when he
falls for a determined young girl who had definite marriage
plans in mind and who had set her wedding date even before
meeting the man she will marry. It is a thin plot at best, but
it is played with zest by Frank Sinatra, as the bachelor;
Debbie Reynolds, as the girl who traps him; Celeste Holm,
as the girl he bypasses; and David Wayne, as his visiting
small-town pal, who is completely bewildered by the care-
free bachelor habits of his friend. The complications that
result when Sinatra gets himself engaged to both girls at
the same time are quite funny. The picture's one fault is
that its running time is much too long for what it has to
offer, with the result that there are draggy moments when
one's interest wanders from the screen. The production
values are lavish, and the color photography tops: —

Wayne, a married man with two children, arrives in
New York from Indiana for a visit with Sinatra, his old col-
lege pal. Impressed with Sinatra's sumptuous apartment,
Wayne looks on in amazement at the procession of beauties
who visit Sinatra and make a play for him. Sinatra appears
partial to Celeste Holm, a sophisticated violinist with a
symphony orchestra, until he meets up with Debbie, a
budding musical comedy star, who makes it clear that she
has definite marriage plans, even though she had no idea
who the bridegroom would be. Sinatra starts romancing
Debbie, but he balks when she proposes marriage and they
break off the romance after a quarrel. Meanwhile, Wayne
had been dating Celeste, and he becomes so enamored with
her that he starts thinking about divorcing his wife and be-
coming a bachelor like Sinatra. Wayne's dates with Celeste
reawakens Sinatra's interest in her and he asks her to marry
him. Celeste accepts immediately and they celebrate the en-,
gagement with a wild party in his apartment, but, before the
party is over, Sinatra realizes that his heart belong to Debbie
and he effects a reconciliation with her. On the following
morning the deception is discovered by the girls and they
both drop him. Sinatra takes a European vacation to get
away from it all, and upon his return attends Celeste's
wedding to Tom Helmore, one of his neighbors. There, he
meets up one again with Debbie, who willingly goes to his
arms.

It was produced by Lawrence Weingarten, and directed
by Charles Walters, from a screenplay by Julius Epstein,
based on the play by Max Shulman and Robert Paul Smith.

Adult fare-

"All That Heaven Allows" with Jane Wyman
and Rock Hudson

(Univ.-lnt'l, January; time, 89 min.)
An excellently produced romantic drama, photographed
in Technicolor. Women in particular should go for its
"soap opera" type of story, which deals with small-town
prejudices that nearly ruin a pleasingly developed romance
between a young widow and her gardener. Though the
story offers nothing unusual, it has been directed so skill-
fully that the actions of the characters are believable. At
times one feels as if he wants to twist the necks of the
heroine's grown children for interfering with her happiness;
they felt that, if she should marry the hero, whom they con-
sidered below the family's dignity, it would ruin their own
futures. Rock Hudson makes a fine hero, and Jane Wyman
is sympathetic as the widow. The friendship that Agnes
Moorehead shows for Miss Wyman when she is in need of
understanding is touching. Though there is not much comedy
relief, there is compensation in the fact that the story is
not heavy. The color photography is superb. Some of the
scenes, which show snow-capped landscapes through the
windows of the interior settings, are a work of art; they are
60 beautiful in their composition that they look like paint-
ings:—

Living in a small New England town with Gloria Talbott
and William Reynolds, her grown children, Jane, a finan-
cially secure widow, finds her loneliness relieved by oc-
casional visits from Agnes, her close friend, and Conrad

Nagel, a middle-aged admirer. She becomes friendly with
Rock Hudson, a rugged and handsome gardener who took
care of her property, and a romance develops between
them. Her happiness is shortlived when he proposes to her,
for Jacqueline de Wit, the town gossip, sets the community
agog with vicious rumors that the romance had begun be-
fore Jane's husband had died. To add to her misery, Jane's
children oppose the marriage. Hudson, aware of Jane's
problem, leaves the decision to her. Torn between Hudson,
her children and the desire for the approbation of the com-
munity, Jane gives up Hudson. In due time Jane's daughter
decides to get married, and her son announces that he had
accepted a scholarship in Paris- Thus Jane finds herself alone
once again and realizes the pointlessness of her sacrifice.
She heeds the advice of Agnes and goes to visit Hudson at
his old farmhouse, which he had redecorated in anticipa-
tion of their marriage. She does not find him at home and
heads hercar back to town. Hudson, out hunting, sees her
from afar and, in his eagerness to overtake her, slips down
a snow-covered embankment and is injured seriously. Jane,
learning of the accident, rushes to his bedside. When he
regains consciousness and sees her tender but anxious coun-
tenance, he smiles contentedly in the knowledge that she
had come to stay with him for good.

It was produced by Ross Hunter, and directed by Doug-
las Sirk, from a screenplay by Peg Fenwick, based on the
story by Edna L. Lee and Harry Lee.

Family.

"Sincerely Yours" with Liberace, Joanne Dru
and Dorothy Malone

(Warner Bros., J^ov. 26; time, 115 min.)

Boxoffice-wise, "Sincerely Yours" has built-in insurance,
for it brings to the screen Liberace, the highly popular
pianist, whose fame is known far and wide. What is more
important, however, is that it is a heart-warming and
thoroughly entertaining picture that should be enjoyed by
all types of movie-goers, for, in addition to the fact that it
is musically fascinating, it offers an appealing .tory that is
loaded with human interest and romantic values. While
Liberace is no great shakes as an actor, he has a pleasant
personality and is competent enough in the leading role of
a popular pianist who finds his career cut short when he is
suddenly afflicted with deafness. The humanitarian manner
in which he concerns himself with the sorrows and prob-
lems of other people, despite his own misfortune, warms the
spectator's heart. His piano playing i.:, oi course, sensational
and a thorough delight to the ear. And his selections should
satisfy all types of musical tastes, for they range from
boogie-woogie to the classical. Joanne Dru and Dorothy
Malone are charming and sympathetic as the two women
with whom he finds romance, and William Demarest is his
usual comic self as Liberace's dour manager. The production
values, enhanced by the fane WarnerColor photography, are
lavish and tasteful: —

Liberace, a popular pianist, has a friendly and apprecia-
tive interest in Joanne, his jecretary, but is unaware that she
is in love with him- He is pleased no end when he is offered
an engagement in Carnegie Hall, and his happiness knows
no bounds when he meets and falls in love with Dorothy,
a beautiful socialite. Minutes before his performance at
Carnegie Hall, tragedy strikes when his hearing fails him.
The performance is cancelled and, after an examination by
a doctor, he is advised that a delicate operation will either
restore full hearing or result in permanent deafness. Without
the operation, he would have intermittent periods of hearing
and deafness and would one day become totally deaf.
Liberace decides to postpone the operation. In fairness to
Dorothy, he tries to call off their romance, but she will not
hear of it. He takes up lip reading, and a new world opens
up to him when he trains his binoculars on the people in
the park below his penthouse. Reading their lips, he learns
of their misfortunes and frustrations and sets out to help
them. In one case, he finances the operation of a little
crippled boy so that he could play football with other boys.
In another case, he feels sympathy for Lurene Tuttle, a
typical East Side woman, whose daughter (Lori Nelson) was
ashamed to introduce her to the fashionable family she had
married into. He buys her stylish clothes and takes her to
an elite charity ball, where she makes a tremendous hit with
Lori's in-laws, much to the delight of all concerned. Mean-
while Joanne leaves Liberace's employ when she realizes that
her love for him is hopeless. One day, while waiting for
Dorothy to visit him, Liberace sees her on a park bench

October 29, 1955

HARRISON'S REPORTS

175

with Alex Nicol. Reading their lips, he discovers that they
are in love but that Dorothy was still loyal to him because
of a deep sense ot obligation. He sees to it that she goes
back to Nicol's arms. He then decides to go through with
the operation, which turns out successful. It all ends with
his debut in Carnegie Hall, and with his realization that he
loved Joanne, who had come to hear him play.

It was produced by Henry Blanke, and directed by Gordon
Douglas, from a screenplay by Irving Wallace.

Family.

"Naked Sea"

(RKO, December; time, 69 min.)

A generally fascinating feature-length documentary, deal'
ing with tuna fishing. It should get by as a supporting fea-:
ture on double bills. Photographed in Pathecolor, it depicts
a four-month voyage undertaken by the 14-man crew of a
wooden tuna clipper, which heads from San Diego, Cali-
fornia, and goes South to Panama, the Galapagos Islands and
the deep waters off Peru. The early part of the picture, which
deals with the preparations for the voyage and the good-
byes between the crew members and their families, is slow
and hardly of much interest. But once the ship )jets out to
sea and comes upon schools of tuna fish, the action becomes
exciting and thrilling. Using long bamboo fishing poles, the
men haul in the fish, weighing from twenty to titty pounds,
with incredible speed and rhythm. The action is particularly
thrilling in the deep waters off Peru, where they catch indi-
vidual tunas that weigh as much as three hundred pounds
and require three men with three poles on one hook to haul
them on board- The methods used to haul in nets full of
anchovetta, which must be kept alive for bait for the tuna,
are also fascinating.

It was produced, directed and photographed by Allen H.
Miner, and narrated by William Conrad. The narration,
however, is too verbose and much too pompous.

"The View from Pompey's Head" with
Richard Egan, Dana Wynter and
Cameron Mitchell

(20th Century-Fox, November; time, 97 min.)

A finely produced romantic melodrama, based on Hamil*
ton Basso s best-selling novel of the same name. Photo-
graphed in CinemaScope and DeLuxe color, which adds
much to the pictorial beauty and atmosphere of the story's
Southern locale, the film offers a complex but intriguing
tale of a married New York lawyer who returns to his old
Southern hometown to check into a charge of embezzlement
against his law firm and in the process becomes roman-
tically involved with his one-time sweetheart, who was
unhappily married to a man she considered to be below her
social standards. There is an undercurrent of Southern
pride and prejudice throughout the proceedings and, despite
some talky moments that tend to stow down the action, it
grips one's attention from start to finish. The picture serves
to introduce Dana Wynter, a beautiful and talented new-
comer, who is most impressive as the possessive Southern
belle who rekindles her love for the lawyer, played most
competently by Richard Egan. Cameron Mitchell, as Miss
Wynter s wealthy but surly husband, is very effective. There
is much that is dramatically provocative in the affair be-
tween Egan and Miss Wynter, for, though they love each
other sincerely, they decide that he should not leave his
wife and children to remain with her. The direction, pro-
duction values and color photography are excellent.

Briefly, the story has Egan heading for Pompey's Head,
his hometown, to investigate a charge by Marjorie Rambeau,
wife of Sidney Blackmer, a famous author now blind, that
a member of his law firm had embezzled $20,000 from funds
due to her husband. En route, his memories go back to the
days before he went to New York, and he fondly recalls
his friendship with Dana, then a teen-ager and member
of the town's leading family. She had been in love with
him, though he treated her as a big brother would, and
before he left town she was heartbroken because her
family, having suffered financial reverses, had to move
from Mulberry, their luxurious plantation home. Shortly
after he arrives in town, Egan is visited by Dana, who dis<
closes that she is married to Mitchell, a man who came from
the wrong side of the tracks but who had become wealthy
and had restored Mulberry, which was now their home.
While in the process of investigating Miss Rambeau's

charges, Egan learns that Dana's life with the surly and
somewhat uncouth Mitchell was an unhappy one. They
spend considerable time together, realize that they are in
love, and give vent to their feelings, but both accept the
fact that it would be impossible to continue the affair. Mean-
while Egan manages to have a talk with Blackmer and
learns from him that the supposedly embezzled money was
actually used to support Blackmer's mother, a Negress, a
fact that he was afraid to reveal to his wife. Miss Rambeau
eavesdropping on their conversation, is shocked by this reve-
lation, but, lest it become known that she is married to a
man tinged with Negro blood, she uses a flimsy excuse to
sweetly withdraw the embezzlement charge, confident that
Fgan would understand. After a touching farewell with
Dana, Egan departs for New York and his family.

It was produced and directed by Philip Dunne from his
own screenplay.

Adult fare.

A LITTLE FELLOW UNBURDENS HIMSELF

(Continued from bac\ page)

ner to attend the Presidents banquet." We had our chance
to gripe — therefore we should be happy. This was the im-
pression that I had all the way through the convention I
had the feeling that we were asked to join in attending to
tend support by numbers. Our thanks was a "chance to
gripe.

(Editor's Hote-.At this point Mr. Smith's 5-page letter
goes into an interesting but lengthy discourse in which he
expresses the opinion that "there is nothing wrong with
distributor-exhibitor relations that the exhibitor is not re-
sponsible for-" He points out that every time an exhibitor
pays an exorbitant price for a picture he is in effect casting
a vote for the continuance of the policy of over-pricing, and
suggests that, if enough exhibitors would pass up overpriced
pictures, distribution would soon feel it in the pocketbooh
and would come to the realization that "that it is more
profitable to sell to the many for less than to sell to the
few for more."

To prove that he practices what he preaches, Mr Smith
cites his relations with the different film companies over the
past two years and points out that he has passed up their
overpriced pictures. He admits that he is fighting a losing
battle and that he is going bro\e by passing up the big pic-
tures, but adds that "I would be going just as broke if I
had played them." Moreover, he claims that his net is as
good, or better, than it would have been if he had played
the pictures on the excessive terms demanded.)

Can not the distributors see that every time he closes one
of us Little Fellows" he is giving the "Big Boys" a buying
advantage? ...

Mr. Y. Frank Freeman, as a feature attraction on the pro*
uCtIjn semlnar at the TOA convention, rather scoffed at
the idea of exhibition producing pictures. In my humble
opinion he had a right to • EFFG does not scare him in the
least If more big pictures went into production after EFFG
was formed it was because they (big pictures) were making
money — for the producer. Mr. Freeman is one of the
most accomplished soft soapers that I have had the privilege
to listen to.

From my observation, there are only two things that dis-
tribution is concerned about- One is Government control
(I sincerely hope we do not have to come to this) the
other and the thing they are most afraid of is the exhibitors
really getting together. The distributor says it's impossible
It has been done in other parts of the continent and in
some isolated sections of the U. S. He is afraid this unity
of purpose might spread. He knows that if it does, his
lush days are over . . .

Mr. Harrison, I do not quite know why I picked you to
unload all of this on unless it is because you are not new
to the industry and therefore are bound to agree, at least to
some extent, with what I have had to say. Then again, per-
haps it is because, through your publication, I know you
as a man that is not afraid to think, and having reached a
conclusion is not timid about asserting an opinion in your
columns. I feel you owe no allegiance to production, dis-
tribution or the "big boys." I believe that you are ready
and willing to champion the cause of the Smiths and the

Joneses as well as that of the Martins and the Coys so

long as it is for the good of the industry
Sincerely yours,

(signed) R. B. Smith

176 HARRISON'S REPORTS October 29, 1955

pictures be distributed in accordance with the provision
which I have quoted.

"But the film companies, encouraged by a tolerant Anti-
trust Division, have been trying ever since to evade the
intendment of this provision as well as the provision against
fixing admission prices. Never before was such a bold at-
tempt made to legalize prereleases and extend clearances
as in the draft of an arbitration plan recently released.

"Speaking only for myself, I do not believe I would have
any positive objection to any arbitration scheme so long as
the use of it was not obligatory on exhibitors and it did not
actually harm those who did not invoke it. I might think
the system futile and a waste of time and money, and in that
case would feel free to say so, but I would respect the right
of anyone to go for it if he saw fit.

"Now Allied rejected the 1952 Keough-Schimel draft
of an arbitration plan not only because it did not provide
for arbitrating film rentals and sales policies. It rejected
that plan also because, by reserving to the distributors the
right to prerelease two pictures each per annum, it tended
to nullify important provisions of the decree and would
seriously injure its members.

"But the 1952 draft contained a denfinition of clearance
calculated to protect subsequent run and small town ex-
hibitors against unreasonable clearances of the kind we
have been discussing; that is, clearance not noted in the
contracts.

"In the negotiations the distributors, quite naturally, ad-
vanced the now obsolete definition of clearance which reads
as follows:

" 'Clearance means the period of time stipulated in license
contracts between runs of the same feature within a par-
ticular area or in specified theatres.'

"Bearing in mind the cases arising under the old consent
decree arbitration (1940) in which the distributors took
the position that there was no arbitrable clearance because
it was not specified in the contracts,1 I insisted that there
be added to the definition the following:

" 'or which regularly occurs between the prior and subse-
quent runs in competing theatres in the absence of any ex-
press contract provision describing the same.'

"The distributors finally yielded to my insistence and
the definition of clearance contained in the Keough-Schimel
draft contained this clause. Lest someone suggest that I
should not now claim credit for something that occurred
behind closed doors three years ago, let me cite the state-
ment of the late Austin Keough to the Senate Small Busi-
ness Committee:

" 'A compromise had been made, apparently not agree-
able to the exhibtors that 2 pictures per distributor per
year might be prereleased. Now clearance as we define it, we
liberalized the definition of clearance. That wasn't a defini-
tion in the courts. We took Mr- Myers' definition. That
would have brought the subject up for arbitration. That
would be arbitrated. Could we do more? Was it a subject?2
The arbitrator could have decided that. (Printed hearings,
p. 633.)

"Now in the draft just released, which I suppose must
be called the Levy-Schimel draft, my amendment to the
definition was eliminated. Now both Levy and Schimel
were present at the negotiations in 1952. They heard all
the arguments advanced in favor of this amendment. They
could not have been unaware of its importance to the ex-
hibitors.

"In the face of this record, how can we escape the con-
clusion that deleting my clause from the definition of clear-
ance, coupled with the retention of the provision permitting
the prereleasing of two pictures per company per year, con-
stitutes a deliberate attempt to legalize the prereleasing
practice with all the disruptions and injustices that it
entails?

"That the distributors should contend for this archaic
definition of clearance is understandable. But I cannot un-
derstand why representatives of exhibitors should go for it.
Some day the strange events that occurred behind that iron
curtain in Los Angeles will seep through and I will get a
clearer understanding as to why the exhibitors present voted
thanks and congratulations to Messrs. Levy, Wolfson, Fabi-
an and Wilby for their accomplishments in regard to arbi-
tration.

"Maybe there are advantages in the draft for exhibitors
that I have not discerned. Maybe the draft was not
fully explained to them before they acted.

"However that may be, the subject will be gone into
thoroughly and in the open at Allied's 1955 National Con-

vention in Chicago on November 7, 8 and 9- There won't
be any blind voting there in any sense of the word. The
best way to test exhibitor sentiment is at open conventions
where all sides can be presented and considered before a
vote is taken."

'The matter of Rowlands, No. 13, decided December 26, 1941; Matter
of Main, No. 14, decided December 26, 1941; Matter of McLendon, No.
17, decided February 2, 1942.

2Mr. Keough evidently did not correct the transcript. What he probably
meant was, "Was it a subject of arbitration?"

A LITTLE FELLOW UNBURDENS HIMSELF

(Editor's Tsjote: The following letter from R. B. Smith,
owner and manager of the Sierra Theatre, Chowchilla, Calif.,
clearly expresses the bitter disappointment felt by many of
the small exhibitors who attended the recent TOA conven-
tion with the hope that some positive action would be taken
against harsh distribution practices that threaten their ex-
istence, only to find that the problems were of little con-
cern to the TOA leaders, who are representative of the big
circuits.)

October 16, 1955

Dear Mr. Harrison:

Here is a word from the littlest of the "Little Fellows" to
attend the TOA convention in Los Angeles. I went there
with a purpose. That purpose being to see for myself if
there is any hope for survival through unity. With a sincere
desire to learn what is going on I attended each and every
one of the sessions. I was astounded at the small attendance
at the sessions as compared to the big registration. As they
opened and closed, one after the other, the reason became
apparent to me. We were being given the cut and well dried
reports of the action, if any, that HAD been taken by the
board, all of which could be assimilated in a few minutes
of reading time in any trade paper. However, I stuck
through them and looked forward to Saturday. These were
closed sessions, open to exhibitors only. The morning passed
as uneventful as any other session- The afternoon still held
promise since it was to be a "Speak-your-mind-session."
There were some concrete examples of what could be done
to help the small exhibitor, or I should say of what the
exhibitor could do to help himself. Perhaps we should look
to Canada for some advise. While it was conceded that, if
we were to supply the same stringent methods in the U. S.,
there might be some question of coercion, it was pointed out
that legal methods could be found to accomplish the pur-
pose. Unfortunately, the methods suggested required strong

leadership not to bring lip service pressure to bear on the

distributor — but to unite the exhibitors in a concerted
action in BUYING FILM IN A COMMON SENSE MAN-
NER. This all important point was touched very briefly
by Mr. Wolfson when he said "The best advice to exhibi-
tors to bring normalcy to the unreasonable pricing of films
is a polite but firm 'NO!' This leadership seems to be lack-
ing here. I suspect the reason for this is that the "Big Boys"
do not really have the interests of us "Little Fellows" at
heart. Some of them may have small theatres that they
either own or control. Some of them no doubt have been
forced to close some of their theatres. To them this is an
item on a financial statement. To us it is our life's work
down the drain.

