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 Weakly by

United States $15.00 m ,019 Harrison's Reports, Inc..

U. S. Insular Possessions. 16.50 ROOm 10" Publisher

Canada 16.50 New York, N. Y. P. S. HARRISON, Editor

Mexico, Cuba, Spain 16.50 . ,, , _ . .

Great Britain 15.75 A Motion Picture Reviewing Service F_H„hf, ,

Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 191J

India, Europe, Asia .... 17.50

n r^rw Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622 60c a. copy Columns, if It is to Benefit the Exhibitor.

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXI SATURDAY, JANUARY 7, 1939 No. 1

The Television Problem in Motion Picture Theatres — No. 5

Q. 10 : How near is television reception in the home ?

A. Television reception in the home is practi- cally here. In England, a television broadcasting service has been offered for almost two years, and is beginning to receive serious public notice. In the United States, such a- service is scheduled to start in New York either in April or May, 1939, when two, (and possibly three), stations will have been completed in the New York City area and will be ready to begin sending out programs, although on a limited scale for the time being. Each of the two larger stations will have a sending apparatus of about 7,500 watts. A similar station is planned for a point between Albany and Schenectady.

The pictures in the home are fairly bright and clear, even though they possess some of the limita- tions mentioned elsewhere in this series of articles. At present the size of the picture is between three by four inches, and seven and one-half by ten inches. For general home use, the larger sizes of the commercially acceptable receivers are desirable.

The cost of the sets range anywhere between $150 and $400, or more, the price depending on how large is the picture and what extra features are included in the receiver.

Up to the present the programs have been largely experimental, the purpose being to determine the reaction in the home. It is certain that, if the pres- ent broadcasting setup in this country continues, the programs will have, in the main, advertising sponsors. Such programs will, therefore, contain advertisements, both in the sound and in the pic- ture. But these programs will in no way be competi- tive to the theatre film entertainments, by reason of the fact that only short subjects will, as said, be broadcast, of a duration probably anywhere from fifteen to twenty minutes, and of inferior quality as compared with good picture entertainment in the theatres.

Television is a challenge to the motion picture industry; but whether it will injure it or benefit it lies entirely in the hands of exhibitors as well as of the producers. Wise story selection, improved production methods, honest distribution systems, perfect projection, efficiency as well as economy — these are a definite and satisfying answer to the television threat. But if the industry neglects to keep up with the times, it may be injured by this new art. Let it learn a lesson from the experience the railroads have had : if the railroads, instead of disregarding, and even insulting, the public, had made the improvements that they are now making, they would not be exerting frantic efforts now to lure the public back to railroad travel. They disre- garded tlie automobile, minimized the competition from the bus, and laughed at the passenger plane;

but when they woke up, they found themselves on the verge of bankruptcy. The motion picture in- dustry may, despite its advantages, suffer the same fate, unless new blood with new ideas are poured into, not only exhibition, but also distribution, as well as production.

Let the motion picture industry beware !

THE PRODUCER MEMORANDUM —LAST ARTICLE

"2. Trade Announcement."

This is, of course, nothing but blind-selling in disguise. "Each distributor," the memorandum says, "will make gen- eral announcement at or prior to the beginning of each of its seasons, containing such information as it may be prac- ticable to give of all pictures completed or actually in pro- duction then intended for release during such season, and of any other pictures then intended for release during such season, it being understood that the completion of such pic- tures actually in production and the making of such other pictures which it is intended to produce are subject to the hazards and uncertainties of the business and they may not be completed or produced, as planned."

The proposal offers nothing. It is a reiteration of what the producers are doing now and have been doing for sev- eral years. It is no cure for the obnoxious blind-selling system. Allied asked that the number of pictures to be can- celled by small exhibitors be raised to thirty per cent when such pictures are not identified in the contract, but the pro- ducers have not granted it.

"3. Exhibitor's Limited Playing Time : When a number of pictures is offered for license to an exhibitor by a distri- butor and the exhibitor refuses to license such number on the sole ground that by reason of the minimum number of pictures agreed to be exhibited under the license agree- ments theretofore entered into by such exhibitor it is im- possible under such exhibitor's operating policy to play the entire number offered, then such distributor will offer to such exhibitor such lesser number of pictures as may be agreed upon or determined by arbitration as the maximum number of pictures that could be played by such exhibitor, provided that distributor shall always have the right at any time before or after making such offer to such exhibitor to solicit or license all or any of its pictures to any other exhibitor."

Whoever framed this clause had better go back to school for additional lessons in composition. The provisions in the contracts and in any other documents that the producers' legal talents composed when it concerned exhibitors have always been either ambiguous, or obscure, or both, but this proposal transcends anything that I have ever read.

The best meaning that I can extract out of it is this : when an exhibitor cannot buy a producer's entire product because he has no room for it, then the distributor will offer to the exhibitor as fewer pictures from his entire group as the exhibitor and he may agree upon. It it under- stood, however, that the distributor retains the right at all times to license his entire group, if he can, to some other exhibit »r.

The exhibitor demand for the right to buy some pictures from a distributor's entire group has arisen from the fact that, under the system whereby an exhibitor has to buy a producer's entire group or be without them, that is. under the block-booking system, the exhibitor often found himself in an embarrassing position, because the public could not understand why he could not show certain meritorious pic- tures. But this proposal docs not help him at all. Suppose he {Continued on last pane)

2

HARRISON'S REPORTS

January 7, 1939

"Topper Takes a Trip" with Constance Bennett and Roland Young

(United Artists, January 12; time, 80 min.)

This fantastic comedy, which is a sequel to the first "Topper" picture, is only mildly entertaining. Those who saw the other one will find little in this to entertain them, for the comedy is caused in the same way — that is, hy the materialization and dematerialization of one of the charac- ters and of her dog; what was novel then is just slightly boresome now. In the very beginning, parts of the old pic- ture are used in order to explain to those who did not see it what the whole thing is about — during those scenes Cary Grant appears. The fact that he does not appear later is to the picture's detriment, for he is missed. Moreover, none of the other players are strong box-office attractions.

In the development of the plot. Miss Bennett comes back to earth because she felt her work had not been completed. Reading that Roland Young's wife (Billie Burke) was di- vorcing him because of his escapades with her on her for- mer visit to earth, Miss Bennett decides to help him. Young, remembering the trouble Miss Bennett had caused him, begs her to go away, but she refuses. They follow Miss Burke to Paris where, in company with a friend (Verree Teasdale), she had gone for her divorce. Naturally Miss Bennett em- barrasses Young when in public places, but invisible to the public, she pushes him around causing him to stumble. Find- ing out that an impoverished Baron was trying to marry Miss Burke for her money, she suddenly appears in his room, making it look as if she were on intimate terms with him. Miss Burke is shocked. Finally, through Miss Ben- nett's efforts, Young and Miss Burke are reconciled. Feel- ing that her work was completed, Miss Bennett prepares to leave the earth to join her husband.

Thorne Smith wrote the story, and Eddie Moran, Jack Jevnc, and Corey Ford, the screen play; Norman Z. Mc- Leod directed it, and Milton H. Bren produced it. In the cast are Alan Mowbray, Franklin Pangborn, Alexander D'Arcy, and others.

Not particularly suitable for children. Suitability, Class B.

"Trade Winds" with Fredric March and Joan Bennett

( United Artists, December 22 ; time, 93l/> min.) Just a fair comedy-melodrama. The story is extremely thin and unbelievable ; one of its weakest points is the fact that, for the sake of comedy, the detective is made dumb. His actions lack comedy ; as a matter of fact they are so silly that they tend to weaken the story dramatically. The background, with the exception of just a few interior sets, is made up of processed shots of different foreign ports ; this might be acceptable to patrons who enjoy travelogues, btu the average audience may resent it. At times the action lags, particularly in the romantic scenes ; the most exciting part of the picture is the end, where the hero traps the mur- derer. The romance is developed in the routine way : —

Overcome with grief at the suicide of her sister, Joan Bennett goes to see the man (Sidney Blackmer) responsi- ble for it. In a jesting mood, he hands her a gun asking her to shoot him, and that is just what she does. Thinking that she had killed him, she runs away. Blackmer's body is found by the police, with Miss Bennett's purse near it. The police inspector decides to send Fredric March, a private detective, in search of Miss Bennett ; knowing March's weakness for pretty girls, he sends Ralph Bellamy, a sober, serious but rather silly detective, along with March. Their search takes them to many foreign ports ; March finally catches up with Miss Bennett. They fall deeply in love with each other, and everything is serene until Miss Bennett finds out who March is. March pleads with her to have faith in him ; he even shows willingness to give up his career just to pro- tect her. But, since the police knew where March was, and had ordered Miss Bennett's arrest, March insists on taking her back himself, pretending that he was doing so just for the $100,000 reward offered by Blackmer's father. Miss Bennett is disgusted, not knowing that March wanted to use the money to obtain proof of her innocence. Through a ruse, he finally accomplishes this, proving that Miss Ben- nett had used a gun with blanks, and that the jealous hus- band of one of Blackmer's women friends, who had wit- in i d the scene, had entered and actually killed Blackmer. Miss Bennett and March are joyfully reunited.

Tay Garnett wrote the story and directed the picture ; Dorothv Parker, Alan Campbell, and Frank R. Adams wrote the screen play, and Walter Wanger produced it. In the cast are Ann Sothern, Thomas Mitchell, Robert Elli- ott, and others.

Suitability, Class B.

"Pacific Liner" with Victor McLaglen, Chester Morris and Wendy Barrie

(RKO, January 6 ; time, 75 min.)

A pretty depressing program melodrama. Most of the action takes place in the boiler and engine rooms oi a large ocean-going liner, where the crew, some of whom were suf- fering from cholera contracted from a Chinese stowaway, are kept virtual prisoners so as to prevent the disease from spreading. There is not much movement, and just slight comic relief; everything centers around the trapped m"n and their reactions to their misfortune. Spectators with delicate stomachs may shudder at the sight of the men putting dead bodies into the furnaces to be burned, this being done as a means of precaution ; also at the unpleasant- ness of watching men collapse one by one, having contracted the disease. A romance has been worked into the plot, but it does not help matters much. No fault can be found with the individual performances; it is just that the material lacks dramatic power. The character that is impersonated by McLaglen is egotistical : —

A Chinese stowaway is discovered by Victor McLaglen, chief engineer of a large passenger liner bound for San Francisco, who insists on putting him to work. But the man collapses ; upon examining him, Chester Morris, the ship's doctor, discovers that the man was suffering from cholera. He dies; his body is burned in the furnace. Morris issues orders that no man was to leave his post, so that the disease would not spread to the passengers. Ho sets to work trying U) prevent the men from contracting the disease, but he has a difficult time. McLaglen, who was infatuated with Wendy Barrie, the ship's nurse, suggests that she visit Morris, knowing that once she was down below she would not be permitted to return to her own quarters, and he would thus have a chance to make love to her. She helps Morris, with whom she was in love, but from whom she had parted be- cause of his incurable desire to wander all over the world. When McLaglen is stricken, the remaining memb',r« of the crew try to revolt and leave the boiler room, but McLaglen gets out of his sick bed in time to prevent them. Finally the ship gets to port, without any of the passengers realizing what had happened; McLaglen recovers. Miss Barrie finally agrees to marry Morris.

Anthony Coldeway and Henry R. Symonds wrote the story, and John Twist, the screen play ; Lew Landers di- rected it, and Robert Sisk produced it. In the cast are Alan Hale, Barry Fitzgerald, Allan Lane, Halliwcll Hobbes, and others.

Too depressing for children. Adult fare. Class B.

"The Girl Downstairs" with Franchct Tone, Franciska Gaal and Walter Connolly

(MGM, December 23 ; time, 76 min.)

Just a mildly entertaining comedy. The production is extremely lavish, but the story is artificial, tiring one. It seems a pity to waste the talents of good actors like Fran- chot Tone and Walter Connolly in anything so silly as this, for, in spite of their efforts, they are so handicapped by the material that they fail to make an impression. One or two spots provoke laughter ; but for the most part the antics of the characters are far from amusing : —

Franchot Tone, a wealthy playboy, is in love with Rita Johnson, daughter of millionaire Connolly, who opjwses the match. Connolly orders his servants not to allow Tone to enter the house. But Tone, determined to outwit Connolly, makes friends with the scullery maid (Franciska Gaal), the one servant who did not know who he was. He pretends to be his own chauffeur ; Miss Gaal, an unsophisticated coun- try girl, falls madly in love with him. When she arrives at his apartment with a note from Miss Johnson, Tone carries on the deception ; a friend visiting him pretends to be the master and "discharges" Tone. Thinking she had been the cause of it all, Miss Gaal invests her savings to buy a dilapidated taxicab so that Tone might earn a living. Touched by her kindness, he takes her out again ; he then realizes that he loved her. She learns of the deception when Tone arrives at a party given to celebrate his engagement to Miss Johnson ; she did not know that he planned to break the engagement. She leaves the house so as to go back to her farm home ; Tone, in order to prevent her from leaving, enters a charge against her with the police. They find her at the station and arrest her ; Tone obtains her release. They are reconciled.

Sandor Hunyady wrote the story, and Harold Goldman, Felix Jackson and Karl Noti, the screen play ; Norman Taurog directed it, and Harry Rapf produced it. In the cast are Reginald Gardner, Reginald Owen, Franklin Pang- born, and others.

Suitability, Class A.

January 7, 1939

HARRISON'S REPORTS

3

"Gambling Ship" with Robert Wilcox and Helen Mack

(Universal, January 20; time, 61 min.)

A good program melodrama. Although the story is not novel, it holds one's attention well for the action is fast and, for the most part, exciting. It has some comedy, too, caused by wisecracking. Both hero and heroine win the spectator's sympathy, for they show courage in the face of danger. The closing scenes are thrilling. The romance is pleasant: —

Heartbroken at her father's death, Helen Mack decides to continue in his business, that of operating an honest gambling ship, in order to keep an orphans' home supplied with money in accordance with her father's wishes. Fur- thermore, from what she could learn from her father's assistant (Joseph Sawyer), Miss Mack feels certain that her father had been killed by Irving Pichel, a racketeer, who had tried unsuccessfully to buy the ship. Pichel engages Robert Wilcox, who had come to him highly recommended, as one of his henchmen. He assigns Wilcox to Miss Mack's ship. Wilcox, acting in accordance with instructions, assists Pichel's men in fixing the gambling tables so that they would win and thus break Miss Mack. When Sawyer and Miss Alack find out what he had done, they order him off the ship. Wilcox, on the pretense of attempting to blackmail Pichel, gets him to call at his hotel room. Wilcox had planted a motion picture camera in the radio so as to make a record of everything that Pichel would do and say. Pichel finds out that Wilcox was a federal investigator ; assisted by his henchmen, he takes Wilcox to his quarters, where he keeps him a prisoner. But Wilcox, knowing that Pichel's men had placed a bomb on Miss Mack's ship, where that very day she was entertaining the children from the orphan- age, manages to escape and get to the ship just in time to prevent the explosion. Miss Mack and Sawyer apologize for having mistrusted him. Miss Mack confesses her love for him.

G. Carleton Brown and Emanuel Manheim wrote the story, and Alex Gottlieb, the screen play ; Aubrey Scotto directed it, and Irving Starr produced it. In the cast are Ed Brophy, Selmer Jackson, Sam McDaniel, and others.

Not for children. Class B.

"Paris Honeymoon" with Bing Crosby, Akim Tamiroff, Franciska Gaal, Shirley Ross and Edward Everett Horton

(Paramount, January 27 ; time, 85 min.)

Just fair. It has been given a lavish production ; and the individual performances are good. But not much can be said for the story, which is extremely silly and at times tiresome. Supposedly a comedy, the gags fall flat, that is with the exception of one comical idea — this has to do with a certain liquor that makes those who drink it act in a peculiar way. Bing Crosby puts over the musical numbers in his custom- ary competent style; but the songs are not outstanding. The romantic mixups are developed according to formula, and fail to hold one's interest : —

Crosby, a millionaire cowboy, learns, on the day of his intended marriage to Shirley Ross, that her divorce from a French Count to whom she had been married, had never gone through. Both he and Miss Ross go to Paris, there to complete the divorce proceedings. Crosby leaves Miss Ross in Paris in order to look over a castle in the mountains that he wanted to buy. Franciska Gaal, who worked as a drudge in Akim Tamiroff's tavern, spies Crosby and falls in love with him. She is overjoyed when she is chosen as the Rose Queen for the annual festival. One of the customs required her to live, for one week, in the castle occupied by Crosby. She tries in many ways to win his affections but he con- siders her a nuisance. Crosby drives to the station to meet Miss Ross; he is annoyed to find Miss Gaal hidden in his car. She interferes with his driving, causing the car to be wrecked. Since it was raining, they are forced to take shelter in an unoccupied cabin. In the meantime, Miss Ross is en- raged when Crosby does not show up. The only available vehicle is an open cab; she is drenched when she arrives at the castle. Being alone with Miss Gaal makes Crosby notice her charms ; he falls in love with her. Nevertheless he de- cides to go through with his marriage to Miss Ross. They go back to Paris. But he cannot go through with it ; he re- turns to the small village in time to stop Miss Gaal's mar- riage to Tamiroff, who wanted to marry her only to get the expensive ring Crosby had given her. She is overjoyed at his arrival.

Angela Sherwood wrote the story, and Frank Butler and Don Hartman, the screen play; Frank Tuttle directed it, and Harlan Thompson produced it. In the cast arc Ben Blue, Rafaela Ottiano, Gregory Gayc, Victor Kilian, and others. Suitability, Class A.

"Tom Sawyer, Detective" with Billy Cook and Donald O'Connor

(Paramount, December 23 ; time, 67 min.) A fair program picture, suitable mostly for young folk. Billy Cook, as Tom Sawyer, and Donald O'Connor, as Huckleberry Finn, give good performances ; their actions at times provoke laughter. One is held in suspense in the second half, when an innocent man is held for a murder he did not commit. A mildly pleasant romance is worked into the plot.

Because of the fact that the United Artists picture re- cently released was called "Adventures of Tom Sawyer," exhibitors will have to impress upon their patrons the fact that this is not a remake but an entirely new story ; other- wise, they may not want to see it.

While on the steamboat bound for Arkansas, where they were to spend the summer with an aunt (Elisabeth Risdon) and uncle (Porter Hall), Tom and Huckleberry meet Jake Dunlap (William Haade) who, they believed, was a jewel thief. They discover that Jake was the long-missing twin brother of Jupiter Dunlap (also played by Haade), who worked as a hired man on their uncle's farm. Jake convinces them that he was not a crook but that the two men following him were crooks ; the boys help him escape. During an argument with Jupiter, Uncle Silas (Hall) strikes him; thinking that he had killed him, he runs away. While walk- ing in the woods, Tom and Huckleberry see Jake attacked and murdered by the two men from the boat ; they run away. Jupiter and his brother Brace find their murdered brother ; noticing that he wore whiskers as a disguise, Brace removes them and tells Jupiter to wear them and pose as Jake. They take the diamonds. When Jake's body is found and identified as Jupiter's, Uncle Silas gives himself up. Tom and Huckle- berry decide to investigate for themselves ; they examine the body and discover it was really Jake's. On the day of the trial, they rush to court and divulge their findings. Jupiter admits his identity and tells the court that Brace forced him into the mess. Brace had been angry at Uncle Silas because he would not permit his daughter, who was engaged to a young lawyer, to marry Brace. Uncle Silas is freed, and the boys are congratulated for their good work.

The plot was adapted from the novel by Mark Twain ; Lewis Eoster, Robert Yost, and Stuart Anthony wrote the screen play ; Louis King directed it. In the cast are Philip Warren, Janet Waldo, Raymond Hatton, and others.

Suitability, Class A.

"Kentucky" with Loretta Young, Richard Greene and Walter Brennan

(20th Century-Fox, December 30; time, 95 min.)

Very good mass entertainment. It is not just an ordinary horse-racing picture ; rather, it shows, in a human way, what the breeding and racing of thoroughbreds means to those who carry on the family tradition of racing and who have a natural love for the animal. In addition, the produc- tion is lavish and is enhanced by the technicolor photog- raphy, particularly in the outdoor scenes during the races. There is delightful comedy contributed mostly by Walter Brennan, a charming romance, and plentiful thrills to hold the spectator in suspense. The race in the closing scenes is so exciting that it leaves one limp.

In the development of the plot, Richard Greene, whose family had been feuding with Loretta Young's family since Civil War days, assumes another name and applies at Miss Young's farm for a job as horse trainer. The only one who knows him is an old negro man who had formerly worked for his family, but Greene silences him with gifts. Miss Young, who had found a note in her father's belongings after his death, signed by Greene's father (Moroni Olsen), wealthy banker and owner of thoroughbreds, which entitled him to one of Olsen's two-year old horses, goes with her uncle (Brennan) to get the horse. To her disappointment he picks one that does not look like a winner to her. But after careful training by Greene, the horse begins to show possibilities. On the day of the important Kentucky Derby race. Miss Young discovers Greene's identity and is beset by doubts as to his honesty in training the horse ; she thinks that he might have had some trick up his sleeve so that his father's horse would win. But she decides to follow his ad- vice anyway. And her horse wins. Her delight is marred by the death of Brennan, whose heart could not stand the excitement. The feud is finally declared over when Greene and Miss Young plan to marry.

John T. Foote wrote the story, and he and Lamar Trotti, the screen play ; David Butler directed it, and Gene Markcy produced it. In the cast are Douglas Dumbrille, Karen Morley, Willard Robertson, and others.

Suitability, Class A.

4

HARRISON'S REPORTS

January 7, 1939

buys enough pictures from three distributors to take care of his needs with the exception of a few play-dates : when he goes to a fourth distributor to book an outstanding picture of his, that distributor will require the exhibitor to fill all his remaining play-dates before he will let the exhibitor have the picture he wants. But what will he tell his public when a fifth, a sixth and even a seventh distributor will have produced a meritorious picture and he cannot show it ?

This discussion refers to cases, not where the fourth dis- tributor has an opportunity to lease his entire product to a second exhibitor, but where there is no second exhibitor to lease his pictures to.

The exhibitor representatives should demand that, where there is no competitive theatre, the exhibitor be allowed to lease any number of a distributor's pictures. There have been cases when an exhibitor had filled all his play-dates from the programs of a few distributors and a left-out distributor retaliated either by sending to the people of the exhibitor's town circulars designed to cause the public to bring pressure on such exhibitor, or by renting his pictures to either a school or a church. The exhibitor could not persuade such distributor to desist by telling him that he had no room for his pictures ; the distributor remained adamant. By allowing such exhibitor to book as many pic- tures from a distributor as he wants, he can satisfy all distributors.

Abuses arising out of this proposal will, of course, be arbitrable ; but it will be well for the exhibitor representa- tives to gain such a concession at least for theatres that have no competition within a reasonable distance. And "reasonable distance" should not mean forty-five miles or thereabout.

Incidentally, some trade papers, in reproducing this pro- posal, omitted the phrase, "to license such number on the sole ground that by reason," immediately after the word "refuses," in the third line. Film Daily reproduced it first, in its December 5 issue, and since those trade papers omitted the same number of words it is manifest that they copied it from that Film Daily, (not Boxofficc) .

"5. Runs and Existing Customers: (A) Provided an exhibitor and a distributor can mutually agree upon terms, an exhibitor shall be able to obtain some run of a distribu- tor's pictures provided that each exhibitor's theatre is not of obsolete character, is in good condition and operates under a policy which is not destructive or which would not substantially affect the business of any other run of dis- tributor's pictures and further provided that such exhibitor is of good reputation as a theatre operator and financially responsible. Any dispute as to whether or not the exhibi- tor's theatre is of obsolete character, is in good condition, is operated under a policy which is destructive or which would substantially affect the business of any other run of distributor's pictures or whether or not the exhibitor is of good reputation as a theatre operator and is financially responsible, shall be determined by arbitration.

"(B) Exhibitors have complained that distributors have licensed their product away from an existing customer to another exhibitor because such other exhibitor operates a circuit of theatres in the same or other situations and licenses the distributor's product for such circuit.

"It is recognized that a distributor has the right to select its own customers and it is also recognized that a change of customers is sometimes a hardship to an existing cus- tomer, but that in order to be entitled to continue to receive consideration as a customer, the exhibitor should have sub- stantially performed his previous license agreements with distributor, maintain and operate his theatre in a modern and up-to-date manner and be financially responsible.

