The Film Daily (1947)

^fe Friday, February 7, 1947 Competitive Bidding Exhibs. Prerogative (Continued from Page 1) tention" of the Court to place this bidding prerogative in the hands of the exhibitors. The Government believes that granting the defendants the right to call for competitive bidding along with the exhibitors would negate the effectiveness of Sec. 8 (A) of the decree, which concerns licensing on a non-competitive basis. This section reads: "A license to exhibit each feature released for public exhibition in a competitive area shall be offered to the operator of each theater in such area who desires to exhibit it on some run (other than that upon which such feature is to be exhibited in the theater of the licensor) selected by such operator, and upon uniform terms." It is also the position of the Government — and some exhibitor representatives — that giving the defendants the right to call for competitive bids would lead to sharp rise in prices on pix on the theory that some distribs. might "goad" exhibitors into bidding in cases where this was not the original intention of the exhibs. Admittedly, the language of the court is not clear on the subject. In its final decree, the court stated in Sec. 8 (C) that "where a run is desired, ' or is to be offered, upon terms which exclude simultaneous exhibition in competing theaters, the distributors shall notify ..." This would indicate that the court envisioned granting the right to inaugurate bidding to distributors as well as exhibitors. In the court's memorandum, however, it was clearly stated that "in order to meet some of the objections raised at the hearing to the system of bidding for features described in the opinion of the court, we have modified the system there proposed so that competitive bidding will only be necessary within a competitive area and in such an area where it is desired by the exhibitor." This, Department of Justice spokesmen said, clearly indicates the intention of the Statutory Court. Predict Exhib. "Rat Race" As a practical matter, one trade source said, however, exhibitors may make little use of Sec. 8 (A). One source predicted an "exhibitor rat race" in bidding for runs hitherto denied them. Even though the prerogative of originating bidding may be only a technical advantage, however, it is believed by the Government that it represents an important right for the exhibitor. The whole question may soon come to a head, since distribs. apparently are going to the theory that they may originate bidding. Meanwhile, Department of Justice attorneys were busy writing an appeal to the U. S. Supreme Court. REVIEWS Of l)CW flLfllS Gross Tax Measure Hoppered in Penn. "Angei ana tne Badman" with John Wayne, Gail Russell Republic 100 Mins. SKILLED, SUPERIOR WESTERN ENTERTAINMENT HAS SOUND TREATMENT, VARiAllON IN PLOT AND EXCELLENT CAST TO GIVE FULL ENTERTAINMENT VALUES. First it must be brought out that John Wayne is the producer of this number. It is no ordinary number. Look at the cast. There's Harry Carey, Irene 'Rich, Bruce Cabot. The support is just as solid. Moreover, this one has skill, care, intelligence, a soundly interesting story and the veteran know-how of Wayne. His part in the doings is very much in evidence. The western player emerges as producerstar in "Angel and the Badman." That the combo is expert and potent box office is certain to be brought out when audiences' reaction is tallied. The story is the thing, for sure. In westerns this has not consistently been the case. Any old plot, any old semblance of a plct has been serving up the ham and eggs of the industry. But when something like this comes along notice will be taken. Contrasting philosophies of life point up this yarn. John Wayne, as "Quirt Evans," with many notches on his gun, a reputation in places far and wide as a killer, brawler and with general lethal aspects, is taken in by a family of Quakers, the menage headed by John Halloran. Irene Rich is his wife. Gail Russell, his daughter. Wounded, Wayne is cared for and restored to vigor. His eyes light up as Miss Russell appears, the illumination is responded mutually. But there's Bruce Cabot in the heavy sense. And Harry Carey is the patient sheriff who's waiting with the noose when the right party sticks his neck out. Wayne repays the Hallorans. He lingers. An irrigation problem is settled. Then he departs, feeling a misfit. But the lurking menace of Cabot stands in the background. With his cohorts Wayne beats out Cabot in a rustling move. He goes on a debauch but runs off to return to Miss Russell and her family. He is quite happy until Cabot ambushes the pair. Miss Russell's life is at stake after eluding the baddies via going over a cliff into the drink. Wayne sets out for vengeance, thinking she will die. The climax is a trick affair, is cleverly brought off by Carey who is on the scene in time to prevent Wayne from becoming involved in a gun brawl. Lastly, Wayne has Miss, Russell in his arms. They are riding a buckboard to take up the simple, agricultural life of the range. Check this off as an important western item of the season. CAST: John Wayne, Gail Russell, Harry Carey, Irene Rich, Paul Hurst, Lee Dixon, Stephen Grant, Bruce Cabot, Tom Powers, Olin Howlin, John Halloran, Joan Barton, Craig Woods, Marshall Reed. CREDITS: Producer, John Wayne; Written and Directed by James Edward Grant; Cameraman, Archie J. Stout; Film Editor, Harry Keller; Musical Director, Cy Feuer; Musical score, Richard Hageman; Sound, Victor Appel; Set decorations, John McCarthy, Jr., Charles