There were a few other "Little Fellows" at the conven-
tion. One exhibitor spoke of the closing of the second of
his sixteen theatres as though he was burying an old friend.
His pleas for assistance were listened to politely- Another
asked if there was not somewhere that the "Little Fellows"
could meet to discuss our problems. He was treated with
respect. I think that the "Big Boys' " attitude was well
summed up by a conversation that my wife and I overheard
on the way from the Biltmore to the Ambassador Hotel.
Since cab service between the hotels was part of the agenda,
the cabs were loaded five to the cab. My wife and I were
in the front seat and a couple of the "Big Boys" were in
the back. Nothing could be gained by identifying them, but
the conversation went something like this. "How did the
session go this afternoon?" (This referred to the speak-
your-mind-session, more commonly known as the gripe or
bitch session). "Oh so so, I guess." "Well they wouldn't
be happy unless they had the chance." The one had not
attended the session because he had been too busy "pam-
pering the tempermental stars and arranging for Mr. War-

(Ccmtinued on inside page)

Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1S79.

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Vol. XXXVII SATURDAY, NOVEMBER 5, 1955 No. 45

ARBITRATION PLAN DEFENDED BY
DRAFTING COMMITTEE MEMBERS

In an apparent reply to the strong criticism levelled
against the proposed arbitration plan by Abram F.
Myers, National Allied's general counsel, and to the
rejection of the plan as a whole last week by the
Southern California Theatre Owners Association, a
joint statement has been issued by Herman M. Levy
and Mitchell Wolfson, of the Theatre Owners of
America; Max A. Cohen, of the Independent Theatre
Owners Association; and Leo Brecher, of the Metro'
politan Motion Picture Theatre Owners Association,
all members of the drafting committee of the indus-
try arbitration conference. Their statement follows:

"Criticism has been directed at one aspect of the
proposed industry arbitration system — that dealing
with the so-called 'pre-release' or 'special handling1
pictures. The criticism is not well founded. The plan
does not make 'a deliberate attempt to legalize the
pre-releasing practice/ but for the first time, a restric-
tion is placed on the number of pre-release pictures
any distributor may have in one year.

"There is now (before the adoption of the proposed
system) no legal limitation on the number of pre-
release pictures each distributor may have in total
disregard of all customary and established patterns of
clearance. Therefore, restricting each company to
not more than two such pictures a year is a positive
gain in favor of exhibition.

"The pertinent language of the plan is:

" 'Two pictures designated during each 12 months
following the effective date of this agreement by each
distributor party hereto as of unusual character shall
be excluded from the provisions of this agreement.
Such pictures in nowise shall be subject to arbitra-
tion until such time as the same are announced by
such distributor for general distribution. Thereafter
the provisions of this agreement shall be applicable in
respect of matters occurring in the course of such
general distribution of the said pictures.'

"This language neither condones nor authorizes
the distribution of pre-release pictures — it simply
sets a limit where no legal limit now exists.

"In 1952 (when Allied took part in the arbitration
negotiations), and, again, in 1954 (when Allied,
through its own choice, did not take part in the nego-
tiations), the important question facing the exhibitor
representatives was, very simply, this: 'Since exhibi-
tors can not by law stop pre-release pictures, should
they not accept the opportunity to restrict the num-
ber of them?'

"If, at some future time, the Department of Justice
should establish the illegality of the practice of pre-
releases this would, of course, supersede the provisions
of the proposed arbitration system. But, meanwhile,
exhibitors will have had the benefits of a restriction
on distributors contained in this plan.

"The proposed system of arbitration is not a cure-
all. But, we are cognizant of the fact that it has many
points of advantage for exhibitors, especially in the
fields of clearance, runs, competitive bidding, and
contract violations. The plan clearly defines old and
new rights, and affords remedies for the violation of
those rights. As an illustration, it provides, for the
first time, a set of 'rules of the game' for competitive
bidding, aimed at eliminating under-the-counter
shenanigans.

"Under the plan, no exhibitor is obliged to go to
arbitration. The plan does not impair or interfere
with his right to resort to litigation.

"Distributors may not bring any proceedings under
the proposed system. It is for exhibitors only, and
only if they wish to use it. The plan provides that it
be in existence for one year. If it does not work well,
or if it works to the detriment of exhibition, then, at
the end of the year, it may be corrected, changed, or,
if exhibitors wish, they will be privileged to abandon
it.

"Not enough attention has been paid to the con-
ciliation provisions of the proposed system. Under
our plan, exhibitors are provided a means of seeking
relief for all grievances, large and small, independent
of the arbitration machinery."

As a reply to Mr. Myers, this joint statement is
totally inadequate, for, in denying his charge that
certain provisions in the arbitration draft constitute
"a deliberate attempt to legalize the pre-releasing
practice," it avoids the issues and uses as a defense
the claim that it is the first time a restriction has been
placed on the number of pre-release pictures any dis-
tributor may have in one year and, therefore, "is a
positive gain in favor of exhibition."

In making his charge, Mr. Myers, whose remarks
were published in last week's issue, clearly illustrated
that, since pre-releasing involves the superimposing
of a new run ahead of the established runs, it dis-
rupts the established clearances upon which the sub-
sequent-run and small -town exhibitors have a right
to rely. Moreover, by citing the methods employed
by Paramount in pre-releasing "Strategic Air Com
mand" and "The Desperate Hours," he showed how
the sanctioning of such a practice through an ap-
(Continued on bac\ page)

178

HARRISON'S REPORTS

November 5, 1955

"The Rose Tattoo" with Anna Magnani,
Burt Lancaster and Marisa Pavan

(Paramount, no rel. date set; time, 117 win.)

In spite of the fact that the story is not appealing
and that little sympathy is felt for any of the charac'
ters, "The Rose Tattoo," which is based on Tennessee
William's earthy play of the same name, is a fascinat-
ing adult comedy-drama, the kind that undoubtedly
will create considerable talk among those who will
see it, with the result that others will be drawn to the
box-office. What is outstanding about the picture,
aside from the fact that its subject matter makes for
unusual and daring screen fare, is the magnificent
performance of Anna Magnani, the famous Italian
actress, who speaks in English throughout the pro-
ceedings. As a tempestuous, sex-conscious widow in
a seedy Sicilian-American community on the Gulf
Coast, who worships the memory of her husband
until she learns of his infidelity, the buxom Miss
Magnani appears throughout most of the picture as
an unkempt and slovenly woman, with emotions that
range from the brooding to the boisterous. It is a most
realistic characterization, one that is both tragic and
comical, and it is sure to win for this accomplished
actress serious consideration when the Academy
Awards are handed out. An interesting, if not con-
vincing, serio-comic characterization is turned in by
Burt Lancaster as a crude and moronic truck driver
who wins Miss Magnanfs heart after a stormy ro-
mance. Several of their scenes together are riotously
funny. Deserving of special mention is the sensitive
performance delivered by Marisa Pavan, as Miss
Magnanfs 'teen-aged daughter, who is embarrassed
by her mother's disheveled appearance and by her
bluntness in forcing her sweetheart, a young sailor,
to vow before a shrine that he will respect her young
innocence. The story throughout is extraordinarily
frank in situations and dialogue. The direction is
expert, and the photography first-rate : —

Anna, an amorous Sicilian-born dressmaker, idol-
izes her brawny husband, a banana truck driver, and
becomes hysterically distraught when he is killed by
Federal agents while transporting contraband liquor.
In her epic grief, she loses her unborn baby and, in
violation of the church, cremates her husband's body
and keeps his ashes in the house. Worshipping his
memory, she becomes a recluse and for several years
dresses in nothing but a dirty, ill-fitting slip, much
to the disgust of Marisa, her daughter, who had fallen
in love with Ben Cooper, a young sailor. One day
Anna quarrels with two of her customers, ladies of
easy virtue, who reveal that her late husband had
been the lover of Virginia Grey, a local blonde black-
jack dealer. This news shocks Anna, and she tries
without success to learn from her priest whether the
husband ever had confessed his infidelities. She
collapses in an hysterical outburst when the priest
refuses to tell her anything and is taken home by
Lancaster, a sincere but brawny simpleton, who makes
romantic advances and even has a rose tattoed on his
chest, identical to her husband's, to overpower her
sensibilities. Before getting involved with Lancaster,
Anna decides to visit Virginia, who tells her the bitter
truth about her husband's unfaithfulness. Returning
home, she smashes the urn containing his ashes and
accepts Lancaster's advances, only to have him pass
out from too much drink. Regaining consciousness
during the night but still in a stupor, Lancaster

whispers words of love to Marisa in the mistaken
belief that she is Anna. This leads to a violent mis-
understanding that is eventually straightened out
when Marisa assures her mother that Lancaster had
not touched her. It all ends with Anna giving her
blessing to the marriage of Marisa and Cooper, and
with her accepting Lancaster into her heart and home.

It was produced by Hal B. Wallis, and directed
by Daniel Mann, from a screenplay by Tennessee
Williams.

Strictly adult fare.

"Guys and Dolls" with Marlon Brando,
Jean Simmons, Frank Sinatra and
Vivian Blaine

(MGM, T^ovember; time, 150 min.)

Photographed in CinemaScope and Eastman color,
this lavish Samuel Goldwyn film version of the highly
successful Broadway musical of the same name will
undoubtedly prove to be a top box-office attraction,
for, in addition to the fame of its producer and the
popularity of its stars, MGM has given and is giving
the picture one of the most intensive and effective
selling campaigns ever accorded to any movie. Picture-
goers have been made eager to see it, and they will
not be disappointed, for it emerges as a highly enter-
taining, if not great, musical, one that will leave them
thoroughly satisfied, despite its excessive length, which
could be trimmed to advantage.

Based on a short story by Damon Runyon, the
screenplay offers a consistently amusing account of
two romances, one between Jean Simmons, as a Salva-
tion Army girl, and Marlon Brando, as a high-stakes
gambler, and the other between Frank Sinatra, as the
operator of a "permanent" floating crap game, and
Vivian Blaine, as a night club star, with whom he had
been postponing matrimony for more than fourteen
years. Like all Runyon stories, this one is replete with
colorful Broadway characters, such as gamblers,
bookies, touts, fight managers, promoters and chorus
girls, all of whom are somehow involved in the pro-
ceedings to generally humorous effect.

The picture's highlights, of course, are the musical
numbers. The dozen or more songs themselves are not
of the sort that remain in one's memory, but all are
pleasant to listen to and in some instances are put
over in comical fashion. The "Pet Me Poppa" and
"Take Back Your Mink" numbers, which feature
Miss Blaine and a bevy of beautiful Goldwyn girls,
are outstanding, as is Miss Blaine's solo rendition of
"Adelaide's Lament." The surprise of the show, how-
ever, is Jean Simmons, who not only has a pleasant
singing voice but also a fine sense of timing for com-
edy. This is proved during her visit with Brando to
Havana, where he had taken her to win a bet from
Sinatra, and where she becomes tipsy in a cafe and
involves herself in a wild version of the mambo and
in a free-for-all fight. This sequence is hilarious.
Brando, too, sings and dances and, though neither his
footwork nor his vocalizing are of prize-winning cali-
ber, he is competent enough in what he is called upon
to do. Sinatra puts over his song numbers in his
usual good style, and his interpretation of the floating
crap game operator, a typical Runyonesque character,
is adequate. Robert Keith, as a detective who tries to
track down the crap game; Regis Toomey, as a Salva-
tion Army worker; and B.S. Pully, Sheldon Leonard,

November 5, 1955

HARRISON'S REPORTS

179

Stubby Kaye, George E. Stone and Veda Ann Borg,
as assorted Runyon-type Times Square characters,
add much to the entertainment values. The direction,
sets, costumes, photography, color and all other tech-
nical work are in keeping with the top-drawer quality
that has always been associated with a Goldwyn
picture.

It was produced by Samuel Goldwyn, and directed
by Joseph L. Mankiewicz from his own screenplay,
based on the play by Jo Swerling and Abe Burrows,
who adapted it from a Damon Runyon story.

The picture is inoffensive in content, but it is best
suited for adult audiences because of the daring
costuming in some of the dance sequences, as well as
the sophisticated tone of some of the dialogue and
situations.

"Tarantula" with John Agar, Mara Cot-day
and Leo G. Carroll

(Univ.-Int'l, December; time, 80 min.)

This program horror melodrama offers a mixture
that is reminiscent of the "Wolf Man"1 type of scary
pictures and of Columbia's recent "It Came from
Beneath the Sea," for it deals with an "atomic energy
nutrient" that distorts the face and body of human
beings and causes animals and insects to grow many
times larger than their normal size. It is a fair enough
picture of its kind and should get by with undis-
criminating audiences in situations where such films
are acceptable, for they may get chills and thrills out
of watching a massive tarantula, large enough to step
over huge mountains (thanks to trick photography) ,
attack an entire area and its people. But it is so fan-
tastic that most movie-goers probably will find it
more laughable than frightening. There is not much
that can be said for the acting, but it is competent
enough when one considers the limitations of the
material : —

When a scientist in Desert Rock, Arizona, dies
with his head swollen to twice the normal size and
his hands grown clawlike and hairy, Leo G. Carroll,
his associate, attributes the death to a disease called
acromegalia, but John Agar, the town doctor, does
not accept this diagnosis. Carroll returns to his labora-
tory in the desert, where he resumes feeding a special
atomic energy nutrient to different animals, including
a tarantula. During his work, he is attacked by a
monster-like associate, who, too, dies, but not before
he injects Carroll with the nutrient. A fire breaks
out during the attack, and the tarantula escapes from
its glass cage. Carroll buries his associate secretly.
Later, when Mara Corday becomes his assistant,
Carroll explains that the object of his experiments was
to find a nutrient that would augment the world's
future supply of food. Agar, who had started to
romance Mara, senses a connection between the ex-
periments and the scientist's death when Mara in-
forms him that rats and guinea pigs injected with the
nutrient had doubled in size within one day. He is
shocked further when he visits the laboratory and
notices that Carroll's features were becoming dis-
torted. Before long the area is plagued by mysterious
killings of cattle and humans, with only the skeletons
of the victims left at the scene of the crimes. Much
confusion results until Agar, aided by a confession
from the dying Carroll, discovers that the attacks
were being made by the escaped tarantula, which had
grown to immense proportions. When the creature

is discovered heading for the town, the police try to
stop it with machine gun bullets and dynamite but to
no avail. They then call upon the air force for help,
and jet planes, using powerful napalm bombs, destroy
it in the nick of time.

It was produced by William Alland, and directed
by Jack Arnold, from a screenplay by Martin Ber-
keley, based on a story by Robert M. Fresco and Mr.
Arnold.

For the family, if they can stand horror.

"Running Wild" with William Campbell,
Mamie Van Doren and Keenan Wynn

(Univ.'Int'l, December; time, 81 min.)

A fair program melodrama, suitable as a support-
ing feature in double-billing situations. There is
nothing unusual about the story, which centers
around a rookie policeman who masquerades as a
hoodlum in order to crack a ring of juvenile car
thieves, but it has enough fast action and suspense to
satisfy the undiscriminating movie-goers. William
Campbell is competent as the courageous policeman,
and Keenan Wynn is cooly vicious as the mastermind
behind the car thefts. Kathleen Case is sympathetic
as Wynn's unwilling girl-friend, with whom Camp-
bell falls in love, and Mamie Van Doren is cunning
and flirtatious as the flashy blonde girl-friend of a
gang member. The characterizations, however, are
stereotyped. Worked into the proceedings are some
"hot" rock-and-roll dance numbers with tough 'teen-
agers in a juke-box joint: —

Arriving in Riverton, a suburb of Los Angeles,
Campbell acts like a tough hoodlum and applies for
a job as a mechanic to Wynn, operator of a gas station,
who withholds his decision on whether to hire him.
That night, Campbell visits a juke-box joint patron-
ized by young toughs. There he meets Kathleen,
Wynn's girl-friend, and gets into a fight with Jan
Merlin, who worked for Wynn, over a fancied slight
to Mamie, his girl-friend. A policeman breaks up the
fight and hauls Campbell down to the station house,
where it is revealed that he is really a law officer on
the trail of juvenile car thieves. When Campbell is
released by the police without involving the others
in the fight, Wynn becomes convinced that he can
be trusted and hires him at the garage. Careful to
avoid suspicion, Campbell soon establishes that Wynn
is the mastermind behind the car thefts, and he dis-
covers also that Kathleen, to whom he had become
attracted, accepted Wynn's attentions because she
feared that he would expose her father, who had
entered the country illegally after escaping from a
Polish concentration camp. In due time Wynn invites
Campbell to go along on a "job," giving him an
opportunity to learn how the thefts were carried
out. Merlin catches Campbell as he telephones the
police and starts a gun duel. Campbell shoots him
dead. Learning that Wynn blamed Kathleen for his
troubles, Campbell and the police keep a watch on
her home. Wynn shows up within a few days to
wreak his vengeance on her, but Campbell finishes
him off in a gun fight. It all ends with Campbell
renewing his romantic pursuit of Kathleen, after
assuring her that steps would be taken to legalize her
father's entry.

It was produced by Howard Pine, and directed
by Abncr Biberman, from a screenplay by Leo Town-
send, based on a novel by Ben Benson.

Adult fare.

180

HARRISON'S REPORTS

November 5, 1955

proved arbitration system would seriously injure ex-
hibitors and would tend to nullify important provi-
sions common to all the decrees signed by the major
companies as a result of the Government's anti-trust
suit.

Additionally, Mr. Myers pointed out that, at his
insistence, the 1952 arbitration draft contained a
definition of clearance that was calculated to protect
subsequent-run and small-town exhibitors against un-
reasonable clearance, such as the indeterminate clear-
ance that is established through pre- releasing and
that is not specified in the contracts. The present draft
defines clearance as "the period of time stipulated in
license contracts between runs of the same feature
within a particular area or in a specified theatre."
The 1952 arbitration draft defined clearance in the
same way, but at Mr. Myers' insistence there was
added to the definition the following: "or which
regularly occurs between the prior and subsequent
runs in competing theatres in the absence of any
express contract provision describing the same." This
additional wording has been eliminated from the
clearance definition in the present draft, in spite of
the fact, as charged by Mr. Myers, that Herman
Levy, TOA's general counsel, helped to formulate
the 1952 draft, heard all the arguments in favor of
the amendment, and should of been aware of its im-
portance to the exhibitors.

In criticizing the present draft, Mr. Myers asked
this question: "In the face of this record, how can we
escape the conclusion that deleting my clause from
the definition of clearance, coupled with the retention
of the provision permitting the pre-releasing of two
pictures per company per year, constitutes a deliberate
attempt to legalize the pre-releasing practice with all
the disruptions and injustices that it entails?"

There is nothing in the joint statement put out by
Messrs. Levy, Wolfson, Cohen and Brecher that re-
futes any of the arguments put forth by Mr. Myers
or that shows why there is no justification for the
conclusion he has reached. To defend their position
on the claim that the present arbitration plan places
a limit on the number of pre-release pictures any
distributor may have in one year is like trying to put
out a fire in the wastebasket while the whole house
is burning down.

* * *

As to the statement that the proposed arbitration
system, though not a cure-all, "has many points of
advantage for exhibitors," an adequate reply is con-
tained in the remarks made by Harry C. Arthur,
board chairman of the Southern California Theatre
Owners Association, who disclosed last week that his
organization, which participated in the latest indus-
try arbitration conference, has rejected the arbitration
draft as unacceptable, based on the recommendation
of a special SCTOA committee that studied the draft
for a period of three weeks.

This committee, said Arthur, was composed of an
independent exhibitor, a circuit operator and a repre-
sentative of a booking and buying organization.

In commenting upon the rejection of the plan,

Arthur told trade press reporters that the draft will
not accomplish what it was intended to accomplish,
and he termed it "a feeble step in the right direction,"
one that makes "slight concessions for the sake of
having an arbitration draft but does not get to the
heart of the problem."

Arthur added that he agreed to a large extent with
Abram F. Myers' criticism of the plan. He stated
also that approval of the present plan by the exhibi-
tor-distributor committee that drafted it has served
only to delay agreement on a "truly worthwhile
formula."

A PRE-RELEASE THAT MAY BACKFIRE

Under the above heading, the following was pub-
lished in the October 28 issue of "Theatre Facts," the
service bulletin of the Allied Theatre Owners of
Indiana:

"The attitude of about 15,000 theatres that may
not be among the favored few chosen as a pre-release
theatre or a 'test merchandising situation' is well
known. At a time when good pictures are so essential,
they are forced far back on their availability with the
result that they lose a great part of the punch of the
picture and the impact of the national ad campaigns
and exploitation. So usually it is the exhibitor that
has to bear the biggest misfortune in this type of
releasing pattern.

"However, there may be an instance where the
exhibitor gains and the distributor is the big loser on
a special handling picture. Take the case of 'Desper-
ate Hours.' Unquestionably every exhibitor would
be eager to buy the picture at his top allocation and
play it as quickly as possible. But now these exhibi-
tors are getting reports that 'Desperate Hours' is
disappointing in its pre-release engagements, and the
result will be that many of them will not be interested
in a late playdate even at terms considerably less than
they once would have been willing to pay. Perhaps the
disappointing results come from the parallel plot of
'Night Holds Terror.' Perhaps the cycle of this type
picture has just about run out. What might have
been a fine grossing picture in the regular releasing
pattern may prove more and more of a disappoint-
ment as the regular runs are served."