"Having regard for these principles, product will not be licensed away from an existing customer to a new or an- other exhibitor for the sole reason that the new or other exhibitor is a customer of the distributor in the same or other situations and any dispute as to whether or not a dis- tributor has licensed its product away from an existing customer for the sole reason that such other exhibitor is a customer of the distributor in the same or other situations shall be determined by arbitration."

This provision, too, could stand considerable clarification by rewriting. For instance, it says that, provided the exhibi- tor is "financially responsible," he can get some kind of run for his theatre. Responsible financially to whom ? Does it mean, "provided the exhibitor pays his bills"? If so, why doesn't the provision say so? If it should be left as it is, the exhibitor members of the negotiating committee would be lending themselves to the revival of the credit committees, which the courts have outlawed. Why should a group of

distributors be interested in the financial standing of the exhibitor in his community so long as he pays his bills to any distributor he does business with? And why should such phraseology he necessary when the distributors send to the exhibitor (J.O.D. even posters?

Another of the clarifications that the exhibitors should ask of the distributors is the phraseology, "Provided an exhibitor and a distributor can mutually agree upon terms." Does this mean that, when the distributor places on his product a high price so as to make an agreement impossible, such distributor's purpose being.to favor a competing affili- ated theatre, the exhibitor will have no right to appeal to the arbitration board for relief? If such is the case, the matter should be so stated, to enable the exhibitor-negotia- tors to determine whether to accept or reject this provision.

"6. Short Subjects, Newsreels and Trailers: No exhibi- tor shall be required, as a condition of licensing feature motion pictures, to license short subjects, newsreels or trailers, but nothing herein shall be deemed to prohibit any effort by the distributor to license short subjects, newsreels and trailers."

In view of the fact that a seller has at all times the right to make an effort to sell his product to a buyer, a right that is recognized in all democratic nations as lawful, the stipu- lation "but nothing herein shall be deemed to prohibit any effort by the distributor to license short subjects, newsreels and trailers" is not necessary and should be eliminated. Retention of this stipulation may lead to more abuse. The salesmen, for instance, may misinterprete its intent, and may try to bring pressure upon the exhibitor to buy the shorts, newsreels and trailers, and the exhibitor may be compelled to contract for them to get the features. The exhibitor representatives should insist upon the elimination of this sentence, or else require that controversies arising out of it be arbitrated. Let arbitration determine whether the exhibitor had been coerced or not. After all, arbitra- tion, if fair, should determine such controversies ; otherwise there will be no peace between exhibitors and distributors.

"14. Box-Office Statements: The practice of rendering to a distributor false reports of the box-office receipts in respect of the exhibition of pictures the film rental of which is based in whole or in part upon a percentage of such receipts is condemned by exhibitors as well as by distribu- tors as a practice which not only results in loss of earned revenue to the distributors, but is also unfair and detri- mental to the business of honest exhibitors. Exhibitors will endeavor to discourage and eliminate such practice."

This provision, if agreed upon by the exhibitor repre- sentatives, will cast a reflection upon every exhibitor, for it implies that the exhibitors, as a rule, render false box- office statements. The exhibitor representatives should re- fuse even to discuss such a matter, let alone agree upon it. If there are some exhibitors who, when allowed to show a percentage picture without the presence of a distributor representative, render inaccurate statements of their re- ceipts, it should be the good business judgment of the dis- tributor not to allow again such exhibitors to show a pic- ture of his under such conditions ; the distributor should have a representative check these exhibitors. To demand that the exhibitors acknowledge the existence of such a practice as common is to insult every exhibitor who makes a true statement of box-office receipts, and otherwise con- ducts himself as an honorable business man.

The exhibitor representatives should refuse to deal with such a matter ; it is not in their province even to discuss it.

The other proposals are not commented upon.

RAY LEWIS TO DO THINGS IN CANADA

Ray Lewis, editor and publisher of The Canadian Moving Picture Digest, was recently in New York, on a visit. She told the writer of the fight she has been having with Na- thanson, the big theatre and distribution magnate.

Miss Lewis may appear as a "David" as compared with Nathanson, but she has a "sling" that may bring the Goliath down : she intends to lay her case directly before the public.

In view of the fact that Miss Lewis is fighting a battle, not for herself, but for a woman-exhibitor whom, Miss Lewis feels, Mr. Nathanson has taken unfair advantage of, there is no doubt as to what the outcome of the fight will be.

Harrison's Reports has often advocated that the ex- hibitors take their public into their confidence in any dispute arising between them and a theatre-owning producer. All the chances for a victory are in their favor.

' T " IN TWO SECTIONS— SECTION TWO

HARRISON' S REPORTS

Vpl'-XXL- NEW YORK, N. Y., SATURDAY, JANUARY 7, 1939 No. 1 (Semi-Annual Index — Second Half 1938)

Title of Pictures Reviewed on Page

Adventure in Sahara — Columbia (57 min.) 210

Affairs of Annabel, The— RKO (67 min.) 119

Alexander's Ragtime Band — 20th Century-Fox

Algiers — United Artists (95 min.) 114

Always Goodbye — 20th Century-Fox (74}/ min.) 106

Always in Trouble — 20th Century-Fox (69 min.) 163

Amazing Dr. Clitterhouse, The— 1st Nat'l. (86 min.) 115

(105 min.) 123

Angels with Dirty Faces — First Nat'l (97 min.) 179

Annabel Takes a Tour— RKO (67 min.) 174

Arkansas Traveler, The — Paramount (83 min.) 166

Army Girl— Republic (87 min.) 119

Arrest Bulldog Drummond — Paramount (56 min.) ...210 Artists and Models Abroad — Paramount (94}/ min.) . .194

Bar 20 Justice — Paramount (64}/ min.) Not Reviewed

Barefoot Boy — Monogram (63 min.) 135

Beachcomber, The — Paramount (90 min.) 207

Block-heads— MGM (56 min.) 146

Blondie — Columbia (72 min.) 186

Booloo — Paramount (60 min.) 122

Boy From Barnardo's, The— MGM (See "Lord Jeff") 107

Boy Meets Girl — Warner Bros. (86 min.) 135

Boys Town— MGM (93 min.) 151

Breaking the Ice— RKO (82 min.) 146

Broadway Musketeers — First National (62}/ min.) ..162

Brother Rat— First National (88 min.) ....170

Bulldog Drummond in Africa — Paramount (58 min.) 126

Campus Confessions — Paramount (66 min.) 154

Carefree— RKO (82 min.) 147

Chaser, The— MGM (75 min.) 126

Christmas Carol, A — MGM (69 min.) 206

Cipher Bureau — Grand National (69}/ min.) 207

Citadel, The— MGM (112 min.) 178

City Streets — Columbia (68 min.) 106

Colorado Trail, The — Columbia (55 min.) . .Not Reviewed

Come on Leathernecks — Republic (65 min.) 143

Comet over Broadway — First National (69 min.) 195

Convicted — Columbia (54 min.) 142

Cowboy and the Lady, The— United Artists (90 min.) .198 Crime Over London — Gaumont-British (62 min.) ....130

Crime Ring— RKO (69 min.) 106

Crime Takes a Holiday — Columbia (59 min.) 158

Crowd Roars, The— MGM (89^ min.) 131

Danger on the Air — Universal (66 min.) 107

Dangerous Secret — Grand National (58}/ min.) 178

Dark Rapture — Universal (79;/ min.) 163

Dawn Patrol — Warner Bros. (101 min.) 211

Desert Patrol — Republic (56 min.) Not Reviewed

Desperate Adventure, A — Republic (65 min.) 130

Down in Arkansaw — Republic (65 min.) 171

Down on the Farm — 20th Century-Fox (61 min.) ....174

Dramatic School— MGM (80 min.) 202

Drums — London Film-United Artists (96 min.) 127

Duke of West Point— United Artists (109 min.) 211

Exposed — Universal (63 min.) 187

Fast Company — MGM (74 min.) 110

Fast Play— Paramount (See "Campus Confessions") . 154

Five of a Kind— 20th Century-Fox (85 min.) 170

Flight to Fame — Columbia (57 min.) 186

Flirting with Fate— MGM (68 min.) 210

Four Daughters — First National (90 min.) 139

Four's a Crowd — Warner Bros. (90 min.) 135

Freshman Year — Universal (67 min.) 147

Fugitives for a Night— RKO (62}/ min.) 143

If I Were King— Paramount (100 min.) 162

Illegal Traffic— Paramount (67 min.) 182

I'll Give a Million— 20th Century -Fox (74 min.) 114

I'm from the City— RKO (66 min.) 127

I Stand Accused — Republic (63 min.) 179

Gang Bullets — Monogram (61 min.) 202

Gangster's Boy — Monogram (80 min.) 183

Garden of the Moon — First National (92y2 min.) 142

Gateway — 20th Century-Fox (73 min.) 134

Gay Imposters, The — Warner Bros. (See "Gold

Diggers in Paris") 90

Girls on Probation — First National (63 min.) 170

Girls' School — Columbia (72 min.) 163

Give Me a Sailor — Paramount (76 min.) 134

Gladiator, The — Columbia (72 min.) 138

Going Places — First National (83 min.) 211

Gold Mine in the Sky — Republic (60 min.) .Not Reviewed

Great Waltz, The— MGM (103 min.) 186

Gun Smoke Trail — Monogram (56 min.) .. Not Reviewed

Hard to Get— Warner Bros. (78 min.) 187

Heart of the North— First National (82 min.) 206

Held for Ransom — Grand Nat'l (59 min.) . .Not Reviewed Heroes of the Hills — Republic (55 min.) . . .Not Reviewed

Higgins Family, The — Republic (64}/ min.) 151

His Exciting Night — Universal (60 min.) 190

Hold That Co-Ed— 20th Century-Fox (80 min.) 155

I Am a Criminal — Monogram (73 min.) 199

I Am the Law — Columbia (83 min.) 143

I Command — Grand Nat'l (59 min.) N*ot Reviewed

I Married a Spy: — Grand Nat'l (59 min.) .. Not Reviewed

Just Around the Corner— 20th Cent.-Fox (69l/2 min.) .183 Juvenile Court — Columbia (58 min.) 154

Keep Smiling — 20th Century-Fox (77 min.) 123

King of Alcatraz — Paramount (55 J-^ min.) 166

Lady Objects, The — Columbia (65 min.) 159

Lady Vanishes, The — Gaumont-British (91 min.) 171

Last Express, The — Universal (62}/ min.) 171

Last of the Cavalry, The — Republic

(See "Army Girl") 119

Last Warning, The — Universal (63 min.) 203

Lawless Valley— RKO (58}/ min.) 182

Law of the Plains — Columbia (56 min.) Not Reviewed

Law West of Tombstone, The— RKO (73 min.) 191

Letter of Introduction — Universal (102 min.) 127

Listen Darling— MGM (74^ min.) 174

Little Adventuress, The — Columbia (62 min.) 187

Little Miss Broadway— 20th Century-Fox (71 m.) . . 115

Little Orphan Annie — Paramount (57 min.) 202

Little Tough Guy— Universal (82}/ min.) 114

Little Tough Guys in Society — Universal (72 min.) 195

Lord Jeff— MGM (84^ min.) 107

Love Finds Andy Hardy— MGM (90 min.) 122

Mad Miss Manton, The— RKO (79 min.) 166

Man to Remember, A— RKO (78 min.) 166

Man with 100 Faces— Gaumont-British (71 min.) 186

Man's Country — Monogram (55 min.) Not Reviewed

Marie Antoinette— MGM (157 min.) 138

Mars Attacks the World— Universal (67y2 min.) 182

Meet the Girls— 20th Century-Fox (66 min.) 147

Men with Wings — Paramount (105 min.) 178

Missing Guest, The — Universal (67}/ min.) 138

Mother Carey's Chickens— RKO (81J4 min.) 123

Mr. Chump — Warner Bros. (60 min.) 123

Mr. Doodle Kicks Off— RKO (77 min.) 155

Mr. Wong, Detective — Monogram (68 min.) 175

My Bill— First National (63}/ min.) 110

My Lucky Star— 20th Century-Fox (84 min.) 147

Mysterious Mr. Moto— 20th Century-Fox (62}/ min.). 151

Nancy Drew, Detective — Warner Bros. (65 min.) 198

Next Time I Marry, The— RKO (64 min.) 199

Night Hawk, The— Republic (63 min.) 162

One Woman's Answer — MGM (See "Woman

Against Woman") « 106

Orphans of the Street — Republic (64 min.) 203

Outlaw Express — Universal (56 min.) Not Reviewed

Out West with the Hardys — MGM (83 min.) 203

Painted Desert— RKO (59 mia) 131

Panamint's Bad Man— 20th Century-Fox (59 min.) .. Ill

Passport Husband — 20th Century-Pox (67 min.) 111

Peck's Bad Boy with the Circus— RKO (64 min.) 195

Penrod's Double Trouble— First Nat'l. (60 min.) 114

Personal Secretary — Universal (62 min.) ..159

Phantom Gold — Columbia (56 min.) Not Reviewed

Phantom Ranger — Monogram (53 min.) ... Not Reviewed

Pioneer Trail — Columbia (55 min.) Not Reviewed

Port of Seven Seas— MGM (80 min.) 118

Pride of the West — Paramount (55 min.) ..Not Reviewed

Prison Break — Universal (72 min.) 118

Prison Train — Malcolm-Browne (65 min.) 190

Professor Beware — Paramount (92 min.) 118

Pygmalion— MGM (86 min.) 199

Racket Busters — Warner Bros. (70 min.) 122

Reformatory — Columbia (61 min.) 110

Renegade Ranger— RKO (59 min.) 154

Renfrew on the Great White Trail —

Grand National (59 min.) Not Reviewed

Rich Man, Poor Girl— MGM (71!^ min.) 139

Ride a Crooked Mile — Paramount (77 min.) 202

Riders of the Black Hill— Republic (55m) . .Not Reviewed

Road Demon — 20th Century-Fox (70 min.) 175

Road to Reno — Universal (68 min.) 150

Rollin' Plains— Grand Nat'l (57 min.) Not Reviewed

Romance and Rhythm — Warner (See "Cowboy from

Brooklyn") 102

Room Service— RKO (78 min.) 154

Safety in Numbers— 20th Century-Fox (58 min.) 139

Say It in French — Paramount (71 min.) 194

Secrets of an Actress — First National (69J/2 min.) 150

Secrets of a Nurse — Universal (74^ min.) 194

Service DcLuxe — Universal (86 min.) 174

Shadows over Shanghai— Grand Nat'l (64^ min.)... 178

Sharpshooters — 20th Century-Fox (63 min.) 190

Shining Hour, The — MGM (76 min.) 195

Shopworn Angel — MGM (84 min.) 115

Sing You Sinners — Paramount (89 min.) 134

Sisters, The— Warner Bros. (98 min.) 167

Six Shootin' Sheriff— Grand Nat'l (59m.) . .Not Reviewed

Sixty Glorious Years— RKO (94^ min.) 194

Sky Giant— RKO (80 min.) 119

Smashing the Rackets— RKO (69 min.) 130

Smashing the Spy Ring — Columbia (61 min.) 211

Sons of the Legion — Paramount (61 min.) 155

South of Arizona — Columbia (56 min.) Not Reviewed

South Riding— United Artists (84 min.) Ill

Spawn of the North — Paramount (109 min.) 142

Speed to Burn— 20th Century-Fox (61 min.) 122

Spring Madness— MGM (66jXmin.) 191

Stablemates — MGM (89 min.) ..167

Stagecoach Days — Columbia (58 min.) Not Reviewed

Storm over Bengal — Republic (65 min.) 191

Storm, The— Universal (76 min.) 179

Straight, Place and Show — 20th Cent.-Fox (67 min.). 162

Strange Boarders — Gaumont-British (71 min.) 155

Strange Case of Dr. Mead, The — Columbia (67 min.) .206

Strange Faces — Universal (66 min.) 187

Submarine Patrol — 20th Century-Fox (94 min.) 182

Suez— 20th Century-Fox (104 min.) 175

Sweethearts— MGM (113 min.) 210

Swing Sister Swing — Universal (67 min.) 207

Swing That Cheer — Universal (62 min.) 175

Tarnished Angel— RKO (68 min.) 179

Tenth Avenue Kid — Republic (65 min.) 145

Texans, The — Paramount (92 min.) 126

Thanks for Everything— 20th Century-Fox (72l/2 m.).203

Thanks for the Memory — Paramount (78 min.) 191

That Army Touchdown — Paramount

(See "Touchdown Army") 159

That Certain Age— Universal (100 min.) 167

There Goes My Heart— United Artists (83 min.) ....170 There's That Woman Again — Columbia (73 min.) . . . .206 They're Off— 20th Century-Fox

(See "Straight, Place and Show") 162

Three Blind Mice— 20th Century-Fox (75 min.).... 107

Three Loves Has Nancy — MGM (68 min.) 150

Time Out For Murder— 20th Century-Fox (59 min.) . .131

Too Hot to Handle— MGM (105 min.) 158

Torchy Gets Her Man — Warner Bros. (62 mia) 183

Touchdown Army — Paramount (70 mia) 159

Tropic Holiday — Paramount (78 min.) Ill

Two Gun Justice — Monogram (57 min.) . . .Not Reviewed

Unconventional Lady — Columbia (See "Holiday").. 91

Under the Big Top — Monogram (63 mia) 151

Up the River— 20th Century-Fox (76 mia) 190

Utah Trail, The — Grand Nat'l (59 min.) . . .Not Reviewed

Vacation from Love — MGM (65 mia) 167

Valley of the Giants — Warner Bros. (83 mia) 146

Watrted by the Police — Monogram (59 mia) 158

We're Going to Be Rich — 20th Century-Fox (78 min.) 110

Western Trails — Universal (57 min.) Not Reviewed

West of Cheyenne — Columbia (53 min.) . . . .Not Reviewed While New York Sleeps— 20th Century-Fox (61 mia). 198 Whirlwind Horsemen — Grand Nat'l (58m.) .Not Reviewed Woman Against Woman — MGM (60 min.) 106

You Can't Take It With You— Columbia ( 127 min.) . . .150

Young Dr. Kildare— MGM (81 min) 171

Young Fugitives — Universal (68 min.) 107

Young in Heart, The— United Artists (90 min.) 183

Youth Takes a Fling — Universal (77 mia) 163

RELEASE SCHEDULE FOR FEATURES Columbia Features

(729 Seventh Ave., New York, N. Y.)

Flight to Fame— Farrell- Wells Oct. 12

The Little Adventuress — Fellows Oct. 24

In Early Arizona — All Star western (53m.). Nov. 2

Adventure in Sahara — Kelly-Gray Nov. 15

Blondie — Singleton- Lake Nov. 30

The Terror of Tiny Town — Midgets Dec. 1

Rio Grande— Starrett (59 min.) Dec. 8

The Strange Case of Dr. Mead — Holt Dec. 15

There's That Woman Again — Douglas Dec. 24

Smashing the Spy Ring (International Spy) —

Wray-Bellamy Dec. 29

North of Shanghai — Furness-Craig Jan. 5

The Thundering West — Starrett Jan. 12

Frontiers of '49 — All Star western Jan. 19

Lone Wolf's Daughter — William-Lupino Jan. 27

Texas Stampede — Starrett Feb. 9

Homicide Bureau — Cabot-Hayworth Feb. 15

9026 9020 9211 9028 9011 9050 9202 9022

9203 9212

9204

First National Features

(321 W. 44th St., New York, N. Y.)

369 Girls on Probation — Reagan-Bryan Oct. 22

355 Brother Rat— Morris-P. Lane-Wyman Oct. 29

351 Angels with Dirty Faces — Cagney (reset) ...Nov. 24

370 Comet over Broadway — Francis-Hunter Dec. 3

362 Heart of the North — Foran-Dickson Dec. 10

Going Places — Powell-Louise-Huber Dec. 31

Gaumont-British Features

(1600 Broadway, New York, N. Y.)

Climbing High — J. Matthews-M. Redgrave Dec. 1

(Hereafter all Gaumont-British pictures will be released through Twentieth Ccnttiry-Fox)

Grand National Features

(1501 Broadway, New York, N. Y.) Beginning of 1938-39 Season

311 Shadows over Shanghai — Dunn-R. Morgan . . .Oct. 14

325 Frontier Scout — G. Houston-B. Marion (61m) .Oct. 21

326 Titans of the Deep — (2 versions, one running

47 min. and the other 38 min.) Oct. 28

312 Cipher Bureau — L. Ames-J. Woodbury Nov. 4

345 The Sunset Murder Case (The Sunset Strip

Case) — Sally Rand (57 min.) Nov. 11

The Long Shot — Jones-Hunt Jan. 6

Water Rustlers — Dorothy Page Jan. 6

Trigger Pals — Jarrett-Powell Jan. 14

Exile Express — Anna Sten Jan. 20

Ride 'Em Cowgirl — Dorothy Page Jan. 20

Metro-Goldwyn-Mayer Features

(1540 Broadivay, New York, N. Y.)

904 Listen Darling — Garland-Bartholomew Oct. 21

909 The Citadel— Donat-Russell-Richardson Oct. 28

908 The Great Waltz — Rainer-Gravat-Korjus ...Nov. 4

911 Spring Madness — O'Sullivan-Ayres-Hussey .Nov. 11

912 The Shining Hour— Crawford- Sullavan Nov. 18

913 Out West with the Hardys — Rooney-Stone . . .Nov. 25

914 Flirting with Fate — Joe E. Brown Dec. 2

915 Dramatic School — Rainer-Marshal-Goddard .Dec. 9

917 A Christmas Carol — Owen-Kilburn (re.) Dec. 16

916 The Girl Downstairs (Katherine the Last) —

Gaal-Tone-Connolly (reset) Dec. 23

910 Sweethearts — MacDonald-Eddy-F. Morgan ..Dec. 30

918 Stand Up and Fight — Taylor-Beery-Rice Jan. 6

919 Burn 'Em Up O'Connor— O'Keefe-Parker . . . Jan. 13

920 Idiot's Delight— Gable- Shearer Jan. 20

Monogram Features

(1270 Sixth Ave., New York, N. Y.)

3860 Where the Buffalo Roam— Ritter (62 min.) . .Oct. 12 3801 Gangster's Boy — Jackie Cooper Nov. 9

3851 Gun Packer— Jack Randall (49m.) (reset) .. Nov. 16

3818 Gang Bullets— Anne Nagel (reset) Nov. 23

3861 Song of the Buckaroo (Little Tenderfoot) —

Tex Ritter (56 min.) Nov. 23

3812 I Am a Criminal — J. Carroll (reset) Dec. 14

3852 Wild Horse Canyon (Last Outlaw) — Jack

Randall (50 min.) Dec. 21

3819 Tough Kid— Frankie Darro (reset) Dec. 28

Convict's Code — Nagel-R. Kent Jan. 11

Drifting Westward — Jack Randall Jan. 25

Sundown on the Prairie — Tex Ritter Feb. 1

Navy Secrets — Wray-Withers Feb. 8

Paramount Features

(1501 Broadzwy, New York, N. Y.)

3807 Mysterious Rider— Dumbrille-Fields (72m.) .Oct. 21

3808 Men with Wings — MacMurray Oct. Special

3809 Illegal Traffic— Naish-Carlisle Nov. 4

3810 If I were King — Colman-Dee-Rathbone Nov. 11

3811 Thanks for the Memory — Hope-Ross Nov. 18

3812 Arrest Bulldog Drummond — Howard-Angel. Nov. 25

3813 Say It in French— Bradna-Milland Nov. 25

3814 Little Orphan Annie— Gillis-Kent Dec. 2

3815 Ride a Crooked Mile — Tamiroff-Farmer ....Dec. 9 3856 The Frontiersman — Boyd-Hayes (73l/2m.) . .Dec. 16

3816 Tom Sawyer, Detective — O'Connor-Cook Dec. 23

3817 Artists and Models Abroad— Benny Dec. 30

King of Chinatown — Wong-Tamiroff-Naish. .Jan. 6

Zaza — Colbert-Marshall-Lahr Jan. 13

Disbarred — Patrick-Kruger-Preston Jan. 20

Ambush — Swarthout-Nolan-Henry Jan. 20

Paris Honeymoon — Crosby-Gaal-Tamiroff ..Jan. 27

St. Louis Blues — Nolan-Lamour-Ralph Feb. 3

One Third of a Nation — Sidney-Erikson (re). Feb. 10

Republic Features

(1776 Broadivay, Nezv York, N. Y.)