Thompson. DIRECTION, Superior. PHOTOGRAPHY, Excellent. " iMora Frentiss" with Ann Sheridan, Kent Smith Warners 111 Mins. FINE BET FOR THE FEMME TRADE. HAS EARMARKS OF EFFORT, APPLICATION AND SKILL IN HANDLING DELICATELY SHADED STORY. Something of "The Way of All Flesh," this one is a potent story, building to intense denouement. The basic triangle leads to a dead end and the moral tone of the play strikes a profound note as the guiltless victim faces capital punishment for the murder of himself. His co-partner in sin must face a life of silence and internal retribution. The femmes will probably be its best audience. However, it is also suitable to the general adult trade. Ann Sheridan, Kent Smith, Bruce Bennett and Robert Alda play the lead roles with ease. The production details have been carefully set out. Vincent Sherman's direction handles the various emotional tones for sound dramatic worth. Kent Smith, family man and doctor, is held in check by the domestic severity of his wife. Life with her and his children strictly adheres to the routine. Miss Sheridan comes into his life after a traffic accident. She makes a telling impression with her cynicism, gaiety and introduces him to night life, a segment of existence he is only aware of. This leads to an affair which is threatened with termination when Miss Sheridan is offered a singing job in New York. Smith has every intent of accompanying her but there is no chance until a patient dies in his office. The man physically resembles Smith. He changes identity and arranges an accident. He leaves San Francisco and accompanies Miss Sheridan to New York under an assumed name. Miss Sheridan is in ignorance of his move. She believes he made a clean break with his family. It soon comes about that Bruce Bennett believes Smith was murdered. Police investigation follows. Smith and Miss Sheridan are soon leading the life of the hunted. Jealousy flares up between Smith and Alda, the latter a nitery operator. Following a brawl, Smith is arrested following a drunken escapade with Alda's car in which he is disfigured by burns when he smashed the vehicle. The police arrest him. He is returned to the coast to stand trial for murder — of himself. He is found guilty, sentenced to death. Throughout the trial he never utters a word in defense. To repeat, it is a potent story building to intense denouement. CAST: Ann Sheridan, Kent Smith, Robert Alda, Bruce Bennett, Rosemary DeCamp; John Ridgely, Robert Arthur, Wanda Hendrix, Helen Brown, Rory Mallinson, Harry Shannon, James Flavin, Douglas Kennedy, Don McGuire, Clifton Young. CREDITS: Producer, William Jacobs; Director, Vincent Sherman; Screenplay by N. Richard Nash from a story by Paul Webster and Jack Sobell; Cameraman, James Wong Howe; Film Editor, Owen Marks; Sound, Charles Lang; Orchestral arrangements, Leonid Raab; Musical Director, Leo F. Forbstein; Set Decorations, Walter Tilford; Art Director, Anton Grot. DIRECTION, Very Good. PHOTOGRAPHY, Excellent. Harrisburg, Pa. — Several bills affecting the motion picture industry made their appearance in the J7 — <isylvania General Assembly ' offi<)s week, first since the Legislature enlivened on Jan. 7. Third class cities in Pennsylvania, under a bill introduced in the House by Rep. Michael Demech, R., Luzerne County, would be permitted to levy a 15-mill tax on gross receipts of amusement places on either a permanent or temporary basis. Another measure, introduced by Rep. Russell Reese, D., Washington, would prohibit the sale of tickets in excess of seating capacity by all places of amusement, but allowing a five per cent margin of tolerance. The bill prescribes penalties of fines from $200 to $500, or jail from one to three months, or both, for violations. Rep. Earl E. Hewitt, R., Indiana, is ready to introduce a bill proposing a two per cent sales tax, to yield $115,000,000 biennially, but Governor Duff is said to oppose a sales tax unless other taxes will not meet needs. Meanwhile, a special Senate-House committee is completing a study of state finances which will be used as a basis for Duff's recommendations on taxation to the Legislature. Another measure introduced this week by Rep. Joseph A. Scanlan, R., Philadelphia, provides for a maximum ceiling on rentals for commercial buildings. Museum of Modern Art to Host Fed. of Film Archives (Continued from Page 1) seum's Film Library, is prexy of the Foundation which consists of member organizations in England, France, U. S. A., Canada, Belgium, Holland, Italy, Denmark, Poland and Czechoslovakia. Announcement of the Federation's forthcoming meeting was made two days ago when the first post-war meeting of the Advisory Committee of the Museum's Film Library was held in the penthouse of the Museum. Museum's film committee reviewed the Library's activities in the past five years. Outlined in its future plans is the continuation of the Library's close liaison with the American film industry in the form of film presentations and special exhibitions. Eric A. Johnston, committee chairman, presided. Among those who attended the meeting were: John Hay Whitney, Iris Barry, J. Robert Rubin, Sam Shain, Paul Raibourn, Arthur De Bra, Albert Howson, Ned E. Depinet, John Marshall and John E. Abbott. Hershberger Joins Norris Detroit — Alban J. Norris, who has operated the Michigan Film Library for many years, has taken in J. H. Hershberger as a partner. Tobias Ebramowicz Stricken Union City, N. J. — Funeral services will be held for Tobias Ebramowicz, 49, who was stricken with a heart attack while he was on duty as a projectionist at the Capitol Theater here.