There is no question in the opinion of this paper
that the disappointing grosses registered by "Desper-
ate Hours" stem from its similarity in story and
treatment to Columbia' "The Night Holds Terror."
Readers of this paper will recall that, in the Septem-
ber 17 issue, we cautioned the exhibitors about the
fact that both pictures were highly similar.

Now that Paramount is preparing to put "Desper-
ate Hours" into general release, you should be cau-
tious about the rentals terms demanded, for "The
Night Holds Terror" will have played in thousands
of theatres by the time the Paramount picture is made
available to you, and when word gets around that it
is similar to the Columbia picture, you may find
that it has hurt potential attendance and that you
have paid for "Hours" more than it is worth.

Entered aa second-class matter January t, 1921, at the post office at New York, New York, under the act of March ?., 1S71*.

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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXXVII- SATURDAY, NOVEMBER 12, 1955 No. 46

THE NATIONAL ALLIED CONVENTION

Sparked by the fiery keynote address of President Rube
Shor, who made it unmistakably clear that the events of the
past 12 months have brought exhibitors to a crossroads
where they must decide once and for all which course they
will follow, and by a warning from general counsel Abram
F. Myers that the film companies and divorced circuits, "by
the mesmeric control they exert over some exhibitor groups
and the pressure and influence they are striving to exert in
Washington, have entered upon an all-out campaign to wipe
out all the reforms of the past decade and to restore the
grinding monopoly which the Government and the Courts
sought to destroy," a record-breaking and determined Na-
tional Allied convention charted a definite and positive
course of action to protect exhibitors from abuses and in-
equities that threaten their very existence.

Meeting in Chicago on Monday, Tuesday and Wednes'
day of this week, the convention delegates, numbering more
than 1,000 strong, made it clear that they were fed up
with the intolerable conditions under which they must
operate their theatres today and, without a dissenting voice,
unanimously agreed upon the following actions through
appropriate resolutions:

1. To follow through immediately on the plan to go to
the Government for relief against excessive film rentals, in
accordance with its Emergency Delense Committee program,
which was approved by the board and ratified by the 1954
convention but which was held in abeyance pending friendly
negotiations with the film companies.

2. Rejected the so-called Lcvy-Schimel draft of an industry
arbitration plan as unworthy and detrimental to the inter-
ests of exhibitors, and resolved to (a) take whatever steps
may be necessary and legally feasible to prevent the approval
of the plan by the Attorney General or the U.S. District
Court; and (b) if necessary, present the problem to appro-
priate Congressional committees with a view to securing
legislative relief against pre-releases and other abuses con-
doned by the plan.

3. Approved the decision of its board of directors not
to renew Allied's charter membership in COMPO "until
such reforms in management and changes in personnel have
been effected as will insure that organization's continued
operation in obedience to the by-laws and in accordance
with the intendment of its founders."

4. Approved the position of the board of directors, as
reported by Col. H. A. Cole, on the advisability of deferring
until the new Congress in 1957 any attempt to secure
further relief from the admissions tax.

5. Declared that the current acquisitions of drive-in and
conventional theatres by the divorced circuits constitutes a
grave menace to all independent theatres, and adopted a
program that is aimed at curbing this expansion.

With regard to the decision to go ahead with the move-
ment for Government control of film rentals, Bennie Berger,
chairman of Allied's EDC committee, after a militant talk
in which he denounced current selling policies in no uncer-
tain terms, read to the delegates a telegram he had received
from Senator Hubert H. Humphrey advising him that the
Senate Small Business Committee should be ready to hold
hearings on the matter during the latter part of January.
Irving Dollinger, a member of the committee, reported
details of an 8-point plan to implement the activity and
support required of exhibitors to help the EDC to properly
present its case at the hearings.

In the matter of arbitration, Mr. Myers pointed out to the
convention that, as compared with the 1952 draft, which
was rejected by Allied, nothing new has been added to the
current Levy-Schimel draft to make the scheme more accept-
able to the exhibitors. He stressed, however, that something
(Continued on bac^ page)

THE NEW CINEMASCOPE

A new and highly impressive development in the tech-
nique of CinemaScope has been attained by 20th Century-
Fox by means of photographing the picture on a 55 mm
negative and projecting it in a reduced 3 5 mm version.

This new development was demonstrated for the first
time this week at the Oriental Theatre in Chicago before
an audience of exhibitors attending the National Allied
convention, and the breathtakingly beautiful footage shown
brought gasps of wonderment to most of the showmen
present.

Shown at the demonstration were scenes from the com-
pany's multi-million dollar production of Rodgers and
Hammerstein's "Carousel," which was shot in the 55 mm
process and reduced for projection to 35 mm. The results
were nothing short of magnificent, and for clarity, depth,
sharpness, definition of color and complete elimination of
grain and distortion, it is by far superior to any other motion
picture technique, wide-screen or otherwise, that has yet
been developed. Every scene was bright and sharp, with
images and scenes in the backgrounds just as sharp and
clear as those in the foreground. In some of the scenes, the
figures close to the camera actually had an astonishing
three-dimensional effect.

Like many others who were present at the demonstration,
this observer accepted an invitation to walk around the
theatre and view the picture from any angle. Even at the
most extreme angle — that is, way down front and far to
the side, the picture was totally free from grain and dis-
tortions on every inch of the screen, both in indoor and
outdoor shots, close-ups, long shots and group shots.

As explained by Spyros P. Skouras, 20th-Fox's president,
who was host at the demonstration, the important thing
about this exceptionally fine development is that the reduce
tion of the 55 mm negative to 35 mm prints will enable
all theatres to show it with their present equipment.

As a matter of fact, Mr. Skouras and Darryl F. Zanuck,
the company's production chief, are so enthused over the
added clarity and definition of this 55 mm process that
they have decided to use it on all future productions, even
though it will cost the company an average of $200,000
more per picture than if shot in regular CinemaScope.

To make it possible for all theatres to show "Carousel"
in this new process without undue delay, Mr. Skouras, to
the evident satisfaction of the exhibitors present at the
demonstration, announced that his company had aban-
doned its plan to roadshow the picture first in 55 mm form
in a selected number of specially-equipped theatres. He
stated that the company is working around the clock to
have reduced 35 mm prints available around February 22,
Washington's Birthday.

The demonstration reel included a narration by Mr.
Zanuck, who explained that, after making extensive experi-
ments with all sizes of film, the company's technicians and
scientists selected the 55 mm size, which provides a picture
area that is four times the area provided on 35 mm film.
To handle this larger film, it became necessary for the
company to build special cameras, arrange for the manu-
facture of 55 mm film and to reconstruct a laboratory to
develop and process this film. All these expenditures, said
Mr. Zanuck, will amount to several millions of dollars, and
he made it cear that 20th Century-Fox has no intention of
passing them on to the exhibitor.

Both Mr. Skouras and Mr. Zanuck stated that certain
of the company's big attractions, such as "The King and
I," will be roadshown in a few specially-equipped theatres
on full 55 mm projection machines, but they emphasized
that their main objective in developing the new 55 mm
CinemaScope process is to bring the ultimate in photography
into every theatre, large or small, throughout the world
(Continued on bacl{ page)

182

HARRISON'S REPORTS

November 12, 195^

RUBE SHOR'S INTERESTING
REVELATIONS

In his militant keynote speech in which he urged the
Allied convention to follow an aggressive policy and spurn
"neutralism" in exhibitor affairs, Rube Shor, president of
the organization, centered much of his fire on the leaders
of the Theatre Owners of America and lived up to his
promise to name names. Space limitations do not permit full
reproduction of Mr. Shor's fine 10-page address, but his
comments on why the joint Allied'TOA committee was
unsuccessful in its efforts to secure relief from harsh distri-
bution policies, and on the vacillating attitudes and actions
of TOA's leaders, should be of interest in view of the fact
that several TOA front men have been highly critical of
Allied's plan to seek legislative relief. Here is what Mr.
Shor had to say, in part:

"The film companies knew that the presence of the TOA
men on the (joint) committee meant that there would be
no joint action by the two exhibitor bodies in case they
did not meet the committee's demands. They know that no
matter what occurred at the conferences the TOA men
would remain true to the do-nothing policy of their asso-
ciation. They knew that the TOA representatives were front
men for the big circuits that support that organization and
that, no matter how bravely they spoke, they would not be
permitted to join in Allied's aggressive measures. Yes, the
distributors knew from long experience that the TOA
emmisaries would live to return another day, hat in hand,
to make another try at settling the exhibitors' critical prob-
lems by friendly negotiation.

"This parting of the ways was from our standpoint bad
enough, but the aftermath was appalling. When the big
circuits, whose contributions make TOA possible, inter-
vened to calm down some of the TOA boys who had been
talking like Allied men, they really cracked the whip. And
they did it so effectively that those same boys have now
turned against Allied's entire program and threaten to
oppose it all down the line.

"Now you may ask, why did Allied allow itself to be
caught in such a trap? Since all this happened in my
administration as president of Allied, and since 1 was head
of the Allied contingent on the joint committee, I am in a
position to give you the facts.

"It was simply because I and my associates were accus-
tomed to dealing with men who say what they mean and
mean what they say. Also, we were used to dealing with
men who, when they say they will follow a certain course,
have first ascertained whether they are free to do so. Be-
cause of the false light in which Allied and I have been
put by the sudden about-face of the TOA members of the
joint committee, I will trespass on your time for a few
minutes to tell you exactly what occurred at the first meeting
here in Chicago.

"Alfred Starr did most of the talking for the TOA
committee men and he stated that if the negotiations failed
to produce the desired results — and I am using his words
— 'Desperate men would do desperate things.' Allied's EDC
program was under discussion and Starr's declaration was
concurred in by Martin, Reade and Blank. And since resort
to legislation was a prominent feature of the program, the
Allied men interpreted the statement to include legislation
and it was similarly interpreted by some of the trade papers.

"Now our erstwhile comrades in arms from TOA would
have you believe that the joint committee did not exhaust the
possibilities of friendly negotiation. When we entered into
this alliance there was no thought, much less agreement, that
there would be a second or third round of visits if the first
did not produce results. Allied could not agree to a program
of long continued dalliance for a very definite reason.

"Under the EDC program there had to be a time limit.
If this was not explained to the TOA men, as I believe it
was, they must have realized it anyway. Allied could not
in good conscience carry on friendly negotiations with the
distributors and attack them before a Congressional Com-
mittee at the same time. And so throughout the visitations,
with the frequent postponements and delays, Allied held
its legislative program in abeyance, and it remained in moth
balls while the 1st session of the 84th Congress passed into
history. Any further delay would amount to an abandon-
ment of the program.

"So far as TOA is concerned, we need not speculate as
to what its future course will be. While frantic efforts have

been made to hide the shame of the betrayal in Los Angeles,
by excluding reporters from the room, we know now that
TOA has wholly reverted to type. So far as its attitude
toward pressing problems is concerned, there is not a bit of
difference between the TOA of today and MPTOA of 1928,
whose capture by the affiliated chains led to the formation
of Allied as the independent exhibitors' only shield and
defender.

"And if any of you are curious to know what TOA
proposes to do about film and film rentals, I can relate to
you some information given us by a disgusted exhibitor who
attended their recent convention in Los Angeles. He tells
us that after much time had been wasted at the much
advertised closed session, one exhibitor inquired when they
were going to get around to film rentals. Mitch Wolfson,
who was presiding, said smoothly that TOA was holding
its convention in New York next year and, the distributors
being located there, would attend the sessions and such
problems could be ironed out.

"TOA has claimed to be a forward looking organization
and I am compelled to agree to this. It looks far, far into
the future for exhibitor relief."

On the subject of arbitration, Mr. Shor had this to say,
in part, about the TOA leaders:

"Now E. D. Martin, Alfred Starr, Walter Reade and
Myron Blank knew perfectly well what Allied s attitude was
toward the only kind of arbitration that the film companies
would agree to. Moreover, we discussed the subject in the
joint committee and I got the clear impression that at least
some of them had come around to Allied's way of thinking.
But I don't want to stand on this generalization. My recol-
lection of what took place is as follows:

"Martin, Starr, Reade and Blank were in complete accord
in their opposition to the proposal to legalize the pre-
releasing ot two pictures per company per year. Starr and
Reade felt that arbitration of film rentals was desirable; and
Martin was all out in favor of all-inclusive arbitration and
so stated to the press. In fact, I was assured that such a
draft as was then under negotiation would never be approved
by TOA. After meeting with Skouras and Gehring, and
prior to our visits with the other sales managers, Martin
insisted that we should not accept anything less than the
Fox proposal for arbitrating film rentals of $100 or less.

"Despite all this big talk by Martin and his associates,
TOA has approved the Levy-Schimel draft and has con-
gratulated its arbitration committee consisting of Herman
Levy, Mitch Wolfson, Si Fabian and Bob Wilby, on a great
accomplishment!"

THE NATIONAL ALLIED CONVENTION

(Continued from bac\ page)

to a divorced circuit's application to acquire or construct
a theatre; (b) that if the Department of Justice recommends
to the Court that it approve an application, despite the oppo-
sition of affected exhibitors, then it shall also recommend
that such exhibitors be given full opportunity to present
their facts and arguments to the Court; and (c) that the
Attorney General be requested to see that the provision of
the decrees permitting acquisition of theatres by the divorced
circuits with Court approval is not used as a device to
build and strengthen the circuits to the end that they regain
the monopoly power they formerly enjoyed.

The resolution adds that, in the event "adequate and
satisfactory assurances" cannot be obtained from the Attor-
ney General in this vitally important matter, National Allied
shall endeavor to secure the necessary protection for its
members, either "by seeking to intervene in the case of
United States v. Paramount Pictures, Inc. et al. (if that be
legally feasible) or by bringing the subject to the attention
of the appropriate Committee of Congress with a view to
securing legislative relief."

As in previous Allied conventions, a principal highlight
was the report made at the closing session of the conclu-
sions reached by the various film clinics. S. J. Goldberg,
co-ordinator of these clinics, reported that the attendance
and participation in the discussions were the most out-
standing in the history of the clinics. Among the conclu-
sions reached were these:

The most disliked company because of unreasonable
dealings with the exhibitors is Warner Brothers, with Para-
mount a close second for this dubious honor.

183

MGM and 20th Century-Fox were tied for honors as the
companies that have the fairest policies.

At least half of the theatres grossing $500 or less per week
are compelled by the film companies to buy on percentage,
and the same problem exists with drive-ins. In towns up to
20,000 population, few theatres are able to buy on flat
rental terms.

In practically every case a shortage of prints is given
as the reason for setting back playdates, with Paramount
named as the worst offender on the print situation.

It was charged that Universal-International is allowing
no adjustments on "To Hell and Back," and that it is using
the production as a "stop" picture to compel exhibitors to
play U-I films they had passed up. Goldberg indicated that
court action may be taken on the matter.

Drive-in operators complained that the film companies
demand their best playing time during the season but refuse
to give them top pictures during the off-season months.

It was charged also that Warners has been demanding
"must" percentage on all pictures since "Battle Cry," and
that Paramount has done the same with all its pictures since
"White Christmas."

Allied Artists was castigated for demanding excessive
terms on "Phenix City," and MGM was criticized for
asking five per cent more for "Trial" than for "Blackboard
Jungle," although "Trial" is doing fifty per cent less business
than "Blackboard."

Goldberg stated that, as a general conclusion, those
exhibitors who have buying power are having plenty of
trouble with film rentals, while those without power "are
lost."

One of the convention's outstanding highlights was the
warm reception given to Spyros P. Skouras, president of
20th Century-Fox, who spoke to the delegates prior to the
demonstration of his company's new 55mm CinemaScope
process, which is described elsewhere on these pages. In a
reference to arbitration, Mr. Skouras made it clear that his
company favors arbitration of film rentals up to $100, but
that it cannot undertake such a program without the co-
operation and support of the other film companies. As to
his company's sales policy, he stated that terms must of
necessity be flexible and on a basis that is fair to both sides.
He declared, however, that it was 20th-Fox's policy to sell
on flat rental terms to situations that gross $1,000 or less
per week. When his statement was greeted by a chorus of
loud "nos" from the convention floor, Mr. Skouras turned
to William C. Gehring, his company's executive assistant
sales manager, and told him that it was his impression that
such a policy was being followed. He then smilingly told
the delegates that the policy will be followed and stated
that "if Bill doesn't do it for you, communicate directly with
me!" Needless to say, his statement brought forth a resound-
ing round of applause.

Several of the other speakers commended Mr. Skouras
for his sincerity and good intentions, and pointed to him
as the only one of the film company presidents who has
consistently had "guts" enough to face Allied conventions.

Other convention highlights included an impressive re-
port by Trueman T. Rembusch on the continuing fight
against toll-TV, and an interesting talk by Julius Gordon,
who visited Europe to survey exhibitor conditions and who
pointed out that the exhibitors in several European coun-
tries are prospering under a form of government regulation
of the picture business.

Unlike the recent TOA convention in Los Angeles,
which has been described as the biggest "fun fest" in the
history of that organization, with attendance at the business
sessions very sparse, the Allied delegates came to their
meeting with a firm determination to do something about
the varied problems that are plaguing exhibition, and their
keen interest was evidenced by their heavy attendance at
each of the business sessions.

That much was accomplished is also evidenced by the
fact that they met the issues squarely and made their posi-
tion known in unmistakable terms through the adoption of
a positive program of action. For this they deserve the
thanks and support of every truly independent exhibitor
in the country, whether he is a member of Allied or not,
for they are battling against conditions that slowly but
surely are threatening to put thousands of theatres out of
business.

"Artists and Models" with Dean MiJftin,
Jerry Lewis, Dorothy Maione and
Shirley MacLaine

(Paramount, December; time, 109 min.)

Filmed in VistaVision and Technicolor, this latest Martin
and Lewis comedy is a zany affair that has some highly
amusing moments, but it is also quite tiresome in a number
of spots and as a whole is below their usual entertainment
standard. The chief trouble with the picture is that the
comedy situations have been "milked" to a point where
one tires of the gag. It should, however, prove acceptable
to the dyed-in-the-wool fans of this comedy team, particu-
larly the youngsters, who will get a kick out of Jerry Lewis'
slapstick antics. Several pleasing songs have been worked
into the proceedings, including a lavish artists and models
production number at the finale.

The story itself is completely nonsensical, and what there
is to it has Dean Martin, an artist, and Jerry Lewis, an
aspiring writer of children's bedtime stories, fired from
various jobs because of Lewis' moronic preoccupation with
crime and horror comic books. Martin manages to find a job
illustrating such comic books for publisher Eddie Mayehoff.
Complications arise when Martin falls for Dorothy Maione,
another artist, who had quit Mayehoff because she felt that
his comic books contributed to juvenile crimes, and when
she uses Lewis on a TV crusade as a prime example of how
such books warp a childish mind. Further complications
arise from the fact that Martin gets his story ideas from
Lewis' nightmarish dreams, and the fact that Shirley Mac-
Laine, model for a "Bat Lady" comic book, amorously
pursues Lewis. In the development of the story, both boys
become involved with the FBI and foreign spies headed by
Eva Gabor, when one of Lewis' dream-plots, used by Martin
in a comic book, accidentally reveals half of a secret rocket
power formula. They and the girls become involved in a
wild chase and a kidnapping, but in the end they help the
FBI to capture the spies. It all comes to a happy conclusion,
with the principals getting married.

It was produced by Hal B. Wallis, and directed by Frank
Tashlin, who collaborated on the screenplay with Hal
Kanter and Herbert Baker, based on a play by Michael
Davidson and Norman Lessing.

Family.

"Toughest Man Alive" with Dane Clark
and Lita Milan

(Allied Artists, November; time, 72 min.)

A fair program action melodrama that should serve
adequately as a supporting feature. Its formula plot, which
centers around the smuggling of stolen arms to revolu«
tionists in a South American country, could have benefitted
from better direction, for there are a number of situations
that are illogical. For instance, during a fight between the
hero and the villain aboard a freighter, police on the wharf
are within easy reach, yet not one of them rushes to the
hero's aid and all wait until the fight is over before taking
any action. There are other similar inconsistencies all the
way through. Dane Clark does well enough as the hero of
the piece, but he seems to have only one expression — sad
and formidable. The story has a good share of melodramatic
action and is enhanced by authentic backgrounds and
atmosphere. There is no comedy relief: —

In order to uncover a ring of international gun runners,
Dane Clark, a U.S. Secret Service agent, poses as Anthony
Caruso, head man of the crooks. Aided by Ross Elliott,
another secret agent, Clark makes contact with Lita Milan,
a singer in a San Pedro cafe, to finance a new uprising in
her country, where her father, the president, had been
assassinated. Clark and Lita arrange a meeting with Thomas
B. Henry, who agrees to sell them the arms they need.
Meanwhile the real Caruso manages to obtain his release
from a South American jail and returns to San Pedro Many
complications result, but in the end Clark learns that the
man behind the gun runners was John Eldredge, ostensibly
the owner of a chain of storage warehouses. In the show-
down, Elliott is given a severe beating, Caruso is killed,
Eldredge arrested and the arms shipment blocked. Lita
returns to her country, convinced that its government is
honest and capable

William F. Broidy produced it, and Sidney Salkow
directed it, from a screenplay by Steve Fisher.

