Independent Exhibitors Film Bulletin (1950)

i\i*tvs and Opinion (Continued from Page 10) 'All the King's Men); Dean Jagger (12 O'Clock High); Arthur Kennedy (Champion); Ralph Richardson (The Heiress); James Whnmore (Battleground). — Best supporting actress: Ethel Barrymore (Pinky); Celeste Holm (Come to the Stable); Elsa Lanchester (Come to the Stable); Mercedes McCambridge (All the King's Men); Ethel Waters (Pinky). —Best director: Robert Rossen (All the Kings Men); William A. Wellman (Battleground); Carol Reed (Fallen Idol); William Wyler (The Heiress); Joseph L. Mankiewicz (A Letter to Three Wives). REPUBLIC SLIPS INTO BLACK WITH $486,000 NET FOR '49 Republic's contribution to the improved financial picture for the distribution faction of the industry was a black figure of $486,000 after taxes for fiscal 1949 compared with a $350,000 loss for the similar period the preceding year. The brighter outlook was reported to the stockholders by Republic president Herbert J. Yates for the year ended October 29, 1949. The report showed that gross revenue for the 52 weeks came to $28,096,000 for fiscal 1949, compared with the previous 53-week fiscal year's gross of $27,072,000. The decrease in revenue from foreign markets, according to Yates, was more than offset by increased domestic grosses. Yates also noted that despite devaluation of foreign currencies and the "uncertain situation" overseas because of devaluations, taxes and restrictions, Republic's assets in foreign countries increased from the equivalent of $1,095,000 on Oct. 30, 1948, to the equivalent of $1,418,000 on Oct. 29, 1949, based upon prevailing rates of exchange. He also reported that bank loans of $2,700,000 were completely liquidated during the '49 fiscal period, leaving only a bank indebtedness of $1,423,000, representing loans made in connection with production costs of specific pictures. Labor costs, he said, have continued to increase, and now represent more than a 100 per cent hike since 1941. Despite this and the shaky foreign situation, Yates de clared, he believed that "operations in 1950, barring unsatisfactory developments, will continue to show a substantial improvement. Other figures from the report revealed amortization of film production costs of $8,907,000, "laboratory, molded products and accessory costs" of $8,919,000 and selling, administrative and general expenses of $5,828,000. Of this figure, advertising and publicity expenses came to $821,000. The profit figure also felt bites of $325,000 for estimated federal taxes on income, and $602,000 of deferred foreign net income subject to withdrawal restrictions and federal taxes. In the preceding year, the company took a $215,000 refund under the loss carryback provisions of the Internal Revenue Code. CONSENT DECREE WINDS UP TECHNICOLOR TRUST SUIT The Government's anti-trust suit against Technicolor Corp. is all over but tli3 signing. In a consent agreement reached last week, subject to approval by Ihe Federal District Court in Los Angeles and the Technicolor board, the largest color process company in the world was released from the long-standing court action in which it was originally a co-defendant with Eastman. The latter exited the suit via the consent decree route last year. The original charge was conspiracy with Eastman to monopolize color photography on a world-wide scale. It was emphasized that "nothing in this decree adjudges Technicolor guilty in any manner, nor has Technicolor at any time believed that it has been doing anything contrary to law," according to Technicolor president Herbert Kalmus. The consent decree was agreed to, according to Dr. Kalmus, for two principal reasons: "(1) To save the enormous amount of time and expense that would be involved if the case were allowed to come to trial. "(2) Because the consent decree outlines a practical procedure for avoiding future difficulties with the government." UPPED RELEASE SCHEDULES ANNOUNCED BY M-G-M, E-L Release schedules from two companies for the next few months bore out the predictions that the product shortage was fast disappearing as an exhibitor's headache. The companies heard from were M-G-M and Eagie-Lion, both of whom showed an increase in the number of films over corresponding periods last year. Sales vice president William F. Rodgers announced the M-G-M will release 16 pictures in the five months beginning April 1, bringing the company's feature schedule up to the end of August, and providing for a total of 26 pictures