Harrison's Reports (1951)

72 HARRISON’S REPORTS May 5, 1951 tising plan. Here is what he had to say, in part, in an organizational bulletin issued last week: “I do not want any of you to get the idea that I am opposed to advertising. On the contrary, I believe in more and more advertising, more than we are doing today; but I believe that advertising should be aimed in a different direction. "I picked up the Dallas T^ews this morning and noted that the theatres in this city alone this morning bought 150 column inches in that medium. At the regular Dallas T^ews rate of $5.40 an inch, this means in bills to the theatres in Dallas alone something over $800. In addition to this, the after' noon paper, the Times Herald, receives practically the same amount of money for the same space. So it's easy to figure that in Dallas alone there is spent by exhibitors some $1500 a day or more than half a million dollars per year. All this money is spent to publicize film that will be 'dead' tomorrow or within a week or less, and most of the resulting increase, if any, in boxoffice goes to the film companies. “I want to make a suggestion: this amount or even a greater sum should be spent, but it should be specifically directed to advertising the motion picture industry as a great medium of entertainment and the exhibitor’s theatre and his operation in connection with that, and only an incidental amount of space (say one column one inch) devoted to the particular attraction of the moment. If the film company wanted more emphasis put on its own attraction, let them pay for it. “I believe this would have tremendous effect. It would revolutionize the public reaction and would have a vastly more permanent result so far as the theatre operation is concerned.” Perhaps an idea such as suggested by Col. Cole, and if carried out by the exhibitors, will make the leaders of production and distribution realize the necessity of their getting together for the common good, for they will then see that, if they want you to take in more money for their pictures, they will have to help you get it. “Her First Romance” with Margaret O’Brien ( Columbia , May; time, 73 min.) A lightweight comedy-drama of adolescent romance. Although it is bolstered by the presence of Margaret O’Brien in the leading role, it does not rise above the level of program fare and is best suited as a supporting feature in secondary situations that cater to the family trade. Discriminating patrons may find the proceedings pretty dull, for the plot is developed in so obvious a fashion that one knows well in advance just what is going to happen. Some of the comedy falls flat because it is forced, but there are situations that provide enough chuckles throughout to make the picture amusing for those who are easily entertained. Although she is now in what is generally described as the “awkward” age, Margaret O’Brien has grown into a comely young miss and she makes the most of a part that is not too demanding: — Attracted to Allen Martin, Jr., a new boy at school, Margaret finds that she has a rival for his affections in Elinor Donahue. Margaret learns that both Allen and Elinor had enrolled in the school's summer camp, operated by Lloyd Corrigan, the principal, and she enlists the aid of Jimmy Hunt, her younger brother, to persuade their parents (Arthur Space and Ann Doran) to send them to the camp. There, the rivalry between Margaret and Elinor becomes intense as they vie for Allen’s attentions. Matters become complicated when the camp gets set for its annual Mardi Gras contest, in which the boy who takes in the most money in a self-profit project is chosen King of the Camp and is given the right to choose his Queen. Allen conceives the idea of building a boat slide and charging a quarter a ride, but he informs Margaret and Elinor that he needs twentyfive dollars for lumber. Seeing this as an opportunity to become Allen's partner and have him select her as his Queen, Margaret promises to raise the money for him. To gether with her brother, she steals out of the camp late at night and returns to the city, where she invades the ice plant owned by her father and “borrows” the money from his safe. Both flee when the night watchman approaches, and in the confusion Jimmy inadvertently takes along a valuable paper that gave their father control of the company. On the day of the Mardi Gras, Margaret’s parents arrive for a visit and her father reveals that he is about to lose the plant because the valuable paper showing his stock control had been stolen. Realizing that she was in some way responsible, Margaret recalls that she had given Jimmy a paper on which to scribble an I.O.U. She finds the paper after a frenzied search of Jimmy’s clothes, gives it to her father and tells him the truth. Despite her excuse that she had only borrowed the money, her father gives her a stern lecture. Meanwhile Allen is crowned King. He tries to select Margaret as his Queen, but she tearfully announces that she must decline the honor because she got it by cheating. Allen, admiring her display of self-sacrifice, comes through with a proposal to be her steady boy-friend. It was directed by Seymour Friedman from a screenplay by Albert Mannheimer, based on a story by Herman Wouk. No producer credit is given. Good for the family. “Smuggler’s Gold” with Cameron Mitchell, Amanda Blake and Carl Benton Reid ( Columbia , May; time, 64 min.) A fair crime melodrama; it should get by as a satisfactory supporting feature in double-billing situations. While there is nothing exceptional about either the story or the treatment, it holds one’s interest to a fair degree and generates considerable suspense in a number of the situations. Most of the excitement occurs in the final reel, where the hero, a deep-sea diver, is trapped below the surface by the villain, who cuts off his air supply. The direction is effective, and the acting competent: — Carl Benton Reid, ostensibly a kindly, jovial captain of a fishing boat, also operates an equipment store in a small shore-town, aided by Amanda Blake, his niece. Actually, Reid uses the store and fishing boat to cover up a goldsmuggling racket, which he operated in league with William Forest, a wealthy yachtsman. Only Williams “Bill” Phillips and Bob Williams, Reid’s two crewmen, knew of the racket. Cameron Mitchell, a deep-sea diver engaged to Amanda, comes upon Williams one night when the latter, in a drunken rage because he wasn't getting enough of a cut from the smuggling, tries to break into Reid’s shop. Mitchell knocks him unconscious in a fight. Reid, arriving on the scene with Phillips, kills Williams with a spanner and leads Mitchell to believe that he had died as a result of the fight. He then convinces Mitchell that in order to spare Amanda's feelings it would be better to make it appear as if Williams had drowned. The night before Mitchell is to leave for a new job in another city, he accidentally learns about Reid’s smuggling activities. Reid, by threatening to tell the police that Mitchell murdered Williams, blackmails him into agreeing to dive for a shipment of gold, which he (Reid) had thrown overboard in a scheme to doublecross Forest; he had told Forest that he had been forced to jettison the gold when a Coast Guard cutter approached his fishing boat. Mitchell, fearing that Reid will doublecross him, too, tells Amanda the truth, and she in turn tips off the Coast Guard after her uncle's boat leaves on its mission. Mitchell goes down for the gold with Phillips pumping air to him from the deck. When the last of the gold is aboard, Reid shoots Phillips and cuts off Mitchell’s air supply. But before he can get away, the Coast Guard cutter arrives on the scene. Reid is killed and Mitchell saved from a watery grave. With his dying breath, Phillips exonerates Mitchell of Williams’ murder. It was produced by Milton Feldman and directed by William Berke from a screen play by Daniel Ullman, based on a story by A1 Martin. Harmless for the family.