Unobjectionable morally.

184

HARRISON'S REPORTS

THE NEW CINEMASCOPE

(Continued from front page)

In addressing the Allied exhibitors, Mr. Skouras an'
nounced the development of a single penthouse attachment
for one-track magnetic sound that will enable theatres now
equipped for optical sound only to show CinemaScope
pictures as originally photographed — in their full and proper
ratio of 2.55 to 1. Mr. Skouras stated that by using this
attachment with an inexpensive change of sprockets and
rollers, one-track magnetic sound may be provided with
the same optical sound equipment the theatres now have.
He added that the penthouse attachment, which is available
from several manufacturers, will cost about $900, including
installation, and can be paid off over a period of three
years or longer, if necessary.

He pointed out that theatres now equipped with mag-
netic sound will not, of course, have to make any changes
in their equipment.

Mr. Skouras made a strong plea to exhibitors who are
not now equipped for magnetic sound to install the pent-
house attachment so that they may bring to their patrons
the ultimate development in motion picture projection,
which should help considerably to revive public interest in
the movies. He added that, unless those exhibitors go along
with this new development, his company would be com-
pelled to adopt the use of a "combination" print, which
combines an optical sound track with magnetic sound tracks,
but, even though such a move would save 20th-Fox several
millions of dollars per year, he felt that it would be a step
backward, for a combination print cuts off part of the
CinemaScope picture.

The installation of this penthouse attachment depends
largely, of course, on whether or not the individual exhibitor
is financially able to afford it, but aside from that considera-
tion there is no question that Mr. Skouras is giving the
exhibitors sound advice in urging them to install it, for,
without it, those who are still using optical sound will not
be taking full advantage of the tremendous improvement
that has been made in the CinemaScope process through
the use of a 55 mm negative.

Mr. Skouras and his associates have worked hard and
have risked millions to develop and constantly improve the
CinemaScope process, and they have a right to suggest to
the exhibitor that he present CinemaScope productions as
they are intended to be exhibited. Every exhibitor who can
possibly afford to change from optical to magnetic sound
through utilization of this comparatively inexpensive pent-
house attachment should not have to be urged to install it,
for it not only will provide him with improved sound but
also will enable him to show his patrons the most magnificent
form of motion picture photography they have yet seen.

THE NATIONAL ALLIED CONVENTION

(Continued from front page)
of value has been dropped, and cited the fact that the
present draft's definition of clearance omits an amendment
that was added to the 1952 draft at his insistence and that
was calculated to protect small-town and subsequent-run
exhibitors against unreasonable clearance, particularly the
indeterminate clearance that is established through pre-
releases and that is not specified in the license contracts.

In a thorough analysis of pre-releasing, Mr. Myers de-
clared that it is unlawful in practice, if not in theory, because
the purpose and effect in most cases is to raise admission
prices, and the effect in all cases is to impose new and
unreasonable clearances between theatres that are in sub-
stantial competition, as well as between theatres that are
not substantially competitive.

The film companies, he added, dispute this contention,
"but the best indication that they are shaky about this
practice is their repeated efforts to secure immunity by
writing into the arbitration plan this provision authorizing
the pre-releasing of two pictures per company per year,
although the provision has nothing whatever to do with
arbitration."

Referring to the matter as "a bold attempt at judicial
legislation," Mr. Myers had this to say:

"It is the declared purpose of the film companies to
submit this plan to the Attorney General and to the United
States District Court for their approval. If the Attorney
General approves the plan, and recommends its acceptance
by the Court, then it is expected that it will be entered in
the Court records as a sort of consent order.

"If this scheme succeeds and the right to prerelease is
sanctioned by a court order, then the legality of the prac-
tice can never be brought in question thereafter.

"Worse than that, if the plan containing the validation
of prereleases is entered without my amendment to the
definition of clearance, exhibitors will be precluded from
challenging the legality of clearance emanating from the
prereleasing practice.

"There has been much criticism in this country of judicial
legislation. If the District Court enters an order approving
the Levy-Schimcl arbitration draft, it will be judicial legisla-
tion of the worst kind. It is bad enough when a court in
the exercise of the judicial discretion invades the province
of Congress. It is far worse when a court enters an order
materially changing the antitrust laws, merely because the
parties to the litigation have agreed to it, and without
benfit of the full disclosure and arguments pro and con
that feature a contested proceeding." k

Stating that the independent exhibitors "have been
challenged as never before," Mr. Myers declared that "the
scheme of this arbitration proposal is to cast upon exhibition
the entire burden of policing the decrees, if not, indeed,
enforcing the law." In support of this statement, Mr. Myers
said that "the Department of Justice apparently is ready to
bow out of the picture entirely, pernups eagerly, as a
department spokesman says it will not be influenced in its
consideration of the arbitration by the attitude of Allied
or the Southern California Theatre Owners Association,"
which, too, has rejected the Levy-Schimel' draft.

"Now this challenge can be met and deleated in only
one way," concluded Mr. Myers. "We must revive that
fighting spirit that was so prevalent among exhibitors in
the early days of Allied. Aroused and cooperating fully with
your leaders, you exhibitors can exert vastly more influence
than the soft spoken, gumshoeing emissaries of the affiliated
interests. In this country, grassroots campaigns never lose."

Reporting to the convention on COMPO, Wilbur Snaper,
who represented Allied on the COMPO triumvirate, stated
that he fully agreed with the Allied board that COMPO
was lacking in proper organizational operation, that it is
now being directed in a manner that is contrary to the
by-laws, and that the purpose for which it was organized
has been defeated. He added that he, as well as most of
the board members, felt that COMPO would be a good
thing if properly operated but that those in charge had
strayed. He stated further that Allied would reconsider
joining COMPO if and when desirable changes are made
in personnel and operating policies.

On the subject of a new tax campaign, Col. Cole, who
was national co-chairman of the last campaign, told the
convention that there was no question in his mind about
the desirability of a new tax campaign to eliminate the tax
that still remains on admissions, but after discussing the
matter with several Congressmen he was reluctantly com-,
pelled to conclude that a campaign at this time would not
be propitious and would not have the slightest chance of
success. He cited in particular a visit with Sam Rayburn,
Speaker of the House of Representatives, who told him
that the present Congressional plan to reduce personal
income taxes undoubtedly would stymie any attempt to
eliminate the admission tax at this time. Cole stated that
the situation may be different next year and recommended
that the tax fight should not be forgotten but laid aside for
the future.

Nathan Yamins, the New England Allied leader, gave a
comprehensive report to the convention on the manner in
which the divorced circuits are currently expanding their
holdings with court approval and warned the exhibitors of
the grave danger to their interests. As a result of his report
and of statements made from the floor by other exhibitors
who cited their own experiences in regard to this expansion,
the convention unanimously adopted a resolution commend-
ing the Allied board for its alertness in detecting this trend
and for obtaining from the Attorney General some measure
of assurance that affected exhibitors will be given ample
opportunity to submit facts and figures in opposition to
applications by the divorced circuits for theatre acquisitions.

The resolution called for the board to implement the
action it has already taken by applying to the Attorney
General for the following additional assurances: (a) That
rather than the maximum of ten days now allowed, affected
exhibitors should be given at least 60 days in which to
prepare and submit their facts and arguments in opposition

(Continued on inside page)

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 or March 3, 1879.

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A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXXVII SATURDAY, NOVEMBER 19, 1955 No. 47

A NEW PRESIDENT BUT THE SAME
OLD TACTICS

Upon his return this week from a European trip, Myron
Blank, newly-elected president of the Theatre Owners of
America, held a trade press conference in the New York
headquarters of his organization.

Like the other trade paper representatives present, this
writer was interested in obtaining for this paper's sub-
scribers Mr. Blank's views on the different issues that face
exhibition today, as well as any comment he would care to
make on the actions taken by National Allied at its Chicago
convention, and on the charges made by Rube Shor,
Allied's president, that he (Blank) and other TOA leaders
who were on the joint committee that sought relief from
the distributing companies earlier this year, had done an
"about-face" after indicating that they would support
Allied's program for Government control in the event the
film companies failed to come through with the required
relief.

The answers that Mr. Blank gave to most of the im-
portant questions asked of him were either so meaningless
or circuitous that, ordinarily, they would not be worthy
of the valuable space taken up in this paper to put them
into print. Attention is being given to them, however, for
they serve as further examples of the vacillating statements
and tactics that have been employed consistently by the
TOA leaders in dealing with important exhibitor prob-
lems, and of the manner in which they dodge issues that
may have a detrimental effect on the operations of the
large circuits.

Questioned on the matter of Government regulation of
the business, Mr. Blank, in spite of the fact that the TOA
board recently adopted a resolution opposing such regula-
tion, stated that his organization is not necessarily against
Federal control, as long as it is not detrimental to exhibition
and to the industry as a whole. This answer, of course, was
not clear to the reporters, and he was asked to give an
example of the type of legislation that would be considered
favorable by his organization. He cited as such an example
"a law that would do away with the admission tax."

Elaborating on the subject, he said also that he would
like to see the Government, through regulation, "create
conditions" that would result in the production of more
pictures for the American theatres, as well as in the cor'
rection of a number of distribution practices. He did not
specify either the "conditions" he would like to see created,
or the distribution practices that should be corrected, nor
did he offer any suggestion on how laws could be devised
to handle these matters.

Mr. Blank stated also that, while in Europe, he had made
a survey of the government rules and regulations that con-
trol the film industries in foreign countries, and that his
organization would make a thorough study of these foreign
government film regulations to see if some of them could
be applied in the United States. This is a typical TOA
paradox: on the one hand its board of directors adopts
a resolution firmly opposing intervention by the Govern-
ment in industry affairs, and on the other hand its president,
within several weeks after the adoption of that resolution,

states that a study will be made of government regulations
abroad to see how they could be applied here.

To add to the confusion of where TOA really stands
insofar as Government regulation is concerned, Mr. Blank
made it clear that his association is opposed to the type of
Federal controls sought by National Allied. Moreover,
when he was asked to clarify that portion of the TOA
resolution which stated that the organization would seek
"other forms of relief" if it could not solve the exhibitors'
pressing problems through "friendly discussions," he ad-
mitted that he did not know just what the "other forms
of relief" constituted.

Early in the press conference, Mr. Blank stated that most
of the exhibitors' problems stem from the product shortage,
and he stressed the dire need for greater production efforts.
Later, however, he stated that there is not a shortage of
product, and charged that the distributors' vaults are filled
with completed pictures that are being held back. He added
that only poor pictures and reissues will be made available
to the exhibitors between Thanksgiving and Christmas.

He charged also that the film companies are making more
money now than ever before in their history, while exhibi-
tion is making less now than in the 1940's. On the other
hand, he stated also that the exhibitors have received con'
siderable relief ever since the joint Allied-TOA talks with
the film company executives.

Other contradictory and inconsistent statements made by
Mr. Blank can be cited, but those already cited should
give you a pretty good idea of how he fluctuates from one
opinion to another — a trait that has been displayed fre-
quently by other TOA leaders whose main interest lies in
the welfare of the big circuits but who try to make it
appear as if their organization has the interests of the smaller
exhibitors at heart.

That the TOA will dodge any issue that will affect the
interests of the large circuits is evidenced by Mr. Blank's
reply when he was asked to comment on the movement
started by National Allied to curb expansion of the former
affiliated circuits. The seriousness of this problem was given
considerable attention at the Allied convention, which
termed it "a grave menace to all independent theatres,"
but Mr. Blank brushed it off with the terse statement that
it was a matter that should be handled by the Department
of Justice and the courts, and that it was not in the domain
of an exhibitor association.

It is interesting to note that at the press conference Mr.
Blank handed out the following formal statement in answer
to requests that he comment on the speeches made by
Abram F. Myers and Rube Shor at the Allied convention
in Chicago:

"TOA will not become embroiled in a name-calling con-
test with anyone. We stand firmly as ever on a policy of
constructive progress and sanity of endeavor with a realistic
approach to exhibitor problems for all exhibitors, small,
medium and large."

Mr. Blank and those who helped him formulate this
statement probably feci that it serves as a dignified answer
to the attacks made by Messrs. Myers and Shor agairut

(Continued on bac\ ptige)

186

HARRISON'S REPORTS

November 19, 1955

"Good Morning, Miss Dove" with
Jennifer Jones and Robert Stack

(20th Century-Fox, November; time, 107 mm.)

A fine human interest story, centering around the deep
regard and affection that is felt by the people of a small
New England town for a prim but compassionate school'
teacher whose influence for good had had a telling effect
on those she taught over a period of 3? years. Beautifully
photographed in CinemaScope and DeLuxe color, it is the
kind of picture that should appeal to all types of movie
goers, particularly family audiences, for it offers a heart-
warming blend of sentiment, drama and gentle humor.
Jennifer Jones, who is shown as a 55-year-old woman
throughout most of the picture, is excellent as the teacher;
she acts the part with pleasing dignity and, though she
appears to be stern, her love for her pupils is inspiring, as
is her concern for their welfare in later life. The anxiety
felt by the people of the town when she becomes ill and
has to undergo a serious surgical operation, makes for many
situations that are appealing and moving. The other players,
too, contribute fine portrayals, thanks to the sensitive and
understanding direction of Henry Koster. 20th Century-
Fox is justifiably impressed with the fine quality of this
quiet, human type of film, and it has set out to exploit it as
intensely as it exploited "A Man Called Peter," which
was made by the same producer and directed by the same
director. The company has set up a series of 50-city showings
throughout the country for educational, religious and civic
leaders, and it is reported that these showings are generating
enthusiastic support from many of these leaders, who are
endorsing the film and urging their respective groups and
congregations to see it: — ■

Shortly after Jennifer Jones returns home from an exclu-
sive finishing school at the age of nineteen, her father dies
and she learns that he had embezzled $10,000 from the
local bank, of which he was the president. Jennifer is
shocked by this disclosure, but she determines to repay the
loss by working as a local schoolteacher. Robert Douglas,
the bank's vice-president and family friend, covers up the
embezzlement to save her embarrassment and helps her to
secure the teaching job. As an educator, Miss Jones is
strict with the children yet compassionate. As a result, few
of the children love her but all respect her. After teaching
for more than 35 years, she suddenly suffers a paralytic
stroke in the classroom and is quickly taken to the hospital.
The entire community shows deep concern over her illness,
and as different people come to visit her, flashbacks reveal
the influence she exerted on them when they were her
pupils. One is Robert Stack, the local surgeon, whom she
chooses to operate on her, even though the local Rotary
Club had offered to finance an operation by any famous
surgeon. Another is Peggy Knudsen, her nurse, now the
unwed mother of a child, who is in love with Chuck Con-
nors, a police officer. As a youngster, Connors, who came
from the wrong side of the tracks and was brought up by
an alcoholic grandmother, was influenced greatly by Miss
Jones' interest in his welfare, and when she diplomatically
indicates to him that she thinks Peggy is an inherently fine
person, her approval assures their eventual marriage. Still
another visitor is Jerry Paris, now a successful playwright,
who could not speak English when he arrived from Europe
as a youngster. She recalls how the other children used to
"torture" him and how she had ended the persecution by
arranging for them to be invited to Paris' home for a party
so that they could see that his parents and home life were
no different from their own. While many others visit her
and reveal how much she meant to them, Stack, without
mentioning cancer, informs her that she must be operated
on to remove a small growth from her spine. She approves
his decision, fully aware that the operation may not be
successful. The seriousness of the operation causes much
anxiety to the townspeople, and on the following day, when
word of its success a flashed, a school holiday is declared.
When Miss Jones comes out from under the anesthetic and
hears church bells ringing, she thinks that it is Sunday, but

when Stack explains that a holiday had been declared and
tells her of the crowd below her window, a rare smile lights
up her face.

It was produced by Samuel G. Engel, and directed by
Henry Koster, from a screenplay by Eleanore Griffin, based
on the best-seller by Frances Gray Patton.

Excellent family entertainment.

"Operation Malaya"

(American Releasing Corp., Oct.; time, 65 min.)

This is more or less a documentary film, dealing with
the efforts of the British to stamp out Communism in
Malaya and to bring order out of chaos in that unhappy
country. It is at best a program picture, to be booked on
the lower half of a double bill when nothing else better is
in sight. Because of the newspaper stories printed about
these efforts of the British, there may be a chance for the
picture to draw some people to your box-offices. The differ-
ent shots were photographed in silent form and the pro-
ducer added some scenes to these silent shots to make
up a feature picture. The silent shots show the British
soldiers wading through mud to carry out their work, cut-
ting of the Communists' supplies, surrounding them and
starving them, thus compelling many of them to surrender.
The photography is so-so.

It was produced by John Croydon and Peter Crane, and
directed by David MacDonald.

"City of Shadows" with Victor McLaglen,
John Baer and Kathleen Crowley

(Republic, June 2; time, 70 min.)

An indifferent program melodrama. Centering around
Victor McLaglen as a small-time racketeer who rises to
power on the basis of legal advice provided by a law student
he had befriended, the story is artificial and unconvincing,
and the action, for the most part, is slow and long drawn
out. Moreover, the direction is undistinguished and so is
the acting. There is some excitement in the closing scenes,
where McLaglen gets into a gun battle with rival gangsters
and sacrifices his life to save the law student and his bride,
but it is not enough to compensate for the tediousness of
the production as a whole. The black-and-white photography
is good: —

McLaglen, owner of a limited number of slot machines,
catches a 12-year-old newsboy using slugs in the machines
and forgets about punishing him when the lad suggests
that he combat Anthony Caruso and Richard Reeves, his
big-racketeer competitors, by passing out thousands of slugs
to other newsboys. Utilizing this suggestion, McLaglen
soon gains control of the operations formerly headed by
Caruso and Reeves, who now become his lieutenants. Mean-
while McLaglen adopts the newsboy and when he grows
up (John Baer) sends him to law school, where he finds
legal loopholes to help keep his benefactor's operations
within the law. Baer experiences a change of heart against
the lawlessness he himself had masterminded when he falls
in love with Kathleen Crowley, daughter of a respected
retired jurist. He now finds himself wishing that he were
on the right side of the legal fence. Upon graduating, Baer
agrees to go into the protection business with McLaglen
provided the enterprise is honest. McLaglen agrees, but
when the mobsters put pressure on him to work a robbery
racket into the enteprise, McLaglen weakly yields without
Baer's knowledge. This side racket soon comes to the atten-
tion of the district attorney, and McLaglen, to pay for his
treachery toward Baer and to protect him and Kathleen
from harm, sacrifices his life in a gun battle with Caruso
and Reeves, whom he shoots dead before he himself dies.

It was produced by William J. O'Sullivan, and directed
by William Witney, from a screenplay by Houston Branch.

Adult fare.

November 19, 1955

HARRISON'S REPORTS

187

"Target Zero" with Richard Conte and
Peggie Castle

(Warner Bros., Jan. 14; time, 92 min.)

"Target Zero" is a Korean War melodrama, centering
around the adventures of American soldiers who try to
rejoin their company after being cut off behind the enemy's
lines. It is a fair enough picture of its kind, but it is
doubtful if it will get more than a mild reception from the
general run of audiences, for it offers little that is either
novel or plausible, or that has not been seen to better
advantage in numerous other war films. For example, one
finds it difficult to accept as genuine the pat manner in
which the soldiers are joined by a beautiful blonde UN
civilian medical worker, whom they had found uncon-
scious in a wrecked auto. Needless to say, she tends to
their wounds and at the same time finds romance with the
heroic lieutenant in charge of the group. The war action,
too, is not very convincing, because of the comparative
ease with which the enemy is outwitted and beaten. Another
drawback is the fact that the pace is slowed down fre-
quently by too much talk, causing one's interest to wander
from the screen.

Briefly, the action depicts the remnants of an American
patrol, led by Richard Conte, seeking to rejoin their com-
pany on the summit of a key ridge. As they cautiously
probe their way northward, they come across a British
tank crew that had been cut off behind the enemy's lines,
and that had rescued Peggie Castle, a biochemist in charge
of a UN civilian medical center, whom they had found
unconscious in a wrecked civilian automobile. They join
forces and continue north, aided by the tank, which not
only helps them to make their way through a dangerous
mine field but also enables them to defeat a Red patrol and to
hijack an enemy truck convoy. Considerable friction de-
velops between Conte and Richard Stapley, leader of the
British tank crew, who objects to a number of decisions
made by Conte, who outranked him. Further tension de-
velops between them over Peggie. After many hardships,
they manage to reach their company's post, only to find
it a scene of utter devastation, with no survivors. They
manage to communicate with headquarters and are ordered
to hold the ridge and attack retreating Reds. Their own
heroism, coupled with aid from the air force and from a
battleship 15 miles away, results in the annihilation of
the retreating enemy. It all ends with Peggie thanking
Stapley for his help in the battle, but giving her heart
and hand to Conte.