806 I Stand Accused — Cummings-Mack-Talbot ...Oct. 28

807 Storm over Bengal — P. Knowles-Cromwell . . Nov. 14

863 Santa Fe Stampede — Three Mesq. (56 min.) . . Nov. 18

818 Come On Rangers — Rogers-Hart (58 min.) ..Nov. 25 841 Western Jamboree — Autry (56 min.) Dec. 2

819 Orphans of the Street — Livingston-Ryan Dec. 5

864 Red River Range— Three Mesq. (56 min.) ...Dec. 22 852 Shine On Harvest Moon— Rogers-Hart (57m). Dec. 23

Federal Man Hunt — Livingston-Travis (64m). Dec. 26

RKO Features

(1270 Sixth Ave., New York, N. Y.)

906 The Mad Miss Manton— Stanwyck-Fonda Oct. 21

907 Tarnished Angel— Filers Oct. 28

981 Lawless Valley — George O'Brien Nov 4

908 Annabel Takes a Tour— Ball-Oakie Nov. 11

909 The Law West of Tombstone— H. Carey .... Nov. 18 948 Peck's Bad Boy with the Circus— Kelly Nov. 25

910 Next Time I Marry— Ball-Ellison Dec 9

Twentieth Century-Fox Features

(444 w. S6th St., New York, N. Y.)

913 Suez— Power- Young-Annabella Oct. 28

914 Always in Trouble — Withers Nov. 4

915 Just Around the Corner — Temple Nov. 11

916 Sharpshooters — Donlevy-Bari Nov. 18

909 Submarine Patrol — Greene- Kelly Nov. 25

918 Road Demon — Arthur-Valerie- Armetta Dec. 2

924 Up the River — Martin-Brooks-Foster Dec. 9

920 Down on the Farm — Jed Prouty Dec. 16

917 Thanks for Everything — Menjou-Oakie Dec. 23

923 Kentucky — Young-Greene-Brennan Dec. 30

922 While New York Sleeps — Whalen-Rogers Jan. 6

928 Charlie Chan in Honolulu — Toler-Brooks Jan. 13

926 Mr. Moto's Last Warning — Lorre-Cortez Jan. 20

933 Smiling Along — Fields-Maguire-Livesey Jan. 20

921 Jesse James — Power-Fonda-Kelly Jan. 27

929 The Arizona Wildcat— Withers-Carrillo Feb. 3

925 Tail Spin— Faye-C. Bennett-Kelly-Farrell . . . Feb. 10

927 The Three Musketeers — Ameche-Ritz Bros. ..Feb. 17

United Artists Features

(729 Seventh Ave., Neiv York, N. Y.)

The Young in Heart — Gaynor-Fairbanks, Jr Oct. 27

The Cowboy and the Lady — Cooper-Oberon Nov. 17

Trade Winds — March-J. Bennett-Sothern Dec. 22

The Duke of West Point— T. Brown-Hayward Dec. 29

Topper Takes a Trip — C. Bennett-Young-Burke ..Jan. 12

Universal Features

(1250 Sixth Ave., New York, N. Y.)

A3052 Guilty Trail— Bob Baker (57 min.) Oct. 21

A3013 Service DeLuxe— C. Bennett-Price Oct. 21

A3016 The Storm— Bickford-MacLane-Grey Oct. 28

A3028 The Last Express— K. Taylor-D. Kent ....Oct. 28

A3032 Exposed — Farrell-Kruger Nov. 4

A3053 Prairie Justice — Bob Baker (57 min.) Nov. 4

A3036 His Exciting Night — Ruggles-Munson Nov. 11

A3042 Mars Attacks the World— (67H min.) ...Nov. 18

A3011 Little Tough Guys in Society — Boland Nov. 25

A3035 Strange Faces — Kent-Jenks (reset) Dec. 2

A3022 Secrets of a Nurse — Lowe-Mack (reset) ..Dec. 9 A3054 Ghost Town Riders— Bob Baker (54 min.) .Dec. 16

A3021 Swing Sister Swing — Murray-Downs-Kane.Dec. 16 Newsboys' Home — J. Cooper-W. Barrie

(73 min.) Dec. 23

A3027 The Last Warning — Foster-Jenks (reset) . .Jan. 6 Son of Frankenstein — Karloff-Rathbone ...Jan. 13 A3055 Honor of the West— Bob Baker (58 min.) . Jan. 13

Gambling Ship — Wilcox-Mack Jan. 20

Pirates of the Skies — K. Taylor (reset) ...Feb. 3 You Can't Cheat an Honest Man — W. C. Fields-Bergen Feb. 17

Warner Bros. Features

(321 IV. 44th St., New York, N. Y.)

302 The Sisters — Flynn-Davis-Louise Oct. 15

310 Hard to Get— Powell-DeHavilland Nov. 5

318 Torchy Gets Her Man — Farrell-MacLane ...Nov. 12

319 Nancy Drew, Detective — Granville-Litel Nov. 26

The Dawn Patrol — Flynn-Rathbone-Niven . . . Dec. 24

Devil's Island — Karloff-Harrigan Jan. 7

Thev Made Me a Criminal — Garfield-Rains . . Jan. 14

Off the Record— O'Brien-Blondell Jan. 21

King of the Underworld — Bogart-Francis Jan. 28

SHORT SUBJECT RELEASE SCHEDULE Columbia — One Reel

9503 Little Moth's Big Flame— Color Rhap. (8m.) Nov. 3

9802 Ski Rhythm— Sport Thrills (9^m.) Nov. 4

9652 Community Sing No. 2 — (10£<m.) Nov. 4

9551 Bermuda, Islands of Paradise — Tours

(10K> min.) Nov. 4

9752 Happv Birthday — Scrappys (6m.) Nov. 17

9552 Provincial Quebec— Tours (lO^rn.) Nov. 18

9901 Washington Parade— Issue 81 (10m.) Nov. IS

9853 Screen Snapshots No. 3— (9j4m.) Nov. 20

9504 Midnight Frolics— Color Rhapsody (7$-Sm.) .Nov. 24

9653 Community Sing No. 3— (lO^m.) Dec. 2

9703 The Lone Mountic— Krazy Kat (6^m.) ....Dec. 10

9854 Screen Snapshots No. 4 — (9^m.) Dec. 15

9505 The Kangaroo Kid — Color Rhapsody Dec. 23

9803 King Vulture— Sport Thrills Dec. 23

9654 Community Sing No. 4—(\0'/2m.) Dec. 30

9804 Get Ready Navy— Sport Thrills Jan. 6

9902 Washington Parade — Issue #2 Jan. 6

9855 Screen Snapshots No. 5 Jan. 6

9753 Scrappy's Added Attraction — Scrappys Jan. 13

9506 Peaceful Neighbors — Color Rhapsody Jan. 26

9704 Krazy's Bear Tale — Krazy Kat Jan. 27

9655 Community Sing No. 5— (9Hm.) J an. 27

(9553 "Dig Town," listed in the last Index as a December 2 release, has been withdrawn)

Columbia — Two Reels

9125 Shoot to Kill— Spider #5 (17m.) Nov. 18

9126 Scaled Lips— Spider 86 (16^m.) Nov. 25

9127 Shadows of the Night— Spider 87 (16^m.) . .Dec. 2

9403 Flat Foot Stooges (Three Goofy Gobs) —

Stooge (15J-4 min.) (reset) Dec. 5

9128 While the City Sleeps— Spider Jt8 (16^m.) . .Dec. 9

9426 Home on the Rage— All Star (17m.) Dec. 9

9129 Doomed— Spider 89 (17m.) Dec. 16

9130 Flaming Danger— Spider 810 (17m.) Dec. 23

9427 Pica la Maid— All Star (18m.) Dec. 23

9131 Road to Peril— Spider 811 (16m.) Dec. 30

9132 The Spider Falls— Spider 812 (15m.) Jan. 6

9404 Three Little Sew and Sews — Stooge (16m.) . .Jan. 6

9133 The Man Hunt— Spider 813 (16m.) Jan. 13

9134 The Double Cross— Spider 814 (17^m.) ...Jan. 20

9428 Swing You Swingers— All Star (19^m.) ...Jan. 20

9135 The Octopus Unmasked— Spider 815 ( 15m.) Jan. 27

Challenge in the Sky — Flying G-Men 81 Jan. 28

Flight of the Condemned — Flying G-Men 82. . Feb. 4

9429 Mutiny on the Body— All Star comedy Feb. 10

Metro-Goldwyn-Mayer — One Reel

1937- 38 Season

S-715 Grid Rules— Pete Smith (10m.) Oct. 15

W-692 The Captain's Christmas — Capt. Cartoon

technicolor (8 min.) Dec. 17

{one more to come)

1938- 39 Season

F-952 Opening Day — Robert Benchley (9m.) .. . .Nov. 12 M-874 Miracle of Salt Lake — Miniatures (11m.). Nov. 12

C-933 Football Romeo— Our Gang (10m.) Nov. 12

S-902 Man's Greatest Friend— P. Smith (10m.) . .Nov. 19 T-854 Sydney, Pride of Australia— Travel. (9m.). Dec. 3

F-953 Mental Poise— Benchley (7m.) Dec. 10

S-903 Penny's Picnic— Pete Smith (tech) (10m.). Dec. 17

C-934 Practical Jokers — Our Gang (9m.) Dec. 17

T-855 Singapore and Jahore — Traveltalk (9m.) . . .Dec. 31

Metro-Goldwyn-Mayer — Two Reels

Beginning of 1938-39 Season

R-801 Men of Steel— Musicals (21m.) Dec. 17

P-811 The Wrong Way Out — Crime Doesn't Pay

(17 min.) Dec. 24

R-802 Once Over Lightly— Musicals Dec. 31

V8-4 E8-4 R8-5 T8-4 A8-5 L8-3 K8-3 P8-5 V8-5 R8-6 T8-5

E8-5 C8-3 A8-6 P8-6 J8-3

Paramount — One Reel

Raising Canines — Paragraphic (9^m.) Nov. 11

A Date to Skate — Popeye cart. (7m.) Nov. 18

Super-Athletes — Sportlight (9^m.) Nov. 25

On with the New — Betty Boop (6m.) (re.) ..Dec. 2 Hal Kemp and His Orchestra — Head. (9m.) .Dec. 2

Unusual Occupations 83 — (10m.) Dec. 2

Costa Rica — Color Cruises (9m.) Dec. 2

Paramount Pictorial 85— (8>lm.) Dec. 9

Oh Say, Can You Ski— Para. (10^m.) . . . .Dec. 16

Frolicking Frogs — Sportlight (9M>m.) Dec. 23

Pudgy in Thrills and Chills — B. Boop

(S>/2 min.) (reset) Dec. 23

Cops Is Always Right — Popeye (7m.) Dec. 30

Always Kickin' — Color Classic Jan. 6

A Song Is Born — Headliner (9j^m.) Jan. 6

Paramount Pictorial 86 Jan. 6

Popular Science 83 Jan. 6

RKO — One Reel

94303 Bird Dogs — Sportscope (10m.) Nov. 4

94603 Dude Ranch— Reelism (9m.) Nov. 11

94204 Venetian Moonlight— Nu Atlas (11m.) Nov. 25

94104 Ferdinand the Bull— Disney (8m.) Nov. 25

94304 Blue Grass — Sportscope (10m.) Dec. 2

94105 Merbabies— Disney (9m.) Dec. 9

94604 Newsreel— Reelism (10m.) Dec. 9

94205 Cafe Rendezvous— Nu Atlas (10m.) Dec. 23

94106 Mother Goose Goes Hollywood — Disney

(8 min.) Dec. 23

94305 On the Wing— Sportscope— (10m.) Dec. 30

RKO — Two Reels

93104 March of Time— (18m.) Nov. 25

93402 A Clean Sweep— E. Kennedy (17m.) Dec. 2

93502 Prairie Papas— Ray Whitley (18m.) Dec. 16

93105 March of Time— (18m.) Dec. 23

93602 Romancing Along — Headliner (21m.) Dec. 30

9202 9522 9102 9504 9301 9505 9204 9523 9402 9506 9203 9524 9602 9507

Twentieth Century-Fox — One Reel

Filming Big Thrills— Adv. Cam. (9^m.) . . .Sept. 30 The Glass Slipper — Terry-Toon (6^m.) ....Oct. 7 Land of Contentment — L. Thomas (lOj^m.) . .Oct. 14 The New Comer — Terry-Toon (6^m.) ....Oct. 21

Timber Toppers — Sports (lO^rn.) Oct. 28

The Stranger Rides Again — T.-Toon (7m.). Nov. 4

Athletic Oddities— Adv. Cam. (9m.) Nov. 11

Housewife Herman — Terry-Toon (6^m.) . . Nov. 18 What Every Girl Should Know — Lehr (11). Nov. 25 Village Blacksmith — Terry-Toon (6^4m.) . . .Dec. 2

Daily Diet of Danger — Adv. Cam. (9m.) Dec. 9

Gandy Goose in Doomsday — Terry-Toon . . . .Dec. 16

Fashion Forecasts Dec. 23

Gandy Goose in the Frame Up — Toon (6j^m).Dec. 30

A 3366 A3242 A3243 A 3354 A 3368 A3244 A3355 A3368 A3245 A3356 A3246 A3369 A3247 A3357 A3248

A3225 A3690 A 3691 A3692 A3693 A3226 A3781

A3782 A3783

Universal — One Reel 1938-39 Season

Stranger Than Fiction 855— (9y2m.) Oct. 10

Rabbit Hunt — Lantz cartoon (7m.) Oct. 17

The Sailor Mouse — Lantz cartoon (7m.) ..Nov. 7 Going Places with Thomas 856 — ( 10m.) . . . Nov. 14

Stranger Than Fiction 857 — (9m.) Dec. 5

Disobedient Mouse — Lantz cartoon (8m.) . .Nov. 28 Going Places with Thomas 857— (8j^m.) . .Nov. 28

Stranger Than Fiction 857 (9m.) Dec. 5

Baby Kittens — Lantz cartoon (8m.) Dec. 19

Going Places with Thomas 858 — (9m.) ...Dec. 26 Little Blue Blackbird— Lantz cart. (7m.) . .Dec. 26

Stranger Than Fiction 858 — (9m.) Jan. 2

Crack Pot Cruise — Lantz cartoon Jan. 9

Going Places with Thomas 859 Jan. 16

Soup to Muts — Lantz cartoon (7m.) Jan. 23

Universal — Two Reels

Music and Models — Mentone (18m.) Dec. 14

The False Trail— Barry 810 (20m.) Dec. 20

Heavy Odds— Barry 811 (19m.) Dec. 27

The Enemy Within — Barry 812 (19m.) Jan. 3

Mission of Mercy— Barry 813 (20m.) Jan. 10

Nautical Knights — Mentone (19m.) Jan. 11

Death Rides the Air — Scouts to the Rescue

81 (20 min.) Jan. 17

Avalanche of Doom — Scouts 82 (22m.) . . . Jan. 24 Trapped by Indians — Scouts 83 (21m.) Jan. 31

Vitaphone — One Reel

4804 The Daffy Doc— Looney Tunes (7m.) Nov. 26

4604 Nature's Mimics— Color Parade (10m.) Dec. 3

4506 Daffy Duck in Hollywood— Mer. Mel. (8m.) .Dec. 3

4705 Happy Felton & Orch.— Mel. Mast. (10m.).. Dec. 3

4304 Treacherous Waters — True Adv. (10m.) Dec. 10

4904 Robbin' Good— Vit. Varieties (10m.) Dec. 10

4805 Porky the Gob— Looney Tunes (8m.) Dec. 17

4507 Count Me Out— Merrie Melodies (7m.) Dec. 17

4706 Dave Apollon & Orch.— Mel. Mast. (11m.) .. Dec. 24

4508 The Mice Will Play— Mer. Melodies (7m.). Dec. 31

4605 Mechanix Illustrated 82 — Color Parade Dec. 31

Vitaphone — Two Reels

4014 Cleaning Up— Cross & Dunn (17m.) Nov. 12

4002 Declaration of Independence — Technicolor

Prod. (18 min.) Nov. 26

4015 Stardust— Benny Davis (18m.) Dec. 10

4016 Boarder Trouble— Joe Asbestos (19m.) Dec. 17

4017 Hats and Dogs— Wini Shaw (18m.) Dec. 31

4003 Swingtime in the Movies — Tech. Pro. (20m.). Jan. 7

4018 Spare Parts — Bway. Brevities Jan. 21

NEWSWEEKLY NEW YORK RELEASE DATES Universal

733	Wednesday	•
734	Saturday . .
735	Wednesday	..Jan. 11
736	Saturday . .	.Jan. 14
737	Wednesday	..Jan. 18
738	Saturday . .	..Jan. 21
739	Wednesday	..Jan. 25
740	Saturday . .	..Jan. 28
741	Wednesday	..Feb. 1
742	Saturday . .	..Feb. 4
743	Wednesday	..Feb. 8
744	Saturday . .	..Feb. 11

Fox Movietone

33 Wednesday ...Jan. 4

34 Saturday Jan. 7

35 Wednesday . . Jan. 11

36 Saturday Jan. 14

37 Wednesday ...Jan. 18

38 Saturday Jan. 21

39 Wednesday . . Jan. 25

40 Saturday Jan. 28

41 Wednesday ...Feb. 1

42 Saturday Feb. 4

43 Wednesday ...Feb. 8

44 Saturday Feb. 11

Paramount News

44 Wednesday ...Jan. 4

45 Saturday Jan. 7

46 Wednesday . . . Tag. 11

47 Saturday

48 Wednesday ...J:nWs

49 Saturday Jan. 21

50 Wednesday ...Jan. 25

51 Saturday Jan. 28

52 Wednesday ...Feb. 1

53 Saturday Feb. 4

54 Wednesday . . . Feb. 8

55 Saturday Feb. 11

Metrotone

231 Wednesday

232 Saturday .

233 Wednesday

234 Saturday .

235 Wednesday

236 Saturday .

237 Wednesday

238 Saturday .

239 Wednesday

240 Saturday ..

241 Wednesday

242 Saturday . .

News

..Jan. 4 ..Jan. 7 ..Jan. 11 .Jan. 14 ..Jan. 18 ..Jan. 21 . Jan. 25 . Jan. 28 ..Feb. 1 ..Feb. 4 ..Feb. 8 ..Feb. 11

Pathe News

95248 95149 95250 95151 95252 95153 95254 95155 95256 95157 95258 95159

Wed.

Sat.

Wed.

Sat.

Wed.

Sat.

Wed.

Sat.

Wed.

Sat.

Wed.

Sat.

(E.). (O.). (E.) . (O.). (E.). (O.). (E.). (O.).

(E.). (O.)..

(E.). (O.)..

Jan. 4 Jan. 7 Jan. 11 Jan. 14 Jan. 18

Jan. 28 Feb. 1 Feb. 4 Feb. 8 Feb. 11

Entered as second-class matter January 4, 1921, at the post office at New York, New Tork, under the act of March 3, 1879.

Harrison's Reports

Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by

United States $15.00 p 1 Q1 0 Harrison's Reports, Inc.,

U. S. Insular Possessions. 16.50 - ROOItl lOl^ Publisher

Canada 16-50 New York, N. Y. p. s. Harrison, Editor

Mexico, Cuba, Spain 16.50 . „ . „ , . „ .

Great Britain 15 75 A Motion Picture Reviewing Service

Australia, New Zealand,' Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919

India, Europe, Asia 17.50

n Pnnv Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622

PJ Columns, if It is to Benefit the Exhibitor.

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXI SATURDAY, JANUARY 14, 1939 No. 2

AN OPEN LETTER TO THE ALLIED STATES BOARD OF DIRECTORS

Gentlemen :

You are about to convene in Washington to discuss the memorandum that has been submitted to your negotiating committee by the producers as a basis for settling the exhibitor-producer disputes that have kept the industry in a turmoil.

Your responsibility is, indeed, heavy, particularly because your action may affect, (a) the Government suit, (b) the Neely Bill, and (c) the North Dakota Theatre Divorce Measure case.

An analysis of the producer memorandum in the Decem- ber 24 and 31, and in the January 7 issues of this paper lias disclosed that what has been offered to the exhibitors is so little that, in the opinion of many exhibitors, it is not worth even discussing. Some of the offers have been so framed as to make the memorandum seem to be a Magna Carta for the producers rather than a list of concessions for the exhibitors.

For instance, Proposal No. 13 requires you to accept the principle that, regardless of what understanding you may reach with the producers, their right to build or acquire theatres shall in no way be either abridged or curtailed. This would, indeed, have a serious consequence were you to accept it on behalf of the exhibitors.

It is hardly necessary for me to call your attention to how little is offered by the other proposals ; all that I wish to say is this : you have battled for more than ten years and you have finally arrived at a point where relief is in sight. The Federal Government has brought against the produ- cers a suit intended to effect a divorcement of exhibition from production-distribution. The passage of the Neely Bill through the Senate, and the favorable sentiment of a majority of the members of the House of Representatives toward this measure, is proof that block booking can be eliminated by legislation. And the enactment of the North Dakota Theatre Divorce Law is an indication that, should the U. S. Supreme Court uphold this law, theatre divorce- ment can be brought about not only by Federal action, but also by state legislation. Consequently, unless the producers come forward, not with half-measures, but with real con- cessions, it will be your duty to reject them, letting matters take their natural course. Methods of doing business are undergoing great changes ; it is no longer a case of "pro- prietary rights," but one of "human rights." This is the slogan of the United States Government, and it must be- come the slogan of the motion picture industry.

Very sincerely yours,

P. S. Harrison.

THREE CHEERS FOR MARTIN QUIGLEY

Under the heading, "What the Industry Faces in 1939," Mr. Martin Quigley, Editor-in-Chief and Publisher of Motion Picture Herald, published in the December 17 issue of that paper of his an editorial which is so constructive that Harrison's Reports has felt obliged to call it to the atten- tion of the readers of this publication, for it believes that the case of the exhibitor could not have been defended more effectively.

Lack of space necessitates the reproduction of only the salient parts of that editorial.

"Little doubt remains," says Mr. Quigley, "that the American picture industry will face a variety of thorough-

going changes during the coming year. Out of the changes that are in prospect there is hope of a better business. This is fortunately so because the recent trend has been almost evenly in the wrong direction.

"Looming large on the horizon is the government suit, the outcome of which, despite the perverse or studied in- difference of many in the industry, is almost certain to have a profound effect on the business and its future operation. There is naturally a devotion to the status quo on the part of its beneficiaries even though there must be few who are prepared to admit satisfaction over the present condition in industry affairs. It perhaps cannot be demonstrated in advance that extensive alteration in industry procedure will increase the general prosperity. But if the year 1938 may be taken as the fruition of existing policies, something in the way of experimentation for the future seems in order.

"The product situation and the accompanying question of costs admits of almost innumerable explanations, but one that inevitably bids for attention is the iron-ring status, that condition under which new people and new ideas are not necessarily excluded. But their admission depends not upon what they may show in a competitive test, but, rather, upon their good fortune and right connections useful in pene- trating the wall which has been created to keep the insiders in and the outsiders out. . . .

"When the public stays away it is because of a particular poor picture which is presented currently. . . . Release date requirements, inability of the theatre to book a better at- traction, a picture contracted for sight unseen—all these and others may serve to explain how the poor picture got into the theatre. But they afford little satisfaction to the public which after paying the admission price has not been entertained. . . .

"There is, naturally enough, much speculation on the economic results of the condition of bureaucratic operation which has come to characterize various activities of the business. Distributors, in some instances, by virtue of their power to dictate time and conditions of exhibition under- take, in effect, to run theatres, frequently against the ex- perienced judgment of the actual operators. If these many intricate and involved arrangements proved to be materially advantageous to the distributor, there would be that much, at least, to be said in their favor. But it becomes frequently the case that, while an advantage to the distributor is sought, none actually is gained. And the exhibitor, curbed and handicapped in taking the line his judgment dictates, finds his chance of sustaining profitable operation dimin- ished week by week. This and similar conditions are not matters which half-way measures are likely to correct. A new concept as to what constitutes healthy and construc- tive trade practices is needed.

