Harrison's Reports (1954)

20 HARRISON’S REPORTS the good . . . the bad . . . everything that made her the woman she was — laid bare before him'. The other piece of copy reads 'Trash! . . . that's what they called Naomi'. I £im wondering just what the reader of these ads thought Naomi was and what the man in the picture was about to do. The phrase 'now he knew her as other men had' is used in a consistent theme in much of the material and every illustration in the campaign is that of a man in a tight embrace with the woman. “Without going into detail on any more pictures may I suggest that you take a look at the pressbooks on 'The Glass Web', a Universal International picture, 'Forbidden', a Universal International picture, 'Pickup on South Street', a 20th Century'Fox picture, 'Mogambo', a Metro picture, 'Gentlemen Prefer Blondes', a 20th Century'Fox picture, 'Paris Model', a Columbia picture, 'How To Marry A Mil' honaire', a 20th Century'Fox picture, 'One Girl's Confession' and 'Problem Girls', a double feature released by Columbia and 'The Big Heat', a Columbia release. “All of this material I am sure can be obtained for you by Mr. Gorden White. “I believe you will agree with me when I state that I have a very definite responsibility to every producer who releases pictures thru United Artists to develop a campaign which will bring in the maximum gross at the box 'office. My record over the past ten years will, I believe, substantiate the fact that I have always tried to cooperate to the fullest with the Advertising Code Administrator while at the same time ful' filhng my obligations to our producers. However, I cannot continue to disregard these recent applications of the code to pictures from competing companies. Pressure from many independent producers is daily increasing and frankly the examples which I have cited above do not leave me with much ammunition to defend my position of continuing cooperation. “I will repeat what I have told Gordon White over and over again — I am wilHng to comply with the code in its spirit and its letter but 1 must insist that the yardstick for the pictures distributed thru United Artists be the same as the one applied to every other company. I do not feel that this principle of equahty was applied in arriving at the decision on the ads for ACT OF LOVE. “Sincerely yours, (signed) Max E. Youngstein” Max Youngstein has made out a strong and logical case for the indepedent producer and, on the basis of the ir' refutable facts presented in his letter, it appears as if Eric Johnston's position in sustaining the decision of his Ad vet' tising Code Administrator on the advertising for “Act of Love” is indefensible. Meanwhile United Artists, in accordance with the prO' ducer’s wishes, is proceeding with plans to release the pic' ture nationally, even if the advertising does not have the approval of the MPAA. The picture has been playing in Los Angeles for the past four weeks, and is set to open at the Astor Theatre in New York City on February 11. Under the Code regulations, a production seal can be withdrawn if a producer refuses to give up the use of re' jected advertising. But whether or not Eric Johnston will take such action remains to be seen. If he does, he will find that he has locked horns with a formidable opponent in Max Youngstein. The developments should be interesting. Lest the readers of this editorial form the impression that Harrison's Reports is condoning suggestive advertising, it hastens to assure them that such is not the case, for it is heartily in accord with any constructive movement aimed against practices that tend to lower the standards of decency. The point in question here, as has been stated in these cob umns before, is whether the Motion Picture Association, by applying one rule to the major producers and a different one to the independent producers, has forfeited the right to de' mand of the independents strict observance of the provisions of the Code. January 30, 1954 “Gypsy Colt” with Donna Corcoran, Ward Bond and Frances Dee (MGM, April; time, 72 min.) A good program melodrama, photographed in Ansco Color with prints by Technicolor. Its story about a strong attachment between a little girl and a beautiful black colt follows a familiar pattern, but it is heart 'warming and appeal' ing and should go over very well with the family trade. The real star of the picture is Gypsy, a spirited and intelligent young colt, who is destined to take his place among the wonder animals that have appeared on the screen. This horse seems to have the remarkable ability to convey its feelings of joy and sorrow to an audience, with the result that one is in sympathy with the animal as much as with a human being, for one feels his depression at being separated from his devoted young mistress. Donna Corcoran is cute and endearing as the little heroine, and sympathetic por' trayals are turned in by Ward Bond and Frances Dee as her understanding parents. The impressive outdoor scenery and the fine color photography make the film pictorially beautiful: — Living with her parents in a parched and drought'ridden western farming community, Donna is taken to school every morning by Gypsy, who returns to the ranch by himself but comes back to the village schoolhouse promptly at three o'clock to take Donna home. Bond and his wife, desperately in need of funds, have no alternative but to sell Gypsy to Larry Keating, a kindly racing stable owner, knowing full well that the sale will break Donna's heart. Donna is saddened, but she understands her parents' problems and holds back her tears. At Keating's stable, Gypsy yearns for Donna's companionship and manages to escape twice for re' unions with her, but each time Bond sees to it that the colt is returned to Keating. Gypsy is taken to Greenway Park, some 500 miles distant, to begin his racing career, but his inability to forget Donna, coupled with the fact that he was treated cruelly by Lee Van Cleef, a surly groom, causes him to escape once again at the first opportunity. The horse's long and torturous trek homeward is interrupted when he is roped by three cowboys, but he escapes from them when they try to brand him. He manages to elude also a group of motorcyclists who were trying to collect a $1,000 reward for his capture. Making his way across the desert, Gypsy falls prostrate from heat and thirst but is saved by Bobby Dominguez, a Mexican boy, who revives him with water. The lad takes Gypsy home but sets him free when he sees his father negotiating the horse's sale to a cruel neighbor." In due time Gypsy arrives back home, worn, exhausted and bleeding. Keating shows up several minutes later to inquire about the horse, and Bond and his wife, despite the tempting $1,000 reward, say that they have not seen him. But Gypsy whinnies and gives himself away. Bond tries to explain, but the understanding Keating stops him and pretends that he does not recognize Gypsy. He leaves after expressing the hope that Donna will be happy with her “new horse.” The family's happiness is complete when it begins to rain, bring' ing an end to the drought. It was produced by William Grady, Jr. and Sidney Franklin, Jr., and directed by Andrew Marton, from a screenplay by Martin Berkeley, based on a story by Eric Knight. ' Fine for the entire family. BINDERS FOR SALE Harrison's Reports binders, which clamp sheets in place without making it necessary to punch holes in them, may be obtained at the office of this paper for $2.00 each, parcel post prepaid. The cost to subscribers in foreign countries is $2.25, parcel post prepaid. These binders makes Harrison's Reports convenient to handle and easy for reference.