It was produced by David Weisbart, and directed by
Harmon Jones, from a screenplay by Sam Rolfe, based
on a story by James Warner Bellah.

Family.

"Double Jeopardy" with Rod Cameron,
Gale Robbins and Allison Hayes

(Republic, June 23; time, 70 min.)

Routine program fare is provided in this melodrama,
which should serve its purpose as a supporting feature in
double-billing situations. Its story about a successful finan-
cier who is blackmailed by an ex-convict and who is wrongly
suspected of murdering him, covers familiar ground and
unfolds in pretty much the manner one anticipates, but it
has enough excitement and suspense to get by with undis-
criminating audiences. It is not a pleasant entertainment,
however, because of the story's elements of ruthlessness and
greed. The direction and acting are of standard quality.
There is no comedy relief :- —

John Litel, a wealthy building financier, keeps secret
from Allison Hayes, his daughter, and Rod Cameron, his
lawyer, the fact that Robert Armstrong, an cx-convict, had
been blackmailing him for years. Litel had been paying
Armstrong $500 monthly to keep silent about the fact
that, years previously, both had been sent to prison fur
embezzlement. Meanwhile Armstrong, addicted to drink,
has his own troubles in that Gale Robbins, his younger and
demanding wile, was two-timing him for Jack Kelly, a

dapper used car salesman. When Armstrong shows fear
of losing her, Gale pressures him into demanding $10,000
from Litel immediately. He telephones Litel, who agiees
to meet him at the usual place, a lonely canyon road. Gale
informs Kelly of this move and plans to use the money to
run off with him to Mexico. But Kelly, seeking the money
for himself, follows Armstrong at a distance on the night
of his meeting with Litel. He does not, however, overhear
Litel inform Armstrong that he had decided not to pay
him anymore blackmail regardless of what he would do.
When Litel drives off, Kelly tries to rob Armstrong of the
money he thinks Litel gave him, and in the struggle Arm-
strong is killed when his car rolls off the cliff. After a police
investigation brings to light the fact that Armstrong had
been blackmailing Litel, and that the financier had been
with him on the night he died, Litel is arrested for the
murder. Cameron, believing in the innocence of his client
and future father-in-law, starts an investigation of his own
and tracks down clues that bring Gale and Kelly into the
picture and ultimately prove that Kelly had been respon-
sible for the murder. With her father cleared, Allison
gratefuly sets an early date for her marriage to Cameron.

It was produced by Rudy Ralston, and directed by R. G.
Springsteen, from a screenplay by Don Martin.

Adult fare.

"A Lawless Street" with Randolph Scott
and Angela Lansbury

(Columbia, December; time, 77 min.)

This is a typical Randolph Scott outdoor melodrama,
photographed in Technicolor. It is a good entertainment,
with fast action and human interest, the kind that will
appeal to his fans. This time Scott takes the part of a
dauntless, quick-on-the-trigger Marshal, but he never hurts
any one unless it is either in self-defense or to subdue
criminal acts. The action is often violent and exciting, for
Scott frequently risks his life either to protect innocent
people or to punish lawbreakers. The human interest in
many of the situations compensate for the lack of comedy
relief. The direction is satisfactory and so is the acting: —

As town Marshal of Medicine Bend in the Colorado
Territory, Scott is feared by the lawless element because
he had unhesitatingly sent many a bandit to his deserved
death. He personally hated killing, but he was com-
pelled to live up to his reputation to protect himself and
to encourage the townfolk to stand up against the law-
breakers. Scott's chief enemy is Warner Anderson, the
opera house owner, who, in league with John Emery, a
saloonkeeper, wanted to make Medicine Bend a wide open
town. At the same time, Anderson was having a clandestine
affair with Jean Parker, wife of James Bell, an upright ranch
owner. Among a troupe of performers imported by Ander-
son from Chicago is Angela Lansbury, a singer. Anderson
hopes to marry Angela until it is revealed that she is
Scott's wife. Neither had stopped loving the other, but she
had left him because of his dangerous life and reputation
as a killer. The existing love between Scott and Angela
gives Anderson still another reason to get rid of Scott,
and he imports Michael Pate, a notorious gunman, for the
purpose. Pate lures Scott into drawing against him but
manages to get the drop on him. Scott, wounded, slump*
to the floor, and before Pate can finish him Wallace Ford,
an old friend, makes him believe that Scott is dead. The
law-breakers take over the town and celebrate. Meanwhile
Scott, kept in hiding, regains his health. He shows up when
the lawlessness is at its height and launches a single-handed
cleanup of the town. In the confusion, Emery shoots and
kills Anderson by mistake and is in turn shot dead bv
Scott. With the lawless element wiped out. Scott decides
to retire to a ranch nearby, Angela, certain that his killing
days are over, rejoins him.

Henry Joe Brown produced it, and Joseph H Lewis
directed it, from a screenplay bv Kenneth Garnet, based
on a story by Brad Ward.

Unobjectionable lor the family.

188

HARRISON'S REPORTS

November 19, 1955

TOA policies, and to the charges levelled against him and
other TOA leaders by Mr. Shor to the effect that, after
agreeing to support Allied's EDC program for Federal con'
trols, they did a "sudden about-face" when the big circuits
that support TOA "cracked the whip."

If so, they are fooling no one but themselves, for their
failure to defend TOA's policies and to deny the charge
that they individually did not act in good faith in joining
Allied in an effort to secure substantial relief from the film
companies, makes it evident to all exhibitors, including
their own members, that their position is indefensible.

PROOF OF A LOT OF NOTHING

Back in August, George Weltner, Paramount^ sales chief,
announced that his company had established machinery for
the purpose of alleviating "problems affecting exhibition,
particularly theatres on the border-line of continued ope-
ration."

Analyzing this announcement, Harrison's Reports,
under the heading "A Lot of Nothing," stated in its August
20 issue that, despite the extensive manner in which some
of the other trade papers played up Weltner's statement,
most of the exhibitors will look upon his promise of aid as
being decidedly limited and totally inadequate. That this
analysis was accurate is evidenced by the fact that the
exhibitors attending the Allied convention chose Paramount
as a "close second" to Warner Bros, as the most disliked
company because of unreasonable dealings.

A SOUND PLEA

Ben Marcus, former National Allied president and now
regional vice-president, has released for publication the
following letter, dated November 16, sent to Spyros P.
Skouras, president of 20th Century-Fox:
"Dear Mr. Skouras:

"May I congratulate you and your company upon your
development of the 'New 55' CinemaScope. I was one of
many exhibitors who attended the demonstration of this
new medium showing parts of the beautiful musical
'Carousel.' This new photographic process gives Cinema-
Scope the definition, clarity and depth, and eliminates dis-
tortion completely at the sides, which particularly will help
the small capacity theatres.

"May I thank you for your relentless effort and vision
and enterprise for continually striving for improvement
and perfection in the presentation of the motion picture
entertainment upon the screens of the American Theatre.
It is particularly gratifying to learn that it will not require
any additional expense on the part of the American Theatre
Exhibitor to use this process of presentation at his theatre.
I was happy to hear your Mr. Darryl Zanuck tell us that
20th Century-Fox will not pass on the cost of development
of this new process to exhibition. I was also happy to learn
that 'Carousel' will be released about February 22 to all the
theatres of America and not road showed as originally
planned.

"It was nice to have you at the National Allied Con-
vention. It takes courage for the president of a film com-
pany to appear before an exhibitor group in light of the
events that took place this last summer. However, many
of the plans adopted at the National Convention by the
exhibitors would have been unnecessary had the presidents
of the companies been willing to listen to our problems and
rectify the complaints or requests that were made by us.
You, yourself, told us at our meeting with you that what
we asked was very little and that we should have asked
for more.

"I do not know to this day what prompted you to
change your mind from announcing the policy which you
agreed to initiate on behalf of your company. But I cannot
help but feel that had you done so, you might have set
the pace for the presidents of the other film companies to
follow, and we would not have to resort to taking drastic
steps to get the little relief that we as independent exhibi-
tors are looking for, and need very badly.

"If distribution is sincere and desirous to eliminate the
oppressive sales methods and practices which the exhibitors
are complaining about, I believe that they should call a
meeting of all the presidents and sit down and thoroughly
analyze the merits of these complaints, and agree to elim-
inate these policies and practices on a national basis. I
agree with you that what we ask is so little that there is no
reason for them to deny our requests, as it would ultimately
result to their financial benefit more so than exhibition."

A READER HAS HIS SAY

Dear Pete:

I have been reading Harrison's Reports since I got
into this business ten years ago, so I feel that I know you
as a friend. I am thirty-three years old, happily married,
have two wonderful children and we all have good health.
That's my personal success story in the business. I owe
it everything I love dearest.

There's the other half of the story — about my unsuccess-
ful position after 3650 days of heartbreaking effort and
hard work in theatre exhibition. I blame it on many factors
which I had no control over — such as Moscow film terms,
competitive bidding, poor quality pictures, low number of
pictures and on and on and on. I came face to face with
another evil this afternoon, and I want to tell you about it.

My Warner salesman telephoned me with a MESSAGE
FROM HIS LEGAL DEPARTMENT! The legal depart-
ment decided to sell my competitor an earlier run than
we have had at the Franklin Theatre (Allentown, Pa.)
since the theatre was built about forty years ago. The
salesman appeared to be honestly disturbed at his company's
decision, but he was "only carrying out orders" and it was
his job to seek me out and deliver this message to me. On
my last visit to the Warner office in Philadelphia, I spoke
to the Sales Manager. He, too, stated that he would not
hurt me in any way, for I have been a good customer, etc.,
but he will have to do what his LEGAL DEPARTMENT
orders him to do.

What in God's sweet earth has happened to us? The
lawyers are running our business. The sales organization
of every distributing company is a messenger group for
the lawyers — from the General Sales Manager to the foot
salesman! It is only obvious that these 10% brain trusts
are purposely creating CASES so that they can keep the
fat fees rolling to their plush push-button dens.

Pete, I wonder what would happen if all of us — distri-
butors and exhibitors — would fire the whole batch of
lawyers for a reasonable period of time. Distributors and
exhibitors are human beings — in fact, we're better than
any one group of peoples on this blessed earth. We are
charitable, forgiving, and above all, we are a fair-minded
people. I am willing to wager everything that there is still
a happy future in store for us showfolks, providing we
get rid of the parasites — I mean the lawyers!

With the exhibitors' overhead chopped down because
of the "legal expense" deleted from the P fe? L statement,
the distributor will surely look upon us in a more favorable
manner. And with the fancy "legal departments" gone
at the distribution end, I am sure that the film terms will
come down at least ten per cent! I understand that the
movie lawyers plus court costs average ten per cent. Let's
face it — we are paying for it right now.

The present downfall in business has me and every
exhibitor very concerned. The pre-Christmas slump may
spell the end to hundreds of little folk. I am one of these.
The walls are shaking and a collapse is not far-fetched.

What do you think, Pete? Kick this around a bit and
maybe a good editorial in an early issue of your fine
Reports will spark some of the good people on both ends
of the business to take quick action. This lengthy letter
sounds desperate, I know — but I'm sure there are hun-
dreds more who feel like I do tonite. Each one of us must
do everything possible in the next few months, or I fear
the ship is sunk. — Sol Schoc\er, Lehigh Valley Theatre
Corporation, AUentown, Pa.

IN TWO SECTIONS— SECTION TWO

HARRISON'S REPORTS

Vol. XXXVII NEW YORK, N. Y., SATURDAY, NOVEMBER 19, 1955 No. 47

(Partial Index No. 6 — Pages 158 to 184 Inclusive)

Tides of Pictures Reviewed on Page

All That Heaven Allows— Univ.-Int'l (89 min.) 174

Apache Woman — American Rel. Corp. (83 min.) 170

Artists and Models — Paramount (109 min.) 183

Deep Blue Sea, The— 20th Century-Fox (99 min.) 158

Fort Yuma — United Artists (79 min.) 159

Girl in the Red Velvet Swing, The —

20th-Century-Fox (109 min.) 167

Guys and Dolls— MGM (150 min.) 178

I Died a Thousand Times — Warner Bros. (109 min.) . . 168
It's a Dog's Life— MGM (88 min.)

(reviewed as "The Bar Sinister") 138

Lady Godiva — Univ.-Int'l (89 min.) 163

Lucy Gallant — Paramount (104 min.) 158

Man With the Gun — United Artists (84 min.) 168

Naked Sea— RKO (69 min.) 175

Oklahoma! — Magna (145 min.) 166

Queen Bee — Columbia (95 min.) 171

Quentin Durward — MGM (101 min.) 166

Rebel Without a Cause — Warner Bros. (Ill min.) ... 170
Return of Jack Slade, The — Allied Artists (79 min.) . .164

Rose Tattoo — Paramount (117 min.) 178

Running Wild — Univ.-Int'l (81 min.) 179

Second Greatest Sex, The — Univ.-Int'l (87 min.) 162

Sincerely Yours — Warner Bros. (115 min.) 174

Svengali— MGM (82 min.) 162

Tarantula— Univ.-Int'l (80 min.) 179

Teen-Age Crime- Wave — Columbia (77 min.) 167

Tender Trap, The— MGM (111 min.) 174

Tennessee's Partner— RKO (87 min.) 159

Three Stripes in the Sun — Columbia (93 min.) 171

Toughest Man Alive — Allied Artists (72 min.) 183

Treasure of Pancho Villa, The— RKO (95 min.) 158

Trouble With Harry, The — Paramount (99 min.) 162

Twinkle in God's Eye, The — Republic (74 min.) 166

View from Pompey's Head, The —

20th Century-Fox (97 min.) 175

RELEASE SCHEDULE FOR FEATURES
Allied Artists Features

(1560 Broadway. Hew Yor\ 19, H- T.)

5520 Wichita— McCrea-Miles-Ford (C'Scope) July 3

5521 Case of the Red Monkey — Conte'Anderson .July 10

5524 Betrayed Women — Matthews-Michaels July 17

5522 Spy Chasers — Bowery Boys July 31

5525 The Phenix City Story — Kiley-Mclntyre . . .Aug. 14

5526 Night Freight — Tucker-Britton Aug. 29

5523 The Warriors — Flynn-Dru (C'Scope) Sept. 11

5530 Wicked Wife— British cast Sept. 18

5529 Jail Busters — Bowery Boys Sept. 18

5528 The Return of Jack Slade —

Ericson-Blanchard Oct. 9

5531 Bobby Ware Is Missing— Brand-Franz Oct. 23

5533 Toughest Man Alive— Clark-Milan Nov. 6

5534 Paris Follies of 1956 —

Tucker-Whiting Sisters Nov. 27

5535 Shack Out on 101 — Moore-Lovejoy Dec. 4

5540 Sudden Danger — Elliott-Drake Dec. 18

5531 Gun Point — MacMurray-Malone (C'Scope) .Dec. 30

5541 Dig That Uranium — Bowery Boys Jan. 8

Time Slip — Nelson-Domergue not set

5527 The Invasion of the Body Snatcher —

McCarthy-Wynter not set

(formerly "They Came from Another World")

Columbia Features

(729 Seventh Ave., Hew Tor^ 19, H- T.)

1954-55

732 It Came from Beneath the Sea — Tobey-Domergue.July

747 Chicago Syndicate — O'Keefe-Lane July

746 Creature with the Atom Brain — Denning-Stevens. July
736 The Long Gray Line — Power-O'Hara Special

(End of 1954-55 Season)

Beginning of 1955-56 Season

801 The Man from Laramie —

Stewart-O'Donnell (C'Scope) Aug.

803 Bring Your Smile Along — Laine-Brasselle Aug.

802 Footsteps in the Fog — Granger-Simmons Sept.

807 The Night Holds Terror— Kelly-Parks Sept.

806 Special Delivery — Cotten-Bartok Sept

809 The Gun That Won the West—

Morgan-Raymond Sept.

804 Apache Ambush — Williams-Jaeckel Sept.

810 My Sister Eileen — Leigh-Lemmon-Garrett Oct.

811 Count Three and Pray — Heflin-Woodward Oct.

805 Devil Goddess — Johnny Weissmuller Oct.

808 Duel on the Mississippi — Barker-Medina Oct.

819 Queen Bee — Crawford-Sullivan Nov.

820 Three Stripes in the Sun— Ray-Kimura Nov.

824 Teen-Age Crime Wave — Cook-McCart Nov.

A Lawless Street — Scott- Lansbury Dec.

The Crooked Web — Lovejoy-Blanchard Dec.

Hell's Horizon — Ireland-English Dec.

Walk a Crooked Mile — reissue Dec.

Lippert-Pictures Features

(145 7io. Robertson Blvd.. Beverly Hills. Calif.)

5413 Air Strike — Denning-Jean May 6

5414 Phantom of the Jungle — Hall-Gwynne May 20

5418 King Dinosaur — Bryant-Curtis June 17

5416 The Lonesome Trail — Morris^Agar July 1

5421 Simba — Dick Bogarde Sept. 9

Buena Vista Features

(477 Madison Ave.. Hew Tor\ 22, H- T.)

Davy Crockett — Parker-Ebsen June

Lady and the Tramp — Cartoon feature July

The African Lion — True Life Adventure Oct.

The Littlest Outlaw — Armendariz Jan.

Metro-Goldwyn-Mayer Features

(1540 Broadway. Hew Tor\ 19, H- **".)

1954-55

529 Interrupted Melody — Ford-Parker (C'Scope) ... .July

531 The Cobweb— Bacall-Widmark-Boyer (C'Scope) .July

530 Wizard of Oz — reissue July

532 The King's Thief—

Purdom-Blythe-Niven (C'Scope) Aug.

533 The Scarlet Coat-

Wilde- Wilding-Francis (C'Scope) Aug.

(End of 1954-55 Season)
Beginning of 1955-56 Season

601 It's Always Fair Weather —

Kelly-Dailey (C'Scope) Sept.

602 Svengali — Hildegarde Neff Sept.

603 It's A Dog's Life — Richards-Gwenn

(formerly "The Bar Sinister") Sept.