from the first of the year, including one reprint Rodgers also pointed out the marked difference in this year's schedule in that four pictures have been set for May, whereas only one was released in the same month last year. This June, he added, there will be three releases, one more than last June. The monthly schedule will have three in April, "The Yellow Cab Man," "Side Street' and "The Outriders"; May will see "The Reformer and the Redhead," "Please Believe Me," "Shadow on the Wall," and "The Big Hangover"; for June, "Dink Stover," "Father of the Bride," and "The Skipper Surprised His Wife." In July: "The Asphalt Jungle," "Summer Stock" and "Mystery Street"; August, "Duchess of Idaho"; "Devil's Doorway,' and "The Miniver Story". Eagle-Lion's renaissance after a long period of inactivity has resulted in a schedule of 12 features during the threemonth period starting in February. This month's releases will have "The Sundowners," in Technicolor; "Guilty of Treason," "The Amazing Mr. Beecham" and one reissue, "Hit the Ice". March will see "The Great Rupert", "The Golden Gloves Story," "Boy from Indiana," "Fighting Stallion" and "Forbidden Jungle". April releases are J. Arthur Rank's "The Perfect Woman" and "Kind Hearts and Coronets," and "Kill or Be Killed". 'OUTSSBE THE WALL' SYNTHETIC ACTION MILLER HAS EXPLOITATION ANGLE Pflt°s • + as d ialler for action houses Universal-International 80 Minutes Richard Basehart, Marilyn Maxwell, Signe Hasso, Dorothy Hart, Joseph Pevney, John Hoyt, Henry Morgan. Directed by Crane Wilbur. "Outside the Wall" without the benefit of the sensational Boston bank robbery of recent headlines, would be just another action dualler. However, it becomes an exploitation film that might be parlayed into boxoffice returns far beyond its actual merit by tying it up with the daring Brink's $1,500,000 holdup in Boston. Filmed largely on the spot, in Philadelphia where its world premiere drew crowds eager to see Their Town as plugged in the ad campaign, it emerges as a synthetic little melodrama with a good idea gone to waste. The bank robbery is not shown, being brought in indirectly late in the story as a motive for ultimate complications. Prison scenes also are limited to a few opening shots and the intriguing premise of a young man released into the world at the age of 30 after a 15-year prison stretch is developed awkwardly and unconvincingly under Crane Wilbur's pedestrian direction. Action fans will find the early portions, wherein the ex-convict, Richard Basehart, attempts to acclimate himself in a strange, unfriendly world, rather slowmoving, but the later sequences develop a good amount of action, which though far-fetched, should satisfy their craving for violence. Another angle which can be played up is the star's naivete insofar as women are concerned (he seems to draw them like flies), particularly a trio of luscious beauties in the well-rounded forms of Marilyn Maxwell, Dorothy Hart and Signe Hasso. With these exploitation points amply utilized, returns should be above average in action spots. Elsewhere, it's routine dual bill fare. STORY: Richard Basehart released on a pardon from Eastern Penitentiary in Philadelphia after a 15-year stretch for murder committed when he was a boy, finds the outside world a strange and unfriendly place. He seeks sanctuary in a private sanitarium near the city where he gets a job as laboratory assistant and meets nurses Marilyn Maxwell and Dorothy Hart. Both are attracted to him, but he singles out the glamorous, blonde Maxwell for his shy attentions. John Hoyt, who is brought to the sanitarium prostrated by tuberculosis, is recognized by Basehart as a former jailmate now being sought for a million-dollar bank robbery. Although he wants nothing to do with Hoyt, Basehart agrees to become the go-between in a blackmail payoff between the robber and his ex-wife, Signe Hasso. Hasso and her accomplices, out for the entire loot, kidnap and torture Basehart, believing him to be the only other surviving member of the bank ban dits, to find where the money is hidden He escapes, but they bribe Maxwell and kidnap Hoyt. Basehart and Hart, tc whom he has transferred his affections attempt to rescue the sick man, having learned where the money is, but the} are forced to turn over the loot to the gang. In a fire at the hideout, all an driven out into the arms of the polict and the dying Hoyt is convinced by Har to clear Basehart of any complicity ir the bank job. BARN. 14 FILM BULLETIN