"The disappearance of the old order of spirited merchan- dising of the motion picture to the public is well exemplified in certain of the large theatre circuits where the procedure has become as humdrum and routine as that of a railroad office. Here may be seen applied in its full bloom the adage — so beloved by banker and bookkeeper — that a dollar saved is a dollar earned. Advertising budgets have been pruned to the vanishing point, the process meanwhile pleasing highly its sponsors who are so rapturously immersed in expense curtailment tabulations that they fail to compre- hend the import of the figures which trace the descending line in attendance.

"The motion picture as a public attraction has lost many of its early, unique advantages. Radio is not an ally. It is a competitor of formidable proportions. What was once the magic of the motion picture has come to be commonplace.... {Continued on last page)

6

HARRISON'S REPORTS

January 14, 1939

"Tough Kid" with Frankie Darro, Dick Purcell and Judith Allen

(Monogram, December 28; time, 59 min.) A fairly good program melodrama, suitable mostly for neighborhood theatres. Frankie Darro is a standout in the part of the young brother who idolizes and watches over his older brother (Dick Purcell), a pugilist; he wins one's sympathy by his honesty and efforts to do the right thing. The bouts are exciting ; and, for once, a novel touch has been injected, by having the hero lose the title bout. Inci- dentally, one is held in tense suspense during this bout, because of one's desire to see the hero win. Human appeal, romance, and slight comedy touches are combined with the melodrama : —

When Darro hears that Purcell (his brother) had signed up with Don Rowan to manage him, he is discouraged, for he had heard that Rowan was crooked ; this, he felt, might ruin his brother's career. Rowan arranges for Purcell to fight the champion. A certain gambler (William Ruhl), having bet a large sum of money against Purcell, tries to induce him to throw the fight ; but he refuses. When Ruhl learns that Purcell's fiancee (Judith Allen), who sang at his night club, was not well, he pretends to show concern over her health and induces Purcell to take her to the office of a famous doctor. Through a trick, he has his own hench- man pretend to be the doctor ; they lead Purcell to believe that Miss Allen was very sick and that she had to go out West. Being unable to obtain the money for her care, Purcell agrees to throw the fight for $1,00U. Ruhl arranges to send Miss Allen away, but really makes her his prisoner. Darro finds out about the trick ; but the gamblers prevent him from getting to his brother. He manages to escape, but it is too late, for by the time he gets to the arena Purcell had lost the fight. With the information Darro had ob- tained, Purcell is able to have the gang arrested. He rescues Miss Allen, and then marries her.

Brenda Weisberg wrote the story, and Wellyn Totman, the screen play ; Howard Bretherton directed it, and Lindsley Parsons produced it. In the cast are Lillian Elliott, Lew Kelly, Ralph Peters, and others.

Not for children. Class B.

"Devil's Island" with Boris Karloff

(Warner Bros., January 7 ; time, 62 mm.) A grim melodrama. The sordid surroundings and scenes of suffering by the men imprisoned on the island tend to depress the spectator. It is unpleasant also in other respects — in characterizations, as well as in the actions of some of the characters. And the story in itself is somewhat arti- ficial. One feels pity for the hero, an innocent victim of political intrigue, who, when placed on the island, suffers intensely, both physically and mentally ; but this is not enough to hold one's interest. There is no romance : —

Tried as a traitor because he, a doctor, had operated on a revolutionist who had been shot, Boris Karloff, an eminent surgeon, is sentenced to imprisonment on Devil's Island. The hard work and cruel treatment break his spirit. When one of the prisoners dies, a group of prisoners, led by Karloff, revolt. In the fight that follows one of the guards is killed. Karloff and several other prisoners are sentenced to death. The commander (James Stephenson) offers to spare Karloff's life and the lives of the other prisoners if he would operate on his child, who had met with an acci- dent. Karloff performs the operation and saves the child, but Stephenson goes back on his word. Karloff and a few others escape, but are caught and taken back. Stephenson's wife (Nedda Harrigan), knowing that Karloff would be killed because he knew too much about Stephenson's crooked work on the island, rushes to the Governor for help. He and the newly appointed Minister rush to the island in time to save Karloff's life. The Minister brings Karloff the happy news that he had been pardoned. Ste- phenson is arrested. Under Karloff's supervision, a new regime governs the island ; the prisoners are promised help and consideration. Miss Harrigan leaves the island with her child.

Anthony Coldeway wrote the story, and Don Ryan and Ken Garnet, the screen play. William Clemens directed it, and Bryan Foy produced it. In the cast are Rolla Gourvich, Tom Wilson, Egon Brecher, and others.

Not for children. Class B.

"Smiling Along" with Gracie Fields

(2i)th Century-Vox, January 20; time, 92 min.)

Just a mildly entertaining comedy, with only slight ap- peal for American audiences. The story is trite, the situa- tions silly, and the accents too "thick." Not only does the plot lack originality, but it moves along at a slow pace, at times tiring the spectator. Although Miss Fields works hard, she does not make the picture entertaining. It is doubtful if it will draw at the box-olfice, for, unlike "We're Going to Be Rich," which had Victor McLaglen and Brian Donlevy assisting Miss Fields, there are no players of box- office value here : —

A troupe, headed by Miss Fields, lose their booking at a music hall because of an argument Miss Fields had with the manager who was cheating them. They find themselves unable to earn any money. Miss Fields, feeling responsible for their plight, invites them all to her grandfather's farm ; but their presence so irritates him that he orders them to leave. Just when things look really bad, they become ac- quainted with a famous pianist, whose dog they had found. He falls in love with Mary Maguire, a member of the troupe, and promises to help them by appearing with them. Their former manager tries to stop them by kidnapping the pianist ; but he escapes in time to make an appearance and thus assure the troupe's success. Feeling secure with a two year contract, Miss Maguire and the pianist marry. And Miss Fields and her assistant (Roger Livesey), who had been in love for a long time, decide to marry.

Sanda Farago and Alexander Kenedi wrote the story, and William Conselman, the screen play ; Monty Banks di- rected it, and Robert T. Kane produced it. In the cast are Peter Coke, Jack Donahue, Hay Hetrie, and others.

Suitability, Class A.

"Stand Up and Fight" with Robert Taylor, Wallace Beery and Florence Rice

(MGM, January 6; time, 96 min.)

A very good outdoor action melodrama, with romance and comedy. It is different from anything that Robert Taylor has appeared in, which is to his advantage, for it gives him an opportunity to appear in a real "he-man" part. Men in particular should be thrilled, for the story offers opportunities for plentiful action and thrilling situations. Two fist fights between Wallace Beery and Robert Taylor are standouts ; there are also other fights and fast horseback riding. The story, although it can be classified as a Western, is superior to the ordinary outdoor picture, for it revolves around an interesting era in American history ; moreover, the production values are very good. The romance is of importance, being the motivating force in the hero's regen- eration. The story takes place during the period when the Baltimore and Ohio started building its railroad : —

Taylor, an impoverished Southern gentleman, goes West to start all over again. He gets into a fight during a poker game and is thrown into jail. Beery, who had been instru- mental in sending him there, offers to bail him out on con- dition that he wTork off the fine by driving one of his freight stagecoaches. Taylor refuses, demanding to see Beery's employer. To his surprise, the owner turns out to be Flor- ence Rice, whom he had known in better times, and with whom he had quarreled. She offers to let him go, but he refuses, preferring to work out the fine as Beery, her man- ager, had demanded. Taylor suspects Beery of using the company's coaches for slave-running ; his suspicions are confirmed when he finds one of his old slaves held a pris- oner. He helps him to escape, but later finds the man mur- dered. Taylor, acting for the railroad company, gets the facts together and presents them to the government ; this involves Miss Rice. Not having known anything about the slave running, she suspects Taylor of trying to ruin her company in order to help the railroad; but she learns the truth, and forgives him. The slave-running leaders are caught, and Miss Rice is cleared. Taylor, who, by this time, had learned to like Beery, saves him. Miss Rice turns over her stagecoach line to Beery, in order to marry Taylor, who had taken a job as railroad traffic manager.

Forbes Parkhill wrote the story, and James H. Cain, Jane Murfin, and Harvey Ferguson, the screen play ; W. S. VanDyke, II, directed it, and Mervyn LcRoy pro- duced it. In the cast are Helen Broderick, Charles Bickford, Barton MacLane, Charley Grapewin, John Qualen, Robert Glecklcr, and others.

Suitability, Class A.

January 14, 1939

HARRISON'S REPORTS

7

"Federal Man Hunt" with Robert Livingston and June Travis

(Republic, December 26; time, 63 min.)

A fairly good program gangster melodrama, well directed and acted. It has fast action, exciting situations, and a pretty interesting story. The fact that the heroine becomes involved innocently with the gangsters holds one in sus- pense, since her life is endangered thereby. Towards the end, the action becomes rather thrilling. The romance is developed in a believable way : —

June Travis, believing John Gallaudet to be innocent of the charges of having stolen his firm's payroll, arrives at the prison to marry him; but just before the ceremony begins he escapes. After questioning by the police, Miss Travis is permitted to leave. She goes to a hideout to meet Gallaudet. He sends her to get a parcel he had checked at a railroad station, without telling her it contained the pay- roll money he had actually stolen. Acccording to his in- structions, she starts out on a trip, arranged by Gallaudet and his henchmen, which was to take her to a place where he would be waiting for her. She had to travel by a private car in which there are several other passengers. One of the passengers is Robert Livingston, a private detective, who was checking up on the racket of unlicensed private cars taking passengers for fare across country. On the way, the driver picks up Gallaudet, who warns the passengers to be quiet. Miss Travis soon learns the bitter truth — that Gal- laudet was really a criminal ; Livingston, too, finds this out. The driver stops at a hideout, where the other passengers are forced to stay. Eventually Livingston, through a ruse, attracts the police to the house. Gallaudet and the gang are caught; Miss Travis turns the money over to the police. Her name is cleared ; she and Livingston look forward to happier times together.

Sam Fuller and William Lively wrote the story, and Maxwell Shane, the screen play; Nick Grinde directed it, and Armand Schaefer produced it. In the cast are Ben Welden, Horace MacMahon, Charles Halton, and others.

Not for children. Suitability, Class B.

"Charlie Chan in Honolulu" with Sidney Toler, Phyllis Brooks and John King

(20th Century-Fox, January 13; time, 67 min.)

A pretty good program murder-mystery melodrama. Considering that this is Sidney Toler's first appearance in the part of Chan, he does fairly well ; it may be that in time, he will overcome the handicap of impersonating the role the late Warner Oland played so well. There is plentiful comedy ; the laughter is provoked by the attempts of two of Chan's sons to follow in their father's footsteps, and by Eddie Collins, an excitable keeper of lions. The story holds one's interest throughout, and keeps one guessing as to the murderer's identity ; it turns out that he is the one least suspected : —

While Toler is at the hospital awaiting the birth of his first grandchild, his young son receives a telephone message from the Police Department requesting that Toler go to a ship that had just docked, to investigate a murder which had been committed aboard. The young son, knowing that his older brother was eager to prove to their father that he could make a good detective, suggests that they go to the ship and work on the case. The older son tries to act tough, but he is frightened ; he is happy when his father finally arrives. During the investigation another passenger is mur- dered. Phyllis Brooks, who had been carrying $300,000 in cash, given to her by her firm to be turned over to a client, is suspected, because, the first victim having been the client and the second victim his wife, it was thought that she had killed them so as to keep the money for herself. But Toler proves that the murders had been committed by Robert Barrat, the Captain, who wanted the money for himself. Just as Toler completes the case, he receives the good news that his grandson had been born.

Charles Beldcn wrote the original screen play, H. Bruce Humberstone directed it, and John Stone produced it. In the cast are Sen Young, Claire Dodd, George Zucco, and others.

The murders make it unsuitable for children. Class B.

"Zaza" with Claudette Colbert and Herbert Marshall

(Paramount, January 13 ; time, 84 min.) The production values are excellent and Miss Claudette Colbert's acting highly artistic, but the story creaks with age. What may have been considered a great emotional drama years ago strikes one today as being silly. The ro- mantic complications, involving a sacrifice on the heroine's part, may appeal to older women, but it is doubtful if young folk will be touched by it. One or two situations touch one's emotions, but this is due mainly to the appealing way in which they are played. Bert Lahr turns from comedy to a straight dramatic part and is quite good at it ; as a matter of fact he is the most sympathetic character. Herbert Mar- shall is at a definite disadvantage, for the character he por- trays is unpleasant : —

Miss Colbert, a performer in a French music hall, is groomed by her partner (Lahr) for stardom. But she loses all interest in her career when she meets Marshall, a staid business man, who succumbs to her charms. They become lovers. When she learns that he was married, she is at first enraged and then becomes heartbroken. But she refuses to give him up ; instead, she decides to pay him an unexpected visit at his home and, in the presence of his wife, demand that he choose between them. Her plans are changed, however, when she meets his child, an adorable girl, who takes a liking to her. When Marshall's wife ar- rives, Claudette pretends that she had entered the wrong apartment. Lahr, her only real friend, consoles her and induces her to give up Marshall and continue with her career. She does so, and in time she becomes a famous star, appearing in Paris. Four years later, Marshall calls to see her at the theatre, but she tearfully sends him away.

The plot was adapted from the play by Pierre Berton and Charles Simon ; Zoe Akins wrote the screen play, George Cukor directed it, and Albert Lewis produced it. In the cast are Helen Westley, Constance Collier, Gene- vieve Tobin, Walter Catlett, Rex O'Malley, and others.

Not suitable for children. Class B.

"Newsboys' Home" with Jackie Cooper, Wendy Barrie and Edmund Lowe

(Universal, December 23 ; time, 72 min.) A fairly good melodrama. It should go over well with audiences who are not concerned about lack of logic in a plot as long as there is fast and exciting action throughout. They will not be disappointed on that score, for there is plentiful action, which, towards the end, becomes very ex- citing. In addition to the melodrama, the story offers com- edy and a mildly pleasant romance. Jackie Cooper gives his usual good performance, winning one's sympathy : —

Heartbroken at the death of his father, a small-town Sheriff, who had been shot by an escaping gangster, Jackie decides to go to the city in search of the criminal, whom he had seen. Being without funds, he goes to a newsboys' home founded by the publisher of a large newspaper, where he is given food and shelter. He decides to sell papers ; in a short time he becomes the leader. When the publisher dies, his daughter (Wendy Barrie) takes over his job. Her stubbornness in refusing to listen to advice from Edmund Lowe, the managing editor with whom she was in love, is disastrous for the paper ; its circulation drops and the ad- vertisers withdraw their accounts. The newsboys' home is closed and all the boys, with the exception of Jackie and one other, go over to the rival paper. In a quarrel with Miss Barrie, Lowe resigns. Eventually Miss Barrie sees the error of her ways and begs Lowe to return ; things start humming, and in a short time the paper's circulation rises. The rival newspaper publisher (Irving Pichel) engages a gangster to start trouble for Miss Barrie. In a fight that follows one of the newsboys is shot. Jackie recognizes the gangster as the one who had killed his father. He is instru- mental in having him and the other gangsters rounded up. The newsboys' home is reopened, much to the joy of the boys, who return to it. Miss Barrie marries Lowe.

Charles Grayson and Gordon Kahn wrote the story, and Gordon Kahn, the screen play ; Harold Young directed it, and Ken Goldsmith produced it. In the cast are Edward Norris, Samuel Hinds, Elisha Cook, Jr., and others.

Suitability, Class A.

8

HARRISON'S REPORTS

January 14, 1939

"On Broadway the show that fails to satisfy the public demand is quickly and decisively hauled to the storehouse. But the early wise men of the industry, foolish in their wisdom, sought and succeeded in contriving a system that serves to perpetuate the picture that has failed in its enter- tainment purpose. This has proved to be a disastrous ac- complishment which in these latter years has brought about increasingly adverse results. . . .

"No matter how intelligently conceived and executed, all pictures undertaken cannot be expected to turn out to be sterling attractions. But under prevailing conditions the good pictures do not obtain the revenue to which they are entitled. The poor ones obtain too much, however little that may be. In addition, the failures serve to break the theatre- going habit, to cause the public to wonder what has hap- pened to pictures as they pass on in search of entertainment elsewhere. . . .

"The argument that unless the indifferent films are dis- tributed and allowed to collect some revenue the better productions would be prohibitive in cost is unconvincing. A production company succeeds or fails on the basis of total revenues collected against the total costs of produc- tion. It is immaterial whether a stated volume of revenue is obtained out of twenty-five pictures or out of thirty pic- tures. If a program of thirty pictures costs $15,000,000, the producer's situation is better and not worse if he recoups his costs through the distribution of only twenty-five instead of the whole thirty pictures because he has saved the costs of distribution. The automatic rejection at the source of pictures which unquestionably are below acceptable stand- ards would confer a great benefit on the public and on the exhibitor and at the same time would inevitably lead to an enhancement of the reputation of the motion picture. Ad- mittedly, however, such a policy would not serve to monop- olize screen time to the exclusion of other product. . . .

"The coining year, for reasons referred to and others, is likely to become a turning point in motion picture industry affairs. The present procedure if kept prosaically intact promises only a postponement of a serious day of reckoning. There are now, and have been for some time, danger signals all along the right of way. The great question which 1939 proposes is whether out of the vast store of accumulated knowledge and experience the industry in its several com- ponent parts will determinedly set itself to the task of recapturing that spirit of enterprise and progress out of which its greatness was born. ..."

BOX-OFFICE PERFORMANCES OF 1938-39 SEASON'S PICTURES— No. 1

In the issue of October 15, 1938, appeared the last of the fifth series of articles giving the box-office performances of the 1937-38 season's pictures. When that issue was pub- lished, some of the 1937-38 season's pictures either had not been released or had not played in a sufficient number of theatres to make possible an accurate report of their box- office performances. As a result, they were omitted from those articles.

The present series of articles, although relating to the box-office performances of the 1938-39 season's pictures, will include the check-up also of those of the 1937-38 sea- son's pictures not reported up to the October 15 issue. They will be identified properly as belonging to the 1937-38 season, under the names of the companies releasing them.

Columbia

1937-38

"The Gladiator," with Joe E. Brown and June Travis, produced by David L. Loew and directed by Edward Sedg- wick, from a screen play by Arthur Sheekman : Good-Fair.

"Convicted," with Charles Quigley and Rita Hayworth, directed by Leon Barsha, from a screen play by Edgar Edwards : Poor.

"Phantom Gold," with Jack Luden and Beth Marion, directed by Joseph Levering, from a screen play by Nate Gatzert : Fair-Poor.

"I Am the Law," with Edward G. Robinson, Wendy Barrie, and John Beal, produced by Everett Riskin and directed by Alexander Hall, from a screen play by Jo Swerling: Good.

"The Colorado Trail," with Charles Starrett and Iris Meredith, directed by Sam Nelson, from a screen play by Charles S. Royal : Fair-Poor.

"The Lady Objects," with Gloria Stuart, Lanny Ross, and Joan Marsh, produced by William Perlberg and di-

rected by Erie Kenton, from a screen play by Gladys Leh- man and Charles Kenyon : Fair-Poor.

"Juvenile Court," with Paul Kelly, Rita Hayworth, and Frankie Darro, directed by U. Ross Lederman, from a screen play by Michael L. Simmons, Robert E. Kent, and Henry Taylor : Fair.

"The Stranger from Arizona," with Buck Jones and Dorothy Fay, produced by Monroe Shaff and directed by Elmer Clifton, from a screen play by Monroe Shaff : Fair- Poor.

"Girls' School," with Anne Shirley, Nan Grey, Ralph Bellamy, and Noah Beery, Jr., produced by Sam Marx and directed by John Brahm, from a screen play by Tess Slcs- inger and Richard Sherman : Good-Fair.

"Law of the Texan," with Buck Jones and Dorothy Fay, produced by Monroe Shaff and directed by Elmer Clifton, from a screen play by Monroe Shaff and Arthur Hoerl : Fair-Poor.

"California Frontier," with Buck Jones and Carmen Bailey, produced by Monroe Shaff and directed by Elmer Clifton, from a screen play by Monroe Shaff and Arthur Hoerl : Fair-Poor.

Fifty-nine pictures, including Westerns, have been re- leased. Grouping the pictures of the different ratings from the beginning of the season, we get the following results :

Excellent, 2 ; Very Good-Good, 1 ; Very Good-Poor, 1 ; Good, 1; Good-Fair, 6; Good- Poor, 4; Fair, 12; Fair- Poor, 28 ; Poor, 4.

Thirty-eight pictures, excluding Westerns, were released during the 1936-37 season ; they were rated as follows :

Excellent, 1 ; Very Good, 1 ; Very Good-Good, 1 ; Good, 4; Good-Fair, 4; Good-Poor, 1; Fair, 5; Fair-Poor, 13; Poor, 8.

1938-39

"You Can't Take It with You," with Lionel Barrymorc, Jean Arthur, James Stewart, Spring Byington, and Samuel Hinds, produced and directed by Frank Capra, from the screen play by Robert Riskin : Excellent.

"West of Santa Fe," with Charles Starrett and Iris Meredith, directed by Sam Nelson, from a screen play by Bennett R. Cohen : Fair-Poor.

"Crime Takes a Holiday," with Jack Holt and Marcia Ralston, produced by Larry Darmour and directed by Lewis D. Collins, from a screen play by Henry Altimus, Jefferson Parker, and Charles Logue : Fair.

"Flight to Fame," with Charles Farrell, Jacqueline Wells, and Jason Robards, directed by C. C. Coleman, Jr., from a screen play by Michael L. Simmons: Fair.

"The Little Adventuress," with Edith Fellows, Jacque- line Wells, Richard Fiske, and Cliff Edwards, directed by D. Ross Lederman, from a screen play by Michael L. Simmons : Fair-Poor.

Five pictures have already been released. Grouping the pictures of the different ratings from the beginning of the season, we get the following results :

Excellent, 1 ; Fair, 2 ; Fair-Poor, 2.

The first five pictures in the 1937-38 season were rated as follows :

Excellent, 1 ; Good-Poor, 1 ; Fair, 1 ; Fair-Poor, 2.

SOMETHING TO THINK ABOUT

In the Foreword of the book, "High Pressure : What It Is Doing to My Town and My Neighbors," Mr. Jesse Rainsford Jones, the author, says partly the following:

"... the time is past when business can be allowed so much freedom without disastrous consequences. In this book I have tried to show what can happen in a typical American community as a result of allowing business an excess of freedom. . . . We Americans don't have the sense of security that we used to have. . . . We can't have the old sense of security until something is done to curb the Amer- ican practice of high-powered salesmanship."

The United States Government seems to be imbued with the same theory about the motion picture industry. Hence the suit it has brought against the producers — to curb the excess freedom they have so far had in using high-powered salesmanship tactics against the weak.

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 915.00 R„nm1ft1o Harrison's Reports, Inc..

U. S. Insular Possessions. 16.50 KOOm lou Publisher

Canada 16.50 New York, N. Y. P. S. HARRISON, Editor

Mexico, Cuba, Spain 16.50 . , .

Great Britain 15.75 Motlon Plcture Reviewing Service v«t*hU,h»a T„,v 1 mi 4

Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919

India, Europe, Asia .... 1-3.50

iKn c p„„v Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-46£2

ooc a. copy Columns, if It is to Benefit the Exhibitor.

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXI SATURDAY, JANUARY 21, 1939 No. 3

NATIONAL SCREEN SERVICE DOING GREAT PATRIOTIC WORK

Inspired by a speech on tolerance and patriotism made by Mr. Karl Hoblitzelle at the dinner which he and Mr. Bob O'Donnell, his associate, gave to Mr. Ned Depinet, in Dallas, early last year, Mr. Herman Robbins, of National Screen Service, suggested to Messrs. Hoblitzelle and O'Donnell, that the beautiful sentiments expressed by Mr. Hoblitzelle in that speech be translated into a trailer, to be shown at the theatres of their circuit, Interstate Circuit of Texas.

Messrs. Hoblitzelle and O'Donnell liked the idea and a trailer was decided upon to be based on the National An- them, "The Star Spangled Banner."