604 Trial — Ford-McGuirc-Kennedy Oct.

607 Quentin Durward — Taylor-Kendall (C'Scope) ..Oct

608 The Tender Trap — Sinatra-Reynolds (C'Scope) .Nov.
614 Guys and Dolls — All-Star cast (C'Scope) Nov.

609 A Guy Named Joe- - reissue Nov.

610 30 Seconds Over Tokyo- — reissue Non-
61 1 Billy the Kid- -reissue Dec

612 Honky Tonk- -reissue Dec

613 Kismet— Keel-Blyth (C'Scope) Dec.

8951 Louis Prima & Orch. —

Thrills of Music (reissue) (10 m.) Sept. 22

8801 Stable Stakes— Sports (10 m.) Sept. 29

8701 Stage Door Magoo — Mr. Magoo (7m.) ... .Oct. 6

8602 Up'n Atom — Favorite (reissue) (6 m.) . . . .Oct. 6

8852 The Great Al Jolson —

Screen Snapshots (11 m.) Oct. 20

8603 Hot Foot Lights — Favorite (reissue) (7 m.).Nov. 3

8802 Chill Thrills— Sports Nov. 10

8952 Buddy Rich & Orch.—

Thrills of Music (reissue) (10'/2 m.) ...Nov. 10

8604 Rippling Romance —

Favorite (reissue) (8 m.) Nov. 11

8853 Hollywood Premiere — Screen Snapshots . . . .Nov. 17
8502 The Rise of Duton Lang —

UPA Cartoon (6J/2 m.) Dec. 1

8605 Foxey Flatfoots — Favorite (reissue) (6 m.).Dec. 8
8552 Candid Microphone No. 4 (10l/2m.) Dec. 8

8854 Ramblin' Round Hollywood —

Screen Snapshots Dec. 15

8953 Charlie Spivak 6? Orch.—

Thrills of Music (reissue) (10 m.) Dec. 22

Columbia — Two Reels

8401 Wham-Bam-Slam! — Stooges ( 16 m.) Sept. 1

8421 Honeymoon Blues —

Favorite (reissue) (17 m.) Sept. 8

8411 One Spooky Night— Andy Clyde (16 m.) .Sept. 15
8120 The Sea Hound— Serial (15 ep.) Sept. 22

8402 Hot Ice— Three Stooges (W/2 m.) Oct. 6

8431 Pardon My Lamb Chop —

Favorite (reissue) (17 m.) Oct. 13

8412 He Took a Powder—

Quillan-Vernon (17 m.) Oct. 27

8403 Blunder Boys — Three Stooges ( 16 m.) Nov. 3

8422 The Jury Goes Round 'n Round —

Favorite (reissue) (18 m.) Nov. 10

8413 Hook a Crook — Joe Besser Nov. 24

8432 Radio Romeo — Favorite (reissue) (17^ m.) Dec. 1
8751 Magoo Makes News- — Mr. Magoo (C'Scope) Dec. 15

8423 Should Husbands Marry? —

Favorite (reissue) (17 m.) Dec. 15

8433 Wedlock Deadlock-

Favorite (reissue) (16 m.) Dec. 29

Metro-Goldwyn-Mayer — One Reel

W-741 Designs on Jerry — Cartoon (7 m.) Sept. 2

C-731 Tom and Cherie — C'Scope Cartoon (7 m.) Sept. 9
W-761 The Invisible Mouse —

Cartoon (reissue) (7 m.) Sept. 16

B-721 How To Sleep—

Rob't Benchley (reissue) (11 m.) ....Sept. 23

W-742 The First Bad Man— Cartoon (7 m.) Sept. 30

P-771 That Mothers Might Live —

Passing Parade (10 m.) Oct. 7

W-743 Smarty Cat— Cartoon (7 m.) Oct. 14

W-762 King-Size Canary-
Cartoon (reissue) (7m.) Oct. 21

W-744 Deputy Droopy — Cartoon (7 m.) Oct. 28

B-722 A Night At the Movies —

Benchley (reissue) (7 m.) Nov. 4

W-745 Pecos Pest— Cartoon (7 m.) Nov. 11

W-763 Kitty Foiled — Cartoon (reissue) (7 m.) .Nov. 18
C-733 That's My Mommy—

C'Scope Cartoon (6m.) Nov. 19

W-746 Cellbound— Cartoon (7 m.) Nov. 25

W-764 What Price Fleadom—

Cartoon (reissue) (7m.) Dec. 2

P-772 The Story of Dr. Jenner—

Passing Parade (10 m.) Dec. 9

W-765 The Truce Hurts-
Cartoon (reissue) (8 m.) Dec. 16

C-732 Good Will to Men—

C'Scope Cartoon (8 m.) ; . .Dec. 23

W-766 Old Rockin' Chair Tom-
Cartoon (reissue) (7 m.) Dec. 30

W'767 Lucky Ducky — Cartoon (reissue) (7 m.) . .Jan. 6
B-723 See Your Doctor —

Benchley (reissue) (8 m.) Jan. 13

W-768 The Cat That Hated People-
Cartoon (reissue) (7m.) Jan. 20

C-734 The Egg and Jerry—

C'Scope Cartoon (8 m.) Jan. 27

W'769 Professor Tom — Cartoon (reissue) (8 m.) .Feb. 3
P-773 The Baron and the Rose-
Passing Parade (11m.) Feb. 10

W'770 Mouse Cleaning — Cartoon (reissue) (7 m.) Feb. 17
W-771 Goggle Fishing Bear-
Cartoon (reissue) (7 m.) Mar. 2

B-724

W-772

C-735

W-773
P-774

W-774
C-736
B-725
P-775

B-726
P-776

Courtship of the Newt —

Benchley (reissue) (8 m.) Mar. 9

House of Tomorrow —

Cartoon (reissue) (7 m.) Mar. 16

The Flying Sorceress —

C'Scope Cartoon (7 m.) Mar. 23

Dog-gone Tired — Cartoon (reissue) (8 m.) Apr. 6
Goodbye Miss Turlock —

Passing Parade (10 m.) Apr. 20

Counterfeit Cat — Cartoon (reissue) (7 m.) Apr. 27
Busy Buddies — C'Scope Cartoon (7 m.) .May 4
How to Sublet — Benchley (reissue) (8 m.) May 11
Stairway to Light —

Passing Parade (10 m.) June 1

Mental Poise — Benchley (reissue) (7m.) June 15
The Story That Couldn't Be Printed —

Passing Parade (11 m.) July 6

Paramount — One Reel

(Ed. 7s(ote: Shorts having production numbers S15 and
A15 are reissues.)

Si 5-1 The Mite Makes Right — Cartoon (8 m.) .Sept. 30
S15-2 The Old Shell Game— Cartoon (7 m.) . .Sept. 30
S15-3 The Little Cut Up— Cartoon (6 ra.) ...Sept. 30
S 15-4 Hep Cat Symphony — Cartoon (6 m.) . . .Sept. 30
Si 5-5 Little Red School Mouse — Cartoon (7 m.) Sept. 30
Si 5-6 Leprechaun's Gold — Cartoon (10 m.) . . . .Sept. 30
S15-7 Quack-A-Doodle Doo— Cartoon (7 m.). .Sept. 30

Si 5-8 Teacher's Pest — Cartoon (7m.) Sept. 30

S15-9 Tarts and Flowers — Cartoon (7 m.) . . . .Sept. 30

Si 5-10 Please to Eat You — Cartoon (6 m.) Sept. 30

S15-11 Goofy Goofy Gander — Cartoon (7 m.)..Sept. 30

SI 5-12 Saved By the Bell— Cartoon (6 m.) Sept. 30

A15-1 Tain't So — Speaking of Animals (10 m.) .Sept. 30
A15-2 Monkey Shines —

Speaking of Animals (9 m.) Sept. 30

A15-3 Be Kind to Animals —

Speaking of Animals (8 m.) Sept. 30

A 15-4 From A to Zoo —

Speaking of Animals (9 m.) Sept. 30

E15-1 Mister and Mistletoe — Popeye (6 m.) . . .Sept. 30

P15-1 Rabbit Punch — Noveltoon (6 m.) Sept. 30

R 1 5-1 Sporting Dogs Afield — Sportlight (9 m.) . .Oct. 7

M15-1 Three Kisses — Topper (10 m.) Oct. 7

P15-2 Little Audrey Riding Hood —

Noveltoon (6m.) Oct. 14

B15-1 Red White and Boo— Casper (6 m.) Oct. 25

El 5-2 Cops is Tops — Popeye (6^2 m-) Nov. 4

M15-2 Reunion in Paris — Topper (10 m.) ....Nov. 11
R15-2 A Nation of Athletes — Sportlight (9 m.) .Nov. 18
Hi 5-1 Monsieur Herman —

Herman 6? Katnip (6 m.) Nov. 25

E15-3 A Job for a Gob — Popeye (6 m.) Dec. 9

B15-2 Boo Kind to Animals — Casper (6 m.) . . .Dec. 23

P15-3 Kitty Cornered — Noveltoon (6 m.) Dec. 30

Paramount — Two Reels
1954-55

VI 4-4 VistaVision Visits Hawaii —

Special (17 m.) July 1

V14-5 VistaVision Visits Japan — Special (17 m.) Aug. 12
(End of 1954-55 Season)

64301
64201
64302
64202

64303
64203
64304

63101
63701

63501

63301

63601

63201
63102
63702

63502

RKO — One Reel

Game Warden — Sportscope (8m.) Sept. 2

Gold — Screenliner (10J/2 m.) Sept. 16

Gym College — Sportscope (8m.) Sept. 30

Black Cats and Broomsticks —

Screenliner (8 m.) Oct. 14

Bonefish and Barracuda — Sportscope (8 m.) Oct. 28
Make Mine Memories — Screenliner (8 m.) Nov. 11
Canadian Carnival- — Sportscope (8 m.) ..Nov. 25

RKO — Two Reels

The Future is Now — Special (15 m.) ... .Sept. 9

Wife Tames Wolf-
Leon Errol (reissue) (17 m.) Sept. 9

No More Relatives —

Edgar Kennedy (reissue) (18 m.) ....Sept. 16

Groan and Grunt —

Gil Lamb (reissue) (17 m.) Sept. 23

Heart Troubles —

Wally Brown (reissue) (16 m.) Sept. 30

Dog of the Wild— My Pal (reissue) (21m.) Oct. 7

Golden Glamour — Special (15 m.) Oct. 14

Dad Always Pays —

Leon Errol (reissue) (18 m.) Oct. 14

How To Clean House —

Edgar Kennedy (reissue) (18 m.) Oct. 21

Paramount Features

(1501 Broadway, Hew Yor\ 18, H Y.)
1954-55

5425 Strategic Air Command — Stewart'Allyson ....July

5413 The Seven Little Foys — Bob Hope July

5414 We're No Angels — Bogart-Bennett Aug.

5415 You*re Never Too Young — Martin 6s? Lewis. . .Aug.

(End of 1954-55 Season)
Beginning of 1955-56 Season

5501 The Girl Rush — Russell-Lamas Sept.

5502 To Catch a Thief — Grant-Kelly Sept.

5503 Ulysses — Douglas-Mangano Oct.

5429 White Christmas — reissue Oct.

R5505 Unconquered — reissue Oct.

R5506 Trail of the Lonesome Pine — reissue Oct.

R5507 Shepherd of the Hills — reissue Oct.

5508 The Trouble with Harry — Forsyth-McLean . . . .Nov.

5504 Lucy Gallant — Wyman-Heston Nov.

5509 The Desperate Hours — March-Bogart-Murphy .Nov.

5510 Artists and Models — Martin & Lewis Dec.

RKO Features

(1270 Sixth Ave.. Hew York 20, 7S[. T.)
1954-55

516 Bengazi — Conte-McLaglen (SuperScope) Sept.

(End of 1954-55 Season)
Beginning of 1955-56 Season

602 Tennessee's Partner —

Payne-Reagan-Fleming (SuperScope) Sept.

601 The Treasure of Pancho Villa —

Winter-Calhoun (SuperScope) Oct.

603 Texas Lady — Colbert-Sullivan (Superscope) ....Nov.

604 Naked Sea — Documentary Dec.

605 Glory — O'Brien-Greenwood (Superscope) Jan.

The Brave One — Ray-Rivera (C'Scope) not set

Jet Pilot — Wayne-Leigh not set

Republic Features

(1740 Broadway, Hew York 19, H- Y.)

5438 Lay That Rifle Down — Canova-Lowery July 7

5439 The Green Bhudda — Morris-Germaine July 9

5407 The Last Command— Hayden-Carlson Aug. 3

5408 The Divided Heart — Borchers-Mitchell Aug. 11

5440 Headline Hunters — Cameron-Bishop Sept. 15

5441 Cross Channel — Morris-Furneaux Sept. 29

5444 Twinkle in God's Eye — Rooney-Grey Oct. 13

5409 A Man Alone — Milland-Murphy Oct. 17

5442 Mystery of the Black Jungle —

Barker-Maxwell Oct. 20

5445 No Man's Woman — Windsor- Archer Oct. 27

5443 Secret Venture — Taylor-Hylton Nov. 10

5501 The Vanishing American — Brady-Totter . . .Nov. 17

Jaguar — Sabu-Chiquita-MacLane Nov. 24

Flame of the Island — DeCarlo-Scott-Duff . . .Dec. 1

Fighting Chance — Cameron-Cooper Dec. 15

Track the Man Down — Taylor-Clarke Dec. 22

Magic Fire — DeCarlo-Thompson-Gam not set

Twentieth Century-Fox Features

(444 W. 56th St., Hew Yor\ 19, H- Y.)
514-0 Soldier of Fortune —

Gable-Hayward (C'Scope) June

517- 3 The Seven Year Itch —

Monroe-Ewall (C'Scope) June

516-5 House of Bamboo — Stack-Ryan (C'Scope) . . . .July

512-4 The Living Swamp — Featurette (C'Scope) July

506-6 A Life in the Balance — Montalban-Bancroft . -July

518- 1 How to Be Very, Very Popular —

Grable-North (C'Scope) July

519- 9 The Virgin Queen— Davis-Todd (C'Scope) .. Aug.

521- 5 Love Is a Many Splendored Thing —

Holden-Jones (C'Scope) Aug.

520- 7 The Left Hand of God—

Bogart-Tierney (C'Scope) Sept.

Thieves Highway — reissue Sept.

Nightmare Alley — reissue Sept.

522- 3 Seven Cities of Gold — Egan-Rennie (C'Scope) .Sept.

524- 9 The Girl in the Red Velvet Swing—

Milland-Collins-Granger (C'Scope) Oct.

526- 4 Lover Boy — British-made Oct.

523- 1 The Tall Men— Gable-Russell (C'Scope) Oct.

525- 6 The View from Pompey's Head —

Egan-Wynter-Mitchell (C'Scope) Nov.

527- 2 The Deep Blue Sea—

Leigh-More (C'Scope) Nov.

528- 0 Good Morning, Miss Dove —

Jones-Stack (C'Scope) Nov.

529- 8 The Rains of Ranchipur —

Turner-Burton (C'Scope) Dec.

529-0 The Lieutenant Wore Skirts —

Ewell-North (C'Scope) Jan.

The Bottom of the Bottle —

Carson-Cotten (C'Scope) Jan.

United Artists Features

(729 Seventh Ave., Hew York 19, H-i Y.)

Not As a Stranger — Mitchum-DeHavilland July

The Man Who Loved Redheads — British cast July

Shadow of the Eagle — Greene-Cortesa July

The Kentuckian — Lancaster-Lynn (C'Scope) Aug.

The Night of the Hunter — Mitchum-Winters Aug.

The Naked Street — Granger-Quinn-Bancroft Sept.

Desert Sands — Meeker-English (SuperScope) Sept.

Gentlemen Marry Brunettes — Russell-Crain (C'Scope) .Oct.

Fort Yuma — Graves-Vohs Oct.

Savage Princess — Made in India Oct.

The Big Knife — Palance-Lupino-Corey Nov.

Man With the Gun — Mitchum-Sterling Nov.

Killer's Kiss — Sil vera- Smith Nov.

Universal-International Features

(445 Par\ Ave., Hew Yor\ 22, H, Y.)

1954-55

528 FoxFire — Chandler-Russell-Duryea July

529 Ain't Misbehavin' — Calhoun-Laurie-Carson July

530 The Purple Mask— Curtis-Miller (C'Scope) July

531 The Purple Mask— (2D) July

532 One Desire — Baxter-Hudson-Adams Aug.

533 Private War of Major Benson — Heston-Adams. .Aug.

534 Francis in the Navy — O'Connor-Flyer Aug.

535 The Shrike — Ferrer- Allyson Sept.

/536 Female on the Beach — Crawford-Chandler Sept

' 538 Kiss of Fire— Palance-Rush Oct

539 To Hell and Back— Murphy (C'Scope) Oct

540 To Hell and Back— (2D) Oct

> (End of 1954-55 Season)
Beginning of 1955-56 Season

A 601 Lady Godiva — O'Hara-Nader Nov.

* 5602 The Naked Dawn — Kennedy-St. John Nov.

5603 Hold Back Tomorrow — Agar-Moore Nov.

5604 Running Wild — Campbell-Case Dec.

5605 Tarantula — Agar-Corday Dec.

5606 The Second Greatest Sex —

Crain-Nader (C'Scope) Dec.

5607 The Spoilers — Baxter-Chandler Jan.

5608 The Square Jungle — Curtis-Crowley Jan.

5609 All That Heaven Allows — Wyman-Hudson . . Jan.

Warner Bros. Features

(321 W. 44th St., Hew Yor\ 18, H Y.)
1954-55

419 Land of the Pharaohs —

Hawkins-Collins (C'Scope) July 2

420 The Dam Busters — Todd-Redgrave July 16

418 Mister Roberts —

Fonda-Cagney-Powell (C'Scope) July 30

421 Pete Kelly's Blues—

Webb-Lee-O'Brien (C'Scope) Aug. 27

Beginning of 1955-56 Season

501 The McConnell Story—

Ladd-Allyson (C'Scope) Sept 3

502 Blood Alley— Wayne-Bacall (C'Scope) Oct. 1

503 Illegal — Robinson-Foch Oct. 15

504 Rebel Without a Cause —

Dean- Wood (C'Scope) Oct. 29

505 I Died a Thousand Times —

Palance- Winters (C'Scope) Nov. 12

506 Sincerely Yours — Liberace-Dru Nov. 26

The Court Martial of Billy Mitchell —

Gary Cooper (C'Scope) Dec. 3 1

Target Zero — Conte-Castle Jan. 14

SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel

8601 Tooth or Consequence —

Favorite (reissue) (6J/2 m.) Sept. 1

8501 Christopher Crumpet's Playmate —

UPA Cartoon (6'/2 m.) Sept. S

8551 Candid Microphone No. 3(11 m.) Sept. 15

8851 Hollywood Bronc Busters —

Screen Snapshots (9m.) Sept. 22

63 302 Bashful Romeo —

Gil Lamb (reissue) (16 m.) Oct. 28

63401 Musical Bandit —

Ray Whitley (reissue) (16 m.) Oct. 28

63602 Put Some Money In the Pot —

Wally Brown (reissue) (17 m.) Nov. 4

63202 Pal, Canine Detective —

My Pal (reissue) (22 m.) Nov. 11

63703 The Spook Speaks—

Leon Errol (reissue) (19 m.) Nov. 18

63503 Dig That Gold-

Edgar Kennedy (reissue) (17 m.) ....Nov. 25

63402 Bar Buckaroos — Whitley (reissue) (16 m.). Dec. 2

63704 In Room 303—

Leon Errol (reissue) (17 m.) Dec. 23

63504 Contest Crazy —

Edgar Kennedy (reissue) (17 m.) Dec. 30

Republic — One Reel

5388 Venezuela — This World of Ours (9 m.) ..Mar. 1
Republic — Two Reels

5581 King of the Carnival — Serial (13 ep.) June 27

5582 Dick Tracy's G-Men—

Serial (15 ep.) (reissue) Sept. 19

5583 Manhunt of Mystery Island —

Serial (15 ep.) (reissue) Jan. 2

Zorro's Black Whip —

Serial (13 ep.) (reissue) not set

Twentieth Century-Fox — One Reel

5532- 7 Good Deed Daly—

Terrytoon (C'Scope) (7 m.) July

5510- 3 Phony News Flashes — Terrytoon (7 m.) July

5533- 5 Bird Symphony — Terrytoon (C'Scope) ....Aug.

5511- 1 Foxed by a Fox — Terrytoon (7 m.) Aug.

5512- 9 The Last Mouse of Hamelin — ■

Terrytoon (7m.) Sept.

5534- 3 The Little Red Hen — Terrytoon (C'Scope) . Sept.

Twentieth Century-Fox — C'Scope Reels

7507-7 Tears of the Moon— C'Scope (10 m.) June

7516-8 Winter Jamboree — C'Scope (10 m.) July

7519- 2 Survival City— C'Scope (10 m.) July

7515-0 Naughty Mermaids — C'Scope (7m.) Aug.

7518-4 That Others May Live— C'Scope (10 m.)..Sept.

7520- 0 Gods of the Road— C'Scope (9 m.) Sept.

7521- 8 Desert Fantasy — C'Scope Sept.

7513-5 Clear the Bridge— C'Scope Oct.

7522- 6 Water Wizardry— C'Scope Oct.

7523- 4 Carioca Carnival — C'Scope Nov.

7524- 2 Lady of the Golden Door — C'Scope Nov.

7525- 9 Queen's Guard — C'Scope (17 m.) Dec.

Universal — One Reel
1954-55

1346 Monkey Shines — Variety Views (9 m.) ... .Aug. 22

1330 Flea for Two — Cartune (6 m.) Aug. 29

1387 Dream Island — Color Parade (9 m.) Sept. 5

1331 Square Shooting Square — Cartune (6m.) . .Sept. 26

1388 Against the Stream — Color Parade (9 m.) . .Oct. 10

1332 Hot and Cold Penguin — Cartune (6m.) Oct. 24

1333 Bunco Busters — Cartune (6m.) Nov. 25

(More to come)
Beginning of 1955-56 Season

2611 The Tree Medic — Cartune (6m.) Oct. 24

Universal — Two Reels
1954-55

1311 The Ink Spots— Musical (15 m.) Sept. 19

1312 Sauter Finnegan 6? His Orch. —

Musical (15 m.) Oct. 22

(End of 1954-55 Season)
Beginning of 1955-56 Season

2601 Mambo Madness — Featurette (15 m.) Nov. 24

2602 Ralph Marten 6? Orch.— Musical (15 m.) . .Nov. 28

Vitaphone — One Reel

3220 Heart of an Empire — C'Scope Special (9 m.) Sept. 1
3222 Ski Valley— C'Scope Special (9 m.) Sept. 1

3701 Dime to Retire — Looney Tune (7m.) ... .Sept. 3
3801 Jan Savitt and His Band —

Melody Master (reissue) (10 m.) Sept. 3

3301 Doggone Cats —

Blue Ribbon (reissue) (7 m.) Sept. 10

3702 Speedy Gonzales — Merrie Melody (7 m.) . .Sept. 17
3601 An Adventure to Remember — Special (9 m.) . Oct. 1
3723 Knight-Mare Hare — Bugs Bunny (7 m.) Oct. 1

3703 Two Scents Worth — Merrie Melody (7 m.) .Oct. 15

3 501 Picturesque Portugal —

Sports Parade (10 m.) Oct. 15

3302 The Rattled Rooster-

Blue Ribbon (reissue) (7 m.) Oct 22

3802 Artie Shaw 6? His Orch.—

Melody Master (reissue) (10 m.) Oct. 22

3704 Red Riding Hoodwinked —

Looney Tune (7 m.) Oct 29

3401 So You Want To Be a Vice-President—

Joe McDoakes (10 m.) Oct. 29

3303 Fair and Wormer —

Blue Ribbon (reissue) (7 m.) Nov. 5

3724 Roman Legion-Hare — Bugs Bunny (7 m.) . .Nov. 12

3602 Shark Hunting — Special (9 m.) Nov. 12

3705 Heir Conditioned — Elmer (7 m.) Nov. 26

3304 Mousemerized Cat —

Blue Ribbon (reissue) (7 m.) Nov. 26

3221 Springtime in Holland —

C'Scope Special (9 m.) Dec. 10

3706 Guided Muscle — Looney Tune (7 m.) Dec. 10

3707 Pappy's Puppy— Looney Tune (7 m.) Dec. 17

3402 So You Want To Be a Policeman-

Joe McDoakes (10 m.) Dec. 17

3305 The Foghorn Leghorn —

Blue Ribbon (reissue) (7 m.) Dec. 24

3708 One Froggy Evening — Cartoon (7 m.) Dec 31

3803 Ozzie Nelson 6* His Orch.—

Melody Master (reissue) (10 m.) Dec. 24

3603 Faster and Faster — Special (9 m.) Dec 31

3502 Fish Is Where You Find Them—

Sports Parade (10 m.) Jan. 14

3725 Bugs Bonnets — Bugs Bunny (7 m.) Jan. 14

3709 Too Hop to Handle — Merrie Melody (7 m.) .Jan. 28

3403 So You Think the Grass is Greener —

Joe McDoakes (10m.) Jan. 28

Vitaphone — Two Reels
3211 Journey To Sea— C'Scope Special (18 m.) . .Sept. 1

3101 Small Town Idol — Featurette (reissue) ....Sept. 24

3001 Movieland Magic — Special (reissue) Oct.

3002 The Golden Tomorrow — Special (17 m.) ..Nov.

3102 It Happened to You — Featurette Nov.

3103 Dog in the Orchard — Featurette Nov

3003 Behind the Big Top-

Special (reissue) (18 m.) Dec.

