Harrison's Reports (1930)

36 HARRISON’S REPORTS March 1, 1930 WANTED— A LEADER! There are unmistakable signs that the organized ranks of the producers are disintegrating. According to an announcement in a trade paper, Vvarner Bros, and First National are about to withdraw from the Hays organization. A rumor persists that also one other big hrm is about to withdraw. Whether Warner Bros, and First National as well as the other linn go that far or not, it does not matter ; the fact is that, according to all evidences, there is a growing spirit of independence among the producer-distributors, and that they are no longer bound to the Hays organization as they were before. The reason for the changed sentiment is obvious. The existence of the Hays organization was owed to the arbitration system and to whatever services its head could render politically. But now things are different ; Mr. Hays cannot obtain any favors from public authority (he is not welcomed in such quarters ) and his arbitration system has been declared unlawful. Nor can he be of any service to them for creating a friendly sentiment among the church people ; for he, by his vacillating attitude in matters that concern the morality of motion pictures, has antagonized them to such an extent that the organizations representing many of them have broken relations with him. And he cannot expect to accomplish anything among the independent exhibitors either, for the rough treatment he has given them by his film boards of trade and his controlled arbitration boards have driven them to a leadership more capable than his own, and politically more influential. Another reason is the fact that he has played favorites among the members of his own organization, alienating those that were discriminated against. Knowing his inability to serve the producers any longer, Mr. Hays is seeking to save his face by standing aloof at a time when matters of gravest importance are crying aloud for settlement. Never was this better illustrated than lately — in the crisis precipitated by Judge Thacher’s decree. The Court plainly intimated that the leaders of the industry should v.’ork out a standard contract and a voluntary arbitration system that would be in harmony with the law. But Mr. Hays, instead of staying here, where he is needed most, chose to go to the Coast, preferring to issue many “Don’ts,” that is, rules instructing the producers what they should not include in pictures, even though he knows very well in advance that the producers will pay little attention to them — ^just as little as they paid to the “Don’ts” adopted at the Trade Practice Conference. In contrast with his leadership, or, rather, with his lack of leadership, the forces of the exhibitors, under the leadership of Abram F. Myers, are marshalled and ready to go. It is high time that the producers chose a leader who can lead. Such a leader should have ideas and ability to carry them out ; deal openly, candidly and squarely with all persons, whether connected with the industry or not; be acceptable to the public authorities with whom he must deal in order to get for the industry the consideration it deserves ; know the law and be animated by a sincere desire to keep within its bounds. Can this great industry any longer he satisfied with a leadership that has fallen short of these qualifications ? JUDGE THACHER’S PROMOTION AND ITS MEANING U. S. District Court Judge Thacher, author of the famous decree outlawing compulsory arbitration in this industry, has been appointed Solicitor General of the United States, succeeding Charles Evans Hughes, Jr. This constitutes a clear recognition by the Government of Judge Thacher’s attainments and an approval of his judicial record, the outstanding feature of which was his forceful decision in the Arbitration Case. The office of the Solicitor General is a great honor, the highest a lawyer can receive. The Solicitor General represents the interests of the Government in the highest court of the land. As such, Judge Thacher will be on hand in Washington to see that justice is done when the producers appeal the Arbitration Case to the Supreme Court, if they should ever do so. FOX SUBSTITUTIONS A kind-hearted friend has sent me anonymously a set of the latest Fox Work Sheets, printed January i6th. I notice in these Work Sheets that an attempt is made to hide several substitutions. For instance, up to January, Fox had advised the exhibitors that the title of “Interna tional Revue,” listed as No. 105, was changed to “Hollywood Nights,” “Tonight’s the Night,” “What a Break,” “Fast Workers,” and finally “Let’s Go Places.” But in these Work Sheets production No. 105 resumes its original title, “International Revue,” and “Let’s Go Places” is attached to No. 142, displacing “Black Diamond.” But “Let’s Go Places” cannot be “Black Diamond,” for the reason that “Black Diamond” was described as follows: “All Talking, musical circus story with I^uise Dresser, Helen Chandler, Joseph Wagstaff. Richa-d Keene, Dixie Lee, and the lone ‘Black Diamond,’ Stepin Fetchit” ; whereas “Let’s Go Places,” which has already been finished, production of it having been started November 9, has been described in Fox literature as follows : “A riotous tuneful, diverting story of life and night-life in the screen capital. Authentic and intimate views of the real Hollywood. . . .” It has an entirely different cast. It is is a substitution and you don’t have to accept it. “Happy Days,” No. 117: The original title of this picture is supposed to have been “The New Orleans Frolic.” later changed to “New Orleans Minstrels” and Fox Minstrels.” But in the original Work Sheet it was described as follows: “The screen’s first minstrel show% with the laughs and tears of river troupers strutting their stuff on shipboard and at the opera house — with William Collier, Walter Catlett and Walter Weems as endmen ; George McFarlane as interlocutor and baritone ; Joseph Wagstaff. David Percy, Richard Keene. Sue Carol. Dixie Lee and 50 Creole dancing beauties. Music by De Sylva, Brown and Henderson, Walter Donaldson and Flrlgar Leslie. L. Wolfe Gilbert and Abel Bar. and others. Directed by Norman Taurog. Story by William Collie’" and Walter Weems.” The story of the finished product, which is being delivered as “Happy Days,” however, was written by Sidney I^nfield and Edwin Burke, and was directed by Benjamin Stoloff. It is a star and director substitution and you are not obligated to accept it. “The Golden Calf,” Production No. 107, which was changed to “American Beauty,” is now “Unknown Beauty.” “Playmates.” No. 108, has been changed to “High Society Blues.” “Cisco Kid,” No. 124. has been named. “.Arizona Kid.” “Budapest,” No. i.a.t, has been named “One Mad Kiss.” “It Might Have Happened,” No. 139, is now “Born Reckless.” There are some more changes. All these will be mentioned when the pictures with the new titles are released. The Fox Film Corporation bears watching closely for substitutions more this year than ever, for it is my belief that shortage of money may force them to make many changes of stories, stars and directors. THE REASON WHY WARNER SHORT SUBJECTS ARE NOT GIVEN DEFINITE RELEASE DATES Warner Bros, do not, as you must know by this time, give their short subjects definite release dates. The reason for this is not difficult to guess ; apparently they want the subject that was released two years ago to sell as fast as the subject that has been released one week ago, and to bring as high a price. Exhibitors that have been playing Warner Bros, short subjects since the latter started to put them out or, at least, lor one or two j-ears, are not affected by this policy of Warner Bros, very much, because they play the short subjects as fast as they are released. To them it makes no difference what release date they bear on paper. The matter differs, however, with exhibitors who either have never played Warner Bros, shorts and want to book them now, or have stopped playing them for several months and want to resume playing them. To them it means this: If they should happen to play a subject that was first released, say, six months previously, many of his patrons may have seen it in some other theatre and may come to the conclusion that they are playing old pictures. If you want to contract for Warner Bros, short subjects, bear this in mind. Otherwise it may’ cost y’ou considerable money from loss of prestige. Even if you are an old Warner customer, you should insist upon their setting release dates on tlieir short subjects. You will then be in a position to know what you are getting for your money. Warner Bros, should be made to realize that the days when they sold a tennis picture and delivered a coal-mining picture, or a modern society drama and delivered a bloodand-thunder melodrama of the XIV. Century, are gone forever.