The showing of that trailer in the theatres of the circuit proved so successful that Mr. Robbins felt that this and two other trailers, entitled "Constitution" and "The Bill of Rights," be produced and sold outright to any exhibitor who wanted them, at cost.

National Screen Service has now ready for sale trailers of "The Star Spangled Banner." Its length is 118 feet, 36 feet being in technicolor.

The charge for this trailer is $3.54. This cost does not include studio recording, art work, text research, film editing and distribution ; it covers only the cost of the raw stock and of printing.

In view of the fact that the trailers become your prop- erty upon purchase, I suggest that you buy all three. There are many occasions on which you could show them to good advantage. "Star Spangled Banner," which is the only one ready just now, is not only inspiring, but also highly artis- tic. And I am sure that the other two will be as artistic as well as inspiring ; they will be ready for delivery shortly.

Harrison's Reports takes great pleasure in commending National Screen Service for its forethought.

THE TRUTHS MR. QUIGLEY SAID IN HIS DECEMBER 16 EDITORIAL

What Mr. Quigley actually said in his December 16 editorial, the salient parts of which were reproduced in last week's issue of this publication, is this :

(1) The motion picture industry will "face a variety of thoroughgoing changes this year."

(2) Despite the studied indifference of the producers, the Government suit will have a great influence upon the method of doing business in the industry.

(3) New "blood" in the production end of the industry is not admitted so easily now ; the penetration of the wall the present heads there have built around production so as to keep themselves in and the "outsiders out" depends, not on ability, but on good fortune and "right connections."

(4) Explanations of why a theatre shows a bad picture give little satisfaction to those who pay their money to the box offices to be entertained.

(5) The producers, although they have all the advan- tages of obtaining the best pictures available, arc not suc- cessful theatre operators.

(6) Theatre operation by producer employees has be- come a humdrum and routine procedure — just like (hat of railroads. Their main thought is how to save money in the operation of tbe theatres, not how to get more money. In

line with this thought, they are doing as little advertising as they can, whereas advertising should be done with a "vengeance." Such a step might spoil the pleasure of those who prepare tabulations of expense curtailment but it will bring in dollars.

(7) Radio is not an ally of the motion picture but a competitor of formidable proportions.

(8) If a stage show on Broadway fails to make good, it is "hauled to the storehouse," and there pickled ; whereas the moving picture producers have succeeded in contriv- ing a system whereby "failures" are "perpetuated." This system has made and is making the industry "pay."

(9) Under the present system, good pictures do not bring in the money they can bring, and the poor pictures, by being kept on the board, are given a chance they are not entitled to be given. This has dissatisfied the public and has caused it to look for good entertainment elsewhere.

(10) The argument that unless the poor pictures are given a chance to bring in some revenue the industry will go bankrupt is not convincing. What is the difference whether the income is derived from twenty-five pictures or from thirty, as long as the full income is derived? It should be more profitable if it were derived from twenty- five, because it would save the distribution cost of the five pictures that are not worth showing. "The automatic rejec- tion" of poor pictures "at the source . . . would confer a great benefit on the public and on the exhibitor," and would add prestige to motion pictures. But such a policy would not perhaps be acceptable to the present holders of the "monopoly," because it would give a chance to the meri- torious pictures of others.

(11) If the producers should insist upon continuing the present system, they merely delay the day of reckoning, but they will not be able to prevent its arrival. "There are now, and have been for some time, danger signals all along the right of way." The only question is whether the pro- ducers will be wise enough to see it or not.

Wise statements, I'll say!

20th CENTURY-FOX TO DISTRIBUTE GAUMONT-BRITISH PICTURES

On December 12, Twentieth Century-Fox took over the sales of Gaumont-British pictures.

The exhibitors of the United States know, I am sure, that Twentieth Century-Fox has a substantial interest in the Gaumont-British company of Great Britain. By taking over the sales of this company's pictures, Twentieth Cen- tury-Fox merely accommodates a partner.

Some exhibitors have expressed the fear that the Twen- tieth Century-Fox salesmen may attempt to compel an exhibitor to buy these pictures in addition to the pictures of their own company, but Harrison's Reports doubts whether these fears arc justified; Sidney Kent is too smart to permit them to resort to such a practice.

But in view of the fact that Mr. Kent cannot be present during the negotiations of exhibitors with salesmen to pre- vent the salesmen from possibly employing high-pressure sales methods, Harrison's Reports suggests to the Allied members of the negotiating committee, in the event that the negotiations were resumed, to insist that in the final agreement there be included a provision dealing with for- eign pictures.

10 HARRISON'S REPORTS January 21, 1939

"The Great Man Votes" with John Barry- more, Virginia Weidler and Peter Holden

(RKO, Jan. 13; time, 71 min.)

An excellent and, in some ways, unusual picture. For one thing, the story is completely off the beaten path ; and yet, it has the ingredients for mass appeal in that it has deep human interest, unusual comedy, and exceptionally good performances. The direction, too, is outstanding ; it seems as if RKO has uncovered a director of great talent in Garson Kanin, for he has showed ability also in another picture — "A Man To Remember." "The Great Man Votes" is the type of picture that has something in it for all types of audiences for, in addition to its human quality, the story development is intelligent, and the dialogue brilliant. Sev- eral situations touch one's heartstrings. The closing scenes, in which John Barrymore makes a speech, are the most touching. The romantic interest is minimized : —

To his children (Virginia Weidler and Peter Holden), John Barrymore was the most marvelous person in the world. They felt sure that, had their mother lived, he, a Harvard graduate, would have been a great man and not a night watchman ; but her death had broken his spirit and he had taken to drink. Since he had small regard for the public school system his children were compelled to at- tend, he instructs them on his own. Both children were so remarkably intelligent, that they surprised their new teacher (Katherine Alexander) by their knowledge. She pays a visit to Barrymore and is unhappy to find so brilliant a man doing menial work. When it is discovered that Barry- more was the only voter in a certain district, Donald Mac- Bride, ward boss, pays him a visit to try to induce him to vote for his man, candidate for Mayor. But Barrymore, who had been enraged when MacBride had caused him to lose his job because little Virginia had given MacBride's son a black eye, makes demands. Urged on by his children, he asks for the important position of School Commissioner in return for his vote ; MacBride promises it. In the meantime, his wife's relatives try to take the children away from Barrymore. But when he rides victorious to the polls, at the head of a parade, with a written promise from the Mayor assuring him of the position, the relatives give up their demands. Barrymore is indeed a happy man, for he had proved to his children that he was a great man. Miss Alexander shares his joy.

Gordon M. Hillman wrote the story, and John Twist, the screen play ; Cliff Reid produced it. In the cast are Bennie Bartlett, Elizabeth Risdon, and others.

Suitability, Class A.

"Arizona Legion" with George O'Brien

(RKO, Jan. 20 ; time, 58 min.)

This is George O'Brien's best western to date. His fans are in for a treat, for the story gives him many opportu- nities to exhibit his skill as a horseback rider and a fighter. Despite a routine plot, one's attention is held throughout, for the action is fast and the situations exciting. The photog- raphy is very good, particularly in the outdoor scenes. Romance and comedy are interpolated without interfering with the action : —

George O'Brien, a former ranch owner who had sold his cattle and was squandering his money on drink and gam- bling, becomes friendly with a gang of outlaws. His hancee (Laraine Johnson), heartbroken, breaks their engagement. Unknown to everyone but to Miss Johnson's father, a Judge, O'Brien had been given official permission by the governor to organize a squad to be known as "Arizona Rangers," which he was to head in an effort to stop the lawlessness in the town. O'Brien, still pretending to be one of the outlaws, helps them hold up a stagecoach that carried federal funds. He and his pal are caught, along with two of the outlaws, and thrown into jail. Through them he learns the name of the leader. In an interview with his former pal (Tim Holt), an Army lieutenant, O'Brien tells him the facts, but Holt refuses to believe he was an officer. Holt unwittingly turns the information over to the leader, who was none other than the town Commissioner. O'Rrien and his pal, however, manage to escape and, with the help of their Rangers and the subsequent arrival of the Army men, are able to overpower the gang, recover the money they had stolen, and establish law and order. Miss Johnson is happy to take back her engagement ring.

Bernard McConville wrote the story, and Oliver Drake, the screen play ; David Howard directed it, and Bert Gil- roy produced it. In the cast are Carlyle Moore, Chill Wills, Tom Chatterton, and others.

Since the bravery of the hero is stressed, it is suitable for children. Suitability, Class A.

"Disbarred" with Gail Patrick, Otto Kruger and Robert Preston

(Paramount, Jan 20; time, 59 min.) Fair program entertainment. In spite of the fact that the plot is far-fetched, it should please those who enjoy racket- eer melodramas, for what it lacks in plausibility is made up for in fast action. One's attention is held pretty well, par- ticularly in the second half, wlien the heroine unwittingly becomes involved with the racketeers. The love interest is minimized : —

When Otto Kruger, a criminal lawyer, is disbarred be- cause of crooked work in legal cases where he represented Sidney Toler, a racketeer, he decides to have town. The plane taking him out West makes a forced landing. In order to while away the time, he goes to the courthouse, where he listens to Gail Patrick, a young lawyer, try a case; she so impresses him that he decides to use her in his work. Leading her to believe that he was a real estate operator, with good connections, he offers to obtain a posi- tion for her with a lawyer whom he supjxjsedly knew, but really his henchman. She gratefully accepts. Following Krugcr's orders, the henchman gives Miss Patrick all the criminal cases to try. Coached by her employer, who in turn had been coached by Kruger, she wins all her cases by tricks, much to the annoyance of the District Attorney and of his assistant (Robert Preston). Miss Patrick dis- likes the work given to her, and leaves; she joins the Dis- trict Attorney's staff. Toler is murdered, and the clues lead to her former employer. She obtains from his office impor- tant information ; she is shocked to learn who Kruger really was. With her help, the gang is rounded up. Preston con- fesses his love for her, and she accepts Iris marriage pro- posal.

Harry Sauber wrote the story, and Lillie Hayward and Robert R. Prcsnell, the screen play ; Robert Florey di- rected it. In the cast are Helen Ma^Kcllar, Clay Clement, Eddie Marr, Charles Brown, and Frank M. Thomas.

Not suitable for children. Class B.

"Ambush" with Gladys Swarthout and Lloyd Nolan

(Paramount, Jan. 20; time,6V/> min.) Here is a novelty — a picture starring an opera singer who does not sing one song. "Ambush" is a fast-moving pre>gram gangster melodrama ; it holds the spectator in tense sus- pense. The story is somewhat demoralizing, for it shows the methods employed by the gangsters in carrying out their nefarious schemes, as well as how powerful they are with guns in their hands. Although it is not entertainment for children, adults who go in for melodramas of this type will enjoy it, for the action is thrilling, the story interest- ing, and the plot logical. One is in sympathy with the hero and the heroine, who are forced to do the bidding of the gangsters : —

Knowing that her brother (William Henry) had sup- plied the gas used by three criminals in holding up the bank in which she worked, Gladys Swarthout rushes to him : she pleads with him to go to the police, but he refuses. The gangsters hold them both prisoners. Ernest Truex, the leader, threatens to kill Henry unless Miss Swarthout co- operated with them ; he orders her to get them a truck in which to make their getaway. She strikes up a friendship with Lloyd Nolan, who drove his own truck, and lures him to the hideout. There Truex gives Nolan his orders, threat- ening him with death unless he obeyed. Nolan soon realizes that Miss Swarthout was innocent. All roads were being patrolled by police, but, since they knew Nolan, who fre- quently drove his truck there, they let him pass without examining the contents of his truck. In a clever way, Nolan manages to get information to the police without Truex's suspecting anything. When they reach a certain spot, they abandon the truck and continue by plane. Nolan induces them to spare his life, in return for which he offers to take them to his hut in the mountains. When they arrive there, Henry, feeling that he was ruining his sister's life, goes to his death, taking with him one of the gangsters. Another gangster dies. Truex, left alone, warns Nolan not to try anything. The police finally locate the hideout and arrive just in time to save Nolan and Miss Swarthout, whom Truex was planning to kill. With the money returned and their names cleared, Nolan and Miss Swarthout plan to marry.

Robert Ray wrote the story, and Laura and S. J. Perel- man, the screen play ; Kurt Neumann directed it, and William Wright produced it. In the cast are Broderick Crawford, Rufe Davis, William Frawlcy, and others.

Not for children. Adult fare. Class B.

January 21, 1939

HARRISON'S REPORTS

11

"Jesse James" with Tyrone Power, Henry Fonda, Randolph Scott and Nancy Kelly

(20//; Century-Fox, Jan. 27; time, 105 min.)

This is very good mass entertainment. Technicolor photography has never been employed to better advantage. Some of the outdoor scenes are like paintings ; they are certain to bring gasps of delight from the audience. But the biggest drawing card is the title itself, for the fame of "Jesse James" is known to most people in this country ; and with such popular players in the cast, there is no doubt that it will do smash business. It has, however, its defects. For one thing, Tyrone Power is hardly the type to portray a bold bandit ; as a matter of fact, he comes out third best, for both Henry Fonda and Randolph Scott act more con- vincingly. Secondly, there are spots in which the action drags considerably. And, thirdly, the hero is not a sympa- thetic character, despite the efforts of the producers to justify his criminal activities. But the action is at times thrilling, at other times laugh-provoking, and for the most part interesting : —

Embittered by the ruthless methods employed by the railroad company in usurping their farm land, thereby causing the death of their mother, Jesse James (Power) and Frank James (Fonda) become outlaws, centering most of their activities against the railroad company. In time, however, they branch out to robbing also banks. A big re- ward is offered by the railroad company for Jesse's capture. Despite the risk, Jesse visits Zerelda (Nancy Kelly), with whom he was in love. There he meets Will Wright (Scott), a federal marshal, who, too, loved Zerelda ; Wright knows who Jesse was but lets him go free. In an effort to help the young couple, Wright obtains a written promise from the railroad president that, if Jesse would surrender, he would be given a six-month sentence and then released. Zerelda and Jesse marry, after which Jesse gives himself up. But it turns out that the president really intended to have Jesse hanged. The double-cross disgusts Scott. Frank, in company with his bandits, carries out his threat to free Jesse. Jesse and Zerelda live in hiding. This makes her miserable. Scott and her uncle (Henry Hull) are with her when she gives birth to her son ; she goes back home with her uncle. Jesse decides not to follow her ; instead, he con- tinues his outlaw career. After five years, he and his wife are reconciled, and plan to go to California, there to start life anew. On the day they were to leave, Jesse is killed by one of his own men for the reward.

Nunnally Johnson wrote the original screen play and produced it. Henry King directed it. In the cast are Slim Summerville, J. Edward Bromberg, John Carradine, Jane Darwell, and others.

Since the hero is a bandit, exhibitors will have to use their own judgment about showing it to children. Suita- bility, Class B.

"King of the Underworld" with Kay Francis and Humphrey Bogart

{Warner Bros., Jan. 28; time, 68 min.) A fairly good program gangster melodrama ; the action is fast and exciting. The story is similar to that of "Dr. Sociates," produced by Warner in 1935, for the main idea — that of a doctor subduing a gang of murderous criminals by frightening them into permitting him to give them an injection that doped them, is used here, except that in this case the doctor puts drops in their eyes, which blind them temporarily. It is more effectively done than in "Dr. Socra- tes," for the gangster leader, although unable to see, walks around with a gun in his hand, intent on killing the doctor ; this holds the spectator in tense suspense. For another thing, the leading character (Miss Francis) is more sympathetic, for she docs not willingly help the gangsters. The romance is pleasant : —

Kay Francis and her husband (John Eldridge), both surgeons, complete a successful operation on a gangster who had been shot. When Humphrey Bogart, gangster leader, hears of it, he visits Eldridge and insists on giving him $500 for his work. Eldridge tells Miss Francis he had won the money betting on horses ; he suggests that they move to more fashionable quarters. Unknown to Miss Francis, Eldridge continues his association with the gang- sters. Eventually the police raid Bogart's hideout ; Eldridge is killed during the shooting, but Bogart and his men escape. Miss Francis is arrested as her husband's accomplice. At her trial, the jury disagrees and she is released. The Medi- cal Association gives her three months in which to prove her innocence. Hearing that two of Bogart's henchmen were held in a small town jail, she leaves for that place, and there she opens an office. Bogart and his henchmen

arrive at the jail and shoot their way through to release the prisoners. James Stephenson, a penniless author wdio had accepted a lift from Bogart, is shot ; so is Bogart. Stephen- son is caught trying to escape and is arrested as one of the gangsters; but he proves his innocence. He and Miss Francis become good friends. Miss Francis' aunt insists that he stay with them for a while. Bogart calls on Miss Francis ; she takes care of him. Wanting to have the story of his life written, Bogart has his men kidnap Stephenson; his intention was to kill him when the book was finished. Miss Francis outwits the gang, leading them into the hands of the federal officers. Bogart is killed. Her name cleared, she marries Stephenson.

W. R. Burnett wrote the story, and George Bricker and Vincent Sherman, the screen play; Lewis Seiler directed it, and Bryan Foy produced it.

Not suitable for children. Class B.

"Pirates of the Skies" with Kent Taylor, Rochelle Hudson and Regis Toomey

(Universal, Feb. 3; time, 61 min.)

A fair program melodrama, revolving around the activi- ties of the air police patrol. Although the story is familiar, it holds one in fair suspense, because of the exciting action during the encounters between the police and the criminals. Since the audience knows from the very beginning who the criminals are, the interest lies in the methods emploved by the police in solving the case. Occasionally the action is slowed up because of too much dialogue and of the inter- jection of comedy that is not particularly effective: —

Kent Taylor, a happy-go-lucky aviator, who could not hold down a job, joins the air police force in wdiich his pal (Regis Toomey) was an officer. Rochelle Hudson, Kent's wife, who had left him because of his inability to take a job seriously, expresses doubt as to Kent's ability for such work. The police are unable to obtain clues as to the iden- tity of a gang of racketeers, who had been terrorizing the district by their bold holdups. Kent, who had been ordered to fly to a summer camp, there to pick up the Governor and take him to the Capitol Building, notices, while in flight, a car stopping at a landing field. Two men emerge from the car and rush to a waiting plane. Realizing that they must be the mysterious criminals, he starts pursuing them ; but they get away from him. Because of engine trouble, Kent is forced to land at the pigeon farm owned by Lucien Little- field, who was really the head of the gang. Littlefield helps him out. after which Kent returns to headquarters ; but he is forced to resign because of acting against orders. He fol- lows the case up himself, and eventually proves that he was correct in his deductions. The gangsters are trapped by the police. Kent's reinstatement brings happiness to Miss Hud- son, who becomes reconciled with him.

Ben G. Kolm wrote the screen play, Joe McDonough directed it, and Barney Sarecky produced it. In the cast are Dorothy Arnold, Marion Martin, and others.

The activities of the criminals make it unsuitable for children. Class B.

"Fighting Thoroughbreds" with Ralph Byrd, Mary Carlisle and Robert Allen

(Republic, January 6; time, 65 min.)

A pretty good racetrack program melodrama. Although not very different in story content from other pictures of this type, it should please an average audience, for the action is pretty fast and fairly interesting. One is in sym- pathy with the heroine (Mary Carlisle) and her grand- father (George Hayes), who, because of financial difficul- ties, had lost their home and their horses. The spectator is. therefore, pleased when they come into possession of a coit whose sire had been a race horse, for it meant that they could recoup their fortunes if the colt should turn out to be a racer. One's attention is held until the end, when the big race is run ; during this situation one is held in suspense for the heroine's chances of winning are endangered by gam- blers, who had kidnapped her grandfather in order to force her to hold her horse back, for they were betting on another horse. But her horse wins, and her grandfather is rescin d by the hero (Ralph Byrd), a physician who had brought the colt into the world and had helped her train it. and by Robert Allen, a wealthy man, who was in love with her But she gives her love to Byrd.

Clarence E. Marks and Robert Wyler wrote the story, and Wellyn Totman, the screen play"; Sidney Salkow di- rected it. and Annand Schaefer produced it. In the cast are ( harles Wilson, Marvin Stephens, and others.

Suitability, Class A.

12

HARRISON'S REPORTS

January 21, 1939

PARAMOUNT TAKES STEP TO DIVORCE THEATRES FROM PRODUCTION

In the financial section of the January 6 issue of the New York Herald-Tribune, there was a news item to the effect that Paramount has taken the first steps to divest itself of its theatre holdings.

The Tribune article says that Paramount contemplates forming two new companies, one for the taking over of production, and the other of the theatres. One share from each new company will be given for one share of the present stock.

"This action," says the Herald-Tribune, "is believed to be the first of similar moves by other motion picture com- panies, which also own exhibiting facilities, as a result of the anti-trust action taken against the industry by the Department of Justice.

"Just when Paramount will take this action is not known, but it was reported that the changes would be made within the next two months. The annual meeting of the company is scheduled for the third Thursday in June, and it is likely that a special meeting of the stockholders to approve the action will be called. . . ."

It is evident that Paramount, seeing the handwriting on the wall as a result of the Government's suit, is trying to devise all kinds of schemes to preserve its theatre circuit. But Harrison's Reports doubts whether it will be al- lowed by the Department of Justice to employ subterfuges, for creating two companies so that each may take over one of the two functions of the present company so as to re- tain control over the theatres is nothing but a subterfuge.

If I understand correctly the intention of the Govern- ment, as expressed in the suit, the Department of Justice is seeking to compel the theatre-owning producers to divest themselves of their theatre holdings entirely. The Govern- ment feels that ownership of theatres by producer-distribu- tors is contrary to public policy and it is unlikely that it will permit either Paramount or any other theatre-owning producer to retain over their theatres even an indirect interest.

Isn't it about time that the producers stopped "kidding" themselves ? Certainly they cannot fool the Government.

IS PARAMOUNT NOW TO MAKE DELIVERY OF "CHEATERS" A REGULAR PRACTICE?

"The Beachcomber," the British-made picture with Charles Laughton, which Paramount has announced for release, is not a Paramount-made picture.

"Little Orphan Annie," which this company has al- ready released, is not a Paramount-made picture.

"One-third of a Nation," now in the cutting room, which will be released by Paramount, is not a Paramount- made picture.

Since the last mentioned picture has not yet been shown, I don't know whether it is a good or bad picture, but the other two — "The Beachcomber" and "Little Orphan Annie," have been shown and they are decidedly poor.

According to the December 21 issue of Variety, Para- mount intends to release at least five outside pictures this season.

No exhibitor would, I am sure, object if Paramount should take over meritorious pictures, but when it takes over pictures such as "Little Orphan Annie" and "The Beachcomber," it is different.

BOX-OFFICE PERFORMANCES OF 1938-39 SEASON'S PICTURES— No. 2

Metro-Gold wyn-Mayer 1937-38

"Rich Man Poor Girl," with Robert Young, Lew Ayres, and Ruth Hussey, produced by Edward Chodorov and di- rected by Reinhold Sehunzel, from a screen play by Joseph A. Fields and Jerome Chodorov : Good-Fair.

"Blockheads," with Stan Laurel and Oliver Hardy, pro- duced by Hal Roach, Jr., and directed by John G. Blystone,

from a screen play by Charles Rogers, Felix Adler, James Parrott, Harry Langdon and Arnold Belgard : Fair.

"Marie Antoinette," with Norma Shearer, Tyrone Power, John Barrymore, and Robert Morley, produced by Hunt Stromberg and directed by W. S. Van Dyke II, from a screen play by Claudine West, Donald Ogden Stewart and Ernest Vajda: Very Good-Good.

Forty-five pictures have been released. Grouping the pictures of the different ratings from the beginning of the season, we get the following results :

Excellent, 1 ; Excellent-Very Good, 1 ; Excellent-Good, 3; Very Good-Good, 10; Very Good-Fair, 3; Very Good- Poor, 1 ; Good, 8; Good-Fair, 13; Good- Poor, 2; Fair, 2; Fair -Poor, 1.

Forty-four pictures were released in the 1936-37 season. They were rated as follows :

Excellent, 3; Excellent- Very Good, 3; Very Good, 2; Very Good--Good, 3; Good, 3; Good-Fair, 6; Good-Poor, 1 ; Fair, 13; Fair- Poor, 6; Poor, 4.