3004 They Seek Adventure — Special Jan.

8
5
19
19

3
7

NEWSWEEKLY
RELEASE
News of the Day

225 Mon. (O)

226 Wed. (E)

227 Mon. (O)

228 Wed. (E)

229 Mon. (O)

230 Wed. (E)

231 Mon. (O)

232 Wed.

233 Mon.

234 Wed.

235 Mon.

236 Wed.

237 Mon.

238 Wed.

Nov. 21
,Nov. 23
Nov. 28
Nov. 30
. Dec. 5
.Dec. 7
.Dec. 12
.Dec. 14
.Dec. 19
.Dec. 21
. Dec. 26
.Dec. 28
.Jan. 2
.Jan. 4

NEW YORK
DATES

37 Wed. (O) ..

38 Mon.

39 Wed.

40 Mon.

41 Wed.

42 Mon.

43 Wed.

(E)
(O)
(E)
(O)

(0)

.Dec. 14
.Dec. 19
.Dec. 21
.Dec. 26
.Dec. 28
.Jan. 2
•Jan. 4

(E)
(O)
(E)
(O)
(E)
(O)
(E)

Paramount News

28 Sat. (E) Nov. 19

29 Wed. (O) Nov. 23

30 Sat. (E) Nov. 26

31 Wed. (O) Nov. 30

32 Sat. (E) Dec. 3

33 Wed. (O) ....Dec. 7

34 Sat. (E) Dec. 10

35 Wed. (O) ....Dec. 14

36 Sat. (E) Dec. 17

37 Wed. (O) ....Dec. 21

38 Sat. (E) Dec. 24

39 Wed. (O) Dec. 28

40 Sat. (E) Dec. 31

41 Wed. (O) Jan. 4

Warner Pathe News

30 Mon. (E) Nov. 21

(O)

Fox Movietone

96 Tues. (E) .

97 Friday (O)

98 Tues. (E) .

99 Friday (O)

100 Tues. (E) .

101 Friday (O)

102 Tues. (E) .

103 Friday (O)

104 Tues. (E) .

1956

1 Friday (O)

2 Tues. (E) .

3 Friday (O)

4 Tues. (E) .

.Nov. 22
.Nov. 25
.Nov. 29
.Dec. 2
.Dec. 6
.Dec. 9
.Dec. 13
.Dec. 16
. Dec. 20

.Dec. 23
.Dec. 27
• Dec. 30
Jan. 3

Universal News

31 Wed.

32 Mon. (E)

33 Wed. (O)

34 Mon. (E)

35 Wed. (O)

36 Mon. (E)

. .Nov. 23
. .Nov. 28
. .Nov. 30
..Dec. 5
. . Dec. 7
. .Dec. 12

727 Tues. (O) .

728 Thurs. (E)

729 Tues. (O) .

730 Thurs. (E)

731 Tues. (O) ,

732 Thurs. (E)

733 Tues. (O) .

734 Thurs. (E)

735 Tues. (O) ,

736 Thurs. (E)

737 Tues. (O) .

738 Thurs. (E)

739 Tues. (Oj

740 Thurs. (E)

. .Nov. 22
. . Nov. 24
..Nov. 29
. . Dec. 1
..Dec. 6
. . Dec. 8
. .Dec. 13
. .Dec. 15
. . Dec. 20
. .Dec. 22
. .Dec. 27
. .Dec. 29
...Jan. 3
..Jan. 5

Entered as second-class matter January i, 1321, 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

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Canada 16.50 A Motion pictUre Reviewing Service P- S. HARRISON, Editor

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35c a Copy Columns, if It is to Benefit the Exhibitor. circle l-ibtz

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXXVII SATURDAY, NOVEMBER 26, 1955 No. 48

THE PROBLEM OF DUAL PRINTS

Bob Wile, executive secretary of the Independent
Theatre Owners of Ohio, had this to say in his latest
service bulletin regarding MGMs new dual prints:

"While most exhibitors hail Metro's system of
releasing all prints so that they can be played either
with magnetic or optical sound, there is one draw
back which must be considered. Suppose the exhibi-
tor who has stereophonic sound in his theatre plays
a print after it has played a theatre with optical
sound. It might be completely demagnetized as the
theatre with optical sound does not have the appa-
ratus necessary to prevent this.

"The effect of this will be to force those subse-
quent run theatres which have stereophonic sound
to play the pictures with optical sound, thus negating
their investment insofar as Metro pictures are con-
cerned."

This paper communicated with the MGM home
office to ascertain how the company planned to handle
this problem, and we were advised by a spokesman
that the following instructions had been sent to all
the company's exchanges:

"Dual Magnetic-Perspecta prints can only be used
on projectors equipped with the modern small
sprockets and all exhibitors should be urged to change
their sprockets from the old fashioned large type to
the small kind which are supplied automatically with
all new projectors.

"Dual prints are to be used first in magnetically
equipped houses before they are booked in optically
equipped houses as a precaution to be sure that the
magnetic track is not inadvertently erased or picks up
background noise due to improper installation of the
foxhole sprockets. Most equipment companies will
degauss the projector parts at no extra charge when
they install the small size modern sprockets. However
as a precaution if Dual Magnetic-Perspecta prints are
booked first in magnetic houses before any optical
bookings are taken, we will not run any risk of
hurting the magnetic sound track."

From the instructions given to the MGM ex-
changes, it is apparent that the use of dual prints
entails not only the problem of demagnetization of
the magnetic sound track but also what has come to
be known as "clearance by equipment" in that
theatres that are equipped for magnetic sound will
be shown preference in bookings over those that are
equipped only for optical sound.

Such a policy will have little, if any, effect on the
key-run theatres, for most if not all of them are equip-

ped for magnetic sound, but it may have a serious
effect on many subsequent-run and small-town thea-
tres in that it will not only upset orderly clearance
procedures but also dissipate for them much of the
good that stems from the effective advertising, exploi-
tation and publicity campaigns that usually precede
and follow the openings in key-run theatres. More-
over, if prints are not made available to the small-
town and subsequent-run theatres on their normal
availabilities, it will be tantamount to relegating such
theatres to a secondary position because of their lack
of magnetic sound equipment.

In view of the fact that other distributors are
adopting combination optical-magnetic prints, they,
too, may decide to follow a policy of "clearance by
equipment," which will put them in the position
of dictating what a theatre owner should do in re'
gard to equipment.

The matter is one that requires the immediate
attention of the exhibitor associations, lest there be
created a new and objectionable system of clearance
that will cause further exhibitor hardships.

MMPTA "TABLES" ARBITRATION DRAFT

The Metropolitan Motion Picture Theatres Asso-
ciation, which was one of the exhibitor organizations
that participated in the last arbitration conference,
has issued the following press release:

"At a membership meeting held today, November
22, the MMPTA had before it the proposed draft
submitted by the joint committee of distribution and
exhibition on arbitration.

"After discussion of the subject, the association
unanimously decided to table the matter and take no
action on the proposed arbitration plan at present.

"Emanuel Frisch, president of MMPTA, reported
it was the feeling of the membership that substantial
progress had been made by the joint committee
towards the formulation of a plan which would be
nationally acceptable to distributors and exhibitors
alike.

" 'We are fully aware,' Frisch stated, of the time
and effort already given by the drafting committee,
which included our representative, Mr. Leo Brecher,
to achieve this goal, and it is the sincere hope of our
association that in the very near future an arbitration
plan acceptable to all segments of the industry will
be presented to us for consideration'."

(Continued on bac\ page)

190

HARRISON'S REPORTS

November 26, 1955

"The Vanishing American" with Scott Brady,
Audrey Totter and Forrest Tucker

(Republic, 'Hov. 17; time, 90 min.)

Adapted from Zane Grey's famed novel of the same
title, this outdoor melodrama does not rise above the level
of program fare, but it has enough movement, excitement,
heroics and villainy to satisfy the undiscriminating action
fans. It offers little, however, for those who appreciate story
values, because its tale of a spirited young white woman
who comes to the aid of Navajo Indians who are persecuted
by land-grabbing whites and their Apache cohorts, is un-
realistic and is hampered further by choppy editing. Audrey
Totter is competent as the high-spirited heroine of the
piece, but Scott Brady is unbelievable as the embittered
Navajo hero who joins forces with her to combat the ruth-
less villains and at the same time wins her heart; his fre-
quent use of modern-day expressions does not help mat-
ters. The photography is good, but it is in a low key:—

Audrey, a pretty and self-reliant young woman, arrives
in New Mexico to claim ranch land she had inherited from
an uncle. Brady, a handsome but bitter young Navajo, who
had been decorated for heroism in the Philippines during the
Spanish-American War, guides Audrey to a trading post,
where she meets Forrest Tucker, the owner, and Gene
Lockhart, the Indian agent. Lockhart's mistreatment of
Gloria Castillo, a young Navajo girl, whom he kept prisoner
at the post for Tucker's "pleasure," coupled with the sly
manner in which he attempts to persuade her to sell her
property, convinces Audrey that both he and Tucker were
seeking to steal her lands, and that there was justification
to Brady's charge that both men, aided by Apache rene-
gades, were persecuting the Navajos and robbing them of
their grazing lands. She helps Gloria to escape from her
captors and, after some difficulty, convinces the suspicious
Brady that she was interested in aiding his people. Taking
great risks, both set out on a plan to obtain incriminating
evidence of the scope and ruthlessness of the illegal methods
pursued by Tucker and Lockhart. This involves them in
numerous intrigues, gunfights and double-crosses, which
eventually culminate in a full-scale Navajo uprising. The
fighting comes to an end when a U.S. Marshal, summoned
by Audrey, rounds up the crooks and assures the Navajos
of fair treatment in the future. Audrey and Brady, by this
time deeply in love, look forward to a happy future together.

The picture was directed by Joe Kane, from a screenplay
by Alan LeMay. No producer credit is given. Family.

"Hell's Horizon" with John Ireland,
Maria English and Bill Williams

(Columbia, December; time, 80 mm.)

This war drama is given more to talk than to action,
but it holds one's interest fairly well and should prove to
be an acceptable supporting feature in double-billing situa-
tions. Except for several sequences that show a B-29 bomber
fired upon by enemy planes and anti-aircraft guns as it
seeks to destroy a bridge over the Yalu River in Korea,
there is practically no battle action, but one is kept on
edge throughout the closing reels because it is uncertain
whether the bomber plane, damaged and leaking gas, will
manage to get back to its home base on Okinawa. The
skillful direction has squeezed the utmost suspense out of
this situation. The characterizations are more or less
stereotyped, but the acting is competent: —

After six weeks of complete inactivity because of foul
weather, the officers and crew of a B-29 squadron based
on Okinawa find themselves bored, tense and edgy. Their
lack of harmony is heightened by the fact that all dislike
John Ireland, their captain, an opportunist who takes
advantage of his rank. This is exemplified by his unwel-
come advances to Maria English, a lovely Okinawa half-
caste, who was in love with Larry Pennell, one of his own
enlisted crew members. Ireland's attitude gripes Bill Wil-
liams, his co-pilot, who resented his interference in Pen-
nell's romance and who felt that his quest for advancement
and glory would one day kill every one in the crew. Of
the different crew members, Hugh Beaumont is a tragic
problem, because he had taken to drink after receiving a

"Dear John" letter from his wife. The boredom comes to
an end when all are suddenly assigned to bomb a strategic
bridge across the Yalu River, using the cover of bad
weather to protect themselves. Just as they reach the target
area, an opening in the clouds enables the enemy to sight
and attack their plane. Ireland, disregarding the safety of
the others, refuses to turn back before completing the mis-
sion. He manages to regain the protection of the clouds but
not before the plane is damaged by enemy bullets, which
rip open a gas tank. Beaumont, still brooding over the loss
of his wife's love, fails to report the gas leakage in time for
Ireland to seek an emergency landing field. As one engine
after another quits, Ireland orders all loose equipment
thrown out to lighten the load. Beaumont, remorseful,
jumps from the plane. Ireland manages to reach Okinawa
in a crash landing. The plane catches fire and Ireland risks
his life to save one of the men. His heroism throughout the
mission wins him the crew's respect, which turns to admira-
tion when he makes it clear to Pennell that he will no
longer interfere in his romance with Maria.

It was produced by Wray Davis, and written and directed
by Tom Gries. Family.

"The Crooked Web" with Frank Lovejoy
Mari Blanchard and Richard Denning

(Columbia, December; time, 77 min.)

A routine melodrama, the kind that may get by on the
lower half of a double bill. The story is as complicated as
the synopsis indicates, and the situations that unfold while
the characters are supposed to be in Germany strike one
as being "phony." As a man who is sought for a murder
he had committed while in the Army, Frank Lovejoy must
be assumed to be a stupid fellow to go through all the
rigmarole without guessing that an attempt was afoot to
trap him. All told, there is nothing about the story that
would excite one, for it is artificial. There is no comedy
relief, and not much can be said for either the direction or
the acting. The photography is fairly good: —

Mari Blanchard, who worked as a carhop in a drive-in
operated by Lovejoy, who hoped to marry her, pretends
annoyance when Richard Denning, supposedly her brother,
visits her. She tells Lovejoy that Denning is always "mooch-
ing" around her for money to invest in "foolproof" deals,
his latest requirement being $1,500 to finance a trip to
Germany to recover a fortune in gold knicknacks, which he
and a Chicago pal had buried there during the war. Love-
joy offers to advance the money for a one-half interest in
the loot. Later, it is revealed that Mari and Denning are
actually sweethearts, and that they were carrying out a
plot to get Lovejoy to Germany, where they hoped to trap
him into admitting a murder committed eight years pre-
viously. All three travel to Chicago to meet Steve Ritch,
Denning's pal, who feigns anger because Denning had
taken Lovejoy into the deal. Before embarking for Ger-
many, Mari and Denning meet secretly with a f^roup of
private investigators, to whom Denning explains that, back
in 1945, during the occupation of Berlin, an officer who
was investigating a tip concerning stolen supplies had been
killed. The officer was the son of Roy Gordon, who had
hired them. Denning further explains that the crime had
been traced to Lovejoy, but, because he had returned to the
States and had been honorably discharged, he could not
be prosecuted unless caught in Germany. Once Lovejoy
reaches Germany, he becomes involved in an intrigue by
which Mari and Denning try to induce him to reenlist in
the Army to enable them to get the supposed treasure out
of the country. When Lovejoy refuses, Mari pretends
hysteria, and Lovejoy, fearing that he will lose her, blurts
out that he cannot re-enlist because he had killed the
officer years previously. His confession is overheard by the
authorities, who take him in tow. It ends with Mari and
Denning marrying and leaving on their honeymoon with
the blessing of Gordon, who had had the satisfaction of
seeing his son's slayer brought to justice.

It is a Clover production, directed by Nathan Hertz
Juran from a story and screenplay by Lou Breslow.

Unobjectionable morally.

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192

HARRISON'S REPORTS

November 26, 1955

No matter how you slice the diplomatic language
used by the MMPTA in its statement, it all adds up
to rejection of the arbitration draft in its present
form. Thus that organization has taken its place
along side the Southern California Theatre Owners
Association, another participating member of the
arbitration conference, which has rejected the draft
as unacceptable, and National Allied, which did not
participate in the conference but which has rejected
the plan as unworthy and detrimental to the interests
of the exhibitors, and has resolved to take whatever
steps may be necessary and legally feasible to prevent
the approval of the plan by the Attorney General
or the United States District Court.

The only exhibitor organizations that have ap-
proved the plan are the Theatre Owners of America
and the Independent Theatre Owners Association,
of New York. The distributor members of the Motion
Picture Association of America, which participated
in the arbitration negotiations, have not yet taken
any action on the draft.

Even if the distributors accept the draft, it is
extremely doubtful if the Department of Justice
would recommend its approval by the Court in view
of the fact that it has been rejected by National
Allied, SCTOA and the MMPTA, whose combined
membership probably represents more than half the
organized exhibitors in the country. And, as it has
already been said in these columns, even if the plan
should be approved by the Court, it is doubtful if
it will prove either meaningful or workable without
the participation of the organizations that will not
be signatories to the agreement.

"Shack Out on 101" with Frank Love joy,
Terry Moore and Keenan Wynn

(Allied Artists, Dec. 4; time, 80 min.)

A good melodrama. The characters are quite talka'
tive in the first part of the film, but this is more than
compensated for in the last part, which is full of
thrilling action and in which the sympathetic charac-
ters perform heroic acts, risking their lives to save
their friends from being murdered. One is held in
pretty tense suspense, not only in these scenes, but
also throughout the unfolding of the action. Keenan
Wynn does good work as the proprietor of an "eat'
ing shack," and so do Terry Moore, as a waitress,
and Frank Lovejoy, as an electronics professor. Lee
Marvin is properly menacing as the secret head of
a spy ring. Although there is no comedy relief , it is
compensated for by the fact that the action is light
throughout most of the first part. The direction is
good and the photography clear: —

Keenan Wynn, owner of an eating shack near a
well-guarded electronics laboratory on Highway
101, employs Terry, as a waitress, and Marvin, as
cook. Frequent customers are Lovejoy, connected
with the laboratory, Whit Bissell, a salesman, and
Jess Barker and Donald Murphy, truck drivers. An-
other customer is Len Lesser, a commercial fisherman.
Terry and Lovejoy are in love with each other. From
time to time Terry hears things that make her suspi-
cious and she begins to feel that the shack is some
sort of spy center, involving Lovejoy, Marvin, Barker,

Murphy and Lesser. When Terry confronts Marvin
with her suspicion of his being a member of the spy
ring, he tries to kill her. The timely arrival of Love-
joy, however, saves her life. It is then revealed that
Barker and Murphy are FBI agents, on the track
of the mysterious head of the spy ring, and that
Marvin is the man they were searching for. When
this fact comes to light, Marvin threatens to kill them
all, but Bissell, who had sneaked into the shack, kills
him with a skin diver's harpoon.

William F. Broidy produced it, and Edward Dein
directed it, from a story and screenplay by himself
and Mildred Dein.

Adults, though there is very little objectionable
material for family audiences.

"Lover Boy" with Gerard Philipe,
Valerie Hobson and Natasha Parry

(20th Century-Fox, October; time, 85 min-)

This British-made comedy drama can best be des-
cribed as a story of the amorous adventures of a
young French philanderer in London. It has its amus-
ing moments, but it is definitely not a picture for
family patronage and seems best suited for art houses
that cater to a sophisticated clientele, as well as such
theatres that specialize in sex pictures and resort to
sensational advertising methods. The picture, which
has all-English dialogue, was shown as "Monsieur
Repots" in France, "The Knave of Hearts" in Eng-
land and "Lovers, Happy Lovers" elsewhere.

It opens with Gerard Philipe separating from
Valerie Hobson, his wealthy wife, over his attentions
to Natasha Parry, her best friend. A complete cad
about women, Philipe hoped to make Natasha his
next victim. He tricks her into having dinner with
him in his apartment, but when he fails to arouse
her ardor he tries to arouse her pity. Through flash-
backs, he recalls that he was impoverished during his
early days in London and, to better himself, he made
overtures of love to Margaret Johnson, his boss. Her
dreadful cooking, however, ended the romance, and
he next turned his attentions to Joan Greenwood,
whom he had picked up on a bus. He had induced her
to come to his flat and had turned her head with tall
stories of a make-believe inheritance, but he gave her
up when she insisted upon marriage. He then went
to live in the Soho with Germaine Montero, a
matronly French woman, who supported him, but
he had repaid her kindness by stealing fifty pounds
and running off. He used the money to rent a garret,
where he taught French lessons privately. In that way
he had met Valerie and ended up by marrying her.
But even at the wedding, she, Natasha, had won his
heart. Philipe's story leaves Natasha unmoved and
she laughingly walks out of his apartment. He
watches her from the balcony as she enters her car,
climbs over the rail and threatens to jump if she
doesn't return. When she drives off, he slips acci-
dentally and falls to his death.

