Exhibitors Herald (1926)

28 EXHIBITORS HERALD September 4, 1926 Film Boards of Trade Upheld By U. S. Justice Department Plan of Arbitration Found “Fair, Just and Economical Method” of Meeting Problems After Investigation Prompted by Theatre Owners 18 Months Ago (Special to the Herald) WASHINGTON, Aug. 31. — The plan of arbitration set up by the motion picture industry for the settlement of disputes between exhibitors and producers without resort to the courts provides “a fair, just and economical method” of dealing with the question and .in no way violates the anti-trust laws, it was declared at the Department of Justice last week in announcing the completion of a long investigation of the film boards of trade. Inquiry Begun 18 Months Ago Complaints from motion picture exhibitors some 18 months ago were responsible for the investigation, which has just been completed, it being charged that in carrying out the plan of arbitrating disputes the boards were in violation of the anti-trust act. However, reports to the department showed, this was not the case, the only question arising being the propriety of certain practices which had been adopted by the local boards and which, at the suggestion of the department, were immediately abandoned. The statement of the department, explaining the investigation and its results, follows in part: “The film boards of trade are organized by the industry for the purpose of enforcing awards made by boards of arbitration in disputes between motion picture distributors and exhibitors arising under contracts for the leasing of motion picture films. “That this plan, as conceived and executed, provides a fair, just and economical method of dealing with disputes is evidenced by the fact that during the past two years 10,325 awards have been made by these hoards and of these only 37 have required reference to a seventh arbitrator to reach a decision. “Certain practices which had been adopted by local boards were objected to by the Department of Justice, and at its instance the film board of trade has amplified its rules and regulations relating to arbitration so as clearly to prohibit members of local film boards from pursuing such objectionable practices.” Famous Leases Cohan Theatre for Roadshows (Special to the Herald) NEW YORK, Aug. 31. — Famous Players last week leased the George M. Cohan theatre for a period of a year for the purpose of making that house the “producing theatre” of a new road show department, recently formed. Albert Grey, former general manager of D. W. Griffith, Inc., has been placed in charge of the new department. Associated with him is Theodore Mitchell, for many years with J. J. McCarthy in the same line of the show building. Offices have been established on the eleventh floor of the Longacre building. Grey and Mitchell are already at work preparing for the opening of the first of a number of productions which will be roadshowed by the new department. The first picture selected for this purpose is “The Sorrows of Satan,” recently completed at the Paramount Long Island studio by D. W. Griffith. It is expected the Griffith picture will he given its premiere at the Cohan playhouse about October 11 for as long a run as it will stand. Shortly after the opening here a number of road companies will be sent out. Sterling Pictures in New Distribution Deal for 1926-1927 Product (Special to the Herald) NEW YORK, Aug. 31.— Henry Ginsberg, president, and George E. Kann, vicepresident, of Sterling Pictures Distributing Corporation, have a new outlet for the company’s 1926-27 product through Griever Productions, Chicago, for the Chicago territory, and Midwest Film Company, the Indiana Griever exchange, Indianapolis, for Indiana. Sterling has been steadily adding to its distribution outlets during recent months. In connection with production and booking, Mr. Ginsberg said : “ ‘A Woman’s Heart,’ the latest Sterling picture completed, has been booked over the Loew circuit in Greater New York. ‘Men of Night’ and ‘Christine of the Big Tops’ also were booked for showing over the Loew circuit.” Mastbaum Home; Calls French Friendly to U. S. (Special to the Herald) NEW YORK, Aug. 31.— The French people are not unfriendly to Americans despite published reports to that effect, said Jules E. Mastbaum, president of the Stanley Company of America, on his return from Paris last week. Mastbaum brought back a number of additions to his Rodin collection, which now consists of 245 examples of the sculptor’s work in bronze and marble. Martin , United Artists Manager , in Minneapolis (Special to the Herald) NEW YORK, Aug. 31. — H. O. Martin has begun his duties as Minneapolis manager for United Artists. Frank Knox has been named advertising and publicity chief for United Artists (Australasia) Ltd., releasing organization for United in Australia. THE John Ford who produced “The Iron Horse” for the Fox Film corporation has created another great outdoor picture in “3 Bad Men.” These two subjects by the same director naturally suggest a comparison. The theme of “The Iron Horse” was a mighty and inspiring one, but there is at least an equal amount of melodrama in “3 Bad Men.” A particularly notable feature of the latter is the sublimity of the scenic backgrounds — nothing more beautiful and impressive has yet been caught upon the screen than several of these views of rugged Western scenery. The outstanding and sensational sequence of “3 Bad Men” is the depiction of a rush to the gold fields of the Dakota Black Hills. For this spectacle Ford ranged hundreds — and perhaps thousands — of persons along a line at the edge of a plain. The fortune hunters were mounted upon every kind of beast of burden and were in every known type of vehicle of the day. At a cannon shot they sped across the level plain in a tremendous race scene that has seldom been equalled for thrills and suspense. A decidedly appealing feature of the production is the personality of Olive Borden, the youthful star who is forging rapidly to the very front rank of screen favorites. She has beauty and she can act. George O’Brien gives a very satisfactory performance. The three bad men are Tom Santschi, J. Farrell MacDonald and Frank Campeau. This is a combination of experience and expertness and in comedy as well as in melodrama they contribute mightily to the success of the production. Other well-known names in the cast are Lou Tellegen, Jay Hunt, Priscilla Bonner, Otis Harlan, Alec B. Francis and Phyllis Haver. The picture is representative of the Western type of picture in its highest expression and best form. Ford has offered renewed proof of the ability he demonstrated in “The Iron Horse.”