1938-39

"Three Loves Has Nancy," with Janet Gayrtor, Robert Montgomery, and Frauchot Tone, produced by Norman Krasna and directed by Richard Thorpe, from a screen play by Bell and Samuel Spewack, George Oppenheimer, and David Hertz: Good.

"Boys Town," with Spencer Tracy, Mickey Rooney, and Henry Hull, produced by John W. Considine, Jr., and directed by Norman Taurog, from a screen play by John Meehan and Dore Schary : Excellent-V ery Good.

"Too Hot to Handle," with Clark Gable, Myrna Loy, and Walter Pidgeon, produced by Lawrence Weingarten and directed by Jack Conway, from a screen play by Laurence Stalliags and John Lee Mahin : Excellent- Very Good.

"Vacation from Love," with Denis O'Keefe, Florence Rice, and Reginald Owen, produced by Orville O. Dull and directed by George Fitzmaurice, from a screen play by Harlan Ware and Patterson McNult: Good-Fair.

"Stablemates," with Mickey Rooney and Wallace Beery, produced by Harry Rapf and directed by Sam Wood, from a screen play by Leonard Praskins and Richard Alaibaum : Very Good-Good.

"Young Dr. Kildare," with Lew Ayres, Lionel Barry- more, and Lynne Carver, directed by Harold S. Bucquet, from a screen play by Willis Goldbeck and Harry Ruskin : Good-Fair.

"Listen Darling," with Judy Garland, Freddie Bartholo- mew, Mary Astor, and Walter Pidgeon, produced by Jack Cummings and directed by Edwin L. Marin, from a screen play by Elaine Ryan and Anne M. Chapin : Good-Fair.

"The Citadel," with Robert Donat and Rosalind Russell, produced by Victor Saville and directed by King Vidor, from a screen play by Ian Dalrymple, Frank Wead, and Elizabeth Hill : Good-Fair.

"The Great Waltz," widi Luise Rainer, Fernand Gravet, and Miliza Korjus, directed by Julian Duvivier, from the screen play' by Samuel Hoffenstein and Walter Reisch : Very Good-Fair.

"Spring Madness," with Maureen O'SulIivan, Lew Ayres, and Burgess Meredith, produced by Edward Chod- orov and directed by S. Sylvan Simon, from a screen play by Edward Chodorov : Good-Fair.

"The Shining Hour," with Joan Crawford, Margaret Sullavan, Melvyn Douglas, and Robert Young, produced by Joseph L. Mankiewicz, and directed by Frank Borzage, from a screen play by Jane Murfin and Ogden Nash : Very Good-Good.

Eleven pictures have already been released. Grouping the pictures of the different ratings from the beginning of the season, we get the following results:

Excellent- Very Good, 2 ; Very Good-Good, 2 ; Very Good-Fair, 1 ; Good, 1 ; Good-Fair, 5.

The first eleven pictures in the 1937-38 season were rated as follows :

Very Good, 1; Good-Fair, 1; Fair, 6; Fair-Poor, 2; Poor,l.

Entered as second-class matter January 4, 1921, at the post offioe at New York, New York, under the act of March 2, 1879.

Harrison's Reports

Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by

United States $15.00 R™™ IQIO Harrison's Reports, Inc.,

U. S. Insular Possessions. 16.50 ROOm 1014 Publisher

Canada 16.50 New York, N. Y. P. S. HARRISON, Editor

Mexico, Cuba, Spain 16.50 , „ .. _. . _ . „ .

Great Britain 15.75 AMotionP.ctureReviewingServ.ee ,

Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919

India, Europe, Asia .... 17.50

,r„ „ Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622

6oc a copy Columns, if It is to Benefit the Exhibitor.

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXI SATURDAY, JANUARY 28, 1939 No. 4

ALLIED NEITHER ACCEPTS NOR REJECTS DISTRIBUTOR TRADE REFORM DRAFT

At the first meeting of the Allied board of directors last week at the Carlton Hotel, in Washington, D. C, the Allied negotiating committee reported that it had received from the distributors on January 14 a revised trade reform draft, that this draft was not different materially from the draft it had received on December 1, and that the proposals con- tained in it were not much different from the oral proposals it had received from them as outlined at the meeting in Chicago on November 3. The only points of difference, the report said, were minor clarifications of language.

The chairman reported also that, along with the new draft, it had received a "wholly tentative outline of an arbitration set-up, not complete as to either principles or details"; that the distributors requested counsel for Allied to sit in with their counsel so as to aid in the drafting of a suitable declaration of principles, as well as in the working out of the arbitration rules and of other details, in addition to suggesting the clarification of the language of whatever of the proposals are obscure.

The chairman informed the board that the new draft contains the maximum distributor concessions.

The negotiating committee informed the board that the proposals do not, in its opinion, meet with the requirements of the Chicago resolution calling for a complete plan in- cluding the details of arbitration. For this reason it could not recommend either its acceptance or its rejection, but it requested for authorization to continue its negotiations up to March 1, either directly or through the Allied counsel, to ascertain whether a satisfactory arbitration plan could or could not be evolved, and whether the language of the provisions of the draft could or could not be clarified satis- factorily, so as to enable the committee to determine whether it should recommend the acceptance or the rejec- tion of the proposals.

The committee recommended further that, in order that misunderstandings be prevented, the Allied board reaffirm the position Allied had taken in Chicago — that nothing that may be submitted by the distributors in any plan shall "hamper or preclude Allied from seeking a larger measure of relief through prosecution of its program of legislation and litigation and that such program be pursued unceas- ingly and with vigor."

At the Tuesday afternoon session, the Allied board passed the following resolution :

"RESOLVED :—

"1. That the Board of Directors of Allied States Asso- ciation of Motion Picture Exhibitors accepts and approves the unanimous report of the Negotiating Committee.

"2. That the distributors' draft of proposed trade re- forms dated December 1, as revised January 14, is not sufficiently definite or complete to enable the Board advis- edly to take final acceptance or rejection.

"3. That the Negotiating Committee is authorized to continue its efforts to secure a draft for the consideration of the Board which will meet the Board's requirement, set forth in its resolution dated November 3, that it must have a complete and definite plan, including the details of arbi- tration, before it can act.

"4. That any further report the Committee may have to make shall be submitted to the Board not later than March 1, 1939.

"5. After thorough study of the proposals submitted, and presupposing that a legal and workable wording of such proposals may be evolved, the Board feels that such pro- posals fall far short of curing the industry evils of which Allied and the independent exhibitors have complained for years ; and the Board, therefore, reiterates the stand taken

in its former resolution that nothing in any plan which may be reported shall in any way hinder or preclude Allied States Association from seeking a larger measure of relief than that offered by the distributors by legislation, litiga- tion, or otherwise ; and, further that the Allied campaign of legislation and litigation be prosecuted unceasingly and with vigor."

At the Wednesday session Col. H. A. Cole was elected president, Mr. Abram F. Myers was reelected general counsel, Mr. Herman Blum treasurer, Mr. Charles Olive was elected secretary, and Mr. P. J. Wood recording secretary.

The following were elected as executive committeemen : W. A. Steffes, Sidney Samuelson, Martin G. Smith, Abram F. Myers, Col. H. A. Cole, and Nathan Yamins.

Minneapolis was chosen as the place of the next national convention, the date to be determined by the board of directors.

YOU ARE RIGHT, MR. DUDLEY NICHOLS! RIGHT, MR. HOWARD BARNES!

According to Mr. Howard Barnes, motion picture critic of the New York Herald Tribune, Mr. Dudley Nichols, the famous Hollywood script writer, while acting as master of ceremonies for the New York Film Critics' awards the first week in January, said a few unpleasant things about picture making in Hollywood.

"The Cinema," said Mr. Nichols, "desperately needs strong, fearless criticism. One of the weaknesses of Holly- wood, which is filled with talented, intelligent people, is that it has no power of self-criticism. Every third produc- tion is colossal in the public prints. You have to wait for the New York release before you can gauge the actual worth of a film. As a result, when business falls off Holly- wood is confused.

"According to the local press, they have been making masterpieces, but the public stays away. ..."

Evidently Mr. Nichols has not been reading Harrison's Reports ; otherwise he would not have said that motion pictures need "strong, fearless criticism." That is what Harrison's Reports has been giving weekly ever since it was founded twenty years ago — strong, fearless criticism.

Incidentally, Mr. Barnes, in commenting upon some of the pictures as a result of Mr. Nichols' criticism, said the following :

"If you are inclined to doubt Mr. Nichols' contention that as far as picture writing is concerned, 'the pasture is dry,' you can easily be convinced by attending some of Holly- wood's offerings since the start of a New Year. Several of them boast more than ordinary amount of technical crafts- manship, but none of them impinge even remotely on re- ality. Antique themes, stock situations and dusty dramatic devices have been passed off for significant story material. No amount of expert renovating would have succeeded in making most of it acceptable as first-class screen enter- tainment.

" 'Trade Winds' ... is a perfect case in point. Tay Garnett, who directed the detective melodrama, decided to have authentic settings for the action as it shuttled back and forth across the Pacific from San Francisco to Singa- pore, so he went out and photographed them himself. They are colorful and intriguing. The only trouble is that he failed to arrange for a significant narrative to go with them. The fable of a sleuth chasing a suspected murderess half way around the world, only to fall in love with her and clear her fair name, is so rusty that even the good dialogue of Alan Campbell and Dorothy Parker hasn't been able to brighten it appreciably. . . .

{Continued on last />(i</r)

14

HARRISON'S REPORTS

January 28, 1939

"Son of Frankenstein" with Boris Karloff, Basil Rathbone, Bela Lugosi, Lionel Atwill and Josephine Hutchinson

(Universal, January 13; time, 98 min.)

Very good. Universal has a worthy successor in tin's to the first "Frankenstein" picture, for, though less horrific, it is as exciting as the other. The production, acting, and direction are ot a superior quality. As in the first picture, there are situations that hold one in tense suspense, sending chills down one's spine, and others that tend to touch one's emotions. The eeriness of the settings, both indoor and out- door, adds considerably to the excitement : —

Basil Rathbone, son of the scientist who had created the monster, arrives at the town of Frankenstein, there to live with his wife (Josephine Hutchinson), child (Donnie Dunagan), and servants in the castle he had inherited from his father. Being a scientist like his father, Rathbone is thrilled when he reads his father's notes on his creation of the monster. The townsfolk refuse to have anything to do with Rathbone, whose father had brought them so much misery and unhappiness ; but he disregards them, refusing to listen to the warnings of Lional Atwill, the police in- spector, who had cautioned him against trying anything in his father's field. Rathbone is thrilled when he learns, through Bela Lugosi, a deformed, murderous looter of graves, that the monster still lived, although he was too ill to move. Rathbone brings the monster back to life; the fact that it commits murders, again terrorizing the neigh- borhood, does not stop him from his work. In a quarrel with Lugosi, Rathbone is forced to kill him in self defense. The monster is grief-stricken, for Lugosi had been the only person who had had control over him. In his grief, he goes after Rathbone's child ; it is then that Rathbone awakens to the wrong he had done. Together with Atwill he rushes to save his child ; Atwill grabs the child and Rathbone dis- poses of the monster by pushing it into a boiling natural sulphur pool. Rathbone turns over the castle to the town, to do with as they pleased; he and his family leave the country.

Willis Cooper wrote the screen play, and Rowland V. Lee produced and directed it. In the cast arc Emma Dunn, Edgar Norton, Lawrence Grant, and others.

It may frighten children. Suitable mostly for adults. Class B.

"Boy Slaves" with Anne Shirley

(RKO, February 10; time, 71 min.) A grim, depressing melodrama, with a sordid back- ground. Aside from good performances, there is not much in it to recommend ; it is hardly the type of entertainment that motion-picture goers want to see today, for it is cheer- less. The comic relief, which is a take-off on the antics of the original "Dead End" boys, is too familiar to provoke laughter. There is no romance. As a matter of fact, it seems as if the part played by Anne Shirley was written in as an afterthought — so as to have one well-known name to bolster up the weak cast : —

A group of young boys, living as hoboes, are arrested for petty thievery. They are bailed out by a supposedly civic- minded citizen, who offers to give them employment at his turpentine plant in the woods. The boys, with the exception of their leader, willingly take the jobs. But once they get to the plant they realize they had been tricked, for what they had been brought into was peonage — they were forced to sleep in quarters surrounded by barbed wire, eat the poor food for which they were charged exorbitant prices, and work long hours ; they received no salary, for they were constantly in the debt of the company for things they had bought from them. Anne Shirley, a young servant working for the owner, in an effort to protect herself from the un- desired attentions of Alan Baxter, the foreman, goes to the boys' but and pleads for protection. Baxter enters and there follows a quarrel, during which one of the boys is shot. Baxter knocks over an oil lamp and a fire breaks out. The boys, together with Miss Shirley, escape. But even- tually they are caught and brought to trial. The judge feels pity for them and sends them to a state farm, there to learn a trade. He then enters federal charges against the owner on the grounds of peonage.

Albert Bein wrote the story, and he and Ben Orkow, the screen play; P. J. Wolf son directed and produced it. In the cast are Roger Daniel, James McCallion, Johnny Fitzgerald, Walter Ward, and others.

It is hardly suitable for children. Class B.

"Wings of the Navy" with George Brent, John Payne and Olivia deHavilland

(Warner Bros., February 11 ; time, 88^ min.) Excellent from a mechanical and technical standpoint ; it is a fine tribute to the United States Naval Flying serv- ice and to its system of training young men for the service. But as entertainment, its appeal will be directed mainly to those who are interested in aviation, for, aside from the thrilling air work, which is enhanced by excellent photog- raphy, the story leaves one cold, since it deals for the most part with the method of training and the technical side of aviation. The personal drama involving two brothers and a young girl in a triangle love affair is so familiar that it fails to impress or to touch one's emotions. The two most thrilling scenes are those which show a test pilot and later the hero making a test flight of a new machine. The one involving the hero is done so dramatically that spectators will be limp by the time the hero's plane touches the ground. Frank Mcflugh, as a student aviation enthusiast, contri- butes some good comedy. Most of the action takes place at the Pensacola and San Diego naval air stations: —

George Brent, a naval aviation officer, is angry when his young brother (John Payne) leaves submarine service for aviation. But once Payne shows his ability as an aviator. Brent is proud of him. Payne falls in love with Miss deHavilland, his brother's fiancee; she, too, loves him. But when Brent meets with an accident which grounds him, both Payne and Miss deHavilland realize that they must forget their own feelings so as not to hurt Brent. Miss deHavilland knows that the only thing that could make Brent happy again would be the successful testing of a new type plane he had designed. After one pilot is killed while testing it, Payne decides to take it up himself; he does this against the wishes of Brent, who feared for his safety. But Payne, after a thrilling test, brings the plane down safely. Brent is overjoyed. Eventually he senses the love of his fiancee and brother for each other ; he frees Miss deHavilland to marry Payne.

Michael Fes: ier wrote the original screen play ; Lloyd Bacon directed it, and Hal B. Wallis produced it. In the cast are John Litcl, Victor Jory, Henry O'Neill, John Ridgely, John Gallaudet, and others.

Suitability, Class A.

"The Mysterious Miss X" with Michael Whalen, Mary Hart and Chick Chandler

(Republic, January 10; time, 64 min.) A mildly entertaining murder-mystery melodrama with comedy situations, parts of which are pretty silly. Since the comedy is stressed, it is difficult for the spectator to take the melodramatic angle seriously. Moreover, the outcome is obvious ; and, although the murderer is not identified until the end, it is simple for one to guess his identity long before then. The plot is far-fetched, and is developed in an unbelievable way : —

Michael Whalen and Chick Chandler, two actors stranded in a small town, having become accidentally in- volved in the murder of a man in the room next to Whalen's, are arrested and taken to jail. They naturally deny knowing anything about the case. When the police search Whalen's belongings, they find a certificate from Scotland Yard showing that he was an officer who had been sent to the United States on an important mission, and, not realizing that this was a prop Whalen had used in his play, they release them and treat them with courtesy. Mary Hart, whose father had been arrested for the murder, pleads with Whalen to solve the case. The murdered man's widow, too, pleads with Whalen to help her. offering him an advance fee of $1,000. Having fallen in love with Miss Hart, Whalen agrees to stay. He gets Miss Hart into trouble by his schemes to trap the murderer. By the time the police learn that he was a fraud, he solves the case by proving that the victim's lawyer had committed the murder because of the way the victim had been treating his wife, whom the lawyer loved. He had killed the second man be- cause he knew too much. With the case settled, Whalen and Miss Hart decide to marry; and Chandler, against his will, marries the hotel manager, who had attached herself to him.

George W. Yates wrote the story, and Olive Cooper, the screen play; Gus Meins directed it, and Herman Schlom produced it. In the cast are Mabel Todd, Frank M. Thomas, Regis Toomcy, and others.

The murders make it unsuitable for children. Class B.

January 28, 1939

HARRISON'S REPORTS

15

"They Made Me a Criminal" with John Garfield

{Warner Bros., January 28; time, 92 mm.)

A strong melodrama, with very good box-office possi- bilities. The title is misleading — one would imagine this to be a gangster melodrama ; it is rather a story of regen- eration. The strength of this picture lies, not so much in the story, as in the excellent performances. Were it not for the effective way in which John Garfield portrays the hero, he would be an extremely unsympathetic character, for his actions arc unpleasant almost to the end ; one cannot, how- ever, help feeling pity and respect for him. Some situations touch one's emotions ; others, provoke hearty laughter. One situation, although of slight importance to the story, is so thrilling that audiences will not soon forget it ; it shows Garfield and the five "Dead End" boys swimming in an irrigation tank in which they had been caught when the water started to drain out. As an added attraction for men there are two bouts that are thrillers. The romance is handled effectively : —

In order to prevent a newspaper reporter from printing a story about Garfield, a champion fighter, telling the public that Garfield, who was thought to be a home boy, was, in reality, a drinker and carouser, Robert Gleckler, Gar- ficld's manager, hits the reporter over the head with a bottle ; the reporter dies. Gleckler and Garfield's girl- friend (Ann Sheridan) take Garfield, who had passed out in a drunken stupor, to a farmhouse. They take his money, even his wrist watch, and run away ; but they are both killed when their automobile is wrecked. Garfield reads the story in the papers the next morning; also that the police believed him to be derid, a victim of the car crash. He leaves town, travelling as a hobo. Hungry and worn out, he stops at the date farm run by Gloria Dickson and May Robson, and by five young tough boys, who had been pa- roled in their care. Garfield, who had believed that a man was a "sucker" to do a kind deed, gradually changes. When he learns that with $2,000 the boys could open a gas station and help Miss Dickson along, he signs up to fight a travelling boxer, who offered $500 a round to any one who could stay in the ring with him. Claude Rains, a New York detective, who had always felt that the dead man in the car had not been Garfield, sees a picture of a fighter in a maga- zine ; this had been snapped by one of the boys and sent to a magazine. From the pose, Rains recognizes Garfield ; he sets out for the small town. Garfield, who had seen Rains and had decided not to fight, decides to risk his freedom so as not to disappoint the boys and Miss Dickson, who loved him. He goes into the ring and tries to fight a different way, so that Rains would not recognize him ; but he has to revert to his own style in order to stay in long enough to win $2,000. Rains visits him in the dressing room and Gar- field admits his identity. They prepare to leave ; but when the train pulls in, Rains, who felt that Garfield might he innocent, decides to let him go ; he cautions him to keep his picture out of papers.

Bertram Millhauser and Beulah M. Dix wrote the story, and Sig Herzig, the screen play ; Busby Berkeley directed it, and Benjamin Glazer produced it. In the cast are John Ridgely, Barbara Pepper, William Davidson, and others.

One situation at the beginning is pretty sexy ; also a murder is committed. Therefore, suitability, Class B.

"The Arizona Wildcat" with Jane Withers and Leo Carrillo

(20th Century-Fox, February 3 ; time, 69 min.)

Good entertainment. It should appeal, not only to the Jane Withers fans, but also to the followers of western melodramas. Without sacrificing any of the exciting action that is usually a part of outdoor pictures of this type, the author succeeded in injecting comedy, human interest, and a pleasant romance. There is plentiful horseba k riding, shooting, and fighting — enough to satisfy the m ist ardent western fans. Jrne and Leo Carrillo are a good comedy team ; their antics provoke hearty laughter each time they appear. The action takes place in the year 1870: —

Orphan Jane, whose father had been killed by bandits, lived with Carrillo, his wife and five sons. She had her suspicions about Henry Wilcoxon, the Sheriff, for he had never made any real effort to apprehend the gang of out- laws who had been terrorizing the district and stealing gold shipments. She accidentally finds out that Carrillo, in his youth, had been known as a bandit leader ; by clever ques- tioning, she finds out that he had robbed the rich to help the poor. When an innocent young man (William Henry), who knew too much about Wilcoxon, is imprisoned, Jane, unknown to Carrillo. rounds up his former followers again to follow their lender so as to save Henry. At first Carrillo is frightened at the idea, but the excitement soon gets the best of him and he goes forth with his mi n. Hut they are all

captured and brought to trial. Jane saves them by proving Wilcoxon's guilt — she had found several gold shipments hidden in his room. Wilcoxon and his men are rounded up; Henry is freed when he proves his innocence and shows the judge evidence of Wilcoxon's murderous activities. Carrillo is made Sheriff, which pleases his family and Jane very much. Henry marries the village school teacher.

Frances Hyland and Albert Ray wrote the story, and Barry Trivers and Jerry Cady, the screen play ; Herbert I. Leeds directed it, and John Stone produced it. In the cast are Pauline Moore, Douglas Fowley, and Etienne Girardot.

Suitability, Class A.

"Burn 'Em Up O'Connor" with Dennis O'Keefe, Cecilia Parker and Nat Pendleton

(MGM, January 13; time, 69'/2 min.) A fairly good program murder-mystery melodrama. Since most of the action takes place at an automobile race- track, where the deaths occur, several races are worked into the plot; these tend to heighten the excitement. The murders are committed in so clever a way that it is likely that most spectators will be surprised at the solution and at the murderer's identity. There is occasional comedy to relieve the tension, and a pleasant, though routine, ro- mance : —

Dennis O'Keefe, who wanted to become an automobile racer, finally realizes his ambition when Harry Carey, automobile manufacturer and manager of several voun'g men who raced his cars, signs him up. The men in Carey's outfit are depressed, since a few of their drivers had met with death on the track; they felt they were jinxed. O'Keefe's breezy manner annoys them ; he is particularly annoying to Carey's daughter (Cecilia Parker), with whom he had fallen in love. Everyone's nerves are on edge when two more racers meet with death on the track. O'Keefe, with the assistance of his seemingly stupid me- chanic (Nat Pendleton), finally proves that the guilty per- son was Charley Grapewin, the company doctor ; he would inject drops into the drivers' eyes, saying it would give them clear vision; instead the drops would blind them during the race and they would go to their deaths, not being able to see where to drive. Grapewin did this because his own son died while racing for Carey, whom he hated. Miss Parker forgives O'Keefe, promising to marry him.

Sir Malcolm Campbell wrote the story, and Milton Merlin and Byron Morgan, the screen plav ; Edward Sedgwick directed it, and Harry Rapf produced it. In the cast are Addison Richards, Alan Curtis, Tom Neal, and others.

Suitability, Class A.

"Mr. Moto's Last Warning" with Peter Lorre, Ricardo Cortez and Virginia Field

(20th Century-Fox, January 20; time, 71 min.)

Action fans will find this melodrama to their liking, for it moves at a fast pace, holding one's interest throughout. As is the case in most of the pictures in this series, the story is highly far-fetched; but this is not objectionable, since it offers opportunities for exciting action. Some of the situations, particularly those in which Peter Lorre him- self has a hand, are thrilling. The thrills are provoked as a result of the clever means Lorre, whose life is often endan- gered, employs to outwit the conspirators. Laughter is pro- voked on a few occasions by the actions of a silly English- man. The action takes place at Port Said : —

Lorre, an international seceret service agent, learns of a plot to disrupt the friendly relations between England and France. His suspicions center on Ricardo Cortez^ an actor at a local playhouse. For a time he is able to work with a free hand, for the conspirators believed that they had killed him when, in reality, they had killed his assistant who, according to instructions, had posed as his chief. Lorre learns that the conspirators were planning to destroy ships of both nations when they would arrive at Port Said for war maneuvers. He is captured by the conspirators, who tie him in a sack, and throw him into the water: but Lorre is able to cut his way out and return to the scene of flie crime in time to prevent the explosion. Cortez is killed by Virginia Field, a young cafe owner, who had believed he loved her but had learned differently. She thereby saves Lorre's life. The other conspirators are captured.