It was produced by Paul Graetz, and directed by
Rene Clement, who collaborated on the screenplay
with Hug Mills, basing it on a story by Louis Hemon.

Strictly adult fare.

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 „AwY - M N Y Harrison's Reports, Inc..

U. S. Insular Possessions. 16.50 Wew IOrlC W' *' Publisher

Canada • • • • • 16 50 A Motion Picture Reviewing Service P- S. HARRISON, Editor

Mexico, Cuba, Spain 16.50 Devoted Chiefly to the Interests of the Exhibitors

Great Britain ............ 17.50 Established July 1, 1919

Australia, New Zealand,

India, Europe, Asia 17.50 it8 Editorial Policy: No Problem Too Big for Its Editorial _ . „ .„„„

35c a Copy Columns, if It is to Benefit the Exhibitor. circle i-i\>u

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXXVII SATURDAY, DECEMBER 3, 1955 No. 49

PARAMOUNT TAKES EXCEPTION

In an 8-page letter sent on November 23 to Abram
F. Myers, National AlliecTs general counsel, Para-
mount, through Louis Phillips, its general counsel,
has taken sharp exception to the doubts cast by Mr.
Myers on the propriety and legality of the company's
so-called "merchandising engagements." Phillips'
letter was in reply to a letter Myers sent in mid-
October to George Weltner, Paramount 's world-
wide sales chief, and to statements made by Myers
at different times on the subjects covered in his letter
to Weltner.

Asserting that "we cannot be put into a straight-
jacket and forced to license our pictures one way,
your way, and still continue to make the outstanding
pictures we are making," Phillips denied that clear-
ance was in any way involved in merchandising en-
gagements, and defended the policy as having proved
to be invaluable in creating "the largest audiences for
the benefit of all runs, early as well as subsequent,"
particularly in view of the great changes in market-
ing conditions undergone by the industry in the past
few years. Pointing out that production costs have
risen to unprecedented heights, and that the public
today is more highly selective than ever in the pic-
tures it chooses to patronize, Phillips declared that
these and other factors require new marketing and
merchandising methods, so as to attract the greatest
patronage, for the benefit of both Paramount and
its customers.

Challenging the valdity of the legal points raised
by Myers in connection with merchandising engage-
ments, Phillips declared that "our present methods
do not violate either the law or the decree," and had
this to say, in part:

"We are not slavishly dedicated to any fixed sys-
tem of run or clearance. In marketing each of our
pictures, we take into account its own individual
qualities and appeal. Certain pictures require broad
release at the very beginning. Others require slower
distribution in order to arouse the public interest in
their quality and appeal. Experience has shown that
this benefits exhibitors generally.

"No decision or decree has taken away from a pro-
ducer or distributor the right to market a picture, so
as to attain for it the widest possible patronage. Nor
have we been deprived of the right, by trial and error,
to discover ways and means of merchandising our
product so as to achieve the best results.

"There is nothing sacred about the present clear-
ances, no matter how long they have been observed,
and no Court has enjoined us from changing them.
We are enjoined only from granting unreasonable

clearances, more clearance than is reasonably neces-
sary to protect the license in the run granted, and
from granting clearance as between theatres not in
substantial competition. These injunctions are being
scrupulously observed by us. The special merchan-
dising engagements are not violative of the injunctive
provisions of the Decree.

"We are not withholding pictures from subsequent
run and thereby increasing clearance. The fact of
the matter is that clearance is not at all involved under
our merchandising method of releasing certain pic-
tures on a limited basis. When a picture is not made
available for any theatre or theatres, in accordance
with our plan of release, it is withheld only for a
brief period. This is not clearance and therefore
cannot be said to be an increase of clearance, for in
these instances we have not granted clearance over
theatres from which you claim availabilities have been
withheld."

With reference to Myers1 criticism of the fact
that only 128 theatres in the United States were
chosen in October as suitable for showing "Desperate
Hours" in "merchandising engagements," Phillips
declared that "we are strictly within our rights in
handling the merchandising engagements as we are
doing. In so doing, no discrimination whatever is
involved, for the reasons which follow :

"First, we select cities in the United States which,
by reason of their size and importance and the extent
of their trading area, will have a wide sphere of in-
fluence on the exhibition of the picture in later ex-
hibitions, thus establishing the picture in the mind of
the public as an outstanding picture.

"Second, in non-bidding situations, we select the
theatre which, in our judgment, affords the best out-
let and is capable of producing the best terms and
film rental, provided, of course, that the theatre's
owner and ourselves can make a satisfactory deal.

"Third, where exhibitors have desired that they
be afforded the opportunity to compete for the earliest
exhibition, and they have theatres which are suitable
and to some extent, at least, comparable, we afford
them the opportunity requested, to compete by com-
petitive bidding or competitive negotiation. We have
done this to avoid a claim of discriminaton. While
we believe, as stated above, we have the right to select
our customer, based on sound business consideration,
the trial of cases demonstrates that often a question
of fact is presented which must be resolved by a jury
when there is one; otherwise by the judge, — as to
whether or not our choice of customer was the result
of individual conduct or the result of conspiratorial
conduct.

(Continued on bac\ page)

194

HARRISON'S REPORTS

December 3, 1955

"Mystery of the Black Jungle"
with Lex Barker

(Republic, Oct. 20; time, 72 min)

Amateurishly produced, directed and acted, this
melodrama has little to recommend it, even as a sup'
porting feature. The picture, which has been pro-
duced overseas, offers a complicated and tiresome
story that is set in a jungle area in India, and that
deals with the machinations of a group of fanatics
who make a religion of murder. There is nothing
subtle about either the villainy or the heroics, and
much of what happens is so illogical that one can-
not help but snicker. Another drawback is the fact
that the dialogue appears to be dubbed in, except
when spoken by Lex Barker. The photography,
which is in a low key, is poor: —

Led by Luigi Tosi, a sinister man, a group of
fanatics known as the Tughs live in the jungle and
prey upon Europeans and natives alike, capturing
and offering them up in sacrifice to Kali, their god-
dess. The government assigns Pamela Palma and a
group of soldiers to put an end to the savagery.
Palma welcomes the assignment, because years pre-
viously Jane Maxwell, his daughter, had been kid-
napped by the Tughs. Lex Barker, a famed Indian
hunter, falls in love with Jane after a brief meeting
in the jungle. He tries to rescue her and is captured
himself. Tosi offers to free Jane if Barker will bring
him Palma alive. Barker agrees, unaware that Palma
is Jane's father. He goes to the army garrison and,
after several dangerous skirmishes, manages to cap-
ture Palma and bring him to Tosi. The sinister leader
then mocks Barker for having delivered Jane's father
and then orders them all sacrificed to Kali. All three
are saved, however, by the timely arrival of Barker's
pet tiger as well as Palma's soldiers. It ends with
Jane's father sanctioning her marriage to Barker.

It is a Venturini- Cosmopolitan production, pro-
duced by Georges Venturini, and directed by Ralph
Murphy, who collaborated on the screenplay with
Jean Paul Callegari.

Harmless for the family.

"Top Gun" with Sterling Hayden,
William Bishop and Karen Booth

(United Artists, December; time, 73 min.)

This should go over fairly well as a supporting
feature wherever westerns are liked. It offers noth-
ing startling in the way of novelty of plot or of
action, but this should make little difference to the
action fans, for it develops considerable tension and
suspense and has all the exciting ingredients they en-
joy, such as hard riding and gun duels. Sterling
Hayden is capable as a gunfighter against whom the
townspeople are openly hostile but to whom they
turn for aid when a gang of outlaws invade the
town. The manner in which he outwits and subdues
the gang makes for a number of thrilling melodrama-
tic situations. The direction is satisfactory, and the
photography good: —

Returning to his home-town to visit the grave of
his mother, Hayden is met by James Millican, the
Marshal, who tells him that he is not welcome be-
cause of his reputation as a killer, even though his
gunfights had been in self-defense. Hayden decides to
stay for several days to settle some personal business,
and at the same time warns Millican that a band of
outlaws, led by John Dehner, planned to raid the

town. Aided by Regis Toomey, an old friend, Hay-
den discovers evidence indicating that William
Bishop, chairman of the town council, was respon-
sible for the murder of his mother, after cheating her
out of her ranch. He learns also that Karen Booth,
his former sweetheart, intends to marry Bishop. Hay-
den openly accuses Bishop of the crime and forces
him to ride out of town for a showdown. The wily
Bishop tricks Hayden into shooting a hired gunman
and then leads the townspeople to believe that the
killing was unprovoked. Hayden is arrested and held
for trial. Shortly thereafter, Dehner and his gang
take over the town and kill the Marshall in the proc-
ess. The frightened councilmen release Hayden and
ask him to become the new marshal. He takes on the
assignment, despite their unfair treatment, and, by
offering to lead the gang to a fortune in cash, disposes
of them one by one until only he and Dehner are
left to fight it out. Bishops slinks behind Hayden and
takes aim at him, only to be shot down by Karen just
as Hayden kills Dehner. It ends with the shamefaced
townspeople asking Hayden to remain in town, but
he declines and rides off to California with Karen at
his side.

It is a Fame Pictures production, directed by Ray
Nazarro from a screenplay by Steve Fisher and
Richard Schayer.

Family.

"No Man's Woman" with Marie Windsor,
John Archer and Patric Knowles

(Republic, Oct. 27; time, 70 min.)

A fair program murder mystery melodrama. True
to the format of most pictures of this type, this one
follows the usual pattern of throwing suspicion on
a number of characters to keep the audience guessing
as to the identity of the guilty one. And since his
identity is not disclosed until the final reel, the action
holds one's interest well all the way through, even
though it is given more to talk than to movement.
Marie Windsor is competent in the leading role —
that of an avaricious, unprincipled woman who brings
trouble into the lives of several people, giving them
sufficient reason to want to do away with her. The
roles of the other cast members are more or less
stereotyped, but the acting is adequate. There is no
comedy relief: —

Marie, a beautiful woman without a conscience,
marries John Archer for his money and then leaves
him, but carries on her infidelities so cleverly that he
cannot divorce her. When he falls in love with
Nancy Gates and wants to marry her, Marie demands
an impossible $300,000 settlement as her price for
divorce. Meanwhile she tires of Patric Knowles, an
art critic who had jeopardized his newspaper job to
promote an art studio she owned, and pursues Rich-
aard Crane, fiance of Jil Jarmyn, her assistant at the
studio. She succeeds in breaking up their engage-
ment, and when Knowles is fired from his job, she
gets rid of him because he is no longer of use to her.
One morning Marie is found murdered and, though
each of the five victims of her treachery had motives
for killing her, the police make Archer the prime sus-
pect because of considerable circumstantial evidence
found against him. Douglas Wood, Archer s father,
confesses to the murder to save his son, and the police
are compelled to release Archer. But Archer, aware
of his father's motive, sets out to find the murderer

December 3, 1955

HARRISON'S REPORTS

195

himself. Through a process of elimination, his sus-
picions finally fall on Knowles, whom he catches in
the guilty act of trying to hide the missing murder
gun. Trapped, Knowles attempts to dispose of Archer
to silence him, but the timely arrival of the police
saves Archer. Knowles' confession frees Woods,
paves the way for Archer and Nancy to marry, and
brings about a reunion between Jil and Crane.

It was produced by Rudy Ralston, and directed by
Franklin Adreon, from a screenplay by John K.
Butler, based on a story by Don Martin.

Adult fare.

"The Square Jungle" with Tony Curtis,
Pat Crowley and Ernest Borgnine

(Univ.-Int'l, January; time, 86 min.)

An interesting prizefight melodrama. There is con-
siderable human interest in the story, which centers
around the rise of a young middleweight boxer to
champion of the world, and around the heart'
break he suffers when he almost kills an opponent in
a vicious battle. Tony Curtis does good work as the
fighter, and one feels sympathetic toward him, des-
pite his tendency to give no quarter in the ring.
Worthy of special mention is the performance of
Ernest Borgnine as Curtis1 understanding trainer.
There is much excitement in the ring sequences, which
have been staged most realistically. The closing
scenes, where Curtis enters a fight ring amid a chorus
of boos, speaks his heart out to the hostile fans and
leaves with their cheers ringing in his ears, are
dramatically effective. The direction is fine and so
is the photography: —

Curtis, a grocery clerk, feels tender toward Jim
Backus, his father, in spite of the fact that he drank
excessively ever since the death of his wife. When
his father is arrested for starting a drunken brawl,
Curtis accepts an amateur bout to raise the $25 fine.
He wins the bout by a knockout and impresses Paul
Kelly, a kindly detective, who offers to sponsor his
career as a professional boxer. Curtis accepts the
offer after exacting from his father a promise to stop
drinking. Moreover, he wanted to prove to Pat
Crowely, his girl, with whom he had quarrelled, that
he and his father can amount to something. As
trainer, Kelly secures the services of Borgnine, a for-
mer boxer who had become a philosophical book-
worm. Curtis begins training in earnest and, after
three years of hard work, wins the championship
from John Day. He treats Pat coldly when she comes
to congratulate him, but Borgnine makes him feel so
ashamed that he quickly apologizes and makes up
with her. In a return bout with Day, Curtis loses
when John Marley, the referee, stops the fight to
save him from further punishment. A third match is
arranged, and before the fight Curtis warns Marley
not to be too hasty about stopping the bout. As a
result, the referee permits the fight to go to a point
where Curtis seriously injures Day before regaining
the title. With Days recovery in doubt, Curtis be-
comes bitter with remorse and takes to drink, stop-
ping when he learns that Day is out of danger. He
remains despondent, however, and gives up boxing.
To overcome Curtis' emotional upset, Borgnine sees
to it that both he and Day are introduced to the
crowd at a championship bout. Day informs the fans
that Curtis had financed his recovery, and Curtis, ex-
pressing his remorse, speaks out from his heart. Both
men embrace and leave the ring amid a chorus of

cheers, which give Curtis a new spirit and hope for
the future.

It was produced by Albert Zugsmith, and directed
by Jerry Hopper, from a story and screenplay by
George Zuckerman.

Adult fare because of Curtis' association with a
woman of loose morals during his period of
despondency.

"Texas Lady" with Claudette Colbert
and Barry Sullivan

(RKO, J^pvember; time, 86 mm.)

A pretty good western-type melodrama, photo-
graphed in Superscope and Technicolor. Its story,
which centers around a strong-willed young woman
who makes a determined stand against a cattle baron
and his lawless cohorts, wanders all over the lot and
is full of improbabilities, but it is eventful, exciting
and suspenseful, and holds ones attention well from
start to finish. Claudette Colbert delivers a winning
performance as the resourceful heroine, and Barry
Sullivan is cool and fearless as a handsome gambler
who comes to her aid. James Bell is sympathetic as a
drunken lawyer reformed by Miss Colbert, and Ray
Collins is competent as the disgruntled cattle king.
A nerve-tingling sequence is the one in which Sul-
livan awaits and beats off an attack by Greg Walcott,
a trigger-happy gunman, who had vowed to kill him
if he didn't leave town by a certain hour. The exterior
backgrounds, enhanced by the color photography, are
impressive : —

After winning $50,000 from Sullivan, a profes-
sional gambler, in a fabulous New Orleans poker
game, Claudette declines his offer to form a gambling
team and reveals that she had won the money from
him to avenge a similar loss her late father had suf-
fered in a game with him. She uses the winnings to
pay back money embezzled by her father to make
good his gambling losses, and then heads for Fort
Ralston, Texas, to take over a newspaper left to her
by a legacy. There, she befriends James Bell, a once
successful lawyer, who becomes her aide, and incurs
the enmity of Ray Collins, a cattle baron, who con-
trolled the area and resented her editorials favoring
the establishment of a railroad through the territory.
To add to Claudette's troubles, Greg Walcott, Col-
lin's hired gunman, tries to force his attention on her,
while Collins, through legal hocus-pocus, sees to it
that she is served with a court order to pay $6,000
back taxes owed by the paper lest it be sold at auction.
Sullivan, attracted by Claudette, follows her to Fort
Ralston and comes to her aid. He amazes the timid
townfolk by standing up to Collins and by besting
Walcott in a gun duel. Thus encouraged, the grate-
ful citizens raise money to pay the newspaper's back
taxes and elect Sullivan as their mayor in the hope
that he will throw off Collins' rule. Collins, infuriated
by this turn of events, surrounds the town with
armed men and sets up a blockade through which no
one can get in or out. By means of the U.S. mail, how-
ever, Sullivan gets word to the Texas Rangers, who
arrive in time to stop a gun battle between the oppos-
ing forces, and to compel Collins and his cohorts to
leave Fort Ralston and its people alone. It ends with
Sullivan marrying Claudette and settling down to a
peaceful life with her in the town.

It was produced by Nat Holt, and directed by
Tim Whelan, from a screenplay by Horace McCoy.

Family.

196

HARRISON'S REPORTS

December 3, 1955

"If I remember correctly, you, in the past, have
stated that the decision in United States v. Paramount
did not deprive the distributor of the right to choose
its own customer. Many decisions since United States
v. Paramount so interpret that decision.

"We conform strictly to the provisions of the
Decree and license our pictures, theatre by theatre,
solely upon the merits and without discrimination, in
licensing our pictures in the manner above described.
No 'handpicking' of theatres is involved, and our
choice is based upon what we honestly believe to be
sound business considerations."

It does not come as a surprise, of course, that
Paramount disputes Myers' contention that "pre-
releasing in practice, if not in theory, is unlawful
under the Court decrees and under the law because
the purpose and effect in most cases is to raise admis-
sion prices and the effect in all cases is to impose
new clearances and unreasonably to extend existing
clearances,1' As claimed by Mr. Myers in his talk be-
fore the recent Allied convention, "the practice im-
poses new and unreasonable clearances between
theatres that are in substantial competition and im-
poses clearances between theatres that are not sub-
stantially competitive."

As most independent exhibitors know, Myers is
not one who is given to idle statements. The record
shows that, in the past, distribution attorneys scoffed
at his claims that certain trade practices were illegal,
but the Supreme Court decision in the Government's
anti-trust suit against the film companies proved that
his opinions were accurate.

"Merchandising engagements, "which are essentially
the same thing as pre-releases, no doubt will be a
major topic at the forthcoming hearings before the
Senate Small Business Committee which, at Allied's
instigation, will investigate charges that the distribut-
ing companies are violating the anti-trust laws and
the dfferent court decrees in their dealings with the
independent exhibitors. You may be sure that Myers
and other members of Allied's Emergency Defense
Committee will be fully prepared to present revealing
testimony and documentary evidence of trade prac-
tices they consider to be destructive and illegal, not
the least of which will be "merchandising engage-
ments."

* * *

In the closing portion of his letter, Phillips, after
denying Myers' charge that the clear purpose and ef-
fect of merchandising engagements is to raise and
maintain admission prices, recalled trade paper re-
ports that Myers, in a speech before the recent con-
vention of the Independent Exhibitors of New Eng-
land, stated that Allied's proposed bill for Govern-
ment regulation of the industry would not involve
regulating the prices a theatre should charge.

"In fairness, Mr. Myers," stated Phillips, "is it
not logical to say that if the industry is regulated by
the government, and film rentals are regulated, as
you are so anxious to have done, it would follow, as
a corollary, that the admission prices of a theatre
would and should be regulated. Would it not have
been fairer for you to have told your audience that at
least the government regulation of the industry might
bring regulation of admission prices?"

This statement does Phillips no credit, first, be-
cause he implies that Mr. Myers is unfairly leading

exhibitors into a trap that includes regulation of their
business, and, secondly, because he, Phillips, as a
supposedly informed lawyer, should know that Mr.
Myers has publicly explained several times why he
believes that Government regulation of film rentals
would not carry with it regulation of admission
prices.

For example, in his keynote address before the 1954
Allied convention in Milwaukee, Mr. Myers' re-
marks, which were duly reported by all trade papers,
included this statement in connection with the pro-
posed regulation bill:

"I have made no provision in the draft for the
regulation of admission prices or other details of the
theatre business for two reasons: First, I do not be-
lieve the theatres are engaged in interstate commerce
so as to be subject to regulation by Congress. The
theatres ship nothing in such commerce and, like the
ball clubs who have been carved out of the Sherman
Law by the Supreme Court, their business consists
merely of presenting local exhibitions for the enter-
tainment of the public.

"Secondly, the theatres are not exerting monopo-
listic powers or committing any acts which require
that they be regulated in the public interest . . ."

It is inconceivable that Mr. Philips was unaware
of this statment, because the major portion of Mr.
Myers' speech concerned itself with an explanation of
why he believes that the Government can regulate
the motion picture business as a public utility. To
Phillips, as general counsel of Paramount, Mr. Myers'
remarks on the subject should have been required
reading. If he did not read it, he is uninformed. If he
did read it, then it must be assumed that he cannot
refute Myers' contention and that he is merely fol-
lowing through on the usual propaganda employed
by distribution to provoke exhibitor sentiment against
the proposed bill.

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