Philip MacDonald and Norman Foster wrote the origi- nal screen play; Norman Foster directed it, and S*>1 M. Wurtzel produced it. In the cast are John Carradine, George Sanders, Joan Carol, Margaret [rving, and others.

The murders make it unsuitable for children. Good for adults. Class B.

16

HARRISON'S REPORTS

January 28, 1939

"... 'Zaza,' at the Paramount, and 'Going Places,' at the Strand, both start with two strikes against them by em- ploying yarns that should have been forgotten long ago. The former, with George Cukor doing some of his fanciest directing, and Claudette Colbert contributing a remarkably convincing portrayal of an unconvincing part, is so dated that it fairly cries out for interment in a museum. . . .

" 'Going Places' is none other than your old friend 'The Hottentot,' made all over again with Dick Powell as the gentleman rider impersonator and incidental musical num- bers. Thanks to the great trumpet player, Louis Arm- strong, and that extraordinary swing singer, Maxine Sulli- van, the latter interludes are entertaining, but not enough to make 'Going Places' seem like anything but a badly warmed over screen dish."

The following is what this paper said partly about these three pictures :

"Trade Winds" : "Just a fair comedy-melodrama. The story is extremely thin and unbelievable."

"Zaza" : "The story creaks with age. What may have been considered a great emotional drama years ago strikes one today as being silly."

"Going Places" : "A fairly good comedy ... it is doubt- ful if [itj will do more than fairly well."

Incidentally, "Zaza" was produced by Paramount twice before: in 1915, with Pauline Frederick, and in 1923 with Gloria Swanson. Both times it "flopped." For this reason Paramount should not be forgiven for making it the third time, wasting more than $1,500,(100 this time ; it could have made three pictures with the money and the star values it has wasted.

"Going Places" was produced also in 1916, by Triangle, with Raymond Hatton; in 1923, by First National ; and in 1929, by Warner Bros. There is something wrong with a company when it produces a story the fourth time, particu- larly since the only version that went over was the first.

box-office Performances of 1938-39 season's pictures— no. 3

First National 1938-39

"Secrets of an Actress," with Kay Francis, George Brent, and Ian Hunter, produced by David Lewis and di- rected by William Keighley, from a screen play by Milton Krims, Rowland Leigh, and Julius J. Epstein: Fair-Poor.

"Four Daughters," with Priscilla Lane, Claude Rains, Jeffrey Lynn, and John Garfield, produced by Henry Blanke and directed by Michael Curtiz, from a screen play by Julius J. Epstein and Lenore Coffee: Excellent-Good.

"Garden of the Moon," with Pat O'Brien, Margaret Lindsay, John Payne, and Johnnie Davis, produced by Lou Edelman and directed by Busby Berkeley, from a screen play by Jerry Wald and Richard Macauley : Very Good-Fair.

"Broadway Musketeers," with Margaret Lindsay, Ann Sheridan, and John Litel, produced by Bryan Foy and di- rected by John Farrow, from a screen play by Don Ryan and Kenneth Garnet : Fair-Poor.

"Girls on Probation," with Jane Bryan, Ronald Reagan, and Sheila Bromley, produced by Bryan Foy and directed by William McGann, from a screen play by Crane Wilbur : Fair.

"Brother Rat," with Wayne Morris, Priscilla Lane, Ronald Reagan, and Jane Bryan, produced by Robert Lord and directed by William Keighley, from a screen play by Richard Macauley and Jerry Wald: Very Good-Fair.

"Angels with Dirty Faces," with James Cagney, Pat O'Brien, and Ann Sheridan, produced by Sam Bischoff and directed by Michael Curtiz, from a screen play by John Wexley and Warren Duff : Excellent.

Seven pictures have already been released. Grouping the pictures of the different ratings from the beginning of the season, we get the following results :

Excellent, 1; Excellent-Good, 1; Very Good-Fair, 2; Fair, 1 ; Fair-Poor, 2.

The first seven pictures in the 1937-38 season were rated as follows :

Very Good-Good, 1; Good, 2; Good-Fair, 2; Fair, 1; Fair-Poor, 1.

Paramount 1937-38

"Give Me a Sailor," with Martha Raye, Bob Hope, and Betty Grable, produced by Jeff Lazarus and directed by

Elliott Nugent, from a screen play by Doris Anderson and Frank Butler: Good-Fair.

"Spawn of the North," with George Raft, Henry Fonda, Dorothy Latnour, and Louise Piatt, produced by Albert Lewin and directed by Henry Hathaway, from a screen play by Jules Furthnian and Talbot Jennings: Very Good- Good.

Fifty-six pictures have been released. Grouping the pic- tures of the different ratings, including Westerns, from the beginning of the season, we get the following results:

Excellent-Very Good, 1 ; Excellent-Good, 1 ; Very Good, 1; Very Good-Good, 4; Very Good-Fair, 5; Good, 3; Good-Fair, 13; Good-Poor, 7; Fair, 11; Fair-Poor, 7; Poor, 3.

Fifty-three pictures were released during the 1936-37 season, excluding the Westerns; they were rated as follows

Excellent, 1; Excellent-Very Good, 2; Very Good, 3; Very Good-Good, 5 ; Good, 9; Good-Fair, 4; Fair, 9; Fair- Poor, 17; Poor, 3.

1938-39

"Pride of the West," with William Boyd and George Hayes, produced by Harry ir" barman and directed by IasHc Sclander, from a screen play by Nate Watt : Good- Fair.

"Sing You Sinners," with Bing Crosby, Fred MacMur- ray, and Ellen Drew, produced and directed by Wesley Ruggles, from a screen play by Claude Binyon : Very Good-Fair.

"In Old Mexico," with William Boyd and George Hayes, produced by Harry Sherman and directed by Edward D. Venturing from a screen play by Harrison Jacobs: Good- Poor.

"Campus Confes.Mons," with Betty Grable, William Henry, and Hank I.uisetti, directed by George Archain- baud, from a screen play by Lloyd Corrigan and Erwin Gelsey: Fair-Poor.

"Sons of the Legion," with Lynne Overman, Donald O'Connor, and Tim Holt, produced by Stuart Walker and directed by James Hogan, from a screen play by Lillie Hay ward, Lewis Foster, and Robert F. McGowan : Fair- Poor.

"King of Alcatraz," with J. Carrol Naish, Lloyd Nolan, and (jail Patrick, directed by Robert Florey, from a screen play by Irving Reis : Good-Fair.

"Touchdown Army," with John Howard, Mary Car- lisle, and Robert Cummings, directed by Kurt Neumann, from a screen play by Lloyd Corrigan and Erwin Gelsey : Fair.

"Arkansas Traveler," with Bob Burns, Fay Bainter, Jean Parker, and John Beal, produced by George M. Arthur and directed by Alfred Santell, from a screen play by Viola Brothers Shore and George S. Perry : Very Good- Good.

"Mysterious Rider," with Douglass Dumbrille and Char- lotte Fields, produced by Harry Sherman and directed by Lesley Sclander, from a screen play by Maurice Geraghty : Good- Fair.

"Men with Wings," with Fred MacMurray, Ray Mil- land, and Louise Campbell, produced and directed by William A. Wellman, from a screen play by Robert Carson : Very Good-Good.

"Illegal Traffic," with J. Carrol Naish, Mary Carlisle, and Robert Preston, produced by William C. Thomas and directed by Louis King, from a screen play by Robert Yost, Lewis Foster, and Stuart Anthony : Good-Fair.

"If I were King," with Ronald Colman, Frances Dee, and Basil Rathbone, produced and directed by Frank Lloyd, from a screen play by Preston Sturgis : Very Good-Good.

"Thanks for the Memory," with Bob Hope and Shirley Ross, produced by Mel Shauer and directed by George Archainbuad, from a screen play by Lynn Starling: Good- Fair.

Thirteen pictures have already been released. Grouping the pictures of the different ratings from the beginning of the season, we get the following results :

Very Good-Good, 3 ; Very Good-Fair, 1 ; Good-Fair, 5 ; Good- Poor, 1 ; Fair, 1 ; Fair-Poor, 2.

The first thirteen pictures in the 1937-38 season were rated as follows :

Very Good, 1 ; Very Good-Good, 1 ; Good, 2 ; Fair, 4 ; Fair-Poor, 4; Poor, 1.

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 R™m 1 «1 9 Harrison's Reports, Inc.,

U. S. Insular Possessions. 16.50 ROOm 101i Publisher

Canada 16.50 New York, N. Y. P. S. HARRISON, Editor

Mexico, Cuba, Spain 16.50 . ., _. . _ „ .

r.reit Rritnin 1>!7S A Motion Picture Reviewing Service

Australia, New ' Zealand,' Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919

India, Europe, Asia .... 17.50

,K„ . Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622

6oc a copy Columns, if It is to Benefit the Exhibitor. . .

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXI SATURDAY, FEBRUARY 4, 1939 No. 5

KEEPING IN TOUCH WITH LIFE — THAT'S WHAT BRINGS CREATIVE SUCCESS

In the story which Elliot Arnold wrote in the Novem- ber 28 issue of the New York World-Telegram, about Dick Simon and Max Schuster, of Simon & Schuster, the New York City book publishers, Mr. Simon is quoted in one part of it as having said the following when he stated that they sell the books they publish because they publish what the people want :

"We try to keep in touch with what's going on around us. We don't want to feel we are publishers — far above or away from life. We try to keep very close to things. We try to retain our amateur standings as human beings."

Harrison's Reports hopes that every producing execu- tive in Hollywood has read these words, and has benefited by them, for that is exactly what ails Hollywood. For all that anybody knows Hollywood is not part of the main- land in the United States, a city located in California ; it is an island, somewhere in the Pacific, surrounded by miles and miles of water, away from the teeming, seething, stir- ring, overflowing life, with practically no bridge connecting- it with the mainland. It is a self-centered world, inhabited by a group of people whose only goal is the size of the check earned by them. The majority of these people consider suggestions from those easterners who foot the bill as suggestions unworthy of even the slightest consid- erations, "ganging" up on any one who is sent from the east with a view to finding out what is wrong with picture production — why the majority of the pictures that are pro- duced with their money flop dismally at the box office. They have a stranglehold on production in that little world, and they intend to continue having it.

Suggestions have often been made by different factors how the evil could be eradicated. One of such suggestions was that production should be de-centralized, making the heads of each production, unit responsible for the results. It is a pious wish, and one that could effect real improve- ments. But mere suggestions they remain. Who is going to compel any one in Hollywood to accept them? The clicpjes won't have them. And they have a deadly way of preventing their adoption. Let any one from among the cliques say, "New York is right!" and his job is not worth a cent. Even the stage mechanics are likely to gang up on him.

"Well," you may say, "is there no way whereby the con- dition could be remedied?" Nobody has yet found it.

PARAMOUNT ACTIVE IN NORTH DAKOTA FOR REPEAL OF DIVORCEMENT LAW

According to reliable information, Paramount is work- ing toward having the North Dakota theatre divorce law repealed from the statute books of that State.

If the law should be repealed before the U. S. Supreme Court renders its decision, the exhibitors will find it neces- sary to carry on the theatre-divorce fight in some other state, for the Court will then refuse to render a decision on the ground that the question will have become academic.

Allied should use its efforts toward neutralizing the Paramount move ; otherwise, there will be a delay in having the constitutionality of such a law determined.

Incidentally, theatre divorcement measures have been introduced in a few more states.

THE NEW NEELY BILL AGAINST BLOCK BOOKING AND BLIND SELLING

Senator Neely has reintroduced in the Senate his Bill against block booking and blind selling.

In the House of Representatives the twin of the Bill has been introduced by Hon. Andrew Edmiston, of West Virginia, because Mr. Pettengill is no longer a member of Congress.

Congressman Edmiston intends to work together with Senator Neely on the Bill.

The Motion Picture Council has again taken up the cudgel for the Neely Bill. In a release dated January 15, it urges every member to write to Senator Burton K. Wheeler, Chairman of the Committee on Interstate Com- merce, as well as to every committee member, urging a prompt committee report and the speedy passage of the Bill by the Senate.

"Complaints by discerning parents about the poor quality of pictures shown at children's matinees in neighborhood theatres are increasing in number and vigor," says the release. "The best way to correct this evil is to secure the passage of the Neely Bill."

OVERDOING A GOOD THING OFTEN HAS THE OPPOSITE EFFECT

The announcement by the Selznick International organi- zation that the actress for the part of Scarlett O'Hara in "Gone With the Wind" has at last been chosen did not make the newspaper editors toss their hats in the air for joy ; on the contrary, some of them have received the news with some derision.

The reason for it is the fact that, first, the "gag" of seek- ing a player for a particular part so as to gain considerable free publicity has been overdone, and in the case of "Gone With the Wind" the "search" was kept up too long — nearly two years.

THE BOX OFFICE PERFORMANCE OF "THE BEACHCOMBER"

On January 20, an executive of Paramount informed this office that "The Beachcomber," contrary to the adverse criticism given of it in these columns, is performing re- markably at the box office. He stated the following:

At the Rivoli, this city, it almost equalled the grosses of "Dead End" and "Hurricane."

At the Paramount, Newark, N. J., it finished the week to almost $18,000, thus equalling the grosses of "Wells Fargo" and "The Buccaneer," and surpassing those of "Artists and Models Abroad," "Men With Wings," "Ar- kansas Traveller," and "Bluebeard's Eighth Wife."

At the Sheridan, in Miami, it outgrossed "Zaza" and "Dawn Patrol," and doubled the grosses of "Out West With the Hardys." It was then transferred to the Colony, where in four days it outgrossed "Sweethearts" (doing more in four days than "Sweethearts" in five), "Dawn Patrol," "Stand Up and Fight." and doubled the grosses of "Angels With Dirty Faces," and "Out West with the Hardys."

At the Princess, in Montreal, where the average opening has been $700, it opened to $1,300.

In Toronto it opened to considerably more than $1,900. which is better than "Stage Door," "Four Daughters," "Four's a Crowd," "Lucky Star." "Happy Ending'." "Von Can't Take It With You," "If 1 Were King," "Drums," and "Kentucky."

18

HARRISON'S REPORTS

February 4, 1939

"Persons In Hiding" with J. Carrol Naish, Lynne Overman and Patricia Morison

(Paramount, Feb. 10; time, 70 mitt. ) An extremely interesting and exciting gangster melo- drama; it is, however, strictly adult fare. The original story, which was written by J. Edgar Hoover, is developed iti"a logical manner and is convincing; it shows in detail the methods employed by the Federal Bureau of Investi- gation in tracking down criminals and their hideouts. What makes it unsuitable for children is the fact that, despite the ending, which proves that crime does not pay, the cen- tral character is a young girl whose craving for luxuries makes her a cold-blooded and ruthless criminal. Most of the picture is taken up with the activities of this girl and of her companions. No attempt is made to glorify the crimi- nals ; as a matter of fact, the bravery of the G-Men is stressed.

In the development of the plot, Patricia Morison, who worked in a beauty parlor, decides to get the luxuries she wanted by leading a life of crime. She joins forces with J. Carrol Naish, a petty crook, warning him that he would have to follow her instructions. He falls madly in love with her and is completely under her control. After their mar- riage, they go to visit her parents, who lived on a broken- down farm. From a radio broadcast, the parents learn about the crimes the couple had committed. When her mother, whom she adored, orders her to leave, Miss Mori- son pleads for forgiveness, claiming that she could not lead a life of poverty as her mother had done. Their crimes be- come more daring; eventually they join forces with a well- known gangster, who had admired Miss Morison's clever- ness. They kidnap a millionaire, releasing him after they receive $200,000 ransom. From minor details the victim could remember, G-Man Lynne Overman and his assistant (William Henry) locate the hideout, which was Miss Morison's parent's farm; they capture the gang, hut Miss Morison and Naish escape. The parents are arrested. The thought of her innocent mother being in jail is more than Miss Morison can stand. She double-crosses her own hus- band, hoping in that way to save her mother. But it does not work ; both she and Naish are eventually captured. They confess ; her parents are released.

William R. Lipman and Horace McCoy wrote the screen play ; Louis King directed it, and Edward T. Lowe pro- duced it. In the cast are Wiliam Frawley, William Collier, Sr., May Boley, Richard Carle, Richard Stanley, and others.

Unsuitable for children and adolescents. Class B.

*'Lone Wolf's Spy Hunt" with Warren William and Ida Lupino

(Columbia, Jan. 27; time, 71 win.) Just a moderately entertaining melodrama. Handicapped by a far-fetched plot and too much comedy, which at times is pretty silly, the picture will prove disappointing to those who may expect, from the title, a really exciting melodrama. In addition, the plot development lacks novelty. The pro- duction is lavish ; but this alone cannot hold the spectator's attention. No fault can be found with the performances, for there is not much that the stars could do with the mate- rial at hand :—

Warren William, who had retired from a life of crime in order to take care of his motherless daughter ( Virginia Weidler), is kidnapped by gangsters, who offer him a large sum of money to open a safe for them ; they wanted to steal the secret plan? for new anti-aircraft guns. When William refuses, they release him. They continue with their plans, however, and plant evidence involving William as the crook. William, in an effort to clear his name, starts out to inves- tigate the case. He is hampered in his work by Ida Lupino, the scatter-brained daughter of a Senator, who was intent on marrying him, despite his objections; also by little Vir- ginia, who wanted to be a G-Woman. The gangsters kidnap William a second time, for they had discovered that the plans were incomplete, and they had to open another safe ; he outwits them by taking the plans himself and giving them different ones. They release him without knowing about the trick. Eventually, after many exciting encounters with the crooks and their leader (Ralph Morgan), William turns over the plans to the police and helps them round up the gang. William asks the police inspector to lock him up so that he could escape from Miss Lupino; but Virginia steals the key to the cell and turns it over to her.

Louis J. Vance wrote the story, and Jonathan Latimer, the screen play; Peter Godfrey directed it, and Joseph Sistrom produced it. In the cast are Rita Hayworth, Tom Dugan, Ben Welden. and others.

Since the comedy is stressed, it is suitable for all. Class A.

"Pardon Our Nerve" with Lynn Bari, June Gale and Michael Whalen

(20th Century-Fox, Feb. 24; time, 67l/2 mitt.) A pretty good program comedy. In spite of the fact that the story is not particularly novel, it is consistently amus- ing because of wisecracks and of the antics of some of the characters. And the predicaments the heroine and her girl friend get themselves into are further causes for laughter. The action moves along at a fast pace. Although the prize- fight scenes are treated in a comical way, they are fairly exciting : —

Lynn Bari and June Gale, both out of work and with- out funds, are happy when they receive a call from an escort service bureau for one day's work. But the day ends disastrously and, when they call at the office the next day to collect their fee, the manager refuses to pay them. While he is out of the office, Miss Bari answers a telephone call, which was from a society woman who wanted a prize- fighter for her party, for which she would pay $150. Miss Bari induces (juinn Williams, who had been attracted to Miss Gale because she reminded him of his sweetheart back home, to pose as the fighter ; she enlists the aid of his pal (Edward Brophy) ; the only reason why he entered into the scheme was because the girls owed him money. They get into trouble again when Williams knocks out the cham- pion fighter, who was a guest. Michael Whalen, a sports writer, induces Miss Bari to train Williams as a boxer. They obtain a loan from a man to whom they were already indebted in order to carry out their plans. Williams wins all his fights; but when it comes to the championship bout he refuses to fight unless the girls send for his sweetheart. To add to their troubles, two gamblers try to stop Wil- liams from winning. But everything turns out all right — Williams wins, the girls collect their share, and then start out on new adventures.

Hilda Stone and Betty Reinhardt wrote the story, and Robert Ellis and Helen Logan, the screen play; H. Bruce Htimberstone directed it, and Sol M. Wurtzel produced it. In the cast are John Miljan, Theodore Von Eltz, and Ward Bond.

Suitability, Class A.

"St. Louis B'ues" with Dorothy Lamour and Lloyd Nolan

(Paramount, Feb. 3; time. 86 miiu) Fairly good mass entertainment. What puts this picture over are the specialty numbers, for the story itself is weak and somewhat slow-moving ; it lacks excitement because of a familiar plot. The title has exploitation possibilities; exhibitors will have to depend on it to attract patrons to the theatre since the stars are not strong box-office attrac- tions. When the specialty performers appear, the picture is entertaining — Maxine Sullivan sings the type of songs for which she has become famous, Matty Malneck and his orchestra play popular swing music, the Hall John- son Choir joins Miss Sullivan in a few numbers, Tito Guizar sings two songs, and Cliff Nazarro provokes hearty laughter by his antics. And, of course, Miss Lamour sings a few numbers ; but she is not at her best until the final number : —

Dorothy Lamour, tired of pretending to be a native girl and of wearing a sarong, breaks with her manager (Jerome Cowan), who had thought of the idea, and runs away. She boards the showboat owned and managed by Lloyd Nolan and his aunt (Jessie Ralph). Her first tryout as a singer falls flat and Nolan, for a long time, refuses to give her another chance, requesting her instead to do work around the boat. But she tricks him into listening to her and he is amazed at her talent. Thereafter he features her ; she proves to be a sensation. In the meantime, Cowan obtains an in- junction preventing Miss Lamour from appearing pub- licly. Miss Ralph reads in a trade paper a notice about the injunction: but. being fond of Miss Lamour, and knowing that she and Nolan loved each other, she says nothing about it. Miss Lamour goes to New York to see Cowan, to plead with him to release her ; but he refuses. She goes back to the showboat. But Cowan finds out where she is, and serves the injunction papers on Nolan. Through a ruse. Miss La- mour manages to appear at a performance for which all the tickets had been sold out on the strength of her name. To newspaper men, Nolan gives the happy news that he and Miss Lamour were going to be married.

Eleanore Griffin and William Rankin wrote the story, and Tohn C. Moffitt and Malcolm S. Boylan, the screen play; Raoul Walsh directed it, and Jeff Lazarus produced it. In the cast are William Frawley, Mary Parker, and others.

Suitability, Class A.

February 4, 1939

HARRISON'S REPORTS

19

"Gunga Din" with Cary Grant, Victor McLaglen, Douglas Fairbanks, Jr. and Joan Fontaine

(RKO, Rel. date not set; time, 116 min.)

A thrilling adventure melodrama, produced on a "big" scale. The scenes of fighting between the British soldiers and the native "Thugs," an organized group of religious murder fanatics, are so brilliantly directed, that the audi- ence is keyed up to a pitch of feverish excitement. As a matter of fact, the battle in the closing scenes may prove too harrowing for some spectators. Cary Grant, Victor McLaglen, and Douglas Fairbanks, Jr., three adventurous sergeants, who fight side by side, give excellent perform- ances ; not only do they thrill one by their daring exploits, but also provoke hearty laughter by the pranks they play. The romantic interest is minimized : —

Upon learning that an entire British patrol had been massacred by a fanatical native tribe, the commanding officer sends his three trusted sergeants (Grant, McLaglen and Fairbanks) with a small troop to repair telegraph wires. They are attacked, and after a terrific battle, escape with a few casualties. Upon their return to headquarters, Fairbanks reveals to his two pals that he intended to retire from Army life to marry Joan Fontaine ; they are dis- gusted. In an effort to prevent Fairbanks from leaving, Grant gives the only other available sergeant a drink that knocks him out; Fairbanks is, therefore, compelled to join his pals on another expedition. Grant, learning from the water boy, Gunga Din (Sam Jaffe), of a hidden treasure, prepares to go in search of it ; McLaglen knocks him out and then locks him up in order to prevent him from getting into trouble. But Jaffe helps him to escape and together they go in search of the treasure. They reach and enter a temple only to find that it was the worshipping place of the fol- lowers of the Thuggee cult. Grant is captured, but Jaffee escapes and gets back to camp. When Fairbanks and Mc- Laglen hear of Grant's plight, they rush to his assistance ; but they, too, are captured. Through a ruse, McLaglen succeeds in capturing the Thug leader (Eduardo Cian- nelli), keeping him as their hostage. The three sergeants are delighted to see in the distance a large force of British troops on their way to rescue them. But their delight changes to despair when they realize that the entire troop would be slaughtered by the natives, who were concealed in the hills. Jaffe, although wounded, climbs to the top of the temple and blows a bugle, thus warning the British. He then dies. Properly warned, the British troops are able to protect themselves. After a fierce battle, they emerge victorious. Jaffe is buried with honors. Fairbanks decides to stay in the Army.

Ben Hecht and Charles MacArthur wrote the story which was inspired by the Rudyard Kipling poem. Joel Sayre and Fred Guil wrote the screen play ; George Stevens directed and produced it. In the cast are Montagu Love, Lumsden Hare, Robert Coote, Abner Biberman, and others.

Suitability, Class A.

"Off The Record" with Joan Blondell and Pat O'Brien

{Warner Bros., Jan. 23; time, 70 min.) A fair comedy-melodrama, of program grade. Human interest is awakened by the efforts of the hero and the heroine to regenerate a young boy who had been led astray by his older brother. The association between the trio has its comical moments, too, for the young man is not an easy person to handle. Neither the plot nor its development is particularly novel, but it manages to hold one's attention fairly well because of the sympathy one feels for the char- acters. The action becomes somewhat exciting towards the end : — ■

Joan Blondell, a newspaper reporter, publishes a story accusing a notorious racketeer of employing a young boy (Bobby Jordan) to supervise the running of slot machines in school districts. Both Jordan and his brother Alan Bax- ter, a member of the racketeer gang, are arrested. The gang- ster leader induces Baxter to take the blame, promising to get him off with a light sentence; but he double-crosses Baxter, who is given a two-year sentence. Jordan is sent to reform school. Feeling sorry for Jordan, Miss Blondell decides to help him ; but the only way she could get him out of reform school was to have a married couple take him into their home. She induces Pat O'Brien, her fiance reporter, to marry her ; he is furious when he learns what she intended to do. But when Miss Blondell takes Jordan into their home, O'Brien takes a liking to him. Under their influence, Jordan changes for the better, and noes to work as a photographer-assistant to O'Brien. Baxter escapes from prison; Jordan meets him and gives him the

money he had obtained by pawning his camera. Jordan pleads with him not to get into trouble, but Baxter is deter- termined to kill his double-crossing leader. Jordan follows him ; in the meantime the police look for him on a theft charge, of which he was innocent. Baxter and the leader shoot at each other, and both die. Jordan is comforted by Miss Blondell and O'Brien, who prove his innocence.

Saul Elkins and Sally Sandlin wrote the story, and Earl Baldwin, Niven Busch, Laurent Kimble and Robert Buck- ner, the screen play ; James Flood directed it and Sam Bischoff produced it. In the cast are Joe Cunningham, Ed Gargan, and others.

Since the regeneration is stressed, it is suitable for chil- dren. Class A.

"Pride of the Navy" with James Dunn and Rochelle Hudson

(Republic, Feb. 20; time, 63 min.) Fair program entertainment. Although the story is familiar, the spectator's interest is held fairly well for the action is fast, at times amusing, and occasionally dramatic. One is held in suspense in the two situations where a new type torpedo boat is tested. James Dunn's wisecracking proves slightly irksome at times, causing the spectator to resent his attitude ; but he redeems himself in the end by helping a friend. The romance is routine : —

Gordon Oliver, a lieutenant in the Navy, unable to find out what was wrong with the torpedo boat he had designed for the Navy, decides to call in his friend (Dunn), a speed boat racer, who was an expert. Dunn at first refuses to give up his time for what he considered trifles ; but when he meets Rochelle Hudson, the commander's daughter, he changes his mind. The new boat is built under Dunn's instructions ; but he expresses dissatisfaction with it. The night before the test, he quarrels with Oliver, who thought that Dunn's intentions towards Miss Hudson were not seri- ous ; Dunn is ordered to leave. His mechanic and old friend (Horace MacMahon) refuses to leave with him. Instead he and Oliver test the boat; they meet with an accident and both are injured. Conscience-stricken, Dunn returns with new ideas. He perfects the boat and in a difficult test proves the boat's worth. He proposes to Miss Hudson; but, since she insisted that the man she would marry would have to be in the Navy, Dunn is compelled to enlist.

James Webb and Joseph Hoffman wrote the story, and Ben Markson and Saul Elkins, the screen play ; Charles Lamont directed it, and Herman Schlom produced it. In the cast are Charlotte Wynters, Joseph Crehan, and Charles Trowbridge.

Suitability, Class A.

"Torchy Blane in Chinatown" with Glenda Farrell and Barton MacLane

(First Nat'l., Feb. 4; time, 57 min.) A pretty good program melodrama. Done in the same breezy style as the other pictures in this series, it manages, despite a far-fetched story, to hold one's attention through- out because of the mystifying plot. The action moves along at a fast pace, alternating comedy with melodramatic situ- ations. Average audiences may be surprised at the solu- tion; but it will be simple for intelligent spectators to detect the identity of the plotters. The romance between the hero and the heroine is minimized : —

Glenda Farrell, newspaper reporter, is angry when her police-inspector fiance (Barton MacLane) refuses to give her any information on a new case he was working on. He was protecting the life of Anderson Lawlor, who had re- ceived threatening notes, written in Chinese, informing him he would be killed because he had smuggled out of China three burial tablets, which he had sold to Henry O'Neill. Lawlor is supposedly killed, and so is his com- panion (James Stephenson). In the meantime, the young millionaire fiance of O'Neill's daughter receives a note threatening him with death unless he turned over $250,000 as designated. Miss Farrell, by following MacLane, gets all the facts and offers suggestions to him; but he refuses to listen to her. Eventually the case is solved. It turns out that Lawlor and Stephenson, who had really not been killed, and another companion (Patric Knowles) were the conspirators who had themselves sent the threatening notes so as to get the $250,000 and throw the suspicion on some one else.

Will Jenkins and Murray Leinster wrote the story, and George Bricker, the screen play ; William Beaudine di- rected it, and Bryan Foy produced it. In the cast are Tom Kennedy, Janet Shaw, and Frank Shannon.

Unsuitable for children. Class B.

20

HARRISON'S REPORTS

February 4, 1939

USING THE SCREEN FOR CARRYING THE MESSAGE OF DEMOCRACY'S BLESSINGS

In these clays of world strife, many exhibitors have felt that the screen should by all means be utilized for spread- ing the message of democracy and for arousing the patriotic fervor of the people in this country; they feel that this is the only way by which invidious propaganda from totali- tarian countries may be counteracted.

Warner Bros, has, as most of you no doubt know, already produced six Americanization shorts, in natural colors, and it is now producing six more.

I have seen one of these short features, "Declaration of Independence," and desire to say that, in addition to its being a fine patriotic subject, it is excellent entertainment.

Every exhibitor should book, not only these shorts, but others, no matter whether they are released by Warner Bros, or by any of the other companies. I feel sure that picture-patrons will enjoy them.

BOX-OFFICE PERFORMANCES OF 1938-39 SEASON'S PICTURES— No. 4 RfCO

1937- 38

"Smashing the Rackets," with Chester Morris, Frances Mercer, and Bruce Cabot, produced by B. P. Fineman and directed by Lew Landers, from a screen play by Lionel Houser : Good-Fair.

"Breaking the Ice," with Bobby Breen, Charles Ruggles, and Dolores Costello, produced by Sol Lesser and directed by Edward F. Cline, from a screen play by Mary McCall, Jr., Manuel Seff, and Bernard Schubert: Good-Fair.

"Carefree," with Ginger Rogers and Fred Astaire, pro- duced by Pandro S. Berman and directed by Mark Sand- rich, from a screen play by Ernest Pagano and Allan Scott : Very Good-Good.

"The Renegade Ranger," with George O'Brien and Rita Hayworth, produced by Bert Gilroy and directed by David Howard, from a screen play by Oliver Drake: Fair- Poor.

Forty-five pictures have been released. Grouping the pictures of the different ratings, including the Westerns, from the beginning of the season, we get the following results :

Excellent-Good, 2; Very Good-Good, 2; Good-Fair, 9; Good-Poor, 7; Fair, 8; Fair-Poor, 15; Poor. 2.

Forty-six pictures were released in the 1936-37 season. They were rated as follows :

Excellent-Fair, 1 ; Very Good-Good, 2; Good, 4; Good- ^"air, 11 ; Fair, 12; Fair-Poor, 12; Poor, 4.

1938- 39

"The Affairs of Annabel," with Jack Oakie and Lucille Ball, produced by Lou Lusty and directed by Ben Stoloff, from a screen play by Bert Granet and Paul Yawitz : Good- Fair.

"Fugitives For a Night," with Frank Albertson and Eleanor Lynn, produced by Lou Lusty and directed by Leslie Goodwins, from a screen play by Dalton Trumbo: Fair.

"Room Service," with the Marx Brothers, Lucille Ball, and Frank Albertson, produced by Pandro S. Berman and directed by William Seiter, from a screen play by Morrie Ryskind: Good-Fair.

"Mr. Doodle Kicks Oft," with Joe Penner and June Travis, produced by Robert Sisk and directed by Leslie Goodwins, from a screen play by Bert Granet: Gojd-Fair.

"A Man to Remember," with Edward Ellis, Anne Shir- ley, and Lee Bowman, produced by Robert Sisk and di- rected by Garson Kanin, from a screen play by Dalton Trumbo : Good.

"The Mad Miss Manton," with Barbara Stanwyck and Henry Fonda, produced by P. J. Wolfson and directed by Leigh Jason, from a screen play by Philip G. Epstein: Good-Fair.

"Tarnished Angel," with Sally Filers, Lee Bowman, and Ann Miller, produced by H. P. Fineman and directed by Leslie Goodwins, from a screen play by Jo Pagano: Fair- Poor.

"Lawless Valley," with George O'Brien and Kay Sut- ton, produced by Bert Gilroy and directed by David How- ard, from a screen play by Oliver Drake : Fair-Poor.

"Annabel Takes a Tour," with Jack Oakie and Lucille Ball, produced by Lou Lusty and directed by Lew Landers,

from the screen play by Bert Granet and Olive Cooper : Good-Fair.

Nine pictures have already been released. Grouping the pictures of the different ratings from the beginning of the season, we get the following results:

Good, 1 ; Good-Fair, 5; Fair, 1 ; Fair-Poor, 2.

The first nine pictures in the 1937-38 season were rated as follows :

Excellent-Good, 1 ; Good- Fair, 1 ; Fair, 4; Fair-Poor, 3. 20th Century-Fox 1938-39

"Gateway," with Don Ameche and Arlenc Whelan, pro- duced by Samuel G. Engel and directed by Alfred YYerker, from a screen play by Lamar Trotti : Good-Poor.

"Keep Smiling," with Jane Withers, Gloria Stuart, and Henry Wilcoxon, produced by John Stone and directed by Herbert I. Leeds, from a screen play by Frances Hyland and Albert Ray : Good-Fair.

"Alexander's Ragtime Band," with Alice Faye, Tyrone Power, and Don Ameche, produced by Harry Joe Brown and directed by Henry King, from a screen play by Kath- ryn Scola and Lamar Trotti : Excellent.

"Speed To Burn," with Michael Whalen and Lynn Bari, produced by Jerry Hoffman and directed by Otto Browcr, from a screen play by Robert Ellis and Helen Logan : Fair.

"My Lucky Star," with Sonja Henie and Richard Greene, produced by Harry Joe Brown and directed by Roy Del Ruth, from a screen play by Harry Tugend and Jack Yellen: Very Good-Fair.

"Safety in Numbers," with Jed Prouty, Spring Bying- ton, and Shirley Deane, produced by John Stone and di- rected by Malcolm St. Clair, from a screen play by Joseph Hoffman, Karen DeWolf and Robert Shapin: Fair.

"Hold That Coed," with George Murphy, Marjorie Weaver, and John Barrymore, produced by David Hemp- stead and directed by George Marshall, from a screen play by Karl Tunberg, Don Ettlinger, and Jack Yellen : Good- Fair.

"Time Out For Murder," with Michael Whalen and Gloria Stuart, produced by Howard J. Green and directed by H. Bruce Humberstone, from a screen play by Jerry Cady : Good-Fair.

"Straight, Place and Show," with the Ritz Brothers, Phyllis Brooks and Richard Arlen, produced by David Hempstead and directed by David Butler, from a screen play by M. M. Musselman and Allen Rivkin: Good-Fair.

"Meet the Girls," with Lynn Bari and June Lang, pro- duced by Howard J. Green and directed by Eugene Forde, from a screen play by Marguerite Roberts: Fair-Poor.

"Five of a Kind," with the Dionnc Quintuplets, Jean Hersholt, Claire Trevor, and Cesar Romero, directed by Herbert I. Leeds, from a screen play by Lou Breslow and John Patrick: Good-Fair.

"Mysterious Mr. Moto," with Peter Lorre, Mary Ma- guire and Henry Wilcoxon, produced by Sol M. Wurtze! and directed by Norman Foster, from a screen play by Phillip MacDonald and Norman Foster: Good-Fair.

"Suez." with Tyrone Power, Loretta Young, and Anna- bella, produced by Gene Markey and directed by Allan Dwan. from a screen play by Philip Dunne and Julien Josephson : Very Good-Good.

"Always in Trouble," with Jane Withers, Andrew Tombes, and Jean Rogers, produced by John Stone and directed by Joseph Santley, from a screen play by Karen DeWolf and Robert Chapin : Good-Fair.

"Just Around the Corner," with Shirley Temple, Charles Farrell, and Joan Davis, produced by David Hempstead and directed by Irving Cummings, from a screen play bv Ethel Hill, J. P. McEvoy, and Darrell Ware: Very Good- Good.

"Sharpshooters," with Brian Donlevy, Lynn Bari, and John King, produced by Sol M. Wurtzel and directed by James Tinling, from a screen play by Robert Ellis and Helen Logan : Fair.

Sixteen pictures have already been released. Grouping the pictures of the different ratings from the beginning of the season, we get the following results :

Excellent, 1; Very Good-Good, 2; Very Good-Fair, 1; Good-Fair, 7; Good-Poor, 1; Fair, 3; Fair-Poor, 1.

The first sixteen pictures in the 1937-38 season were rated as follows :

Excellent, 1 ; Excellent-Very Good, 1 ; Excellent-Good, 1 ; Very Good-Good, 2 ; Very Good-Fair, 1 ; Good-Fair, 4 ; Good-Poor, 2; Fair. 3; Fair-Poor, 1.

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 Weakly by

United States $15.00 1 «1 9 Harrison's Reports, Inc.,

U. S. Insular Possesion*. 16.50 noom 1014 Publisher

Canada 16.50 New York, N. Y. P. S. HARRISON, Editor

Mexico, Cuba, Spain 16.50 , „ , , _. . _ _ .

Great Britain 15.75 A Motion Picture Reviewing Service ., .

Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919

India, Europe, Asia .... 17.50

tKr. * rv„w Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622

doc a uopy Columns, if It is to Benefit the Exhibitor.

A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING

Vol. XXI SATURDAY, FEBRUARY 11, 1939 No. 6

REAPING THE WHIRLWIND

For years the independent exhibitors have been protesting to the producers for permitting their stars to take part in radio broadcasts sponsored either by themselves or by others, but in every in- stance they were told by these producers that the appearance of these stars in radio shows not only did not do any harm, but it did much good, in that, as they said, it advertised both the stars and the pictures they appeared in.

The exhibitors knew from experience, of course, that the producers were wrong, for they felt it at the box office on the nights the stars were and still are broadcasting ; but they could do nothing about it.

As a matter of logic, the producers ought to have known that the taking part in broadcasts of names such as Jack Benny, Tyrone Power, Nelson Eddy, Don Ameche, Herbert Marshall, Loretta Young, Fred Astaire, Joan Bennett, Myrna Loy, Gary Grant, the Marx Bros., Ronald Colman. Carole Lombard and of many others, on the same night, although on different programs, could not help giving a hard blow to the box office, but they seemed not to have realized it ; it is onlv now, when receipts in all but the most outstanding pictures have reached the lowest in any period of the his- tory of motion picture exhibition, that they are beginning to realize it.

Radio is a formidable competitor to motion pic- tures, by reason of the fact that the radio people are a more progressive lot than are the motion picture people, and are not fettered with politics, such as is the motion picture industry : since the provider of radio entertainment must give an ac- counting for the sort of show he produces to the advertiser directly and not to the public, as is the case with the motion picture industry, he stands or falls by the quality of the entertainment he can produce, for unless it is of high quality, the adver- tiser will look to someone else for his entertain- ment ; he pays thousands of dollars for the privi- lege of reaching the public during the hour he sponsors, and he cannot afford to give the public poor, or even fair, entertainment. As a result, the providers of radio entertainment are wide awake. Every week they bring out something new to keep the listeners in at home, away from motion pic- tures. The standard they have in mind when they get together their entertainment is motion picture entertainment exclusively. It is what the motion picture theatre offers that they arc trying to outdo — nothing else.

If any producer has any doubt that this is so, all he has to do is to look into his box-office receipts: he will find that his top-notch pictures, the very best of them, outdraw the top-notch pictures of former years, but his other pictures don't draw a Corporal's guard — less than half of what pictures

of similar grade used to draw in former years. The reason for it is the fact that it takes a powerful picture to draw people away from their radio at home, particularly during bad weather, when the comforts of home make the radio more attractive.

Recently The Hollywood Reporter said: "The greatest worry in this picture business today is the continued falling off in audience attendance, which is happening right at a time when the producers believe they are making the finest and most ex- pensive pictures that have ever come out of any studio. Exhibitors, distributors and producers are getting frantic because of the attendance drop ; nothing seems to accelerate box-office reaction that WAS in other days. . . ."

Two things the producers must do to bring to the theatres normal attendance : discontinue either sponsoring radio hours or permitting their stars to take part in radio broadcasts, and make a greater number of high-grade pictures.

Television is to begin this spring, and unless they take steps to mend their fences, they will find them- selves before another formidable competitor.

BOX-OFFICE PERFORMANCES OF 1938-39 SEASON'S PICTURES— No. 5

United Artists 1938-39

"Algiers," with Charles Boyer, Hedy LaMarr. and Sigrid Gurie, produced by Walter Wanger and directed by John Cromwell, from a screen play by John Howard Lawson : Yerv Good-Fair.

"Drums," with Sabu, Raymond Massey, Roger Livesev, and Valerie Hobson, produced by Alex- ander Korda and directed by Joltan Korda. from a screen play by Arthur Wimperis, Patric Kirwan, and Hugh Gray : Good-Fair.

"There Goes My Heart." with Fredric March. Virginia Bruce, and Patsy Kelly, produced by Hal Roach and directed by Norman Z. McLeod. from a screen play by Eddie Moran and Jack Jevne : Good- Fair.

"The Young in Heart," with Janet Gaynor. Douglas Fairbanks, Jr., Billie Burke, Roland Young, and Paulette Goddard, produced by David O. Selznick and directed by Richard Wallace, from a screen play by Paul Osborn : Very Good-Good.

Four pictures have already been released. Group- ing the pictures of the different ratings from the beginning of the season, we get these results:

Very Good-Good, 1 ; Verv Good- Fair, 1 : Good- Fair, 2.

The first four pictures in the 1937-38 season were rated as follows :

Excellent-Very Good. 1; Excellent-Good, I; Good-Poor, 1 ; Fair-Poor, I.

(Continued on last page)

22

HARRISON'S REPORTS

February 11, 1939

"Idiot's Delight" with Norma Shearer and Clark Gable

(MGM , January 27; time, \Q6]/> mm.)

Very good adult entertainment. Its appeal will be di- rected more to class audiences than to the masses, because of the overabundance of dialogue. The action moves at a fairly lively pace in the first half, but the second half is typical of a stage play, with all the action concentrated in one room. Considering the jxipularity of the two stars, however, it should draw well at the box-office. In adapting it from the stage play, the producer eliminated some of the strong anti-war propaganda and refrained from mentioning the names of the countries responsihle for war. But enough is said by the characters, especially by Burgess Meredith, to make one realize that war is horrible and futile. The romance between Gable and Miss Shearer is slightly on the sordid side ; but, as a result of their excellent performances, one cannot help feeling sympathy for both of them: —

After the World War, Gable goes hack to his profession as a vaudeville actor. While playing in Omaha, he meets Miss Shearer, member of an acrobatic troupe; they spend the night together at a hotel and part the next morning. Years later they meet again, at a European frontier hotel. Gal)le and a group of girls, with whom he had been touring throughout Europe, are unable to proceed because of frontier trouble and expected air raids. Miss Shearer, wear- ing a blond wig and talking with a Russian accent, ar- rives with Edward Arnold, a powerful munitions manu- facturer. Gable recognizes her from the fantastic stories she tells about herself — that she was a Russian princess, and had visited royalty all over Europe. She, too, recog- nizes him but pretends she does not know him. Everyone prepares to leave the next day. But Arnold, who was an- noyed at Miss Shearer for having told him the truth alxnit himself, wants to get rid of her ; he refuses to vouch for her passport and so she is detained. Everyone leaves, in- cluding Gable. But he returns to help Miss Shearer. It is then that she drops her accent and acknowledges her iden- tity. Together, arm in arm, they watch the bombing that had started, expecting to meet with death. Their lives are spared ; happily, they look forword to a new life together.

Robert E. Sherwood wrote the screen play from his own stage play ; Clarence Brown directed it, and Hunt Strom- berg produced it. In the cast are Charles Coburn. Joseph Schildkraut, Laura Hope Crews, Skeets Gallagher, and

others.

Unsuitable for children and adolescents. Class B.

"Navy Secrets" with Fay Wray and Grant Withers

(Monogram, February I ; time, 60 mm.)

A moderately entertaining espionage melodrama. The plot developments are obvious and so the spectator is held only in fair suspense. Furthermore, too much footage is wasted in the romantic sequences, thus slowing up the ac- tion. Towards the end, the action becomes quite exciting, culminating in the roundup of the spy ring : —

Craig Reynolds, an officer in the United States Navy, is arrested for having sold government plans to foreign agents. Grant Withers, a Federal investigator posing as a sailnr friend of Reynolds', wins the confidence of Fay Wray, supposedly Reynolds' fiancee. Pretending that he had stamps belonging to Reynolds, which he was supposed to turn over to some man whose name he had forgotten, he induces Miss Wray to take him to the different places she used to frequent with Reynolds. They finally locate the man they wanted ; he was the leader of the spy ring. But when he discovers that he was trapped, he tries to kill Withers and Miss Wray. The police, who had been notified in advance by Miss Wray, arrive in time to save them, and to round up the gang. Withers learns, to his surprise, that Miss Wray, too was a federal agent, working on the same case. He is happy, for he had fallen in love witli her.

Steve Fisher wrote the story, and Harvey Gates, the screen play; Howard Bretherton directed it, and William Lackey produced it. In the cast are Dewey Robinson, George Sorel, and others.

Suitability, Class A.

"Boy Trouble" with Charlie Ruggles and Mary Boland

{Paramount, February 17 ; time, 73 min.)

A fairly pleasant program comedy, with human appeal. Several situations touch one's emotions because of the ap- pealing way in which they are played by two youngsters ( Billy Lee and Donald O'Connor). In the first half, com- edy predominates ; but as the story develops it becomes a little more dramatic, ending on a sentimental note. The romantic interest is routine: —

Charlie Ruggles, a department store clerk in a boys' department, hates his work for he had to contend with an irritable manager and witli cranky boy customers. He is irritated further when he learns that his daughter ("Joyce Mathews) was in love with John Hartley, a wise-cracking young man who had been the cause of Ruggles' paying a fine in an automobile accident ; he orders Hartley out of the house. Hartley sneaks in the following morning and con- vinces Miss Boland that Ruggles was irritable because he missed having a son in his own home. Unknown to Ruggles, she adopts six-year old Billy Lee from an orphanage. Ruggles is enraged when she breaks the news to him ; he puts Billy in his car to take him back to the orphanage. On the way, Ruggles knocks down Donald O'Connor, another orphan, and returns home with both boys. Seeking peace one night, he goes to a neighbor's house, where the two boys follow him; they reveal that Billy had scarlet fever. Since the neighbor was out, the three are quarantined in her house. During the time that he treats Billy, Ruggles real- izes what the two boys meant to him. Billv recovers, and